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Welcome to our podcast, Band BFFs.

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The podcast where we make your music selection less complicated.

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Listeners, you are in for a special treat today.

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A long time ago when Laura and I thought through this podcast and kind of the trajectory for

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what we wanted to do in recording episodes, of course, you've probably noticed by now

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we spend all of our time on the Texas PML UIL pieces.

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In our state, that's our prescribed music list and we've looked at many surrounding

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states as well and we kind of all have similar types of pieces on our music list for contests,

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which is awesome.

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So hopefully that's helped you so far.

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But of course, we wanted to talk through music from other parts of the year as well.

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For instance, marches, our fall concert programming, patriotic programs, holiday programs, different

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things, spring concert pieces that you can consider for your band program.

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Today's special episode will be focused on some fall concert music that might be appropriate

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in your band program.

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We're going to talk about three easier pieces that you can consider programming.

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And because we're doing three pieces in one episode, if you've listened to our podcast

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before, you know that we go into quite a bit of detail in each episode focusing on just

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one piece.

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We give you rehearsal strategies and things like that that you need to consider when you're

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preparing a piece for contests for your band.

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Since we're discussing three pieces today, it's going to be more of a surface level idea

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of what each piece is about.

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Of course, we would expect that you go listen to all of these pieces to determine if they

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might be appropriate for your ensemble.

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But we hope you enjoy the three pieces we're going to talk about today.

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And those are Midnight Mission by Brian Balmages, Scary Had a Little Land by Carol Brittin Chambers,

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and Snake Pit by Tyler Arcari.

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Cheers to starting the conversation!

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All right, so we're going to start right away with Midnight Mission, which in our opinion

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is the easiest of the three easy pieces today.

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It is in the key of concert B-flat or G-minor.

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It's only about a minute and a half long, but it has a really fast pace.

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It's got a really brisk tempo, which of course we know kids love fast music.

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Really simple.

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There's not a lot of range in any of the parts, so you don't need any really, really strong

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sections.

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I love some of the cool percussion instruments in this piece.

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I think it's a really cool opportunity to introduce some new percussion to a younger ensemble.

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So because it starts off with tempo blocks, which is new for probably some younger bands,

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and then this piece is marked sneaky.

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So it is marked staccato all the way throughout, but make sure whenever you're teaching this

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to a younger band, you're not having them clip the notes too short.

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This is a good opportunity to talk about the right way to do a staccato note, 50% of the

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note length, that sort of thing, so they're not playing it too choppy at the beginning

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of the year.

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Another cool thing is that it's going to start off with just the trumpet and out to

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playing the melody, and then you're going to have some other voices adding in as you're

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going on into measure seven, and then more voices at 11.

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This is a piece that is rarely 2D.

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It's a lot of just kind of section spotlights, which I like because it doesn't require a

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whole lot of endurance if your band is a little bit younger.

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And it's great for younger bands because it's well written where you're not having to say,

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hey, you don't have the melody you need to play softer.

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It's literally just the ostinato quarter note behind the melody part most of the time.

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Again, at 11, we have more of the upper parts coming in with the trumpet, or where the trumpet

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has had the melody before, and then we have some just low brass, like little mini scales

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going up from B flat to F, so nothing super tricky.

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I would be real mindful of making sure that the students are aware of when the notes are

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marked staccato and when they're not.

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Absolutely.

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So we want to make sure that we differentiate those things.

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And then at 18, we're getting our first crescendo.

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And again, this piece is cool because it sounds like you're on a midnight mission.

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You're very quiet and sneaky at the beginning, and then we're going to all crescendo up to

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20 together with a big crash cymbal hit and some cool percussion.

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And then we get soft again right away at 21.

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So it's like they were about to get caught, and now they're not with a cool vibroslap.

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And then we all are getting back into the staccato voices.

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And again, it's well written where you can kind of hear the melody when you're supposed

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to, back to some tempo blocks in the percussion.

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Great opportunity to teach matching between woodwinds and brass.

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We have a lot of this, one and two, three and four, one and two, making sure that they

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are matching the same style.

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So that's a really easy technique for them to focus on matching across the ensemble.

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Absolutely.

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And then we're going to keep going into 32.

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It's still short here, except for in the melody part.

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And we get another crescendo going into 33.

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And this is our first fuller moment for the band.

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Can we change styles?

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We're like two robbers have found each other.

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So it's like the lows versus the highs, the low people voices, one and two, three and

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four, trumpet and flute.

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So it's like kind of like a little echo back and forth here.

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Again now we're not staccato anymore.

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So really teaching that style difference to the students.

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Then we're going to crescendo even further into 37 with the trumpet melody along again

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with the upper woodwinds.

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But then we have this cool like counter melody and alto and horn, which is really fun for

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those kids to have brought out.

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And we see accents now.

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So this might be something if you're playing this with a really young ensemble that you

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know, you will want to spend some time on that seeing the three different styles like

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we have no articulation marking on the notes, staccatos and accents.

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Again, just a good teaching tool.

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And it's like throughout every single part the same in all those areas.

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So it's not like, oh, trumpets, you're doing this one thing and flutes, you're doing this

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other thing, which is really nice.

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Then we're back to the softer moment at 45.

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It's piano again.

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And so it's like the robbers got away and so now we're sneaking again.

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More vibroslap, which is always fun.

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Percussionists love all the cool accessories.

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Absolutely.

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And we're continuing the same thing as before, except now whenever we have the half notes,

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they kind of lead in at like 48 going into 49 things like that.

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And then we have a big percussion moment again at 53 and it's getting us excited because

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then we're at the end of the piece with a nice full forte.

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So this piece is great for just like a short, very playable, very playable, good style things

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that you can teach.

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We love that it has the musical jumpstart at the end of the piece that you can use during

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your fundamental time with your band.

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So all in all, lots of fun goes together very easily.

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Yep, and it has style pages along with the musical jumpstart, which is really wonderful.

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So the second piece is scary, had a little lamb and this piece is super cute.

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It's adorable.

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It's exactly what you think it would be.

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So you know, Mary had a little lamb in minor mode.

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It is in the key of E flat or C minor.

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It's a little over two minutes long, so it is a little bit longer than midnight mission.

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We do have split like the flute and optional second flute part in the oboe.

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There's more percussion in this, a lot of percussion in this one and it all the percussion

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instruments are really important in this one.

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So we want to make sure the percussion get to have lots of fun with all those accessories.

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Yes.

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And this one's not very quick in tempo, so you can spend a little bit more time talking

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about the style differences as opposed to midnight mission.

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You can see right away that we start off staccato with accents, but making sure that that is

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something that you really pay attention to because this theme comes back over and over

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and over.

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One, two, three and four, one, two, three and four.

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So just really teaching them how in one measure they can change up the style.

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At five, we have this really cool ratchet part and it comes back over and over and over

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the same rhythm, but in different percussion instruments.

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So that's really fun and the kids, which I think is a great rehearsal.

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Like you could take all of those different instruments and have your percussionists.

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You're on triangle, you're on tambourine, you're on ratchet.

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Let's practice this part together.

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Rest two, rest four, rest two, three.

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So that's a good little rehearsal strategy for you.

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And then at nine, the trumpets come in with the melody with flute and oboe and clarinet.

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And this is Mary had a little lamb, but scary.

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And so the kids just think it's really fun.

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You have a little alto line and a little tenor bass line.

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So it's not very difficult in the amount of parts that are in it.

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It's real easy to put together.

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And this is a great opportunity too to teach follow through just like when you're teaching

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Mary had a little lamb to beginners and you have to teach them not to play.

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Mary had a little lamb, little lamb, little lamb.

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You know, we can teach, you know, longer phrases and how to properly breathe and things like

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that.

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So that's a good rehearsal technique.

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I like to get the kids really invested.

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For example, in beginner flute class, when we're learning the thumb B flat and B natural,

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will do Mary had a little lamb in major mode and minor mode and we make up stories about

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what do we think happened to the lamb.

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So that's a great thing for younger kids to have fun with us.

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Like what do we think scary had a little lamb?

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What's the story behind this?

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Yeah, absolutely.

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Get the kids invested.

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Yep.

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At 15, we have a little bit of a style change again with accents and this is kind of reminiscent

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of what we had at the beginning.

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And then we have accented half notes between uppers and lowers.

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So just making that be different because that is a totally different part than what you

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had before.

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Then we're back to 17, kind of having some stylistic things like before.

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Now we're adding in some slurs, which we haven't seen.

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Yep.

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And then we have some accidentals in 20, but the baseline is really important here.

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And then we're going into a forte section at 23.

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That sounds like the beginning.

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And you'll notice like we've gotten rid of the staccatos in this section.

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So making sure that the students understand the difference in the playing that stylistically

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differently.

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Yep.

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At 25, now the hi-hat has that part that the ratchet had before.

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And we're still just having long quarter notes with the rest, touching the rest.

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Then we have this little two and three and four.

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I love the little riddles in the weekend.

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Yeah.

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And so like telling them to add a little crescendo is cute.

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Then at 29, this cool tom part is really fun and the tom player is just going to love

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it.

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So now we have the scary, had a little lamb part again, but it's in a round.

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So the trumpets and the low brass started.

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One, two, three, four, one, two, three.

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But then the upper people come in one measure later and continue on.

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So it's literally around as you're going through this part, making sure that students

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understand not to breathe between the half note going into the next measure, like 31

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to 32 in the uppers, 32 to 33 in the brass.

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Which of course is going to be their tendency with the younger ensemble.

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That way it kind of sounds very cyclical in nature throughout this whole portion.

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Then we all kind of come together at 36 on two half notes leading into 37.

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And now the tambourine gets that part that the percussion have had.

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And we have more of like a low person part and then a high person part kind of back and

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forth here with accents and staccatos again.

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Making sure students count rests really carefully.

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Some of those entrances on me too.

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Oh, for sure.

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And after long rest, they're great little rhythm and counting exercises.

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Yep.

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And then we have that tom part back and then we're back with the melody again in the trumpets.

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And then we have the same round again in the flute and upper woodwinds.

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We just don't have the same round effect in the low people part here.

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Then we have more half notes leading in and crescendoing with a little bit of some flute

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and oboe clarinet fun at 48.

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Leading into 49 with the triangle on that special part.

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Which this cracks me up.

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I love the band gets to say ba.

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Which I just love it.

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I think it's hilarious.

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Like I had a French horn player when we played this and man, she was the loudest ba or ever.

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And it was so funny because everybody knew she was just going to be really loud.

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So it's cute.

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And I would encourage the kids to be funny and obnoxious with it.

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You could even have like a kid dress up with like a little sheet pat and like stand up.

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Oh my gosh, that'd be so funny.

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Anyways, but it's cute and the kids think it's fun.

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We're back to being kind of quiet here.

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Then we start with the round again.

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So 53 now the low people started and then trumpet and flute this time instead of rounding

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back with the same part, they have the scary had a little lamb part.

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So it's kind of like both parts morphing together here.

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And then 56 we're leading into the ending.

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The conclusion is really simple and we've got five notes coming down in a mini scale

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again and the low people to the end and it's a vibrant little slaps solo at the end.

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So this piece is really well written and not difficult in range, not difficult.

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Like it doesn't go above the break for clarinet, the highest note in trumpet is a B flat.

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So I mean that that makes it pretty simple to put together has a little bit more meat

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than midnight mission, but still very playable.

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And I love all of the percussion accessories in this one.

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Yes, your percussionists will love that one.

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And our final easy fall concert piece is Snake Pit by Tyler Arcari.

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And this piece is really fun too.

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So this one is definitely a little more challenging on the easy level.

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We have split clarinet parts, we have split trumpet parts.

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We are in the key of concert B flat or G minor.

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It is a little over a minute and a half long.

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The clarinet part does cross the break, the first clarinet part and this does cross the

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break, but most of the time when that happens, the first clarinet part is literally an octave

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above second clarinet.

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So you can kind of, you can make the decision if you even want to pass out the first clarinet

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part, right?

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You know, that's dependent on your ensemble.

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This piece, and as she mentioned, the range is easy.

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Trumpets go up to C and trombone phony M go up to above the staff B flat.

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So it's not horrible.

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It also has really fun percussion.

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The timpani part is really important in this piece.

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Yes.

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Extremely important as well as the snare drum part.

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And then there are a lot of accessories that are fun for this piece as well.

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So you do have to have a pretty stacked percussion section.

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You can't, I mean, if you want to play it like to its true ability.

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It starts off slow, more mysterious in nature, kind of like midnight mission, kind of nice

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and sneaky with staccatos, a couple of accents here and there.

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You do have a long note in flute and oboe.

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So just making sure that we're tuning that fifth and that they're using vibrato if they

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are ready for that.

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And then at five, you know, we're adding in, we're doing the little one and again, and

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we get a new part in the flute clarinet sax.

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And then we're adding in a few more parts and then we're getting exciting at eight going

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one and two and three and four and then there's a nacella rondo going into 10, which is a

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rondo will be something you need to spend some time working on to make your fingers

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right.

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Yeah, to make it as even as possible.

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And I love and this little eighth note thing comes back a couple of times in here and I

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love it because it's a great, it's a great technique exercise and even finger exercise

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for those woodwinds.

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So it's it's great sectional work, anything like that.

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It's going to be good technique for them.

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Yep.

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And then you're going a leg row at 10, like around 130 is good.

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And then percussion is going to really help you get into your groove here.

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So make sure that you've worked this part out a lot with them.

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Kabab says super important here too.

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Yes, that's that's in the conga part too.

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And then we have the low people are playing again, not too short on these accents.

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And then we have again, one and two and three and four and one.

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I always taught the students whenever we've played this that that's the snakes littering

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through the ground.

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Every time that comes back, you're being the snake.

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Anytime the little chromatics come in.

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And then 14, same thing, except now we've got upper people on the background part.

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And then we all slither into 18.

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And now we have trumpet melody along with flute and lower clarinet.

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And this is like a little bit more like it's like the king snake.

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I think that's how I brought it up to the students last time we played it.

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It was like the like the the cobra snake or something snares are off here.

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So it's not going to take away from the from the trumpet part.

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And trumpet one and two are on the same notes here.

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So that's good.

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That's not like a super independent part.

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Lows have a very easy part.

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Horns are on like counter melody harmony along with them.

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So just make sure that they're on the right pitches as well.

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And in the percussion, the only thing that's really challenging in this, obviously, we

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have all of the eighth notes that are happening in the cabasa and in the snare.

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So making sure that those move together and that your your snare drummer is keeping their

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taps low and their accents high so that we get the groove feel of the one and two and

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four, one, two, and three.

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And then the bass drum and triangle are are in line with those on the accents.

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That rhythm looks harder than it is.

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If you make sure this is the students understand they're with the accents on the the moving

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part that'll help them fit that together.

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Right.

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And then we're going into the lows, get a little snake part at 25 going into 26.

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And now we have a timpani solo.

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And they're extremely important here.

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They should play this very, very confidently and loud, maybe even harder mallets.

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That's up to you.

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And then the lows have this really cool like jamming part that just sounds fun along with

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the timpani.

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Encourage the students not to breathe on the bar line between 27 and 28.

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Same thing as you go from 29 to 30.

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And then the upper people add in at 30.

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So we're full ensemble with the same rhythm here.

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The same rhythm, yep, and same style.

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And then 32 and 33 just kind of have a cool sound to them, but a lot of like different

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accidentals written in.

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So working on making sure everybody's got the right pitches and the right accidentals

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carrying through the measure and, you know, bring out some of those harmonies is a really

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cool idea.

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And then at 34, we're back to that trumpet King Cobra snake idea.

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And then we have a new idea come in at measure 35 on beat three from like the mid voices,

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like, yeah.

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And that part is pretty important too.

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And you know, I told the kids that's a new snake, you know, whatever.

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I don't know any types of snakes.

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I'm not even sure what I said at the time.

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Like it's a grass snake at who knows.

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But like you can make it fun like that, like different snakes, you know, coming in together

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and fighting for who's the king snake, you know, and this is kind of the same thing,

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just a new, a new melody part.

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And then 41 is all accented and we're all descending and 42 is the snake fight.

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That's what I called it.

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And it's got a gong hit and everything.

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It's kind of like, you know, karate kid or whatever, like fight time and the grass are

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all on these longer value notes.

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They're like giving that big kind of aggressive harmonic foundation wins are on the movie.

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They're doodling like little snakes, like in the snake pit, like slithering around,

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being careful not to be too loud.

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They're just in the background.

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They're not the king cobra snake here.

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And percussion gets to play like cool parts going into the next section as well.

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And you also want to make sure those woodwinds are not going one and two, three and four.

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Right.

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One and two, three and four.

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Yeah, because they're slithering.

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And then there we're going to continue this while the trumpets are still being the king

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snake, and then we all do the slither again going into 50.

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And we're back to the same part as before.

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Now it snares on.

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So your snare and it's way more active.

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Like this, this is accurate, but not loud at this tempo, those 16 notes, we want to

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make sure that that's really even one, two and three and four, you end to one to just

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make sure your snare drummers really confident with that.

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And it's the same thing as what we had before.

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We're getting more voices doing the doodlies going into the ending again.

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And you know, just nice finish with everybody accenting together.

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This piece is super cute too.

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And the kids love it because it's a little more challenging.

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Yeah, a little bit more challenging, but fun to put together a little bit more like you

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have to think about balance a little bit more in this piece.

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It's not written out 100% where it's like sneaky like Midnight Mission or scary head

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a little lamb like ever.

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Everybody's kind of playing all the time on this piece and more independent parts for

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students to be aware of.

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But still all three relatively easy, very playable pieces for young band for a fall

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concert programming.

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We hope that you'll consider programming one of these pieces.

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Thank you for joining us on this episode of Band BFFs.