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Welcome to our podcast, Band BFFs. The podcast where we make your music selection less complicated.

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Today this is our final Fall Concert Series episode and we're going to be talking about

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what we consider to be more difficult pieces for your Fall program. We will be discussing

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Zombie Dreams by Roland Barrett, Cave You Fear by Michael Markowski, and Music for a Darkened

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Theater by Danny Elfman, arranged by Michael Brown. Cheers to starting the conversation!

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With all three of these pieces, they go through multiple key changes, time signature changes,

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lots of transitions, tempo changes, all of that. So rather than give you a breakdown of key and

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time and all that for each piece, we're just going to dive right in and know that they all have lots

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of transitions like that, which is one of the things that of course makes them a little more

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challenging. And all three pieces are about five minutes in length, between four and a half and

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five minutes. They are longer, they require more range, ability by your woodwinds and your brass

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players, more a lot of independence in the parts. And a lot more effects in general. From the wind

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players and percussionists, lots of percussion equipment. So these definitely are just all three

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of these pieces are definitely a little a little meatier, a little more challenging. So we're going

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to start with Zombie Dreams. And this piece is a programmatic work. And it takes you through the

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journey of a zombie. So the zombie wakes up, the zombie is starting to walk, the zombie does a dance,

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a waltz in the middle, falls in love, and then maybe not he's fleeing away from his love or she's

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fleeing away. So we'll take you through that. But it's super fun with the kids. They love this piece

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because everybody gets something cool. And it has a fun story. So at the beginning, it says literally

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in the score, zombie wakes. So this is fun because your wind section and your percussion get to do

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some cool effects. Your trumpets are rumbling grocery bags to make it sound like the wind.

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Your trombones and euphoniums and tubas are blowing air through their instrument with the

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mouthpiece all the way in their mouth so they don't accidentally vibrate. You get chains in the

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percussion. Your percussion gets to drop a chain like a zombie is trying to like wake up and like

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free himself. Chimes are important or an ocean drum. It's supposed to sound just like the zombie

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is waking up. So it's fine. The kids love it. And you can do as much or little as you want at the

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very beginning. Then like it's kind of coming in and out, getting stronger and softer through

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here with some of our lower voices. Mallet percussion very important through here. Yep,

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rhythm kind of gets a little bit more but not terrible yet as we're crescendo-ing up to 11

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with a big fermata. Then we have some cool percussion effects again as we're transitioning

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into the zombie fully starting to walk. It's like they broke free from the chain and now the zombie

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is walking and that is in the form of the low brass low reeds. And we have the low low lows going

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downward in motion and the trombone euphony and going up in motion. So it's really fun and the

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kids love to hear this part. It's chromatic so there's a great opportunity to be like hey see

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how we see this in music. This shows up in music. Great technique teaching opportunity

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making tongue and fingers move at the same time or slide and fingers move at the same time. At 15

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the horns and the saxes have some rips coming in and then we've got the melody right away at 17

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with the trumpets. And the the lows continue their part but obviously they're going to get softer

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under the trumpets. Flute clarinet gets to add in with a little trill and then a little response

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to the trumpet part. Back to the melody and trumpets. Same response in the upper woodwinds. At 25

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we have a more connected flowing section with this cool suspended cymbal part on below them.

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Woodwind feature with lots of smooth dynamics and we want to make sure that we get that that that

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crescendo up and then day crescendo down crescendo up day crescendo down four bar phrases

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so that we're not having any gaps in the sound in this section. Then the horns get to come in with

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a cool part along with alto line and then we start off with 33 with it sounds kind of like

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we're not sure there's like something's happening it's getting a little spookier.

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Chimes have a really important part here to interject in between and then it kind of sounds

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like a heartbeat at 37 and 38 in the timpani and bass drum with the bells and chimes kind of interspersing

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here it's like a percussion break. Then we're back to 39 the zombies walking it's almost like your

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heart was beating because you weren't sure if the zombie was still coming and then oh yes he's still

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walking behind me. So then we have the same melody again same idea exact same thing that we had before

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exactly yep and then of course paying attention to the differing styles here then we have a big

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timpani solo and then we finish out the first part. When we get to measure 49 so there is a

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key signature change and a time signature change you want to make sure that you practice that

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and you figure exactly how to get your students in right on time right there it starts with tuba

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and then flute and of course percussion so it's relatively easy but it does take a little bit

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of time practicing that transition here. And this is the waltz section so it's one two three one two

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two so it's got this little just waltz feel of course clarinet and euphonium get to have the

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melody together it's a really pretty mellow sound um and you know whenever i've played this piece i

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talk about the girl in the in the boy zombie and they they're starting to do a waltz here maybe

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they're going to be more than friends who knows yeah could be a girl and a girl boy and boy whatever

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so as we're going into uh this part here at 61 we have a really cool horn and alto counter melody

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line which i like and i think it's really fun uh to bring that part out and then some more of the

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little like descending lines going on underneath it and horn has several little moments like what

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happened here at 61 where it's not the melody but it's really want to bring it out yeah so make sure

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and make sure they're cut it's a little bit higher it's a little bit higher in their range so just

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make sure they're really confident it's really solid um we get a cool muted part in the trumpets

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at 68 and they do not have the same part at all so the melody is in sax one and trumpet one

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but then trumpet two along with the oboe have this like counter melody part and they're they're

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intermixing together so i always say these are the two zombies yeah they're dancing together

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but it's very thinned out here and and that's what makes this piece a little bit more difficult

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everybody's got an important part lots of exposed parts lots of exposed parts we get into 77 it gets

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a little faster it's almost like they're they're going faster and faster on the waltz um and then

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we have a little tuba moment at 84 leading into 85 where the in the score it says rockus it gets

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even faster it's like the tempo is just picking up and picking up it's getting more exciting the

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trumpet one part goes all the way up to a g um so it does get a little bit higher there's a cool uh

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little descending line and trumpet two and clarinet two part and the whole band is is descending as

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it gets more raucous but their parts really neat and percussion is important here too to add to that

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raucous feel and i love that it's marked raucous but obviously you want to make sure that you're

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working to to balance it out yeah so that it does that raucous does not mean noisy right so so making

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sure that it's musically raucous but still controlled then there's a ritardando at 91 and that goes on

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for a few measures then we're slower not by a lot but a little bit at 94 still in the waltz feel

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and then it ends with percussion uh on the bells and then a little cute finish then we have another

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time and uh key signature change and this section is called zombie crush so as we mentioned before

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now one of the zombies has a crush on the other one and the kids always think this is really fun

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because we always have some sort of little story to go along with it so the flutes and the clarinets

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come in first with the the first zombie and then we have like kind of a lower voice come in and then

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they're leading up and this is a very slow section it says tenderly in the music uh we're adding in

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more voices as we go on it's got a lot of fermatas starting and stopping this is really more difficult

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than a lot of the other parts because the kids have to be more musical and watch the conductor more

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so this is a great piece for exposing students to getting their eyes out of the music and following

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along and making it sound very musical so we talk a lot in our band rehearsals about the fact that

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practice time is for learning your own part and rehearsal time is for learning everybody else's

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part and how your part fits with theirs and this is a classic example of one of those like the

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individual parts on their own are not necessarily overly challenging in and of themselves but putting

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them together and making sure we move together and transition together that's the challenge

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absolutely and that part's pretty small then all of a sudden we get back into the upbeat speed

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and it says zombie fleas so one of the partners in the zombie crush decided i don't want you so

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so somebody starts leaving they have the heartbeat comes back with chimes in the in the percussion

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then the low brass have kind of a version of what they had before and it kind of picks up and gets

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you more excited and then at one eighteen we're moving together tonguing together on all of that

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yep at one eighteen we come in with a new little melodic line in the trumpet it's kind of reminiscent

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of what we have before but a little bit different now snare drum is way more active here snare drum

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is very important here so the tendency is going to be as this part picks up in difficulty for the

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snare drummer to play too loud right so don't let it even though this is supposed to be menacing

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here making sure that the snare is not overpowering what's happening in the winds yep then we have a

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full band subitope piano and we are doing the the low brass line going downward again and then

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little percussion moment and then the very very end so it's got so many cool transitions in it and a

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lot of great teaching tools as well the next piece is cave you fear by michael markowski

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and this piece is really pretty fun the kids love it and it's written on overcoming your own

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personal fears um and not getting bogged down with um anxiety and being worried about things that come

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i love the imagery in this piece like i feel like markowski does such a

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a fabulous job of using of using sounds to convey those scary feelings that you sometimes have

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as an individual and what a cool opportunity for us to have those conversations with our

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students about that yep um at the very beginning we get to have uh these uh big swells crescendo

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day crescendos in all the parts just kind of setting up the tone um and we have lots of

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half notes and eighth notes it's nothing ridiculous but just making sure you move together and really

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overdo the dynamics as much as you can your percussionists will love all the cool effects

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that they get to do in this piece they get to make some really interesting sounds on the percussion

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instruments the trombone and euphonium get to come in at 13 with a quarter note line and it gets

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passed up to trumpet clarinet and saxophone and then we have a fermata in 16 and that's going to

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be the tempo change now it's going to go faster to 144 it's 17 the flutes and percussion get to

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start out with that little melodic part then clarinet and horn and sax take over with the melody

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emphasis on the horn part with a really cool hi-hat part underneath where they're going to be like

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grooving my kids like this piece because it kind of sounds like rock music i guess a lot of times

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so the hi-hat kind of adds to that feel trumpets get to take over with some melody then the flutes

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big ol glissando at 29 as we're going into 30 and i want to add like on that hi-hat part like a lot of

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of younger players will make their accented notes and their tapped notes very close to the same

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volume and then you're not going to get that same rock groove like katie was talking about right in

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order to maximize that effect their accented notes need to be way stronger than their than

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their tapped notes so just have the students work on that we have a big trumpet melody going into

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34 35 36 37 is a big punchy part with the brass they love this in the little trill in the upper

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woodwinds they sound kind of creepy at 39 and 40 and i love the mallets here as well yep so they

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all get the chance to do this cool like kind of rock feel again um and again we've got rim shots on

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the snare drum here so it's just kind of sounds really fun there's a lip fall at 43 we have uh

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lot like the hi-hat is getting more intense here lots of mallet stuff going on and then at 45 we

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have some crescendo day crescendo hairpin dynamics again so it's all meant to just be really

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effectively yeah we're just trying to create an effect create an ambiance at 53 we immediately

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slowed down to about half tempo and the upper people are on a cue the uh this piece calls for

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something called a super ball mallet and you actually need three of them um one is being used

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on the timpani and two are being used on the tam tam or gong um i believe there's even one for the

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bass drum further in on the piece but i could be wrong on that but this piece you you should look

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up how to properly play a a super ball mallet um so that you can show your kids how to do that but

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it sounds so cool here it's meant to kind of sound like that like laura was saying like the anxiety

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is coming up and you're not really sure what is that sound i don't know what that is and you want

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to encourage your percussion to really go for all of this part the band is just playing long chords

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and notes above them this is one of the cool yeah this is one of the coolest parts of the piece i think

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and and certainly the that that effect that the percussion section is adding is what is giving you

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this whole vibe here yes the alto saxophones get to play a multifonic note here that also adds to

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that scariness and then a woodblock comes in at 59 and they're just supposed to free go

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slower and slower on their instrument so it's like really kind of makes you feel like your

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heartbeat is racing then we have a little bit more of the super ball mallet part in the percussion

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along with trumpet having the melody here and we're kind of getting into some more

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swells and falls we're still just kind of maybe trying to figure out why are we afraid that sort

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of vibe as laura said here we have a little scrape on the the suspended cymbal or actually i think

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it's on the timpani or not timpani i'm so sorry on the gong and then the trumpets get to say

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so it's just supposed to sound like really spooky here and like unsure uh then we have some melodic

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stuff in the woodwinds followed by the brass it's kind of conversational here all of this with these

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instruments coming in and out like it requires a lot of confidence and independence in your players

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they need to make sure that they're counting their rest really carefully you can't be leading into the

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next section that's right you can't be held accountable for queuing every single solitary

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entrance your students need to be really accountable for counting carefully we have a ritardando

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going into 75 then we're back to the original faster tempo uh we have that horn and alto part

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again coming in on their melody but then at 79 this is very rock feel here uh the low brass get the

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melody and low reeds and oh my gosh the kids love this part so much it even says aggressively in the

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part and they just go bananas for this it's like super fun for your low people and it's chromatic

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and really cool and it sounds awesome yeah 87 we get some upper woodwind melody um and then euphonium

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gets to add in with a cool counter melody um at 92 we've got some trumpet stuff leading us up into

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the very end 96 is kind of a big moment for everybody um the low people have the the half notes

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here and then the upper woodwinds are just playing on top of them not taken over and then the trumpets

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get to flutter tongue and that's always easy and pick their own thing like they get to just

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pick whatever parts they want to play and it's supposed to sound like a monster coming at you

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and it's like super fun for the kids because they get to kind of play around with it and we get the

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multifonics back on the saxophone so and in this upper woodwind part here just making sure because

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the first clarinet part is up over the break your first flute part is up pretty high making sure

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that they're matching style really well and not covering up all this cool effect stuff that is

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happening in the brass there's trombone effects we're still we're doing lots of stuff in percussion

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then we're going to slow down going into 104 we have a big uh Seisura and then we stop and then

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come back in at the same faster tempo to end it out so this piece is really fun for just exposing

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your students to different things that they can do on their instrument um but not in a relatively

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difficult rhythmic way or anything like that one of the things that uh before we move on to our

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final piece in um this series one of the things that I do think makes this a little bit more

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challenging because there is not a melody that they're familiar with there's not you know like in

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our final piece you'll hear that they they might be familiar with the beetle juice theme or the you

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know uh the the theme from the um Halloween Christmas Halloween whatever uh there's not a melody in

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this that they know so that independence again is going to be really really really important

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making sure they know their individual parts and um and can put that all together like mature

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musicians our last piece is music for a darkened theater uh by Danny Elfman and arranged by Michael

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Brown and we love this piece in this piece this um covers music from tales from the crypt the old

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tv show your kids are probably not going to know what that is but their parents will uh the night

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bare before christmas that was the movie I was trying to remember the name of um Edward Scissorhands

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Beetlejuice and Spider-Man so the kids are going to recognize a lot of these musical themes but

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this piece is super challenging because it has so many transitions again lots of independence key

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changes all of that and I would say the rhythms are more difficult in this piece than anything

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we've seen so far yeah they're definitely more advanced we start out with a really really uh

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brisk tempo even though everyone is on longer valued notes here bells are really setting uh the

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the pulse when they come in in the third measure um then the saxophones and trumpets um enter with

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their little punctuated parts then we get the cool if you've ever seen tales from the crypt you get

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the cool one and two and three and four and uh that you hear at the at the start of that the saxophones

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and the horns I like the entuba the instrument combinations in this piece I think are really

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creative um they have the melody starting at measure 11 now I haven't said a whole lot about

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percussion but there is a ton of percussion in this and all of the little accessory instruments

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are really really important this is one of those pieces that you might have to have percussion

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just run around and cover multiple parts right I will tell you as a percussionist those were my

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favorite pieces to play I loved getting to run around and play multiple things but there's a lot

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of things you need to make sure are covered in this at 11 again that melody is in tuba horn

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and alto and again you're going to see lots of interesting um combinations of instruments in this

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so we play through this whole tales from the crypt melody here which just keeps building we pass

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the melody around to some different instruments opportunities for dynamic contrast forte piano

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notes again all just effective stuff um as we get into the first um the new piece this is halloween

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yep and this is of course the kids will probably recognize this piece from the movie

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and it's a lot slower here it's in halftime so that's kind of nice um that you can just teach

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what that means to the students um and this has got a lot of like staccato parts for the this is

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halloween part but then it's also got like flowy parts on top of it um when it's not the melody part

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so that's pretty neat just teaching the kids about differing styles and how to bring that out

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like I mentioned a little bit more tricky rhythms here and there one and two and three and four and

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comes back over and over it's not ridiculous but it's something and then we have a cool piccolo

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and tuba solo that's always fun at 34 um and that's cute in nature kids love that um lots of just

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cool parts here we have one little measure of three four um then we're going to have an alto solo

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cool temple blocks part cool timpani part um as we're kind of keeping going into the same theme

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and building in more and more voices at 43 we're all in and we're all on the same rhythm with

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house top accents except for the baseline tuba bass clarinet um he changed here so be mindful of that

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yep um and so just talking about moving together making sure we all can tongue at that speed

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with ease uh 16th notes you know that can be a challenge for some students so just teaching them

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all about how to uh tongue quickly with a great sound um and then we've got some cool little like

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grace note moments coming into uh the little finish here and then we do a ritardando going into 49

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where it says the introduction to titles which I believe must be the spider-man type thing this

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one I think is the Edward Scissorhands oh Edward Scissorhands yeah and and this one of the things

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that I think is so cool about this every instrument gets the melody at some point in this piece so

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everybody has an opportunity to play something cool um this is faster than the speed that we were

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going before so many accidentals in this section but it's not fast faster than we were going before

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but not too fast lots and lots of accidentals this kind of reminds me that's right of that middle

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section of kview fear that we've talked about that um that this is rhythmically this is not very

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difficult uh we'll have to move together but that's exactly right this is a good opportunity to maybe

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bop this section with your band to make sure they understand exactly the precision and the vertical

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alignment phrasing making sure that we're all holding over those bar lines here um the uh

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middle voice alto horn euphonium get some cool moments in this then we lead in with the fermata

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the upper woodwinds and the bells before we go to the really really fast tempo change one of the

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things I love about this tempo change here is there is no percussion instrument or any articulation

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it's just long notes so it makes the tempo transition in this section a lot easier that's

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always a good thing to have then we get into the uh beatlejuice theme at 73 you get the low people

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to start out with a walking bass line then we have a one and two and happening throughout here

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and the and part is from most of the winds so that's going to be kind of difficult to line up 100

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percent working the alignment between the yeah downs and the ends and yeah playing on the ends is

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kind of making sure your students aren't breathing on everyone of those eighth or s uh then we have

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some melody in the horn at 81 and we have this really cool section at 85 where the 16th notes

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are being passed back and forth one e and a two e and a one e and a two e and a um so making sure

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that we're passing it back and forth it doesn't slow down it sounds very seamless through the parts um

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this is where the rhythm gets a little bit trickier too we get some uh 16th triplets that come in

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we have a lot more 16th notes uh being punctuated in here and there um and then at 92 we have an

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entrance on the end of three so just we're getting a little bit more tricky with just rhythms than

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most of the other pieces we've discussed so far today um and then we're coming in with again some

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more punctuations on the melody and low brass has their moment here and they get to play the component

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98 we're all in it's 2d uh we want the trumpets to be really important here along with the low

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people woodwinds are just on top but they're playing you know kind of high on their instruments so

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just make sure they're not screaming um and then we're all going to ritardando into 108 um and then

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we have a really cool percussion moment this is a this transition here in this section the percussion

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need to be really confident so the tempo um drops down pretty dramatically and we switch feels now

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instead of all of the 16th note action one e and two e and three and four and we switched to triplet

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mode this is where we're getting into that spider man main title uh theme here so those triplets need

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to feel very even everybody is going to either have triplets or quarter triplets at some point in

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here so this is a good teaching opportunity if you've never taught two beat triplets or quarter

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triplets to your ensemble and that would be good if you are thinking and playing it for like uh one

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of your pieces for contest like if you're going to have a piece with a lot of quarter note triplets

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in it this would be a good one to expose them to that all of this here again tons of accidentals

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so this i have found because this section right here is really thickly textured and scored like

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we had to break this down to make sure everyone was playing all the right notes or know that is

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a right note it's a weird chord or that's a wrong partial so you just want to make sure because it's

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very thick here um that the that the students are confident on their individual parts we have a lot

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more quarter note triplets here along with eighth note triplets in the percussion so just timing and

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alignment there's even like a triplet coming off of a tie that's that's pretty tricky to put together

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early in the year so this is not a piece for for young band not for not for the faint of heart yes

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we continue on with the spider man theme then we have some more eighth note triplets leading us up

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building to the end making a big big exciting finish it goes faster uh allegro goes quicker here

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all the way to the end with lots of the it's the is that the beetle juice theme coming back yes

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yeah with the accents going into the very end so this piece is just chock full of rhythms

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learning opportunities style markings funky rithmic entrances yeah it is it is a lot but it's

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so fun and this is one of those pieces that even if you didn't choose to program it for a fall

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concert it might be a great end of year piece as well just because it has so many movie themes

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but we love this we we hope that these three pieces today a little bit more difficult

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um have given you something to think about considering programming for your ensemble coming up

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yeah thanks for joining us on this episode of Band BFFs