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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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On today's episode, we're going to be discussing Big Sky Round-Up by Robert Sheldon.

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Cheers to starting the conversation!

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Okay, this piece is a fun, as the title kind of indicates, a western-type theme.

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It's very playable but has some challenging elements for a younger band.

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It's a minute and a half long.

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It's in 4-4 throughout.

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It starts in the key of concert E-flat and moves to the key of concert F.

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Your trumpets and clarinets need to be pretty solid players on this.

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The first trumpet part ends up going up to a high E.

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After the key change, clarinet goes up to a high F.

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And the first and second trumpet parts are often pretty independent of each other.

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You definitely want to make sure you've got some strong trumpets for this.

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You also need a good snare drummer for this because it's a pretty active snare drum part.

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As far as percussion, you can get away with 4 players.

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Really even, you could probably make it work with 3 and modifying some of the parts.

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You do not need a lot of percussion for this.

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Great piece, easy to do.

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The bass line on this, the tuba, the bari and bass clarinet, those lines are independent

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from the tenor line.

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You definitely want to make sure that you have a strong tuba and low reed section in

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this because that part does not double trombone-nufonium tenor.

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Yep.

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So here at the very beginning, we're playing in key of E-flat.

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That's pretty easy for most students.

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It starts out with upper woodwinds and clarinets haven't gone over the break yet.

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And the trumpets, it is up high like we mentioned with first trumpets.

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So you may want to only program this piece if you have a more stacked trumpet section

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in numbers or perhaps you could just do one student on first trumpet and a few more on

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second trumpet.

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You'd kind of have to play around with it, but tuning will become an issue for first

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trumpet as they get more quote unquote tired or later into the piece.

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Anyway, back to what I was saying.

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So we have these, this starts out with a really big accented spirited part at the beginning

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with the bells part.

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Yeah.

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And then the low, the tenor voices respond to it kind of like in an echo and we're all

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having accents here.

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And so we're just trying to make it sound like a very exciting Western beginning.

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Whenever you do have slurs in the part, you want to bring that out more and keep it really

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long and connected because they don't happen a ton in the piece.

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Now you're going to see in this a lot of ties across the bar to eighth notes.

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Those are simply written releases.

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Right.

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And we're just being very clear with the students about we're not trying to hold it

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for half a beat.

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Right.

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Yeah.

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In fact, Laura and I, whenever we mark on parts, we will like cross out the eighth note

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for instance in measure two.

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I would cross out the eighth note and write off on one or minus one, whatever works for

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you.

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That way the kids know that their sound stops on beat one.

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Continuing on into four, as I mentioned, there are some slurs, but not a ton and it's

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really there for the style.

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So whenever the clarinet saxes, kind of the reed in and middle parts like horn, when we

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have this little part right here, you want to keep the sound long.

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Ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta,

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and it has that accent at the beginning of measure five.

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This theme comes back over and over and over throughout the piece.

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So you want to work on that a lot with the kids, making sure that they really get the

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articulation and they add in the accent for the style.

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And then the, you know, as Laura just mentioned, trumpet flute, we have a nice hard release

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along with euphonia bassoon on beat three.

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And then we have a day crescendo in seven as we're going into eight with the trumpet

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melody.

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The woodblock comes in in measure five and it's really, really important.

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So you cannot skimp on the accessories part on this piece.

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So if you don't have very many percussionists, I would say do snare and the woodblock crash

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cymbals accessories part, because those are really important.

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If something had to go, the bells would be, would be fine.

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Yeah.

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Um, so at measure eight, the trumpets have the melody, but it's deceiving because it's

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really just the first trumpet with the melody.

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Now second trumpet starts with them, but then they split off into their own part often.

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So it's really critical again to make sure you find the right kids to be on first trumpet

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here as they are the only ones with the melody.

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And that means the rest of the band has to really come down in volume.

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So I would pre-mark their parts to say piano and like a race park, except maybe the baseline,

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I think tube apart can come out here and help just really beef up that sound.

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I think the most difficult rhythm in this piece is just dotted quarter notes and then

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the and and three four.

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Yeah.

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But as long as you teach that with a rhythm sheet or just have everybody in the band clapping

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count it.

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So they feel that that's really the toughest thing other than the active snare drum part.

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That's a classic example of something that I would write out as a melody study for my

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whole band.

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So I would write out the one, two, three, four and and three, four and do that a couple

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of times and have the entire band learn that part.

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You can most of them have it that they do at some point they will.

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And so it's a great way to make sure that they're moving together and that stylistically

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they're matching and everybody gets to play that, you know, kind of a more active part.

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Yep.

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So into eleven you've got first trumpet chilling on an upper C so really be sure that the pitch

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is there and they really shouldn't be breathing as they go into twelve and then they're going

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to be up higher on D.

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So just making sure that your first trumpets have a lot of air for that so that they're

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not running out and going flat as they're holding those upper pitches is important.

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Then we have that fanfare part again with the accents.

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So we just ended like kind of the smooth calmer part and now we're back to the accented style

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at twelve with crash cymbals as well.

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Then we have basically the same thing as the beginning with another hard cut off on three

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each time here when the horn and euphonium have the like it measure fifteen one, two,

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three.

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I teach the kids to make that last note just a little bit long and not to clip it too short

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not go one, two, three because then it just kind of sounds like like you know like a closed

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off release instead of an open throat release.

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So just it can have a little bit of space to it.

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Then the pickups going into sixteen are for flute clarinet nobo.

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And this part right here happens this is like a different idea.

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This is just woodwind melody.

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So the brass are taking right even the tube apart.

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We don't even have a bass a bass line here.

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So this is kind of a different orla reeds.

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Yeah, this is a totally new idea.

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You want to make sure that your woodwind choir that flute oboe alto clarinet clarinet part

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sounds really, really nice together and is balanced appropriately.

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We have the first clarinet's going up to a high F here and that can get really screechy

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if your students aren't tonally making the best sound.

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So I would when I've played this before I will have one clarinet for sure that part

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of there.

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That's we both already said we both did that in the past.

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That's right.

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The one that makes the best sound up there.

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It doesn't make that be your sectional like audition before you even start the exact.

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Exactly.

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This one measure to see who sounds best.

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So it does not do not feel like you need to have your entire section or entire first

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clarinet section on that part.

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I would just put one and take everybody else either down an octave or put them on the second

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clear clarinet part just for those handful of measures where that happens.

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Speaking of I would do the same because the flute nobo part is like written on the same

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like part.

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I would make sure that the oboes if possible if they can't make a good sound up above the

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staff here I would take that part down an octave too.

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Definitely.

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Because that's pretty high for younger oboes.

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Yeah it is.

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And in that first measure in 16 when it's just the flute obo clarinet with that part

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you don't even have the alto to balance down to like you do in measure 17.

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So I would beef up the second clarinet part take the oboes down and octave but experiment

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with that to make it work for your ensemble.

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The brass come back in, trumpets come back in kind of echoing that same idea again at

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measure 18.

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We have a couple of accidentals in here so again that is where marking the parts before

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you put them in the hands of the kids is really really beneficial to make sure that we get

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all of those accidentals that fun little syncopated and three in the tenor part that you have

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here baseline is really important.

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This whole section right here just kind of goes back and forth between the woodwinds

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and brass with different ideas.

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And notice it's not accented so now we're back to the smoother more until you get the

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little fun syncopated part.

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Yeah the syncopated part.

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Like just the little interception of that.

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You want to make sure on snare because the part is not as active right here that the

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roll quality for your snare drummer is really really good because that can be something that

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becomes a distraction here if you can hear their hands in their roll.

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Again we go back and again at measure 20 and 21 we repeat what we already had so this is

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kind of a recap only now we've added the bells in.

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The bells are really just like a harmonic foundation for what's happening in the upper

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woodwinds.

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If you don't have a bell player here it's not the end of the world.

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It's perfectly fine.

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At 22 we go back to trumpets coming in with this kind of echoing part but now the upper

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woodwinds have the accented style with them so that's something I would make sure you

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spend some time making sure that we're matching the style of those accented quarter notes and

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not letting the half notes cover everybody up.

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At 23 we start to prepare ourselves for the key change that's coming up so now we see

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this little rhythm that we had back at the beginning again more ties being sure that

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you've marked those releases in your students part the woodblock part is back and so again

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it's really important for pulse and to give that whole western feel as well and then we've

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made it to the key change.

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And the key change is really important to mark your parts because you want to make sure

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that you know now we're in a new key so go back through and find like those places where

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they might miss pitches especially like trumpets they might have they're playing F natural

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before now they're playing F sharp so I would go through and mark it in horns you can see

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they wrote like a courtesy accidental here at 25 but I would go through and mark in a

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few more just to ensure that the students really understand that key change.

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I have heard this piece played before when I've been adjudicating where kids do miss

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the key change here and that doesn't mean that they didn't spend a lot of time on it

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but maybe just their brain didn't think about it on that day so I just hate to hear kids

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miss notes here and then notice that it's going to day crescendo as we're going in and

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now it's like a completely different thing at 27 watch the a naturals in the trombone

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part making sure that those are in tune and quiet.

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Because this is can have the tendency as most of the band does not have the melody to kind

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of take over the trumpet part we're back to the trumpets having the melody alone again

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and first trumpet having the melody alone make sure you mark that B natural for them

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so they don't miss it and then we have a little counter melody for flute oboe clarinet and

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again we're up kind of high especially flutes on a C and oboe on a C those are just not

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great notes and usually out of tune so before when I've played this piece I've made this

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be a solo so as a flute solo I didn't even have an oboe play it and then I had to clarinet

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one play and one clarinet one and one clarinet two you can do whatever you'd like to do but

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it's not the melody so if you want to make it cut it down in numbers and make it be a

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little solo solely that's totally cool but whatever works for your group just be aware

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that that's not going to take over the melody and you still need to be able to hear the

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trumpet one part particularly all the way throughout this whole bridge section is really

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nice but balance can be an issue for just experimenting with your ensemble and making

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the numbers work for your group as you go from 29 sorry 27 to 28 notice that that's

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all slurred and flutin clarinet and oboe and then at 29 it changes articulation to tongue

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in 30 as we're crescendoing and doing accents in the low person part going into 31 with

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the style change again so it's kind of like quickly morphing as you're going from 27

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to 31 then we're back to the same style as the beginning just in a different key and

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up much higher on the first trumpet part so again tuning is important kicking out on regular

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D for trumpet two part is super important as well this this is kind of like a tricky

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part to be in tune first first clarinets above the break second clarinet is on throat tones

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so do whatever you need to do to just make it sharp yeah trumpets are flat yeah second

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trumpet do whatever you can do to be to make this sound you know cohesive big crash cymbal

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moment and then we have the response from the low people mid-people part tenor tenor

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part again at 33 you'll see like alto sax has a and b against each other anytime mr.

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Sheldon added in those parts clarinets had it back at 31 try to bring that out just a

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little bit it's just a cool little dissonance that we want to make sure has its little flavor

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in the piece and then at 34 again cutting off all together but not cutting too short

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on the horn part just like before we also have a crash cymbal solo on beat four which

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is really fun and then at measure 37 this is a complete recap of what we had 35 I'm

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sorry at 35 this is a complete recap of what we had before so again all of the same concepts

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that we've talked about the cross tuning between the upper woodwinds and the trumpets being

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mindful of that and you've got the bells playing this as well that this more of the group has

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the eighth notes moving together so making sure that the style is in agreement with everybody

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and then in measure 37 we have this really cool effect where some of the groups are playing

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half notes on one and three and then others others are playing quarter half quarter so

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the effect should be one two three four we should hear those strong entrances on every

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beat so that would be something you want to spend some time on maybe having your students

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bop this part so that it's very clear and we work to match volume on all of those so

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that that's really effective then same kind of idea at 38 but with the big crescendo we're

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leading into the grand finale here so a crescendo with a really good sound low voices and middle

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voices playing the one two and three and upper voices echoing and the last couple of measures

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where we have those dotted half notes I would treat that dotted half note like a forte piano

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note have everybody play da so that we get out of the way of the two three four one the

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lower voices that are coming in we want to hear that moving part last note we always

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want to think tone don't clip that last note too short but notice in the percussion the

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crash cymbal should be choked at the end so we should dampen bass drum choke the crash

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cymbal and then make sure that the wind players are really resonant on that last one I've

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played this piece before measure 40 gave my trumpets a hard time because it was weird

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for them to be on a C and a D against each other and it took a lot of time for them to

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be comfortable with it and sometimes it would be really out of tune because it was almost

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like they were hearing the dissonance and going that doesn't sound right so they're

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trying to change it so just be sure that you're really listening to all the correct pitches

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here at the end you have a G flat and trombone so there's a lot of like accidentals here

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and it's just kind of tricky so I would do like one note at a time from 40 to 41 and

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making sure that each one is correct in tune all the brass kids are on the right partial

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all those different things I just remember that being kind of an issue last time we

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played this piece but we love this and anything by Robert Sheldon is is beautiful sounding

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always well written the students enjoy playing it it's a short piece but you get a lot of

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bang for your buck yeah for sure and good teaching opportunities absolutely we hope

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that you will consider programming Big Sky Round-Up in the future and thank you so much

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for joining us on this episode of Band BFFs.