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

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On today's episode, we're going to be continuing on in our winter concert series with our next

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installment of pieces that we consider to be medium easy to medium for your program.

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Those pieces are Bell Carol Rock by Ryan Fraley, Santa the Barbarian by Randall Standridge,

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Santa on Parade by Jean Milford, and Secret Agent Sugar Plum arranged by Scott Watson.

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Cheers to starting the conversation.

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Okay, our very first piece, Bell Carol Rock.

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This is about a minute 45 in length.

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It's in the key of concert B flat.

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I absolutely love this piece and your kids will love this piece.

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It has an optional drum set part which is really cool.

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It is a blend of 25 or 6 to 4, the Chicago tune, and the Carol of the Bells.

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So it kind of meshes.

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It's like a mashup of those two tunes and it's really, really, really cool.

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The kids love it.

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So obviously the bass line is really groovy because it's that 25 or 6 to 4 groove and

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then the upper voices get the melody that everybody recognizes.

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Lots of percussion equipment in this and all of the percussion equipment is important to

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really give it that rock feel.

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So it starts out just with percussion at the beginning, a lot like she said with lots of

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drum set and the bells get the beginning melody because it's Carol of the Bells.

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Then the upper people come in with the same melody with the bass line coming in underneath

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it.

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So it's kind of cool because of course there's a little bit of chromaticism here and there

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in the bass line.

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So the kids are getting a little bit of an introduction to that but the rhythms aren't

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overly difficult at the very beginning, just quarters and eighth notes with some half notes

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of course.

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We start to get some accents as we get a little bit further into it with the Carol of the

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Bells melody.

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Just giving it a little bit of extra oomph.

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And then at 13 we take over with a new section that's a little bit more thinned out.

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So I love this, the upper voices, this is kind of a different melody here.

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It's not really either one of the melodies that they have started at the beginning with

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the Carol of the Bells or the 25 or 64, it's a little bit different here.

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Softer, way more thinned out but you still have kind of that thumping tuba line, boom,

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boom, boom, which continues on.

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Then we build in, add more of the band coming in, adding everybody to come in.

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You have some tied syncopated rhythms here.

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Yeah.

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But they're...

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And this is the Carol of the Bells melody again but it's syncopated.

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One and four and one and four and one.

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So that's pretty cool because it's just giving it a different flavor to our favorite Carol

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of the Bells.

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The bass line at this part is different than the tenor line and the bass line has kind

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of some funky, I mean it is, think like a rock bass player.

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It is very much a rock bass line.

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So the rhythms look a little more complicated than they are, making sure that your students

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just can differentiate between the ties and the slurs.

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Yep.

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That continues on for quite a while.

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Then we get to 25.

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Some cool hi-hat stuff, open and closed hi-hat.

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We get a cool little feature in mallet percussion as well as clarinet, flute and oboe.

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They get to have the melody and then the bass line kind of gets to come in underneath them

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but it's not anything that's ridiculous.

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Just a lot of ties in the bass line here so you do need to make sure, especially if you

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do mark your parts like Laura and I love to do, you would probably want to write one,

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two, three, four, one, two so that way the kids are coming off the tie correctly and

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then it's got an eighth note, quarter note, eighth note, syncopated rhythm.

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That's just a little bit more involved and complicated than a normal, I guess, winter

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concert piece would be at this point in the year.

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And it only happens in this one little section.

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Then we recap and we go back to the same theme that we had at the beginning of the piece.

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Now at measure 33 we have kind of this little waterfall effect here, one, two, and three,

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four, and one, two, and three and it kind of goes through the whole band.

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This I will tell you I think is the most challenging part of the piece to put together because

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it's just harmonically it's a little bit different, sounds a little different to their ear and

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then it's a counting game and making sure everybody understands where to enter.

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So this part can sometimes be a little challenging to put together but again once you've got

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it it's a breeze.

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Yep, does it twice in a row.

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You can teach forte pianos getting out of the way when you don't have that waterfall

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effect.

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So it's a good teaching tool as well.

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Then everybody comes back in again with the same thing that we had at the very beginning

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at 40 and it just finishes out literally with another like recap of every single section

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again to the very end.

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It has a cool little baseline ending and then a little fermata with a cool drum set fill

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at the end if you're having a drum set player play which if you have a kiddo that can do

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it it's a cool effect to have.

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I also like using this because a lot of our students don't know about Chicago and it's

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a great way to expose them to a really, really cool band too so we always make sure to play

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them the original 25 or 64 as well.

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So fun.

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Our next piece is Santa the Barbarian and this one is a really fun fan favorite of all

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the students and audience members.

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So it's about three minutes in length.

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It's the longest of all of the medium level pieces that we're talking about today.

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It's in the key of E flat at the beginning and then it changes to the key of F so it

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does have a key change.

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It is 4-4 throughout a little bit more rangy in the upper voices in this but still very

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playable and like typical standard lots of percussion.

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But super fun because it's got just all kinds of percussion but the kids really enjoy playing

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it.

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We play this piece in our band, my band, every single winter when we go to the elementary

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schools and on our tour for some different festivals during that time of year just because

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it's really fun and easy to put together even differing levels of band can all play most

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of this piece.

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So it starts off slow and mysterious at the beginning with low people and then it has

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a little like jingle bells part but it's in minor mode so it's just kind of like you know

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mysterious.

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It is a narration part at the beginning and I think at the end of this piece I have never

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played with the narration on top of it but you absolutely can.

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It's fun and then there's a ritardando and a quick change to a little bit of a quicker

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tempo twice as fast.

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It's got some staccato parts and it builds up into the first little melody part you know

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in the trumpet section one two and three four one two three.

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It's up on the house top but it's minor mode so it's really fun because it sounds dark

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and of course I don't know why but kids love all music that sounds dark.

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So it's super fun.

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And then the low brass.

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I like some of the stylistic stuff that happens in the low brass here.

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And they get to play staccatos and accents and really bring out different like effects.

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There's first and second endings too so it's a great teaching tool for just teaching students

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about that if you haven't had a chance to do that yet.

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There is a really cool and important marimba part where the band plays it's like the ho

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ho ho and then the marimba gets a little solo and then the band who wouldn't know and then

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marimba again.

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So you have to have a marimba player or a bells player or something of that sort with

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this piece.

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So just kind of keep that in mind if you don't have a ton of percussion in your group.

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Then we have more accents.

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Same thing back and forth.

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Then we have at thirty seven a new section with lots of percussion a big timpani feature

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which is really fun.

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The kids get to chant which is really fun.

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And of course you know when you're playing this for a younger audience they think it's

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really cool.

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You know yeah I have it up because like our other friends that are playing at the same

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time hopefully you guys understand what I mean.

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They're not playing dark like fun exciting music and so it's fun for us.

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Then it moves on to the key of F concert and then it's more chanting and then the low brass

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get the melody which they love this part and again it's up on the house top but minor mode

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and then the trumpet gets this little like minor second thing that starts piano and gets

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to mezzo forte against each other.

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It kind of sounds like a warning which is really fun.

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It trades off with percussion there which is cool.

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And no crazy yes I forgot about that with the anvil and stuff it's so fun.

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There's no crazy rhythms though.

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It's just eighth notes quarter notes you just and half notes like all the way through.

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So students just have to have a limited range of rhythmic knowledge I guess.

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Then it's a kind of a recap of the very beginning more chanting back and forth with percussion

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and that's the end of the piece.

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So it's just a fun and I think easy piece to put together and as I mentioned we put

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it together with all of our bands at Moss which is cool because it's it's allowing

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everybody to get a chance to play the same piece.

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It's attainable by multiple levels.

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Absolutely.

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Our next piece is Santa on Parade by Jean Milford.

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It's about a minute and 45 seconds long.

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It's in 2-4.

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It's in the key of concert B flat and I cannot tell you how much I love this piece.

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I think it is so cute.

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Adorable.

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It is so cute.

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So it takes famous marches and puts mixes some holiday tunes some recognizable carols

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with famous marches.

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So some things that you need to consider for this one.

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It has a lot of stylistic and rhythmic demands on your ensemble.

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One of the things I love about using this piece is it is a great way to introduce march

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style before contest season.

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I have played this piece with some of our non-varsity bands a handful of times and I

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think it's also really cool if the march that you play at UIL can be one of the marches

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that is coded in here.

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That is cute.

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I think that is a good idea.

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I have played that a couple of times which the kids really love because they recognize

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the melody.

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I remember that.

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They have a connection there.

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Pretty traditional percussion on this as far as a march goes.

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It's like traditional march percussion in this and then like I said range for the first

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players is a little bit higher.

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For sure.

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So it starts off with melody in the upper woodwinds and trumpet.

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As she mentioned it goes up to an E in the first trumpet part right away.

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So you definitely need to make sure that the kids can have that range possible for themselves.

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Some dotted eight sixteenth rhythms right away and coming in on the and, and two, and,

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and two, and.

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So making sure that students feel comfortable with eighth rest rhythms.

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So that's good just for teaching them that sort of stuff coming into the school year.

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When you get to measure nine we get to our first little carol statement.

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One and two and one and two.

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Jolly old St. Nicholas here.

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I love that you get some of these little pops of flute and trumpet and a two.

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It's a little more common.

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Yeah and a two and one and two and.

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So all of these little things but it is a little bit more rhythmically demanding and

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some of those entrances on the ands or the tays that I know can be kind of challenging

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sometimes for younger players.

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Right.

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After that section it changes key signature to concert E flat and now we have full 2D

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group together again like a march style with dotted quarter notes with eighth notes a little

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chromaticism and then the low lows get the melody followed again by the upper woodwinds

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having some more and a two and one and a two rhythms back and forth.

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So it's just very fanfare pops by the trumpets which are cute.

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That goes on for quite a while and then at 41 we're 2D again and we get a chance to just

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play like matched up style matched up rhythms which is really nice and then we have a little

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cool slurry section here.

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So leading into our what I think is our little final melody if I remember correctly.

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So starting at measure 49 we have all of these single eighth notes with marcato accents on

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them looks harder than it is but just aligning and making sure that the style alignment is

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good there and then your low brass get to take over the melody here to one a two to

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one a two because of the weird ties across the bar lines.

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This I think is actually the most challenging section.

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Yeah for the low voices to put together to make sure that they just count through those

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ties really carefully.

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And then that same melody goes into the trumpets and the alto saxes actually and so that continues

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on and then we get another little recap.

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So I lied it's not the last melody.

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That's okay.

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Then we go back to the little melody from the beginning but then with the little fanfare

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flourishes and the upper woodwinds and it's getting a little bit busier at towards the

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end so you'll just have to work on making sure that you identify you know who's going

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to have the melody and where and it kind of has the same thing again but this time the

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trumpets get the bum bum bum bum bum again but this time with upper woodwinds and then

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at 83 we get another little slurry section.

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Alright so this is our final little closing out the piece here.

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I also think it's fun it's again it's written really well.

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I think it's fun to let your kids go explore what marchers are quoted in this.

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It's a great way to get them like out there and listening to some really famous marches

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and seeing if they can find which ones which ones are quoted.

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We did that with one of the groups that we played this with.

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Just an adorable piece lots of style demands and some rhythmic demands in this one but

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it's a great teaching tool before you teach your march during contest season so I love

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this one.

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And our last piece is Secret Agent Sugar Plum arranged by Scott Watson.

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Another absolutely adorable piece.

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This one is about two minutes and 20 seconds long it's in 4-4 and in the key of E flat

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I think this one it does not change keys.

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I thought it changed keys I apologize.

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But this is a it is meant to sound just like the title indicates it is Dance of the Sugar

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Plum Fairies but it has like this almost oh gosh what is it?

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Mission Impossible type feel.

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Yeah what is the 007 type of James Bond.

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Thank you.

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Or Mission Impossible.

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Whatever whatever.

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But this one it is very very cute.

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So it starts off with like that like literally the James Bond theme.

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It's got some style markings but it's not like insane like some accents and staccatos

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here and there.

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The rhythms are a little bit easier on this piece.

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But some of them look complicated like you can see right there where we have the single

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eighth notes followed by the eighth rest.

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I mean you know kids are going to see a single eighth note and they're going to want to play

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it on an upbeat.

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Right.

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So that's where pre-marking those parts and maybe putting down arrows on all of those

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rhythms to just ensure that they understand these are all downbeat notes.

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Yep.

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At seven the upper people come in with the Sugar Plum Fairy melody.

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So lots of accidentals.

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It's good to just teach them about full value staccato notes and not making them too short.

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So again a little bit of a teaching tool there.

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Some alternate fingerings in this that like I would go through those upper woodwind parts

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and make sure that you know like when are they playing thumb B flat.

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When are they not.

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When do they need to move on the flutes.

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If you need any alternate fingerings in the clarinets because it does cross the break.

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Yep.

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And then there's like a little fun ratchet part that's supposed to make it I guess sound

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like the secret agent.

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And then every once in a while in this piece you get the four E and a one part that comes

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in.

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And the students will look at that and go oh I get some sixteenth notes.

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And it lays pretty easy.

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It happens several times.

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So once they kind of get it and they you know get it under their fingers it's not it should

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not be intimidating.

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The upper woodwinds again have the melody quite often in the piece and then every once

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in a while trumpet may join in with them.

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And then at 27 we have a new section with some slurs added in.

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So it's been accents and staccatos till now.

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And lots of accidentals throughout this one of course.

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So again you know I can't stress enough I think the importance of kind of pre marking

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this music for them.

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You do get a little more complicated sixteenth note rhythms with some eighth note and two

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sixteenths.

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But it happens across the ensemble.

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So it's good to teach those as a full ensemble and and like you can count them together clap

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them together articulate them together.

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Nothing too difficult but again and it's all on one note or most of it is on one note.

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The thing I like about that obviously that makes it a little bit easier.

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It basically just becomes an articulation exercise at that point.

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But I like that kids see it and go oh I get to play something a little harder.

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Then we go back to the same like James Bond melody from the beginning with the upper woodwinds

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again having the sugar plum fairy.

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Then we get a waterfall effect towards the end at 56 starting off with the low people

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and kind of the middle voices and then the upper people join in with some accents.

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So another good teaching tool there.

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And then we have the exact same thing again.

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So it's extremely repetitive but fun because they recognize both sugar plum fairy and the

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double on.

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Yes theme for sure all the way throughout.

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So we hope that you have gotten some good ideas for some medium to medium easy pieces

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for your winter concert.

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Thank you so much for joining us on this episode of Banned BFFs.