1 00:00:00,000 --> 00:00:13,560 Welcome to our podcast, BNBFS, the podcast where we make your music selection less complicated. 2 00:00:13,560 --> 00:00:20,640 We're continuing our winter concert series with three of our more medium to medium difficult 3 00:00:20,640 --> 00:00:22,480 pieces today. 4 00:00:22,480 --> 00:00:28,440 They are entitled Frosty's Caribbean Holiday, arranged by Ralph Ford, Hip Hop All the Way, 5 00:00:28,440 --> 00:00:35,160 also by Ralph Ford, and To All a Good Night, arranged by Michael Storey and Robert W. Smith. 6 00:00:35,160 --> 00:00:39,360 Cheers to starting the conversation. 7 00:00:39,360 --> 00:00:44,360 Frosty's Caribbean Holiday is about a minute and a half, a minute and 40 seconds long. 8 00:00:44,360 --> 00:00:48,680 It is in the key of B flat and 4-4 time throughout. 9 00:00:48,680 --> 00:00:51,360 It has so much cool percussion. 10 00:00:51,360 --> 00:01:00,140 It's got congas and bongos and cabasa and all kinds of Caribbean flavored type percussion 11 00:01:00,140 --> 00:01:02,040 instruments for your band. 12 00:01:02,040 --> 00:01:07,480 This one, all three of these pieces have a little bit more difficult rhythms, a little 13 00:01:07,480 --> 00:01:15,360 bit more range to the pieces, more style, just not as many 2D parts. 14 00:01:15,360 --> 00:01:18,780 So there's all of that to be considered in these pieces. 15 00:01:18,780 --> 00:01:22,200 Frosty's Caribbean Holiday is literally what it sounds like. 16 00:01:22,200 --> 00:01:29,200 It's Frosty the snowman, but with Caribbean flavor to it with that syncopated rhythm. 17 00:01:29,200 --> 00:01:35,080 Really adorable, like have your entire band wear sunglasses and a Hawaiian shirt over 18 00:01:35,080 --> 00:01:40,000 their performance for this piece or just your percussion section even if you wanted to do 19 00:01:40,000 --> 00:01:41,000 that. 20 00:01:41,000 --> 00:01:44,680 But you can really kind of ham up some of the cutesy things in this. 21 00:01:44,680 --> 00:01:53,760 So it has this syncopated rhythm all the way throughout 1 and 4, 1 and 4 and that gets 22 00:01:53,760 --> 00:01:56,060 passed around to many different voices throughout. 23 00:01:56,060 --> 00:02:01,960 So again a little bit more rhythmically challenging throughout, but fun for the students and again 24 00:02:01,960 --> 00:02:06,960 hopefully by now you guys know that we're huge advocates for marking parts. 25 00:02:06,960 --> 00:02:10,960 This is a really good one for helping with rhythms with up and down arrows and you're 26 00:02:10,960 --> 00:02:15,280 going to come in on an and entrance here or you're going to come in on a big beat here, 27 00:02:15,280 --> 00:02:19,160 that sort of thing which really helps the group. 28 00:02:19,160 --> 00:02:23,260 Lots of style in this piece and that makes it sound more Caribbean. 29 00:02:23,260 --> 00:02:29,240 And I like that it's really cool for teaching some unique rhythmic interpretations. 30 00:02:29,240 --> 00:02:33,920 Your students cannot just play Frosty how Frosty goes. 31 00:02:33,920 --> 00:02:37,840 Exactly, you're going to have to hold them rhythmically accountable for what they sing. 32 00:02:37,840 --> 00:02:39,340 And it's very stylistic. 33 00:02:39,340 --> 00:02:46,480 So the first melody in the flute and the trumpet along with clarinet is rest Frosty the snowman 34 00:02:46,480 --> 00:02:51,200 and you like have to do the style exactly how it's written for it to sound the right 35 00:02:51,200 --> 00:02:52,200 way. 36 00:02:52,200 --> 00:02:58,400 So lots of tenudos, staccatos, accents, all kinds of great teaching tools throughout the 37 00:02:58,400 --> 00:03:04,160 Frosty melody in this piece and the lows get to continue with that syncopated rhythm. 38 00:03:04,160 --> 00:03:08,400 Lots of times they have like accidentals written in and then it goes back to the key signature 39 00:03:08,400 --> 00:03:12,600 note so that's a good review for the students as well. 40 00:03:12,600 --> 00:03:16,020 At 17 it has the exact same melody again. 41 00:03:16,020 --> 00:03:21,440 Each time between the big melody sections there's like either a bongo roll or the low 42 00:03:21,440 --> 00:03:26,480 brass might have like a little walking bass line downward but it's got cute little transitions 43 00:03:26,480 --> 00:03:28,080 for sure. 44 00:03:28,080 --> 00:03:34,480 Then we have a very rhythmically difficult section from 20 to 24 and the upper wood winds 45 00:03:34,480 --> 00:03:40,960 with the Frosty the snowman four and one two and four and one two and. 46 00:03:40,960 --> 00:03:46,140 So just getting that rhythm aligned can take some work because as Laura said students are 47 00:03:46,140 --> 00:03:50,480 so used to like just playing the way that they know Frosty the snowman. 48 00:03:50,480 --> 00:03:52,320 And then we have a fun little feature. 49 00:03:52,320 --> 00:03:57,640 So right here at measure 25 now we're all just kind of light and crisp. 50 00:03:57,640 --> 00:04:01,400 This is a woodwind feature with the support of the mallet percussion. 51 00:04:01,400 --> 00:04:05,280 It's kind of conversational between the woodwinds and the brass here. 52 00:04:05,280 --> 00:04:12,240 Really a light and crispy nothing nothing too challenging rhythmically in this section 53 00:04:12,240 --> 00:04:14,480 until you get the fun little sports on. 54 00:04:14,480 --> 00:04:15,480 Yeah. 55 00:04:15,480 --> 00:04:19,520 This is the part where Frosty falls down in the lyrics. 56 00:04:19,520 --> 00:04:24,600 So I don't know all the lyrics by heart unfortunately but done and done done done done and then 57 00:04:24,600 --> 00:04:26,340 it's a sports on the fall. 58 00:04:26,340 --> 00:04:32,760 So the kids love that with again a little bongo sixteenth notes I think or snare but 59 00:04:32,760 --> 00:04:33,760 it's fun. 60 00:04:33,760 --> 00:04:35,960 And then we get into a new part. 61 00:04:35,960 --> 00:04:39,760 They have to still have the melody and the upper woodwinds but then trumpets get this 62 00:04:39,760 --> 00:04:49,600 little new counter melody part to and and for one and and for and to and lots of syncopation 63 00:04:49,600 --> 00:04:50,800 ties. 64 00:04:50,800 --> 00:04:55,160 This is just a great piece for teaching students to be like more rhythmically accurate and 65 00:04:55,160 --> 00:04:59,440 you have to know exactly how your part fits with everybody else's precision is really 66 00:04:59,440 --> 00:05:01,920 important throughout there for sure. 67 00:05:01,920 --> 00:05:08,800 Then at forty one we get a cute little interlude where it sounds like you're on the beach. 68 00:05:08,800 --> 00:05:14,320 So the kids think that part's fun trumpets get a little feature and again we get back 69 00:05:14,320 --> 00:05:18,120 to the frosty melody at forty nine. 70 00:05:18,120 --> 00:05:23,400 This piece does go all the way up to an upper G at the very end and the trumpet one part 71 00:05:23,400 --> 00:05:25,460 and an E in the trumpet two part. 72 00:05:25,460 --> 00:05:30,200 So it is like we mentioned a little bit more challenging in range. 73 00:05:30,200 --> 00:05:34,080 The trombone part goes all the way up to an E flat as well. 74 00:05:34,080 --> 00:05:39,920 So this is definitely a piece you want to be really careful in considering if you if 75 00:05:39,920 --> 00:05:44,680 you don't necessarily have that range in brass and then it ends really cute with one cha 76 00:05:44,680 --> 00:05:45,680 cha cha. 77 00:05:45,680 --> 00:05:47,800 So the kids just love this piece. 78 00:05:47,800 --> 00:05:48,800 The audience loves it. 79 00:05:48,800 --> 00:05:53,560 I've played this piece so many times with all region bands that I've had the honor of 80 00:05:53,560 --> 00:05:57,800 conducting and the students just absolutely love it. 81 00:05:57,800 --> 00:06:00,560 Our next piece is hip hop all the way. 82 00:06:00,560 --> 00:06:04,200 This is also arranged by Rob Ford but you can tell I guess we like him. 83 00:06:04,200 --> 00:06:08,840 We really like the way he arranged his music since we've chosen two of his pieces. 84 00:06:08,840 --> 00:06:10,960 This piece is about two minutes long. 85 00:06:10,960 --> 00:06:16,640 It's in the key of E flat and in four four time throughout it has a drum set part that 86 00:06:16,640 --> 00:06:21,920 I think in order to really get the hip hop vibe you need a drum set player for this one. 87 00:06:21,920 --> 00:06:25,880 This is the best piece that you can play when you go on an elementary tour. 88 00:06:25,880 --> 00:06:30,400 The students lose their mind because it sounds hip hop. 89 00:06:30,400 --> 00:06:32,240 It's fun. 90 00:06:32,240 --> 00:06:36,280 It's got like lots of cool style to it. 91 00:06:36,280 --> 00:06:39,040 I staged the drum set player up front. 92 00:06:39,040 --> 00:06:40,040 Yep definitely. 93 00:06:40,040 --> 00:06:46,760 In fact I let them wear sunglasses and put on like a cool looking hat last year whenever 94 00:06:46,760 --> 00:06:50,400 we played it on our tour and it was such a hit. 95 00:06:50,400 --> 00:06:56,080 So I think this is a great piece to play but it is a little bit more challenging in the 96 00:06:56,080 --> 00:06:58,920 range for each instrument. 97 00:06:58,920 --> 00:07:02,640 Your first trumpet player comes in on an E flat. 98 00:07:02,640 --> 00:07:07,800 But it starts off really fun with the drum set and then three one and then big drum set 99 00:07:07,800 --> 00:07:10,840 four one one and two and three. 100 00:07:10,840 --> 00:07:13,560 So it's very hip hop and the kids think it's fun. 101 00:07:13,560 --> 00:07:20,320 Then it has jingle bells theme and trumpet and flute and upper woodwinds. 102 00:07:20,320 --> 00:07:27,100 But then there's such a cool bass line for your bassoon and your tuba and they go one 103 00:07:27,100 --> 00:07:30,340 three and four and one four one. 104 00:07:30,340 --> 00:07:31,340 So it's just really fun. 105 00:07:31,340 --> 00:07:35,200 It's a fun little like bass line almost like an electric bass. 106 00:07:35,200 --> 00:07:38,880 Below your kids you could even stage them up front too. 107 00:07:38,880 --> 00:07:42,080 That might be kind of cool so you can definitely hear the low people. 108 00:07:42,080 --> 00:07:46,960 But they have this cool bass line part all the way throughout and it's not repetitive. 109 00:07:46,960 --> 00:07:50,200 They actually have to like learn a lot of different things. 110 00:07:50,200 --> 00:07:53,920 It's fun for tuba players if you have strong ones. 111 00:07:53,920 --> 00:08:00,560 Then we get everybody together gets this three and four and one and two and three four one. 112 00:08:00,560 --> 00:08:06,760 So it's just neat because it's got just some cool like chromatic stuff in it. 113 00:08:06,760 --> 00:08:08,160 And it's cute. 114 00:08:08,160 --> 00:08:12,520 It's just jingle bells back and forth trumpets get it again and then but we kind of modify 115 00:08:12,520 --> 00:08:15,160 yeah we kind of modify the rhythm a little bit. 116 00:08:15,160 --> 00:08:19,280 It kind of changes every time and two three four one. 117 00:08:19,280 --> 00:08:24,880 Yeah so it's a little bit more challenging but nothing crazy like it's not fast. 118 00:08:24,880 --> 00:08:26,200 It's just fun and groovy. 119 00:08:26,200 --> 00:08:28,040 Yeah it should be real funky. 120 00:08:28,040 --> 00:08:32,040 Yes yes again lots of cool bass stuff. 121 00:08:32,040 --> 00:08:36,800 Then we've got forte piano into 22 and this is where the lows get to take over with the 122 00:08:36,800 --> 00:08:39,200 actual jingle bells melody. 123 00:08:39,200 --> 00:08:42,400 And it's not even all the lows like I said the bass line part is still going on. 124 00:08:42,400 --> 00:08:44,240 It's the tenor voices. 125 00:08:44,240 --> 00:08:47,840 And then we just get these little punctuated hits in the upper people and this part's actually 126 00:08:47,840 --> 00:08:49,560 pretty tricky for rhythmically counting. 127 00:08:49,560 --> 00:08:54,080 Yes so this would be a good part to go through and mark in what beat everybody's going to 128 00:08:54,080 --> 00:08:55,820 enter on. 129 00:08:55,820 --> 00:08:59,280 This rhythm is super fun in the trumpet part. 130 00:08:59,280 --> 00:09:02,600 It goes two and three and four e one. 131 00:09:02,600 --> 00:09:06,320 So the kids think that that rhythm's really cool. 132 00:09:06,320 --> 00:09:11,640 This is probably not a piece where you could like play it across multiple like bands. 133 00:09:11,640 --> 00:09:18,240 I think it would have to be like a varsity band a high school sub non would be this would 134 00:09:18,240 --> 00:09:20,100 be super fun. 135 00:09:20,100 --> 00:09:25,680 So then we get back into the same melody again in the tenor voices with the same little 136 00:09:25,680 --> 00:09:30,000 interjection then the upper woodwinds take over the melody with trumpets again. 137 00:09:30,000 --> 00:09:35,960 Then we have a transition into concert F and we kind of change parts you know leading 138 00:09:35,960 --> 00:09:41,200 into that where now the tenor voices are doing those little punctuated. 139 00:09:41,200 --> 00:09:45,560 And they go all the way up trombone goes up to E natural. 140 00:09:45,560 --> 00:09:50,600 So it's up high in the trombone part often in this piece because it's very different 141 00:09:50,600 --> 00:09:52,400 from me phony even to a part. 142 00:09:52,400 --> 00:09:58,240 At 41 we have the melody and trumpet and upper woodwinds again still have the bass line it's 143 00:09:58,240 --> 00:10:02,520 getting more and more difficult and more demanding but it's so fun. 144 00:10:02,520 --> 00:10:07,280 I just love the tuba part and the low reed part on this piece. 145 00:10:07,280 --> 00:10:13,840 Then at 49 we have trumpets are going all the way up to a G and with more difficult 146 00:10:13,840 --> 00:10:21,240 rhythms with the four e one again we have the punctuations again in the tenor line and 147 00:10:21,240 --> 00:10:25,120 then the upper woodwinds still are having the melody they're not going up too high it's 148 00:10:25,120 --> 00:10:27,400 really just big brass demands. 149 00:10:27,400 --> 00:10:34,960 The trickiest rhythm in the whole thing happens right here this is at measure 51 where you 150 00:10:34,960 --> 00:10:41,720 get a sixteenth note eighth note sixteenth note a four e in some of those upper woodwinds 151 00:10:41,720 --> 00:10:47,800 that I think is the that's the rhythm that they are least likely to have ever seen before. 152 00:10:47,800 --> 00:10:52,260 And I think that makes this piece even cooler because the kids are getting exposed to lots 153 00:10:52,260 --> 00:10:58,800 of different ways to see sixteenth notes in time for preparation for contest music. 154 00:10:58,800 --> 00:11:02,760 It all ends up with everybody kind of lining up together doing a cool little forte piano 155 00:11:02,760 --> 00:11:08,980 at the end and everybody ends together with a bang so this piece is super super fun a 156 00:11:08,980 --> 00:11:13,080 huge crowd hit yes for sure huge huge huge. 157 00:11:13,080 --> 00:11:19,120 And our last piece is and to all a good night arranged by Michael Storey and Robert W Smith. 158 00:11:19,120 --> 00:11:24,120 This one is about two and a half minutes in length in the key of concert E flat and four 159 00:11:24,120 --> 00:11:29,200 four this piece the thing that I love about like Katie talked about hip hop all the way 160 00:11:29,200 --> 00:11:33,000 being a great piece to do for an elementary tour. 161 00:11:33,000 --> 00:11:37,560 This piece is also a great one for an elementary tour because the whole purpose it's called 162 00:11:37,560 --> 00:11:42,840 a holiday encore for band every instrument section is featured every instrument section 163 00:11:42,840 --> 00:11:49,360 gets an opportunity to have their little eight measure melody and phrase which I think is 164 00:11:49,360 --> 00:11:54,080 great every time I've played this I've had the kids stand up every time their section 165 00:11:54,080 --> 00:11:55,260 is featured. 166 00:11:55,260 --> 00:11:59,380 So if you are doing this on an elementary tour it gives the students in the audience 167 00:11:59,380 --> 00:12:03,140 a chance to hear what each of these small instrument groups sound like by themselves 168 00:12:03,140 --> 00:12:06,200 while still playing in the full ensemble. 169 00:12:06,200 --> 00:12:07,400 That's so fun. 170 00:12:07,400 --> 00:12:14,720 So it starts off at the beginning in a very bright tempo of 120 with just everybody coming 171 00:12:14,720 --> 00:12:18,720 in on the same rhythm little trill on top like Laura said it's kind of like a little 172 00:12:18,720 --> 00:12:24,240 encore so it starts off with the with like a little rhythm at the beginning one and three 173 00:12:24,240 --> 00:12:30,160 and and one and to set it up and then the flutes come in with the first feature and 174 00:12:30,160 --> 00:12:34,480 they're going to play deck the halls here at the very beginning for their feature. 175 00:12:34,480 --> 00:12:39,520 It's written well where it's just them with like a little bit of a rhythm underneath like 176 00:12:39,520 --> 00:12:45,600 clarinet course it's it's not in percussion but it's not like they're having a fight for 177 00:12:45,600 --> 00:12:47,540 the spotlight or anything like that. 178 00:12:47,540 --> 00:12:51,820 They get featured everybody else that kind of things out so that works out very very 179 00:12:51,820 --> 00:12:54,020 well for this piece really cute. 180 00:12:54,020 --> 00:12:58,640 They get to do some really fun little rhythms here one and two and three and four and the 181 00:12:58,640 --> 00:13:01,580 technique throughout most of this does lay pretty easy. 182 00:13:01,580 --> 00:13:04,800 It is tricky you'll see when we get to the clarinet feature that's where the technique 183 00:13:04,800 --> 00:13:10,040 is the trickiest but for most of these instruments even the technique that they have is is pretty 184 00:13:10,040 --> 00:13:15,700 simplistic when we get to 13 it's now the double reed feature so even though the oboes 185 00:13:15,700 --> 00:13:22,320 are the ones with the melody the bassoons are doing the fun little Irish beyond beyond 186 00:13:22,320 --> 00:13:27,340 with the grace notes with them on the house top which is super fun. 187 00:13:27,340 --> 00:13:32,360 So the oboes and you can have optional saxophone like if you don't have double reeds in your 188 00:13:32,360 --> 00:13:38,880 program you can just do a saxophone feature here instead and so they get to play and again 189 00:13:38,880 --> 00:13:45,760 it's very ornamentated like the flute one was lots of styles to Kato's accents just 190 00:13:45,760 --> 00:13:51,240 a ton of fun stuff to make it sound even cooler but your bassoons get to interact with the 191 00:13:51,240 --> 00:13:56,100 oboes here as well so it's kind of a feature for them in the same regard. 192 00:13:56,100 --> 00:14:01,660 And the whole band comes in at 24 with like a little transitional transition to the next 193 00:14:01,660 --> 00:14:07,880 section which is our clarinet section so you can see in this one because of all of the 194 00:14:07,880 --> 00:14:14,000 one into two and three and four again and those are big skips that is some challenging 195 00:14:14,000 --> 00:14:22,040 technique it's ACA and then GCG and if you needed to modify that at all you can take 196 00:14:22,040 --> 00:14:26,600 out the second sixteenth note and just have them play one into two and three and four 197 00:14:26,600 --> 00:14:31,560 and one and two or you know one and two and three and four and you can take that out if 198 00:14:31,560 --> 00:14:35,160 you need to modify that for any individual players and then the kids that can handle 199 00:14:35,160 --> 00:14:37,620 the technique it's great practice for them. 200 00:14:37,620 --> 00:14:42,080 And this one's supposed to have kind of a polka feel to it so it's got a different 201 00:14:42,080 --> 00:14:49,040 rhythm underneath with like the horn section along with the clarinets here and then at 202 00:14:49,040 --> 00:14:55,760 36 you have the saxophone feature so now it's Alto, tenor and berry they get to have their 203 00:14:55,760 --> 00:15:00,000 own part together because you know they don't need anybody else they have all three parts. 204 00:15:00,000 --> 00:15:02,120 That's right saxophone choir we don't need to. 205 00:15:02,120 --> 00:15:07,980 And then the clarinets join in with the saxophones and they kind of finish out their little melody 206 00:15:07,980 --> 00:15:14,000 part with a lot of ornamentation again not ornamentation but just the rhythm sixteenth 207 00:15:14,000 --> 00:15:16,240 notes making it sound fancy. 208 00:15:16,240 --> 00:15:20,040 And then we have the whole band doing one two three four one and two and three four 209 00:15:20,040 --> 00:15:23,860 again going into forty six with a march. 210 00:15:23,860 --> 00:15:30,560 So here this is like a full band but really the trumpets are kind of leading this section 211 00:15:30,560 --> 00:15:33,280 here even though full band is playing. 212 00:15:33,280 --> 00:15:37,000 We wish you a merry Christmas in the trumpet melody. 213 00:15:37,000 --> 00:15:42,120 So they even though this is the first time that we're like 2d when a section is being 214 00:15:42,120 --> 00:15:46,960 featured I still had my trumpets stand when they did this. 215 00:15:46,960 --> 00:15:52,640 Okay cool and then there is a trumpet feature at 54 so if you didn't want to have them all 216 00:15:52,640 --> 00:15:57,240 stand up during the during the 2d time you can wait and then they're going to get to 217 00:15:57,240 --> 00:16:04,720 play on the first time going into three four time and they're going to get their feature 218 00:16:04,720 --> 00:16:08,240 on I can't tell what song this is. 219 00:16:08,240 --> 00:16:11,440 Wish you a Merry Christmas. 220 00:16:11,440 --> 00:16:12,960 Yes we wish you a Merry Christmas. 221 00:16:12,960 --> 00:16:18,060 So it's the trumpets and then and both trumpet parts are equally important here so you want 222 00:16:18,060 --> 00:16:22,640 to make sure strong players on both with a little woodwinds here and there underneath 223 00:16:22,640 --> 00:16:25,200 them but again we've thinned it back out again. 224 00:16:25,200 --> 00:16:30,680 Then the horns are going to come in pickups into 62 and get a chance to kind of have the 225 00:16:30,680 --> 00:16:34,040 last part of that melody going into 66. 226 00:16:34,040 --> 00:16:40,360 Now I really like that this is cued in saxophone so if you have like your horns might be more 227 00:16:40,360 --> 00:16:46,440 confident all playing the top horn part so that we're not having to worry about split 228 00:16:46,440 --> 00:16:50,920 harmonies and then you can have your altos play the harmony part and if you've got a 229 00:16:50,920 --> 00:16:55,120 strong horn section that splitting those parts is no big deal great and it can truly just 230 00:16:55,120 --> 00:17:00,280 be a horn feature but I like the way that you're given the option of helping the horns 231 00:17:00,280 --> 00:17:02,120 out with the saxophones. 232 00:17:02,120 --> 00:17:06,120 66 the tubas and the low reeds get a feature together. 233 00:17:06,120 --> 00:17:08,840 By themselves they're not lumped in with the trombones. 234 00:17:08,840 --> 00:17:14,520 I know that's so fun and they're going to keep going on the we wish you a Merry Christmas 235 00:17:14,520 --> 00:17:22,040 and then the trombone euphoniums come in and then they get to stand up and then they join 236 00:17:22,040 --> 00:17:29,920 in and have their own feature on the same March thing that the trumpets had before and 237 00:17:29,920 --> 00:17:34,120 the whole band is playing again but now it's just trombone and euphonium being featured 238 00:17:34,120 --> 00:17:38,200 and they're going to be standing the whole time and I would let trombones go crazy here. 239 00:17:38,200 --> 00:17:39,400 We let them wail. 240 00:17:39,400 --> 00:17:45,840 Yep and lots of accents but again nothing crazy rhythmically lots of repetitive rhythms 241 00:17:45,840 --> 00:17:49,400 throughout all of the different accompaniment parts. 242 00:17:49,400 --> 00:17:54,160 You do have a little spoken part at the end that does if you have your students do this 243 00:17:54,160 --> 00:18:00,360 which I did every time I've played this we say the happy holidays to all but it's very 244 00:18:00,360 --> 00:18:06,200 rhythmic so you have to make sure that you practice and get that rhythm in line or if 245 00:18:06,200 --> 00:18:10,440 you wanted to leave that part out completely you certainly could. 246 00:18:10,440 --> 00:18:15,320 Something else that I've done with this piece that I like and I 100% as I know all good 247 00:18:15,320 --> 00:18:20,000 teachers steal from everybody I totally stole it from Robert Herring's when I heard this 248 00:18:20,000 --> 00:18:25,480 piece for the first time it was when his band was playing at Midwest several years ago and 249 00:18:25,480 --> 00:18:32,620 he had every instrument section wear a different type of hat and it was the same hat for everyone 250 00:18:32,620 --> 00:18:35,480 in the instrument section but everyone wore something different. 251 00:18:35,480 --> 00:18:39,880 Well I did the same thing with my band and I let the sections choose what type of cute 252 00:18:39,880 --> 00:18:45,720 little hat that they wanted so you know the flutes had a little elf hat and the clarinets 253 00:18:45,720 --> 00:18:51,440 had a Rudolph nose and the tubas had some crazy long stocking hat that went down to their 254 00:18:51,440 --> 00:18:55,040 feet but everyone in the section had their same hat. 255 00:18:55,040 --> 00:18:59,760 It was kind of a cute way for them to have some ownership as a section in their own part 256 00:18:59,760 --> 00:19:03,320 and I loved getting to steal that idea from Robert. 257 00:19:03,320 --> 00:19:04,360 Super cute. 258 00:19:04,360 --> 00:19:10,360 So that is just another fun opportunity for you to let everybody shine in your band on 259 00:19:10,360 --> 00:19:11,780 your winter concert. 260 00:19:11,780 --> 00:19:17,800 So we hope you were able to find something for your band and we hope you enjoyed it. 261 00:19:17,800 --> 00:19:34,400 Thank you so much for joining us on another episode of Band BFFs.