1 00:00:00,000 --> 00:00:14,120 Welcome to our podcast, Band BFFs, the podcast where we make your music selection less complicated. 2 00:00:14,120 --> 00:00:20,380 In today's special episode, Katie and I will be discussing some newly published music that 3 00:00:20,380 --> 00:00:27,340 we had the opportunity to perform at our Texas Bandmasters Association Clinic and Convention 4 00:00:27,340 --> 00:00:29,980 this past summer. 5 00:00:29,980 --> 00:00:35,060 This session is held by Phi Beta Mu, a reading band where we get to read a bunch of newly 6 00:00:35,060 --> 00:00:36,420 published music. 7 00:00:36,420 --> 00:00:43,440 So we had the opportunity to perform it as players and selected our favorite pieces from 8 00:00:43,440 --> 00:00:44,980 that reading session. 9 00:00:44,980 --> 00:00:49,720 Today we are bringing you our favorite grade 1 and 1.5 pieces. 10 00:00:49,720 --> 00:00:56,600 We will be discussing Ants by Carol Britton Chambers, Courageous Spirit by Michael Kamuf, 11 00:00:56,600 --> 00:01:02,520 Whispers in the Wind by Robert Sheldon, March of the Hobgoblins by Randall Standridge, and 12 00:01:02,520 --> 00:01:04,720 Skedaddle by Timothy Loewist. 13 00:01:04,720 --> 00:01:08,240 Cheers to starting the conversation! 14 00:01:08,240 --> 00:01:12,840 Alright so our first piece we're going to dive into today is Ants by Carol Britton Chambers. 15 00:01:12,840 --> 00:01:16,080 This one is in the key of E flat or C minor. 16 00:01:16,080 --> 00:01:17,840 It's two minutes in length. 17 00:01:17,840 --> 00:01:24,760 It is less than an octave range, one clarinet part, one trumpet part, lots of cool percussion. 18 00:01:24,760 --> 00:01:26,680 I think this piece is adorable. 19 00:01:26,680 --> 00:01:28,080 It's very cute. 20 00:01:28,080 --> 00:01:33,200 And when we played it, like Laura mentioned, as performers in the reading band, our conductor 21 00:01:33,200 --> 00:01:37,560 Amy Allison mentioned this would be a great piece for a beginner band later in the year 22 00:01:37,560 --> 00:01:39,040 and we both agree. 23 00:01:39,040 --> 00:01:45,800 Or possibly like a sub-non-varsity or a non-varsity band at the beginning of their 7th and 8th 24 00:01:45,800 --> 00:01:46,940 grade year. 25 00:01:46,940 --> 00:01:48,340 So it's super cute. 26 00:01:48,340 --> 00:01:52,000 It does not go over the break in the clarinet part. 27 00:01:52,000 --> 00:01:57,400 It's got some pretty easy like accented style and it's kind of tooty whenever it is like 28 00:01:57,400 --> 00:01:59,260 a stylistic change. 29 00:01:59,260 --> 00:02:01,960 So everybody's kind of do the same thing. 30 00:02:01,960 --> 00:02:04,440 There's lots of little percussion breaks thrown in there as well. 31 00:02:04,440 --> 00:02:10,640 The melody of this piece is based on Johnny Comes Marching Home Again, which I love that 32 00:02:10,640 --> 00:02:15,320 she has taken, that Carol Britton Chambers has taken a piece that is in a compound meter 33 00:02:15,320 --> 00:02:20,400 and she's put it in a simple meter so it's easy to digest for younger players. 34 00:02:20,400 --> 00:02:26,720 We both really liked that, like at measure 6 for instance, there are no articulations 35 00:02:26,720 --> 00:02:30,360 marked so everybody is playing everything full value. 36 00:02:30,360 --> 00:02:34,880 We're kind of teaching how that's something very important in the beginner year. 37 00:02:34,880 --> 00:02:38,280 Then we kind of add in a few little staccatos here and there. 38 00:02:38,280 --> 00:02:43,480 It's like the little ants crawling around when the Johnny Comes Marching Home melody 39 00:02:43,480 --> 00:02:47,320 is happening in the trumpets and that kind of goes through the whole thing. 40 00:02:47,320 --> 00:02:54,120 But the melody is always long and connected and not something overly complicated developmentally 41 00:02:54,120 --> 00:02:55,120 for younger players. 42 00:02:55,120 --> 00:03:01,920 I love that she introduces these simple counter melodies as well so it's not just 2D rhythm 43 00:03:01,920 --> 00:03:03,960 with harmonies to the melody. 44 00:03:03,960 --> 00:03:07,680 There are cute little counter melodies going on in here which I think are great for teaching 45 00:03:07,680 --> 00:03:11,160 younger players about priority lines. 46 00:03:11,160 --> 00:03:12,480 Right, absolutely. 47 00:03:12,480 --> 00:03:16,320 At 18 we get more of the band playing staccato. 48 00:03:16,320 --> 00:03:21,880 In fact it's 2T everybody playing like little ants and so it just gets really cute and it's 49 00:03:21,880 --> 00:03:26,440 like again like I mentioned a 2D style change. 50 00:03:26,440 --> 00:03:30,840 You even get a measure of 2-4 where there's like a cool like timpani feature and a toms 51 00:03:30,840 --> 00:03:35,380 feature and it's kind of like I don't know I thought about the ant hill like crashing 52 00:03:35,380 --> 00:03:36,880 down or something each time I heard it. 53 00:03:36,880 --> 00:03:37,880 That was just me. 54 00:03:37,880 --> 00:03:43,040 Then it goes back to 4-4 and we have like accents now in everybody's part. 55 00:03:43,040 --> 00:03:48,460 But again as an educational view and lens I like that everybody kind of does the same 56 00:03:48,460 --> 00:03:49,600 thing at the same time. 57 00:03:49,600 --> 00:03:53,640 So it's not like you know trombones you're doing staccatos and flutes you're doing accents 58 00:03:53,640 --> 00:03:57,120 you know it's like kind of 2D in that way. 59 00:03:57,120 --> 00:04:02,200 There's a little woodwind choir at 25 with some cute percussion underneath and then the 60 00:04:02,200 --> 00:04:05,760 brass come in at 29 with some trumpet melody. 61 00:04:05,760 --> 00:04:11,080 Very very simple rhythms not a single dotted quarter note anywhere to be seen. 62 00:04:11,080 --> 00:04:13,440 Lows get the melody at 37. 63 00:04:13,440 --> 00:04:17,480 Which I want to say one of the things that was so impressive to me about these grade 64 00:04:17,480 --> 00:04:22,680 1 and 1.5 pieces that we read composers have been really intentional about making sure 65 00:04:22,680 --> 00:04:26,960 that our low brass and low reed players are getting something exciting to play in their 66 00:04:26,960 --> 00:04:27,960 music. 67 00:04:27,960 --> 00:04:32,280 Every one of the pieces we're going to talk about today those low voices get a moment 68 00:04:32,280 --> 00:04:33,280 to shine right? 69 00:04:33,280 --> 00:04:35,440 Right yes absolutely. 70 00:04:35,440 --> 00:04:40,120 And you know I think it really goes to show like Laura mentioned the octave range less 71 00:04:40,120 --> 00:04:42,640 than an octave range it's like seven notes. 72 00:04:42,640 --> 00:04:45,960 That makes it even easier on those low people so they're not having to go up too high if 73 00:04:45,960 --> 00:04:48,400 you do play this with a beginner group. 74 00:04:48,400 --> 00:04:53,240 It basically recaps again does another two four bar then the woodwinds come in again 75 00:04:53,240 --> 00:04:57,860 at 46 but they're quiet this time it's like the ant is like sneaking up on you. 76 00:04:57,860 --> 00:05:02,800 Then we have like a loud section and then everybody's playing together lots of accents 77 00:05:02,800 --> 00:05:06,020 to finish it out with a low brass melody at the very end. 78 00:05:06,020 --> 00:05:11,760 So very cute very easy rhythmically very like Laura mentioned easy to put together like 79 00:05:11,760 --> 00:05:13,680 which line is a priority line. 80 00:05:13,680 --> 00:05:16,940 A great educational piece. 81 00:05:16,940 --> 00:05:18,600 Next is Courageous Spirit. 82 00:05:18,600 --> 00:05:23,720 Alright so this one is in the key of concert B flat 4 4 throughout it's about a minute 83 00:05:23,720 --> 00:05:26,300 and a half to a minute and 40 seconds in length. 84 00:05:26,300 --> 00:05:30,920 This one is a little bit faster so even though there's not a ton of technique or rhythmic 85 00:05:30,920 --> 00:05:37,160 challenge in this one articulation is a little bit more of a factor because of the speed. 86 00:05:37,160 --> 00:05:41,560 More percussion in this one so you know if you have a bigger percussion section you have 87 00:05:41,560 --> 00:05:43,720 some things to keep them a little bit more entertained. 88 00:05:43,720 --> 00:05:48,160 The piece starts out with percussion in fact and then the band comes in and we think that 89 00:05:48,160 --> 00:05:53,680 this piece is much more tooty in nature rhythmically than Ant's was. 90 00:05:53,680 --> 00:05:57,440 So in that matter it's kind of easier in some sense. 91 00:05:57,440 --> 00:06:02,120 That's right if you're working with an ensemble like with Ant's it might be easy to introduce 92 00:06:02,120 --> 00:06:06,240 in a beginner class when you maybe have separate classes. 93 00:06:06,240 --> 00:06:11,640 This being more 2D suits itself to an ensemble setting. 94 00:06:11,640 --> 00:06:15,880 The melody line is connected and very flowy. 95 00:06:15,880 --> 00:06:21,600 I told Laura I really like this piece because it's kind of lyrical in nature in the melody 96 00:06:21,600 --> 00:06:25,560 but then the accompaniment line is shorter with staccatos but it just kind of makes it 97 00:06:25,560 --> 00:06:29,080 feel more like a courageous spirit coming at you. 98 00:06:29,080 --> 00:06:33,560 I agree completely you had a lot of those fun little energetic things that give it that 99 00:06:33,560 --> 00:06:37,240 spirited feel in the accompaniment but the melody every time is very flowy. 100 00:06:37,240 --> 00:06:43,160 The trumpets have the melody with altos when we come in at five and then they continue 101 00:06:43,160 --> 00:06:45,200 on for quite a bit at 13. 102 00:06:45,200 --> 00:06:48,640 The upper woodwinds take over again with that smoother melody. 103 00:06:48,640 --> 00:06:53,640 Now we've gotten rid of some of the staccatos so we're back more just having nice normal 104 00:06:53,640 --> 00:06:55,480 articulations. 105 00:06:55,480 --> 00:06:59,400 This would be again a really great piece to play with like a sub-non or a non-varsity 106 00:06:59,400 --> 00:07:02,160 band just to continue talking about. 107 00:07:02,160 --> 00:07:05,880 Still just quarter notes, eighth notes and white notes so there's no dotted notes in 108 00:07:05,880 --> 00:07:08,000 this, no dotted quarter notes in this. 109 00:07:08,000 --> 00:07:14,560 At 21 we get an accented style shift then the mid voices like clarinet and alto and 110 00:07:14,560 --> 00:07:20,000 tenor sax get the melody for a second and then the lows kind of have like a reply and 111 00:07:20,000 --> 00:07:25,120 it goes back and forth between those two voices for a while and then at 29 the low brass get 112 00:07:25,120 --> 00:07:29,640 the melody like Laura said we really like that all of them gave them a moment to shine. 113 00:07:29,640 --> 00:07:35,000 The upper people are quieter in staccato underneath them then the whole band is getting stronger 114 00:07:35,000 --> 00:07:36,960 to 37. 115 00:07:36,960 --> 00:07:40,600 This is kind of what I've dubbed like the fight scene like percussion plays and the 116 00:07:40,600 --> 00:07:43,880 rest and everybody has like little hit points. 117 00:07:43,880 --> 00:07:49,560 But the lows get a cool part here and the kids would think this part is really cool. 118 00:07:49,560 --> 00:07:53,480 Then there's another little percussion break and then at 47 we're back to the melody with 119 00:07:53,480 --> 00:07:58,880 the trumpets but this time instead of it being flowy and lyrical now it's accented because 120 00:07:58,880 --> 00:08:00,860 we're getting towards the end of the piece. 121 00:08:00,860 --> 00:08:07,000 It does have an upper C in the horn part frequently here at the end because they have a cool counter 122 00:08:07,000 --> 00:08:12,680 melody part so there is that consideration if range might be an issue with your group 123 00:08:12,680 --> 00:08:17,560 and then at 53 we just kind of take it on home to the very end. 124 00:08:17,560 --> 00:08:23,200 It's very very cute and not very long and has a lot of cool educational things to it. 125 00:08:23,200 --> 00:08:27,200 Again, a great favorable key and everything for a full ensemble. 126 00:08:27,200 --> 00:08:28,200 Absolutely. 127 00:08:28,200 --> 00:08:31,400 Our next piece is Whispers in the Wind by Robert Sheldon. 128 00:08:31,400 --> 00:08:35,520 This one is also in the key of concert B flat a little bit longer it's about two minutes 129 00:08:35,520 --> 00:08:38,140 a little more than two minutes in length. 130 00:08:38,140 --> 00:08:48,200 This piece is incredible for introducing a nice type of corral sustained type of style 131 00:08:48,200 --> 00:08:54,680 to your band longer valued notes great for teaching phrasing or introducing phrasing 132 00:08:54,680 --> 00:08:55,780 to a young band. 133 00:08:55,780 --> 00:08:57,400 We both love this piece. 134 00:08:57,400 --> 00:09:03,400 It's beautiful as with every Robert Sheldon piece right but it starts off with really 135 00:09:03,400 --> 00:09:09,500 pretty percussion now there's not a lot of percussion but again it's very nice sounding 136 00:09:09,500 --> 00:09:15,120 at the beginning lots of beautiful harmonies clarinet melody at five with a harmony part 137 00:09:15,120 --> 00:09:22,960 in the horn it is just it's really really pretty and the whole piece is really good 138 00:09:22,960 --> 00:09:29,760 at like making four lead to one and talking about your finishing beat four in the saxophone 139 00:09:29,760 --> 00:09:36,180 part and the trumpets are taking over on beat one so connecting the two lines of music together. 140 00:09:36,180 --> 00:09:39,960 You know this is a great piece for introducing that to an ensemble. 141 00:09:39,960 --> 00:09:44,120 The rhythms are not difficult but you do have to work to make it be transparent. 142 00:09:44,120 --> 00:09:49,960 Absolutely where you can hear the melody at all times because it is it's not thickly scored 143 00:09:49,960 --> 00:09:54,400 but I mean pretty much everybody's playing most of the time. 144 00:09:54,400 --> 00:10:00,300 Clarinets get a cool little like in the wind type sounding part at 13 with the trumpet 145 00:10:00,300 --> 00:10:05,440 melody along with flute and oboe and bells. 146 00:10:05,440 --> 00:10:07,480 We do have dotted quarter eighth notes in this. 147 00:10:07,480 --> 00:10:11,520 This is the first piece that we've seen and there's only just a couple of little moments 148 00:10:11,520 --> 00:10:14,000 where they happen but there are dotted quarter eighth notes. 149 00:10:14,000 --> 00:10:18,120 A lot of these lines are a little bit more independent so even though rhythmically with 150 00:10:18,120 --> 00:10:23,160 the exception of the dotted quarter eighth this is pretty simplified long valued notes. 151 00:10:23,160 --> 00:10:26,560 Everybody's part is a little more independent so that making sure like Katie mentioned the 152 00:10:26,560 --> 00:10:32,160 transparency making sure that we're subdividing through long notes appropriately. 153 00:10:32,160 --> 00:10:33,340 All that kind of good stuff. 154 00:10:33,340 --> 00:10:38,040 We get a little a cello rondo at 20 where the low people and the tenor line actually 155 00:10:38,040 --> 00:10:44,040 gets the melody at 21 goes a little quicker and it's like the wind has picked up again 156 00:10:44,040 --> 00:10:45,200 limited percussion. 157 00:10:45,200 --> 00:10:50,280 They do have a lot of rest in this piece so maybe only program it if you're planning to 158 00:10:50,280 --> 00:10:54,080 play like a bunch of other fun stuff where percussion aren't just like chilling in the 159 00:10:54,080 --> 00:10:56,320 back of the room because we don't want to forget about our friends. 160 00:10:56,320 --> 00:10:57,320 That's right. 161 00:10:57,320 --> 00:11:02,320 Then it's got a little Roland Tondo and then at 29 we're back to the same main melody with 162 00:11:02,320 --> 00:11:04,240 the trumpet line. 163 00:11:04,240 --> 00:11:11,920 The trumpets do go up to an upper C but not often it does happen right here at 31. 164 00:11:11,920 --> 00:11:19,760 I did mention when to Laura when we were reviewing each score here that at 34 Mr. Sheldon writes 165 00:11:19,760 --> 00:11:23,400 really well the flutes go up to an upper B flat. 166 00:11:23,400 --> 00:11:26,960 They're on the same melody with the trumpets but the trumpet part goes down to a lower 167 00:11:26,960 --> 00:11:32,000 C so that's just smart because inherently takes away that cross tune. 168 00:11:32,000 --> 00:11:33,620 Right and you don't have to worry about tuning. 169 00:11:33,620 --> 00:11:35,320 That's exactly right. 170 00:11:35,320 --> 00:11:36,800 And then it just ends beautifully. 171 00:11:36,800 --> 00:11:42,440 You can work on really watching the conductor and every last little beat lining up exactly 172 00:11:42,440 --> 00:11:43,920 opportunities for Roboto. 173 00:11:43,920 --> 00:11:48,280 So not just the phrasing but hey now we're taking the metronome away and you need to 174 00:11:48,280 --> 00:11:50,080 get in the habit of watching your conductor. 175 00:11:50,080 --> 00:11:51,080 Absolutely. 176 00:11:51,080 --> 00:11:53,920 Lots of opportunities for growth with that. 177 00:11:53,920 --> 00:11:54,920 This is I cannot. 178 00:11:54,920 --> 00:11:57,440 Yes I cannot more so recommend it. 179 00:11:57,440 --> 00:11:59,280 I'm going to play it with my group this year. 180 00:11:59,280 --> 00:12:03,920 Oh we forgot to mention that that we've never played any of these pieces with our groups 181 00:12:03,920 --> 00:12:05,920 because they're brand new. 182 00:12:05,920 --> 00:12:10,280 So this was just us literally playing them as humans that we you know had some sort of 183 00:12:10,280 --> 00:12:11,280 moment. 184 00:12:11,280 --> 00:12:12,280 All right. 185 00:12:12,280 --> 00:12:15,960 Our next piece is March of the Hobgoblins by Randall Standridge. 186 00:12:15,960 --> 00:12:16,960 Okay. 187 00:12:16,960 --> 00:12:20,960 So with this one now we're getting into the first three pieces that we had were a little 188 00:12:20,960 --> 00:12:25,280 bit a little bit easier pretty pretty solid grade ones. 189 00:12:25,280 --> 00:12:28,200 This one we would consider a grade one and a half. 190 00:12:28,200 --> 00:12:29,400 He considers it that. 191 00:12:29,400 --> 00:12:31,760 Yes it's the publisher grade as well. 192 00:12:31,760 --> 00:12:37,960 This one is in the key of concert E flat and it's about two minutes long. 193 00:12:37,960 --> 00:12:40,880 Now the big kicker with this one is that it's in 6 8. 194 00:12:40,880 --> 00:12:46,400 So obviously that time signature may be a little more limiting in terms of which groups 195 00:12:46,400 --> 00:12:51,300 that you can consider programming this piece for but it's written and scored really really 196 00:12:51,300 --> 00:12:55,680 well that it's a great introductory piece to 6 8. 197 00:12:55,680 --> 00:13:00,840 So if you know if you're needing something to introduce that I think it's fantastic. 198 00:13:00,840 --> 00:13:04,920 And of course like all standard stuff it's written really well and has tons of percussion. 199 00:13:04,920 --> 00:13:05,920 Yes. 200 00:13:05,920 --> 00:13:11,280 And if you have listened to our fall series where we went over pieces that we thought 201 00:13:11,280 --> 00:13:13,240 would be great for fall concerts. 202 00:13:13,240 --> 00:13:17,040 Laura and I both immediately said well this one would be great for a fall concert because 203 00:13:17,040 --> 00:13:18,680 it's called March of the Hobgoblins. 204 00:13:18,680 --> 00:13:20,160 I'm going to play it with my band. 205 00:13:20,160 --> 00:13:21,160 Right. 206 00:13:21,160 --> 00:13:26,320 So it's a great introduction to playing and the rhythms are very 2D the whole time. 207 00:13:26,320 --> 00:13:30,200 So while it is quicker and you do have to have good articulation it starts out with 208 00:13:30,200 --> 00:13:35,040 just all eighth notes ta ta ta ta ta ta ta ta ta ta ta ta ta ta ta. 209 00:13:35,040 --> 00:13:39,680 So you really have to have enough strong articulation in your band to play it. 210 00:13:39,680 --> 00:13:40,680 So it might be more like a varsity. 211 00:13:40,680 --> 00:13:41,680 And that's unison by the way. 212 00:13:41,680 --> 00:13:42,680 Yeah. 213 00:13:42,680 --> 00:13:43,680 Right. 214 00:13:43,680 --> 00:13:44,680 It might be more like a varsity level piece. 215 00:13:44,680 --> 00:13:50,920 Then it just has like good accents and style at the beginning lots of cool percussion at 216 00:13:50,920 --> 00:13:56,080 nine the flute oboe clarinet one this one does have split parts clarinet one clarinet 217 00:13:56,080 --> 00:14:00,680 two trumpet one trumpet two and the trumpets have the melody together and it's one and 218 00:14:00,680 --> 00:14:05,920 two and one and two or one Lee to Lee one Lee to Lee one Lee to Lee one. 219 00:14:05,920 --> 00:14:11,200 So it's not like ridiculous rhythms and it would be something really easy to teach kids 220 00:14:11,200 --> 00:14:16,080 like different iterations of rhythm that you can see in six eight time if you're planning 221 00:14:16,080 --> 00:14:19,040 to play six eight later down the road. 222 00:14:19,040 --> 00:14:23,760 I love on this that the clarinet to part like it is split trumpet and clarinet split but 223 00:14:23,760 --> 00:14:26,160 the second clarinet part actually doubles the horn. 224 00:14:26,160 --> 00:14:27,160 Yeah. 225 00:14:27,160 --> 00:14:31,160 So I mean you wouldn't if you don't have horns it's a great way that you can make sure that 226 00:14:31,160 --> 00:14:34,840 part is covered if you do and you wanted all your clarinets played to play the first part 227 00:14:34,840 --> 00:14:36,480 you certainly could. 228 00:14:36,480 --> 00:14:40,520 Once we get to measure 17 we're continuing on a little bit more the melody kind of changes 229 00:14:40,520 --> 00:14:44,920 a little bit it's in the upper woodwinds and the trumpets more of this articulation like 230 00:14:44,920 --> 00:14:49,240 Katie mentioned the one two three four five six one two three four five six one Lolly 231 00:14:49,240 --> 00:14:54,360 to Lolly lots of that type of articulation but these rhythms are just repetitive. 232 00:14:54,360 --> 00:14:58,160 They're repetitive there's some accidentals in here things like that that you want to 233 00:14:58,160 --> 00:15:03,320 be aware of but the rhythms are just very repetitive and to D. Yep at 25 the whole band 234 00:15:03,320 --> 00:15:07,720 has kind of the same rhythms and it's like God it's band and then Tiffany band and then 235 00:15:07,720 --> 00:15:13,200 Tiffany so a little bit of a back and forth here then it goes back to the same one Lolly 236 00:15:13,200 --> 00:15:20,200 to Lolly then there's a big percussion break at 43 51 we start with clarinet melody and 237 00:15:20,200 --> 00:15:24,880 it is more like in the style of a march this is the trio section yeah more so we're more 238 00:15:24,880 --> 00:15:30,120 flowy more lyrical but nothing ridiculous in the way of rhythms then the accompaniment 239 00:15:30,120 --> 00:15:35,600 gets a little bit more staccato in nature going into 67 then the upper woodwinds have 240 00:15:35,600 --> 00:15:42,120 the melody together trumpets get a little counter melody or a little like little fanfare 241 00:15:42,120 --> 00:15:47,920 and the trumpet one part does go up to a D and then we're continuing on and building 242 00:15:47,920 --> 00:15:53,520 back up to 79 again with the little timpani or percussion features in the middle just 243 00:15:53,520 --> 00:15:59,880 like before 87 we're full group again with a cute little chromatic descending line in 244 00:15:59,880 --> 00:16:04,840 the flute and oboe part above the melody that's happening in the trumpet and clarinet one 245 00:16:04,840 --> 00:16:11,280 still it finishes out much the same way with just you know everybody playing similar rhythms 246 00:16:11,280 --> 00:16:16,720 throughout the parts and this again would be a great teaching piece for just this is 247 00:16:16,720 --> 00:16:20,640 how you count these rhythms in 6-8 so that when they encounter 6-8 in the future they 248 00:16:20,640 --> 00:16:26,200 go oh I remember we did this this rhythm on March of the Hobgoblins I also like I also 249 00:16:26,200 --> 00:16:32,080 like the idea that this can be used to introduce March style to younger players in your ensemble 250 00:16:32,080 --> 00:16:36,080 right if this is the first type of march that you've played you're getting to do 6-8 and 251 00:16:36,080 --> 00:16:41,240 introduce some some march style which is very cool our last piece is called skedaddle by 252 00:16:41,240 --> 00:16:46,760 Timothy Loest it's about two minutes long it's in the key of E flat again concert E 253 00:16:46,760 --> 00:16:52,440 flat this one was really really cool to play now y'all know I'm a percussionist so I loved 254 00:16:52,440 --> 00:16:59,280 the percussion stuff and that's why I thought it was a lot of fun to play it is very fast 255 00:16:59,280 --> 00:17:04,920 and this one definitely has one forty four to one sixty eight yes this would be a great 256 00:17:04,920 --> 00:17:11,120 closer for a concert it has a lot more independence in each of the parts more complex rhythms 257 00:17:11,120 --> 00:17:17,440 lots of style considerations all of that still considered a grade one point five by the publisher 258 00:17:17,440 --> 00:17:22,320 I feel like I remember this correctly if I don't so sorry but I think like when we played 259 00:17:22,320 --> 00:17:27,800 this as adults we some of the people actually missed the first rhythm just sight reading 260 00:17:27,800 --> 00:17:32,120 it because it is a little bit more complex so it starts out with percussion and then 261 00:17:32,120 --> 00:17:38,160 at measure three the clarinets come in with one two and and three and and two and three 262 00:17:38,160 --> 00:17:43,040 and that rhythm goes on and on forever throughout different parts that's the most complex rhythm 263 00:17:43,040 --> 00:17:48,660 three and but and three and four sorry my pen was in the way but that is something that 264 00:17:48,660 --> 00:17:54,080 is going to come back again and again in different parts but that's enough of an like and entrances 265 00:17:54,080 --> 00:17:57,680 we haven't seen a lot of that yet in any of this grade one literature that we've talked 266 00:17:57,680 --> 00:18:04,320 about yes it is kind of jazzy in nature in my mind too so when I played it I liked it 267 00:18:04,320 --> 00:18:11,520 because of just the tonality of it it's kind of like it's not tootie at the beginning it's 268 00:18:11,520 --> 00:18:15,280 like little hits here and there but there's like this like what the clarinets are doing 269 00:18:15,280 --> 00:18:19,720 is like a little ostinato it's a little rhythmic ostinato and it passes its way through right 270 00:18:19,720 --> 00:18:24,920 then the lows take over with the same ostinato at 11 then it's like kind of creepy when the 271 00:18:24,920 --> 00:18:30,520 flute part and then it just does like three and four and one so it's kind of like mysterious 272 00:18:30,520 --> 00:18:36,200 like you're on a chase you know skedaddling all around but it's not rhythms aren't very 273 00:18:36,200 --> 00:18:41,120 difficult it's just that one ostinato rhythm that's a little bit more complex lots of cool 274 00:18:41,120 --> 00:18:48,600 style in this piece it does change often lows get the melody again at 23 lots of cool percussion 275 00:18:48,600 --> 00:18:55,160 like Laura already mentioned big percussion break at 27 as well I wrote down that I feel 276 00:18:55,160 --> 00:19:01,040 like it sounds jaunty like at 29 this is the like kind of jazzy part sax and clarinet get 277 00:19:01,040 --> 00:19:07,360 the melody all alone with hi-hat behind them so it's really cool and that does have a little 278 00:19:07,360 --> 00:19:13,120 bit more of a complex rhythm with a tie in there one two and and three and two and oh 279 00:19:13,120 --> 00:19:18,920 sorry one two and and four and two and three and four but it does the rhythm over and over 280 00:19:18,920 --> 00:19:24,000 and then like other people add in the trumpets get to use straight mutes on this piece which 281 00:19:24,000 --> 00:19:28,560 is always fun kids love that yeah especially if they don't usually get the chance on grade 282 00:19:28,560 --> 00:19:35,840 one music really cool timpani part as well at 37 we layer in more parts so everybody's 283 00:19:35,840 --> 00:19:39,640 kind of playing similar things as what they had before but we're just layering in more 284 00:19:39,640 --> 00:19:44,720 of them I like the orchestration here where flute and oboe are playing the same thing 285 00:19:44,720 --> 00:19:49,720 as horn yeah so that's kind of an interesting combination and tenor sax I like that little 286 00:19:49,720 --> 00:19:56,320 combination yep and the flutes do go up a little bit higher in this piece up to a D 287 00:19:56,320 --> 00:20:01,080 above the staff so again the range is a little bit more challenging than the other pieces 288 00:20:01,080 --> 00:20:05,400 we've talked about so far we do have a lot of accidentals coming into the piece just 289 00:20:05,400 --> 00:20:11,480 from when like harmonics harmonically the the piece changes 45 there's lots of accidentals 290 00:20:11,480 --> 00:20:17,120 written so it's a good idea to mark your parts and talk to students about that we have a 291 00:20:17,120 --> 00:20:21,280 really cool fun like cowbell part at 53 I thought that was really cool when we played 292 00:20:21,280 --> 00:20:25,640 it with that same rhythmic ostinato above it so it's kind of like just like a jamming 293 00:20:25,640 --> 00:20:31,080 out moment it sounded like a rock moment yeah like all right yeah more cowbell yes fever 294 00:20:31,080 --> 00:20:37,080 that's right and then at 61 we got another little melody and the flute clarinet one and 295 00:20:37,080 --> 00:20:42,280 oboe along with the bells we're layering in more parts and again it kind of sounds jazzy 296 00:20:42,280 --> 00:20:48,800 and jaunty light fun and then we kind of bring it all down and play quiet and crescendo up 297 00:20:48,800 --> 00:20:53,880 to 75 this is like what we had earlier in the piece as well so it's like a recap here 298 00:20:53,880 --> 00:20:59,720 at 75 of what we had earlier yep there's a cool little horn moment here as well up on 299 00:20:59,720 --> 00:21:05,940 upper seas over and over for the french horn and then clarinet one is definitely going 300 00:21:05,940 --> 00:21:11,360 over the break often in this piece so that is another consideration to give and you'd 301 00:21:11,360 --> 00:21:17,000 have to mark a lot of like clarinet like pinky considerations as well because it's not exactly 302 00:21:17,000 --> 00:21:21,840 as straightforward as some of the other pieces we've talked about the low brass get the melody 303 00:21:21,840 --> 00:21:25,920 all the way to the end just a final moment along with the timpani so it's just meant 304 00:21:25,920 --> 00:21:32,320 to sound kind of like a chase chasing like jaunty jazzy type song like lara said it's 305 00:21:32,320 --> 00:21:37,500 i think it'd be great for a closer on a concert i think a perfect concert closer lots of energy 306 00:21:37,500 --> 00:21:44,240 good opportunities for teaching style and again balance as well and and cool cool percussion 307 00:21:44,240 --> 00:21:50,680 all right well that wraps up our new music to our newly published music that is grade 308 00:21:50,680 --> 00:21:56,720 one or 1.5 and we hope that you have found this helpful and that you have found a piece 309 00:21:56,720 --> 00:22:00,440 of music that you might be able to program at your next concert thanks for joining us 310 00:22:00,440 --> 00:22:13,640 on this episode of band bffs