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Welcome to our podcast, Band BFFs.

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The podcast where we make your music selection less complicated.

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On today's episode, we are going to be reviewing two easier marches.

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The first is Andalucia by Victor Lopez, and the second will be Infinity March by James

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Kernel.

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Cheers to starting the conversation.

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Our first piece, Andalucia, is one of my favorites for an easier march.

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It is in the key of F or D minor and then modulates to the key of B flat or G minor.

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It's about two minutes in length.

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It's in two-four time.

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Has a pretty decent range, lots of style, opportunities, articulation, percussion.

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You really need a minimum of four percussionists, though you can have more.

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There are lots of extra parts to cover.

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Really important in percussion would be snare drum, castanets, and tambourine.

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Absolutely.

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This piece, as Laura mentioned, this is one of our, both of our little favorites to go

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back to, but it does have a lot of demands in specific sections.

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For instance, horns, saxes, and again, it's a little bit more difficult with the style.

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I like that from a student perspective, this piece is on two pages, so kids feel like,

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ooh, this is a real piece of music.

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Of course, it has that key change that I mentioned.

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I really like that.

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Starting at the very beginning, it's a normal march tempo, about 120, and we have an accent

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followed by two staccatos.

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It has a very Spanish-y type feel.

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One, two, and one, one, two, and one.

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Everybody has the same rhythm.

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That's nice because you can really work on it on a concert F, and then you can all go

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into the real notes, and you can really make sure that the style is lined up perfectly

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because everybody has the same rhythm.

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From a lot of our instruments, we start, not everybody, but we start on a concert A natural.

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It is something that you will have to work on tuning to make sure that we get that cross

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tuning between the upper woodwinds and the trumpets that are on that flat partial, and

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your low brass are starting on an A natural.

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Again, it will take a little bit of tweaking to make that sound really good.

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Yep.

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Then we have this, everybody's still doing 2D rhythms up until measure nine.

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There's pickups in the melody in flute, oboe, and first trumpet, or only trumpet.

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Sorry, there's not more than one trumpet part.

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They have the melody throughout, and it's really important to teach that they are not

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going to take a breath after four measures.

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It should be either an eight measure phrase or sneaky places to take a breath if they

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need one early.

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Now, one thing I would say in this piece that I have found, I've played this with several

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bands before, that we have eighth note releases where they change note, da, de, ah, de, ah,

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really working open throat releases and not letting students clip that off so short and

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close their throat off for better tone quality.

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Yep, I agree on that 100%.

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Now we have this melody, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta,

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ta, ta, ta, ta.

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I teach the kids, sorry I didn't sing that in the right key, but I teach the kids to

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lead through the long note and so that musicality comes in.

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Again, it just sounds really pretty.

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The kids love it.

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The low motor or the motor voices are playing on one, two, one, two.

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That's pretty nice because they're playing just on the downbeats, but-

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It's not the same notes every measure.

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Like I mentioned before, the horn part is a little bit trickier and the alto part because

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they play on the ands.

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You got to really have that motor set, one, and two, and three, and four, and... It is

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a little bit more tricky.

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It may not be for every single sub-non-varsity or non-varsity band out there.

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That's right.

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Then we're getting some accidentals thrown in going into 15 and 16 with a full band crescendo

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as we're at the height of this melodic point.

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Then we all have an accented quarter note pickup going into 17.

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It changes to subito piano right here.

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This is something that you have to work really hard at because everybody's at this forte

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level and everybody goes two, one, two, and one, two, and... It's this big moment.

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That's right.

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Then everybody has to come down.

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I tell my kids every time we talk about as an ensemble playing piano that it's like a

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really intense whisper.

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I use the example of if your parents have ever yelled at you in church, if they lean

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over and say, Katie, you better stop that right now.

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It's a really intense whisper.

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That's how their air needs to be.

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Piano does not mean slow puny air.

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We need to have really fast, intense air in order to keep the tone quality beautiful.

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Absolutely.

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Then we start up with... It's the same people on the melody and it's the same idea, but

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again everybody drops down.

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Then we're all crescendoing up again into measure 24 with another release on beat one.

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Then we have this super fun part in the horns at 25.

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The horns have one, two, and one, one, one.

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It's a very cool little counter melody.

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It's beautiful and I love it and I think it's really cool, but you have to have very accurate

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horns.

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The saxes, double them, but of course I always teach my saxes.

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You color the horn part.

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The horns get to be the most prominent and the oboes have this part too.

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It's cute and clarinet.

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I mean you could always have a strong horn player play and then kind of beef up that

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horn color with that beautiful clarinet.

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That works as well.

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The oboe note is a C sharp and I'm having flashbacks from the last time we played this.

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We asked our oboe player to sit out here so that that way the horn and the altos could

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be the stars.

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I don't know.

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Just be mindful of the fact that that's a tough note to play in tune for everybody and

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you want to make sure that it doesn't detract.

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It only makes everybody sound more mature.

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We're continuing with this bass line, but now we've got a couple extra eighth notes

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added in.

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The rotor accompaniment, again really tonally centered.

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Ta ta ta ta ta ta ta ta.

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Keeping everything open and it aligns with what's happening in the percussion section

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as well.

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At 33 the flutes add in with the horn, sax, oboe melody and the trumpet part.

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So now we're just kind of beefing it up a little bit, changing the color.

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The trumpet part does go up to a C.

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There are some cross tuning considerations in this section as we thicken all that up.

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Then we go back to kind of the same rhythm from the beginning.

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One two one two one two.

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Crash.

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Is it a crash or a bass drum hit?

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I can't remember.

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Oh maybe it's nothing.

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I think I made that up.

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So there's nothing there.

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So don't let them crash there.

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Then we go into 43 and we have pick up notes in the trumpet part and the flute and the

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oboe and they have the exact same melody from before, but now we're hitting those high B's

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and C's in trumpet and they're a little tired at this point.

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So again making sure we're really listening to our tuning across the ensemble.

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We're back to everybody having that one and two and one and two and motor between the

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mids and the lows.

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Then we have our first like little, no not our first time, but our second time of having

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that subito piano thing that we talked about before.

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So the full band has a big beat too and then everybody drops down at 51.

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We have the same melody people and then at the very end at 57 the lows get to go one

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and two and one.

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Then we have a pick up note into the key signature change.

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Now this key change, this would be like the trio of this particular march.

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Horns, clarinets and altos are the feature instrument here.

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The accompaniment motor really thins out.

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It just goes to tuba and bass clarinet.

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It is cued in several other instruments so if you needed some additional support you

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have that option.

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Last time I played this we actually made it be a bass clarinet, little like woodwind feature,

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even though the horns played.

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But we made it be that way just because our tubas weren't necessarily so centered on these

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moving parts.

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So feel free to experiment.

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Find what works best for your group.

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That color combination that's going to show off your ensemble.

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This whole section through here, this is a lot about just airflow and connection.

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No slur.

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No gaps in the sound.

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Yes.

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Yes.

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It's very very pretty.

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The horns again are featured here and they don't go up quite as high but they have to

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be very accurate.

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We continue that same smooth melody in those instruments but then we add some accompaniment

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in the trumpet and flute and oboe.

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They come in one, two, and one and lots of some accidentals in this section after the

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key change.

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So this would be a great opportunity for like, Katie and I talk a lot about pre-marking parts,

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right?

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Making sure that you've marked the kids parts.

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This will help them be successful quicker.

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Yep.

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And your low brass have to play like an E natural in one measure and then an A flat and then

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another measure and then go back to E flat.

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So I think it's important again just to really reiterate this part.

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It's like changing like the, I don't know, the chord structure.

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The chord structure.

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Yeah, it's just changing a little bit.

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When we've played this, I have had the groups with the melody, we spend a lot of time making

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it sound like our chorale.

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Like even though the tempo is faster, we are trying to make it sound as much like a chorale

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in this section as possible on the melody.

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Of course the accompaniment is a little bit different but just again getting, you know,

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big rich full sound centered on all of our notes and tuning.

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At the end of this, of the trio section, we all have a release at 90 and then going into

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91, it's just like the beginning again.

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One, two, one, the same thing we've already talked about.

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But then there's a DS all coda.

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So you go all the way back to the beginning and it's actually kind of long because then

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you go all the way back and you play until measure 20 and then you go to the coda.

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So it feels a little longer.

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It is repetitive obviously but again that pre-marking of the parts, making sure the

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kids know where to go back to the DS, where to take the coda, how the piece ends, all

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of that.

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Yep.

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So this is a great piece again like we said for just, you know, like a grade one type

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of march.

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So this is an introduction to a very cool Spanish march.

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Yep.

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Maybe even a 1.5.

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Yes.

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Our next piece is Infinity March and this piece is also a great one to play that's about

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a grade one, maybe even a 1.5.

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This one is in the key of concert B flat throughout.

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It's in 4-4 time, not 2-4 time like our previous one is.

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And this does have some dotted rhythms.

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We have some dotted quarter eighth rhythms in this.

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The percussion parts are pretty limited.

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We have snare, bass, crash and then some keyboard instruments as well.

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Now the snare part, I will say, I think the snare part is pretty active considering the

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simplicity of some of the other parts in this.

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But I love this.

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One of the things I think is great about this piece is it is a great introduction to like

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march format.

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How we have, I teach my students that with marches we generally have a melody, a counter

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melody and a motor and it fits that template really, really well.

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Yep.

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And I was, when we were discussing this before the podcast, I told Laura that last time I

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played this piece or a couple times ago, we only had two percussionists in the band that

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I played it with.

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So we only had the snare part and the bass drum part covered and that was it.

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And they performed at UIL.

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So you can absolutely make it work with very limited percussion.

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Now if you have a student who's coordinated enough and I know they can play bass drum

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and crash cymbals in quotes at the same time by playing on a suspended cymbal.

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That's right.

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Yep.

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You could do that.

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But with that being said, the whole piece starts out with percussion.

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So you want to make sure your percussion are confident enough because they're establishing

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pulse.

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They need to feel confident coming in at the beginning.

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I mean, you know, the rhythm is, yeah, the rhythm's one, two and three, four and one

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and a two and three, four and a one, two and a.

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So like Laura was saying, it's not the easiest percussion part ever.

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So you want to pick a snare drummer who can like play even 16th notes.

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That's right.

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Then going into measure nine, we have the melody, a pickup note going in with clarinet,

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horn and alto sax.

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And this melody is beautiful.

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It's long, it's connected and we're going to teach the kids not to breathe after a dotted

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half note at 10.

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So they have four, one, three, four and one, four and one, two, three.

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So that's really important to teach them that skill of phrasing and pushing through.

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And the low people actually have quite an active part.

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It moves around.

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They are only playing quarter notes, but it's little scales.

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One, two, three, four, one, two, three, four, one, two, three, four, one, two, three, four,

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two, don't miss that a natural four.

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That's always the part where my low brass are like not quite natural.

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Yeah, they don't come quite far enough in on that.

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So I'm like, Oh gosh, please, please tune that.

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But anyways, it is repetitive though.

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So they do have that part frequently, but it is something to make sure you spend some

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time on.

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Then we have our first dotted quarter note rhythm getting into measure 15, one, two and

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three and one and that's as hard as that rhythm gets.

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So that's great for just a teaching tool about how to do dotted quarter note eighth note.

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And I stole this from, I stole this from Kathy Johnson, but she calls them yay yay rhythms.

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And man, I tell you what, especially for younger students, it clicks in their brain.

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Anytime we have a dotted quarter eighth note and I can just say, Hey, we have yay yay

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rhythms.

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They know exactly what I'm talking about.

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So in this case with the dotted quarter happening on beat three, the students could count three

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yay yay and one three yay yay and one.

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And then they, they completely understand.

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I hardly have students miss those rhythms because they're thinking that yay yay.

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So that might be a good teaching tool for you as well.

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When we get to measure 18, we have a cool little almost almost like a response or countermelody

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that happens in the trumpet and the flute and oboe.

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And this is not very easy.

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It's got these big skips in it.

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So obviously you want to make sure that those players are really confident that the trumpets

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are listening to the flute.

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It's not as hard for the flute as it is for trumpets.

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And the trumpets have to play one, one and two or two and three, four and one.

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They have to go to the low C going into 17.

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That's kind of tricky.

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That's almost like a little bugle.

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Yeah.

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Yeah.

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So that can be tricky for those students.

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So yeah, spending some time on that.

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Then at 17, the clarinets still have the melody with the trumpets, but now we have more people

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added in like the flutes and the oboes and the trumpets are holding this note above them

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and they're not as important.

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So we have to back them off.

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Flutes have got to show off great vibrato along with the altos on a very long tied note for

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five beats.

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Then that will also help mask any tuning.

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If the tuning, you know, if they're using good enough vibrato, it can, it can, it can

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help mask some tuning inconsistencies.

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But this again, like Laura said, it's, you know, it follows the format.

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We have the, the little melody line.

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We have a little counter melody and then we have the baseline.

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So it's easy for kids to know where they fit in.

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They even have like breath marks written in about where to breathe.

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So again, I would draw arrows in my parts when I'm pre-marking for the kids and arrow

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where there's a dotted quarter or dotted half note going to two eighth notes.

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Don't take a breath there.

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Then we continue this little rhythm as we go on to measure 25.

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Then going into 25, we have a little statement in the trumpets four and one.

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Then everybody else in the band goes two, three, four, one and two, three trumpet flute

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two, three, four.

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And trumpets are all by themselves with snare drum in that pickup to 25.

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So again, that's kind of a counting thing.

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Making sure that the people who are not trumpets are counting carefully and know right when

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to come in.

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Yep.

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So the calculation here is not, there's no special marking, so everything is long and

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connected with a firm front.

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Yes.

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Yes.

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And then March style.

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Yeah.

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And then there is one like little big skip in the horn part at 28 where they have to

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go from an E to a C and then they have to hold said C for eight counts.

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So I mean, that's kind of difficult.

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So you might want to like maybe even horns will sit this one out.

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Toes can take over or find one horn player who can play that in tune without it getting

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flatter as they hold or where they're not blasting above the group because it's not

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the melody.

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So we want to make sure it's just light sounding.

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And then I would also consider this is a section where I have found tuning.

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Like if you have a player that is playing that, they can often be really, really sharp

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on that C. But if they play on the non trigger side, if they play on the F side of the horn,

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it really helps to bring that pitch down.

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Again, that's only if they can play with a really good sound on a C to begin with.

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That is something an alternate fingering to consider to help the tuning.

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Then the flutes have this kind of cool counter melody line where they go up to a B flat,

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A, G. It's like a little scale.

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It doubles tenor sax, which I think that doubling is really interesting, but I like the color

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of it.

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And you want to make sure that they're not blasting above everybody.

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I have often had only one flute player play the upper octave and had everybody else mirror

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what the oboes have, which is just a third line B flat.

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And then we have the same little low brass part here.

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The horns have to go back to an eight count C a little bit later.

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More fun.

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Yeah.

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Because it's just the same phrase again.

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At 36, we end the piece with long quarter notes.

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Long, rest, rest.

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Four, long, rest, rest.

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Four, one, two, three, four, one, release.

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Breathe.

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Three, four, one, two, three, four, don't breathe.

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Cha cha cha.

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So it's, I mean, it's just such a good little piece and it is written really well to make

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bands sound good with the right instrumentation and the right players.

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That's right.

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That's right.

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We hope that you have enjoyed learning about both of these pieces, Andalucia and Infinity

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March and that you'll consider programming them in a future contest season.

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Thanks for joining us on this episode of Band BFFs.