1 00:00:00,000 --> 00:00:13,440 Welcome to our podcast, Band BFFs, the podcast where we make your music selection less complicated. 2 00:00:13,440 --> 00:00:19,280 In today's episode, we will be rounding out our new to music pieces. 3 00:00:19,280 --> 00:00:23,760 These are pieces that Laura and I both had the privilege of performing at Texas Band 4 00:00:23,760 --> 00:00:26,880 Masters Association Conference in July. 5 00:00:26,880 --> 00:00:31,840 And not only did we enjoy playing them, but we have enjoyed studying the scores as well 6 00:00:31,840 --> 00:00:34,360 to find ones that we really loved. 7 00:00:34,360 --> 00:00:39,480 These are the most difficult pieces of the ones that we heard, and these are grades three 8 00:00:39,480 --> 00:00:40,800 and four. 9 00:00:40,800 --> 00:00:47,960 Today we'll be talking about Winterscape by Gavin Lent, Spirit of Ostonaco by Jay Bocook, 10 00:00:47,960 --> 00:00:50,560 and Rail Riffs by Ball Mages. 11 00:00:50,560 --> 00:00:53,280 Cheers to starting the conversation. 12 00:00:53,280 --> 00:00:58,560 Okay, our first piece we're going to dive into today is Winterscape. 13 00:00:58,560 --> 00:01:01,880 This piece is a publisher grade three and a half. 14 00:01:01,880 --> 00:01:03,600 It's also about three and a half minutes. 15 00:01:03,600 --> 00:01:05,600 It's in the key of concert E flat. 16 00:01:05,600 --> 00:01:09,800 It changes time signatures frequently back and forth between four four three four, some 17 00:01:09,800 --> 00:01:16,920 two four in there, split clarinet parts, split trumpet parts, three clarinet and three trumpet 18 00:01:16,920 --> 00:01:18,160 parts, split alto parts. 19 00:01:18,160 --> 00:01:25,360 It actually has two trombone parts and a unique bass trombone part, plus lots of percussion. 20 00:01:25,360 --> 00:01:31,640 The percussion in this really don't function in a timekeeping or pulsekeeping type of role. 21 00:01:31,640 --> 00:01:34,720 They're really more color hits and things. 22 00:01:34,720 --> 00:01:36,840 Of course, you've got the bells on the mallets. 23 00:01:36,840 --> 00:01:41,720 They're sleigh bells, which is really the only thing that is timekeeping in terms of 24 00:01:41,720 --> 00:01:42,720 the percussion. 25 00:01:42,720 --> 00:01:44,400 It is so cute. 26 00:01:44,400 --> 00:01:47,920 It has nods of different winter songs. 27 00:01:47,920 --> 00:01:51,620 So we'll get into that, but it is a very, very awesome piece. 28 00:01:51,620 --> 00:01:56,200 So it starts out really fast, just with some eighth notes in the sleigh bells, like Laura 29 00:01:56,200 --> 00:02:01,440 said, with like little clarinet eighth notes as well, some low people parts. 30 00:02:01,440 --> 00:02:04,880 And then it comes in with just this gorgeous French horn melody on. 31 00:02:04,880 --> 00:02:12,020 We wish you a Merry Christmas has a lot of little like little syncopated rhythms, changes 32 00:02:12,020 --> 00:02:15,600 time signature about four times a score page. 33 00:02:15,600 --> 00:02:20,440 So it's very frequently changing it up, which keeps it interesting. 34 00:02:20,440 --> 00:02:23,520 Kids just need to be really comfortable counting in those time signatures. 35 00:02:23,520 --> 00:02:27,280 And this clarinet thing, the clarinet are like almost doubling the sleigh bells with 36 00:02:27,280 --> 00:02:28,280 this eighth note. 37 00:02:28,280 --> 00:02:30,880 Yes, it's kind of like little icicles falling. 38 00:02:30,880 --> 00:02:31,880 Exactly. 39 00:02:31,880 --> 00:02:35,740 It'll be real important that your clarinets, you know, stylistically match each other. 40 00:02:35,740 --> 00:02:39,560 And one of my favorite tricks for clarinet articulation when we're talking about staccato 41 00:02:39,560 --> 00:02:46,000 articulation is to have my clarinets articulate on a low E and make them if they can make 42 00:02:46,000 --> 00:02:51,280 a low E super crispy, dee dee dee dee dee dee dee dee dee dee dee dee on that note 43 00:02:51,280 --> 00:02:53,940 and use the same type of air and energy. 44 00:02:53,940 --> 00:02:56,560 It translates across translates across the instrument. 45 00:02:56,560 --> 00:02:58,880 So that's a little tip for you for clarinet. 46 00:02:58,880 --> 00:03:02,180 There's a really cool cup mute part in the trumpet. 47 00:03:02,180 --> 00:03:05,100 So that's always fun because you know, they love mutes. 48 00:03:05,100 --> 00:03:07,760 Then the lows get a little bit of melody at 11. 49 00:03:07,760 --> 00:03:11,360 It goes back to sax and clarinet melody. 50 00:03:11,360 --> 00:03:12,640 Then there's a trumpet melody. 51 00:03:12,640 --> 00:03:16,840 And again, what I really like about this piece, not again, what I like about this piece is 52 00:03:16,840 --> 00:03:21,540 that the melody goes back and forth between like all the different parts of the band. 53 00:03:21,540 --> 00:03:24,640 So it's not as if like only the flutes have the melody. 54 00:03:24,640 --> 00:03:27,080 In fact, they don't super duper often. 55 00:03:27,080 --> 00:03:31,560 There's some really cool harmonic progressions from 15 to 19. 56 00:03:31,560 --> 00:03:33,840 Then the trumpets get to play on a straight mute. 57 00:03:33,840 --> 00:03:35,160 So another little muted part. 58 00:03:35,160 --> 00:03:40,320 A really cool trumpet solo in this and this goes really fast and it requires that first 59 00:03:40,320 --> 00:03:42,700 of all, the trumpets have the mute in like Katie mentioned. 60 00:03:42,700 --> 00:03:47,360 It's a really fast rhythm one E in three E in one E in three E in they will have to double 61 00:03:47,360 --> 00:03:50,480 tongue that for maximum clarity. 62 00:03:50,480 --> 00:03:53,480 And of course you have the added resistance of the mute in there. 63 00:03:53,480 --> 00:03:58,640 So some cymbal instruments are playing this little rhythm along with them. 64 00:03:58,640 --> 00:04:02,920 So you can use that as a hey, let's match the sound of the cymbal or the xylophone too. 65 00:04:02,920 --> 00:04:03,920 Yep. 66 00:04:03,920 --> 00:04:08,880 And then we go back into kind of like a full 2d 3 4 section. 67 00:04:08,880 --> 00:04:12,080 And it's still we wish you a Merry Christmas. 68 00:04:12,080 --> 00:04:14,960 And then like just really cool harmony progressions. 69 00:04:14,960 --> 00:04:19,300 Like I just really enjoy everything that he writes in this piece. 70 00:04:19,300 --> 00:04:23,720 Then it morphs to a little Carol of the Bells portion. 71 00:04:23,720 --> 00:04:29,040 And again, we've got this cool horn part, but also the trombone one doubles the horn 72 00:04:29,040 --> 00:04:31,360 part as well as the bassoon. 73 00:04:31,360 --> 00:04:34,500 So that's pretty cool just like color wise. 74 00:04:34,500 --> 00:04:39,840 And then at 40 we have more of the little part like the clarinets what they had before 75 00:04:39,840 --> 00:04:41,320 now the flutes have it. 76 00:04:41,320 --> 00:04:47,440 So I love in this that all the little melodies that like their quotes, you can hear the Carol 77 00:04:47,440 --> 00:04:51,640 of the Bells or you can hear we wish you a Merry Christmas, but it has just a little 78 00:04:51,640 --> 00:04:53,160 bit of a spin on it. 79 00:04:53,160 --> 00:04:56,200 And it's not like the whole time they're playing Carol of the Bells. 80 00:04:56,200 --> 00:04:59,280 It's really just it's quoting it here and there. 81 00:04:59,280 --> 00:05:00,280 Yeah. 82 00:05:00,280 --> 00:05:01,280 Yep. 83 00:05:01,280 --> 00:05:06,320 So if you have like a really pretty lush section where it's very like slurred and like lots 84 00:05:06,320 --> 00:05:11,640 of crescendo decrescendos, then the style changes again at 48 to being a little bit 85 00:05:11,640 --> 00:05:16,480 more like punctuated with tons of accents. 86 00:05:16,480 --> 00:05:21,640 Nothing ridiculous range wise, except for I would say like trombone goes up to the high 87 00:05:21,640 --> 00:05:28,900 F pretty much a lot of the time trombone one and the horn goes up a little higher to probably 88 00:05:28,900 --> 00:05:30,480 F as well, but not. 89 00:05:30,480 --> 00:05:34,360 That one sits in a higher tessitura too for most of the time. 90 00:05:34,360 --> 00:05:40,640 And then it goes into a section of noting, oh come, oh come, Emmanuel really cool low 91 00:05:40,640 --> 00:05:42,240 voice featured here. 92 00:05:42,240 --> 00:05:43,240 Beautiful. 93 00:05:43,240 --> 00:05:49,140 And then we go back to a little we wish you a Merry Christmas in three, four. 94 00:05:49,140 --> 00:05:51,680 Then we all have like a 2d section. 95 00:05:51,680 --> 00:05:55,280 The horns have a little fun part. 96 00:05:55,280 --> 00:06:01,960 There is a just a short little section where snare drum is playing that is really important 97 00:06:01,960 --> 00:06:06,800 because this goes so fast and it's a bunch of sixteenth note patterns that are accented. 98 00:06:06,800 --> 00:06:09,120 You want to make sure you have a strong player for that. 99 00:06:09,120 --> 00:06:12,000 Then it goes suddenly slower at 75. 100 00:06:12,000 --> 00:06:16,440 There's a beautiful horn solo and then it says a la mauler above it. 101 00:06:16,440 --> 00:06:17,440 So that's kind of fun. 102 00:06:17,440 --> 00:06:18,440 Your kids will like it. 103 00:06:18,440 --> 00:06:23,040 And then a little flute and oboe solo and then it goes into four, four again. 104 00:06:23,040 --> 00:06:27,800 So it's literally like an eight measure slower. 105 00:06:27,800 --> 00:06:28,880 Different idea. 106 00:06:28,880 --> 00:06:31,000 And then now back into the fast. 107 00:06:31,000 --> 00:06:34,860 Trumpets are featured here so now they get this little eighth note motif that the clarinets 108 00:06:34,860 --> 00:06:37,840 and flutes had earlier and more of this sixteenth note. 109 00:06:37,840 --> 00:06:38,840 So again very fast. 110 00:06:38,840 --> 00:06:42,280 One, two, three, four, one, two, three, four, one, two, three, four, one, two, three, four, 111 00:06:42,280 --> 00:06:46,560 and requires lots of really clear articulation from all of the trumpets. 112 00:06:46,560 --> 00:06:47,560 And the upper woodwinds. 113 00:06:47,560 --> 00:06:51,840 So definitely you want to make sure your kids are able to articulate at that speed. 114 00:06:51,840 --> 00:06:54,040 Then the horns have another we wish. 115 00:06:54,040 --> 00:06:58,640 Oh no, it's Okum Okum Emmanuel again. 116 00:06:58,640 --> 00:07:02,600 And they have it accented this time along with sax and clarinet. 117 00:07:02,600 --> 00:07:05,640 So it's really a cool powerful moment. 118 00:07:05,640 --> 00:07:12,080 At 91 we have upper woodwinds having the same melody part and it's their moment of Okum 119 00:07:12,080 --> 00:07:13,080 Okum. 120 00:07:13,080 --> 00:07:16,340 Then we're getting a little bit more slurry into 100. 121 00:07:16,340 --> 00:07:20,120 It gets a little softer and a little slower just for two measures. 122 00:07:20,120 --> 00:07:23,840 A little multiretardando and then it goes back into the eighth note section. 123 00:07:23,840 --> 00:07:27,840 So it's kind of like if you were doing like a little like sled ride down a hill or something 124 00:07:27,840 --> 00:07:31,040 where it's like slows for a second and then it goes faster again. 125 00:07:31,040 --> 00:07:35,000 We come back to this cool quote of Carol of the Bells but this time it's in 4-4 instead 126 00:07:35,000 --> 00:07:36,000 of 3-4. 127 00:07:36,000 --> 00:07:39,280 So yeah I was like that's kind of cool when whenever we were performing and listening 128 00:07:39,280 --> 00:07:40,280 to it. 129 00:07:40,280 --> 00:07:41,280 So that was fun. 130 00:07:41,280 --> 00:07:42,680 Different idea there for sure. 131 00:07:42,680 --> 00:07:46,960 This really is more of the same just more of combining these different themes and these 132 00:07:46,960 --> 00:07:50,200 melodies making it sound really cool. 133 00:07:50,200 --> 00:07:52,920 There is a the trumpet range in this. 134 00:07:52,920 --> 00:07:54,960 We talked about the end. 135 00:07:54,960 --> 00:07:55,960 Going up pretty high. 136 00:07:55,960 --> 00:07:59,200 A flat, C, B flat. 137 00:07:59,200 --> 00:08:03,240 A bunch of like just big moments in the trumpet one part. 138 00:08:03,240 --> 00:08:09,440 Then it's good tidings for Christmas and a happy new year. 139 00:08:09,440 --> 00:08:10,440 We wish you a Merry Christmas. 140 00:08:10,440 --> 00:08:11,440 Sorry. 141 00:08:11,440 --> 00:08:16,840 But it's the good tidings part of We Wish You A Merry Christmas and at 124 and so that's 142 00:08:16,840 --> 00:08:17,840 really fun. 143 00:08:17,840 --> 00:08:20,960 Again another upper C in the trumpet part. 144 00:08:20,960 --> 00:08:24,240 So if you have a good slamming trumpet section this is the piece for you. 145 00:08:24,240 --> 00:08:27,000 Yeah this would be a cool way to kind of feature the trumpets. 146 00:08:27,000 --> 00:08:31,080 There's some cool like powerful hits back and forth with lows and then like kind of 147 00:08:31,080 --> 00:08:35,000 the like euphonium tenor sax low reed parts. 148 00:08:35,000 --> 00:08:37,160 They kind of go back and forth more eighth notes. 149 00:08:37,160 --> 00:08:39,600 Big finish to the end as you would imagine. 150 00:08:39,600 --> 00:08:44,840 A little slapstick like I guess nod to sleigh ride on beat two and then everybody plays 151 00:08:44,840 --> 00:08:45,840 on beat three. 152 00:08:45,840 --> 00:08:52,160 So it's really fun and totally doable by like any high school band. 153 00:08:52,160 --> 00:08:57,680 Maybe a really really confident you know varsity middle school band for the winter time of 154 00:08:57,680 --> 00:09:02,000 year because it is definitely a true three and a half I would say. 155 00:09:02,000 --> 00:09:07,880 Yeah it is and I love that it's a little bit untraditional for a winter themed piece. 156 00:09:07,880 --> 00:09:13,440 It's not We Wish You A Merry Christmas in your face or Carol of the Bells in your face. 157 00:09:13,440 --> 00:09:18,160 So it's a little bit it's kind of a more mature setting for it musically which I think is 158 00:09:18,160 --> 00:09:19,160 really interesting. 159 00:09:19,160 --> 00:09:24,160 And Mr. Lent does really cool like harmonies and good scoring so this is a fun piece. 160 00:09:24,160 --> 00:09:29,400 Our next one is called Spirit of Austin Nako by Jay Bocook. 161 00:09:29,400 --> 00:09:30,600 This piece is really cool. 162 00:09:30,600 --> 00:09:38,200 I love it is written in the style like under the influence of the Cherokee culture. 163 00:09:38,200 --> 00:09:41,880 So a lot of Native American type themes that you hear in there. 164 00:09:41,880 --> 00:09:46,400 Now the music itself is unique to the original to the composer. 165 00:09:46,400 --> 00:09:51,200 It's not actually any Cherokee themes but you know he uses the instrumentation and the 166 00:09:51,200 --> 00:09:56,880 color and the writing in order to convey that it is very much you will hear straight out 167 00:09:56,880 --> 00:09:57,880 of the gate. 168 00:09:57,880 --> 00:09:59,820 It very much sounds Native American. 169 00:09:59,820 --> 00:10:01,520 Very very cool little piece. 170 00:10:01,520 --> 00:10:04,600 It is four and a half minutes long. 171 00:10:04,600 --> 00:10:06,720 It is in the key of concert B flat. 172 00:10:06,720 --> 00:10:11,320 It does have some time signature changes throughout. 173 00:10:11,320 --> 00:10:16,000 Instrumentation is relatively minimal considering the scoring. 174 00:10:16,000 --> 00:10:24,680 It is split parts four horn parts three clarinet parts two alto so that it's thickly instrumentated 175 00:10:24,680 --> 00:10:26,440 for sure. 176 00:10:26,440 --> 00:10:30,600 And with this one we feel like you need to have obviously a fantastic flute player who's 177 00:10:30,600 --> 00:10:32,560 going to be featured for a long solo. 178 00:10:32,560 --> 00:10:39,320 Yes the flute solo at the beginning is 16 measures long and underneath the flute solo 179 00:10:39,320 --> 00:10:46,040 is just like a drum kind of like Native American and then a little like maraca or like a shaker 180 00:10:46,040 --> 00:10:49,560 gourd to make that sound and that's it. 181 00:10:49,560 --> 00:10:50,760 Everybody else is chilling. 182 00:10:50,760 --> 00:10:55,560 The flute solo is not difficult and it's written in a nice range of the flute. 183 00:10:55,560 --> 00:10:56,560 It's really pretty. 184 00:10:56,560 --> 00:10:59,600 You just want to make sure you got somebody that can be featured. 185 00:10:59,600 --> 00:11:04,600 There are flute bends just like you would hear in the Native American culture. 186 00:11:04,600 --> 00:11:10,440 At 16 we get like it starts with kind of the lows coming in adding in new people straight 187 00:11:10,440 --> 00:11:12,560 mutes in the trumpet. 188 00:11:12,560 --> 00:11:18,220 The oboes and bassoons get this little featured rhythm that kind of reminds me of like Native 189 00:11:18,220 --> 00:11:19,920 American like dancing. 190 00:11:19,920 --> 00:11:23,720 Yeah yeah yeah yeah yeah. 191 00:11:23,720 --> 00:11:25,920 And like little color solos which is fun. 192 00:11:25,920 --> 00:11:28,480 It's still slow here at the beginning. 193 00:11:28,480 --> 00:11:32,280 And the tuning here lots of like some of the chords are kind of clustered a little bit 194 00:11:32,280 --> 00:11:38,520 so to you know it will be something you have to work tuning on to make sure it gets the 195 00:11:38,520 --> 00:11:40,760 sound that he's after. 196 00:11:40,760 --> 00:11:46,320 The woodwinds are just kind of trading back and forth that rhythm and I think it's meant 197 00:11:46,320 --> 00:11:52,000 to sound like echoes like where is that sound coming from between oboe bassoon tenor sax 198 00:11:52,000 --> 00:11:54,440 alto sax clarinet. 199 00:11:54,440 --> 00:11:59,960 Then the all the woodwinds kind of join in together and then it goes to double time at 200 00:11:59,960 --> 00:12:00,960 28. 201 00:12:00,960 --> 00:12:03,480 Now it's at 160 marked. 202 00:12:03,480 --> 00:12:06,400 It's written in a way that it really feels like it's in cut time. 203 00:12:06,400 --> 00:12:12,440 I mean you do not feel like one two three four one two three you feel one two one two 204 00:12:12,440 --> 00:12:18,440 it should have that cut time feel and it layers voices in like almost every two measures or 205 00:12:18,440 --> 00:12:23,560 so so it starts out with just clarinet and flute then it adds in a little piccolo part 206 00:12:23,560 --> 00:12:27,880 with that's like kind of cutesy then it adds in alto then it has these little hits in the 207 00:12:27,880 --> 00:12:33,080 trumpet they have to double tongue again and this is still straight mute the low brass 208 00:12:33,080 --> 00:12:41,120 is just chilling then they come in at 36 with 36 with a huge long extended melody which 209 00:12:41,120 --> 00:12:47,000 you don't have cool it's so pretty and like how often do you have like trombone euphonium 210 00:12:47,000 --> 00:12:53,400 like on the melody for a long time with tenor sax bassoon it is just a beautiful like Native 211 00:12:53,400 --> 00:12:58,240 American sounding melody everybody else is still playing their same parts but it almost 212 00:12:58,240 --> 00:13:03,800 just sounds like river water it really does it's rhythmic and it's meant to be like give 213 00:13:03,800 --> 00:13:10,240 you a motor feel underneath the longer valued flowing type melody that the lows are playing 214 00:13:10,240 --> 00:13:16,080 but it doesn't overpower the melody it's because it's well scored it's very well scored 215 00:13:16,080 --> 00:13:22,000 yep and this melody goes on for a very long time just kind of changing a little bit in 216 00:13:22,000 --> 00:13:28,000 the upper people every once in a while then at 52 the flutes get to have a little important 217 00:13:28,000 --> 00:13:31,680 part with the clarinets again some of those echo features where the clarinets have it 218 00:13:31,680 --> 00:13:37,160 then the flutes then the clarinets again there's a very rhythmic like an ostinato part with 219 00:13:37,160 --> 00:13:40,880 about three quarters of the band so they have to make sure that they can articulate and 220 00:13:40,880 --> 00:13:45,960 play together melody is happening in the saxophone family and then we have this cool like this 221 00:13:45,960 --> 00:13:49,820 yeah this rhythmic thing happening underneath then there's like a little drum break where 222 00:13:49,820 --> 00:13:54,760 they get to be really loud you know kind of again like Native American type culture then 223 00:13:54,760 --> 00:13:59,280 there's these little hits just in the low voices so it kind of sounds like a like a 224 00:13:59,280 --> 00:14:04,840 powwow type feel they're all like around dancing around the circle the fire you know and they've 225 00:14:04,840 --> 00:14:12,640 got drums and low things 72 is another solo moment for trumpet and now they're back on 226 00:14:12,640 --> 00:14:18,620 straight mutes and it kind of sounds again like a little echoey part you have like lows 227 00:14:18,620 --> 00:14:24,440 two and four and and then piccolo to answering them yeah there's just like little answers 228 00:14:24,440 --> 00:14:28,520 and hits so kids have to be really good at counting because it doesn't necessarily like 229 00:14:28,520 --> 00:14:33,440 it's not tootie a lot of the time yeah and doesn't follow like a strict pattern or eight 230 00:14:33,440 --> 00:14:40,560 bar phrases all the time at 80 there's an oboe solo and it's pretty extended it's also 231 00:14:40,560 --> 00:14:45,960 kind of mirrored in the flute part but it's supposed to be kind of the oboe color for 232 00:14:45,960 --> 00:14:53,480 the feature and then there's a little trumpet solo going in along with that and then the 233 00:14:53,480 --> 00:14:59,160 percussion is kind of doing a little rhythmic ostinato underneath it's a very flowing section 234 00:14:59,160 --> 00:15:05,000 with mostly the mids and lows playing high people are just kind of chilling yeah but 235 00:15:05,000 --> 00:15:09,920 still the the feeling of it remember it's fast so that longer value notes still feel 236 00:15:09,920 --> 00:15:15,200 real flowy at 96 there's this really cool like I guess waterfall effect where it starts 237 00:15:15,200 --> 00:15:21,200 in the flutes then it goes to clarinets then it goes to the mids then it goes to the lows 238 00:15:21,200 --> 00:15:25,000 and it kind of just like falls through the band and then everybody's playing together 239 00:15:25,000 --> 00:15:31,960 and then at 104 we have a now the melody is in the trumpets and horns along with the euphonium 240 00:15:31,960 --> 00:15:39,100 and this piece the euphonium is frequently doubled with some of the other parts like 241 00:15:39,100 --> 00:15:45,880 the bassoons and the tenor sax or the horn so it's up pretty high it sits high at many 242 00:15:45,880 --> 00:15:52,560 many moments like up on d's over and over and over or f's e flats that sort of thing 243 00:15:52,560 --> 00:15:56,800 but they're not mirroring the trombones the trombones have like more of the rhythmic part 244 00:15:56,800 --> 00:16:02,320 it really is functioning more like a color instrument here and less like a tenor voice 245 00:16:02,320 --> 00:16:07,780 in the ensemble yep then we have kind of a lot of the same the little echoey things going 246 00:16:07,780 --> 00:16:14,080 on again like what we had before it's pretty 2d written for a long time then at the end 247 00:16:14,080 --> 00:16:19,280 we have some like bell tone hits and the horns which is really fun with euphonium and tenor 248 00:16:19,280 --> 00:16:26,900 sax kind of talking back lots of accents yes tons of accents and then 134 is just a big 249 00:16:26,900 --> 00:16:32,320 moment with all the alto flute gets a little melody portion lows are coming in right after 250 00:16:32,320 --> 00:16:37,240 them so it's like just a really big finish at the end there's a long chord while the 251 00:16:37,240 --> 00:16:43,920 drums do like a syncopated rhythm underneath the long value and then everybody ends together 252 00:16:43,920 --> 00:16:49,520 it sounds like the end of a marshy band show that's what we both said we listen and down 253 00:16:49,520 --> 00:16:55,640 at the end it's very it's it's fun it's aggressive it's exciting yeah so if you want to tie in 254 00:16:55,640 --> 00:17:01,760 like history into a piece this would be really cool everybody gets a melody at some point 255 00:17:01,760 --> 00:17:06,320 or another but i thought it was great because like trombone euphonium have this like real 256 00:17:06,320 --> 00:17:13,040 gorgeous long melody where they are featured so it's just a really cool piece our last 257 00:17:13,040 --> 00:17:19,240 one is probably our most favorite from the ones we played it's called rail riffs by bryan 258 00:17:19,240 --> 00:17:26,640 ball mages and it is a grade four for the publisher so this piece when you listen to 259 00:17:26,640 --> 00:17:31,040 it it's hard to sit still it will make you want to dance it'll make you want to move 260 00:17:31,040 --> 00:17:37,680 this piece was it had it uses utilizes a lot of different styles jazz and latin grooves 261 00:17:37,680 --> 00:17:45,200 and you will hear it immediately it was written the the the school that commissioned the piece 262 00:17:45,200 --> 00:17:52,400 is in a town that has a railroad track that runs through it so this was also meant to 263 00:17:52,400 --> 00:17:57,800 represent a little bit about the those tracks and the town and what is to come in the future 264 00:17:57,800 --> 00:18:02,960 for the town so very cool concepts it's about four minutes in length it's in the key of 265 00:18:02,960 --> 00:18:11,560 concert b-flat it's in cut time and moves pretty fast tempo marking is 116 in cut time 266 00:18:11,560 --> 00:18:18,240 there are split parts for clarinet alto trumpet just two parts for horn three for trombone 267 00:18:18,240 --> 00:18:23,200 the euphonium part is different than the trombone parts quite a bit of percussion in here lots 268 00:18:23,200 --> 00:18:29,120 of latin percussion as you can imagine and it starts with a really important snare part 269 00:18:29,120 --> 00:18:35,960 that is I mean it's giving you that train those train vibes immediately your snare drummer 270 00:18:35,960 --> 00:18:44,320 needs to have really good chops yeah and it starts out like with bell tones like you already 271 00:18:44,320 --> 00:18:50,360 feel like you're on the train then the euphonium and the tenor sax get a really important part 272 00:18:50,360 --> 00:18:55,320 at the very beginning just to kind of get us in the groove then the first melodic part 273 00:18:55,320 --> 00:19:02,160 is with the trumpets and clarinets first trumpet first clarinet sorry yep and this little theme 274 00:19:02,160 --> 00:19:10,320 comes back yeah yeah see we both really like it it's fun there's like a little splash cymbal 275 00:19:10,320 --> 00:19:16,560 part it's just very dancey and fun you imagine you're like at a party like it's it's a fun 276 00:19:16,560 --> 00:19:23,040 piece xylo and flute and oboe take over that same melody at 17 nothing crazy rhythmically 277 00:19:23,040 --> 00:19:27,560 it's just all fast it's just fast lots of technique it'll require some some good technique 278 00:19:27,560 --> 00:19:32,760 in your woodwinds and in your brass players as well at 25 horn and euphonium and tenor 279 00:19:32,760 --> 00:19:38,400 sax get the same little melodic vibe the euphonium as we mentioned it goes up pretty high it's 280 00:19:38,400 --> 00:19:44,000 like it starts off off the gate and like an upper d lot like all above the staff it's 281 00:19:44,000 --> 00:19:51,120 basically like being a horn in this case then trumpet has some little muted parts upper 282 00:19:51,120 --> 00:19:56,640 woodwinds kind of talk back to them the lowers then euphonium and tuba kind of lead us into 283 00:19:56,640 --> 00:20:03,880 33 alto sax gets the part the part of the melody then like the sax family actually 284 00:20:03,880 --> 00:20:08,360 and then the trumpets and the horns come back again so we're just passing it around because 285 00:20:08,360 --> 00:20:13,000 we're passing it between different families of voices too so it makes it more fun and 286 00:20:13,000 --> 00:20:16,920 enjoyable to listen to and it's well written where not everybody's trying to like cover 287 00:20:16,920 --> 00:20:23,320 up other people absolutely when we get to kind of the new idea we hit 49 now low reeds 288 00:20:23,320 --> 00:20:28,280 are being more featured it's a little woodwind choir thing where it's clarinet alto but it 289 00:20:28,280 --> 00:20:34,200 has a really cool thick low reed part here as well brass end up coming in euphonium has 290 00:20:34,200 --> 00:20:41,380 a cool counter melody they actually double the oboe and flute after this section coming 291 00:20:41,380 --> 00:20:45,780 in like four bars into this phrase which i think is i think is really cool we're coming 292 00:20:45,780 --> 00:20:51,360 up on one of my favorite parts of the piece where there is this grooving bass line yes 293 00:20:51,360 --> 00:20:57,320 it's so fun so we're we're now it's like kind of the same railroad e type stuff and then 294 00:20:57,320 --> 00:21:04,160 65 percussion starts to get to clap on the upbeats and then we start to hear like what 295 00:21:04,160 --> 00:21:10,320 is the jazzy portion so the first parts like railroad e and dance natured then we get to 296 00:21:10,320 --> 00:21:16,120 the jazz portion so this is the jazz portion we got some like horn rips yeah the flutes 297 00:21:16,120 --> 00:21:20,960 get the upper melody again we have then as like a string bass pizzicato type part on 298 00:21:20,960 --> 00:21:26,000 the tuba and it's just going it's like a jazz bass line it is it is a bumping bass line 299 00:21:26,000 --> 00:21:31,120 it's fun yes and then it sounds like a train because then the altos come in and like do 300 00:21:31,120 --> 00:21:37,980 like it sounds like train like flutes get like four notes at the same time to sound 301 00:21:37,980 --> 00:21:44,800 like so it's like really fun because it's jazzy but it does sound like a train it totally 302 00:21:44,800 --> 00:21:50,560 gives you the mental image of a train being a train station lots of like fun things that 303 00:21:50,560 --> 00:21:55,680 kids don't always get to see in their music like the rips like we said a glissando in 304 00:21:55,680 --> 00:22:01,360 trombones pitch bending and the flutes to sound like a train or a train horn yeah train 305 00:22:01,360 --> 00:22:07,160 whistle and so tons of that so that's kind of fun because that's different for kids really 306 00:22:07,160 --> 00:22:11,480 important percussion stuff as well of course that makes it sound very jazzy right before 307 00:22:11,480 --> 00:22:18,720 89 we have a really cool euphonium and berry sax feature yes interesting combination there 308 00:22:18,720 --> 00:22:24,360 while the the tuba is still continuing ambasone yeah bass line yeah then we just get some 309 00:22:24,360 --> 00:22:30,760 like little hits it just sounds very jazzy here very fun horn and trumpet two and three 310 00:22:30,760 --> 00:22:36,000 get a little moment of melody with low reeds and then everybody's kind of moving together 311 00:22:36,000 --> 00:22:41,920 we're going up above the staff on a lot of different parts then we're in three two and 312 00:22:41,920 --> 00:22:51,680 then this part is like a little hemiola it's like super fun then we get to hear the timbales 313 00:22:51,680 --> 00:22:58,160 and we're back in cut time and this is the latin groove so again just another style again 314 00:22:58,160 --> 00:23:05,380 with the railroad theme we get to do some trumpet like different things like they're 315 00:23:05,380 --> 00:23:10,160 gonna like they're gonna ham it up quote unquote and they get to do like a little trumpet what 316 00:23:10,160 --> 00:23:15,040 is that called like a shake like a trumpet shake up to like triplets so it's like kind 317 00:23:15,040 --> 00:23:21,840 of jazzy again and they get to do like little lip bends it looks like there are some cool 318 00:23:21,840 --> 00:23:27,820 things happening in the percussion like it calls for a small pot at this point or a kit 319 00:23:27,820 --> 00:23:32,980 you can sub a cowbell but i mean we definitely are like on the railroad yeah yeah feeling 320 00:23:32,980 --> 00:23:38,420 the back porch vibes yep and then um it's just kind of that groove for a long time it's 321 00:23:38,420 --> 00:23:44,440 going back and forth flipping between three two and two two for a while um very slurred 322 00:23:44,440 --> 00:23:49,240 though and like so again the technique is not difficult you're not having to like tongue 323 00:23:49,240 --> 00:23:53,880 really fast like ta ta ta ta ta it's just grooving but you are having to keep those fingers moving 324 00:23:53,880 --> 00:23:58,720 and it has to be very pulse yeah and again we've got the snare drum um having that little 325 00:23:58,720 --> 00:24:04,660 pulse part we go back here to that same original theme that has come back now and we're kind 326 00:24:04,660 --> 00:24:10,400 of recapping all of that yep and then it does kind of like a recap of each little style 327 00:24:10,400 --> 00:24:16,180 at the end it's like a big almost like the the power section of a jazz piece um flipping 328 00:24:16,180 --> 00:24:21,360 back and forth then it's like the latin again we're getting scoops in the trombone there's 329 00:24:21,360 --> 00:24:27,280 lip trill and the trumpet so then it like kind of all backs out again and thins out 330 00:24:27,280 --> 00:24:32,480 and it starts again with flute piccolo and oboe it's like oh the party's not over yet 331 00:24:32,480 --> 00:24:36,560 everybody else is chilling then it's like the little clarinet melody again again with 332 00:24:36,560 --> 00:24:41,840 the bass line and the lows um so it's really thinned back out it's almost like just building 333 00:24:41,840 --> 00:24:47,160 up the momentum again um then it does and everybody's playing everybody's got some really 334 00:24:47,160 --> 00:24:52,640 fun rhythms we've got lots of high trumpet hits here this is the culmination of everything 335 00:24:52,640 --> 00:24:57,600 coming together all the styles yep and then it ends just with a wonderful power chord 336 00:24:57,600 --> 00:25:02,400 it sounds like an organ the way it's scored at the end it's like you just there's no percussion 337 00:25:02,400 --> 00:25:09,920 yeah you know the winds just sit on this big thick fat organ sounding chord and then smack 338 00:25:09,920 --> 00:25:15,680 everything's done yes such a cool piece so much fun absolutely love it we loved it as 339 00:25:15,680 --> 00:25:21,220 adults playing it so yes yes big hits we hope that this has been helpful for you and that 340 00:25:21,220 --> 00:25:26,000 you have found a piece that you can consider adding to your future repertoire thank you 341 00:25:26,000 --> 00:25:51,680 so much for joining us on this episode of BAM BFFs