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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 will be talking about Appalachian Morning by Robert Sheldon.

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Cheers to starting the conversation.

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This is an absolutely beautiful piece.

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Absolutely beautiful.

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It is-

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As all Sheldon pieces are.

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Yes.

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It is in the key of concert E flat 4-4.

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It does modulate to the key of F towards the end of the piece.

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It has split clarinet, alto, trumpet, and trombone parts.

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It's about three minutes in length.

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The percussion parts are very limited in this.

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They're really more color effects.

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Bells is extremely important.

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Timpani is important.

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Otherwise, we have like some-

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Wind chimes.

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Yeah.

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Like suspended cymbal rolls.

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But nothing that is going to be overly challenging for your percussion.

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So Katie and I both feel pretty strongly if you choose to program this piece, which is

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fabulous for developing and growing soloists.

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But if you choose to program this piece, it would be really important to make sure that

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you have someone on your staff that can pull your percussion out so they're not standing

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in the back being bored to tears when you're working on it.

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And that you program it along with something that does challenge your percussion.

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Yes, for sure.

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This piece is a Texas PML grade three, and it is very, very slow, the whole piece.

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It's like marked at 72, and then it goes to 80, and then it ends at 66.

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So you have to be really cognizant of training your students to subdivide, feel pulse.

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There's no pulse happening in percussion or otherwise.

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That's what makes this piece so beautiful, but also so tricky if your kids aren't prepared

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for that.

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And it's real easy to make it sound very immature if the phrasing is not executed effectively.

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So those things I think are really important.

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The tempo feels very rubato throughout.

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Yes.

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So it starts off with, it's marked peacefully, and it starts off with kind of like a bell

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tone hit and flute, oboe, and bells.

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That's kind of what I've thought of when I've played this piece before.

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I've told students it's like at the beginning of a movie when like just a beautiful serene

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scene just pops up on the movie.

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That's the flute and oboe, and they're holding a chord, and the bells hit, and the wind chimes

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start going.

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And then there's this beautiful clarinet solo that comes back later in the piece.

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Now I think it's really important.

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Oftentimes we don't make our percussionists breathe because they're not a wind instrument,

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but this is a classic example of a spot where I would make the percussionist breathe with

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the flute and oboe players, and I would practice that repeatedly.

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If they breathe with you, they will increase their chances of striking the bars at the

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exact right time.

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Absolutely.

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So this is, you know, we're imagining a morning in the Appalachian Mountains.

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So the clarinet is like a little, I've said before, like a little woodland squirrel or

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rabbit.

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I've said, but some little animal just like waking up and, you know, giving those kids

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that musical imagery is so important to make it sound beautiful.

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You need a beautiful clarinet player to play this piece.

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Needs to be able to play just very smoothly, lyrically, beautiful phrasing.

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Then the low voices come in along with some of the mids.

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Everybody on beat two, and you have to line this up so much, and it's difficult.

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It is.

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Especially like Laura said, you all have to breathe together and start together.

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And you have to start super delicately.

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Like it is a, you don't want an explosive start to the sound at all in order to make

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this sound.

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These are the challenges that make this piece worth it, but challenging.

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And you want to make sure you program it with the right kind of band too, right?

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Like if your ensemble doesn't really care about the musicality part of it and like thinking

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about coming in beautifully, like maybe this isn't the right piece for the group.

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I tell my students when we're talking about a really delicate and sneaky entrance, that

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it is like that you are taking your mom's most prized possession, like that is super

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delicate like a vase or a picture frame or something.

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And you are trying to put it on a high shelf.

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You have to be very careful, very like protected.

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All of that.

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That that's how we kind of treat those entrances.

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Then there's another little hit in the flute, oboe and bells, and then the clarinets all

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come in, including clarinet too, along with oboes on this little response to the melody

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that started on the clarinet solo.

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I love to feature the oboe color in that entrance for sure.

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Then the lows have another little sneaky entrance on beat two, not very loud.

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And if your kids can't handle the, if not all of the clarinets can handle the grace

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notes, because sometimes it's written in the first and second clarinet parts.

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If they can't all handle that and move together and sound clean, put one clarinet player on

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the grace notes and that's fine.

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You get the effect.

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And then the trumpet comes in with the melody after that and it's only trumpet one.

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So you have to be very careful balancing this with your group because it does say everybody

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else has a mezzo piano crescendo and a mezzo forte.

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So you need to make sure that you balance down everybody else.

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So the first trumpet doesn't have to try so hard to be heard over the rest of the band.

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That's the new voice of the melodic line.

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There's a beautiful little suspended cymbal roll here to help increase that crescendo.

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And the note, the final note of that melodic thought on the trumpet is a high D. So you

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do need to make sure you talk to your trumpet players a lot about making sure that that's

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in tune.

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They're holding it for four full counts over the whole band and the band comes in with

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this three and four and one and two and three and four and.

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And I tell them that's like a little ripple in the water or something.

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On this trumpet part right here and several times throughout this piece, the trumpet melody

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is written slurred, having a variety of slurs in it with lots of skips.

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So it is something that the trumpets have to work on to make it sound mature when they're

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making those skips and not bumping those under the slur.

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Yes.

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And I would definitely take slurs out when first learning this piece and just tongue

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everything for alignment of rhythm.

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And then later on, once we've got it all aligned and the pulse is totally set, then adding

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in the slurs would be good just to make sure because this piece can get out of hand quickly

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without good pulse sense in your students.

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And in this section we're talking about right now where Katie mentioned that all the accompaniment

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is playing these half notes underneath just the first trumpet melody.

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Consider having your students subdivide their parts.

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Yeah.

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Like if you have them subdivide it, then you can hear what they are internally feeling and

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it will help them as you know, eventually when you take the subdivisions away to still

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feel the subdivision pulse in their brain.

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Yep.

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Then after this little part at 11, we kind of, everybody's getting softer.

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There's like a little ending part, one and a three in the like sax and horn and euphonium

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part which is really pretty.

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It's like the end of the ripple in the water.

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Then flute and oboe come in with a new thought at 11 alone on a kind of a difficult rhythm

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on a triplet quarter notes to a dotted eighth note with a 32nd notes afterwards.

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So, you know, this is not the kind of piece where kids are necessarily going to understand

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how to count right away.

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So working that out or writing in counts ahead of time when you're marking in parts for students

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will be helpful, especially foot taps where the rhythm is occurring for students.

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That's what I like to do.

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I think it's really important.

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Yeah.

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To keep and upbeat arrows on their parts to help them understand the subdivision.

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This piece also whenever people are playing in 2D sections, everybody ends at the same

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time.

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So like here in measure 12, there's an eighth note tied cut off.

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So I will always like draw a crossed out eighth note and write off on three so that everybody

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when they're counting in their head one and two and off.

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So that way it's a very precise finish to the sound and then right on beat four, that's

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where the clarinets and the altos come in with a new melodic line.

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So right here at measure 13 now clarinets and altos are featured.

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We have this dotted eighth and 32nd rhythm again.

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The clarinet soloist had it at the beginning and it comes back several times throughout

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here.

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So again, making sure that the kids really understand how that rhythm works.

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In measure 14, we come back with the very cool bell tones.

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And again, this happens several times in this piece where the flute and oboe are split in

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fifths and the bells double them with these bell tone hits two, three, four.

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It's the only moving thing when it happens.

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So it's really important that it be precise and in time.

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First trumpets get to come back in.

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They echo the same melody that the clarinets and altos have just established for us.

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And then we get a really cool response in the flute, oboe and upper clarinet.

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So it's a little bit of a conversation between the trumpets and the upper woodwinds at this

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point.

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Most of the accompaniment part underneath it is sitting on whole notes or half notes,

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but they are obviously providing the harmonic foundation and they are also helping dynamically.

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So there are some crescendos and things.

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We want to make sure that the white note accompaniment part is not covering up the melody, but that

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they are providing their function, like giving that harmonic foundation and building the

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dynamics to help support what's happening in the melody.

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The second trumpet part is slightly different than the first trumpet part.

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And the second clarinet and the oboe.

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That's exactly right.

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It's really important.

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You want to make sure that you isolate that with just the flutes and oboes, just the clarinets,

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trumpets and so forth.

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And that you can hear both parts.

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They're different enough parts.

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It's like now there's two woodland animals is what I have told my kids before.

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So now it's a bunny and a squirrel or whatever.

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And so both parts are equally important.

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And again, like Laura said, just making sure that the low people don't overtake.

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The lows do have an important descending line going into 19 though.

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And they have a big crescendo there that can help because this is all leading up to measure

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19.

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It's our first like big arrival point here.

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And the dynamic is marked fortissimo.

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And sometimes, you know, younger ensembles can, yes, we get to play fortissimo and get

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the sound out of control.

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You definitely have to spend some time working to balance what does ensemble fortissimo sound

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like, and having them work just that measure, building that crescendo to get it to sound

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the way that you want it to sound.

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Most, or not most, but some of the people release on beat one and others continue to

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hold over.

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On a concert C, so the clarinet and the trumpet really have to make sure that they're listening

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to each other.

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And actually the clarinets are a whole step away from the trumpets.

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Yeah, it's a little tension.

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It's like a little tension chord.

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But it's a high D and trumpet again.

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So again, making sure that that's an in tune note.

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I've heard this piece performed several times where that final moment is impactful, but

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then you've got this trumpet sitting on a high note flat and it kind of takes away from

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the beauty.

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So make sure that your trumpets are really in tune as they're holding that.

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If only one trumpet can play it really well, have one kid play it and then everybody can

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join in again because the first trumpets take over the melody again with some quarter notes,

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three, four, and then we have this really pretty, the trumpets have the melody, the

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trumpet one part, but then this euphonium tuba bass clarinet and clarinet one, they

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have these just moving pretty quarter notes right underneath them.

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It's beautiful leading to a long note and it feels like it's the end.

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And then all of a sudden on beat four going into pickups into 22 clarinet and flute, get

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a little moment again.

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So it's just, it's such a cool piece because he keeps writing it like it's like constant

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motion.

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I tell the kids it's like water ripples in the water.

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And it's really beautiful just because it kind of keeps you on your toes.

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It does.

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And no one instrument gets the melody for an eight bar phrase, right?

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It's constantly passing around the group which requires a lot of maturity.

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Yeah.

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And counting and pulse and everything.

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You've noticed we've not said anything.

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There's no snare drum part, so everything's just little colors.

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You got little wind chime hits.

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Then we got these little bell hits.

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This time the trumpets get to have the little bell tone hits at 22 with the bells.

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Then there's this really pretty entrance in the bass clarinet, bari sax and tuba where

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they play this tied rhythm on three and four and it leads into 24.

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It's really, really pretty.

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The whole band is playing right now.

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This is another big moment.

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This is the second really big moment.

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Yep.

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And we're leading up to a high concert E flat in the flute and a high F in the trumpet

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and a high F in the clarinet one part.

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So tuning across the ensemble is important.

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A flat in some of the trombone parts.

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And then we all start to kind of come down from there in dynamics.

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And it's doing the little moving quarter notes again, kind of like flowing water.

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The quarter notes keep going for a while.

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And I want to address real quickly the cross tuning here in this area.

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You know, if you've listened to this podcast before, Katie and I are big proponents of

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addressing things in music in your fundamentals.

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One of the ways that I address cross tuning like this is I will have my clarinets and

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alto saxes sometimes as well and flutes, of course.

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I will have my upper woodwinds.

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We'll play our concert F remington in whole notes and I will have those instruments take

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it up an octave.

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So instead of playing it in the staff, they're playing in their, you know, in the upper clarion

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register or in their altissimo range.

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And they have to work to control the sound and balance and play in tune in those octave

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splits listening back down to trumpets and to horns, all of that.

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So that is a great way to make your kids aware of cross tuning with an exercise that they're

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very familiar with.

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Then at third, sorry, 27, we have an upbeat entrance on the and of three.

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And this entrance, in my opinion, is tough for the kids every time I've ever played it

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just because they really have to be counting and come in on and for and.

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So again, writing in the foot taps will be very helpful so that they can all enter.

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It's clarinet one and oboe.

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Then we again, we still have this free leap heart.

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It's a little faster here.

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The lows are playing quarter notes and half notes.

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So are the mids.

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So it just kind of has this energy underneath now more so than just the whole notes that

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we had before the trumpet one and clarinet to come in with the melody at pickups to 29

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and then the flutes finally finish it off in 29.

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So we're adding in different little colors.

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And this is a great opportunity to talk to the kids about when you hear a new color come

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in, you need to play a little softer so that we can hear the new featured part even better.

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Then we have this really cool moment at 30.

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I loved this part.

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Yeah, for the first time in the whole piece, we have like really articulated parts.

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Everything else up until now has just been legato tonguing and slurs.

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Yes.

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And now we have this cool like heroic sounding part in the horn trumpet two and alto one

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part.

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It goes and and three and a four and it's this big moment in this is our third big moment

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now and this is a big horn and sax moment.

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Remember saxes color the horn.

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So make sure your horn is the prominent voice.

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But then above that trumpet and flute and clarinet are also playing a really important

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part.

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It's kind of like a little conversation.

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But I like to feature the horn here.

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I agree completely.

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Now goes up to a high F.

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The second trumpets are doubling what the horns and altos are doing here.

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So that can kind of help beef that up with that.

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Just for that one measure.

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Then that's right.

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That's right.

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Just on that big hit right there.

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But the horn color should definitely be your dominant sound.

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And then we're kind of all strong for a couple measures.

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Then we have a forte piano at 33 and a huge ralentando while trombone one horn and alto

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one are playing these accented quarters and eighth notes leading us up into the big moment

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at 34.

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And that is something where they really have to be careful to do the forte piano on a whole

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note so that we're not overtaking this really cool moment of coming up a little scale.

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Now that forte piano your first trumpet player your entire flute section and the first clarinets

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are on a high concert F.

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So a high G and you're asking those them to play a forte piano up there.

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So that might be a moment that you consider just putting one trumpet player on that.

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So that or have everybody take it down an octave.

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I've done both of those things before.

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Like I that's not a place where I want kids trying to play.

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Yes.

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A high G quietly and yeah good luck.

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So the second trumpets have it the exact same thing.

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So it's written in octaves.

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So I've had the first trumpets just jump down on the pickup notes there and just everybody

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be on the lower G and let the flutes shine on the upper note which is cool.

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But this trombone moment here with the horns is really pretty.

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It is.

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Yep.

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And the altos have it as well.

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Yep.

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And then going into 34 it's clarinet and trumpet one only continuing that quarter note alignment

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like a scale going upward.

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But now they're slurring it before it was accented quarters.

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Now it's slurring and we're leading into the new section.

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So now here we are at measure 35.

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This is the key change.

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So now we bring back that melody that we had at the beginning but we're in the key of F

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now the key of concert F. So oboe and alto now get that little melodic soloistic line

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that we had earlier in the piece and we get the responses again in flute and oboe but

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now in alto and horn.

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So with those grace notes that we talked about way back like in measure five six seven of

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the piece.

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So you can treat all of this.

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This is great because you can copy paste the same type types of concepts that you were

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using in the beginning.

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But now we have different color instruments a different color combination here and a different

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key.

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Yep.

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We haven't talked about timpani too much but just know that every time the timpani plays

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in this piece it's really critical for them to roll really really well and really build

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the suspense up with tubas before final hits.

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I just wanted to say that because it's a really cool piece.

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And making sure that they arrive in time.

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At the exact same time.

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Yes.

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Measure 38 is a really cool measure because you have the upper people with one and three

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and one and then you have the trumpets and the first clarinet sorry first trumpet and

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first clarinet on a different part and they go one and two and three and four.

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I love that measure because it's really fun to teach the kids like listen there's something

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on every beat and they love listening for that and making sure that you can hear those

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colors come through.

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At 39 at Rolentondo's again there's a trumpet solo followed by a saxophone solo on upbeats.

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Everybody else is decrescendoing underneath them then finally a clarinet solo on an upbeat

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and then the trumpets finish it out into 41 with the end of the solo three and a grace

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note for a one then we have the bell tone hits again in the fluke oboe and bells and

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this is just like the beginning.

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And now we're even smaller 66 yeah so we're back to the little clarinet melody like we

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had at the very beginning a little solo again the same delicate entrance on beat two in

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the middle and low voices then those trumpets solo at 45 and that trumpet solo goes all

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the way to the end so you want to make sure you have a really strong player in your group

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to program this piece.

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They're all alone with like a little bit of woodwind above them but not really then the

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band comes in for one last swell as I call it with my kids at 47 there's one last crescendo

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up and then everybody is getting softer again but on the getting softer work we're ascending

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on pitches up to a high e natural in trombone one so I know that all the times I played

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this in a G and trombone two we've really had to work hard on making sure that tuning

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not only it's in tune but also that we're decrescendoing and keeping beautiful sound

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all the way to the end so that's that's a little bit of a tricky measure.

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And it slows down so there's in that exact same measure there is a raw lantando so I

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mean that moving that's exactly right and then you end with the same beautiful bell

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tone hits and flute and the bells like we had back at the beginning and the flutes hold

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this this fifth together and they have to sound gorgeous and crystal clear and in tune

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and vibrato and they hold it forever yes or wind chimes swipe and they have to play a

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C in tune on the flutes forever and ever so pick pick wisely that's right I feel like

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every time I've played this I've done it with two kids and that's it that's exactly how

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I do it as well and then the entire ensemble comes in piano on a fermata on the last note

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after the flutes have been hanging on at this slower than 66 whole note it's a challenging

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ending it is definitely a challenging ending to make this sound mature but so worth it

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the juice is worth the squeeze for sure on this piece in my opinion we both really love

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it and it's been such a pleasure to play each time I've done it I have fond memories of

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playing it with my groups and I think it's just a beautiful piece if you have the right

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players for it for sure it's even a piece obviously during your contest season that

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you could consider but I would also consider it if you're trying to I've used it to help

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develop soloists and preparation for contest season but playing it at your fall concert

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or a winter concert playing it at some other time to help develop the skills that you want

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during contest season but again it's perfect for contest as well we absolutely love this

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piece we hope that you have enjoyed this episode and you will consider programming Appalachian

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Morning by Robert Sheldon thank you for joining us on this episode of Banned BFFs