1 00:00:00,000 --> 00:00:13,400 Welcome to our podcast and BFF's the podcast where we make your music selection less complicated. 2 00:00:13,400 --> 00:00:18,440 On today's episode we will be discussing rippling watercolors by Brian Balmages. 3 00:00:18,440 --> 00:00:22,080 Cheers to starting the conversation. 4 00:00:22,080 --> 00:00:26,320 This is an absolutely beautiful lyrical piece. 5 00:00:26,320 --> 00:00:29,560 It is in the key of concert E flat 4 4 throughout. 6 00:00:29,560 --> 00:00:32,040 It's about four minutes in length. 7 00:00:32,040 --> 00:00:37,080 It has split clarinet parts, alto parts, trumpet parts and trombone. 8 00:00:37,080 --> 00:00:39,720 It calls for five separate percussion parts. 9 00:00:39,720 --> 00:00:44,400 While the percussion parts are not technically demanding they are extremely important to 10 00:00:44,400 --> 00:00:48,320 the overall effect of the piece so you do need all of the parts covered. 11 00:00:48,320 --> 00:00:54,760 And because the percussion is kind of limited in the amount of participation they have 12 00:00:54,760 --> 00:00:58,800 in the piece we feel like this is a piece that if you choose to program it it should 13 00:00:58,800 --> 00:01:03,920 be paired with something else on your concert that does challenge the profession a little 14 00:01:03,920 --> 00:01:07,120 more and keeps them a little more actively engaged. 15 00:01:07,120 --> 00:01:13,200 So this piece is absolutely gorgeous and it is a short rippling piece. 16 00:01:13,200 --> 00:01:17,800 It's only 58 measures but again four minutes in length. 17 00:01:17,800 --> 00:01:24,240 So this piece is so slow the whole time and it's beautiful but you have to make sure that 18 00:01:24,240 --> 00:01:29,000 you are teaching your children an internal sense of pulse in order for this piece to 19 00:01:29,000 --> 00:01:32,720 stay together and be effective. 20 00:01:32,720 --> 00:01:35,520 Right before we started recording this I was talking to Laura about the fact that I've 21 00:01:35,520 --> 00:01:42,040 played this piece before and I wish I had told past Katie to come up with a cool thing 22 00:01:42,040 --> 00:01:46,800 to do with the kids but it's called rippling watercolors to think about how when you paint 23 00:01:46,800 --> 00:01:51,960 with watercolors how the colors kind of bleed together and things like that it would be 24 00:01:51,960 --> 00:01:57,560 really cool to program an activity with your kids in band class where you give them a little 25 00:01:57,560 --> 00:02:03,200 watercolor palette and talk to them about if you put one stroke of watercolor down and 26 00:02:03,200 --> 00:02:08,960 then the color just bleeds out and then you put down another color and it bleeds out and 27 00:02:08,960 --> 00:02:11,760 then they bleed together. 28 00:02:11,760 --> 00:02:21,040 That'll just give them an actual visual representation of the beautiful music that Mr. Balmages has 29 00:02:21,040 --> 00:02:22,720 put onto paper. 30 00:02:22,720 --> 00:02:26,880 That would be a really cool thing to do because it's just what a beautiful piece. 31 00:02:26,880 --> 00:02:30,280 The color combinations that he writes are really stunning. 32 00:02:30,280 --> 00:02:36,800 So it starts off with just clarinet and bass clarinet beautiful color family and then we 33 00:02:36,800 --> 00:02:43,360 add in, no we don't add in, we just have chords now in the first clarinet part, the second 34 00:02:43,360 --> 00:02:50,920 clarinet part goes down to a low E so it's just like beautiful this clarinet moment. 35 00:02:50,920 --> 00:02:55,080 It's the first paint stroke on the watercolor page. 36 00:02:55,080 --> 00:03:00,840 Then euphonium and horn come in with this beautiful voicing underneath them and throughout 37 00:03:00,840 --> 00:03:08,320 this piece basically on every single beat sometimes on and beats new voices and colors 38 00:03:08,320 --> 00:03:09,760 are coming in. 39 00:03:09,760 --> 00:03:15,960 So a strategy would be to bop certain moments so that your kids all can hear those different 40 00:03:15,960 --> 00:03:18,960 voices coming in and the alignment as well. 41 00:03:18,960 --> 00:03:23,760 It might even be worth taking all slurs out at the beginning of learning the piece to 42 00:03:23,760 --> 00:03:27,680 make sure that everything lines up because that's really important. 43 00:03:27,680 --> 00:03:32,920 There's no pulse underneath from any kind of percussion instrument throughout the piece. 44 00:03:32,920 --> 00:03:36,640 It's just really important that kids have a good sense of pulse as well. 45 00:03:36,640 --> 00:03:42,920 Once the precision is locked in or better and you're adding those slurs back in like 46 00:03:42,920 --> 00:03:47,240 Katie was talking about then I would relate this to like a flow study. 47 00:03:47,240 --> 00:03:53,160 I'm looking at the euphonium part and so making your air stretch getting air between notes 48 00:03:53,160 --> 00:03:56,640 and not making note transitions bumpy. 49 00:03:56,640 --> 00:04:00,000 So treat it exactly like you would a Chick-A-Wit's flow study. 50 00:04:00,000 --> 00:04:03,040 As Laura mentioned all the percussion parts are important. 51 00:04:03,040 --> 00:04:08,440 The timpani often has these little hits kind of like I thought of them as like little heart 52 00:04:08,440 --> 00:04:11,400 beats when I was teaching this to the students. 53 00:04:11,400 --> 00:04:15,760 I don't know what it is but he just keeps playing like two and and then big timpani 54 00:04:15,760 --> 00:04:18,440 roles too but they're important. 55 00:04:18,440 --> 00:04:23,160 Then the tubas and berry sax and bass clarinet often get these beautiful moments. 56 00:04:23,160 --> 00:04:26,160 There's even a contra bass clarinet part written. 57 00:04:26,160 --> 00:04:30,640 I don't personally have one but if you do and you have a great player that would really 58 00:04:30,640 --> 00:04:33,040 beef up this low reed sound. 59 00:04:33,040 --> 00:04:35,280 It's just beautiful throughout. 60 00:04:35,280 --> 00:04:40,960 And then at measure seven the the middle voices the trumpet and horn finally kind of come 61 00:04:40,960 --> 00:04:46,960 in and we are all building up and then we're getting softer again into measure 11. 62 00:04:46,960 --> 00:04:52,400 And again just listening for different entrances and hearing there's lots of color chords and 63 00:04:52,400 --> 00:04:56,760 trombone where they have like a D versus an E flat. 64 00:04:56,760 --> 00:05:00,320 So just making sure you're really talking about tuning and stretching out your air like 65 00:05:00,320 --> 00:05:01,320 Laura said. 66 00:05:01,320 --> 00:05:07,480 And as we kind of day crescendo and you know the entire ensemble is on a whole note that 67 00:05:07,480 --> 00:05:08,640 is piano. 68 00:05:08,640 --> 00:05:12,800 I teach my kids to think about it like a like evaporation right. 69 00:05:12,800 --> 00:05:16,440 You can't see water evaporate but we know that it happens. 70 00:05:16,440 --> 00:05:18,800 That's kind of what we want to have happen with the sound right. 71 00:05:18,800 --> 00:05:24,920 We just want it to kind of evaporate and evaporates all together on beat one of 11. 72 00:05:24,920 --> 00:05:30,680 And then the clarinet one comes in again with this little melodic line and then the 73 00:05:30,680 --> 00:05:35,760 flutes and oboes take over the melodic line with a little counter melody and alto sax. 74 00:05:35,760 --> 00:05:42,000 So it's a big woodwind moment here and when I've played this with my group the flutes 75 00:05:42,000 --> 00:05:46,480 have to just kind of play these half notes going upward and upward not high but to just 76 00:05:46,480 --> 00:05:48,280 a regular concert F. 77 00:05:48,280 --> 00:05:53,240 But because it's a long phrase and we're moving so slowly you just need to talk to them about 78 00:05:53,240 --> 00:05:57,960 making sure that they're keeping their head up and keeping their vibrato going quickly 79 00:05:57,960 --> 00:05:59,540 to help the pitch. 80 00:05:59,540 --> 00:06:04,320 And I tell my flutes to do what I call a head up release where they just bring their head 81 00:06:04,320 --> 00:06:10,240 up and then the sound just like Laura said evaporates in tune going into three four. 82 00:06:10,240 --> 00:06:13,840 And it's marked right here it says holding back slightly. 83 00:06:13,840 --> 00:06:20,640 So you have just this little three measure phrase that already is moving at 60 BPM and 84 00:06:20,640 --> 00:06:23,440 then now you're wanting to hold back slightly. 85 00:06:23,440 --> 00:06:29,600 So it is note wise and rhythm wise not challenging but definitely challenging to make it sound 86 00:06:29,600 --> 00:06:30,800 mature. 87 00:06:30,800 --> 00:06:36,440 There's a three four measure and it's absolute silence and then effectively grand pause. 88 00:06:36,440 --> 00:06:41,320 And then at 16 we come back in and four four and it's all tempo so you're back to the original 89 00:06:41,320 --> 00:06:42,320 tempo. 90 00:06:42,320 --> 00:06:47,920 We have that little timpani heartbeat again and now the percussion is going to get a little 91 00:06:47,920 --> 00:06:49,080 bit more active. 92 00:06:49,080 --> 00:06:54,160 There's this really cool vibraphone part that plays in triplets and then the bells part 93 00:06:54,160 --> 00:07:01,280 plays in eighth notes back and forth as we get further into this section. 94 00:07:01,280 --> 00:07:06,320 And the vibraphone part we just listened to the piece right before we recorded this and 95 00:07:06,320 --> 00:07:11,160 you can't hear the vibraphone part very well in the in the stock recording. 96 00:07:11,160 --> 00:07:16,600 I told my students to not play with soft mallets even though it says soft mallets because I 97 00:07:16,600 --> 00:07:18,840 could not hear that color enough. 98 00:07:18,840 --> 00:07:19,840 And I love it. 99 00:07:19,840 --> 00:07:25,800 I think it's a really cool part so maybe experiment with your vibraphone player with different 100 00:07:25,800 --> 00:07:30,320 strengths of mallets to see what you like with that color. 101 00:07:30,320 --> 00:07:33,040 It's not it's not the melody but it's just really pretty. 102 00:07:33,040 --> 00:07:35,320 Well it really adds to the rippling effect. 103 00:07:35,320 --> 00:07:41,800 Yes triplet one lolly two lolly three lolly right it just adds to that rippling effect. 104 00:07:41,800 --> 00:07:47,240 But you know experiment with what you think this part at 16 starts out with flute and 105 00:07:47,240 --> 00:07:54,080 oboe and saxophone doing a three quarter note crescendo to a whole note and then the clarinets 106 00:07:54,080 --> 00:07:58,040 have a response right after them and it's just really pretty. 107 00:07:58,040 --> 00:08:01,520 Then they do the same thing again it's like this little rippling conversation between 108 00:08:01,520 --> 00:08:07,600 the upper woodwinds and then we get to add in some like tenor sax and middle voices. 109 00:08:07,600 --> 00:08:14,000 Then we have this rippling effect in eighth notes coming down at 21 where there's an eighth 110 00:08:14,000 --> 00:08:15,480 note on every single beat. 111 00:08:15,480 --> 00:08:19,800 This was a measure that we bopped a lot when we played it just so you could hear all the 112 00:08:19,800 --> 00:08:23,280 entrances because there's a cool entrance in euphonium. 113 00:08:23,280 --> 00:08:27,760 There's a cool entrance in the tuba where they play on the and a four and it leads into 114 00:08:27,760 --> 00:08:33,120 measure 22 which is a big impact moment and then the trumpets take over the little melody 115 00:08:33,120 --> 00:08:37,600 and bells bells right there like as the rest of the band sits on a whole note the trumpets 116 00:08:37,600 --> 00:08:43,440 have a little a little moment but bells are playing two and three and four and with an 117 00:08:43,440 --> 00:08:46,840 accidental and it's really pretty it's so cool. 118 00:08:46,840 --> 00:08:51,960 Then the whole band releases on beat two in 23 and I would absolutely write that in on 119 00:08:51,960 --> 00:08:55,120 the part cross out the eighth note right off on two. 120 00:08:55,120 --> 00:09:01,400 Then we have an entrance on beat three right away with clarinets again while the trumpets 121 00:09:01,400 --> 00:09:05,240 are holding the trumpets are the only ones who don't release right they sustain through 122 00:09:05,240 --> 00:09:13,000 that measure on a low b flat so it's kind of its first trumpet only but you want to make 123 00:09:13,000 --> 00:09:18,760 sure that that low b flat sounds really good because it's you know if kids are clamping 124 00:09:18,760 --> 00:09:25,000 up their teeth or it's not very open sounding it can sound immature so you want to make 125 00:09:25,000 --> 00:09:27,800 sure that's just a beautiful low sound. 126 00:09:27,800 --> 00:09:32,280 Then the clarinets come in horns kind of back them up a little bit we're moving there's 127 00:09:32,280 --> 00:09:38,960 a really pretty moment with clarinet two where they play all alone on three four one and 128 00:09:38,960 --> 00:09:43,960 then everybody comes in most everybody at 26 again lows are back in. 129 00:09:43,960 --> 00:09:48,320 I would mark in I know we've talked about this before but on an entrance where many 130 00:09:48,320 --> 00:09:53,520 of the students have rest prior to it I would mark in a breath mark before they come in 131 00:09:53,520 --> 00:09:56,960 obviously you know they're going to breathe before they come in but when they see the 132 00:09:56,960 --> 00:10:03,160 visual breath mark it reminds them to breathe in time and that will help that that entrance 133 00:10:03,160 --> 00:10:04,680 be more secure. 134 00:10:04,680 --> 00:10:12,320 At measure 27 we have a little hit and then trumpets have this like quarter note bell 135 00:10:12,320 --> 00:10:17,600 tone that is on the same note but it's like decreasing in volume as it goes through kind 136 00:10:17,600 --> 00:10:24,320 of like a rippling effect with the vibraphone underneath then the horns have this gorgeous 137 00:10:24,320 --> 00:10:25,320 moment. 138 00:10:25,320 --> 00:10:26,320 This is such a cool horn part. 139 00:10:26,320 --> 00:10:32,080 Yeah at 28 and it's horn and tenor sax but like I'm always like tenor sax let the horns 140 00:10:32,080 --> 00:10:37,720 be important here it's not very difficult it just goes up to a D but it's a beautiful 141 00:10:37,720 --> 00:10:43,160 moment and some of the low voices have beautiful colors underneath them too then it goes back 142 00:10:43,160 --> 00:10:50,960 to the trumpet little hits going up and then they have an octave D at 30 so oh gosh tuning 143 00:10:50,960 --> 00:10:56,960 is fun times there so make sure you mark in all the things in this section so the harmonic 144 00:10:56,960 --> 00:11:00,440 structure starts to change a little bit. 145 00:11:00,440 --> 00:11:05,640 And now we're going back and forth between the vibes doing triple a triple a triple a 146 00:11:05,640 --> 00:11:10,880 triple a b a a a else so making sure your percussion really understand the differences 147 00:11:10,880 --> 00:11:16,440 in the rhythms is important then as Laura said this portion is like just changing the 148 00:11:16,440 --> 00:11:19,640 harmonic structure a little bit. 149 00:11:19,640 --> 00:11:25,160 We have lots of entrances on different beats so listening and teaching the kids to hear 150 00:11:25,160 --> 00:11:32,400 all the different moving parts is so crucial and again bopping it helps so that that way 151 00:11:32,400 --> 00:11:38,080 they can hear each entrance as they come in and with pulse aligning and making sure everybody 152 00:11:38,080 --> 00:11:43,440 moves those quarter notes completely together at such a slow tempo. 153 00:11:43,440 --> 00:11:49,160 There's a cool little trombone part at 33 where they have this neat little G versus 154 00:11:49,160 --> 00:11:56,680 a natural chord then it resolves to F sharp and A natural and then it resolves even further 155 00:11:56,680 --> 00:12:02,000 to C and F. It's really pretty it's hard so I just wanted to point out that that part's 156 00:12:02,000 --> 00:12:06,480 really cool as it kind of comes apart it's almost like again the watercolors are rippling 157 00:12:06,480 --> 00:12:08,680 apart from each other. 158 00:12:08,680 --> 00:12:14,320 Then there's this big timpani suspended cymbal buildup we're building up to measure 37 for 159 00:12:14,320 --> 00:12:16,840 three full measures here. 160 00:12:16,840 --> 00:12:25,640 There's hits back and forth at measure 35 between the lows and the uppers so tuba, berry 161 00:12:25,640 --> 00:12:34,000 sax, bass clarinet and bassoon have one, two, four and this part's really important. 162 00:12:34,000 --> 00:12:38,880 So I taught my kids to like literally play those like accented starts so that you could 163 00:12:38,880 --> 00:12:43,360 hear that different pitch because or that different rhythm entrance because everybody 164 00:12:43,360 --> 00:12:48,240 else has one, three, one, three so you want to hear that different part. 165 00:12:48,240 --> 00:12:52,240 And then we have a humongous big hit at 37. 166 00:12:52,240 --> 00:12:55,520 An arrival moment at 37. 167 00:12:55,520 --> 00:13:00,840 And everyone is together on unison half notes here rhythmically not note wise but we're 168 00:13:00,840 --> 00:13:06,800 on half notes here big full sound and then the horns get this horns and second trumpets 169 00:13:06,800 --> 00:13:12,080 get this other really big moment the whole ensemble sits on a whole note and horns and 170 00:13:12,080 --> 00:13:19,200 trumpets get the one and three, four big huge moment and percussion's doing all kinds of 171 00:13:19,200 --> 00:13:20,840 fun stuff behind them. 172 00:13:20,840 --> 00:13:24,800 They have lots of activity going on in the percussion section but this is a huge moment 173 00:13:24,800 --> 00:13:29,160 for horn and second trumpet you want that to definitely be the dominant voice for a 174 00:13:29,160 --> 00:13:32,080 full four measures for a lot of measures. 175 00:13:32,080 --> 00:13:37,000 Everyone else is you know moving in half notes and whole notes and again that horn and second 176 00:13:37,000 --> 00:13:42,400 trumpet that's that is it needs to be right in time together it needs to be accented. 177 00:13:42,400 --> 00:13:47,600 They have to play accented triplet quarters you want to make sure that you work really 178 00:13:47,600 --> 00:13:51,600 hard on that making sure that they're actually triplets. 179 00:13:51,600 --> 00:13:59,080 And then at 42 there's this measures fun because most everybody plays on beat one but then second 180 00:13:59,080 --> 00:14:06,000 trumpets play on beat two and first trumpets play on three and four so working that movement 181 00:14:06,000 --> 00:14:11,160 of sound up like it's a rippling watercolor effect is fun for the kids but you have to 182 00:14:11,160 --> 00:14:15,680 make sure that everybody else on the whole note gets in here that part happening along 183 00:14:15,680 --> 00:14:19,800 with the percussion having fun underneath on some triplets. 184 00:14:19,800 --> 00:14:27,280 Then the trumpets have a last little like moment two and three and then there's a fermata 185 00:14:27,280 --> 00:14:32,400 everybody's playing together and it's this big moment so the horns are building up then 186 00:14:32,400 --> 00:14:37,680 the first trumpet takes over continuing to build up there's even a divisi first trumpet 187 00:14:37,680 --> 00:14:45,480 chord D versus E and then it resolves to D versus high F and it's huge this moment is 188 00:14:45,480 --> 00:14:52,080 just like huge big big big then everybody cuts off and you come back in soft at mezzo 189 00:14:52,080 --> 00:14:59,600 piano on beat three four with clarinet and flute going into 46 so now 46 this is like 190 00:14:59,600 --> 00:15:06,240 a woodwind choir in this section same type of idea with these longer sustained you know 191 00:15:06,240 --> 00:15:10,680 half notes some quarter notes whole notes lots of shaping you want to make sure that the 192 00:15:10,680 --> 00:15:15,880 moving notes are brought out right every time with no bumps all of this is supposed to be 193 00:15:15,880 --> 00:15:22,800 slurred lyrical very very pretty we arrive on a chord together at measure 47 and then 194 00:15:22,800 --> 00:15:28,320 bells have a little hit underneath that that needs to be right in time that would be another 195 00:15:28,320 --> 00:15:34,440 place that I would have my my bell player player breathe before they played that so that it 196 00:15:34,440 --> 00:15:40,400 comes in in time and then saxophones and flutes we end up doing this conversation here between 197 00:15:40,400 --> 00:15:48,040 saxophones and clarinets and it ends up ending with this clarinet choir much like we started 198 00:15:48,040 --> 00:15:55,080 with at the beginning of the piece then there's a release on measure 52 with that clarinet 199 00:15:55,080 --> 00:16:00,840 choir and the the clarinet one part is holding an upper G or not an upper G but just a throat 200 00:16:00,840 --> 00:16:05,680 tone G for a while the tuning on that chord is really important so spend some time on 201 00:16:05,680 --> 00:16:11,480 that and then at 53 it says stagger breathe because then a lot of people in the band are 202 00:16:11,480 --> 00:16:16,280 going to be holding a note for a little while so make sure you teach them what that means 203 00:16:16,280 --> 00:16:20,800 and then we get like we just had the like woodwind choir now we get a low brass choir 204 00:16:20,800 --> 00:16:26,080 I love this low brass part it's a really pretty little like trombone euphonium beautiful everybody 205 00:16:26,080 --> 00:16:31,480 again is moving on different beats you have trombone one going up euphonium going down 206 00:16:31,480 --> 00:16:39,000 on three four then they all join in together at 54 on a whole note but trombone two moves 207 00:16:39,000 --> 00:16:46,760 on two half notes downward then we have a new color cluster chord at 55 and then horn 208 00:16:46,760 --> 00:16:53,000 changes the chord on beat three along with clarinet two and then the arrival at 56 of 209 00:16:53,000 --> 00:16:59,560 everybody holding the chord it's finally resolved it's so pretty but it's so hard just to align 210 00:16:59,560 --> 00:17:04,840 it and to make it sound mature and in tune but it's just gorgeous one of the other tools 211 00:17:04,840 --> 00:17:09,240 that I would consider using in this Katie talked a lot about bopping for precision purposes 212 00:17:09,240 --> 00:17:12,680 to make sure that we move in time together and I think that's really important and that's 213 00:17:12,680 --> 00:17:18,200 a great tool I would also have your students subdivide this when they subdivide an eighth 214 00:17:18,200 --> 00:17:22,880 note it's going to help them understand how to use their air more effectively and then 215 00:17:22,880 --> 00:17:28,240 it makes them move change their fingers or move their slide at the last possible second 216 00:17:28,240 --> 00:17:33,080 you have less time to move when you're subdividing eighth notes and so it helps to train them 217 00:17:33,080 --> 00:17:37,800 on that movement with their with their fingers their keys or their slide for trombones but 218 00:17:37,800 --> 00:17:43,320 again really helping them to understand how to use their air effectively which they need 219 00:17:43,320 --> 00:17:49,160 to be able to do to make this sound beautiful yep at 56 again we are all arriving for the 220 00:17:49,160 --> 00:17:55,040 last final chord and percussion ends out ends the piece so everybody holding the long note 221 00:17:55,040 --> 00:17:59,480 here they need to be stagger breathing you need to have a plan with the students talk 222 00:17:59,480 --> 00:18:05,360 to them about how that happens work on sneaky breathing and coming back in so like when 223 00:18:05,360 --> 00:18:10,240 we've played this before I'll just have everybody play the chord and the whole band like I'll 224 00:18:10,240 --> 00:18:14,160 just tell everybody to pick a note and tell them the chord and then we just play it for 225 00:18:14,160 --> 00:18:18,800 I don't know a whole minute and it's just like our goal is to hold this chord where 226 00:18:18,800 --> 00:18:26,160 it's piano and nobody sounds like when they're coming in back away after a breath mark so 227 00:18:26,160 --> 00:18:30,840 and that's a hard skill for some kids right like to breathe and not come in and bump or 228 00:18:30,840 --> 00:18:36,080 not come in and play louder than their neighbor so that's just a something again you can do 229 00:18:36,080 --> 00:18:42,040 in your daily exercises to make that sound really pretty again the percussion is playing 230 00:18:42,040 --> 00:18:46,000 all these cool things you got triangle you have the vibraphones playing again you have 231 00:18:46,000 --> 00:18:53,520 timpani hits the the the eighth or sorry the triplet eighth notes that we have had in vibes 232 00:18:53,520 --> 00:18:59,000 the whole time now slowed down to triplet quarter notes and that's the last thing we 233 00:18:59,000 --> 00:19:04,560 hear and then all percussion plays on beat three of fifty eight while everybody's still 234 00:19:04,560 --> 00:19:09,200 holding like Laura mentioned when we played this we breathe with our hands and with our 235 00:19:09,200 --> 00:19:15,640 mallets and we all hit together it's very difficult for all the kids to hit at exactly 236 00:19:15,640 --> 00:19:21,600 the right time and so you know that's that's something crucial to work on with your percussion 237 00:19:21,600 --> 00:19:26,520 section so not one thing is like a teensy bit ahead that's right everybody plays right 238 00:19:26,520 --> 00:19:31,640 together but it's a beautiful beautiful ending and wow what a gorgeous piece I love this piece 239 00:19:31,640 --> 00:19:36,760 so much it's a piece that can really stretch your students musically we appreciate you 240 00:19:36,760 --> 00:19:41,240 joining us on this episode today and hope that you will consider programming rippling 241 00:19:41,240 --> 00:19:58,000 watercolors sometime soon thank you so much for joining us today on band BFF's