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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 Grand Gallop by Johnnie Vinson.

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Cheers to starting the conversation.

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All right.

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We love this Gallop March.

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It is in the key of concert B flat.

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It does change to the key of concert E flat.

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It's in two four and it has split clarinet parts, three clarinet parts, split alto parts,

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split trumpet parts, trombone and euphonium, often double but they do sometimes split.

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Limited percussion.

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You can do, you need to have snare bass and crash cymbal.

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The bells part you could do without.

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It does double the flute throughout.

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Timpani is not very active in this.

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If you have enough percussionist, it's always nice to have a timpani player, but you would

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be fine without it as well.

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This is a circus march and so the kids love it because it's fun.

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It's mostly 2D written and it can be played at any tempo, which I think is really fun

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about circus marches and gallops in general.

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You can play it kind of slow.

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You can do an achela rondo at the end to make it more exciting.

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So many options and it's not difficult for the children.

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The rhythms are fairly easy.

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Nerves and rhythms and styles are relatively easy.

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You bring in that extra level of challenge with the tempo, being able to differentiate

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the tempo based on the skill level of your ensemble.

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At the very beginning, the uppers have the melody and they come in on beat one each time

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and then the lows have a response on beat two.

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So it goes one, two, one, two, one, two and one, two and everybody has an accent on beat

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two and that happens a lot throughout this piece.

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Then the lows are going to come down a level and the trumpet, flute, clarinet one, alto

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one have the melody and this is written so that on the melody they play same, same, then

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we get louder.

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So each time on their little melody line, they're going to get stronger on eighth notes

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and land on an accent and note in the middle and then get softer again.

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So real quick, back at the introduction with this alternating people on beat one and people

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on beat two, I had my students play that like each of those notes were forte piano so that

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we could hear it really clearly.

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You could hear all of those entrances really clearly.

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Like all marches, I think it's important every time you have a pickup note that the pickup

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note is full value.

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So we might do firmer articulation and space some places in the march, but pickup notes

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should always be full value.

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No space between the pickup note and the downbeat of the following measure.

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This melody continues on in the uppers all the way until measure 20 through the first

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ending.

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Lots of slur two tongue two.

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There are little moments where the trombones get to kind of do a little counter melody

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type line.

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It's when the upper people have their half note, the trombones will have two quarter

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notes along with bassoon and it's just like a cool little moment that they can bring out

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a tad just to help with the color.

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At 13, the low brass are now tongue in quarter notes again.

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You do want to make sure you pay attention to the tuning.

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They do go up to like upper D and C and trombone and euphonium quite often.

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So making sure that those are in tune as they go above the staff and not loud because it's

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not the melody.

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As you're playing this section, depending on how fast you go, I think it's important.

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This is a musical opinion, but I would not put space between these quarter notes.

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I would use a really firm front to the note so it's clear, but I think it can sound immature

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if you start to put space between it.

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If you're going really, really fast, you know, da da da da da da da da da da da da versus

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da da da da da da da da da da da.

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That just sounds a little more immature.

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So that's again a personal preference, but I would go more on the side of firmness of

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the front of the note and not worrying about space.

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Yeah, it doesn't indicate to play it too short or anything like that either.

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So I think that that's a good, good thing to follow.

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The melody has a first ending and on the end of the first ending, of course, there's a

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big pickup to go back to measure five.

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You know, making sure that that is strong and as Laura said, continues on no space between.

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Then on the second time around, you can do whatever you want.

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That's what's really cool about marches is you get to make musical decisions.

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So it's one of my favorite things about marches.

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I love it.

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Maybe the first time you heard a lot of the trumpet and not a lot of the woodwinds, maybe

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the second time you want to leave the trumpet out and let the woodwind shine or maybe the

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first time the woodwinds shine and the second time the trumpet shine.

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The trumpet parts are both written to in harmonies a lot.

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I think it's really important to hear both trumpet parts on this piece while I'm kind

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of thinking about it.

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But do whatever you want.

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You can play it the same both times.

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That's kind of up to you.

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On the second time around, the whole group has kind of a final ending one, two, three,

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four, one off on one.

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And when I'm marking my parts, I always write that in.

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So it's like a half note tied to an eighth note release.

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We see that all the time in music.

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So the first few times we see that, I'll slash it out and write off on one.

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And then I'll teach the students now in the future, anytime you see this, we know that

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we're always just going to be off on one.

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And they're always like, Miss Lucy already teaches that a half note is off on one.

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I'm like, yeah, I don't know.

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I guess back in the day they didn't teach that.

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But I do make sure that they don't hold it over because there needs to be absolute silence

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on the and of one because then you have pickups two and one into the next string, which is

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at 25.

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And here at 25, the first time through, it is mezzo piano.

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We have a different kind of style here.

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This again, one of my favorite things about marches is being able to color them however

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you want, whatever your personal preference is.

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When we played this the first time through at 25, I featured woodwinds and had one trumpet

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player play and then had the snare player play on the rim.

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And then when we came back in the second time, all of the brass came in and brass were featured.

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Snare went to the drum and that helped to add to that contrast of dynamics, but also

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just made it sound a little bit more a little bit more interesting.

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Also it's a great way to depending on what other pieces you're pairing with this on your

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program.

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If your brass need a little bit of a face break, you can build in a face break on a

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march like that.

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So it's great that you can just tailor it to whatever you like and what is going to

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be effective for your ensemble.

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I think I was a little bit more boring and just straight up played it as normal, but

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I do that a lot with marches.

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This one we were talking before we started the podcast.

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I played this in 2021 right after COVID.

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I think that was the last time I played it.

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So I remember that my I just had a little tiny baby ensemble in person face to face.

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And so I think we just like there probably wasn't even a trumpet to play.

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So whatever it was is what we ran with.

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But it's a really cool little part where the trumpet and flute and clarinet are getting

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featured with the melody again.

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We have a little crescendo decrescendo for two measures again, like we did before.

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Lots of accidentals, especially in sax clarinet and trumpet.

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So just making sure that they feel really comfortable with that and that they like go

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through the measure.

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Like there's even an A sharp.

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So just making sure you teach them that or write it in their part to help them so that

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they know what that inharmonic is if needed.

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And then we get here at measure 33 as we're finishing out this little second strain, there

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is a chunk of two measures that are accented by everybody.

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And it is really important that that match and that it be different than everything that

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you heard before in the snare part right here.

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We have four accented quarter note rolls and they are not connected.

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So you need to make sure that the snare player understands that that we should not hear.

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We should hear there needs to be space in there since they are not connected and it

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will help match what the wind players are doing.

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And I told my bass drum to play louder there too.

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And the crashes get to be louder.

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The whole band gets to be a little stronger for those four notes.

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Then we have a second ending, a first ending and a second ending on the same thing as Laura

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already mentioned.

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She had her students do different things on each strain, which is pretty cool.

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Then we have a at the end of the second ending, a pickup into the trio at 43 and it's marked

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piano.

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So then we have our key change at 43 and the melody is in clarinet and alto sax, tenor

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sax as kind of like the harmony part.

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The euphonium line also has importance.

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It's a long, nope, it's with bassoon.

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Yeah.

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So the counter melody truly is in bassoon and euphonium here.

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It does have cues in the trombone part though.

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If like maybe you don't have a good euphonium section or something, you could have your

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trombone play.

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That's kind of up to you.

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This is another moment where, you know, this is where you get to let your woodwind shine.

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So like you can go down to one on a part in your brass instruments.

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I wouldn't do that in tuba.

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I think tuba needs to be beefed up if you have more than one tuba.

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But this is where the woodwinds get to kind of take over.

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Featuring your bass clarinet is a great thing.

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Letting your bassoon shine over and above the euphonium.

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I love trios and I think that if you can let your woodwind shine, it's just a cool moment.

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And like Laura said, it's a face rest for brass if you know you're programming something

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more difficult.

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In this section, before he does a lot, he writes in a lot of hairpin dynamics.

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There's nothing written in here.

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So you have the opportunity to kind of add your own taste.

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And I, you know, we basically did four measures up, four measures down.

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But writing it in and making sure that they're working for that goal.

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Because it's in two four instead of four four, they need to be thinking 16 bar phrases instead

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of eight bar phrases.

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And again, writing in breath marks and things like that.

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Places where they can breathe and places where they should not breathe.

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So that you get the type of phrasing you want.

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Yeah.

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And even where you want them to not breathe, I always write an NB, but I will also draw

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a crescendo because I really feel like they need to push through the end of that phrase

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where they would want to take a breath instead.

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You need to push through and crescendo so it sounds more musical.

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And then like Laura mentioned, you can in sectionals or whatever else you can pick spots

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where you want the kids to take breaths, where it's kind of hidden.

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There's plenty of quarter notes in here where you could say you two, you two breathe here,

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you two breathe after this quarter note.

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So it's just a matter of you taking the time to do that either in their part ahead of time

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to save you time later on in sectionals.

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So you can literally do like every single kid's part and say in the trio here, I'm going

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to let this kid breathe here and here.

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And then on the next kid's part, I'm going to let them breathe on the odd measures right

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here and right here.

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Or in sectionals, make sure you take time to talk about it.

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But breathing plans are so important and I think a lot of band directors don't spend

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enough time talking to kids about how important breathing is.

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It shouldn't just be breathe wherever you want to.

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Like if it's going to sound musical and I always talk to them, I talk to them like this

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and say, is this normal?

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And then they all laugh and look at me and I'm like, yeah, I know.

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Like you wouldn't play music like that either.

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Everything is going to get stronger.

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You're going to sound like there's an end and a beginning.

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There's inflection in what you play.

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Yes.

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There needs to be inflection in what you play.

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And this is a great march for teaching that because it's not technically hard and it's

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not rhythmically hard.

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So teaching those little like swells and everything is I think just so important.

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So low brass get another little moment of those four quarter notes with the accents

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as Laura mentioned before.

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And now we don't have the percussion to help us.

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So now it's low brass's job and low reeds to really bring that out leading into 59.

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We're continuing to have the upper people with the melody here, making sure everybody

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else is out of the way.

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And then at more accented quarters leading into 67.

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Then 67 has big saxophone moment along with the euphonium and bassoon line still in clarinet.

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Then we end with the low brass playing one, two and one.

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Then the lows get to come in with the dog fight.

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So 75 is your typical moment with the dog fight where the lows have the melody and they

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have house top accents now.

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So they get to play really, really firm and short here.

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And it's marked fortissimo.

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So yeah, I mean, lots of energy.

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And I did teach space here between the dotted quarter and eighth.

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So I did ta ta ta ta ta ta ta ta ta ta.

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So this is a moment where I did teach the space as opposed to before like Laura had

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mentioned.

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Then the upper people have a response.

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One, two and three, four and one, two, three.

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I know it's in two, four, but if you're thinking of it in that kind of phrase.

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Then the lows get their little moment again.

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And then the uppers have a response.

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A very traditional dog fight.

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And then everybody comes in at 91, mezzo forte together.

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Then we're going to crescendo up to make it sound really fun and exciting.

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Then big fortissimo pickup into 95.

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This is the moment where you could do an accella rondo if you wanted to.

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I believe when I played it, I did.

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So we ended the dog fight in the same tempo and then we had a pickup into 95 and we started

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getting faster and faster to the end.

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So there's a big fortissimo pickup unless I'm remembering this piece incorrectly.

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Nope.

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That's where it was.

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I experimented with it.

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It did not work as well for my ensemble.

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I love being able to do that, but the year that we played this, it did not work as well

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for my ensemble.

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So we ended up not doing the accella rondo, but I think it's a really cool option to have.

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This is also a place where I definitely brought out the trombone line.

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It's just a bunch of quarter notes, but we've heard the melody.

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It's a recap of the melody.

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And they get to do the two, three, four, like the accented quarters more here.

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Yeah.

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They need to be brought.

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This is the brass's moment.

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Yes.

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So the trio is the woodwind moment.

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This is the brass moment.

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So they won the dog fight.

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That's what you can tell them and they'll be so excited to play loud.

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But yes, the woodwinds get to kind of calm down.

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It's literally a recap of the beginning.

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Do whatever you want to make it sound even more fun in your ensemble to make it more

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colorful.

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If you're continuing to do the accella rondo, it gets faster and faster at 119.

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And then the ending is just a typical March ending.

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One, two, and one, two.

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And it is marked as a house top eighth note.

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Followed by eight the rest of that.

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But I always tell everybody the stinger should be long.

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Yes.

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I tell my students to think the word tone.

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One, two, and one, tone.

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Yep.

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Exactly.

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It needs to be long.

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Tone.

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Yep.

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So this piece is so much fun.

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It is fun.

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And you get so many choices.

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You can do whatever fits your ensemble to make them shine.

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One other fun little thing I didn't mention that if you have, because we talked about

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the limited amount of percussion parts on it, if you have extra percussion, one year

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we played this, we added some extra accessory stuff.

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It's a circus march.

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Have fun with it.

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We added like vibra slap and we added whistle like in some fun little places when it would

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make sense to have some cool little sounds.

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So you can definitely kind of make it a little more entertaining.

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Again, it's my favorite thing about marches.

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You can tweak marches and color them in any way that you want.

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So have fun with the circus march with your percussion section too.

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Yes.

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We hope that you guys will consider programming Grand Gallop in the future and thank you for

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joining us on this episode of BAM BFFs.