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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're going to be discussing A Walk in the Morning Sun by Pierre LaPlante.

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Cheers to starting the conversation.

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Well, everybody, sorry this episode is a little bit late coming out.

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It has been quite a Band-cember, if you will.

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It has been pretty busy.

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We went to school all the way up until the 20th of December.

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Had to make sure all your Christmas shopping was done by the time you got out of school.

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That was stressful.

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Very stressful.

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Very stressful.

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Fortunately, I did like 98% of mine online.

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Yeah, I know.

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Why don't you tell everybody about that text that you sent?

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Ridiculous.

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So, my husband and I, who's also band director, we both had concerts on the same night and

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my son was going to a GDYO concert in downtown Dallas.

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So, I was coming home from my concert thinking, I'm going to have a nice relaxing evening.

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I got home first.

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I'm going to change in my PJs, get into bed early.

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I went outside to check the mail and stacked up outside life.

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Like literally like 30 boxes.

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Everything got delivered all on the same day.

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Nobody stole anything.

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So, that's like a big deal.

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That was a big deal.

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I was really thankful for the neighborhood that we live in, but I did not have a relaxing

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evening.

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I got to sit there and wrap all of those gifts.

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But then it was done.

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Then it was done.

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Yes.

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But it's been busy.

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So, sorry for the delay.

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But we're very excited to talk to you today about A Walk in the Morning Sun, which is one

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of my personal favorite, Texas PML Grade 3.

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So, this piece sounds exactly like what the title indicates.

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It is a nod.

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Maybe even Laplante talks about in his program notes that this is a nod to Leroy Anderson

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and all of that fun kind of music that he is known for writing.

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This is in 2-4 time.

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It's about three minutes in length.

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It's in the key of E-flat to start.

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It goes to A-flat and then comes back to the key of E-flat.

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So, there are some key considerations in this and 2-4 throughout.

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Percussion considerations.

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There's not a whole lot of percussion going on.

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You need a minimum of, I would say, five players.

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The timpani part is real light.

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So, I mean, if you had to do without the timpani part, it's not going to hurt the music to

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do without timpani.

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Everything else you really need in the percussion section.

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Split parts in clarinet.

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Three parts.

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Three trumpet parts.

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Four horn parts.

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So often, they're doubling, the first and second horn are doubling, third and fourth

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horn are doubling, two trombone parts plus a bass trombone part.

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So, this really is instrumentation-wise.

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It's kind of old school.

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Yeah.

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And a piccolo part.

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Yes.

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But this piece is super fun.

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I think the piccolo part is actually very important.

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It kind of adds to that walking in the morning sun feel.

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It starts off with bassoon clarinet and then cues and bass clarinet and e-phone, in case

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you don't have a bassoon.

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But it's real jaunty, like Leroy Anderson.

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So it just sounds like somebody stepping out for a walk in the morning sun.

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And it's a bassoon and clarinet player a little solely.

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They have a fermata, and then the piece starts off on measure four with the one and two and

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one and, or one and two and one and two.

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It's got a real jaunty style, and that kind of continues through the whole piece.

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So we've got a lot of what I call oompa parts.

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Real playful.

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Of course, in horn a lot of the time, sometimes in trombone, later on.

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So it's very playful.

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The tuba part is pretty important for a walking bass line, along with bass clarinet, a lot

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of the time.

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So you just have to kind of have everybody's got their own little moment in the sun, if

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you will.

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And so I think that it's just a great all around piece to play.

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And euphonium does not double what's happening in the trombone part.

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Like it is often in its own little line.

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So that's something to keep in mind.

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So the piece is at a nice little walking tempo, about 100, 110.

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As I mentioned, the whole like jaunty part starts at measure four.

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With the woodwinds kind of starting off with the little style, alto sax kind of leads it

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into measure nine.

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And we have the oompa part starting with tuba bass clarinet, as I mentioned, with the pause

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being horn and clarinet here at the beginning.

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And then at 11, we get our first moment of melody that happens in flute and oboe and clarinet.

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And then there's a secondary counter melody and tenor sax and euphonium only, which is

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just kind of like blowing in the wind, like half notes, and it's just kind of moving on.

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But it's got just this cutesy little melody.

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It's very catchy.

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Yeah.

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And articulation is very important because it does change a lot.

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So maybe taking all the slurs out to begin with when your kids are first learning it

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to make sure that they just have the rhythm.

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It does have 16th notes in it, one and a two and often.

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So I think that just getting that taken out and then later on adding in the slurs to make

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sure that they're not compressing their fingers is a great technique for learning.

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Definitely.

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At 17, the lows get their first little moment of one and two.

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It's like this little syncopated moment that comes back and over and over and over.

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When I played this piece, I taught the kids to put a little bit of like a hairline of

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space between the dotted quarter note and then the tied eighth note to the quarter note

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to the next quarter note, just to make it sound a little bit more jaunty and light in

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style.

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And firm articulation on the front of that note too.

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At 19, we kind of continue, but now the piccolo adds in with the same people having the melody,

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same counter melody in the Euphonium and Tenor sax line.

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Often the brass just kind of acts as like a background track.

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It's like just coming in and little pops of color.

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And first trumpet is really taking the lead in the brass section.

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Second and third trumpet are often not doubling what's happening in first trumpet.

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Right.

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Like the horn and thunder or something.

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Yeah, they're more playing that harmonic function instead of less melodic function in the trumpet

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part.

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And the first trumpet adds in four measures later at 23 on the melody and immediately

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coming in on an upper D, going straight away to an upper F.

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So the first trumpet part is a little bit higher in range on this piece.

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But it adds to that little jaunty feel like you're walking in the sun.

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Little pops of xylophone in here as well when we get to like measure 27.

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So woodwinds are playing and then xylophone and some of the brass are kind of hitting

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in those rest one and boom and one and boom.

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Which makes me think of Leroy Anderson.

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Definitely.

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It's kind of like a little sleigh ride-esque feel.

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Saxophone gets a little moment of glory adding in with the flutes.

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And then we're back to kind of the melody part at 34.

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This time the trumpets get to have a little moment.

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And then oboe flute takeover.

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It's like a little echo.

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Going through the ensemble.

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Yeah.

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It's almost like two people are walking along the path and you know they're just conversing

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throughout.

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I feel like the trombones in this like you want to have pretty decent trombones.

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The trombones are almost like playing the role of a horn a lot of times through this.

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So they're split into into thirds or fourths.

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So tuning is going to be really important in that low brass.

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The tuba and euphonia are doing something completely different.

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And the bass trombone part a lot of the time.

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That's right.

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The bass trombone kind of goes back and forth.

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Sometimes it's with trombones.

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Sometimes it's with euphonia and tuba.

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So yeah you got to have pretty solid trombones that are okay like doing their own thing.

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And what I like when I when in my low brass when they have something similar to this we

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will do a lot of on longer valued notes.

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Like if it's written like in this case it's written as eighth notes often.

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So we'll play it as hold the note out for a half note value and really sit on that tonality.

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Here what it sounds like adjust for intonation make everything a lot longer than it should

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be kind of like taking the slur away.

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You know when you're talking about technique and some of the upper woodwinds.

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So really letting them hear what that what that tonality is supposed to be so that when

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you go back and put it on the rhythm you get those chord sounds in short bursts and it's

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not just tongue.

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Yes absolutely and that's really important when it's like in fifths like it is here.

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In the trumpets kind of take over the melody again passing back and forth.

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Piccolo gets to talk this time with clarinet one.

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It's just kind of passing its way through 44 the trumpets all of the trumpets have the

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melody one two and three and they're not in parts here this is just melodic feature and

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then flute piccolo and oboe get this cute little counter melody.

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They're just doing like a cute little grace note trumpets continue with the melody and

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then at 56 we get up into the melody here with first trumpet piccolo and flute and they

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are piccolo and flute are in the same range like as in not the same range but they're

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playing the same notes which means piccolo is an octave above and so tuning is kind of

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crazy down here so you really have to make sure.

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And doubling the first trumpet which is in a higher tessitura too.

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Right right it's like it's a lot.

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Up and even the clarinet part is up at the top of the staff not above the staff but still

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there's a lot going on at 56 tuning wise that you want to make sure you got your tuners

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and you're really making that be a big thing.

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Every time that we get this is like a big 2D moment here and then we're getting softer

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and softer taking parts out so at 60 we've thinned out to just the trumpet playing with

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the bassoon again kind of like beginning when it was bassoon and clarinet now it's

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trumpet.

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We're having a moment then we change key and we add a flat kind of like a march and now

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we've got like the trio like a march even though it's not march like at all but there's

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like the flute and the clarinet have the melody it's now very slurry.

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This is where the walk gets a little lazier.

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Yeah.

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Start meandering off the path a little bit.

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They're picking a rose and they're smelling it or whatever right.

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And just like lots of woodwinds here so your brass are getting you know there's some horn

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accompaniment but brass are basically getting to sit there and take a face print.

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Yeah.

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So clarinet and flute have the melody oboe will have little pops of coming in on the

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melody the tenor sax gets to come in eventually.

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There are cues in the low brass in case you don't have some of these low reed parts like

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tenor sax bassoon but it is just woodwinds for a long time.

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And I really think this section shines if you can do it with just woodwinds that woodwind

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color is just so nice.

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But at 80 we add in the the chords in the brass again but they're just there for chordal

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function they're just getting stronger and softer just like background music to the woodwinds

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they're still shining we've also added trumpet one on the melody.

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And again this is way more slurry than it was before before it was jaunty and stylistic

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now it's just all very slurred phrases and you want it to sound that way like a trio

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in a march like you want it to be not everybody breathing at the same time to connect it follows

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you.

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Euphonium and tenor sax get this cool moment at 86 where they kind of take over and they

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add in some horn and such as we're building up to 88 88 is a big focal point moment where

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everybody's playing.

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It's like the part in the walk where they've kind of arrived kind of seen their destination

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yeah and then it's getting softer and softer and we're kind of all dying down again horn

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is still important with trumpet one and upper woodwinds here with Euphonium a little bit

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then we kind of die down and it kind of sounds like this piece is going to end but it just

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gets a little slower a little quieter and then at 98 we pick back up again with the same

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little jaunty melody from before so it's still in the same key but now we've got bassoon

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and clarinet being featured again with a little bit of the upper woodwinds one tuba

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playing one little trumpet like interjections but they're not the focal point at 110 we

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get to have everybody join back in again and it's more of that a couple of it where Katie

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was talking earlier about putting a little bit of space a little sliver of daylight we

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are coming up to measure 114 where we go back to the original key now yeah we're back to

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the key of E flat like we were at the beginning it's back like measure four and yes it's done

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a recap and we have these little punctuations again of the one and one two and with xylophone

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and some of the other things popping in between on those rest so again just a restatement of

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what we had earlier in the piece and that's really kind of how this goes to the to the

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end it really is just a recap of what we had at the beginning this I envision Katie and

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I talked about it sounding almost like movie music like you could totally see it you know

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like the title sequence to a movie with you know your main character just skipping walking

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their dogs that's how I've talked about it when I've played it yeah and the kids like

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it because again it's very jaunty it's not the most fun piece for like percussion necessarily

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but it would be a fun like little interlude of a piece if you're programming for you

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yl putting it in the middle it features woodwinds heavily plus you've got to have at least one

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or two good really solid trumpets but the decent function yeah and the function of the low

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brass though is not as melodic so if you have a little bit of a weaker section then this

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would definitely like hide it a little bit but I think woodwinds are definitely shine

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in this piece yes for sure so this is a good one for that and like Katie said percussion

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parts are limited so you know if this would be something that I would pair with something

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that's a little bit more intriguing for your percussion section because they're not going

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to have a whole lot to latch on to in this but their parts the parts that are there are

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important and you need to make sure that they're you know the kids are solid on it a lot of

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that upbeat stuff the end is very cute though it's a little different from the beginning

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it thins out again after Lara said it's kind of the same as the beginning which it is at

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150 we get our last little moment of and and one and two and then and that's in piccolo

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and then flute no bo have and one and two and they kind of keep it going for a second

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then bassoon and clarinet have and one and two and so it's like a little echoing of the

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melody the last little moment of melody is in the tuba it's a tuba solo it's cute so

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it goes like low read like tenor sax and then tuba and then everybody two one and it's just

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like really quiet and cute at the very end like you imagine like a little twinkle on

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their little toe or something you know like it's it's very cute and I you know if your

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kids like hearing stuff that sounds movie-esque it's not super difficult like I said the hardest

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rhythm is the one one and a two and basically in the whole piece there are some grace notes

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in the woodwinds but that's probably the hardest technique and just in articulation being able

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to move your fingers in time and do the articulation style is the best of the style yeah absolutely

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well we hope that you will consider programming a walk in the morning sun with your group

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it's just such a fun little piece and I think there's something in it for everybody absolutely

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well thank you so much for joining us on this episode of band BFF's