1 00:00:00,000 --> 00:00:10,400 Welcome to our podcast, Band BFFs. 2 00:00:10,400 --> 00:00:13,600 The podcast where we make your music selection less complicated. 3 00:00:13,600 --> 00:00:18,840 On today's episode, we're going to be discussing Brace for Impact by Christina Huss. 4 00:00:18,840 --> 00:00:22,520 Cheers to starting the conversation. 5 00:00:22,520 --> 00:00:24,520 We got a brace for impact in our lives, huh? 6 00:00:24,520 --> 00:00:25,520 I guess. 7 00:00:25,520 --> 00:00:33,520 We just came up on the holiday season. We just got our first little moment of breathing room. 8 00:00:33,520 --> 00:00:35,520 It's like a few days after Christmas. 9 00:00:35,520 --> 00:00:41,520 Yes, right here before things kick into high gear in the second semester. 10 00:00:41,520 --> 00:00:43,520 It's been a lot though, right? 11 00:00:43,520 --> 00:00:47,520 It has. I've been enjoying just kind of resting and taking it easy. 12 00:00:47,520 --> 00:00:52,520 I've had a couple of really lazy days, which sometimes my brain needs to have. 13 00:00:52,520 --> 00:00:54,520 Yes, Netflix and Hangout. 14 00:00:54,520 --> 00:01:00,520 And then I've been cleaning my house like a crazy person, which I know will not surprise anyone. 15 00:01:00,520 --> 00:01:03,520 Yeah, KB has taken all of her decorations down. 16 00:01:03,520 --> 00:01:05,520 Her house is decked out for Valentine's. 17 00:01:05,520 --> 00:01:10,520 Meanwhile, mine will have Christmas up until we go back to school. 18 00:01:10,520 --> 00:01:13,520 Hey, man, listen. I need a clean start. 19 00:01:13,520 --> 00:01:16,520 I'm bracing for the impact of the new semester. 20 00:01:16,520 --> 00:01:18,520 Nicely done. 21 00:01:18,520 --> 00:01:22,520 But this piece is super fun. It's a Texas PML Grade 1. 22 00:01:22,520 --> 00:01:25,520 So it is in 4-4 throughout. 23 00:01:25,520 --> 00:01:28,520 It's in the key of E-flat or C minor. 24 00:01:28,520 --> 00:01:31,520 Really easy rhythms. 25 00:01:31,520 --> 00:01:36,520 It's a minute and 40 seconds long, so it is not long at all. 26 00:01:36,520 --> 00:01:39,520 It has two clarinet parts, two trumpet parts. 27 00:01:39,520 --> 00:01:44,520 It's really fast, like 150, 160 BPM. 28 00:01:44,520 --> 00:01:46,520 Lots of percussion parts. 29 00:01:46,520 --> 00:01:51,520 You need five to six players on percussion to really execute this well. 30 00:01:51,520 --> 00:01:54,520 Doubled low brass parts, low reed parts, a lot. 31 00:01:54,520 --> 00:01:57,520 So really just split clarinet, split trumpet parts. 32 00:01:57,520 --> 00:02:03,520 But even then, they're often playing in line with each other. 33 00:02:03,520 --> 00:02:05,520 So 2D rhythms often. 34 00:02:05,520 --> 00:02:09,520 The piece starts off at 156 and does not slow down. 35 00:02:09,520 --> 00:02:12,520 It's literally like you are bracing for impact. 36 00:02:12,520 --> 00:02:14,520 But it's exciting. The kids like it. 37 00:02:14,520 --> 00:02:16,520 And again, it's pretty accessible. 38 00:02:16,520 --> 00:02:22,520 Lots of hits on beat 1, 2, 3, 4, 1, 2, 3, 4, 1. 39 00:02:22,520 --> 00:02:24,520 And the low people part. 40 00:02:24,520 --> 00:02:28,520 And the highs 1, 2, and 3, 4, and 1, 2, and 3, 4, 1. 41 00:02:28,520 --> 00:02:34,520 And there are accents on 1 and then 3, 4, 1 to line up with the low brass. 42 00:02:34,520 --> 00:02:40,520 So easy to play and line up those accent articulations for any level of group. 43 00:02:40,520 --> 00:02:45,520 It continues on with the upper people having that little moment of glory. 44 00:02:45,520 --> 00:02:47,520 And then a little different part at 7. 45 00:02:47,520 --> 00:02:51,520 Yeah, you have a little syncopation in here and accents. 46 00:02:51,520 --> 00:02:54,520 1 and 2 and 3 and 4 and 3 and 3 and 4. 47 00:02:54,520 --> 00:02:56,520 And it's got slurs. 48 00:02:56,520 --> 00:02:58,520 And the slurs follow along with that feel. 49 00:02:58,520 --> 00:03:00,520 So like it lays pretty easy. 50 00:03:00,520 --> 00:03:06,520 One of the things I like about this, like even though the wind parts are really pretty straight ahead, 51 00:03:06,520 --> 00:03:13,520 rhythmically and range wise, the percussion part is, it's not overly simplified. 52 00:03:13,520 --> 00:03:16,520 And I mean, I like that a lot. 53 00:03:16,520 --> 00:03:20,520 That way you're not having snare drummers back there playing quarter notes and eighth notes. 54 00:03:20,520 --> 00:03:22,520 They're playing something that is more active. 55 00:03:22,520 --> 00:03:23,520 That's got some 16ths. 56 00:03:23,520 --> 00:03:24,520 Yep. 57 00:03:24,520 --> 00:03:26,520 And the syncopated rhythm is in the bass drum part. 58 00:03:26,520 --> 00:03:28,520 The mallets get more of the melody. 59 00:03:28,520 --> 00:03:32,520 But it's got that like driving feel to it for sure. 60 00:03:32,520 --> 00:03:38,520 Then all the accents at 7 and 8 line up with the syncopated low brass part. 61 00:03:38,520 --> 00:03:42,520 They have 1 and 4, 1, 2, 3, 4. 62 00:03:42,520 --> 00:03:47,520 And the upper people have 1 and 2 and 3 and 4 and 1 and 2 and 3, 4. 63 00:03:47,520 --> 00:03:52,520 So all those accents, if you really line it up and do it well, line up perfectly 64 00:03:52,520 --> 00:03:55,520 and make it just have that cool little style going into 9. 65 00:03:55,520 --> 00:03:58,520 And that would be something I would take those two measures 66 00:03:58,520 --> 00:04:01,520 and I would work that into a fundamental exercise with your band, 67 00:04:01,520 --> 00:04:06,520 having upper voices play 1 and 2 and 3 and 4 and 1 and 2 and 3 and 4. 68 00:04:06,520 --> 00:04:08,520 And you can do it all on a concert F. 69 00:04:08,520 --> 00:04:12,520 And the low mid and low voices just playing the hits along with them 70 00:04:12,520 --> 00:04:16,520 so that the kids get the feel for what that feels like 71 00:04:16,520 --> 00:04:18,520 and how that aligns together stylistically. 72 00:04:18,520 --> 00:04:19,520 Yep. 73 00:04:19,520 --> 00:04:23,520 And then Timpani kind of does cool stuff along with Tuba here too. 74 00:04:23,520 --> 00:04:25,520 So I wouldn't necessarily leave it out. 75 00:04:25,520 --> 00:04:27,520 It's got a pretty cool little part for sure. 76 00:04:27,520 --> 00:04:31,520 9, the melody continues on in the clarinets and the trumpets. 77 00:04:31,520 --> 00:04:36,520 And now we had a cool counter melody in the flute and oboe and alto saxophone 78 00:04:36,520 --> 00:04:42,520 and horn, which I really like the horn color dominating this here. 79 00:04:42,520 --> 00:04:47,520 If your horns are strong enough, it's got some pretty big leaps in terms of skiffs. 80 00:04:47,520 --> 00:04:49,520 It's a perfect fit up to a D. 81 00:04:49,520 --> 00:04:50,520 Yeah. 82 00:04:50,520 --> 00:04:52,520 So they need to sound good. 83 00:04:52,520 --> 00:04:56,520 But it, you know, and it's scored well, like I said, in flute, oboe and alto. 84 00:04:56,520 --> 00:05:00,520 If you only have one horn that can really play it and sound good, 85 00:05:00,520 --> 00:05:04,520 then let them do that, but it's covered in other instruments. 86 00:05:04,520 --> 00:05:08,520 And so they're the new part that you want to bring out in feature. 87 00:05:08,520 --> 00:05:11,520 Everybody else has the same considerations from before. 88 00:05:11,520 --> 00:05:14,520 We do the same little syncopated thing going into 17. 89 00:05:14,520 --> 00:05:17,520 Trumpets are living on a D below the staff. 90 00:05:17,520 --> 00:05:19,520 So one, two and three, four and one. 91 00:05:19,520 --> 00:05:20,520 You must kick. 92 00:05:20,520 --> 00:05:21,520 Yes. 93 00:05:21,520 --> 00:05:22,520 I mean, that is going to be super important. 94 00:05:22,520 --> 00:05:26,520 And make a trituner and make sure that you are in tune and green, green, green. 95 00:05:26,520 --> 00:05:27,520 You know, sometimes. 96 00:05:27,520 --> 00:05:28,520 And that is something I would write in. 97 00:05:28,520 --> 00:05:29,520 Yeah. 98 00:05:29,520 --> 00:05:30,520 Right? 99 00:05:30,520 --> 00:05:31,520 Like, kick. 100 00:05:31,520 --> 00:05:32,520 Sometimes I think trumpets are like, oh yeah, I'm kicking. 101 00:05:32,520 --> 00:05:33,520 But like, are you kicking enough? 102 00:05:33,520 --> 00:05:35,520 Like, look at your tuner. 103 00:05:35,520 --> 00:05:36,520 Right. 104 00:05:36,520 --> 00:05:37,520 Oh wait, I need to kick more, you know. 105 00:05:37,520 --> 00:05:38,520 Yeah. 106 00:05:38,520 --> 00:05:42,520 That's like something you've got to train and teach non-varsity and 107 00:05:42,520 --> 00:05:44,520 sub-non-varsity students. 108 00:05:44,520 --> 00:05:47,520 They can't just be like, yeah, I'm kicking a little bit or like, oh, 109 00:05:47,520 --> 00:05:48,520 that's good enough. 110 00:05:48,520 --> 00:05:49,520 Oh, my third valve slide doesn't work. 111 00:05:49,520 --> 00:05:50,520 Oops. 112 00:05:50,520 --> 00:05:52,520 Like, you know, well, then you're not going to be in tune on a D. 113 00:05:52,520 --> 00:05:56,520 So making sure, you know, you really take a lot of time on that. 114 00:05:56,520 --> 00:06:01,520 That is definitely critical when they're all playing D for like the whole piece. 115 00:06:01,520 --> 00:06:05,520 Then the key signature just has B flats in trumpet one. 116 00:06:05,520 --> 00:06:07,520 It's like down below the staff. 117 00:06:07,520 --> 00:06:10,520 Yeah, range-wise it's actually very doable. 118 00:06:10,520 --> 00:06:11,520 Yeah. 119 00:06:11,520 --> 00:06:15,520 So then we get this, the sax and the saxophones join the flute and the 120 00:06:15,520 --> 00:06:19,520 trumpet on the one and two and three and four and one and two and three, 121 00:06:19,520 --> 00:06:20,520 four part. 122 00:06:20,520 --> 00:06:22,520 Then it's 17. 123 00:06:22,520 --> 00:06:28,520 We have a new moment with cabasa getting to, it's like a lot of the 124 00:06:28,520 --> 00:06:31,520 percussion drops out per cabasa is the one giving the pulse. 125 00:06:31,520 --> 00:06:37,520 The trombones have a different part than some of the other people had before. 126 00:06:37,520 --> 00:06:42,520 The trombone, euphonia and bassoon have a different little melody line. 127 00:06:42,520 --> 00:06:46,520 It's kind of like counter melody to the flute and oboe who have the melody. 128 00:06:46,520 --> 00:06:48,520 Dynamically, we've dropped down here. 129 00:06:48,520 --> 00:06:49,520 It's a lot softer. 130 00:06:49,520 --> 00:06:52,520 This is a little bit more flowy. 131 00:06:52,520 --> 00:06:54,520 Like there's more slurs in the upper melody. 132 00:06:54,520 --> 00:06:55,520 So, less. 133 00:06:55,520 --> 00:06:58,520 So, whole notes in a lot of the low people. 134 00:06:58,520 --> 00:06:59,520 Yeah. 135 00:06:59,520 --> 00:07:04,520 And the low brass, the trombone, euphonia and bassoon part here and it doubles 136 00:07:04,520 --> 00:07:05,520 what's happening in the tenor. 137 00:07:05,520 --> 00:07:08,520 You want to make sure that they're firm on the fronts of their notes, 138 00:07:08,520 --> 00:07:12,520 but this should not be, this is not the same type of style. 139 00:07:12,520 --> 00:07:14,520 We're thinking denting the air. 140 00:07:14,520 --> 00:07:15,520 Yes, absolutely. 141 00:07:15,520 --> 00:07:16,520 On the succumbent part. 142 00:07:16,520 --> 00:07:17,520 Yes. 143 00:07:17,520 --> 00:07:22,520 Then at the end of the melody, like melody goes one, two, three, four and one and 144 00:07:22,520 --> 00:07:23,520 they have a whole note. 145 00:07:23,520 --> 00:07:27,520 When they have the whole note, the lows go one, two, three, four, one. 146 00:07:27,520 --> 00:07:30,520 So, it's kind of like a little playback and forth. 147 00:07:30,520 --> 00:07:34,520 Then they get softer again and the flute and the oboe continue their melody with 148 00:07:34,520 --> 00:07:36,520 the counter melody again. 149 00:07:36,520 --> 00:07:41,520 Now, sorry, the counter melody is now in sax and horn compared to before. 150 00:07:41,520 --> 00:07:46,520 And the horn again is like doing some just different jumps like A flat to C to D. 151 00:07:46,520 --> 00:07:50,520 It's just, they're going to really have to be able to hear their part. 152 00:07:50,520 --> 00:07:54,520 And like spend a lot of time in sectionals making sure that it sounds correct. 153 00:07:54,520 --> 00:07:56,520 And that it doesn't sound strange. 154 00:07:56,520 --> 00:07:59,520 Yeah, there's a lot of like accidentals in here too. 155 00:07:59,520 --> 00:08:03,520 So making sure that the students understand the rule of accidentals. 156 00:08:03,520 --> 00:08:09,520 The flute part has like D flat in it at one moment, then it's D natural, the next 157 00:08:09,520 --> 00:08:10,520 measure. 158 00:08:10,520 --> 00:08:13,520 So just making sure kids know what they're doing and marking that in their parts 159 00:08:13,520 --> 00:08:15,520 ahead of time will really help. 160 00:08:15,520 --> 00:08:20,520 My favorite way to finger D flat on flute is right hand down. 161 00:08:20,520 --> 00:08:22,520 So that way it sounds really in tune. 162 00:08:22,520 --> 00:08:26,520 Even though it's going fast, I think that's a good thing to kind of teach the kids. 163 00:08:26,520 --> 00:08:28,520 And then oboe has D flat too. 164 00:08:28,520 --> 00:08:33,520 So making sure that you've kind of thought through your pinky situation, A flat and 165 00:08:33,520 --> 00:08:37,520 D flat pinkies here in the oboe part and E flat and F. 166 00:08:37,520 --> 00:08:41,520 So this is a good moment to sit down and say, you know, what you've got to do so that 167 00:08:41,520 --> 00:08:46,520 you can get tripped up and trying to use two right pinkies in the same measure. 168 00:08:46,520 --> 00:08:51,520 Then the lows, we're kind of getting out of the slurry section at 24. 169 00:08:51,520 --> 00:08:56,520 The lows have a little baseline going down with accents one, two, three, four. 170 00:08:56,520 --> 00:09:00,520 Big timpani roll, which is going to help kind of build this moment leading into 25. 171 00:09:00,520 --> 00:09:03,520 Crash symbol at 25 and then it's back to the beginning. 172 00:09:03,520 --> 00:09:07,520 It's exactly like we had at the very beginning with the hits and the accents on the same 173 00:09:07,520 --> 00:09:12,520 beats, same little syncopated thing at 31 and the upper people. 174 00:09:12,520 --> 00:09:16,520 Then we have a whole note, Day Crescendo for the whole band. 175 00:09:16,520 --> 00:09:17,520 A fun little chord. 176 00:09:17,520 --> 00:09:22,520 And then a fun little cluster like chord coming back up to 35. 177 00:09:22,520 --> 00:09:26,520 Like it's supposed to be kind of scary and like dramatic like what's going to happen. 178 00:09:26,520 --> 00:09:29,520 And then we change to three, four. 179 00:09:29,520 --> 00:09:32,520 And there this is a big percussion moment, which is just like fun. 180 00:09:32,520 --> 00:09:34,520 And this is like timpani major. 181 00:09:34,520 --> 00:09:37,520 I mean, it's like it's a major timpani solo here. 182 00:09:37,520 --> 00:09:41,520 So timpani player needs to be playing with really articulate mallets. 183 00:09:41,520 --> 00:09:43,520 There needs to be a lot of clarity in the part. 184 00:09:43,520 --> 00:09:44,520 It doesn't need to sound muddy. 185 00:09:44,520 --> 00:09:49,520 You know, one, two, and one, two, three, one, two, and while cabasa is going. 186 00:09:49,520 --> 00:09:50,520 Keep in the beat. 187 00:09:50,520 --> 00:09:52,520 There's a ratchet part. 188 00:09:52,520 --> 00:09:54,520 Tom's snare and bass come back in. 189 00:09:54,520 --> 00:09:57,520 It's an extended percussion feature. 190 00:09:57,520 --> 00:09:58,520 Yes. 191 00:09:58,520 --> 00:10:00,520 And then at 43, this is fun. 192 00:10:00,520 --> 00:10:04,520 And this, by the way, is a really cool piece to do with like a region band to. 193 00:10:04,520 --> 00:10:05,520 Yeah. 194 00:10:05,520 --> 00:10:10,520 If you are ever something programmatic, spring concert or fall concert. 195 00:10:10,520 --> 00:10:15,520 Now, I know lots of there's probably lots of different opinions on clapping in music, 196 00:10:15,520 --> 00:10:20,520 you know, and I know it is it roll the dice, right? 197 00:10:20,520 --> 00:10:25,520 You can see if it's going to go well or if it's not, but this one has clapping. 198 00:10:25,520 --> 00:10:26,520 Yeah. 199 00:10:26,520 --> 00:10:27,520 Good clapping. 200 00:10:27,520 --> 00:10:32,520 So the whole group, the woodwinds have the same rhythm and then the lows have a different 201 00:10:32,520 --> 00:10:35,520 rhythm and the low claps have accents on them. 202 00:10:35,520 --> 00:10:40,520 So you can go into like lots of depth about like their normal. 203 00:10:40,520 --> 00:10:44,520 They're actually but marked and then like, yeah, I know, right? 204 00:10:44,520 --> 00:10:45,520 So like, how do you make that happen? 205 00:10:45,520 --> 00:10:46,520 I don't know. 206 00:10:46,520 --> 00:10:50,520 But yeah, it gets louder and louder as they continue on, but you can talk about different 207 00:10:50,520 --> 00:10:53,520 ways to clap like offsetting your hands kind of like symbols. 208 00:10:53,520 --> 00:10:56,520 We talk it straight up together to make it sound louder. 209 00:10:56,520 --> 00:10:57,520 We talk it. 210 00:10:57,520 --> 00:10:58,520 That's good grammar. 211 00:10:58,520 --> 00:11:00,520 We talk and I said it. 212 00:11:00,520 --> 00:11:03,520 I said, I talk about a golf clap. 213 00:11:03,520 --> 00:11:07,520 So like, you know, if you think about being at a golf match and you know how they kind 214 00:11:07,520 --> 00:11:12,520 of clap off pretentiously, that that's how when we clap as a full ensemble, that's how 215 00:11:12,520 --> 00:11:14,520 we need to clap, you know, it's a golf clap. 216 00:11:14,520 --> 00:11:21,520 You can also dynamically bring it up by like being lower and then higher and like get stronger 217 00:11:21,520 --> 00:11:22,520 that way. 218 00:11:22,520 --> 00:11:25,520 Whatever it's whatever you want to do. 219 00:11:25,520 --> 00:11:27,520 Listen, everybody like you can talk. 220 00:11:27,520 --> 00:11:31,520 You can talk the claps to death, but like when they're talking about accenting, I would 221 00:11:31,520 --> 00:11:34,520 tell my kids that they don't need to bring their hands any further apart. 222 00:11:34,520 --> 00:11:36,520 They just need to use more velocity, right? 223 00:11:36,520 --> 00:11:38,520 You know, so you can have it through percussion. 224 00:11:38,520 --> 00:11:39,520 That's right. 225 00:11:39,520 --> 00:11:40,520 That's right. 226 00:11:40,520 --> 00:11:44,520 You can have a piano accented class and the students are sitting there going, wait, tell 227 00:11:44,520 --> 00:11:47,520 me exactly how far apart to pull my hands. 228 00:11:47,520 --> 00:11:48,520 But anyway, you can have fun here. 229 00:11:48,520 --> 00:11:53,520 It gets louder and louder and we're accenting and the percussion is continuing to be featured, 230 00:11:53,520 --> 00:11:54,520 which is fine. 231 00:11:54,520 --> 00:11:59,520 Everybody is going to be to rush because they have the syncopation one, two and one and that 232 00:11:59,520 --> 00:12:00,520 three and three. 233 00:12:00,520 --> 00:12:01,520 Yeah. 234 00:12:01,520 --> 00:12:02,520 And one and three. 235 00:12:02,520 --> 00:12:04,520 The clappers are going to want to rush. 236 00:12:04,520 --> 00:12:05,520 So they're raining it in. 237 00:12:05,520 --> 00:12:06,520 Yep. 238 00:12:06,520 --> 00:12:07,520 Because they're excited about it. 239 00:12:07,520 --> 00:12:10,520 Then the timpani continues their little solo. 240 00:12:10,520 --> 00:12:13,520 It's like climaxed up to measure 54. 241 00:12:13,520 --> 00:12:14,520 They have a roll. 242 00:12:14,520 --> 00:12:18,520 Then we're back into four, four and it's like the beginning again. 243 00:12:18,520 --> 00:12:21,520 Flute and oboe and clarinet kind of get the melody. 244 00:12:21,520 --> 00:12:23,520 Trumpets are chilling on the D again. 245 00:12:23,520 --> 00:12:27,520 Low people are playing just the little impact moments. 246 00:12:27,520 --> 00:12:28,520 Percussion is grooving. 247 00:12:28,520 --> 00:12:32,520 It's a lot like the very, very beginning, but now we're adding in more voices. 248 00:12:32,520 --> 00:12:33,520 More thicker. 249 00:12:33,520 --> 00:12:34,520 Thicker. 250 00:12:34,520 --> 00:12:35,520 Textured. 251 00:12:35,520 --> 00:12:36,520 Yeah. 252 00:12:36,520 --> 00:12:40,520 Then we have the same little syncopated one and two and three and four and one and two 253 00:12:40,520 --> 00:12:41,520 and three, four. 254 00:12:41,520 --> 00:12:42,520 Fink, chino. 255 00:12:42,520 --> 00:12:44,520 Four take piano, trill, situation. 256 00:12:44,520 --> 00:12:47,520 We all know how I feel about trills. 257 00:12:47,520 --> 00:12:51,520 Let one kid trill and just don't make it be a huge deal. 258 00:12:51,520 --> 00:12:53,520 It's like a little bell tones on each beat. 259 00:12:53,520 --> 00:12:55,520 Trombones and tubas on beat one. 260 00:12:55,520 --> 00:12:58,520 Horns enter on beat two with alto sax. 261 00:12:58,520 --> 00:13:01,520 Trumpet two enters alone on beat three. 262 00:13:01,520 --> 00:13:03,520 And why is it always squared like that? 263 00:13:03,520 --> 00:13:04,520 But it right? 264 00:13:04,520 --> 00:13:05,520 It always is. 265 00:13:05,520 --> 00:13:06,520 That's like two or three kids. 266 00:13:06,520 --> 00:13:11,520 So maybe beef it up by writing that the tenor sax gets to play on beat three along with 267 00:13:11,520 --> 00:13:17,520 your trumpet two or have some of your clarinets do it instead of trilling, but be, you know, 268 00:13:17,520 --> 00:13:18,520 I don't know. 269 00:13:18,520 --> 00:13:19,520 Be thoughtful about it. 270 00:13:19,520 --> 00:13:22,520 I would bop this measure like a million times, right? 271 00:13:22,520 --> 00:13:23,520 One, two, three, four. 272 00:13:23,520 --> 00:13:24,520 Yep. 273 00:13:24,520 --> 00:13:26,520 And trumpet one gets the four alone. 274 00:13:26,520 --> 00:13:29,520 So maybe even having some flutes do that with them. 275 00:13:29,520 --> 00:13:33,520 And then one, two and three, four and one and two and three, four. 276 00:13:33,520 --> 00:13:38,520 And like big snare drum at the end and timpani and choke everything in the cymbals. 277 00:13:38,520 --> 00:13:40,520 It's a fun little ending. 278 00:13:40,520 --> 00:13:43,520 So this is definitely like you just hit the impact. 279 00:13:43,520 --> 00:13:45,520 So this is a fun piece. 280 00:13:45,520 --> 00:13:47,520 The kids really, really like it. 281 00:13:47,520 --> 00:13:48,520 Yeah. 282 00:13:48,520 --> 00:13:51,520 So lots of articulation, some tuning considerations. 283 00:13:51,520 --> 00:13:52,520 But it's not horrible. 284 00:13:52,520 --> 00:13:54,520 It is not range wise. 285 00:13:54,520 --> 00:13:55,520 Yeah. 286 00:13:55,520 --> 00:13:56,520 Yeah. 287 00:13:56,520 --> 00:13:57,520 Rhythmic horn part. 288 00:13:57,520 --> 00:13:58,520 Yes. 289 00:13:58,520 --> 00:14:02,520 It's a little bit above range for most younger ensembles. 290 00:14:02,520 --> 00:14:06,520 Sub non or developing non-barcity groups. 291 00:14:06,520 --> 00:14:07,520 Yeah. 292 00:14:07,520 --> 00:14:08,520 But this is a great piece. 293 00:14:08,520 --> 00:14:12,520 And we hope that you will consider playing Brace for Impact. 294 00:14:12,520 --> 00:14:19,520 Thank you for joining us on this episode of Band BFF.