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Welcome to our podcast, Band BFS.

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The podcast where we make your music selection less complicated.

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On today's episode, we are going to be discussing Ghost Ship, arranged by Michael Story.

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Cheers to starting the conversation.

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Okay, Ghost Ship is a great little grade one piece on the Texas PML.

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It's a traditional sea shanty.

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Absolutely.

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You can't go wrong with a good old sea shanty.

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All right.

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It's about two minutes and 15 seconds long.

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It's a really short piece, 70 something measures in three, four time.

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It does have a key change.

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It starts in the key of concert E flat or C minor and modulates to the key of F or D minor.

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So that's a sometimes a pretty tricky key change for younger players.

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For little trombones that can't decide between three and two.

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It is single parts on clarinet, trumpet, alto, all of that.

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The low brass and low reed part is unison.

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Very minimal percussion.

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While there are lots of percussion instruments, they are very rarely playing at the same time.

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So this is a piece that you could get away with playing with a very small percussion

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section.

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Like honestly, probably three.

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You could do it with three humans.

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Yeah.

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For sure.

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Better with four.

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But yeah.

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Okay.

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So this piece starts off very slow and then it gets faster after a little while with some

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percussion effects.

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It has like a little suspended cymbal.

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It's supposed to sound like, you know, the waves.

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Like the water rolling in and out.

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So you want to be, I mean, I know it sounds silly, but you do want to make sure that your

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percussionist, that's right.

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You need to practice that suspended cymbal roll, ebb and flow so that it gives the musical

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effect that we're trying for.

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Like going from the edge of the cymbal towards the bell and back out and not overdoing it

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to where you're like, what is happening?

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Are they doing that on purpose or not?

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Exactly.

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Exactly.

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It's kind of a special effect.

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Right.

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Yep.

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At five, the flutes alone enter along with this continued suspended cymbal roll.

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So you should not play this piece unless you feel really confident in your flute section.

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And your clarinet.

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And your clarinet.

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Yes.

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And your clarinet, I mean, sorry, flute only for about 10 measures.

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Very exposed.

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They play alone.

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Yes.

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Dotted quarter note and eighth note rhythms in three, four, but nothing ridiculous.

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What I think makes it a little more challenging is the dotted quarter rhythm happens on beat

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two instead of beat one.

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So you're not feeling one and three, but you're feeling one, two and one.

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Yeah.

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So yeah, it feels a little different.

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Your story did, however, give flutes like breath marks together.

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So we're not having to work on phrasing through a bar line and things like that.

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So he actually marked a lot of the breath marks in throughout the piece to make it be something

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unified for the group.

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Again, as Laura mentioned, lots of beat two dotted quarter notes.

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It goes up to a B flat on the flute.

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So it's not super duper high, but of course you would want to make sure that your students

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can make a great sound since they're completely exposed.

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And it is not even all tongued.

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There are various articulations, some slurs, but nothing ridiculous.

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After they end, there's like a little chime set with them.

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And then there's one measure of silence with the suspended cymbal still rolling.

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And then the majority of the rest of the band comes back, comes in at 15, but not everybody.

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And the melody transfers over to trumpet and clarinet.

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And Alto has a part with them as well, a harmony part, the alto and horn part.

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The low brass accompaniment part here is really straight ahead.

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You've got dotted half notes followed by a quarter rest and quarter notes on beat two

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and three.

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So I think the part itself is easy standing alone, but you have to make sure that those

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dotted half notes touch the rest and that we're giving a good strength of articulation.

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This is a very moderate tempo.

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We're talking 80, 85 BPM here, but you want to make sure that the strength of articulation

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on all of the notes is clear, especially some of the low brass have repeated notes in this.

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So just making sure, again, that strength of articulation is clear and comes through

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long notes always touch the rest.

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Katie already mentioned the fact that Michael's story has written in a lot of the breathmarks.

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While I think that's awesome and I very much appreciate it, I think it's still easy to

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make it sound immature.

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So you can still coach your students on how to take quick breaths.

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We even, like I have an exercise that I do with my ensembles where we practice taking

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different values of breath.

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We do it in our daily drill where we are playing an eight count concert F and we practice it

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taking a two count breath.

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Then we practice it taking a one count breath, then an eighth note, an eighth count breath,

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and eighth notes worth breath, and then a triplet, a third of a triplet breath.

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So now with a non-varsity or sub-non-varsity, you might not want to go quite that far, but

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I think it's important if we expect the kids to practice taking quick breaths, quick metered

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breaths in music, you have to practice it in your fundamentals so that they are getting

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that repetition.

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And then speaking of breathmarks, because you know, that's what we're talking about.

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I actually write in my parts when I mark them, I'll write in the beat that they breathe on

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in their part.

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So if it's marked in for them, in this case, they're breathing on the and of three.

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I will write like one under the quarter note and then two and three, and then I'll write

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the and right underneath the breathmark and circle them together so that way the students

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know exactly where I'm going to take a breath.

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Again, that kind of goes back to what you're saying.

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It's teaching them how to.

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How to meter it to and how not to just take like, it's a breath.

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I'm just going to breathe forever, you know, and you know, that's a really good idea.

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And somebody very wise once told me and I learned Pete Tolhysen.

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Thank you so much.

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He was teaching some students with me and he said the note before the breathmark should

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always be longer than the breath.

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And so that always sticks with me and I say that to my own students, but that is a good

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way to teach younger students exactly when to breathe.

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You're going to breathe right when your foot tap goes up and then you have to come right

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back in and like those low brass kids, like you said with that dotted half note, one and

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two and three and off to so they're really breathing on the and of one.

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So I would go so far as to write the and and put a breathmark myself so that they understand

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they're going to have a half count breath before they have to come back in on two, three,

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one.

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That's exactly right.

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Yeah.

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So that's good information, but hopefully that would help you in any situation with if

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breathmark are written in for your kids, how to teach them to take it and not just, oh,

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yep, breathe there, you know, exactly.

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There are a couple of accidentals, just concert a natural accidentals throughout here only

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in the melody part.

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So that would be something I'd be intentional about making sure your students are aware

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of and then find when the concert a flat comes back in and I that would be something I would

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absolutely make sure is marked in their music.

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Sure.

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I'm a little bit measure 20 the same melodic instruments that had the melody before they

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have quarter note quarter note breathmark three and in the three and of course are pickups

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into the next phrase.

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So that's another great instance where we would practice.

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Ta, ta, ta, ta, so that way they don't clip the the quarter note that happens right before

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which that's the biggest thing that we hear like yeah, yeah, big gaps in the sound.

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I also talked to my ensemble about every end of a note needs to end and I got this from

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Kathy Johnson since we're like sharing all of our yeah, that's what good teachers do

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you steal.

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So Kathy Johnson said this that your notes should end with an a h sound.

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So we want them to end with a vowel sound and ah, and I love the idea of having that

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h at the end of it because it's impossible to clip the sound if you think about it with

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an a h ending.

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So that again that would be something I would practice with the students so that it doesn't

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sound clipped it doesn't sound choppy.

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Yep.

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And the low brass are continuing to play underneath that anyway so hopefully that would continue

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to make the the seamlessness be there.

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Then we have this like little transition moment where the melody are playing on beat one with

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dotted half notes.

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Bass and oboes have rest two three rest two three and we're crescendoing crescendoing

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and this is where they have to watch you because then at 25 it's suddenly faster but faster

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is moderate 112 so not crazy right yeah and it's like like a boat horn goes off because

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it's called go ship.

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So there's like the trumpets are in a major second and then the alto saxophone has a color

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note with them too so it does sound like very much like a boat horn.

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Yeah it's a cluster chord for sure.

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And then the lows just have staccatos one and three and two and one but that's harder

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to count than you think.

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It feels weird like everything has been in three and you're feeling like four four.

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That's right you're feeling these like I call my you know when my kids we talk about triangles

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and squares you're feeling this triangle time signature but you're you're feeling this square

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placed over the triangle.

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Now this transition this would be something you need to isolate and practice a lot because

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you're snare drummer is very active.

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Yeah it comes in with you know one and two and three and one and two and three and one

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so it's a they need to be right in time and then of course you have the low brass and

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low reeds with their one and so that all has to line up perfectly with the percussion.

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Yeah that transition is something that you will need to spend time practicing.

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It's basically a two measure transition.

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Once you get that down then you should be you know confident through the end of this

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you'll maintain the same tempo.

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So that first boat horn moment at 25 is forte then two measures later like Laura mentioned

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actually pickups into it the clarinets take over the melody and this section also has

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to be really good but it's written in a great range for the clarinet they're going to sound

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really nice they can play a little bit more seamlessly and then two measures later the

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boat horn comes back in again but this time mezzo forte so it's like the boat is going

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out to sea.

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That's exactly right.

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So it's getting softer and softer clarinets just keep on trucking along they're playing

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the melody two measures later we get a mezzo piano boat horn so it's like the lows and

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the trumpet and horn and alto are just kind of actually the horns haven't even played

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yet they're they're getting further and further away playing softer and softer clarinets are

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just continuing to play their little sea shanty and then at 35 the boat is gone and it is

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just the clarinet not even percussion or anything it's just clarinet so they're like they have

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to be again pretty good not rushing their fingers when they have eighth notes.

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This section is almost all slurred so it is a section that I would teach to my group that

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the section right here at is this 35 35 where the clarinets are completely exposed it is

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almost all slurred I would teach it to your students first articulated so make them tongue

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make them get it right in time make them align their tongue and fingers and then take the

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tongue away and make their fingers still feel the rhythm I talk so much to my students about

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that your fingers have to physically feel the rhythm when your tongue is not involved

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because we don't have the tongue to anchor the rhythm on right and this melody though

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does not have any dotted quarter notes so it's just quarter notes and eighth notes throughout

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their melody and then another pickup melody in flute and oboe this time at 43 and so now

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the rest of the band joins in but they just have an accompaniment line half note rest

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half note rest half note quarter half note rest so the upper woodwinds are continuing

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to kind of let this sea shanty live on percussion is still doing a lot of nothing there's a

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little triangle hits every once in a while but not a lot from them and then at 51 that

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same group keeps going but now we're adding in a little counter melody yeah to and horn

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and tenor sax and this part right here where the melody is going there's a lot of similar

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to what the clarinets had early earlier a lot of slurred passages where it's quarter

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notes of one two three all slurred and then one two three all slurred the tendency is

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going to be for them to clip the last note of the slur right so working really hard to

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make sure the last note of that slur is full value and leads into the next measure I feel

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like when we play it's been a very long time but I either drew a tenuto on the last note

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or an arrow leading to the next measure so that it sounds more seamless and then this

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melody continues on and then we get to our key change transition two measures before

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that we have a couple of accidentals adding in a meeting up to that change that's right

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a big crescendo from everybody there's a full breath mark for the whole band on the

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end of two and then the band comes in on a pickup note beat three and it's an accidental

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for most everybody and then we have hit concert F D minor at 59 with flute oboe clarinet and

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trumpet melody the accompaniment part is just hanging out on dotted half notes the

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snare drum part is back in with that same active sixteenth note pattern that we had

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when the tempo initially changed so just wanting to align the pulse between your percussion

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your snare drummer and what's happening in the melody and in the the long notes making

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sure that everybody is feeling that subdivision of the beat and moving together this is the

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same melody just in a different key that we had earlier in the piece so all of the things

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that you did earlier you can apply to this section we've just modulated we're just in

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a different key this is again another great endorsement for marking parts especially for

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younger students because this would be a great opportunity to mark like the new key signature

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notes for the kids the first time they happen like trumpets are playing F sharp now making

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sure that they play B natural you know as they go lower again you know in measure so

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I'm trying to find it 62 they go down to a low B you want to make sure they get that

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the trombones have a naturals now and e naturals so marking that for them so they can hear

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that tonality I think is so important the quicker they learn it the better yep then

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we continue this melody everybody's got to pick up into measure 67 again on beat three

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the trumpet flute oboe clarinet upper people still have the melody we've got a couple more

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accidentals written in another full band breath so this piece you would definitely want to

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practice everybody breathing at exactly the same time and I would do like what that one

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measure one and two three one and making sure that beat three has a tenuto written on it

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or an arrow so that it leads into the next phrase when he really is to one and three

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four absolutely and he is even written in here like right before the breathmark those

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people that have a an articulated quarter note before the breathmark he has written

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a tenuto mark on it so it's clear he wants that note to be as full value as possible

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right so I mean it again it is something I know it may seem like crazy detail but it

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is something I would spend time oh so that it that can make your group sound so immature

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yeah and obviously that's not what we want now we're wrapping it up the last you know

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closing it out with the same melody the same theme everybody moving together it's a little

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more energetic everybody's playing at this point we end on a nice big long note a happy

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little chord low voices coming back with that eighth note motif that we had earlier one and

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three and two and and then all ending together you want to make sure that the last note resonates

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and has a good sound you've got people tonguing on the last note the low voices tonguing on

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the last note you have some mallet percussion chimes that are dingy right there or a chime

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that is dingy right there at the very end that's the last thing you hear that's it and

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it kind of sounds like a boat you know like a boat bell chime and then it's the last thing

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so this piece is super cute it's fun it's deceptively challenging but it would be a great piece

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if you want to look for something with minimal low brass minimal trumpet we didn't mention

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that trumpets don't play hardly at all yeah and horns don't play very much either so if

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you've got a good flute section a good clarinet section this might be a good one for you to

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look at yeah to showcase to showcase those groups of kids yes well we hope you will consider

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programming ghost ship in the future and thank you for joining us on this episode of band

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for having editing videos the day after that yeah so we will now turn off this video