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Welcome to our podcast, Band BFFs. The podcast where we make your music selection less complicated.

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On today's episode, we will be discussing Fortis by Gary Gasly. Cheers to starting the conversation.

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All right, this piece is, Kids Will Love It. You May...

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High energy.

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High energy.

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It is. It is in the key of concert E flat. It's about two minutes and 40 seconds in length.

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It stays in the key of concert E flat or C minor throughout. It is in 4-4 at the beginning and the end.

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And then it has a 3-4 section in the middle that's pretty short and it changes tempo.

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It's ABA. The A section is really fast and energetic. The B section is more moderate.

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There are not split clarinet parts or split trumpet parts in this, which is nice, but there is a lot of percussion.

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And you are going to want to make sure that you have a pretty decent percussion section.

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Because they are going to be responsible for really to help me kind of drive the pulse and the energy level in this piece.

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The snare part especially.

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Yeah, you need at least six players it looks like for sure.

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Snare bass and tambourine, some cymbal effects, of course timpani and bells as well.

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Yes, and I think Bell's part does double flute most of the time.

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So if you didn't have enough players you could do without bells for sure.

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So this piece is a lot. It's a lot of articulation. It starts out. It's fast. It's 144. It's Allegro.

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The lows don't have a lot of the multiple tonguing till later.

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And I'm sorry to interrupt, Katie. I just wanted to say, Katie and I both agree this is a grade one on the Texas PML.

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But we feel like it has some challenges in it that definitely make it a more like a 1.5.

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Yeah, even though it is a grade one on the PML.

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Yeah. So it starts off with the melody one, two and three and four and two and three and four.

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One and two and three, one and two and three, four. And that melody is throughout the whole piece basically except for the middle section.

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So anytime the students have it, it's a lot of multiple tonguing on the same note.

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Trying to make sure it sounds good without cracking, without like hitting a different note, that sort of thing.

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Everybody in the ensemble is going to have an opportunity to play that line,

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whether it's the melody or the harmony to it at some point in the piece.

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It is a perfect opportunity for a melody sheet.

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Yes.

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Right? Writing that melody and or harmony part out and teaching it to your entire ensemble at the same time.

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It's going to help you hear clarity of articulation, which I think is one of the biggest challenges in this piece.

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Matching articulation and then phrasing.

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So before we started this episode, we were we were re listening to it.

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It's been a hot minute since either of us have played this piece and I go,

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oh my gosh, I'm having flashbacks of teaching it.

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And so I taught literally when I was teaching it, singing it for the kids, I would do

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

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Don't breathe one and two and three four.

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So I still like remembered one and two and three.

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Don't breathe because like that is the place all where they all want to take a breath

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and it's going to sound so immature and don't let them do it.

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And so that's why the melody sheet would be good because you can teach the kids.

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You're going to take a sneak full breath and measure two with the eighth rest,

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but then you're not going to breathe between three and four and any other time that you

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have the melody like that.

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So it's definitely a good opportunity to teach how to play more, more musically to some of your students.

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The lows just have like beat one entrances and then one, four, one, three, four, one.

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So nothing ridiculously hard.

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And coming up the lows will end up playing on one rest, rest, four, one as quarter notes.

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I recall having a difficult time with some of our players with them not wanting to play those

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notes as equal length.

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They'll play a beat one short and beat four long, one rest, rest, long, short, rest,

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rest, long, short and they should be equal length.

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Now, I mean, it's nice that they have kind of internalized that beat four leads to be one.

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Right? So yay for them, but you have to make sure that those notes are equal length.

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That's something that sticks out.

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Yep. This melody continues on very, very active snare part underneath.

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We have a long tied whole note at measures nine and 10.

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On a concert sheet.

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To finish out, kick on the Ds for sure, little trumpets.

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And then at 11, the flute oboe clarinet add in on the melody

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and the horn and alto continue on with the trumpets.

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Bells come in here if you have a Bells player and they have the same thing.

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Lows are continuing to do their thing.

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Nothing's getting more complicated in their area.

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We've just thickened up the texture and this is an area where I would like,

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depending on the instrumentation of your band, you might need to thin down like we added the

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woodwinds in here.

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So now maybe we thin down the brass a little bit so that we hear

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that woodwind color and it doesn't become overwhelming because the low reads and low

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brass are doing the same thing and we haven't added any more.

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Yep. Yep. Yep.

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Then same long note and then at measure 20, we're about to get kind of a new idea.

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And the melody is off on beat four here with a decrescendo and the low people have one,

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two, three and they're ending the measure on a half note and it's a G in trombone.

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And I remember last time I played this, that note was always like out of tune and it was so weird

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because the melody was going away and they were supposed to be leading into the next section

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and it was always like kind of a puny sound and I mean it might have just been my low brass,

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I don't know.

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But like that's a hard note to sound beautiful on on the trombone.

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The fourth position is my least favorite position.

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Like people talk about fifth and seventh.

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I'm like no, no, no.

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Fourth, I hate it.

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No, it's hard.

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It's hard for the kids.

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But I would ignore the decrescendo in that low brass part so they cannot like don't under

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support the note or whatever just to lead into the next section.

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And then to make it to make it even more challenging, the flute oboe and clarinet

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have a pickup note.

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And they're on a C.

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Their pickup note into the next phrase which overlaps with that low brass is a G.

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So they are coming in on a unison note there and you know that could contribute to those

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egregious tuning issues right there.

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At 21 the upper woodwinds take over with a new melody, flute oboe and clarinet.

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And we've changed styles.

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Trumpets have laid out, yes.

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Now it says legato in the part.

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There's no, it's no marcado.

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It was March marcado.

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So really firm articulation in the first section here.

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Now we're legato.

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Yep.

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The snare part has gone away as well.

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So it's just a totally different vibe here.

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At measure 24 the clarinet flute oboe have a dotted half note.

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I would mark no breath there and have the kids push through the phrase into beat four

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and instead teach them other spots to take sneaky breaths.

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Or breathe.

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Yep.

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Where they can continue on in their melody.

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And the horns get to come in on a really pretty counter melody here with alto saxophone as well.

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Now this section since we have completely changed styles because you will spend,

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you will need to spend a while on the marcado melody and aligning articulation.

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And then I found that it was a little challenging to get to this legato section

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after you spend so much time hammering that marcado style.

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So I had my students when we learned this legato section slur the whole thing at the beginning.

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And then we went back and added our tongue and talked about wanting to just dent the air

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instead of fully separating the air.

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And that really helped them to get in their ear the difference in that style to make it a little more connected.

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The after this alto and horn calender melody at 25 and 26.

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The trumpets come in and they add in on the melody.

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And then the horns get this little moment and altos where they have like two, three, four, one.

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And they're leading back into the melody, but there's a lot of accidentals.

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So just making sure I think this part is like a little bit challenging for French horns.

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So make sure that they really know like what their notes sound like and that way they feel confident

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in what they're playing because it's not a traditional like it's just they're doing a lot of cool

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melodic type things and it's not something easy on the ear for sure.

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At 29 the horn and trumpet come back with the melody and the alto saxes.

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Lowe's go back to that easier part with active snare.

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And in this section, I feel like this is a one thing we haven't addressed.

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It's Mark to Markado again.

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It's back to Markado.

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One thing we haven't addressed that I do recall being an issue when we very first started learning

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and it didn't take long to break them up the habit, but they wanted beat four in the melody,

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the first measure of the melody to be short.

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

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And so we had to spend time saying no, no, no.

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That note's going to touch the rest.

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Sound to silence.

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

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Making sure that all of those beat four.

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Yeah, don't breathe exactly.

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So be intentional about that.

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One thing I recall about this section at 29 when the horns are more prominently featured

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here and they are playing like harmony to what is happening in the trumpets.

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Just the nature of the conical brass instrument and facing a different direction and it being

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super exposed with it being trumpet horn and alto.

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The articulation was really challenging to make the horn articulation match everybody else.

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So you might even need to think about telling your horns to think when they're articulating

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about bringing their tongue a little lower to feel the enamel of their teeth when they

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articulate to make it a little crispier so it can match what's happening in the trumpet

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and the alto here.

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Side note, that's how I teach French horn all the time actually.

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Yeah.

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So I think that the further down you can tongue on your teeth on French horn,

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the easier articulation like this can come across to an audience member for exactly the

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same reasons you just said.

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So little pedagogical tidbit right there.

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They're continuing on.

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The flutes and the oboes join in with the melody again with the bells.

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Lows are still doing the same thing on the long note this time.

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The trumpets don't have the long note and they have like a little with the flutes.

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One, two, three, four, one.

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And we have a ritternando and a fermata.

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And then we all cut off and now it's materato, 88 marked in three, four.

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And this fermata, I love, I think he was so smart.

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This is written in open fifths.

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So there's no third anywhere here, which is really nice because it makes it

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so much easier to tune when you don't have to worry about the third here.

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And then we get to the pretty three, four section.

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This is not very long, but I think it's one of the more challenging parts of the piece.

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Mm-hmm.

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It is just, I mean, a typical three, four section.

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The flute and the clarinet have the melody one, three, one, three, one.

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So you're wanting to teach kids about follow through on half notes,

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making sure quarter notes are, are tongued very long and legato style.

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The lows have one, two, one, two.

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So the tuba is on beat one along with the super low reeds like bass clarinet,

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berry, and then the, the tenor sax, trombone, nephonium have the two.

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So just this little motor all year.

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Yeah.

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Making sure it almost sounds like one on a part because they're underneath the

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delicate woodwind melody. And it's, you know, it's kind of challenging to sound soft.

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It is. And into sound in control.

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And then shape this. There are so, the melody, there's no phrasing in terms of crescendo,

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day crescendo in this little section.

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There's no percussion, not even bells.

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Not at all.

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Yeah.

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So you can do so much musically in this section, I think to make it sound, to make it sound really pretty.

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As we get into 47, the horns come in, horns and trombone, nephonium, and then the

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horns come in horns and trombone, nephonium and middle voices come in on two, three, one,

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and then all land with us together at measure 47.

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Trumpets are still out.

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So this whole section, trumpets have been just resting while other sections are getting

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a chance to be featured.

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Now this is the first time as we get ready to come out of this section where we see a

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written in crescendo leading into measure 51.

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Yeah, as we're getting close to wrapping up this section, trumpets come in for the first

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time in this section.

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And now it's a little more, I feel like the section, the eight measures are so prior to

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this are a little more independent and exposed.

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Now the full ensemble is in.

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The melody is playing 2D rhythms.

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The accompaniment is playing 2D rhythms.

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Yep.

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Yep.

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And then it kind of just ends with everybody again playing like one, two, three, one, and

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then a fermata with a decrescendo.

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There's also this one measure that stuck out to me in measure 57.

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The trombones have F, G, F, E flat, and then the trumpets in the next measure and flutes

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have the response to that.

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I just remember that G being very exposed and out of tune again.

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Again, I must, maybe I just had a really, really not so great trombone section that

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year, but I remember Gs being an issue.

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So just take that with a grain of salt.

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Maybe your Gs are not so great in your trombone section too, but look out for those moments

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to make it be better in tune so it doesn't make an adjudicator go, huh, that wasn't right.

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This fermata is another, I know if you've listened to our podcast at all, you've heard

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Katie and I talk about this type of thing before.

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This fermata, there is a root fifth and third written into the chord.

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And if you look at how it's structured, the third is pretty prevalent.

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You have the third of the chord.

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It's a B flat major chord and you have a third in the trumpet.

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You have a third in the flute.

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You have a third in the oboe and you have a third in the clarinet.

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That is a lot of third happening.

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So you may get to that chord and find that it is not balanced.

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The tuning is not happening.

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An easy fix for that would be to split your flute, trumpet, and clarinet section and have,

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you know, put some on the root and fifth and only keep a couple of them on the third because

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there are a lot of people written on the third there.

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Yep.

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There's a little triangle hit on beat three and that's the last thing in the section.

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Then cut off and you're back to the 144, 4, 4 section.

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It starts off thankfully, which is great with a whole note so everybody can watch.

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And no percussion.

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And no percussion.

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Yeah.

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And then percussion comes in on the second measure with tambourine and timpani.

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Then the band goes back in with the active snare drum part and the one, two, and three,

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and four.

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So it keeps going.

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It's literally recap from the very beginning.

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Yes.

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Trumpets and horns have that same thing with altos at 72.

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This time the upper woodwinds have this long note.

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They play an eight count note and then they go one, and two, and three, four, one, and

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two, and three.

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And that lines up with the trumpet and the horn part.

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But the long note can be overwhelming.

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Absolutely.

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You can, yeah.

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If you don't talk to the kids about not playing that very loud, it's marked forte.

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It's definitely not supposed to be forte.

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And it's a G in clarinet, a G above the staff and flute.

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So just talking about playing softly, you're just there for a special effect.

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And tuning.

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And then you get to come in.

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Your flutes and oboes need to use vibrato.

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Vibrato.

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And your clarinets are probably, if they're not taught to automatically use resonant fingerings

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on that throat tone A, you're probably going to need to do that to make sure that the tuning

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is solid.

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And then obo is on an octave G, which I would probably take the oboes down to the same octave

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as the clarinets instead of being in the same octave as the flutes.

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And then we have another similar section to the very beginning.

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It's literally just like a recap.

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It really is almost a copy paste.

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At 87, we're finishing up the piece.

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We have trumpets and upper woodwinds on beat one, lows on beat three, and then lows again,

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one, two, three, horn and sax on four, and then 89 ends with a pickety third.

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And then the whole piece ends on beat three.

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And with a big little snare drum finish.

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And you need to spend some time on that pickety third.

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Right.

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And make sure that it sounds good and sounds in tune.

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Oh yeah.

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You have the altos on a C sharp there in the staff C sharp, which is a horrible note on

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alto.

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It's a really flat note.

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And another pedagogical tidbit.

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I teach my students to play C sharp as an alternate fingering, even in sixth grade.

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So instead of an open C sharp, I teach my kids to finger it third finger and octave key.

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That is easy to do like D to C sharp whenever you're doing like long tone, A or Remington.

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And then on this, this would be a perfect opportunity where I would say you're going

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to use the alternate fingering for C sharp there and it is coming from a D. So then they're

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just lifting off all the fingers except third and octave key.

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And you can even leave the entire right hand down as well.

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You can do third finger and right hand.

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But I like Katie, I also teach that covered C sharp right from the beginning in sixth

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grade.

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And you may even have to go student by student because some instrument models respond to

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the right hand down better along with the third finger and some do not.

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So you want to make sure that you find the right thing that's going to work for you.

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For each student's instrument.

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Yep.

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But this piece can come together pretty easily.

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Your kids will love it.

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You're going to have some time on it.

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Your kids will love it.

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Yeah.

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It's just a catchy little song.

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So they will.

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Well, we hope that you will consider programming for us in the future.

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And thank you for joining us on this episode of Band BFF.