1 00:00:00,000 --> 00:00:10,320 Welcome to our podcast, Band BFFS. 2 00:00:10,320 --> 00:00:13,480 The podcast where we make your music selection less complicated. 3 00:00:13,480 --> 00:00:18,240 On today's episode, we're going to be talking about a great piece named Blue Sky Horizon 4 00:00:18,240 --> 00:00:19,960 by Randall Standridge. 5 00:00:19,960 --> 00:00:23,160 Cheers to starting the conversation. 6 00:00:23,160 --> 00:00:28,160 Blue Sky Horizon is a new, relatively new piece in the past couple of years. 7 00:00:28,160 --> 00:00:31,120 It is a great two on the Texas PML. 8 00:00:31,120 --> 00:00:37,920 It's in the key of Concert F. It does have split clarinet parts, split trumpet parts, 9 00:00:37,920 --> 00:00:44,480 as is pretty typical with standard. It has lots of percussion as well. The Trombone 10 00:00:44,480 --> 00:00:49,640 New Phony Imparts are split as well. You do need to have in order to cover all of the 11 00:00:49,640 --> 00:00:55,800 percussion parts well. It's really best for you to have five to six minimum on this piece. 12 00:00:55,800 --> 00:01:01,280 With any Randall's Dandridge piece, the more percussion the better. It is very percussion heavy 13 00:01:01,280 --> 00:01:04,560 and all the parts are super duper fun, which is awesome. 14 00:01:04,560 --> 00:01:12,600 This piece is a kid favorite. It is fast. It's fun. The style is fun to put together. 15 00:01:12,600 --> 00:01:17,680 They really love it. It's not super difficult because it's got the same kind of layered 16 00:01:17,680 --> 00:01:22,720 rhythm and the rhythm, like the same style all the way throughout. So kids enjoy putting 17 00:01:22,720 --> 00:01:23,720 it together. 18 00:01:23,720 --> 00:01:28,120 The length of it is one of the things that makes it a little more challenging. It's three 19 00:01:28,120 --> 00:01:35,480 minutes, which is not terribly long, but it is a little bit longer for a grade two. 20 00:01:35,480 --> 00:01:41,000 So it starts off with just percussion. Timpony is very important here and snare drum. 21 00:01:41,000 --> 00:01:47,280 Then the clarinet and the trumpets come in with the melody. It's got a very stylistic 22 00:01:47,280 --> 00:01:56,280 sound with accents. And then percussion is going to turn underneath on motor. 23 00:01:56,280 --> 00:02:04,400 Then they do that for four measures. Then the obos and the flutes come in to color 24 00:02:04,400 --> 00:02:09,840 that clarinet and trumpet part. That would be a good opportunity to bring the first grouping 25 00:02:09,840 --> 00:02:14,960 down and notch on their dynamic and allow the flutes and the obos to shine for their 26 00:02:14,960 --> 00:02:21,000 four measures in the sun. And this goes really fast, but the tendency for young players 27 00:02:21,000 --> 00:02:25,120 is going to be to take a breath after the half of the day into that two measures. So you 28 00:02:25,120 --> 00:02:28,680 want to really train them even when you're learning it slower. You want to train them not 29 00:02:28,680 --> 00:02:30,680 to breathe there. 30 00:02:30,680 --> 00:02:37,840 That's literally what I say in my own being also. And then also they're not going to 31 00:02:37,840 --> 00:02:44,480 breathe though at measure five because they're going to continuously lead into six with the 32 00:02:44,480 --> 00:02:48,400 flute and the obo coming in. So what we've taught our students to do we're playing this 33 00:02:48,400 --> 00:02:53,280 currently in the Moss Band-Hall. We taught the students to stagger where they're going to 34 00:02:53,280 --> 00:02:57,960 breathe in five. Some are breathing after the first quarter note and some after the second 35 00:02:57,960 --> 00:03:03,760 quarter note. One, two, three, one, or whatever. And we drew a little crescendo when we marked 36 00:03:03,760 --> 00:03:09,040 their parts from five to six and then you would do the same thing and the other parts as 37 00:03:09,040 --> 00:03:10,040 well. 38 00:03:10,040 --> 00:03:14,560 And it's so exposed that's really important. Right. So there is percussion playing, but there 39 00:03:14,560 --> 00:03:22,280 is no low voice. You get a tempany going for one, but that's really it. So it's real obvious 40 00:03:22,280 --> 00:03:25,040 if they take a big gap. Oh yeah, for sure. 41 00:03:25,040 --> 00:03:30,880 Then these the accident style continues and then everybody, the low brass get to come in 42 00:03:30,880 --> 00:03:37,320 with four or one in measure 10 and they get their moment in the sunshine now. It's not all 43 00:03:37,320 --> 00:03:44,520 low brass like tuba, base clarinet, you know, etc. They have like a long note but the like 44 00:03:44,520 --> 00:03:49,120 trombone, your volume, tear voices get the melody now. So everybody else is going to 45 00:03:49,120 --> 00:03:53,680 lay or down. Flutes and obos just have little quarter notes that are staccato along with 46 00:03:53,680 --> 00:03:59,440 bells and they need to be very soft so that that doesn't distract. We talked to them about 47 00:03:59,440 --> 00:04:05,280 like being little twinkle twinkle twinkle. And then this is the moment for trombone. You 48 00:04:05,280 --> 00:04:09,000 find them to shine for sure. Now the snare drum part on this is really out of my 49 00:04:09,000 --> 00:04:13,920 throat throughout. And a lot of left hand accents that line up with what the winds are doing. 50 00:04:13,920 --> 00:04:18,360 So they'll have one and to do and three and four and one and to and three. It's real common 51 00:04:18,360 --> 00:04:23,800 for young players to slow that left hand accent down. So if you're having pulse issues, 52 00:04:23,800 --> 00:04:28,400 that might be something that you check, but they need to keep their unaccented notes, the 53 00:04:28,400 --> 00:04:33,920 taps really loaded the drum so that it really aligns with what the wind players are doing. 54 00:04:33,920 --> 00:04:38,160 And you can even help add some emphasis to what the players are doing. Yes, that. And again, 55 00:04:38,160 --> 00:04:42,960 like Laura just mentioned it is active. So you have to teach the kids that you're another 56 00:04:42,960 --> 00:04:48,400 layer under the melody. That's right. The tambourine helps keep the beat also here, which is 57 00:04:48,400 --> 00:04:53,360 good. So pick a good player that can watch you and stay right with you as it's kind of a 58 00:04:53,360 --> 00:04:59,200 more moral metronome when you're performing. The same people keep playing the melody. Then 59 00:04:59,200 --> 00:05:06,880 everybody at measure 14 has the same thing. One, two and and four, one, two, three, four, one, 60 00:05:06,880 --> 00:05:14,320 two, three, four, one, three, four, one. So the whole band has a 2D rhythm, which is nice, 61 00:05:14,320 --> 00:05:20,560 except everybody's got to sound exact the same on your style. Okay. If you don't have 62 00:05:20,560 --> 00:05:26,480 everybody matching, it sounds weird because then like all the chords are not aligning up perfectly. 63 00:05:26,480 --> 00:05:33,040 So spend some time on this. If you happen to see us at TMEA, we actually talked about this moment 64 00:05:33,040 --> 00:05:37,840 being a good thing to do on a Remington so that you can match up the style throughout your whole group. 65 00:05:38,720 --> 00:05:46,400 Then on 18, it's a 4T piano note. And that is like I've still this from Laura. She always 66 00:05:46,400 --> 00:05:51,760 tells the kids on every time to think of it like a bell tone and then circle the piano. Like 67 00:05:51,760 --> 00:05:59,440 you got to come way down. It even has a crescendo 4B later. But it has to stay soft. Right? So we 68 00:05:59,440 --> 00:06:05,760 use the word zoom all the time. Right? We say zoom. And I will make the kids actually say that 69 00:06:05,760 --> 00:06:12,640 and to emphasize the staying soft part of it. Right. And especially right here, often a 4T piano 70 00:06:12,640 --> 00:06:18,000 crescendo happens immediately. This here it does not. Because this is where the percussion 71 00:06:18,000 --> 00:06:25,200 get featured. They have 1 to n and 4. 1. So this is where they get to be featured and the band 72 00:06:25,200 --> 00:06:30,720 has to come down underneath them and not crescendo over them. Also when you do add in the 73 00:06:30,720 --> 00:06:35,200 crescendo on this long cord, I'm going to suggest that you encourage the kids to listen 74 00:06:35,200 --> 00:06:41,440 down to the tuba. Absolutely. They can get very noisy if like the higher instruments crescendo more. 75 00:06:41,440 --> 00:06:46,960 In fact, we actually crossed out the crescendo in a lot of the upper woodwind parts so that that 76 00:06:46,960 --> 00:06:52,400 way it was more from the low people. And it's a unison concert F. Right. It's not even a cord. It's 77 00:06:52,400 --> 00:06:57,760 like unison notes. So this is somebody's buying water. It's like okay, come down in our band 78 00:06:57,760 --> 00:07:01,760 hall. It's the horns. So we're always like okay horns calm down and they're on a sea of course. 79 00:07:01,760 --> 00:07:07,840 So it's out of tune and they're getting sharper. All right. So then percussion keeps going to town. 80 00:07:07,840 --> 00:07:14,400 Woodblock comes in and there's a really fine open and closed triangle part. So they get to do this 81 00:07:14,400 --> 00:07:20,560 cool. It sounds kind of jazzy. And they love it because it's cool. Something different that they 82 00:07:20,560 --> 00:07:26,480 haven't ever played before. And the clarinet's come in with a melody alone pick up to 22. 83 00:07:26,480 --> 00:07:31,680 Now it is marked meant so forte. So we've been telling the kids like don't force come in really 84 00:07:31,680 --> 00:07:37,280 calm. Okay. And then they get a cool feature all the way until the flicks come in. 85 00:07:37,280 --> 00:07:41,280 When the flutes come in the flutes come in with this little austenato bells double them. They 86 00:07:41,280 --> 00:07:47,440 had the same rhythmic austenato that we had before but without the accents. Right. So we get that one 87 00:07:47,440 --> 00:07:54,080 to in and for this needs to be really subtle. Oh yeah. Like they need to like twandling exactly. It needs 88 00:07:54,080 --> 00:07:59,120 to be really subtle. The autos come in to thicken up the clarinet part but still this should not 89 00:07:59,120 --> 00:08:06,000 be overly loud. Everything should be really calm and just let the flutes kind of come in and and 90 00:08:06,000 --> 00:08:13,840 be that special effect. This is more of a smooth to muteotype section to no access change. No 91 00:08:13,840 --> 00:08:20,240 accents. Yep. So everybody is smooth. There's a few slurs thrown in. And then there's a really cool 92 00:08:20,240 --> 00:08:26,000 high-hat part that comes in in 29. So this is fun for your percussion because they're going to do 93 00:08:26,000 --> 00:08:33,680 things they don't normally get to do. Then there's a pickup into 30 with again the trumpets are now 94 00:08:33,680 --> 00:08:39,440 doing that austenato Laura spoke about. So they are not very loud and now the mids and the lows get 95 00:08:39,440 --> 00:08:44,640 to join the clarinet's and the autos on the melody. Actually autos don't play it there. It's 96 00:08:44,640 --> 00:08:51,200 still just clarinet. So this is a moment where clarinets can come down a dynamic and the mids and 97 00:08:51,200 --> 00:08:56,800 lows can play out a little more like horn, trombone, ephony, and tuba. And while we are not currently 98 00:08:56,800 --> 00:09:03,360 working on this in my band haul I have a have judged a couple of bands already playing this and I 99 00:09:03,360 --> 00:09:09,760 find it this point especially if you have a strong number of trumpet players it's real easy for the 100 00:09:09,760 --> 00:09:15,840 trumpet to blanket just smother everything else right here. So they even though they are the only 101 00:09:15,840 --> 00:09:21,760 one the only wind players that are playing that austenato they cannot be the dominant voice. 102 00:09:21,760 --> 00:09:28,160 Right. This is still smooth connect in calm we're just kind of working our way back up again. 103 00:09:28,160 --> 00:09:32,160 So even the lows even though they have the melody they should not come in really loud. 104 00:09:32,160 --> 00:09:35,280 It shouldn't be form and it already everybody else comes down a notch. 105 00:09:36,320 --> 00:09:42,640 Then the flutes finally come in with Obo. Obo was already playing the melody but now flutes double them 106 00:09:42,640 --> 00:09:48,720 coming in pick up to 34 and now they have the melody so the last ones to kind of add in. 107 00:09:48,720 --> 00:09:54,320 So they can shimmer but they are up above the staff so be really careful about tuning and also 108 00:09:54,320 --> 00:10:03,200 making sure that they use good vibrato. Then almost the whole band has 1 2 and 3 4 1 3 4 and then we 109 00:10:03,200 --> 00:10:10,080 go in to 38 with a day crescendo. And 38 we kind of change we shift gears here so we have 110 00:10:10,080 --> 00:10:16,400 alto and flute and Obo on moving quarter notes you do have a melody that is the melody we do have 111 00:10:16,400 --> 00:10:22,560 the the accompaniment in the low brass all of the low brass are playing but it's marked piano so 112 00:10:22,560 --> 00:10:27,280 that is something that very likely may need to be thinned out and I love the bell part here the 113 00:10:27,280 --> 00:10:33,280 bell part gets kgc the one swing really close but they're doing 1 and 2 and 3 and 4 and 1 into it's a 114 00:10:33,280 --> 00:10:39,920 really cool little part that provides pulse and just adds that really cool twinkling effect like 115 00:10:39,920 --> 00:10:44,880 Kd said here which I think is is a really a really cool effect in this little part. 116 00:10:44,880 --> 00:10:49,280 This is also a moment where your low brass if they don't re-articulate firmly you can 117 00:10:49,280 --> 00:10:58,320 lose the rhythm they have a dotted half note tall tall tall tall tall tall so it's not like 118 00:10:58,320 --> 00:11:03,120 they're going to accent or staccato but they do need to tongue firmly so you can hear those changing 119 00:11:03,120 --> 00:11:09,840 notes the horns get a little like um call and response here with the upper woodwinds so they have 120 00:11:09,840 --> 00:11:19,920 1 2 3 4 1 3 4 1 2 3 French horn plays there so whenever you guys work on this make sure that 121 00:11:19,920 --> 00:11:26,560 that clarinet tenor sax and horn part is brought out only for those two measures then they back 122 00:11:26,560 --> 00:11:33,200 down again while the trumpets now get to have the melody so now flute no bow have gone away 123 00:11:33,200 --> 00:11:37,440 and this is really the only part where I feel like there's really like some staggered 124 00:11:37,440 --> 00:11:41,920 entrances like where you're not entering like trumpets we're coming in on beat three right there 125 00:11:41,920 --> 00:11:47,760 horns were just making sure that everyone's accountable for for counting correctly and entering 126 00:11:47,760 --> 00:11:54,080 at the right time and you gotta tell the lows to mark out the MP at 42 they're going to stay quiet 127 00:11:54,080 --> 00:11:58,720 it does have them coming up a level I would not do that they don't need to do that especially 128 00:11:58,720 --> 00:12:03,120 the range the trumpets and altos have the melody here and the range that they're playing in 129 00:12:03,120 --> 00:12:07,520 is low enough in the trumpets that projection isn't issue it's all the low brass come up an 130 00:12:07,520 --> 00:12:14,960 notch with them yep and then the tenor has that same little response along with ufony in this time 131 00:12:14,960 --> 00:12:22,240 at 4 1 2 3 to the trumpets then the trumpets keep going with the melody and flute in 132 00:12:22,880 --> 00:12:29,680 Obo and clarinet 1 add in with them now the clarinet one part has people being able to play 133 00:12:29,680 --> 00:12:36,000 the lower notes and the higher notes I would highly suggest you make that an audition and only one 134 00:12:36,000 --> 00:12:42,720 student plays the upper notes if nobody because it's way high and that has the ability to 135 00:12:42,720 --> 00:12:48,320 detract from the rest of the group because this is another full band crescendo moment here where 136 00:12:48,320 --> 00:12:55,840 we're leading up again to measure 52 and this is right here this the flute the Obo's and if you 137 00:12:55,840 --> 00:13:02,320 put a clarinet on those upper notes are all in the exact same octet and that can be a tuning 138 00:13:02,320 --> 00:13:08,720 night and the trumpets up there too so yeah I agree with that this is the first moment where we get 139 00:13:08,720 --> 00:13:16,400 those accents back so they got 1 2 3 4 smooth tall tall tall tall tall we bring that same 140 00:13:16,400 --> 00:13:21,280 step back and then the people with the whole note have another 4 tapiano they got a back out of the 141 00:13:21,280 --> 00:13:28,400 way then we all have like a similar rhythm again same little austinato then we're leading up to 52 142 00:13:28,400 --> 00:13:36,320 and we have the low brass getting the melody 1 2 and and 4 1 2 no breath yep that's right 143 00:13:36,320 --> 00:13:40,400 so kind of the same thing is before you can have them find little other spots to take a 144 00:13:40,400 --> 00:13:44,880 breath and market in their parts for them so they're not trying to breathe on the barline 145 00:13:44,880 --> 00:13:52,240 then the upper's come in again with the melody we do the same thing 58 is more flowy again we have 146 00:13:52,240 --> 00:13:58,720 another accent at moment the same thing where there's a 4 tapiano and we have the austinato 147 00:13:58,720 --> 00:14:06,320 that needs to be in tune and matching style together the full band at 64 and 65 has the same thing 148 00:14:06,800 --> 00:14:12,560 then we have a really fun percussion break so one thing real quickly this this this austinato 149 00:14:12,560 --> 00:14:17,600 the casinato I've been referring to that happens over and over one two and in 4 1 2 3 this thing 150 00:14:17,600 --> 00:14:24,240 happens the the tendency I think what I have heard is for people to play the unaccented notes 151 00:14:24,240 --> 00:14:30,480 staccato and it is intentionally marked to Nudo right so we like I mean if you listen to our podcast 152 00:14:30,480 --> 00:14:38,080 you know I'm big on vocalizing I would make my students say da do da do da da da so that they're 153 00:14:38,080 --> 00:14:45,280 actually getting the duven set of da da da da da da da da da da make them be really clear on that 154 00:14:45,280 --> 00:14:50,880 Tannuto note link yeah style is a big deal in this piece so that's something great to think about 155 00:14:50,880 --> 00:14:55,600 and then percussion break yeah yeah tempo needs to be featured you have a cool two wood blocks 156 00:14:55,600 --> 00:15:03,760 being played by a person you've got the snare drum you've got the the the times coming in it's so fun 157 00:15:03,760 --> 00:15:09,280 and this is their own little like moment so treat it like that like they should play it like an ensemble 158 00:15:09,280 --> 00:15:13,440 that's exactly right every time sometimes when we have percussion features it just sounds noisy 159 00:15:13,440 --> 00:15:18,320 because directors don't give listening assignments in the percussion section the same way that you do in 160 00:15:18,320 --> 00:15:23,760 your wind section it has to happen there is a melody now you can decide what you want to 161 00:15:23,760 --> 00:15:29,520 prioritize but they need to balance to it and it need they need to adjust to it just the same 162 00:15:29,520 --> 00:15:33,920 way you would expect your winds to otherwise it's just gonna sound noisy I like the tympany and 163 00:15:33,920 --> 00:15:38,800 the chimes part that's what I've been talking to the kids about balancing too and then we have a 164 00:15:38,800 --> 00:15:44,560 day crescendo when when they're not as important anymore and we come in with a new low brass statement 165 00:15:44,560 --> 00:15:50,880 it's like what the clarinet's had before it's smoother it's quieter then the upper people have the 166 00:15:50,880 --> 00:15:56,400 ostinato again they need to stay soft again way underneath the low brass and this is a low brass 167 00:15:56,400 --> 00:16:04,160 tuning nightmare yeah it's a nice cheese and cheese above the staff yep and a natural so 168 00:16:04,160 --> 00:16:09,120 this is a moment where like if you have sectionals I would work on this really quick and out the 169 00:16:09,120 --> 00:16:13,920 gate when you're working on it so that way you can really get that tuning to be a hundred percent 170 00:16:14,960 --> 00:16:20,000 in a small group setting before you put it all together and it's exposed right I mean it's really 171 00:16:20,000 --> 00:16:24,480 exposed there so tuning will be real obvious there's also lots of skips in this section which 172 00:16:24,480 --> 00:16:29,520 that's another reason to really spend some time on it in sectionals they're going from G's to C's 173 00:16:29,520 --> 00:16:35,360 and like lots of skips it's not really stepwise motion at all yep then we come back with the 174 00:16:35,360 --> 00:16:42,880 trumpets only having the melody at 80 one two and and four one three four and then now the 175 00:16:42,880 --> 00:16:49,200 flute skit the melody at 82 with saxophone it's very smooth the bells get to do their twinkling 176 00:16:49,200 --> 00:16:56,480 thing again we're starting to just kind of repeat material the lows have a little at 85 a little 177 00:16:56,480 --> 00:17:02,960 harp in back to the one two and and four so that's kind of a fun little spot and it is marked 178 00:17:02,960 --> 00:17:10,400 staccato here yeah just like we talked about all of that it's different it is different here at 86 179 00:17:10,400 --> 00:17:16,720 we continue on with the smooth part trumpets have now joined them in and then we lead back up 180 00:17:16,720 --> 00:17:23,360 exactly like we did before at 90 everybody is smooth and then two accident notes at the end of 91 181 00:17:23,360 --> 00:17:29,040 that need to be brought out with tympany helping and then big crash symbol and everybody has one two 182 00:17:29,040 --> 00:17:36,480 and and four big tympany and mallet moment and then same thing and then everybody comes in together 183 00:17:36,480 --> 00:17:44,320 at 96 now the flute skit the melody alone and they have the long one like Laura was saying 184 00:17:44,320 --> 00:17:51,120 Doodie doody doody or whatever she said do do do do do do do yes and then the clarinet 185 00:17:51,120 --> 00:17:54,880 skit a little counter melody and it's the first time we've heard this count melody and they're not 186 00:17:54,880 --> 00:18:00,000 very good at counting it because it's a time note so it's a time note for six beats and then they 187 00:18:00,000 --> 00:18:06,480 have three and four and one which leads while the flute's have a long note so you want to work on 188 00:18:06,480 --> 00:18:11,280 this little spot just counting it's got a lot of tied stuff making sure that if you're marking 189 00:18:11,280 --> 00:18:15,520 their parks you should write in the counts for them so they know and they feel really good. 190 00:18:15,520 --> 00:18:21,760 Everybody's off on beat four at 99 with percussion leading us into a hundred the full band again 191 00:18:21,760 --> 00:18:28,960 has the melody and the same style and rhythm at a hundred and a hundred and one then we get a 192 00:18:28,960 --> 00:18:36,080 little moment of some slurs at 102 and 103 and then we all have a pickup into 104 and it's 193 00:18:36,080 --> 00:18:45,440 accented again. Accented 2D rhythm here so accented quarter half rest 2 and 3 right. One and 194 00:18:45,440 --> 00:18:52,880 everybody has the same thing so style is important then we get the austinado again at 108 they have to 195 00:18:52,880 --> 00:18:58,480 back out of the way the lows get to have a long tied note now right in their counts for them 196 00:18:58,480 --> 00:19:05,600 then they have accents more tied note more accents and then at 112 the whole band again one two 197 00:19:05,600 --> 00:19:13,600 and and four percussion break then the whole band again then the percussion again then this part's 198 00:19:13,600 --> 00:19:21,360 really fun there's a 4TpN0 for most of the band I crossed out the crescendo until the end of 1117 199 00:19:21,360 --> 00:19:28,480 because the middle voices clarinet horn sax they get to have a little moment of glory and 200 00:19:28,480 --> 00:19:37,120 time so I like I love the time period yeah two three four one two three one and so if that 201 00:19:37,120 --> 00:19:42,480 forte piano gets too loud too soon which is of course what they want to do then you lose that 202 00:19:42,480 --> 00:19:47,440 part and then they're having a force to try to sound better so you might even want to write it 203 00:19:47,440 --> 00:19:54,320 we're like only half the band plays in 1116 on the long note and everybody else adds in and does a 204 00:19:54,320 --> 00:20:00,160 crescendo 1117 whatever works best for the instrumentation of your band but this part is important to 205 00:20:00,160 --> 00:20:06,960 stylistically line up but also not overbalance them so this is a long piece I mean we're talking you know 206 00:20:06,960 --> 00:20:14,400 118 measures in four four time for a grade two piece but it goes by really fast it is a kid I mean 207 00:20:14,400 --> 00:20:19,120 I can only imagine kids so they haven't so much they practice hard every time we say we're going to 208 00:20:19,120 --> 00:20:24,160 play you know so you know you're winning at that well we hope that you will consider programming 209 00:20:24,160 --> 00:20:40,000 blues guy horizon in the future and thank you for joining us on this episode of band BFS