WEBVTT

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Welcome to our podcast, Band BFFs. The podcast

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where we make your music selection less complicated.

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On today's episode, we're going to be discussing

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two pieces that you can do with a beginner band,

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possibly a sub -non -varsity or non -varsity

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group for your spring concert, or whatever fall

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concert next year whatever might work for you.

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We have been reached out to by many groups like

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asking what are some of your favorite things

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to do for your spring concert and these are some

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like a little bit more difficult on the scale

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maybe like a 1 .5 to do with your beginners.

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So today we're going to be discussing Mama Paquita

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arranged by Michael Storey and the Dragon Lord

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written by Randall Standridge. Cheers to starting

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the conversation. Okay, so this Mama Pequita

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is... It's precious. It is absolutely adorable.

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Shout out to my friend Brad Smith for giving

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me this idea many years ago because my kids love

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this piece. Okay, now listen, this is new to

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me. I had not heard of this before, but it is

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absolutely adorable. It is less than two minutes,

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about a minute and 45 seconds, concert B flat,

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four four flute throughout, no split. trumpet

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or clarinet, parts at all, easy low brass. Now

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it's Brazilian, so it's got a lot of kind of

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Latin percussion in it. You need a decent number

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of percussionists to play this. I'd say five

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to six. But you can add more. Like if you have

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some other fun percussion equipment stuff that

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you want to add to it to spice it up a little

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bit more, this Brazilian theme, you can do that.

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This is so adorable. So this is a traditional

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Brazilian folk song. and I always start teaching

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this piece to the beginners by playing this cute

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little YouTube video. It reminds me of like little

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Einsteins, you know, and it's like our Mary had

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a little lamb, but for Brazil, it's Mama Paquita.

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And it's this cute little song that talks about

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Mama Paquita has papayas and bananas, and it

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actually gets a little dark in like the third

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verse where Mama Paquita can't afford to buy

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anymore fruit. So like, my beginners are always

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like, that poor mom. It's it's fun. It's like

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just a cute little theme, you know, but it's

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it's adorable So show show the little video get

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the kids excited They walk around singing that

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dang song like the entire time we play it. It

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is catchy But just like Mary had a little lamb

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is catchy, you know, it's just this is their

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this is their version. So It comes, starts off

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with everybody having like a little introduction.

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It is a little bit trickier with rhythms. So

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everybody in the melody has one and, and three,

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four, one and, and three, four, and the range

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is a little bit more tricky on this piece too.

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One and. three four one and two yeah cha -cha

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-cha it literally sounds just like that and and

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it's so it sounds real Brazilian and then it

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starts off the whole piece with a flute feature

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so you might want to program this piece on a

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year where your beginner flute class is rocking

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it or like if you have a lot of flutes in your

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concert band or your third band or your second

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band and you are looking for a good piece to

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do at the beginning of the year where you can

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feature them and really get their like you know

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skills like to be elevated at the beginning And

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they're confidence built, right? Yeah, that's

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what I mean, confidence built. This is a great

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piece to program. So percussion has this little

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like fun groove behind them. There's little shakers

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going, maracas, the wero. And then it's so fun.

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It's a great wero sound, Katie. That was excellent.

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I know, right? I've been working on it. And then

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the lows literally do have a real easy part.

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three four one and then the flutes have the melody

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and they come in on the pickups to measure five

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this pickup part is what makes it kind of tricky

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because every time the different voices have

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the melody they come in on the and of three so

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you have to teach them about breathing on three

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that's right one two and four and one and two

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and four and one and two and four and one two

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three and four and one and so like breathing

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on three is a thing on this piece and everybody

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at some point or another besides the clarinets

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and the horns gets to have the melody so teaching

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them about that breathing on three is really

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critical and important. And we've talked about

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that in a previous episode right making sure

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that you're teaching your kids how to take those

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quick breaths and practicing them in your daily

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drill so that when they get to the music it is

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really clear. Yep. This is this eighth note thing

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I think it is really cute and then it does a

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lot of just one and rest and four and one and

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yeah so that I mean making sure that they're

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articulating that correctly oh yeah I gotta be

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really short yeah it's pretty tricky yeah and

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then the clarinets get what I call blown in the

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wind part so they're just going one three Three

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and I wrote in their part to do a one measure

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crescendo and a one measure decrescendo So they're

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already learning those musical phrase shaping

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skills and beginner bands to just like take it

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up a notch a little bit Then the flutes finish

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their melody one two three and four and one and

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then the lows have and two and three and then

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the Trumpets and the saxes come in with the melody

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with the flute and four and so it's really tricky

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Yeah, like aligning the rhythm where everybody

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understands I come in on the eight of one but

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I come in on the and of three and not letting

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the the tempo slow down or like letting their

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style get longer as they pass this part around

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because they're gonna wait to react right here

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right and you have to teach them no don't react

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you do it right in time exactly luckily the tuba

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and the low reed part is one and two and three

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they don't have an up entrance but the the Bassoon

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euphonium trombones. They do have an up entrance

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and then so do the melody people So then the

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melody now is in flute oboe sax and trumpet They

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keep going and now the horns have added in with

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the clarinets on the blowing in the wind part

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And then the low brass have like oh, it's so

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cute So it's just so fun. But like everybody

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has kind of the same thing. We're continuing

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to move along and then the There's a pickup in

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the trumpet and flute and oboe going into 21

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and we have a new moment. Four, one, and, and

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three, four, don't breathe here. One, and, and

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three, four, one. So teaching them about, again,

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phrasing. You're not gonna breathe on the bar

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line. Instead, you have a rest in the next measure.

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That's where you get to take your breath. So

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that's something, again, that's a little bit

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tricky, but it's good to teach in beginner bands

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so that they're familiar with it in seventh and

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eighth grade. And then the horns have a dotted

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half note with alto, but the lows have a half

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note with two quarter notes. So just getting

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all these differing rhythms, it can be a little

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bit tricky together, but nothing ridiculous.

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What I love is that it's like, I think it is...

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The parts, the balance, the layering is not overly

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complicated. What makes it tricky is the rhythms.

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The ranges are not overly complicated, right?

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And then as we're finishing out this four bar

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phrase that we had at 21, the altos and horns

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get a cool little one, two, three, four. A little

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chromaticism part, which is kind of cool. It

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is. It's fun. Then we get this moment where we

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have like a little bell tones part. Lows come

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in on beat one. Alto comes in on two. Clarinet

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and oboe come in on three. And then flute and

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trumpet come in on four. One, two, three, four,

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one and two. And the whole band has that together.

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And then percussion. And then the lows get to

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have the melody. And four and one and so then

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they get to have the important part. So literally

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it's like it's passed around and everybody has

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to learn how to play something that's a little

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bit beefier, a little bit more rhythmically difficult

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and challenging. And then the trumpets get to

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have a cool little counter melody part. I love

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the trumpet part here. I think this is really

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cool. So in the upper woodwinds, they're just

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kind of like harmonic. Yeah, they're just providing

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harmonic foundation with some whole note support.

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But the trumpets are getting a cool little counter

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melody. Now we've heard the melody mama paquita

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several times and now the trumpets are da da

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da da da two and three off two and three Yeah,

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it's it's really it's cute dotted quarter note

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rhythm one and three and the trumpet part lows

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are about to have a dotted quarter note part

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too so there again the rhythms are a little bit

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more challenging but nothing that they probably

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shouldn't be exposed to before they go to seventh

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and eighth grade. Then we're crescendoing down

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on a little like mini scale on the lows and then

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the lows are done with their little melody and

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now we're back to the high people having the

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mama paquita rhythm. We've got the blowing in

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the wind again. It's literally just a repeat

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from before. Yep and then we end the piece with

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the lows having the melody and four and one and

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and four and one and and then it goes back to

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flute trumpet and four and one and Three four

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one and two and the whole band has that rhythm

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together to measure is unison rhythm Yep, and

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just aligning that style again There's not a

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lot of style written in but just like there are

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some staccatos. There are some house top accents

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So just teaching the kids about those is really

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important But this piece is just precious and

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the kid the students love it because it's cute

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and it's catchy They're gonna be singing it,

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you know, it gets stuck in their head. And in

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fact, they're always like cursing me for it getting

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stuck Yeah, it's gotten stuck in my head. So

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all right, and then so the next piece that could

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be considered for like a beginner band or possibly

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like a sub non -varsity non -varsity situation.

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Or a beginner honors band if you do something

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like that like we, you know, we'll do that with

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our beginners where they earn their way into

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an art. A little bit harder. Yeah, exactly. This

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one is is called a 1 .5 and it's part of a different

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of a Series series. Thank you that mr. Standridge

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has done called tales from the Darklands So there's

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like Darkland March I think is one of them and

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then there's another one and this is the Dragon

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Lord This is part one. So that I think because

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it's for beginners so or younger students But

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this piece is really cool and typical Standridge.

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You got to have a lot of percussion So it's in

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the key of concert e -flat. It's a little over

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two minutes long about two minutes and 15 seconds

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it has The clarinet part is not split, but it

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does have an optional clarinet part that doubles

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the horn, which is great. So if you don't have

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strong horns, or if you have a ton of clarinets,

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you can split that. It does have split trumpet

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parts in typical standards fashion. Lots and

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lots of percussion that's really, really cool.

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Like a lot. Yeah, a lot, and a lot of effective

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percussion. So you definitely want to make sure

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you've got the percussion parts covered, and

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then the cool like... background sound or whatever.

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So the piece comes with a sound effect that's

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a dragon roar so if you want to you can even

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like hook up your sound system and have the dragon

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roar happen. I have never done it because I'm

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just so lazy and the kids always keep telling

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me to do it but maybe this year I'll finally

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get on it. But we play this like every year like

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the kids would absolutely revolt if I didn't

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play Dragon Lord because it's this one's what

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what they would call a banger for sure and it

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starts off mysterious at The tempo is 72, and

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I'm just gonna say this is probably my third

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year of playing it with my beginner band, and

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we try to typically rotate and do other pieces,

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but this is one that we really like with the

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kids. This is the first year I've done this,

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so I'm just telling you guys because this worked

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for me this year. This is a piece that's also

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on Make Music, so if you are a Make Music group,

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you could play this. But the reason I taught

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it this way was because of Make Music. because

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it doesn't go slow at the beginning and then

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go slower when the tempo changes. It goes straight

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into cut time feel. So I taught my kids to learn

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it that way from the beginning this year and

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it hasn't been an issue. So we kept our foot,

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our foot tap is the same the whole time. So we

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set it at 72. We practice counting one, two,

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three. four one two three four and we and we

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just practiced counting in the cut time. but

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keeping our foot tap the same the whole time.

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And it's been really good because they got it.

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I was actually shocked at how quickly they understood

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that. Kids were popping their hands up and saying,

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oh, so that's like eighth notes. And I was like,

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mm -hmm, that's right. Yeah. So that's just a

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little side note. So it does have this mysterious

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opening for about six measures. And then after

00:13:04.919 --> 00:13:08.919
that, it goes to be a little bit faster. the

00:13:08.919 --> 00:13:12.720
cut time section. So here at the very beginning

00:13:12.720 --> 00:13:15.620
it starts off mysterious, as I mentioned, and

00:13:15.620 --> 00:13:19.500
the slower speed of 72. Timpani starts off the

00:13:19.500 --> 00:13:24.149
piece with one, two, and three, low. One and

00:13:24.149 --> 00:13:26.570
there's a little flute trail and then the bells

00:13:26.570 --> 00:13:30.110
get this cool part three and four and one So

00:13:30.110 --> 00:13:33.509
it's very mysterious and then the horns and the

00:13:33.509 --> 00:13:35.970
clarinets and the altos get to have the melody

00:13:35.970 --> 00:13:39.490
in measure three And it's just this like smooth

00:13:39.490 --> 00:13:44.169
piano soft moment It's very chromatic II in this

00:13:44.169 --> 00:13:46.649
piece, which the kids think is really fun makes

00:13:46.649 --> 00:13:49.190
it sound dark and mysterious The lows are continuing

00:13:49.190 --> 00:13:51.710
with what they have then they kind of join us

00:13:51.710 --> 00:13:56.679
and we go one One, two, three, long tongue, flute.

00:13:57.990 --> 00:14:01.289
trumpet they get a little DSC ray for one measure

00:14:01.289 --> 00:14:03.470
and the mallet percussion the bells are still

00:14:03.470 --> 00:14:05.809
going yep and they go one and two and three and

00:14:05.809 --> 00:14:09.470
four and and then right away at seven it's marked

00:14:09.470 --> 00:14:12.850
aggressive and it's 144 so you got to practice

00:14:12.850 --> 00:14:18.710
the students going one two three four one two

00:14:18.710 --> 00:14:21.789
three four one two so they count one two three

00:14:21.789 --> 00:14:24.570
four in their brain and but their foot tap keeps

00:14:24.570 --> 00:14:27.529
going at 72 That way they're really understanding

00:14:27.529 --> 00:14:30.470
this cut time feel. So the full band has a whole

00:14:30.470 --> 00:14:33.889
note, and then the timpani and the snare comes

00:14:33.889 --> 00:14:36.549
in with one and two and three and four and, and

00:14:36.549 --> 00:14:38.710
then this is the banger part. Everybody goes

00:14:38.710 --> 00:14:42.090
bump, bump, bump, bump. except the melody, which

00:14:42.090 --> 00:14:44.190
is the dragon stomping, that's what I call it.

00:14:44.370 --> 00:14:46.950
So it's in like horn and clarinet, it's still

00:14:46.950 --> 00:14:53.230
in sax. One, three, one, three, one, three, one.

00:14:53.370 --> 00:14:55.470
So they're just doing that little part. Full

00:14:55.470 --> 00:14:58.750
band has staccato staccato accent. One and two,

00:14:58.789 --> 00:15:01.750
three and four, one and two, snare drum. Then

00:15:01.750 --> 00:15:04.899
a little trill and a forte piano. one and two

00:15:04.899 --> 00:15:09.120
and four, one. So it starts off just so exciting

00:15:09.120 --> 00:15:11.419
and fun and the kids love it because everybody

00:15:11.419 --> 00:15:13.860
gets to do cool things. Yeah, lots and lots of

00:15:13.860 --> 00:15:17.159
energy in this. And just making sure, I love

00:15:17.159 --> 00:15:19.360
the idea of treating it like it's in cut time.

00:15:19.720 --> 00:15:21.740
I think that that's really, really cool. And

00:15:21.740 --> 00:15:24.159
making sure that their eighth note articulation

00:15:24.159 --> 00:15:27.120
matches. There's cool, the timpani gets like,

00:15:27.139 --> 00:15:28.659
Katie was talking about. Yeah, when the winds

00:15:28.659 --> 00:15:30.740
are playing one and two and three and four and

00:15:30.740 --> 00:15:32.779
one and two and three and four and. And there's

00:15:32.779 --> 00:15:36.019
an anvil part. You know break drum part. So I

00:15:36.019 --> 00:15:38.179
mean there it's just really fun like the kids

00:15:38.179 --> 00:15:41.080
like love this piece That's not hard though.

00:15:41.080 --> 00:15:43.580
Like the eighth notes are the same note So it's

00:15:43.580 --> 00:15:45.860
not like they're articulating right quick and

00:15:45.860 --> 00:15:49.419
changing pictures. It's GG GG F sharp F sharp

00:15:49.419 --> 00:15:52.759
F sharp F sharp in the flute part So but the

00:15:52.759 --> 00:15:54.679
you know, the smart kids are like, oh, I'm tonguing

00:15:54.679 --> 00:15:57.360
sixteenth notes Because that's what they are

00:15:57.360 --> 00:15:59.620
doing when you're in cut time, you know So just

00:15:59.620 --> 00:16:02.120
kind of talking about that is pretty neat And

00:16:02.120 --> 00:16:06.340
then when we get to 17, the sleigh bells come

00:16:06.340 --> 00:16:10.820
in with the tempo. One and two and three and

00:16:10.820 --> 00:16:13.960
four and then the mallet percussion has this

00:16:13.960 --> 00:16:16.539
cool part. So you've got to have a really good

00:16:16.539 --> 00:16:19.059
player on your mallets. One and two and three

00:16:19.059 --> 00:16:21.659
and four and one and two and then the low people

00:16:21.659 --> 00:16:25.019
go three, four, one. And then that's where the

00:16:25.019 --> 00:16:26.759
dragon roar would happen if you wanted to use

00:16:26.759 --> 00:16:29.500
it. So it's like the dragon is like coming out

00:16:29.500 --> 00:16:32.309
of its cage. the sleigh bells and I know we've

00:16:32.309 --> 00:16:34.929
talked about this before but this is fast and

00:16:34.929 --> 00:16:37.450
it's 8th notes or 16th notes and that is super

00:16:37.450 --> 00:16:39.629
hard to keep it nice and steady so you might

00:16:39.629 --> 00:16:41.210
consider if your sleigh bell player is having

00:16:41.210 --> 00:16:42.909
trouble doing that and doing it in time turning

00:16:42.909 --> 00:16:46.009
the sleigh bells on their side and shaking them

00:16:46.009 --> 00:16:49.590
that that motion is sometimes a little bit easier

00:16:49.590 --> 00:16:52.570
for young players or I know we've talked about

00:16:52.570 --> 00:16:56.409
before a mounted flat set of sleigh bells which

00:16:56.409 --> 00:17:00.049
I have used before that you can play with a mallet

00:17:00.049 --> 00:17:04.569
or a stick to, obviously that transfers, that

00:17:04.569 --> 00:17:06.190
skill transfers really easily because they're

00:17:06.190 --> 00:17:08.210
used to doing that. But anyway, you might consider

00:17:08.210 --> 00:17:09.710
just turning the sleigh bells sideways if the

00:17:09.710 --> 00:17:11.910
kids are having trouble playing in time. Cool.

00:17:12.509 --> 00:17:15.990
And then 21, the low people now get the dragon

00:17:15.990 --> 00:17:21.150
part. One, three, one, three. Yep. And then the

00:17:21.150 --> 00:17:23.230
uppers are either resting or just have one, in,

00:17:23.289 --> 00:17:25.630
two, in. one and two and so they're just the

00:17:25.630 --> 00:17:28.250
background. Then we have these really cool effects

00:17:28.250 --> 00:17:30.609
that he writes in where you start piano and crescendo

00:17:30.609 --> 00:17:33.269
up to like mezzo forte or forte throughout the

00:17:33.269 --> 00:17:35.769
piece one and two and three and four and it comes

00:17:35.769 --> 00:17:37.650
back over and over and over throughout the piece

00:17:37.650 --> 00:17:39.769
so it's just a fun effect for the kids to do.

00:17:40.660 --> 00:17:44.720
the melody ends up on the lows in measure 28

00:17:44.720 --> 00:17:47.900
and then timpani and mallet are still going snare

00:17:47.900 --> 00:17:51.480
drum leads us in to 29 now the trumpets have

00:17:51.480 --> 00:17:54.200
the melody and then there's this really cute

00:17:54.200 --> 00:17:57.900
cool mysterious counter melody and the flute

00:17:57.900 --> 00:18:01.359
oboe clarinet and saxophone part so they're playing

00:18:01.359 --> 00:18:05.380
the one three one and flutes go one two three

00:18:05.380 --> 00:18:09.619
four one Little chromatic sounding for one. So

00:18:09.619 --> 00:18:13.160
it's like a little it's a fun little part But

00:18:13.160 --> 00:18:14.859
it is a little trickier because it's got some

00:18:14.859 --> 00:18:16.660
accidentals written in and things like that.

00:18:16.960 --> 00:18:19.599
Then the full group kind of ends with one and

00:18:19.599 --> 00:18:22.380
two, three and four, and then a forte piano,

00:18:22.660 --> 00:18:25.579
one, two, three, off. And then the lows get one

00:18:25.579 --> 00:18:28.319
and two and three and four. So that's a fun little

00:18:28.319 --> 00:18:30.799
part. Again, timpani gets to be kind of featured

00:18:30.799 --> 00:18:33.660
again. It's like a nice little phrase ending.

00:18:33.920 --> 00:18:35.660
And he writes in, this happens a couple of times

00:18:35.660 --> 00:18:38.099
in here, he writes in these written releases,

00:18:38.279 --> 00:18:40.240
right? Where it's a half note tied to an eighth

00:18:40.240 --> 00:18:42.240
note or a dotted half note tied to an eighth.

00:18:42.160 --> 00:18:44.940
So teaching kids because younger players will

00:18:44.940 --> 00:18:47.140
sometimes try to do the math in there. So I have

00:18:47.140 --> 00:18:49.839
to release when my foot is up? No, that's actually

00:18:49.839 --> 00:18:52.660
a written release. He's just telling you go all

00:18:52.660 --> 00:18:55.180
the way here. Except... I'm glad you brought

00:18:55.180 --> 00:18:58.579
that up that is tricky for kids because Since

00:18:58.579 --> 00:19:01.180
this is in cut time. They actually are releasing

00:19:01.180 --> 00:19:04.039
on an up foot tap because we're in cut time So

00:19:04.039 --> 00:19:06.960
they're going bump bump bump bump bump one two

00:19:06.960 --> 00:19:10.039
three off and that is a bit tricky and we did

00:19:10.039 --> 00:19:11.900
have to go through and teach that a little bit

00:19:11.900 --> 00:19:14.599
because that That's like kind of strange, you

00:19:14.599 --> 00:19:17.500
know, but it's been neat to get to teach like

00:19:17.500 --> 00:19:19.960
cut time concepts with beginners Well, and one

00:19:19.960 --> 00:19:21.779
of the things I like about it like the piece

00:19:21.779 --> 00:19:24.400
wolf it will the inner you will be different

00:19:24.400 --> 00:19:26.400
if the kids are thinking of it and cut time then

00:19:26.400 --> 00:19:28.920
it will if they are going one two three four

00:19:28.920 --> 00:19:32.180
their foot taps like crazy right so I mean it

00:19:32.180 --> 00:19:34.319
really makes it feel better to approach I totally

00:19:34.319 --> 00:19:38.180
agree with that and it has so far at 37 we kind

00:19:38.180 --> 00:19:40.500
of chill out a little bit the lows get a piano

00:19:40.500 --> 00:19:43.519
part with just some like chords the flute clarinet

00:19:43.519 --> 00:19:46.099
and oboe have the melody with a little wind chime

00:19:46.099 --> 00:19:49.559
effect behind them then two measures later we

00:19:49.559 --> 00:19:51.920
get another one of those piano crescendos with

00:19:51.920 --> 00:19:54.329
a decrescendo one and two and three and four

00:19:54.329 --> 00:19:57.009
and one and two and three and four. So it's cool

00:19:57.009 --> 00:19:59.930
to teach the kids how to do those dynamics without

00:19:59.930 --> 00:20:02.809
slowing down their articulation as they kind

00:20:02.809 --> 00:20:05.849
of go through that. The wind chime part, I want

00:20:05.849 --> 00:20:07.450
to say something about this real quick. The wind

00:20:07.450 --> 00:20:10.170
chime part goes on forever underneath this and

00:20:10.170 --> 00:20:13.430
it's not written to be directional. So like up

00:20:13.430 --> 00:20:16.289
and then down. So I would just have them, we've

00:20:16.289 --> 00:20:18.789
talked about this before, I would just have them

00:20:18.789 --> 00:20:21.509
take their hands and stay on the bottom of the

00:20:21.509 --> 00:20:25.029
bar. and just kind of make it sound more like

00:20:25.029 --> 00:20:27.150
wind chimes that would be hanging from your front

00:20:27.150 --> 00:20:31.849
porch. Yes, not getting a... Exactly, so just

00:20:31.849 --> 00:20:34.490
kind of twinkling the chimes from the bottom.

00:20:34.769 --> 00:20:38.829
Yep, and then the trumpets come in with like

00:20:38.829 --> 00:20:41.009
a little, the same little one and two, three

00:20:41.009 --> 00:20:43.670
and four apart. The flutes, oboes, and clarinets

00:20:43.670 --> 00:20:46.390
keep going. And then we've got more of those

00:20:46.390 --> 00:20:49.930
little piano to forte moments going into 45.

00:20:50.410 --> 00:20:53.519
45! now the trumpets get the melody but they

00:20:53.519 --> 00:20:56.380
are alone on the melody so this part's a little

00:20:56.380 --> 00:20:59.319
tougher to balance out because it's just them

00:20:59.319 --> 00:21:02.579
tambourine and ride cymbal go one two three four

00:21:02.579 --> 00:21:05.160
so they're keeping like mr. standards just goes

00:21:05.160 --> 00:21:06.940
back and forth with all these different like

00:21:06.940 --> 00:21:09.779
effects and the percussion different colors different

00:21:09.779 --> 00:21:13.079
sounds which I think is super fun so the trumpets

00:21:13.079 --> 00:21:15.859
get the melody everybody else is gonna be a little

00:21:15.859 --> 00:21:20.710
bit behind them Sorry, low people get a moment

00:21:20.710 --> 00:21:23.309
where they're kind of in response. One, two,

00:21:23.390 --> 00:21:26.490
three, four, one, two, three, four, one, two,

00:21:26.490 --> 00:21:29.990
three, four, lows, boom, boom, boom. So that's

00:21:29.990 --> 00:21:31.869
kind of cool. They get a little moment. And the

00:21:31.869 --> 00:21:33.430
upper woodwinds are still playing quarter notes,

00:21:33.430 --> 00:21:35.509
but theirs are marked staccato. Yeah, and they're

00:21:35.509 --> 00:21:37.009
definitely not important. They're like percussion

00:21:37.009 --> 00:21:39.170
here. Exactly. So I was going to say they need

00:21:39.170 --> 00:21:41.410
to be like that cymbal part, right? They just

00:21:41.410 --> 00:21:43.309
need to be just an effect in the background.

00:21:43.849 --> 00:21:45.730
Whereas the trumpets, when they have their quarter

00:21:45.730 --> 00:21:48.069
notes, it's full value quarter notes. So they

00:21:48.069 --> 00:21:49.460
need... to make sure they're playing through.

00:21:49.779 --> 00:21:52.599
Yep, at 50 the full band has accented quarter

00:21:52.599 --> 00:21:54.579
notes except for those higher people Laura was

00:21:54.579 --> 00:21:57.380
just talking about. One, two, three, four, forte

00:21:57.380 --> 00:22:01.420
piano. And then clarinet and sax and flute have

00:22:01.420 --> 00:22:04.779
two, three, four, one. So it's another little

00:22:04.779 --> 00:22:09.019
like DSE Ray -esque type part. Then it's a little

00:22:09.019 --> 00:22:11.039
percussion break for two measures with the little

00:22:11.039 --> 00:22:13.000
dragon's roar in there if you want to use that

00:22:13.000 --> 00:22:17.319
effect. 55, now we're back to the dragon theme

00:22:17.319 --> 00:22:20.019
with the trumpets having the dragon theme. Everybody

00:22:20.019 --> 00:22:22.140
else is doing the little counter melody again

00:22:22.140 --> 00:22:24.599
in the flute oboe clarinet just like before.

00:22:25.160 --> 00:22:28.259
Then we have the full band kind of ending together

00:22:28.259 --> 00:22:32.250
one end to end. one and two in, and then the

00:22:32.250 --> 00:22:35.289
DSE Ray part again, four, everybody's soft. And

00:22:35.289 --> 00:22:37.410
that one and two in, that is tough. The kids

00:22:37.410 --> 00:22:39.710
will want to add an extra one and two and three.

00:22:39.710 --> 00:22:41.150
Yeah, they do, three. Nope, nope, no three, yeah.

00:22:41.170 --> 00:22:43.480
Don't do it! yeah and then everybody kind of

00:22:43.480 --> 00:22:46.019
builds up again one and two three and four one

00:22:46.019 --> 00:22:49.539
and two three and four eanda in the snare then

00:22:49.539 --> 00:22:52.099
percussion gets to go nutso for two measures

00:22:52.099 --> 00:22:55.460
bum bum bum bum bum bum bum four eanda at that

00:22:55.460 --> 00:22:58.900
tempo at that tempo yeah it's hard yeah um then

00:22:58.900 --> 00:23:02.619
the whole band has another two three one three

00:23:02.670 --> 00:23:05.410
and it ends with the dragon's roar if you use

00:23:05.410 --> 00:23:09.349
it. So this piece is just so much fun and the

00:23:09.349 --> 00:23:11.430
kids every single time, I'm like, let's play

00:23:11.430 --> 00:23:14.750
Dragon Lord today. Yes, you know, they all love

00:23:14.750 --> 00:23:17.190
this piece. Well, and Katie talks a lot about,

00:23:17.190 --> 00:23:19.710
you know, music is always telling a story, right?

00:23:19.930 --> 00:23:22.130
And the more you can get kids to latch onto that,

00:23:22.190 --> 00:23:24.430
the more they're gonna buy into the music. And

00:23:24.430 --> 00:23:27.279
I mean, my gosh, what a... like a dragon come

00:23:27.279 --> 00:23:30.240
on yeah it's always fun yeah so this is another

00:23:30.240 --> 00:23:32.819
great piece to play for a spring concert or fall

00:23:32.819 --> 00:23:35.599
concert or all region band or you know whatever

00:23:35.599 --> 00:23:38.079
all of the above yeah well we hope you will consider

00:23:38.079 --> 00:23:41.779
playing um mama paquita or dragon lord in the

00:23:41.779 --> 00:23:44.180
future and thank you for joining us on this episode

00:23:44.180 --> 00:23:46.740
of band bffs