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 will be talking about

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the Jester's Gallop by Jack Wilds. Cheers to

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starting the conversation. Okay, this piece.

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I have heard this a lot, specifically this contest

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season. I love it because I think it's a piece

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that it's on the Texas PML as a grade one, but

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you can use it as a march if you don't want to

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use it as your traditional piece. It's in the

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key of concert B flat. It's in 4 -4. It is less

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than two minutes long. Thank you, Jack Wilds.

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It does not have split clarinet or split trumpet

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parts. It has lots of Percussion I love that

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it's kind of differentiated. They have an advanced

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percussion part and a regular percussion part

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so you can kind of use that to You know work

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with your kids But it does have lots of percussion

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timpani bells xylo all are needed snare bass

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and then the accessory equipment But and there's

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three different accessory parts, but and we'll

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talk about as we kind of get in you can even

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add more stuff if you want. That's one of the

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things I love about like a gallop and marches

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especially. For sure. So this piece is super

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fun. Kids love it and the dynamic contrasts are

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so fun to do and it's like a typical march type

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thing to like have the like terrorist dynamics

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where you get really soft and build it up. So

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teaching that to the kids is something that I

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think is really beneficial educationally. So

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I think this piece would be amazing. to do any

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time in the future. I think it's written well

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enough that it looks simple on the page and it

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is relatively speaking but adding all those things

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like Katie's talking about can make it sound

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way more difficult than it is, right? Just really

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spice it up a little. So it starts off with three

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notes that are slow so and it has a fermata so

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it just goes one two three then it has a grand

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pause and then you start and it's uh 144 it starts

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with the melody in the upper woodwinds and in

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the trumpet um and like Laura mentioned with

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the advanced percussion part the snare part goes

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really fast and has 16th notes at the end of

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a measure so if you choose to do the advanced

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part make sure you put a really really good light

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percussionist on that snare part so it's not

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overwhelming yeah like Laura mentioned we've

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both judged this piece I've actually also lived

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it in my band hall for a UIL season so that's

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just speaking from experience something that

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you want to make sure you find a really good

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player that can play Time and light and and there's

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some syncopation right one in three in and one

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in it so all of that Yeah, that upbeat stuff

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is just so important for timing. Yep So that

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like she said the range is not difficult You

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know, they have this real easy little rhythm.

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There's only three parts There's the bass line

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the mid middle part and the high part. So it's

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easy to like balance for sure they have the melody

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and we crescendo up to ten and then And what

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I like about the way Mr. Wilds wrote this is

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that, you know, it's building and it sounds like

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it's a cool melody. And then we get these moments

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where everybody gets these big hits with accents.

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So 10 is the first moment. One, two, three, and

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everybody has those like really firm articulated

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accents. And then the horns come in with like

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a long note and the flutes continue the melody.

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Four and one, two and three, four. And then the

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full band again. One, two, three. So it's kind

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of cool because it's like very easy to teach

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the kids about these little conversations. That's

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right and I would isolate them right like I would

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just isolate those accented moments and really

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work the ensemble on a concert F okay can we

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make it sound the same on a concert F okay now

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put it on your notes and really make make those

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impactful because they're meant to be effects

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in this right and then all the little interjections

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like Katie's talking about a lot of times they

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end with a half note. So making sure that they

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don't breathe going into the... It's got to be

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seamless. Yeah. I call accident quarter notes

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air darts in my band hall and that seems to resonate

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with kids a lot. I like that. So we practice

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like throwing air darts at Miss Lewis's forehead.

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They think that's really fun. But this is where

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we definitely had to make sure everybody's articulation

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was aligned because the whole band has the same

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rhythm. And so everybody's got to be really,

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really well aligned there. But yeah. As Lara

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mentioned, that's important because horns and

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tenor sax are holding on this long note and then

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they immediately have to play the one, two, three,

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and then they go back to holding one, two, three,

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and they can't take a breath on that bar line.

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So finding other sneaky spots to take a breath

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or telling students you can breathe after these

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two quarter notes, whatever it might be. But

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phrasing is just one of the most important and

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I think sometimes often neglected things to talk

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about with younger bands. and it's just really

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important. And I'm gonna, just a quick interjection

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to that. I know Katie and I talk about phrasing

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a lot, but we expect our students when we get

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to music to know, like we practice so much, take

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a two count breath, right, in our fundamentals,

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in our daily drill, but we don't practice enough

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realistic breathing, like when in music, it's

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half count breathing, or a triplet, exactly.

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So I do, exercise in my band hall with all of

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our levels including beginners where we practice

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playing a concert F for eight counts and I start

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them at between 85 and 90 bpm but depending on

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the tempos of the music that we're playing we

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will adjust it and we do a rep of a two count

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breath and playing a concert f for eight counts

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and then the next time a one count breath and

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then an eighth note breath one and two and three

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and four breathe play and then the more advanced

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bands will move to triplet and 16th so they're

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physically practicing what it is like to take

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a quick breath in the moment, and then we make

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sure to transfer that knowledge to music. Like,

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okay, this is a point where you're gonna take

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an eighth note breath, or this is a place where

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you're gonna take a triplet breath, or whatever,

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and mark that in their music. But if you're not

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practicing it. And I will mark it in with a breath

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mark, and I will draw an up arrow above the breath

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mark, indicating it's on an upbeat, and draw

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the and really big underneath it, so the kids

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get in, I do that. beginner band yeah just like

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you're talking about because I write QB with

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that's my nickname for it is quick breath okay

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so they know quick breath QB yeah but either

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way side note you should be teaching phrasing

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rather than just saying oh well nobody can breathe

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there okay well they don't they breathe exactly

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you've got to teach them like exactly what you're

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looking for okay so we're back to the piece so

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we're doing these little hits like I mentioned

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the flutes and the clarinets have the response

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one two three four and one two and three four

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full band three then the lows get it one two

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three then the lows get the melody one two three

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then everybody's accented and that's the end

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so the whole group has these accents that have

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to line up together so again we've given you

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lots of options for that and then i would take

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that part like where the flute and the clarinet

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have the one two and three the little interjection

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and then the lows have it i would have them play

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that at the same time so you can hear if they're

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matching their note length and guaranteed the

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lows will not be too long but they'll hear it

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when they play together. I did not personally

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say this, but I agree with it. On one of the

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judging panels I was on recently, we talked about

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the fact that a lot of bands were performing

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marches without march style. And so while we're

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talking about a gallop, it's important that even

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if there's no accents written in, you're still

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playing eighth notes lifted. Yes. It's a march.

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That's what march style is. Yeah. So then we've

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got this little like now the mids get this cool

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part. They come in on four and one and they don't

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have them. melody but they get this little moment

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at 17 going into 18 the melody is in trumpet

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one or all trumpets sorry I forgot no split split

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parts trumpets only and this is a great place

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to talk about phrase shaping they have one two

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three one and two three one two and three four

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so teaching them like to to crescendo through

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half notes to lead into the next measure yeah

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more and then underneath that we have this cool

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clarinet and sax line that's do it like kind

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of sounds like it's blowing in the wind it's

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in his hairpin dynamic hairpin dynamics over

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and over yeah and so it's just really well written

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again there's uh there's about four different

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parts here but still it's well balanced in the

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dynamic kind of go along with the balance. And

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I very much appreciate, Jack Wilds does a great

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job of this. There are a handful of composers

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out there, Robert Sheldon is like this as well,

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who are super intentional about the dynamics

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that are written in the individual parts. It's

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not a copy paste. The ensemble is going to be

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forte here. Like he does a really good job of

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saying, okay, clarinets are going to be piano,

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but we want the low brass to be mezzo forte.

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Like that is written in the parts. So holding

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the kids accountable to that I think is really

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important. Yep. The xylo and bells parts are

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really important in this piece, too. You cannot

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get away with not using them. And they are not

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the same. Yeah, and they are not the same. In

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fact, the xylo part is really cool later on.

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And we had our xylo player play with really hard

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mallets in the part where he's got his little

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rip, just so it could be heard over the ensemble.

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So we used the white ones. I don't know. That's

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just, I just, that's all I know. I'm not a percussionist,

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so. But a harder one is a good thing if you want

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it to be heard a little bit better. And then

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the lows get to have like a little conversation

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with the trumpets. They still have the melody

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and then lows go two and three, three and four.

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So they have like a little talk back and forth

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moment. And then we're building it up again to.

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25, everybody has accents again. That theme keeps

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coming back with one, two, three, right? Or in

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this case, one and two, three. Yep, and then

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there's a big sforzando on beat three. So really

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teach the students that that's different. And

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then it decrescendos into 26. 26, the middle

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people get the melody finally. So it's horn,

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tenor sax, clarinet. And this is where the xylo

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gets those little... Glissandos. Yeah, I'm sorry.

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I said rips. Yeah, they had the glissando and

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you really want to lean into that because that's

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a cool Moment that makes it sound like a jester

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like dancing around I think it really makes it

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sound cool if you can hear that over the ensemble

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instead of just like Making it be something you

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don't even pay attention. Yeah, I think it's

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I think it's really effective then in the upper

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woodwinds This is this I think is really tough.

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They are playing descending notes and they're

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supposed to crescendo in quarter notes So one

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two three four one two three four and so that

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is and it aligns right with the glissando in

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the xylophone So it it works really well, but

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their tendency is going to be to go three four

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heavy light heavy light and it's just the opposite

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of that. The snare drum is also just like continuing

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to be very active in this section and it needs

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to be very light because you know we've thinned

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out just a little bit we don't have as much trumpet

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here but they do come in on the melody in a moment

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with the horns and the clarinets who had already

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started it. The low brass is kind of crescendoing

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up to again another Sforzando beat 3 in measure

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29. Then the whole band does a subito piano.

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And so we're going to build it up. One and two,

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

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One, two, three, four. And then it's silence

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for a whole measure. Then they come back in and

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it's staccato and piano. So it's soft. One, two,

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three, four. And on beat four, there's this little

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cute triangle and bell hit. So your bells are

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important and your triangle is important. It's

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very cute. I told the kids. I thought of like

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those little like how jesters have the little

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bells on their little on their little shoes.

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I don't know. Yeah And I was like, it's like

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he kicked his little foot out bing So I you know,

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whatever you got to tell the kids to make them

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think it's fun Then on beat three the lows get

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a forte piano So they come in and play strong,

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kind of like a response to the little Elks shoe.

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And it has to be a forte piano. So you might

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play around with this. Like if the students are

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struggling to physically make the forte piano

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happen, then what I would do is I would pick

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half the section to just play da and the other

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half to play the half note piano so that you're

00:13:22.539 --> 00:13:26.480
like faking the effect. Yep. It's tough to do

00:13:26.480 --> 00:13:28.840
at the tempo. Right. Because it's a half note.

00:13:28.840 --> 00:13:30.679
And it's only a half note. Yeah. It's tough to

00:13:30.679 --> 00:13:32.820
do. the tempo so play with that if your kids

00:13:32.820 --> 00:13:35.419
can do it fantastic if not there are workarounds

00:13:35.419 --> 00:13:39.399
at 36 now we're piano again and we've started

00:13:39.399 --> 00:13:41.620
over kind of building it up the flutes and the

00:13:41.620 --> 00:13:43.639
oboes have the melody this time with bells and

00:13:43.639 --> 00:13:46.080
xylo and i want to interject i'm sorry okay i

00:13:46.080 --> 00:13:48.320
haven't said anything about the snare part but

00:13:48.320 --> 00:13:50.940
the snare part instead of going one and three

00:13:50.940 --> 00:13:54.419
and and one and like it was doing before now

00:13:54.419 --> 00:13:57.320
we have one and two three and into one and into

00:13:57.320 --> 00:13:59.519
three and four into one and so that light touch

00:13:59.519 --> 00:14:01.879
like don't Don't be afraid to talk to your percussion

00:14:01.879 --> 00:14:04.200
director and have the kids experiment with different

00:14:04.200 --> 00:14:06.919
snare sticks to help with the articulation to

00:14:06.919 --> 00:14:09.159
be as light as possible. I mean, certainly you

00:14:09.159 --> 00:14:11.440
don't want them playing with something fat and

00:14:11.440 --> 00:14:13.500
heavy like a marching stick, but even just a

00:14:13.500 --> 00:14:15.659
traditional stick might be a little too heavy.

00:14:16.399 --> 00:14:19.960
So just experiment with that, but this articulation

00:14:19.960 --> 00:14:25.350
and the snare drum part is tough. Um, so we've

00:14:25.350 --> 00:14:27.950
got like our typical three parts again, the melody,

00:14:28.149 --> 00:14:30.070
the little harmony kind of going up and down

00:14:30.070 --> 00:14:32.350
in the background and then the baseline, the

00:14:32.350 --> 00:14:35.330
altos and the trumpets add in four measures later

00:14:35.330 --> 00:14:38.110
to kind of help build it up. 44, we're back to

00:14:38.110 --> 00:14:40.409
what we had before. One, two, three, then the

00:14:40.409 --> 00:14:43.570
flutes have the melody. Everyone, then they have

00:14:43.570 --> 00:14:46.990
the response. Everyone, then the lows have the

00:14:46.990 --> 00:14:50.370
melody. Yeah. And then it literally is just like

00:14:50.370 --> 00:14:52.429
the beginning. So we've, we've built that up.

00:14:52.690 --> 00:14:57.220
Then you have. one two three immediately slower

00:14:57.220 --> 00:15:00.360
just like the beginning yep and then but harder

00:15:00.360 --> 00:15:02.620
because like the beginning it's the first three

00:15:02.620 --> 00:15:04.820
notes right so this is coming like you're pulling

00:15:04.820 --> 00:15:07.639
the emergency break that's exactly that's a funny

00:15:07.639 --> 00:15:09.779
way to put it I didn't tell my students that

00:15:09.779 --> 00:15:11.840
but yeah it's like pulling the emergency break

00:15:11.840 --> 00:15:15.580
and then at 53 it's gonna do this really fun

00:15:15.580 --> 00:15:18.539
ending and gallops are super fun because you

00:15:18.539 --> 00:15:21.639
can kind of do whatever you want right so I didn't

00:15:21.639 --> 00:15:23.509
personally do this when we played it with our

00:15:23.509 --> 00:15:25.389
non -varsity band but I think it would be really

00:15:25.389 --> 00:15:29.149
fun to slow the tempo down and then do a gradual

00:15:29.149 --> 00:15:32.269
um a cello rondo to the end it's not written

00:15:32.269 --> 00:15:34.629
to do that but you could if you wanted to just

00:15:34.629 --> 00:15:37.570
do something extra fun with the kids um because

00:15:37.570 --> 00:15:40.690
it's it's getting louder in dynamics but it's

00:15:40.690 --> 00:15:43.830
like doing it in two measure phrases so it goes

00:15:43.830 --> 00:15:47.830
one two three four one two three four one two

00:15:47.830 --> 00:15:55.870
three four one three One, three. And so it's

00:15:55.870 --> 00:15:58.490
like this real cute ending. I mean, yeah, it's

00:15:58.490 --> 00:16:02.269
very concert to me. But it would be fun. It would

00:16:02.269 --> 00:16:04.590
be really fun. Yeah, it would be hard, but it

00:16:04.590 --> 00:16:07.669
would be something fun to do. And it's all accented

00:16:07.669 --> 00:16:11.029
at the end and the beat twos when I did the.

00:16:11.179 --> 00:16:13.899
sound, that's the timpani. So the timpani does

00:16:13.899 --> 00:16:16.820
all the beat twos and then they have a big roll

00:16:16.820 --> 00:16:19.299
when everybody else is doing the, you know, the

00:16:19.299 --> 00:16:20.820
whole note at the end and then everybody hits

00:16:20.820 --> 00:16:24.120
the last beat. Make sure you make it long. Don't

00:16:24.120 --> 00:16:27.559
make it too short. I think the word tone whenever

00:16:27.559 --> 00:16:30.080
we do the last note and then everything dampens.

00:16:30.559 --> 00:16:33.940
So it's a short but super fun piece. If you choose

00:16:33.940 --> 00:16:35.840
to like add the little cello around it, which

00:16:35.840 --> 00:16:38.519
I think that's a great idea. You know, next time

00:16:38.519 --> 00:16:40.139
I play this, I'm going to experiment with that.

00:16:40.460 --> 00:16:42.340
You'll have to be real mindful, just like we

00:16:42.340 --> 00:16:44.799
talked about earlier, that if you're going slower,

00:16:45.139 --> 00:16:47.460
they are gonna want to change the length of the

00:16:47.460 --> 00:16:50.240
note. Yeah, it's all accents. Yeah, be really

00:16:50.240 --> 00:16:52.500
intentional about the style of the note, even

00:16:52.500 --> 00:16:54.399
if you're going slower and then speeding the

00:16:54.399 --> 00:16:57.340
tempo up. But this is such a, it's such a fun

00:16:57.340 --> 00:17:00.100
piece. Yeah, and again, very versatile because

00:17:00.100 --> 00:17:03.480
you can literally play it as a UIL piece, or

00:17:03.480 --> 00:17:06.369
you can play it as a march on UIL. or you can

00:17:06.369 --> 00:17:08.950
play it as a march on a fall concert. Absolutely.

00:17:09.670 --> 00:17:12.109
Just so many options. You can add percussion.

00:17:12.269 --> 00:17:13.869
You want to throw a vibra slot in there. You

00:17:13.869 --> 00:17:15.710
want to throw a whistle in there somewhere. I

00:17:15.710 --> 00:17:17.029
thought about that. I was like, that'd be kind

00:17:17.029 --> 00:17:20.950
of fun. Yeah, my gosh. You can totally explore

00:17:20.950 --> 00:17:24.390
and have some fun with this. But it's very versatile.

00:17:24.390 --> 00:17:26.910
And the kids think it's really fun. Yeah. Well,

00:17:26.910 --> 00:17:29.049
we hope you will program Just Your Scallop in

00:17:29.049 --> 00:17:31.109
the future. And thank you for joining us on this

00:17:31.109 --> 00:17:35.809
episode of Band BFFs. you