WEBVTT 00:00:06.680 --> 00:00:10.500 Welcome to our podcast. Band BFFs. The podcast 00:00:10.500 --> 00:00:12.740 where we make your music selection less complicated. 00:00:13.179 --> 00:00:15.599 On today's episode, we're going to be doing a 00:00:15.599 --> 00:00:19.280 Texas PML grade two entitled Blue Ridge Reel 00:00:19.280 --> 00:00:22.519 by Brian Balmages. Cheers to starting the conversation. 00:00:24.049 --> 00:00:26.809 All right, we love Blue Ridge Reel, but it is 00:00:26.809 --> 00:00:29.089 a pretty challenging grade too. It is in the 00:00:29.089 --> 00:00:31.809 key of concert E flat for most of the piece. 00:00:31.850 --> 00:00:35.170 It does transition to the key of F towards the 00:00:35.170 --> 00:00:38.109 end. It's about two minutes and 45 seconds long. 00:00:38.329 --> 00:00:43.109 It's in cut time, and it has a fair amount of 00:00:43.109 --> 00:00:45.409 percussion. If you don't use all the percussion 00:00:45.409 --> 00:00:47.270 parts, Katie and I were discussing, like it has 00:00:47.270 --> 00:00:50.570 a wero part, a washboard or optional wero part 00:00:50.570 --> 00:00:52.750 that really adds to the flavor of the Blue Ridge 00:00:52.750 --> 00:00:55.250 Reel. had to leave it out, you could get away 00:00:55.250 --> 00:00:57.729 with playing this with five percussionists. It 00:00:57.729 --> 00:01:01.280 has split. Flute, clarinet, saxophone, trumpet, 00:01:01.560 --> 00:01:05.159 and trombone parts, and you really need strong 00:01:05.159 --> 00:01:08.620 and confident clarinets. Your percussionists 00:01:08.620 --> 00:01:11.700 need to have a really solid sense of time. Really, 00:01:11.760 --> 00:01:14.159 I think your flutes need to be pretty strong 00:01:14.159 --> 00:01:18.140 as well, and trumpet. So this is a great piece, 00:01:18.400 --> 00:01:21.500 but your band needs to be pretty good in order 00:01:21.500 --> 00:01:22.439 to pull this off. They need to be top -notch, 00:01:22.519 --> 00:01:24.719 yes, especially percussion, as she mentioned. 00:01:28.079 --> 00:01:31.159 We performed this in our band halls and whenever 00:01:31.159 --> 00:01:35.239 we started it, we did it in 4 -4 first. Yes, 00:01:35.439 --> 00:01:38.299 we did the same thing. We started it in a medium 00:01:38.299 --> 00:01:41.920 -fast 4 -4 with the goal of getting it to cut 00:01:41.920 --> 00:01:45.500 time. quickly even if you have to be in a slow 00:01:45.500 --> 00:01:48.359 cut time so the kids get the feel of two but 00:01:48.359 --> 00:01:51.799 we definitely started in four. And going back 00:01:51.799 --> 00:01:54.859 in time now based on some experience that I've 00:01:54.859 --> 00:01:58.019 had this year with other cut time things I would 00:01:58.019 --> 00:02:02.739 probably set my metronome to be in the like if 00:02:02.739 --> 00:02:05.879 it's let's say it's 50 you're gonna be going 00:02:05.879 --> 00:02:09.319 100. I would put it at 50 the metronome and put 00:02:09.319 --> 00:02:11.300 it in the clicking so that they're still getting 00:02:11.300 --> 00:02:15.620 used to the That's right the cut time foot tap 00:02:15.620 --> 00:02:18.039 because I feel like that's the hardest thing 00:02:18.039 --> 00:02:20.699 for students to transition if you don't do it 00:02:20.699 --> 00:02:22.979 quickly enough if they've already learned it 00:02:22.979 --> 00:02:24.979 with their foot tap going you know 90 miles per 00:02:24.979 --> 00:02:27.819 minute it just and also on a stage when they're 00:02:28.240 --> 00:02:31.060 Yeah, that's nobody's friend. So yeah, I think 00:02:31.060 --> 00:02:32.939 that that might be what I would do if we were 00:02:32.939 --> 00:02:34.840 to play this piece again Yeah, I agree. I think 00:02:34.840 --> 00:02:36.860 I think that's I think that's really smart to 00:02:36.860 --> 00:02:39.879 me The important thing is get to cut time as 00:02:39.879 --> 00:02:42.979 quickly as possible right and even maybe learn 00:02:42.979 --> 00:02:46.759 how to count it a Little bit of both like so 00:02:46.759 --> 00:02:49.639 the kids the very beginning clarinets have one 00:02:49.639 --> 00:02:53.099 two and three four Maybe teaching them that it's 00:02:53.099 --> 00:02:57.919 actually One and a two and. Because that would 00:02:57.919 --> 00:03:00.159 help the verbiage when you're going faster if 00:03:00.159 --> 00:03:01.939 you're trying to verbalize or count or anything 00:03:01.939 --> 00:03:03.680 like that. Right. But that would just depend 00:03:03.680 --> 00:03:06.819 on you and your kids and if they have that ability 00:03:06.819 --> 00:03:09.759 to flip in their brain. So anyway, let's dive 00:03:09.759 --> 00:03:12.939 right in. This piece is super fun. It has a spirited 00:03:12.939 --> 00:03:16.340 groove is what it says at the top, which is 108 00:03:16.340 --> 00:03:20.139 on the metronome. So it does go pretty quick. 00:03:21.080 --> 00:03:24.900 You also will want to make sure that at the very 00:03:24.900 --> 00:03:28.520 beginning, your clarinets have an opening statement 00:03:28.520 --> 00:03:32.539 for eight measures alone, along with a vibraphone 00:03:32.539 --> 00:03:37.659 part. And it says with motor off and medium cord. 00:03:37.770 --> 00:03:40.229 It's it even says like specifically the like 00:03:40.229 --> 00:03:44.870 vibe you're looking for get it and then But this 00:03:44.870 --> 00:03:47.250 clarinet thing is so critical. Everybody has 00:03:47.250 --> 00:03:50.729 to sound exactly the same So I know that we've 00:03:50.729 --> 00:03:53.750 spent a lot of time talking about the exact style 00:03:53.750 --> 00:03:56.949 There's there's like a staccato on beat one another 00:03:56.949 --> 00:04:00.530 one on beat four a lifted note on the on beat 00:04:00.530 --> 00:04:03.090 three So just making sure that the clarinets 00:04:03.090 --> 00:04:05.629 from the get -go really focus in on the style 00:04:05.629 --> 00:04:07.669 and you don't let them get away with doing it 00:04:07.669 --> 00:04:09.949 wrong, even when you're slower, because then 00:04:09.949 --> 00:04:12.250 when you speed it up, it's gonna be really hard 00:04:12.250 --> 00:04:14.810 to clean that up as you get further in. Now, 00:04:14.889 --> 00:04:16.769 the one thing I would say to that, and I agree 00:04:16.769 --> 00:04:19.110 with what Katie's saying exactly, I would just 00:04:19.110 --> 00:04:21.230 make sure that at the slower tempo, they are 00:04:21.230 --> 00:04:23.850 not being too short on the staccato notes, because 00:04:23.850 --> 00:04:25.910 it's going to automatically get shorter when 00:04:25.910 --> 00:04:27.610 they go faster, and then you run the risk of 00:04:27.610 --> 00:04:30.550 just hearing tongue with no tone behind it. So 00:04:30.550 --> 00:04:34.069 it's a delicate balance. But the technique in 00:04:34.069 --> 00:04:37.980 the clarinets needs to be very clean, very clear, 00:04:38.199 --> 00:04:40.860 they do have to cross the break a fair amount 00:04:40.860 --> 00:04:42.839 in this and be able to move their fingers really 00:04:42.839 --> 00:04:46.060 well in time. They teach it all tongued first. 00:04:46.420 --> 00:04:48.399 Absolutely. And then add in the articulation 00:04:48.399 --> 00:04:52.420 later. At measure nine, they continue on with 00:04:52.420 --> 00:04:55.459 the same statement, but you will want to level 00:04:55.459 --> 00:04:58.959 them down to a mezzo forte. And the flutes come 00:04:58.959 --> 00:05:01.199 in with kind of the same thing that the vibes 00:05:01.199 --> 00:05:04.720 had before. And then alto sax has these cute 00:05:04.720 --> 00:05:06.959 little statements. like they're trying to like 00:05:06.959 --> 00:05:11.000 converse with the clarinets. And then the clarinets 00:05:11.000 --> 00:05:13.360 keep going. So it's like a cute little combo. 00:05:13.680 --> 00:05:16.699 And then the spoons add in, which is, again, 00:05:16.759 --> 00:05:21.060 real fun, adds to this little feel. You can use 00:05:21.060 --> 00:05:25.180 actual spoons if you have them. You can use castanets. 00:05:25.259 --> 00:05:28.240 We bought spoons. We did the same thing. We bought 00:05:28.240 --> 00:05:30.339 spoons. I mean, it really adds to the character 00:05:30.339 --> 00:05:32.120 of the piece if you can do that. But if not, 00:05:32.339 --> 00:05:35.040 castanets work as a substitute just fine. On 00:05:35.040 --> 00:05:37.139 this little part where the flutes come in here, 00:05:37.779 --> 00:05:39.980 they're split, split flute parts, and they're 00:05:39.980 --> 00:05:44.899 just little punctuated, ta, ta, ta, ta, ta. They 00:05:44.899 --> 00:05:48.420 need to shimmer with as much vibrato as they 00:05:48.420 --> 00:05:51.199 can, but be really firm with the articulation, 00:05:51.279 --> 00:05:53.699 otherwise it sounds muddy. Yeah, and they need 00:05:53.699 --> 00:05:55.300 to sound exactly like the vibraphone. That's 00:05:55.300 --> 00:05:58.180 exactly right. They're just doubling that part. 00:05:58.620 --> 00:06:02.139 The marimba also comes in with its own special 00:06:02.139 --> 00:06:04.680 part, so this isn't one of those pieces where 00:06:04.680 --> 00:06:06.600 like marimba and vibraphone are doubled and you 00:06:06.600 --> 00:06:08.839 can just get away with not having one there has 00:06:08.839 --> 00:06:11.279 to be a different player for each one that rhythm 00:06:11.279 --> 00:06:13.420 is really important to kind of adds again to 00:06:13.420 --> 00:06:16.279 the groove so this goes on for another eight 00:06:16.279 --> 00:06:20.620 measures at 17 the clarinets stop having the 00:06:20.620 --> 00:06:23.980 melody and now the whole band or not the whole 00:06:23.980 --> 00:06:27.560 band but trumpet trombone flute and oboe have 00:06:27.560 --> 00:06:30.220 another little punctuated thing kind of similar 00:06:30.220 --> 00:06:33.629 to what the vibraphone had before but now the 00:06:33.629 --> 00:06:36.430 vibraphone is getting to go back and forth between 00:06:36.430 --> 00:06:40.389 the ostinato rhythm and the punctuated conversation. 00:06:41.389 --> 00:06:43.550 So clarinets and tenor sax are having little 00:06:43.550 --> 00:06:46.250 pieces of the conversation with each other, but 00:06:46.250 --> 00:06:48.649 it's not a constant conversation like it was 00:06:48.649 --> 00:06:50.990 before. That's the way that I taught it to my 00:06:50.990 --> 00:06:52.769 kids. These are just little conversations going 00:06:52.769 --> 00:06:55.149 back and forth. And there is all of these in 00:06:55.149 --> 00:06:57.449 the trumpet, the trombone, the flute and oboe 00:06:57.449 --> 00:07:01.089 parts. These are all marked as accented and it's 00:07:01.089 --> 00:07:07.870 real important to feel that. just firm articulation 00:07:07.870 --> 00:07:10.009 at the front of that and making sure those notes 00:07:10.009 --> 00:07:13.550 have shape so that the rhythm comes through clearly 00:07:13.550 --> 00:07:16.230 which is different than what's happening in the 00:07:16.230 --> 00:07:19.170 mallet percussion so so many totally changed 00:07:19.170 --> 00:07:23.310 yes and it gets even more complicated complicated 00:07:23.310 --> 00:07:27.069 in a minute at 17 the washboard adds in you can 00:07:27.069 --> 00:07:29.930 play it on the wiro but also it's really fun 00:07:29.930 --> 00:07:31.980 I've heard it from several bands at different 00:07:31.980 --> 00:07:34.759 UILs where they actually use a washboard. We 00:07:34.759 --> 00:07:36.740 didn't do that when we played it at Moss, but 00:07:36.740 --> 00:07:38.959 I love it. And so if I ever play this again, 00:07:39.019 --> 00:07:41.620 I would go ahead and purchase a washboard. It 00:07:41.620 --> 00:07:43.920 just looks fun too, and the kids feel really 00:07:43.920 --> 00:07:46.519 cool playing it. We've done this twice, and one 00:07:46.519 --> 00:07:49.339 time we did it without the washboard, and one 00:07:49.339 --> 00:07:51.279 time we did it with the washboard, and the kids 00:07:51.279 --> 00:07:54.139 thought it was a blast. That's fun. You don't 00:07:54.139 --> 00:07:59.199 get to do that very often. So then about five 00:07:59.199 --> 00:08:01.459 measures later, we start to... to add in the 00:08:01.459 --> 00:08:04.160 rest of the band. So we're thickening up. Yep, 00:08:04.160 --> 00:08:06.259 everybody's got that same little rhythm. It's 00:08:06.259 --> 00:08:08.220 almost like you're getting ready for a party 00:08:08.220 --> 00:08:10.180 and the excitement is building and building. 00:08:10.759 --> 00:08:14.319 The clarinets come back in with the tenor sax 00:08:14.319 --> 00:08:17.040 and they have the like little conversation part, 00:08:17.040 --> 00:08:19.560 but now it's a little bit more drawn out. And 00:08:19.560 --> 00:08:24.379 then at measure 25, we have now not everybody's 00:08:24.379 --> 00:08:27.839 in again. So now the party is only flute, oboe, 00:08:27.980 --> 00:08:30.899 sax, and now they have the melody with the clarinet 00:08:30.899 --> 00:08:33.559 and the clarinet has now switched and they have 00:08:33.559 --> 00:08:36.379 the ostinato part that the flutes had before. 00:08:36.879 --> 00:08:39.179 Now leading into this part at 25 this is the 00:08:39.179 --> 00:08:40.919 first time we have the full band playing and 00:08:40.919 --> 00:08:43.159 we're not all playing the same parts. This is 00:08:43.159 --> 00:08:45.679 a part that I would spend time bopping to make 00:08:45.679 --> 00:08:48.730 sure that everybody that you can hear very clearly 00:08:48.730 --> 00:08:51.429 where everyone enters because they don't all 00:08:51.429 --> 00:08:53.929 enter at the same time, but everyone's entrance 00:08:53.929 --> 00:08:56.970 is really important. Then, finally, we get to 00:08:56.970 --> 00:08:59.210 25 and we have that recurrence of the melody 00:08:59.210 --> 00:09:01.309 that, like Katie said, the clarinet stated at 00:09:01.309 --> 00:09:04.450 the beginning. It should not be too loud here. 00:09:05.049 --> 00:09:07.610 We have plenty of time to build and add energy 00:09:07.610 --> 00:09:10.769 and excitement. This is just ta -ti -a, ta -ti 00:09:10.769 --> 00:09:13.830 -a, ta -ta -ti -a, ta, just nice, light, lifted, 00:09:14.730 --> 00:09:18.600 playful even. And again, with percussion, just 00:09:18.600 --> 00:09:21.399 keeping the groove steady as they can in the 00:09:21.399 --> 00:09:24.480 background. And this vibraphone part is really, 00:09:24.480 --> 00:09:26.720 really tricky. So you have to make sure that 00:09:26.720 --> 00:09:29.039 you have a top notch person on the vibe part. 00:09:29.840 --> 00:09:32.220 Their rhythm is completely different from everybody 00:09:32.220 --> 00:09:35.620 else's at 25. And it's really cool. It's very 00:09:35.620 --> 00:09:38.159 syncopated and it's super important that it's 00:09:38.159 --> 00:09:42.740 heard. Then the snare drum adds in here too at 00:09:42.740 --> 00:09:46.399 25 and they get to play with brushes. So it needs 00:09:46.399 --> 00:09:48.639 to be just light and like Laura said, like playful. 00:09:48.899 --> 00:09:53.179 It's got little accents on the E or sorry, on 00:09:53.179 --> 00:09:55.740 the and of one and on the and of two, one and 00:09:55.740 --> 00:09:58.720 up. No, one and two and three and four. Yeah, 00:09:58.720 --> 00:10:03.620 sorry. So that takes a lot of like finesse to 00:10:03.620 --> 00:10:06.179 go that speed and not have it be too loud and 00:10:06.179 --> 00:10:10.120 to not let it slow down. So again, this is a 00:10:10.120 --> 00:10:12.490 percussion. like your progression need to be 00:10:12.490 --> 00:10:14.549 really good. Now I would tell you and you also 00:10:14.549 --> 00:10:16.549 need to make sure that the person who's on snare 00:10:16.549 --> 00:10:19.370 drum just has a not just a good sense of time 00:10:19.370 --> 00:10:22.950 but they understand the feel of this because 00:10:22.950 --> 00:10:26.830 it is I have heard it played more than once where 00:10:26.830 --> 00:10:29.889 a snare drummer got the beats reversed and did 00:10:29.889 --> 00:10:33.690 the accents on one and three which just I mean 00:10:33.690 --> 00:10:36.870 it makes it makes everything feel completely 00:10:36.870 --> 00:10:39.350 off it'll mess up the rest of the wind players 00:10:39.350 --> 00:10:41.720 as well so just making sure that they can groove 00:10:41.720 --> 00:10:48.360 and feel feel that agreed so four measures later 00:10:48.360 --> 00:10:51.120 the horns come in with like this little punctuated 00:10:51.120 --> 00:10:55.230 accented cord they're just gone It makes me think 00:10:55.230 --> 00:10:57.029 of like a little banjo hit. I don't know why 00:10:57.029 --> 00:10:59.429 I always thought of that So they come in and 00:10:59.429 --> 00:11:01.330 they're holding but they're gonna quiet it down 00:11:01.330 --> 00:11:04.570 like a forte piano Your percussion still grooving 00:11:04.570 --> 00:11:07.470 your flute oboe and saxophone are still playing 00:11:07.470 --> 00:11:11.610 the melody and then at 33 we go back to the same 00:11:11.610 --> 00:11:14.769 people having the melody But now the little extra 00:11:14.769 --> 00:11:17.909 conversation is in tenor sax and clarinet So 00:11:17.909 --> 00:11:20.149 the regular melody stays with the same people 00:11:20.149 --> 00:11:22.409 and we've now changed over to having this little 00:11:22.409 --> 00:11:24.740 conversation with them and the conversation gets 00:11:24.740 --> 00:11:28.820 a little bit more I don't know just longer in 00:11:28.820 --> 00:11:30.759 length so instead of it just being a little tiny 00:11:30.759 --> 00:11:32.879 punctuation and it's got a little bit longer. 00:11:33.559 --> 00:11:35.700 The lows are having those chords that we had 00:11:35.700 --> 00:11:38.080 before making sure you're still continuing to 00:11:38.080 --> 00:11:40.620 accent them. Now we've added in the tambourine 00:11:40.620 --> 00:11:44.919 and percussion. So again, it's tricky because 00:11:44.919 --> 00:11:47.139 you're flying by the seat of your pants and if 00:11:47.139 --> 00:11:49.919 one percussion instrument enters and they are 00:11:49.919 --> 00:11:52.539 not on time, it can really make the whole thing 00:11:52.539 --> 00:11:55.200 go off the rails quickly. And like Laura said, 00:11:55.259 --> 00:11:58.580 I've heard that happen before and that's terrifying 00:11:58.580 --> 00:12:01.980 when that occurs. Right here at 33 where we add 00:12:01.980 --> 00:12:04.860 in the low brass, the trombone, euphonium, bassoon, 00:12:05.200 --> 00:12:07.659 not all the low reeds but many of the low reeds 00:12:07.659 --> 00:12:10.419 add in those tenor low reeds and tenor voices 00:12:10.419 --> 00:12:12.740 add in on this part. It's in open fifths and 00:12:12.740 --> 00:12:15.600 it is this way throughout most of the piece. 00:12:15.659 --> 00:12:18.399 I think it's really smart writing in terms of 00:12:18.399 --> 00:12:21.720 helping with intonation but it can make the balance 00:12:21.720 --> 00:12:25.639 like those people can smother some of the other 00:12:25.639 --> 00:12:29.139 parts because they're in a very comfortable range. 00:12:29.289 --> 00:12:31.330 There are notes that they're really confident 00:12:31.330 --> 00:12:33.990 and comfortable about. Their parts are not as 00:12:33.990 --> 00:12:36.470 technically challenging at all. They're just 00:12:36.470 --> 00:12:40.149 locking down these fifths. And that's one of 00:12:40.149 --> 00:12:41.950 the things, the couple times that we have played 00:12:41.950 --> 00:12:44.490 this, we've had to be really mindful of not letting 00:12:44.490 --> 00:12:47.389 those people get too loud. Don't get too excited 00:12:47.389 --> 00:12:50.029 too quickly. Yep, layering them down. That's 00:12:50.029 --> 00:12:54.259 a good point. About four measures later we have 00:12:54.259 --> 00:12:58.419 the trumpets coming in with a little New idea 00:12:58.419 --> 00:13:01.240 a new little melody doo doo doo doo and then 00:13:01.240 --> 00:13:03.820 they add in the same chords like Laura said we 00:13:03.820 --> 00:13:05.580 want to make sure that they're not louder even 00:13:05.580 --> 00:13:08.659 though now the trumpets have added in and We're 00:13:08.659 --> 00:13:11.000 leading up everybody in percussion is playing 00:13:11.000 --> 00:13:13.980 at this point We're all active and then we get 00:13:13.980 --> 00:13:16.740 to 41 and the whole band comes together with 00:13:16.740 --> 00:13:20.779 the same rhythm except percussion everybody's 00:13:20.779 --> 00:13:23.559 got to play this exactly the same. Yes. So play 00:13:23.559 --> 00:13:26.399 it on a concert F first, make sure you've got 00:13:26.399 --> 00:13:29.059 the exact same style, then you can play it on 00:13:29.059 --> 00:13:32.259 the chord. But it's got to be a hundred percent 00:13:32.259 --> 00:13:39.430 in its accents followed by staccato notes. So 00:13:39.430 --> 00:13:42.269 we taught our kids to put more length and more 00:13:42.269 --> 00:13:45.070 weight on the accents and then make the staccato 00:13:45.070 --> 00:13:48.289 notes lighter and more cutesy. So that's just 00:13:48.289 --> 00:13:51.169 a fun little thing. Alto and Tenor has this adorable 00:13:51.169 --> 00:13:56.029 little... in like conversation a little bit and 00:13:56.029 --> 00:13:58.809 it's fun if you don't hear it you kind of miss 00:13:58.809 --> 00:14:01.429 it so make sure that that's kind of brought out 00:14:01.429 --> 00:14:04.049 we've got back and forth between snare and spoons 00:14:04.049 --> 00:14:07.570 here too so it's still a conversation but it's 00:14:07.570 --> 00:14:10.629 more like the full band playing with like interspersed 00:14:10.799 --> 00:14:14.120 Tiny little conversational things with like sax 00:14:14.120 --> 00:14:17.980 trumpet has it next So this is more like the 00:14:17.980 --> 00:14:20.960 2d full section This is the first time that the 00:14:20.960 --> 00:14:24.320 full band is in and it's forte So we may we had 00:14:24.320 --> 00:14:26.019 full band a little bit earlier, but now this 00:14:26.019 --> 00:14:27.860 is the first time where we're really forte I 00:14:27.860 --> 00:14:31.379 am picturing like if you're at a you know You're 00:14:31.379 --> 00:14:33.960 at a dance out at the barnyard or whatever and 00:14:33.960 --> 00:14:36.480 now everybody is out on the dance floor at this 00:14:36.480 --> 00:14:38.559 point Right. Yep. So the party is starting to 00:14:38.559 --> 00:14:40.659 really jive when we get right here the kids Kids 00:14:40.659 --> 00:14:44.120 can sometimes be too aggressive too quickly here. 00:14:44.559 --> 00:14:47.340 So even though it is forte, like a lot of it 00:14:47.340 --> 00:14:50.200 just happens organically because we have everyone 00:14:50.200 --> 00:14:52.799 in at this point and there's harmony and all 00:14:52.799 --> 00:14:56.159 of that going on. So just be mindful not to get 00:14:56.159 --> 00:14:58.399 too loud too quickly. But the most important 00:14:58.399 --> 00:15:01.059 thing in this section for me is what Katie has 00:15:01.059 --> 00:15:03.120 touched on already stylistically, making sure 00:15:03.120 --> 00:15:05.240 that the accents and the staccatos are super 00:15:05.240 --> 00:15:08.639 clear. Yep. Then we kind of in that section with 00:15:08.639 --> 00:15:11.120 everybody playing two accented half notes you 00:15:11.120 --> 00:15:14.600 want to line that up and then at 49 we come down 00:15:14.600 --> 00:15:17.700 again not as many people playing but also we 00:15:17.700 --> 00:15:20.220 just come down in volume right it's like we've 00:15:20.220 --> 00:15:22.120 taken a break from the dance floor now this little 00:15:22.120 --> 00:15:25.980 group has gone off so now the the trumpets get 00:15:25.980 --> 00:15:28.320 the melody so it's kind of like the brass gets 00:15:28.320 --> 00:15:30.899 me the stars here as opposed to the woodwinds 00:15:30.899 --> 00:15:32.879 and and euphonium you have trumpet euphonium 00:15:32.879 --> 00:15:35.259 and tenor sax so this is like like we talked 00:15:35.259 --> 00:15:38.259 about the technique in the upper woodwinds, especially 00:15:38.259 --> 00:15:40.220 needing to be really solid, you've got to have 00:15:40.220 --> 00:15:42.179 some brass players that can move their fingers 00:15:42.179 --> 00:15:45.039 as well. And their tongue. Yeah, exactly. Yep. 00:15:45.419 --> 00:15:48.340 The little interspersed ostinato is a little 00:15:48.340 --> 00:15:51.179 bit different here. Now it's just literally little 00:15:51.179 --> 00:15:55.539 staccato quarter notes. But they have the melody 00:15:55.539 --> 00:15:58.480 for eight measures, and that's important again 00:15:58.480 --> 00:16:01.080 that you can line up that style. This would be, 00:16:01.080 --> 00:16:03.799 again, another great time to use a melody sheet 00:16:03.799 --> 00:16:06.049 like Laura has mentioned. so many times on our 00:16:06.049 --> 00:16:08.610 podcast, because everybody basically is going 00:16:08.610 --> 00:16:10.309 to get this melody at some times. So that'd be 00:16:10.309 --> 00:16:13.330 a good point. That's how we've taught it. So 00:16:13.330 --> 00:16:15.789 you can have the style set up for everybody when 00:16:15.789 --> 00:16:20.710 it gets passed around. Then at 55, the lows get 00:16:20.710 --> 00:16:23.090 to come in and they get a little conversation 00:16:23.090 --> 00:16:26.629 piece. So it's like bassoon, bass clarinet, bari 00:16:26.629 --> 00:16:30.070 sax, tuba, and trombone. So it's fun because 00:16:30.070 --> 00:16:33.330 it's kind of changed like the texture of the 00:16:33.330 --> 00:16:37.370 band. the low voices as opposed to all the upper 00:16:37.370 --> 00:16:40.490 voices. Then they end again with the same two 00:16:40.490 --> 00:16:44.789 half notes that we had before with accents. And 00:16:44.789 --> 00:16:47.789 so that ends kind of full but not as full as 00:16:47.789 --> 00:16:50.389 we were back before. Alright now we're at 57 00:16:50.389 --> 00:16:54.350 and this is a percussion break and oh my gosh 00:16:54.350 --> 00:16:57.269 this is so important. This is like this section 00:16:57.269 --> 00:16:59.590 right here may be the reason that you either 00:16:59.590 --> 00:17:02.250 choose to do this or not to do this. Side note 00:17:02.250 --> 00:17:04.859 I have made it a rule that I will not play this 00:17:04.859 --> 00:17:07.819 anymore in the moss band hall because when we 00:17:07.819 --> 00:17:11.059 played this the one year we did this section 00:17:11.059 --> 00:17:14.940 made me want to lose my lunch every day because 00:17:14.940 --> 00:17:17.339 it was like if your percussion do not get it 00:17:17.339 --> 00:17:19.440 and are not a hundred percent on not saying anything 00:17:19.440 --> 00:17:23.599 bad about my percussion but like it can totally 00:17:23.599 --> 00:17:26.319 get messed up it will stress you out yeah so 00:17:26.319 --> 00:17:28.839 okay the snare drum on the brushes is laying 00:17:28.839 --> 00:17:33.519 down that groove And it has to be rock -solid. 00:17:34.160 --> 00:17:36.819 But then, remember... That's right. Marimba comes 00:17:36.819 --> 00:17:39.500 in with this little ostinato and it has to be 00:17:39.500 --> 00:17:42.319 super, super clear. They have to make sure that 00:17:42.319 --> 00:17:45.000 like they're using good enough mallets, hard 00:17:45.000 --> 00:17:47.940 enough mallets that we can hear the articulation 00:17:47.940 --> 00:17:50.460 in what the marimba is playing. That helps the 00:17:50.460 --> 00:17:52.759 alignment with snare and marimba. And then we 00:17:52.759 --> 00:17:59.240 add the vibes in. It's like so hard. And the 00:17:59.240 --> 00:18:01.940 vibes are playing similar what they played earlier 00:18:01.940 --> 00:18:05.240 in the piece. But again, it's so exposed. yeah 00:18:05.240 --> 00:18:07.539 so as you're working on this with your percussion 00:18:07.539 --> 00:18:09.880 what I would do is I would break it down into 00:18:09.880 --> 00:18:12.539 two measure chunks and make sure that they land 00:18:12.539 --> 00:18:17.599 on beat one together so one two one two stop 00:18:17.599 --> 00:18:19.980 were we all on beat one together okay now let's 00:18:19.980 --> 00:18:22.779 do it again so they get the feel of what the 00:18:22.779 --> 00:18:26.279 groove is and really this is most important at 00:18:26.279 --> 00:18:29.059 most of the time I hear the snare drummer and 00:18:29.059 --> 00:18:32.690 the marimba be able to lock in pretty solid It's 00:18:32.690 --> 00:18:35.849 the vibe player that will rush and anticipate 00:18:35.849 --> 00:18:38.670 the syncopation. It's very difficult. Yes, it 00:18:38.670 --> 00:18:41.470 is. It is. So just like work with this group 00:18:41.470 --> 00:18:44.390 of this trio of students, break it down into 00:18:44.390 --> 00:18:46.529 two measure chunks, make sure they can lock in 00:18:46.529 --> 00:18:48.950 that feel. And then it's just a matter of copy 00:18:48.950 --> 00:18:52.400 paste, copy paste. Yep. then they, so they get 00:18:52.400 --> 00:18:54.579 to, they actually have like a little, they start 00:18:54.579 --> 00:18:56.900 loud, they have a decrescendo after four measures, 00:18:57.279 --> 00:18:59.500 then they're at mezzo forte like an echo, and 00:18:59.500 --> 00:19:03.380 then they get even softer. Then we continue it, 00:19:03.700 --> 00:19:06.440 but now we're quiet, and the flutes add in. This 00:19:06.440 --> 00:19:09.180 is another point when I have heard bands go off 00:19:09.180 --> 00:19:12.180 the rails, where the flutes like start to rush 00:19:12.180 --> 00:19:14.220 really bad here, and then they tear away from 00:19:14.220 --> 00:19:16.440 percussion. And this is, the flutes are not playing 00:19:16.440 --> 00:19:18.500 the same melody that we had before, so now we 00:19:18.500 --> 00:19:24.569 have one E and a two E and. And if they do not, 00:19:24.630 --> 00:19:27.210 what Katie said about rushing, like this is why 00:19:27.210 --> 00:19:30.490 it's so important to start tongued and then add 00:19:30.490 --> 00:19:33.630 the slurs later because their fingers will get 00:19:33.630 --> 00:19:36.490 away from them and they will rush especially 00:19:36.490 --> 00:19:40.930 on the syncopation. Right there, they start to 00:19:40.930 --> 00:19:44.650 rush like crazy. So this man, you have to spend 00:19:44.650 --> 00:19:46.609 the time on this. And this is why sectionals 00:19:46.609 --> 00:19:48.769 are so important. Because the rest of the band, 00:19:48.809 --> 00:19:51.880 I mean, is percussion and flute, that's it. The 00:19:51.880 --> 00:19:54.319 oboes come in four measures later and just add 00:19:54.319 --> 00:19:56.160 in with the flutes, they have the same thing. 00:19:56.519 --> 00:19:58.960 The altos add in four measures later and now 00:19:58.960 --> 00:20:01.440 we get this cute little trumpet. I love this 00:20:01.440 --> 00:20:07.420 little, it's like a... Sorry, we both think this 00:20:07.420 --> 00:20:09.700 is such a cutesy song, which it is, but it's 00:20:09.700 --> 00:20:13.759 hard, it's hard. So we have the three people, 00:20:14.099 --> 00:20:16.160 the sax, flute and clarinet holding down the 00:20:16.160 --> 00:20:19.640 new melodic line, new material. trumpets coming 00:20:19.640 --> 00:20:21.980 in and having this little statement your trumpet 00:20:21.980 --> 00:20:24.539 needs to be pretty confident because they have 00:20:24.539 --> 00:20:27.140 to play what like the vibes had a second ago 00:20:27.140 --> 00:20:29.380 sort of it's not as hard as the vibe part but 00:20:29.380 --> 00:20:32.140 it's very syncopated and they're all alone on 00:20:32.140 --> 00:20:34.779 that part and it's first trumpet only and it's 00:20:34.779 --> 00:20:37.759 marked mezzo piano so imagine you probably have 00:20:37.759 --> 00:20:40.859 three two three maybe four if you have a huge 00:20:40.859 --> 00:20:43.079 trumpet section you maybe have that many first 00:20:43.079 --> 00:20:45.319 trumpet players and your entire flute section 00:20:45.319 --> 00:20:48.210 oboe section and alto section playing all this 00:20:48.210 --> 00:20:50.069 other stuff. So don't be afraid to thin that 00:20:50.069 --> 00:20:51.930 out to make the balance exactly what you want 00:20:51.930 --> 00:20:55.730 it to be. Yep. Then they finish with an accented 00:20:55.730 --> 00:20:58.309 half note, a last little statement. Then the 00:20:58.309 --> 00:21:01.250 full band comes in at 81. This is my favorite 00:21:01.250 --> 00:21:03.349 part. This is my favorite part too. We're still 00:21:03.349 --> 00:21:06.140 having the same people on the melody. but now 00:21:06.140 --> 00:21:08.720 we've added in extra stuff. So we have the melody, 00:21:08.740 --> 00:21:11.140 it's still grooving, the percussion is still 00:21:11.140 --> 00:21:13.640 doing the same thing, but now we're adding in 00:21:13.640 --> 00:21:21.259 these cute little interspersed chords. So they 00:21:21.259 --> 00:21:23.960 have, this is definitely the barn style dance, 00:21:23.960 --> 00:21:26.519 like you said. It's still not very loud, it's 00:21:26.519 --> 00:21:30.200 only marked mezzo forte, but it's just written 00:21:30.200 --> 00:21:33.960 so thickly that you have to, again, balance and 00:21:33.960 --> 00:21:35.500 make sure like the brass. you're like, oh, I 00:21:35.500 --> 00:21:37.839 finally get to play. Okay, but you're not gonna 00:21:37.839 --> 00:21:39.880 play very loud. And everybody's parts are so 00:21:39.880 --> 00:21:43.079 independent. Yep, yep. So we continue this groove 00:21:43.079 --> 00:21:45.539 for a while, again with trumpet having a different 00:21:45.539 --> 00:21:48.619 part, but now all the trumpets are playing, including 00:21:48.619 --> 00:21:51.140 the seconds. And clarinets have a new, the new 00:21:51.140 --> 00:21:55.319 idea here is, da, da, da, da. Da, da, da, da. 00:21:56.009 --> 00:21:58.430 Right, it's a new little idea and trumpets will 00:21:58.430 --> 00:22:01.670 come in with it here shortly as well. So it's 00:22:01.670 --> 00:22:04.049 You want to make sure that we're hearing the 00:22:04.049 --> 00:22:07.109 new little thing that comes in Which is tough 00:22:07.109 --> 00:22:09.650 because again, it's so thick. Yep, and it's up 00:22:09.650 --> 00:22:12.450 high for first clarinet at the top of the staff 00:22:12.450 --> 00:22:15.390 Yeah, it's in octaves. So for most of that So 00:22:15.390 --> 00:22:17.529 you may want to I mean like if you don't have 00:22:17.529 --> 00:22:20.130 first clarinet players that can play in tune 00:22:20.130 --> 00:22:21.869 with the second clarinet players I would pick 00:22:21.869 --> 00:22:24.589 one. That's what we did pick one to play the 00:22:24.809 --> 00:22:28.089 octave and put everybody else down. Yep. Then 00:22:28.089 --> 00:22:32.410 we get to 89. This is where the whole band has 00:22:32.410 --> 00:22:36.710 the exact same rhythm and the crash cymbals crash 00:22:36.710 --> 00:22:39.809 on all the big accents. So the whole band has 00:22:39.809 --> 00:22:44.569 one, a, and, and, two, one, a, and, and, two, 00:22:44.589 --> 00:22:47.210 and, one, and, uh. Yep. Sorry. So we're just 00:22:47.210 --> 00:22:49.089 singing it because we like it, but it's like 00:22:49.089 --> 00:22:51.950 very colorful. There's lots of cool like color 00:22:51.950 --> 00:22:55.960 chords here. But again, Everybody has to match 00:22:55.960 --> 00:22:59.920 the exact same style on a more tricky rhythm. 00:23:00.279 --> 00:23:03.039 So this again is a great thing to do on concert 00:23:03.039 --> 00:23:05.539 F first to get the right, like a little bit of 00:23:05.539 --> 00:23:11.579 space. D, D, D, D, D, D, D, D, D, D, D, D. And 00:23:11.579 --> 00:23:14.640 like sometimes it ends with an accent, sometimes 00:23:14.640 --> 00:23:17.339 with a staccato. Staccatos need to be super light, 00:23:17.660 --> 00:23:20.039 softer than the accented notes, all the things. 00:23:20.299 --> 00:23:23.200 The snare drum comes in three measures later, 00:23:23.259 --> 00:23:26.440 but now with sticks instead of brushes but it 00:23:26.440 --> 00:23:28.619 doesn't need to be loud and take away from the 00:23:28.619 --> 00:23:32.180 rest of the band and then we kind of end with 00:23:32.180 --> 00:23:36.099 everybody on a long note going into 97 now we're 00:23:36.099 --> 00:23:38.680 softer again and that's another big full moment 00:23:38.680 --> 00:23:41.480 that's a forte because the whole group is playing 00:23:41.480 --> 00:23:44.710 so that's like the begin the like big finale 00:23:44.710 --> 00:23:49.690 97 the lows finally get to a different set of 00:23:49.690 --> 00:23:51.950 lows get to move around so it's still euphonium 00:23:51.950 --> 00:23:55.410 again but now it's horn and this horn part is 00:23:55.410 --> 00:23:59.940 not easy no and tenor sax so they have Different 00:23:59.940 --> 00:24:08.059 new melodic material So they they're having to 00:24:08.059 --> 00:24:11.619 go all the way up to like a C in euphonium There's 00:24:11.619 --> 00:24:13.880 big jumps in French horn like it starts on a 00:24:13.880 --> 00:24:16.079 B flat goes all the way down to a D goes back 00:24:16.079 --> 00:24:19.460 up to B flat It's it's not ridiculous, but you 00:24:19.460 --> 00:24:22.480 have to be real accurate and at a very fast tempo 00:24:22.480 --> 00:24:25.240 Yes, so your horn players need to be practicing 00:24:25.240 --> 00:24:28.069 this like from the get -go Yeah and this man 00:24:28.069 --> 00:24:31.029 this is something I would practice slower to 00:24:31.029 --> 00:24:33.609 make sure that they are getting every single 00:24:33.609 --> 00:24:38.490 solitary note I had and when we did this this 00:24:38.490 --> 00:24:40.529 year most recently like we would have students 00:24:40.529 --> 00:24:47.569 who would leave out notes when you would like 00:24:47.569 --> 00:24:49.890 go down the row and hear no no no you're leaving 00:24:49.890 --> 00:24:55.369 out the and of one yeah yeah yeah yeah yeah so 00:24:55.369 --> 00:24:58.819 again it is like man if you're afraid of syncopation 00:24:58.819 --> 00:25:02.519 do not play this piece it is all over the lows 00:25:02.519 --> 00:25:05.420 the like the tuba and the low low reads they 00:25:05.420 --> 00:25:07.700 get the chords now and just making sure they 00:25:07.700 --> 00:25:10.000 really do the accents because the melody lines 00:25:10.000 --> 00:25:13.519 up and has an accent on the end of two also that's 00:25:13.519 --> 00:25:16.019 so important to the like groove of this section 00:25:16.019 --> 00:25:19.480 it's also thinned out to only wash bird and marimba 00:25:19.480 --> 00:25:21.799 here so they can really help with that pulse 00:25:21.799 --> 00:25:24.700 but it's back and forth one actually notes the 00:25:24.700 --> 00:25:27.150 same rhythm but between both of them. So that 00:25:27.150 --> 00:25:30.460 will help. Continue to make sure that this grouping 00:25:30.460 --> 00:25:33.500 doesn't rush and on on the marimba Just being 00:25:33.500 --> 00:25:36.940 really careful that they match volume hand to 00:25:36.940 --> 00:25:40.500 hand They will likely play right right left right 00:25:40.500 --> 00:25:42.759 right left right right left right and their right 00:25:42.759 --> 00:25:44.460 hand is probably gonna be a lot heavier than 00:25:44.460 --> 00:25:46.240 their left hand so just making sure that volume 00:25:46.240 --> 00:25:48.539 matches on both of that and then in this section 00:25:48.539 --> 00:25:52.079 what I find since to get most bands is the drone 00:25:52.079 --> 00:25:56.599 the longer sounding notes underneath it way overpowering 00:25:56.599 --> 00:25:58.759 everything else it needs to be a piano that's 00:25:58.759 --> 00:26:01.400 exactly we wrote it in forte piano every single 00:26:01.400 --> 00:26:06.160 time yep at 105 now we're back to that same new 00:26:06.160 --> 00:26:11.079 melody on flute oboe clarinet and sax They are 00:26:11.079 --> 00:26:13.339 the most important part. The secondary part is 00:26:13.339 --> 00:26:15.599 that part that just finished playing euphonium 00:26:15.599 --> 00:26:18.819 horn and tenor. And then we get these cool little 00:26:18.819 --> 00:26:21.859 interspersed conversations with trumpet and the 00:26:21.859 --> 00:26:24.859 same chords still underneath from the lows. Percussion 00:26:24.859 --> 00:26:27.400 has gone back to a groove. It's not quite as 00:26:27.400 --> 00:26:30.220 difficult as before, but they need to again stay 00:26:30.220 --> 00:26:33.859 underneath the band. And then we are like kind 00:26:33.859 --> 00:26:36.059 of building this section back up because everybody's 00:26:36.059 --> 00:26:39.039 playing at 105. We have a little bit of a crescendo 00:26:39.039 --> 00:26:42.579 going on. into 112 and then we have the key change 00:26:42.579 --> 00:26:45.660 and it's the same melodic material but just in 00:26:45.660 --> 00:26:49.400 concert now instead of E flat so now the trumpets 00:26:49.400 --> 00:26:52.940 are a little bit higher on D and B natural I 00:26:52.940 --> 00:26:55.240 know when we played this gosh our trumpets just 00:26:55.240 --> 00:26:58.079 had trouble like hearing their partials and like 00:26:58.079 --> 00:27:01.980 playing those like those chords together and 00:27:01.980 --> 00:27:05.519 then now the horn is going up to upper C so over 00:27:05.519 --> 00:27:07.220 and over and over you're gonna have to make sure 00:27:07.220 --> 00:27:10.160 your trumpets can play those upper C's in tune, 00:27:10.720 --> 00:27:14.559 where they're not sharp. So those are things 00:27:14.559 --> 00:27:16.720 that we dealt with in our band hall that I remember 00:27:16.720 --> 00:27:19.319 from when we played. Also one thing that's a 00:27:19.319 --> 00:27:22.819 little bit different in this section, again with 00:27:22.819 --> 00:27:26.420 the key change, man the skips I think just slot 00:27:26.420 --> 00:27:28.920 a little differently for the brass and this key 00:27:28.920 --> 00:27:34.660 than they do in E flat, right? For sure. We had 00:27:34.660 --> 00:27:38.039 trouble with C's and horns locking in tune. So 00:27:38.039 --> 00:27:40.539 like we'd have to go down the row and find Okay, 00:27:40.799 --> 00:27:43.259 trigger C is most in tune for you. No trigger 00:27:43.259 --> 00:27:45.700 C is most in tune for you So just spend time 00:27:45.700 --> 00:27:48.680 with the kids individually so that they you know 00:27:48.680 --> 00:27:51.000 Can sound really good together the lows have 00:27:51.000 --> 00:27:53.640 a little bit more of an active syncopated here 00:27:53.640 --> 00:27:57.119 part here, too It's not the melody but it's a 00:27:57.119 --> 00:27:59.319 groove with each other So you may even want to 00:27:59.319 --> 00:28:01.359 like work with just them together low reeds and 00:28:01.359 --> 00:28:03.819 low brass making sure that that really locks 00:28:03.819 --> 00:28:06.319 in this is the most complicated rhythmic section 00:28:06.319 --> 00:28:09.680 of the whole piece because everybody's kind of 00:28:09.680 --> 00:28:11.819 doing different things that all have to line 00:28:11.819 --> 00:28:15.279 up otherwise it just sounds messy and then again 00:28:15.279 --> 00:28:17.480 make sure you tell the students who's most important 00:28:17.480 --> 00:28:20.000 so that way we don't have like just a cacophony 00:28:20.000 --> 00:28:23.819 of sound like my mentor always says like you 00:28:23.819 --> 00:28:25.619 don't want it to sound like everybody's yelling 00:28:25.619 --> 00:28:27.839 at you you still want to know who's having the 00:28:27.839 --> 00:28:31.859 conversation and then at the end of that section 00:28:31.859 --> 00:28:34.180 everybody has a half note that's accented again. 00:28:34.180 --> 00:28:36.880 That comes back, it's a theme in the piece. And 00:28:36.880 --> 00:28:39.980 now we're kind of quieting down. So at 121, the 00:28:39.980 --> 00:28:42.279 trumpet gets the melody, the same one from before 00:28:42.279 --> 00:28:45.279 with clarinet. The little back and forth conversation 00:28:45.279 --> 00:28:47.740 is between flute, oboe, and sax. And this is 00:28:47.740 --> 00:28:49.759 new. So this little part in the flute, oboe, 00:28:49.779 --> 00:28:56.319 and sax, we have whole note. We had to cut this 00:28:56.319 --> 00:28:59.980 way down because it can sound shrill up there. 00:29:00.200 --> 00:29:02.710 So making sure. The sax is above. That's right. 00:29:03.670 --> 00:29:05.529 They're all playing a concert, they're playing 00:29:05.529 --> 00:29:08.390 concert C, which we know is not great anyway, 00:29:08.750 --> 00:29:10.769 so saxes, I mean all the instruments, flute, 00:29:10.789 --> 00:29:13.670 oboe, sax, they need to use vibrato. That will 00:29:13.670 --> 00:29:15.789 help to mask some intonation issues, but the 00:29:15.789 --> 00:29:17.950 pitch obviously needs to be really solid, and 00:29:17.950 --> 00:29:20.309 then making sure that it's balanced correctly, 00:29:20.529 --> 00:29:23.049 like we had, we would hand pick the kids that 00:29:23.049 --> 00:29:25.430 were gonna play the whole note part, and then 00:29:25.430 --> 00:29:27.529 everybody who could play the technique would 00:29:27.529 --> 00:29:33.430 do the C. I think that that is very important, 00:29:33.789 --> 00:29:36.769 definitely something to do. The horns come in 00:29:36.769 --> 00:29:38.410 with the little same chord from the beginning, 00:29:38.470 --> 00:29:41.329 then the euphoniums come in with the same thing. 00:29:41.950 --> 00:29:44.210 We're continuing on, we're kind of still layering 00:29:44.210 --> 00:29:46.730 down. The horns come back in with that same, 00:29:46.930 --> 00:29:49.509 dun, dun, dun, dun, dun, dun, dun, dun, with 00:29:49.509 --> 00:29:52.670 tenor sax. So we're layering in a whole nother 00:29:52.670 --> 00:29:56.990 voice again. Then at 137, we have the same thing, 00:29:57.029 --> 00:29:58.970 but the lows have now added in with a little 00:29:58.970 --> 00:30:02.079 ostinato part in the back. same style considerations 00:30:02.079 --> 00:30:04.880 as before but this is the end of the piece so 00:30:04.880 --> 00:30:08.460 everybody's in we're really excited but the last 00:30:08.460 --> 00:30:11.099 two measures are super fun it's just trumpet 00:30:11.099 --> 00:30:16.359 and sax everybody so it's a cutesy little ending 00:30:17.369 --> 00:30:21.589 It is, and listen, this is 144 measures long 00:30:21.589 --> 00:30:24.049 and it goes by in two minutes and 45 seconds. 00:30:24.069 --> 00:30:27.509 So you gotta think, that's fast, that's a lot 00:30:27.509 --> 00:30:30.609 of notes, it's a lot of parts. The style is critical. 00:30:30.609 --> 00:30:33.049 A lot of layering, a lot of rhythm, yeah, it's 00:30:33.049 --> 00:30:36.730 a pretty tough piece. Yes, I think it's a pretty 00:30:36.730 --> 00:30:41.130 challenging grade too, but worth it if you have 00:30:41.130 --> 00:30:43.069 the right group. That's exactly right, and I 00:30:43.069 --> 00:30:45.950 think it's a great teaching piece for that stuff. 00:30:46.190 --> 00:30:48.490 But I wouldn't use it as a teaching piece in 00:30:48.490 --> 00:30:52.289 contest season. But if your kids are really, 00:30:52.609 --> 00:30:55.329 if style is their strength, then this is a great 00:30:55.329 --> 00:30:59.490 way to showcase them. But man, they need to be 00:30:59.490 --> 00:31:01.990 solid. They need to be solid. Well we hope you 00:31:01.990 --> 00:31:04.250 will program Blue Ridge Reel in the future and 00:31:04.250 --> 00:31:07.269 thank you for joining us on this episode of Band 00:31:07.269 --> 00:31:08.289 BFFs.