WEBVTT 00:00:06.700 --> 00:00:10.679 Welcome to our podcast. Band BFFs. The podcast 00:00:10.679 --> 00:00:12.919 where we make your music selection less complicated. 00:00:13.279 --> 00:00:15.560 On today's episode, we're going to be discussing 00:00:15.560 --> 00:00:18.980 Sun Chaser by Carol Britton Chambers. Cheers 00:00:18.980 --> 00:00:23.219 to starting the conversation. Sun Chaser is a 00:00:23.219 --> 00:00:27.000 grade two on the Texas PML. It is a challenging 00:00:27.000 --> 00:00:30.079 grade two. It's about five minutes in length. 00:00:30.339 --> 00:00:33.119 It goes through a myriad of keys. It starts in 00:00:33.119 --> 00:00:35.200 the key of B -flat. That's a great word there. 00:00:35.320 --> 00:00:38.200 Thank you. Thank you. It's my summer. Keep the 00:00:38.200 --> 00:00:40.899 language up. It starts in the key of concert 00:00:40.899 --> 00:00:46.159 B -flat, goes to concert E -flat, and then finishes 00:00:46.159 --> 00:00:49.960 in concert F. It has a bunch of different time 00:00:49.960 --> 00:00:54.799 signatures. four three four so you need to be 00:00:54.799 --> 00:00:56.520 like your kids need to be comfortable with all 00:00:56.520 --> 00:00:59.380 of that split clarinet parts split trumpet parts 00:00:59.380 --> 00:01:02.140 you can do this with five percussionists though 00:01:02.140 --> 00:01:04.359 if you have more you could divide some parts 00:01:04.359 --> 00:01:08.519 up but you could do it with as few as five percussionists 00:01:08.719 --> 00:01:11.079 Love the way Carol Britton Chambers, right? It's 00:01:11.079 --> 00:01:14.540 so pretty Yeah as always the melodies are gonna 00:01:14.540 --> 00:01:17.540 be catchy kids are gonna like it, but there is 00:01:17.540 --> 00:01:21.640 some meat Yes, all the slow lyrical sections 00:01:21.640 --> 00:01:26.099 are More challenging than they look. Yeah, definitely 00:01:26.099 --> 00:01:28.560 your students will get the parts and go. Oh, 00:01:28.560 --> 00:01:31.319 you know, no problem Got this but then when you 00:01:31.319 --> 00:01:34.019 start putting it together, it's really difficult 00:01:34.019 --> 00:01:38.180 to make it sound mature if your kids don't have 00:01:38.030 --> 00:01:42.150 a lot of experience with the lyrical style playing. 00:01:42.250 --> 00:01:44.810 Right. So if you were going to program this piece 00:01:44.810 --> 00:01:48.150 for like UIL or something like that earlier in 00:01:48.150 --> 00:01:50.329 the year for your winter concert or your fall 00:01:50.329 --> 00:01:52.530 concert, you should absolutely play something 00:01:52.530 --> 00:01:55.310 with lyrical sections. So that way your students 00:01:55.310 --> 00:01:57.769 have already talked with you about, you know, 00:01:57.950 --> 00:02:02.170 phrasing. That's right. Leading through long 00:02:02.170 --> 00:02:05.390 notes making sure you this person breathes here. 00:02:05.390 --> 00:02:08.430 I breathe here those sorts of little things Intonation, 00:02:08.430 --> 00:02:11.610 you know tendencies when you're talking about 00:02:11.610 --> 00:02:14.789 playing softer or you know, whatever Yeah, so 00:02:14.789 --> 00:02:18.629 also, you know, this is I feel like it's five 00:02:18.629 --> 00:02:20.590 minutes The piece is five minutes in length and 00:02:20.590 --> 00:02:23.909 at least half of it lyrical yeah you know and 00:02:23.909 --> 00:02:26.550 the the fast catchy part comes back and it's 00:02:26.550 --> 00:02:29.349 the same thing at the end which is nice because 00:02:29.349 --> 00:02:31.330 you don't have to reteach that necessarily but 00:02:31.330 --> 00:02:34.250 the lyrical spots are Media enough that your 00:02:34.250 --> 00:02:36.330 kids have to be pretty mature to play it. Definitely. 00:02:36.449 --> 00:02:38.949 Yeah. Yeah, so it starts off with just percussion 00:02:38.949 --> 00:02:43.530 There is an optional piano part which I was saying 00:02:43.530 --> 00:02:46.469 to Laura would be totally cool if you had like 00:02:46.469 --> 00:02:48.889 a Bassoonist in your band who could play the 00:02:48.889 --> 00:02:51.009 piano they could get up and play the piano just 00:02:51.009 --> 00:02:53.590 for like like the first six measures, then they 00:02:53.590 --> 00:02:55.289 could go and sit down and play bassoon for the 00:02:55.289 --> 00:02:56.870 rest of the piece, because the piano part does 00:02:56.870 --> 00:02:59.849 not come back. So if you are willing to do that, 00:02:59.870 --> 00:03:02.189 cool. If you don't have anybody that plays piano 00:03:02.189 --> 00:03:04.189 or you don't have a percussionist that plays, 00:03:04.710 --> 00:03:07.729 then it is also fine to play it on the vibraphone. 00:03:08.250 --> 00:03:10.370 When we played it, that's what we did. We played 00:03:10.370 --> 00:03:13.050 it on vibes. Yeah. And the vibe part comes back 00:03:13.050 --> 00:03:14.969 over and over and is very important in this piece. 00:03:14.990 --> 00:03:19.250 So that would be totally acceptable. So it's 00:03:19.250 --> 00:03:21.830 just the vibes or... at the beginning, then you've 00:03:21.830 --> 00:03:24.310 got like little wind chime effects, little triangle 00:03:24.310 --> 00:03:26.490 dings, and some bells. The bells have - Slow 00:03:26.490 --> 00:03:29.710 tempo, 76. Very slow, yep. The bells come in 00:03:29.710 --> 00:03:32.590 and have like a little moment, and it's just 00:03:32.590 --> 00:03:34.909 back and forth between those two mallet instruments. 00:03:35.509 --> 00:03:38.990 Then in measure three, on beat three, the lower 00:03:38.990 --> 00:03:41.810 voices come in and it's mezzo piano. So they 00:03:41.810 --> 00:03:44.520 have to have a really good breath. And then they 00:03:44.520 --> 00:03:47.419 have to sneak in with their tongue. Yes, and 00:03:47.419 --> 00:03:49.939 play soft when they first come in with no bump. 00:03:50.620 --> 00:03:53.780 And that is something that younger bands have 00:03:53.780 --> 00:03:56.219 to practice doing really well to make it be effective. 00:03:57.080 --> 00:04:00.120 Then the rhythms change. The low, low voices 00:04:00.120 --> 00:04:05.500 like Tuba and Barry have a change on beat four, 00:04:05.879 --> 00:04:09.280 whereas the tenor voices like trombone, euphonium, 00:04:09.939 --> 00:04:13.650 and There are cues for like tenor sax and bari 00:04:13.650 --> 00:04:16.389 sax they change on beat 3 so we've got a lot 00:04:16.389 --> 00:04:19.449 and she writes like this often where One grouping 00:04:19.449 --> 00:04:21.810 changes on three, one grouping changes on four. 00:04:22.129 --> 00:04:24.089 So you want to make sure you can hear those different 00:04:24.089 --> 00:04:26.129 changes. Now, I like that it's kind of thinly 00:04:26.129 --> 00:04:28.990 scored here, but she's put cues and parts so 00:04:28.990 --> 00:04:31.269 you can kind of play with the texture to fit 00:04:31.269 --> 00:04:34.670 your ensemble. But I think throughout the entire 00:04:34.670 --> 00:04:36.930 lyrical, every lyrical section in this, what 00:04:36.930 --> 00:04:39.550 Katie was just talking about, about just ensuring 00:04:39.550 --> 00:04:44.290 there's transparency when notes are moving. Like 00:04:44.290 --> 00:04:48.310 I think that is what makes, yes, what makes it 00:04:48.310 --> 00:04:50.310 difficult and to hear all of those chord tones 00:04:50.310 --> 00:04:54.009 come through. Yep. Then we kind of have the same 00:04:54.009 --> 00:04:56.769 thing and then at measure seven the trumpets 00:04:56.769 --> 00:05:00.790 and clarinets come in with a melody and the trumpet 00:05:00.790 --> 00:05:04.329 two and one as Laura mentioned are split so they 00:05:04.329 --> 00:05:08.269 are different and same with clarinet two and 00:05:08.269 --> 00:05:11.050 one so they're kind of doubled each other. The 00:05:11.050 --> 00:05:18.250 saxes come in as well now. Cues yep on a little 00:05:18.250 --> 00:05:20.709 counter melody and then finally the upper woodwinds 00:05:20.709 --> 00:05:23.730 add in we're just kind of building and building 00:05:23.730 --> 00:05:26.470 adding more voices, and then we're building to 00:05:26.470 --> 00:05:31.449 a full band chord at 11 and Then the lows come 00:05:31.449 --> 00:05:33.709 in on beat three with an accent, so it's like 00:05:33.709 --> 00:05:37.089 you know kind of like marching band desk one 00:05:37.089 --> 00:05:40.230 Three and then you hold the chord and the chord 00:05:40.230 --> 00:05:44.300 is three is six beats because it changes Time 00:05:44.300 --> 00:05:46.600 signature, so you're holding it even longer, 00:05:46.860 --> 00:05:49.519 the timpani starts roll, or not timpani, bass 00:05:49.519 --> 00:05:51.720 drum and suspended cymbals start rolling to make 00:05:51.720 --> 00:05:54.480 it be more exciting, and then an immediate key 00:05:54.480 --> 00:05:57.819 change and tempo change. And style change. And 00:05:57.819 --> 00:06:00.420 style change. So right at 14, we hit, we land, 00:06:00.540 --> 00:06:02.420 we're in three, four time, and it starts with 00:06:02.420 --> 00:06:04.920 percussion. And we're in E flat. And the key 00:06:04.920 --> 00:06:06.920 change to E flat, that's right. So percussion 00:06:06.920 --> 00:06:09.100 starts and they're establishing the pulse. We 00:06:09.100 --> 00:06:11.879 go from basically double time. We go from 72 00:06:11.879 --> 00:06:14.839 to 154. whatever so we've double you know we've 00:06:14.839 --> 00:06:18.319 we've sped the tempo up by twice yeah so we start 00:06:18.319 --> 00:06:20.319 right at the three four and the vibes are laying 00:06:20.319 --> 00:06:22.339 down the time for you one and two and three and 00:06:22.339 --> 00:06:24.339 one and two and three and one and two and three 00:06:24.339 --> 00:06:26.660 and so they're establishing that pulse which 00:06:26.660 --> 00:06:29.139 I think is really smart and she does you know 00:06:29.139 --> 00:06:31.899 she writes well really like that so the whole 00:06:31.899 --> 00:06:34.259 ensemble isn't having to transition this tempo 00:06:34.259 --> 00:06:35.620 together but you want to make sure that your 00:06:35.620 --> 00:06:39.100 vibe player is locked in however the whole ensemble 00:06:39.100 --> 00:06:43.720 does eventually the the eighth note ostinato 00:06:43.720 --> 00:06:46.800 does come in and continues going in the upper 00:06:46.800 --> 00:06:49.259 woodwinds. So you have to teach everybody to 00:06:49.259 --> 00:06:52.160 be way soft on that part because they're just 00:06:52.160 --> 00:06:54.480 functioning as the metronome. And I would find 00:06:54.480 --> 00:06:56.980 like find the mallet choice that you want on 00:06:56.980 --> 00:06:59.720 vibraphone that you want your wind players to 00:06:59.720 --> 00:07:02.839 imitate and then make them listen to that sound 00:07:02.839 --> 00:07:05.120 and okay that's the articulation that we're trying 00:07:05.120 --> 00:07:08.339 to match because this happens several times in 00:07:08.339 --> 00:07:10.060 here and we want to make sure the articulation 00:07:10.060 --> 00:07:12.569 between the upper woodwinds and the vibes, you 00:07:12.569 --> 00:07:15.709 know, matches to the best of their ability. In 00:07:15.709 --> 00:07:18.509 the first clarinet part, when they come in and 00:07:18.509 --> 00:07:21.050 measure 18 with these eighth notes and trumpets 00:07:21.050 --> 00:07:23.230 come in at 18 with the melody, this is the first 00:07:23.230 --> 00:07:25.490 time we've heard this cool little melody in 3 00:07:25.490 --> 00:07:28.670 -4, but the first clarinets are on a top line 00:07:28.670 --> 00:07:34.790 F staccato eighth notes at 156 BPM. So you know 00:07:34.790 --> 00:07:37.870 automatically that's not gonna sound great unless 00:07:37.870 --> 00:07:40.370 your clarinet players, you know, can play with 00:07:40.370 --> 00:07:42.310 a really good sound so like that is something 00:07:42.310 --> 00:07:45.790 I would I it's in octaves in the clarinets right 00:07:45.790 --> 00:07:48.610 there so just take your one play yeah pick your 00:07:48.610 --> 00:07:50.810 one player that sounds really great on that register 00:07:50.810 --> 00:07:53.009 or nobody I mean honestly you wouldn't be able 00:07:53.009 --> 00:07:55.430 to tell because the flutes are on the upper B 00:07:55.430 --> 00:07:58.790 flat and the oboes are an octave below as well 00:07:58.790 --> 00:08:00.790 the flute so you can do the same with the flutes 00:08:00.790 --> 00:08:03.600 you know if they are just Sharp or something 00:08:03.600 --> 00:08:05.500 up above the staff. You could just pull some 00:08:05.500 --> 00:08:08.019 of them down So again, like Laura said do whatever 00:08:08.019 --> 00:08:10.360 works for your band the trumpets have the melody 00:08:10.360 --> 00:08:12.360 alone you need to have a solid trumpet section 00:08:12.360 --> 00:08:15.379 for this piece and and I think a bigger trumpet 00:08:15.379 --> 00:08:18.180 section because the melody happens in just the 00:08:18.180 --> 00:08:20.899 trumpets often. Yeah. And with a lot of other 00:08:20.899 --> 00:08:23.160 stuff happening, so they need to be able to project 00:08:23.160 --> 00:08:26.360 and play well. I love the little melodic theme. 00:08:26.980 --> 00:08:30.319 It's got a little syncopation, like two little 00:08:30.319 --> 00:08:34.320 dotted quarters, and it's very stylistic. So 00:08:34.320 --> 00:08:36.940 it's written specifically to play all the eighth 00:08:36.940 --> 00:08:39.820 notes lifted, but then to keep everything else 00:08:39.820 --> 00:08:42.120 really long and connected. So you got to kind 00:08:42.120 --> 00:08:43.909 of teach that from the beginning for the whole 00:08:43.909 --> 00:08:48.529 group then the melody goes to clarinet and trumpet 00:08:48.529 --> 00:08:51.669 at 26 and then the lows come in and they have 00:08:51.669 --> 00:08:54.889 just like a little background part but they have 00:08:54.889 --> 00:08:57.710 to play light and quiet and that's what I remember 00:08:57.710 --> 00:09:00.850 when we played this it was difficult from the 00:09:00.850 --> 00:09:04.200 band at the time to balance to the melody because 00:09:04.200 --> 00:09:07.240 everybody else does not have the melody it's 00:09:07.240 --> 00:09:10.000 just clarinet and trumpet and so you got to teach 00:09:10.000 --> 00:09:13.399 your kids to like play soft and and crispy and 00:09:13.399 --> 00:09:16.299 really underneath those important voices and 00:09:16.299 --> 00:09:18.340 then i also think the challenge in this is that 00:09:18.340 --> 00:09:20.940 because those players like you know katie addressed 00:09:20.940 --> 00:09:23.100 what's happening in the low voices but in the 00:09:23.100 --> 00:09:26.580 upper woodwinds basically they are all playing 00:09:26.580 --> 00:09:29.340 different rhythms that come out to be one and 00:09:29.340 --> 00:09:31.460 two and three and one and two and three and when 00:09:31.460 --> 00:09:33.649 you put it all together but they're playing you 00:09:33.649 --> 00:09:35.809 know the saxes are different from the bassoons 00:09:35.809 --> 00:09:37.169 are different from the flutes are different from 00:09:37.169 --> 00:09:40.639 the oboes and so I think kids can get so caught 00:09:40.639 --> 00:09:44.159 up in the, what is my rhythm that they disregard 00:09:44.159 --> 00:09:48.320 volume or style at all. And that's when it starts 00:09:48.320 --> 00:09:52.240 to become noisy. Yep. So just building confidence 00:09:52.240 --> 00:09:54.799 and you know, like beating the part into their 00:09:54.799 --> 00:09:57.759 head. So that when you put it together, it's 00:09:57.759 --> 00:09:59.659 not going to sound like, Oh, what is happening 00:09:59.659 --> 00:10:01.659 here? Exactly. As Laura said, it should just 00:10:01.659 --> 00:10:03.460 sound like straight up eighth notes, but she 00:10:03.460 --> 00:10:05.659 made it be a little bit more challenging to where 00:10:05.659 --> 00:10:08.120 like the flutes play one, two, one, two. and 00:10:08.120 --> 00:10:10.879 three, and two, three and one, two and three, 00:10:11.179 --> 00:10:13.480 and then like bassoon has one and, three and 00:10:13.480 --> 00:10:16.340 one, and three, one, one and, I assume. We have 00:10:16.340 --> 00:10:19.860 to turn the page, yeah. So. That's tricky when 00:10:19.860 --> 00:10:20.960 you're trying to keep the tempo. And then the 00:10:20.960 --> 00:10:24.139 low voice is one and rest, rest, rest, two, three. 00:10:25.200 --> 00:10:27.000 Everybody's just. Yeah, yeah. You got to be able 00:10:27.000 --> 00:10:29.419 to count and keep it the same sounding the whole 00:10:29.419 --> 00:10:31.179 time. And you're going to have to work on that 00:10:31.179 --> 00:10:34.679 accompaniment a lot. Like just keeping it fast, 00:10:35.059 --> 00:10:40.299 short, in tempo, and light. Yeah. And soft. It's 00:10:40.299 --> 00:10:42.100 kind of tricky, so we just talked about it for 00:10:42.100 --> 00:10:43.460 a long time. Hopefully y 'all get it. And then 00:10:43.460 --> 00:10:45.919 more percussion adds in, which just adds to that 00:10:45.919 --> 00:10:48.460 noise factor. So I mean, just in this whole section 00:10:48.460 --> 00:10:50.120 right here as it builds in. You got to listen 00:10:50.120 --> 00:10:51.580 to trumpet and clarinet. Yeah, and clarinet. 00:10:51.659 --> 00:10:55.070 That's it. And they... Finish out the melody 00:10:55.070 --> 00:10:57.610 and then we all kind of stop and then clarinet 00:10:57.610 --> 00:11:01.190 2 comes in with like the new little melodic theme 00:11:01.190 --> 00:11:05.570 2 3 1 and then now we're like less Rhythmic and 00:11:05.570 --> 00:11:09.629 we're more flowing. So the mallet the vibes, 00:11:09.629 --> 00:11:12.669 I guess Yes, the vibes have the melody at 38 00:11:12.669 --> 00:11:15.190 or not the melody but they have the cool part 00:11:15.190 --> 00:11:17.850 They have the cool little one two and three and 00:11:17.850 --> 00:11:21.610 two three and one two and three so I think horns 00:11:21.610 --> 00:11:24.549 are really the lead voice. Oh, for sure. Horn 00:11:24.549 --> 00:11:29.090 and clarinet, yeah. And sax, yeah. Oh yeah, I'm 00:11:29.090 --> 00:11:31.990 sorry. Obviously, it's horn and clarinet, too, 00:11:32.029 --> 00:11:34.850 and saxophones that come in at 38. So horn should 00:11:34.850 --> 00:11:36.990 be the focal point, for sure. And again, it's 00:11:36.990 --> 00:11:42.750 very flowy. In measure 41, there's a rhythm that 00:11:42.750 --> 00:11:45.809 goes one, two, rest on three, and you come back 00:11:45.809 --> 00:11:50.129 in on the and. Be sure that your kids don't clip 00:11:50.129 --> 00:11:55.009 beat two. So it goes one. One, one. One, two, 00:11:55.029 --> 00:11:58.950 three, one, two, and one. So you have to be sure 00:11:58.950 --> 00:12:02.029 that the beat two is long and not one, two, and 00:12:02.029 --> 00:12:03.570 one. They're gonna make it sound like a hiccup. 00:12:03.649 --> 00:12:07.490 They will, yep. So keeping that note is important 00:12:07.490 --> 00:12:10.450 and it comes back over and over and over. And 00:12:10.450 --> 00:12:12.409 so just make sure that the students know that. 00:12:12.409 --> 00:12:15.429 Consistency in that. And then the lows kind of 00:12:15.429 --> 00:12:17.509 just have, when they've come in, they have chords 00:12:17.509 --> 00:12:20.470 underneath that melody. You know, just making 00:12:20.470 --> 00:12:22.409 sure that everything's locking in the key of 00:12:22.409 --> 00:12:26.279 E flat. Lots of C's and D's above the staff and 00:12:26.279 --> 00:12:28.600 trombones, so making sure that that's in tune 00:12:28.600 --> 00:12:32.990 as well. And then the trumpets come in and we 00:12:32.990 --> 00:12:35.490 go back to that other style. So we had the flowing 00:12:35.490 --> 00:12:39.330 for a moment. Now we're kind of back to the melody. 00:12:39.549 --> 00:12:42.570 It's still the same melody, but now the ostinato 00:12:42.570 --> 00:12:46.870 short style is back in from everybody else. So 00:12:46.870 --> 00:12:50.149 we're passing eighth notes back and forth between 00:12:50.149 --> 00:12:52.929 different instruments. So just making sure. And 00:12:52.929 --> 00:12:54.590 I remember when we played this, we literally 00:12:54.590 --> 00:13:00.220 just said no melody. Everybody just... You know 00:13:00.220 --> 00:13:02.820 like making sure that we can stay in time with 00:13:02.820 --> 00:13:05.820 no metronome, you know, that's it's tricky It 00:13:05.820 --> 00:13:08.480 is yeah and keeping it short the whole time as 00:13:08.480 --> 00:13:11.840 Laura already mentioned is so they get lazy They 00:13:11.840 --> 00:13:15.379 get so long. Yeah. Yeah, and this piece is long. 00:13:15.379 --> 00:13:17.580 It's five minutes So you got to make sure you're 00:13:17.580 --> 00:13:21.580 really thinking about that The low people get 00:13:21.580 --> 00:13:26.240 to have like kind of a cool little part at measure 00:13:26.240 --> 00:13:30.840 54 Then everybody else is quieter underneath 00:13:30.840 --> 00:13:34.039 them 58 we're back to the trumpet and clarinet 00:13:34.039 --> 00:13:36.159 having the melody and we're back to the same 00:13:36.159 --> 00:13:38.559 Exactly the same as what we had before Yeah, 00:13:38.639 --> 00:13:40.480 the part where we have to make sure we're listening 00:13:40.480 --> 00:13:43.460 to the melody and then lows kind of take over 00:13:43.460 --> 00:13:46.860 at 66 for a moment and we're kind of thinning 00:13:46.860 --> 00:13:50.179 out we're getting softer Lyrical. Yep. Yep. So 00:13:50.179 --> 00:13:52.320 everybody kind of has moments where they're coming 00:13:52.320 --> 00:13:55.419 in and out and then we end with like just basically 00:13:55.419 --> 00:14:01.080 flute horn, alto, bassoon and trombone. So they're 00:14:01.080 --> 00:14:04.679 holding a long note and we change key and then 00:14:04.679 --> 00:14:08.370 we go straight into clarinet melody. And now 00:14:08.370 --> 00:14:14.230 we're doing like B naturals, F sharps. So that, 00:14:14.230 --> 00:14:16.370 you know, marking your parts for your kids is 00:14:16.370 --> 00:14:18.669 kind of nice for them. That key from E flat to 00:14:18.669 --> 00:14:21.970 F. I mean, that's a big change, right? And there's 00:14:21.970 --> 00:14:25.269 no like fermata regroup. This is just immediate. 00:14:25.710 --> 00:14:27.610 So making sure that you've helped prep the kids. 00:14:27.970 --> 00:14:30.610 This section right here, I think is. Absolutely 00:14:30.610 --> 00:14:33.429 beautiful, but you have to have, there is no 00:14:33.429 --> 00:14:36.669 percussion going on, so the pulse is all happening 00:14:36.669 --> 00:14:39.230 in the wind players. The melody is in the clarinet, 00:14:39.330 --> 00:14:41.509 the counter melody is in the alto saxophone, 00:14:41.710 --> 00:14:44.850 and it is just the clarinet family and saxophone 00:14:44.850 --> 00:14:47.710 family minus bari sax that is playing right here. 00:14:47.889 --> 00:14:50.629 It's that exposed. You gotta have a bass clarinet. 00:14:50.970 --> 00:14:55.230 Yes, that is the only bass voice in this little 00:14:55.230 --> 00:14:58.309 choir right here. So this, now it does have some 00:14:58.309 --> 00:15:00.250 eighth notes, but this We've dropped back down, 00:15:00.370 --> 00:15:03.929 we're at 76 BPM, we are back to 4 -4 time, and 00:15:03.929 --> 00:15:05.970 then we have the new key change. This needs to 00:15:05.970 --> 00:15:10.389 sound as rich and lush as possible. That beautiful 00:15:10.389 --> 00:15:12.730 reed sound that you're gonna get in your clarinets 00:15:12.730 --> 00:15:17.710 and saxophones, phrasing, like make it as musical 00:15:17.710 --> 00:15:20.830 as possible. I think the reference recording 00:15:20.830 --> 00:15:23.409 online, like that you can just look up on YouTube, 00:15:23.509 --> 00:15:26.149 I think does a really nice job of phrasing through 00:15:26.149 --> 00:15:29.950 this little middle section here. But it's very 00:15:29.950 --> 00:15:35.190 exposed When we get to measure 79 now we are 00:15:35.190 --> 00:15:39.029 adding in more people the flutes are coming in 00:15:39.029 --> 00:15:43.129 horns And altos now take over what I would really 00:15:43.129 --> 00:15:47.570 consider the more important part We add in bells 00:15:47.570 --> 00:15:50.570 as well. So clarinets and saxes are still doing 00:15:50.570 --> 00:15:54.029 what they did before but now we have this counter 00:15:54.029 --> 00:15:57.190 or sorry Yes, clarinets and saxes, but now the 00:15:57.190 --> 00:15:59.669 horns are joining the counter melody and flutes 00:15:59.669 --> 00:16:03.129 come in with another really interesting little 00:16:03.129 --> 00:16:06.610 part, slightly faster. We've heard the clarinet, 00:16:06.649 --> 00:16:08.649 so now I would put that in the background and 00:16:08.649 --> 00:16:12.809 bring out the flute horn. Yeah, and the flute 00:16:12.809 --> 00:16:17.090 part is very doodly for this tempo and it's above 00:16:17.090 --> 00:16:20.429 the staff, so it could probably be a little bit 00:16:20.429 --> 00:16:22.710 much if you have a large flute section, so you 00:16:22.710 --> 00:16:26.250 might want to consider having only part of the 00:16:26.250 --> 00:16:30.029 section play just so it's not so screamy over 00:16:30.029 --> 00:16:33.009 everything else. The bells part is really important. 00:16:33.190 --> 00:16:37.509 It even says play it on rubber mallets. So just 00:16:37.509 --> 00:16:38.990 make sure that you - And it's not the same as 00:16:38.990 --> 00:16:40.950 the flute. No, it's its own part. It's its own 00:16:40.950 --> 00:16:45.480 part. Yep, and then again as Laura said making 00:16:45.480 --> 00:16:47.519 sure you hear different chord changes that are 00:16:47.519 --> 00:16:50.059 happening here Everybody's changing on different 00:16:50.059 --> 00:16:52.240 beats. You want to make sure you can hear all 00:16:52.240 --> 00:16:54.460 of those when you're looking at the score you 00:16:54.460 --> 00:16:56.919 want to be able to hear what you see. If you 00:16:56.919 --> 00:16:58.440 see the quarter note, you need to be able to 00:16:58.440 --> 00:17:00.500 hear that, and then you hear eighth notes after 00:17:00.500 --> 00:17:02.820 that, and then more eighth notes. So just making 00:17:02.820 --> 00:17:06.000 sure that what you see on the score is what is 00:17:06.000 --> 00:17:08.779 happening in front of you. Then the horn and 00:17:08.779 --> 00:17:12.059 sax have this cool little part in 84. The clarinets 00:17:12.059 --> 00:17:14.940 kind of take it over. Some little eighth notes, 00:17:15.000 --> 00:17:17.640 and then at 86, the trumpets and flutes take 00:17:17.640 --> 00:17:21.200 it over. And then there's a slight cello rondo 00:17:21.200 --> 00:17:24.180 through the eighth notes. We're just going up. 00:17:24.400 --> 00:17:27.759 four more beats. So we're kind of a cello rondoing 00:17:27.759 --> 00:17:30.920 very slowly. Now, this measure right here, measure 00:17:30.920 --> 00:17:34.339 86, before going into 87, this part right here, 00:17:34.480 --> 00:17:36.259 the accelerano measure, Katie's talking about 00:17:36.259 --> 00:17:40.299 one, two, and three, and four. It has a quarter 00:17:40.299 --> 00:17:43.019 note on beat four instead of eighth notes. What 00:17:43.019 --> 00:17:45.740 your kids are gonna want to do is take a breath. 00:17:45.759 --> 00:17:48.000 And brush it. Yeah, they're going to want to 00:17:48.000 --> 00:17:52.119 go, one, two, and three, and four, one, and there's 00:17:52.119 --> 00:17:54.460 a big crescendo underneath it as well. It goes 00:17:54.460 --> 00:17:57.960 from mezzo piano to forte, so we absolutely do 00:17:57.960 --> 00:17:59.930 not want... to take a breath there, but just 00:17:59.930 --> 00:18:02.450 know that's... gonna be what they want to. And 00:18:02.450 --> 00:18:05.089 in marking my parts, I would draw an arrow between 00:18:05.089 --> 00:18:07.690 those two measures and put an NB in everything, 00:18:07.930 --> 00:18:10.430 like just to make sure you understand you do 00:18:10.430 --> 00:18:11.750 not get breath there. No breath there. And I 00:18:11.750 --> 00:18:13.450 would make sure they know where to breathe before 00:18:13.450 --> 00:18:15.569 that. Like clarinet one can breathe after the 00:18:15.569 --> 00:18:19.750 quarter note in 86, the first quarter note. Clarinet 00:18:19.750 --> 00:18:21.769 two can breathe between the two half notes, et 00:18:21.769 --> 00:18:23.849 cetera. So you can kind of look around and if 00:18:23.849 --> 00:18:26.529 you mark those breath marks for them and not 00:18:26.529 --> 00:18:28.410 just say, don't breathe here, but say, here's 00:18:28.410 --> 00:18:29.430 where you do breathe. Here's where you are going 00:18:29.430 --> 00:18:31.339 to breathe, that's right. That helps the students. 00:18:31.960 --> 00:18:35.259 So we're at 87. The trumpet part goes a little 00:18:35.259 --> 00:18:37.119 higher here too, by the way. It goes up to high 00:18:37.119 --> 00:18:39.980 F sharp, the trumpet one part. And then we got 00:18:39.980 --> 00:18:42.839 like E and D. So this can be a little bit of 00:18:42.839 --> 00:18:46.900 a tuning issue if your kids struggle with that 00:18:46.900 --> 00:18:49.599 a little bit. The flutes are up on upper D above 00:18:49.599 --> 00:18:52.519 the staff. Clarinets are on, you know, fourth 00:18:52.519 --> 00:18:57.869 space E. So this could be a tuning. Issue here 00:18:57.869 --> 00:19:00.369 this big moment where everybody's forte. We're 00:19:00.369 --> 00:19:04.670 all playing Half notes that are tenuto marked 00:19:04.670 --> 00:19:07.009 and then we're playing everything really long. 00:19:07.009 --> 00:19:10.309 It's kind of like more decisive of a part I don't 00:19:10.309 --> 00:19:11.730 know. That's the word that comes to mind for 00:19:11.730 --> 00:19:15.380 me Told my students to tongue a little firmer 00:19:15.380 --> 00:19:18.599 and measure 88 Because it's like out this cool 00:19:18.599 --> 00:19:22.400 horn and sax part one and two three and four 00:19:22.400 --> 00:19:26.200 and a one So that part's really neat. Just bringing 00:19:26.200 --> 00:19:28.779 that out again. They're not trying to accent 00:19:28.779 --> 00:19:31.900 or play like short They're keeping everything 00:19:31.900 --> 00:19:34.519 long and connected since we're in the lyrical 00:19:34.519 --> 00:19:38.420 section Then the trombones euphoniums tuba low 00:19:38.420 --> 00:19:42.220 reeds have a little response one and three and 00:19:42.220 --> 00:19:44.450 four And one. And that needs to be really firm. 00:19:44.450 --> 00:19:46.450 And there's no retard onto it. We both sang one, 00:19:46.470 --> 00:19:49.410 sorry. But they need to tongue that really firmly. 00:19:49.549 --> 00:19:51.329 Then the horns and altos have another little 00:19:51.329 --> 00:19:54.490 response. Then we're gonna do a little bit of 00:19:54.490 --> 00:19:57.730 a, it's like a modulation sort of. We go into 00:19:57.730 --> 00:20:02.289 having D flats in euphonium, A flat in horn. 00:20:02.569 --> 00:20:05.529 Everybody's got accidentals here. Then we reach 00:20:05.529 --> 00:20:09.069 the peak, the pinnacle. And we all change on 00:20:09.069 --> 00:20:13.700 different. Beats so at measure 96. Yeah, it's 00:20:13.700 --> 00:20:17.240 like yeah it is. It's like bell tones So I would 00:20:17.240 --> 00:20:20.059 bop 90th. I don't know. I just said 86. I'm sorry 00:20:20.059 --> 00:20:25.140 93. I would bop 93 quite often to make sure you 00:20:25.140 --> 00:20:27.660 can hear all the different parts. And when the 00:20:27.660 --> 00:20:30.119 kids come in on a long note, treat it like a 00:20:30.119 --> 00:20:32.819 forte piano. It's already marked to decrescendo 00:20:32.819 --> 00:20:36.180 as you're holding anyway. So just make sure that 00:20:36.180 --> 00:20:38.279 whenever you see the decrescendo, you're really 00:20:38.279 --> 00:20:40.700 quiet on that long note. It's different for every 00:20:40.700 --> 00:20:42.960 single part. So you'd have to like write that 00:20:42.960 --> 00:20:45.880 in for the kids or teach it that way. Cause what 00:20:45.880 --> 00:20:48.220 we're trying to do is we're thinning back out 00:20:48.220 --> 00:20:51.059 again, we're getting softer. And there's a retardando. 00:20:51.200 --> 00:20:54.130 So like it slows. down here as well so I mean 00:20:54.130 --> 00:20:56.329 another reason I think that bopping is really 00:20:56.329 --> 00:20:58.609 important just locking in the timing so everybody 00:20:58.609 --> 00:21:00.569 feels really comfortable with it now we're back 00:21:00.569 --> 00:21:04.589 down to 76 and we have that same little clarinet 00:21:04.589 --> 00:21:08.130 sax melody with the horn joined in we do have 00:21:08.130 --> 00:21:11.390 low people on a different part now and they have 00:21:11.390 --> 00:21:13.849 half notes descending which is really pretty 00:21:13.849 --> 00:21:18.559 so like lead through those crescendo down And 00:21:18.559 --> 00:21:21.180 then we kind of end it again and go straight 00:21:21.180 --> 00:21:23.460 back to the same thing we had before. It's just 00:21:23.460 --> 00:21:27.700 a recap of the three, four fast part in E flat. 00:21:27.859 --> 00:21:29.960 The difference is the melody starts in the flute. 00:21:30.240 --> 00:21:32.180 So instead of it being in trumpet like it was 00:21:32.180 --> 00:21:33.920 before, the melody starts in the flute. And you 00:21:33.920 --> 00:21:36.480 want to ensure that the flute style matches the 00:21:36.480 --> 00:21:39.059 style that the trumpet set up at the beginning 00:21:39.059 --> 00:21:43.390 of the piece. And then everybody comes back in 00:21:43.390 --> 00:21:45.190 trumpets come back in with the melody with the 00:21:45.190 --> 00:21:47.630 clarinets and then at 111 the flutes go back 00:21:47.630 --> 00:21:50.269 to their one two and and for what I've done or 00:21:50.269 --> 00:21:52.250 not for but y 'all remember the part I was talking 00:21:52.250 --> 00:21:54.970 about before where they Clarinets and trumpets 00:21:54.970 --> 00:21:58.329 have the melody. Yep. Yep Keeps going we get 00:21:58.329 --> 00:22:00.930 to 121. It's the same thing as before the vibes 00:22:00.930 --> 00:22:03.589 have a little special part Timpani has a cool 00:22:03.589 --> 00:22:06.730 part horn and sax and clarinet have the melody 00:22:06.730 --> 00:22:10.049 just like earlier just like the beginning I don't 00:22:10.049 --> 00:22:13.470 think There's much different except that Sometimes 00:22:13.470 --> 00:22:15.609 the trumpets are not the melody in this second 00:22:15.609 --> 00:22:17.509 time around and they're more of the background 00:22:17.509 --> 00:22:20.829 part with the eighth notes There's a full band 00:22:20.829 --> 00:22:24.130 mezzo piano at 137 where everybody gets softer 00:22:24.130 --> 00:22:26.849 and then we lead up and it's all eighth notes 00:22:26.849 --> 00:22:30.009 except for the lows So gosh keeping that two 00:22:30.009 --> 00:22:32.630 and three and went into the same style all the 00:22:32.630 --> 00:22:35.529 way through us. It's hard Then we have the melody 00:22:35.529 --> 00:22:39.130 again at 141 same people clarinet and trumpet 00:22:39.309 --> 00:22:41.329 And then we kind of finish this all the way to 00:22:41.329 --> 00:22:44.130 the end. Yep, the lows get the last moment of 00:22:44.130 --> 00:22:47.630 glory. One, two, and, and one, two, and it's 00:22:47.630 --> 00:22:51.220 D flat. So make sure they're in tune on that. 00:22:51.460 --> 00:22:54.700 And then one, two, three, and one. So the whole 00:22:54.700 --> 00:23:00.220 band ends on a ta or a tone last accent and quarter 00:23:00.220 --> 00:23:04.440 note. So it's definitely a hard grade too, as 00:23:04.440 --> 00:23:06.200 Laura already said at the beginning. I think 00:23:06.200 --> 00:23:09.440 it looks easier on paper than it is to execute. 00:23:09.440 --> 00:23:12.240 To actually execute it, yeah. But great music. 00:23:12.259 --> 00:23:15.680 It's beautiful. Kids will love it. And I wanna 00:23:15.680 --> 00:23:18.460 go back to one thing Katie said earlier. If it 00:23:18.460 --> 00:23:20.440 is something you're looking at programming in 00:23:20.440 --> 00:23:23.279 the spring, make sure that you're planning ahead 00:23:23.279 --> 00:23:26.700 and prepping your kids in the fall semester for 00:23:26.700 --> 00:23:28.660 the skills that they're gonna need to have. Don't 00:23:28.660 --> 00:23:30.619 wait until the spring to teach them those skills. 00:23:30.740 --> 00:23:32.640 You need to lay that foundation earlier in the 00:23:32.640 --> 00:23:35.680 year. Thank you for joining us on this episode 00:23:35.680 --> 00:23:37.759 of Band BFFs.