WEBVTT

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Welcome to our podcast, Band BFFs. The podcast

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where we make your music selection less complicated.

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

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Byzantine dances by Carol Britton Chambers. Cheers

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to starting the conversation. This piece will

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be a blast for your students to play. It's high

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energy, lots of fun, like the title kind of conveys.

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It's in the key of concert B flat throughout,

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no key changes. It does have a tempo change,

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split clarinet parts, split trumpet parts on

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this. The trombone and euphonium part are not

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the same, but you don't need really great low

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brass to play this. Six percussionists minimum.

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in order to pull off all the percussive elements,

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I think, on this, right? Yeah, and then the piece

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is written in kind of like this... Byzantine

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style, like Roman Empire. So like just the harmonic

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structure of the piece adds a lot of like accidentals.

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It sounds a little bit like... It's very Turkish.

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Minor -esque, yes. So it's really fun and it's

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got different styles of dance to it too, which

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makes it really cool. It's kind of like written

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in an ABA style. The fun upbeat dances at the

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beginning, then there's like a slow soloistic

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type dance in the middle and then it's back to

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the fun dance at the end. It's got claps, it's

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got a fun, yeah. Like that scares some people,

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but you know, I think as long as you. teach it

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properly for sure. There's nothing to be scared

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of there. Yes. So the piece starts out very quick

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at 152 to 160 is what it's written at. It's got

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a very active snare drum part and a very active

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tom part as well as a tambourine part. So you

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want to put some good percussionists on those

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parts where they can keep the tempo going without

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rushing it, without dragging, without overplaying.

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They're just trying to keep the the vibe going.

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And the key in the snare part I want to say is

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making sure that their unaccented notes are really

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low. Like really just have the accented note

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to be what's kind of driving the momentum forward.

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Keep their unaccented notes really low. If they

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try to play all of that too loud, number one,

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it's going to be too noisy and it's going to

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slow the tempo down big time. For sure. So the

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whole band starts off together. We kind of have

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this like one, two, three, four back and forth

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part. where half the band has half notes on 1

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3 1 3 and the rest of the band has quarter half

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quarter quarter half quarter so that it sounds

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almost like back and forth so make sure you're

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tonguing really firmly and then we want to bring

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out the moving part which is like trumpet and

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upper woodwind then we have a long note trumpets

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are on a trumpet one is on an upper D flute is

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on a C so we'll want to watch the cross Tuning

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on those instruments got a little accented moment

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from the lows make sure that that comes out of

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the mix Everybody releases on beat three and

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then there's a tambourine roll and a in a strike

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the the suspended cymbal with a mallet and a

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bass drum hit. So that's what happens on beat

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four. Yeah, it's like a big percussive moment,

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like here we go. So that is something that would

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need to be isolated in practice, right? Make

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sure that the winds are very clearly releasing

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on beat three so that that beat four percussive

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hit is effective. Yes. At five, the lows and

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the accompaniment need to come down a lot in

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volume. The whole band is written at mezzo forte,

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but you'll need to either go through the parts

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ahead of time and mark them in. and change that

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to like a piano or a mezzo piano the melody is

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in trumpet one flute and clarinet one so that's

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not very many voices when you think about it

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and the range is pretty low here at the beginning

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too so it's not even it's not going to project

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as easily right right which is good because you're

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those groups together can sound really pretty

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because it's not written like really high or

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anything but yes everybody else will have to

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be light and soft and the rhythm is one and four

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one and four for everybody else so you have to

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make sure that that lines up, that the style

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lines up how you want it. It should probably

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be a little bit short and right, not like long

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or anything, just to kind of keep it going. In

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the melody, there are staccatos written in, so

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obviously that helps. The cool little grace note

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in the melody makes it sound more fun, and it's

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got an accent. So, one, two, three, four, one

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and two and three. So that's really fun because

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it does the grace note into beat one with the

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accent, and then those short staccato notes following.

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But it's important that the melody is lined up

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really well stylistically here because it's going

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to come back with a lot of people later. Yeah,

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this happens. This melodic idea happens a lot.

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And the tendency is going to be for younger players

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to want to play it in two bar phrases because

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it ends on a half note. So you have to do not

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let them. from the beginning do not let them

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get away with that. Which is hard because you're

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not gonna start the piece off at 152. That's

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right. But you've got to like mark it in their

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parts and tell them like this is something we're

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gonna think about later on down the road so you've

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got to get used to not breathing there. Add the

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little vibrato symbol on the flute part as they

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carry through there so that way they can help

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push it forward. I would draw like a little micro

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crescendo so that they lead through the bar line.

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continues on and on through the same part all

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the way to measure 13 again just making sure

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that the style is matching but trumpet is the

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focal point and again not letting percussion

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overtake the the band as we're just all 2d playing

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here yeah and then the accompaniment part that

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what I would like consider the motor one and

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four one yes and for keeping it way underneath

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this the horn and tenor sax, sorry not the horn,

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it is horn, sorry, horn, tenor sax, second trumpet,

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oboe. They come in with like a little harmony

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part at measure nine. So at nine they come in

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with a different part and it gives it a little

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bit more interest. Everybody's not on the same

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part anymore. Just make sure that whenever kids

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have like the same note over and over that they're

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tonguing really firmly so you can hear the rhythm.

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That will just help line it up harmonically with

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the melody. So at measure 13, we're still continuing

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on with the same melody voices flute clarinet

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one and trumpet one We still have that harmony

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part it measure that we had at nine same voices

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like oboe clarinet to trumpet to alto tenor Porn

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and then the accompaniment is still happening

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in the low brass. Then we have a new idea at

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15 the timpani and the lows have a beat one entrance

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and then everybody else comes in on beat two

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and then lows again on three and and then highs

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on four and so this conversation one conversation

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and it's more kado accents here so this like

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notably firmer articulation. Yep one two three

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and four and one two three and on the one two

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three there's a trill and the upper voices and

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the mallets. So do what you will with that. I

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told Laura. Katie loves the mallet trills. I'm

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just not a fan of mallet trills. When they're

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written in my kids parts I just tell them to

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leave them out. So it's up to you if you really

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love a a bell's trill. Leave it in, sounds good.

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But don't let it be loud, everybody. And then

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there's another like beat four entrance with

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those same percussive instruments at measure

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16. And that leads us into the next section at

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17. So at 17, the upper woodwinds, now flute

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is up an octave with the same theme that we had

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before. One, two, three, four, one and two and

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three. But now the response is in the trumpet

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and let's see second clarinet they have and and

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euphonium ends up having a little response so

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not the exact same melody but just some eighth

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note articulation we've taken less of the people

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off of that motor accompaniment which is kind

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of nice because you have this new idea still

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very medium level volume the upper woodwinds

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come out of the texture a little bit here but

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everybody else just nice mezzo forte and on the

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upper woodwinds it's just flute oboe and clarinet

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one so it's not like a ton of voices and alto

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so just be careful to make sure that the that

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those four voices balance correctly with the

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conversational part between the trumpet horn

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euphonium like Laura just mentioned so making

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sure that the volumes match and it's not like

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the response is way softer. We talked before

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at the very beginning about the fact that you

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don't need really strong low brass to play this.

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Now the range on this is a little high, like

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the trombone part goes up to an E flat, even

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the euphonium. So I mean the range is a little

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high but rhythmically and melodically they are

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not being tasked with a lot. But I did want to

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just clarify that the range for those instruments

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does get a little high. Because the euphonium

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like she mentioned is different from the trombone

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part and it kind of mimics like the horn part

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more often in this piece, which is fun so we're

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continuing on with those upper woodwinds having

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the melody and We have some accidentals as we

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mentioned before just because of the the harmonic

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structure of the piece And then making sure that

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whenever the kids have like a dotted half note

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followed by two eighth notes that you stagger

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that in your kids parts so like 21, 23, 24 there's

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dotted half notes followed by two eighth notes

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in all these parts and you want to make sure

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that you mark in like A, B breathing or something

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like that where they're not all breathing in

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the same spot because like Laura mentioned they're

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all gonna want to either breathe every two or

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every four so Here this is a great spot where

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you can say, okay you two you're gonna breathe

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in 21 you two You're gonna breathe in 23 and

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then those first people can breathe again at

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24 or whatever it is But marking it in in your

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kids parts or during sectionals Assigning it

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everybody does it differently. I even do it differently

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myself half the time I used to just be like,

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okay a B a B you're an a you're a B But then

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I realized like okay, but like what if my kids

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aren't all on the first part right on a different

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piece So now I actually go through and say, you're

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gonna breathe in this measure. And I say, you

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two are on third clarinet, well, you're gonna

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breathe in this measure and you're gonna breathe

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in this measure. Make sure that the part is always

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sounding. So going through that extra detail

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step while it's more work on your end, it's gonna

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make it so much easier when you're in rehearsal,

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knowing I've already preplanned where they're

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gonna breathe, so I should not hear a big hole

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right there where everybody's taking a breath

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at the same time. Sorry, that was a little tangent,

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but I think it's important. And then at 25, we've

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got the same people just kind of finishing out

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the melody. We have a crescendo from the full

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band, and percussion goes down to pianissimo

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and then does a crescendo, so we want that to

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be like driving it forward. And then we get this

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big moment with the lows on beat one and four,

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and everybody else has this fun rhythm. And three.

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and and three with accents and then everybody

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has accents one three four one off on three and

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the kids are gonna want to once again shorten

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that half note though they are gonna want to

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go and and three And three. So make sure that

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that half note is pushing all the way. It's a

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great place to draw an arrow to the bar line.

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Definitely. And we vocalize. I know we've talked

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about this before, but we do a lot of vocalization

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in my band hall, so that would be a place that

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we would stop and everybody would say, and I'd

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make them pulse with their voice so that we know

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exactly where we're supposed to stop. So that's

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a little trick. Yep. to help align that and then

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if they're taking a good breath in 28 that part

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that she was singing they should not have to

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breathe again so making sure that they don't

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take a breath in 29 either that you just get

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really good front fronts to the notes with the

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accents Then we start a new spot. Nobody plays

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on beat four that time. That's the first time

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percussion hasn't had a beat four to start a

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new section. So now we're at 31. The lows get

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their little too much just a brief moment. Yeah.

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So they play like one, two, three, four, and

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now we're slowing down. So we're getting slower.

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We're retired on doing where we're day crescendoing.

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We're just trying to bring the pulse down. Percussion

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is not active here. So Everybody's gonna have

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to look up in the low voices to change right

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with you There is a hard cutoff on beat 3 and

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measure 36 and there's a gong roll through it

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Which is pretty cool sounding adds to that exotic

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feel And then at 37, it's marked 80. So you've

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basically gone half time down. So at 37, this

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is a new dance. So before, it was like a fun

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group dance. Imagine everybody, right? Yes. And

00:13:52.190 --> 00:13:56.009
this one is a soloistic dance. It's a Turkish

00:13:56.009 --> 00:14:00.190
soloistic dance. And the solo is personified

00:14:00.190 --> 00:14:06.639
through alto saxophone. Obviously. There's like

00:14:06.639 --> 00:14:09.679
little cool finger cymbals here. You can imagine

00:14:09.679 --> 00:14:13.840
like a little dance or whatever. Yes, exactly

00:14:13.840 --> 00:14:17.340
So that's kind of the vibe here. It's supposed

00:14:17.340 --> 00:14:21.220
to just sound really pretty and fun The accompaniment

00:14:21.220 --> 00:14:24.519
is way thinned out. It's like just the low reeds

00:14:24.519 --> 00:14:28.820
behind the alto sax solo or solely So you can

00:14:28.820 --> 00:14:31.399
kind of choose, you know issue. Do you have a

00:14:31.399 --> 00:14:33.500
kid that's strong enough or do you want it to

00:14:33.500 --> 00:14:38.720
be? beefed up a little bit. It says cues in the

00:14:38.720 --> 00:14:42.820
bassoon part. for the, or sorry, the bassoon

00:14:42.820 --> 00:14:45.559
plays, but it's got cues for the tenor part.

00:14:45.840 --> 00:14:47.539
So if you don't have a tenor sax or you don't

00:14:47.539 --> 00:14:49.159
want to add it in and you want it to be more

00:14:49.159 --> 00:14:50.700
thinned out, you can really do whatever you want

00:14:50.700 --> 00:14:53.039
here with these low reeds. You can honestly make

00:14:53.039 --> 00:14:55.940
it just be a sax choir and leave out bassoon

00:14:55.940 --> 00:14:58.700
and bass clarinet. It just depends on your kids

00:14:58.700 --> 00:15:00.720
and the color you're looking for. And I love

00:15:00.720 --> 00:15:03.200
the tom part here. So there is a tom part and

00:15:03.200 --> 00:15:06.720
obviously, you know, this part is important.

00:15:06.799 --> 00:15:09.799
It's really the only beat or pulse that you're

00:15:09.799 --> 00:15:13.250
getting. this section too so this is a this is

00:15:13.250 --> 00:15:15.750
a really cool section it's not very long yep

00:15:15.750 --> 00:15:19.549
but the snapping this is where the snapping comes

00:15:19.549 --> 00:15:22.029
in and there is some choreography like she's

00:15:22.029 --> 00:15:24.850
very specific about how you're supposed to hold

00:15:24.850 --> 00:15:29.009
and and I think if you're gonna play this for

00:15:29.009 --> 00:15:31.710
this this piece is versatile you could play it

00:15:31.710 --> 00:15:36.899
for an all region band which I have seen Done

00:15:36.899 --> 00:15:40.139
multiple times. Yes, you could do it at UIL.

00:15:40.299 --> 00:15:42.879
You could do it at a spring concert at a fall

00:15:42.879 --> 00:15:45.580
concert Whatever either way you want this cool

00:15:45.580 --> 00:15:49.159
like element It says like snaps both arms overhead

00:15:49.159 --> 00:15:52.500
palms facing the audience to make the snaps be

00:15:52.500 --> 00:15:55.879
loud going outward so, you know, you have to

00:15:55.879 --> 00:15:58.139
take some time to talk through it with your kids

00:15:58.139 --> 00:16:01.000
and Show them exactly what to do. So it looks

00:16:01.000 --> 00:16:03.500
effective and you don't have those lamo, you

00:16:03.500 --> 00:16:05.820
know kids that think they're too cool for school

00:16:05.679 --> 00:16:08.080
like barely raising their arms or snapping their

00:16:08.080 --> 00:16:10.799
lap or whatever like if you're gonna do it like

00:16:10.799 --> 00:16:13.600
commit yeah and if you have a kid who can't snap

00:16:13.600 --> 00:16:16.100
because I'm sure that that exists all over the

00:16:16.100 --> 00:16:18.419
place they still need to put their arms up and

00:16:18.419 --> 00:16:21.179
just like do the motion without making a sound

00:16:21.179 --> 00:16:25.470
yeah And then the castanet gets to play here

00:16:25.470 --> 00:16:28.370
with the snaps, which is really fun This is a

00:16:28.370 --> 00:16:30.429
great introduction to those different kinds of

00:16:30.429 --> 00:16:32.309
accessory instruments and percussion that we

00:16:32.309 --> 00:16:36.490
don't always get The saxophone solo continues

00:16:36.490 --> 00:16:38.970
on with the band just doing the little snaps

00:16:38.970 --> 00:16:43.850
in the background quietly then clarinet one Takes

00:16:43.850 --> 00:16:46.830
over the solo and it's written up above the staff

00:16:46.830 --> 00:16:49.129
a little bit at the top of the staff and above

00:16:49.129 --> 00:16:51.889
So you'll want to make sure that you either have

00:16:51.789 --> 00:16:54.370
one really good player it's not marked a solo

00:16:54.370 --> 00:16:58.149
but it could be or two that can really play in

00:16:58.149 --> 00:17:03.970
tune and beautifully in that range of the instrument

00:17:03.970 --> 00:17:05.730
for sure because it's gonna kind of just take

00:17:05.730 --> 00:17:11.299
over that lyrical nature from the saxophone Then

00:17:11.299 --> 00:17:14.140
we get to the end of that little section with

00:17:14.140 --> 00:17:17.279
the saxophone finishing out the melody and we

00:17:17.279 --> 00:17:21.440
add in the brasses now Yeah, now 45 and it's

00:17:21.440 --> 00:17:25.529
marked to go just four minutes faster. Yep Yep,

00:17:25.549 --> 00:17:27.509
go ahead. Just picking up the pace a little bit

00:17:27.509 --> 00:17:29.930
so you can feel the energy starting to kind of

00:17:29.930 --> 00:17:33.190
circle back to that faster tempo. But trumpets

00:17:33.190 --> 00:17:38.529
take over, a new idea here. Low brass are kind

00:17:38.529 --> 00:17:40.930
of conversational with what's happening. Now

00:17:40.930 --> 00:17:43.369
we've got low reeds that are still, the low reeds

00:17:43.369 --> 00:17:45.710
have continued playing the entire time. We've

00:17:45.710 --> 00:17:49.609
just taken out the upper woodwinds. The mallet

00:17:49.609 --> 00:17:52.470
part switches to brass mallets here to make it

00:17:52.470 --> 00:17:56.180
just be that more like tingy Sound like the finger

00:17:56.180 --> 00:17:58.480
cymbals and things like that. So that's kind

00:17:58.480 --> 00:18:01.380
of fun Just make sure that you you know, tell

00:18:01.380 --> 00:18:03.539
your kids not to like overplay. It's marked mezzo

00:18:03.539 --> 00:18:06.500
piano But brass mallets make it, you know a little

00:18:06.500 --> 00:18:09.980
bit louder and then the upper woodwinds Kind

00:18:09.980 --> 00:18:13.240
of join in with the trumpets like flute and oboe

00:18:13.240 --> 00:18:17.259
at measure 49 We're still continuing and this

00:18:17.259 --> 00:18:20.079
is all gonna be really connected by the way I

00:18:20.079 --> 00:18:22.920
didn't mention that before but there are staccatos

00:18:22.920 --> 00:18:26.349
written in only in the accompaniment part before

00:18:26.349 --> 00:18:30.349
45, then no, nothing's written in. So we're gonna

00:18:30.349 --> 00:18:33.809
keep this really smooth and full value. Tonguing

00:18:33.809 --> 00:18:36.250
firmly when you have slurs, make sure the second

00:18:36.250 --> 00:18:38.309
note of the slur is still long and connected

00:18:38.309 --> 00:18:41.950
to the next note. I think it would be really

00:18:41.950 --> 00:18:46.809
easy for trumpets to play. One, two, three, and

00:18:46.809 --> 00:18:50.190
one, and two, and try to make the eighth notes

00:18:50.190 --> 00:18:53.509
really short, but it's gonna be da, da, da, you

00:18:53.509 --> 00:18:56.569
know, really connected. So just make sure you've

00:18:56.569 --> 00:18:59.069
written in arrows reminding them where not to

00:18:59.069 --> 00:19:01.190
breathe, especially in the trumpet and flute

00:19:01.190 --> 00:19:05.450
part. And then the low brass gets to help us

00:19:05.450 --> 00:19:09.049
crescendo a little bit going into 53. We're getting

00:19:09.049 --> 00:19:12.769
stronger as a full band. Everybody's coming in.

00:19:13.230 --> 00:19:17.410
have this one and two, three and four, and that

00:19:17.410 --> 00:19:21.369
should be long. It should not be one and two,

00:19:21.769 --> 00:19:25.849
three and four, one and two. Yeah, so like don't

00:19:25.849 --> 00:19:28.470
let them make it all short and disconnected.

00:19:28.690 --> 00:19:30.509
It needs to all be leading in and like flutes

00:19:30.509 --> 00:19:35.849
even have ta, ta, ta. That all needs to be long

00:19:35.849 --> 00:19:39.930
and connected and then at 55 we've all got a

00:19:39.930 --> 00:19:46.170
forte The timpani has a forte piano Snare drum

00:19:46.170 --> 00:19:48.490
has like a little rhythm and that's what's going

00:19:48.490 --> 00:19:51.890
on here Everybody else has a long note and we

00:19:51.890 --> 00:19:55.579
have one bar of two four and then we hit our

00:19:55.579 --> 00:19:58.160
new tempo again. Back to the original tempo.

00:19:58.559 --> 00:20:02.319
Right, so the snare drum is really the one that's

00:20:02.319 --> 00:20:07.289
gonna drive this new... Changed your tempo. So

00:20:07.289 --> 00:20:09.890
then the full band cuts off right whenever it

00:20:09.890 --> 00:20:14.890
goes back to the full tempo 152 to 160 at 57

00:20:14.890 --> 00:20:18.769
You're gonna have that beat for entrance again

00:20:18.769 --> 00:20:21.609
from percussion with the tambourine roll hitting

00:20:21.609 --> 00:20:24.410
the suspended symbol with a mallet so it's kind

00:20:24.410 --> 00:20:28.309
of like Timpani bass drum or drum are one two

00:20:28.309 --> 00:20:32.069
three and then we get four. Yes, and then Just

00:20:32.069 --> 00:20:34.089
percussion has a little break for two measures.

00:20:34.150 --> 00:20:37.420
Yep And then we start with hand claps instead

00:20:37.420 --> 00:20:41.680
of snaps now and the claps should be held at

00:20:41.680 --> 00:20:45.279
head height So that you can see them from the

00:20:45.279 --> 00:20:48.339
audience So you don't want to have them just

00:20:48.339 --> 00:20:50.740
clap down at their legs where you can't see it

00:20:50.740 --> 00:20:52.420
again. It's choreographed It's supposed to look

00:20:52.420 --> 00:20:55.460
really fun. You should a hundred percent make

00:20:55.460 --> 00:20:57.960
sure you teach the kids how to clap Yes, it doesn't

00:20:57.960 --> 00:21:00.259
matter what you want to do. You might like the

00:21:00.259 --> 00:21:03.240
like lower sound You might like the higher sound,

00:21:03.359 --> 00:21:06.220
it doesn't matter, you choose, but you need to

00:21:06.220 --> 00:21:08.099
make sure it sounds the same. That's right, it's

00:21:08.099 --> 00:21:10.039
got to be practiced. We talk about when we do

00:21:10.039 --> 00:21:12.259
clapping in music or in my band hall, we talk

00:21:12.259 --> 00:21:14.500
about a golf clap, right? So like if you were

00:21:14.500 --> 00:21:16.380
in a golf tournament, they don't clap at a golf

00:21:16.380 --> 00:21:18.259
tournament like you clap at a football game.

00:21:18.500 --> 00:21:23.599
So we talk about a golf clap. fingers on the

00:21:23.599 --> 00:21:26.380
palm type of clap whatever you want is fine right

00:21:26.380 --> 00:21:29.400
but the point is it has to be taught everybody

00:21:29.400 --> 00:21:31.599
and it has to be that's right has to be executed

00:21:31.599 --> 00:21:36.720
the same yep um and then at 62 the clapping continues

00:21:36.720 --> 00:21:41.799
but the kids uh i've seen shout out to kim bean

00:21:41.799 --> 00:21:44.700
she played this piece with our region band one

00:21:44.700 --> 00:21:48.990
year and she had the kids um either she had the

00:21:48.990 --> 00:21:51.450
kids half the kids move their hands down to where

00:21:51.450 --> 00:21:54.990
they weren't as loud like behind the stand or

00:21:54.990 --> 00:21:57.529
she said like half the kids don't clap at all

00:21:57.529 --> 00:22:00.190
but it was very effective because you heard the

00:22:00.190 --> 00:22:03.410
claps before like we moved on and then it was

00:22:03.410 --> 00:22:06.130
just softer whenever the melody came in at 62

00:22:06.130 --> 00:22:09.009
so you can experiment depending on how many kids

00:22:09.009 --> 00:22:11.049
are in your band or whatever you could either

00:22:11.049 --> 00:22:13.690
have them pull their hands down behind the stand

00:22:13.690 --> 00:22:16.660
to block the sound or have half the kids sit

00:22:16.660 --> 00:22:19.839
out from clapping, that's not as fun. They probably

00:22:19.839 --> 00:22:22.500
want to clap. But there's lots of ways to do

00:22:22.500 --> 00:22:24.279
it, but just make sure the claps come out of

00:22:24.279 --> 00:22:26.400
the way at 62. Making sure you can hear the melody.

00:22:26.640 --> 00:22:29.119
Yeah, and the tuba and low reeds, because they

00:22:29.119 --> 00:22:31.779
have that driving part again. We want to make

00:22:31.779 --> 00:22:34.200
sure we can hear the tuba part, because it's

00:22:34.200 --> 00:22:36.720
kind of alone here, along with Barry Sax. But

00:22:36.720 --> 00:22:39.440
the melody here, it is exactly like what it was

00:22:39.440 --> 00:22:42.480
at the beginning. So no new musical ideas here.

00:22:42.559 --> 00:22:44.559
No, but it's back to just the upper woodwinds

00:22:44.559 --> 00:22:47.819
this time, no trumpet. it yet. So real thinned

00:22:47.819 --> 00:22:50.400
out again same things we mentioned before making

00:22:50.400 --> 00:22:54.180
sure you're leading through measures. Then at

00:22:54.180 --> 00:22:58.720
70 we have the upper flute clarinet one and sax

00:22:58.720 --> 00:23:01.160
have one two and three four same thing we had

00:23:01.160 --> 00:23:03.859
before. Then we have a conversation with the

00:23:03.859 --> 00:23:07.450
lows. back and forth one two and three four percussions

00:23:07.450 --> 00:23:10.349
kind of helping out then at 72 the trumpets are

00:23:10.349 --> 00:23:13.710
back to the melody this time with saxophone everybody

00:23:13.710 --> 00:23:15.910
else is now on the motor parts we're done with

00:23:15.910 --> 00:23:18.829
clapping they have to be way softer it's just

00:23:18.829 --> 00:23:20.970
like the beginning except we have a new idea

00:23:20.970 --> 00:23:23.329
in the upper woodwinds here so the trumpet and

00:23:23.329 --> 00:23:26.970
alto have the melody and then flute oboe first

00:23:26.970 --> 00:23:29.609
clarinet have like a little counter melody back

00:23:29.609 --> 00:23:31.950
and forth same thing the trumpets and and horns

00:23:31.950 --> 00:23:34.980
had earlier yep We've just switched roles. Yes.

00:23:35.279 --> 00:23:39.220
And then we're continuing on. At measure 80,

00:23:39.420 --> 00:23:41.940
we have accents again. Same thing. One, two,

00:23:41.940 --> 00:23:44.519
and three, four uppers. One, two, and three,

00:23:44.640 --> 00:23:48.440
four. Full band has a mezzo piano, kind of like

00:23:48.440 --> 00:23:51.000
a forte piano. Everybody gets really soft and

00:23:51.000 --> 00:23:52.740
builds it up. We have the recap from the very

00:23:52.740 --> 00:23:54.039
beginning. Recap like the beginning, exactly.

00:23:54.519 --> 00:23:57.809
And then two. And and three don't breathe and

00:23:57.809 --> 00:23:59.809
and three don't breathe and then ever I get soft

00:23:59.809 --> 00:24:05.170
again one two three four one three one and then

00:24:05.170 --> 00:24:09.089
off again for big percussion big timpani and

00:24:09.089 --> 00:24:12.470
then one big percussion timpani on four full

00:24:12.470 --> 00:24:15.589
band it's just like a you know typical ending

00:24:15.589 --> 00:24:19.490
off on beat three with percussion driving ahead

00:24:19.490 --> 00:24:21.849
while the full band is holding big timpani part

00:24:21.849 --> 00:24:24.849
and then on beat four everybody yells hey And

00:24:24.849 --> 00:24:26.829
you have to make sure that you practice that,

00:24:26.990 --> 00:24:29.529
too. That's right. Everybody's in the same, like,

00:24:29.609 --> 00:24:32.529
tessitura of voice, not, hey, you know, I'm not

00:24:32.529 --> 00:24:35.230
her. And something that everybody can do. You

00:24:35.230 --> 00:24:38.529
have to commit to it. Yeah, yeah. So this piece

00:24:38.529 --> 00:24:44.049
is so fun, just under 100 measures, not. Super

00:24:44.049 --> 00:24:46.509
crazy difficult, but just a lot of fun to play.

00:24:46.849 --> 00:24:48.630
Yeah kids will kids will enjoy it for sure They'll

00:24:48.630 --> 00:24:51.230
be singing the melody. Yes, you know walking

00:24:51.230 --> 00:24:53.509
out of your band. Oh for sure Well, we hope you

00:24:53.509 --> 00:24:56.470
will consider programming Byzantine dances in

00:24:56.470 --> 00:24:58.490
the future and thank you for joining us on this

00:24:58.490 --> 00:25:01.829
episode of band BFFs