WEBVTT 00:00:06.660 --> 00:00:10.779 Welcome to our podcast, Band BFFs. The podcast 00:00:10.779 --> 00:00:13.000 where we make your music selection less complicated. 00:00:13.560 --> 00:00:15.880 On today's episode, we're going to be discussing 00:00:15.880 --> 00:00:20.460 The Oncoming Storm by McKell Rogers. Cheers to 00:00:20.460 --> 00:00:24.989 starting the conversation. This piece is a grade 00:00:24.989 --> 00:00:28.710 one on the Texas PML. We like it because it's 00:00:28.710 --> 00:00:33.770 high energy. It's in 3 -4, so I like that. It's 00:00:33.770 --> 00:00:35.530 a great teaching tool for 3 -4. It's in the key 00:00:35.530 --> 00:00:38.590 of concert E flat. It does not change tempos. 00:00:38.649 --> 00:00:41.310 It doesn't change time signatures or key signatures. 00:00:42.289 --> 00:00:46.409 Lots of percussion in this one. So we've counted 00:00:46.409 --> 00:00:48.450 up. We feel like you need probably a minimum 00:00:48.450 --> 00:00:51.250 of eight percussionists to play this. You could 00:00:51.250 --> 00:00:53.829 get creative with how you were you know you could 00:00:53.829 --> 00:00:56.609 have one player doubling a couple of parts they 00:00:56.609 --> 00:01:02.289 would have to be a pretty coordinated yes but 00:01:02.289 --> 00:01:05.290 you know you could get creative but it's probably 00:01:05.290 --> 00:01:07.109 safe if you want to use all percussion parts 00:01:07.109 --> 00:01:09.650 that you need about eight players the low brass 00:01:09.650 --> 00:01:13.390 low reed part is all the same which is kind of 00:01:13.390 --> 00:01:15.709 nice it does have split clarinet parts and split 00:01:15.709 --> 00:01:19.950 trumpet parts but they are often unison range 00:01:19.950 --> 00:01:22.879 is not Really a big issue in this there are some 00:01:22.879 --> 00:01:25.680 articulation considerations, but really I think 00:01:25.680 --> 00:01:31.120 it's tempo and and the three four Counting yeah 00:01:31.120 --> 00:01:33.799 leading through and things like that. Yes, so 00:01:33.799 --> 00:01:38.480 it's written at 152 as the tempo the whole piece 00:01:38.480 --> 00:01:41.819 is Just kind of mimicking like what what it might 00:01:41.819 --> 00:01:45.000 feel like as a storm is approaching approaching 00:01:45.000 --> 00:01:49.000 it's kind of a tough time in Texas right now 00:01:49.000 --> 00:01:53.480 and so it's I don't know. I'm just saying that 00:01:53.480 --> 00:01:55.540 because we can remember that this was the time 00:01:55.540 --> 00:01:59.299 of our lives for the podcast. But, you know, 00:01:59.519 --> 00:02:02.920 as oncoming storms are happening, you want to 00:02:02.920 --> 00:02:08.300 hear lots of warning bells and sirens and things 00:02:08.300 --> 00:02:10.819 that would kind of get your heart rate pumping. 00:02:11.240 --> 00:02:13.659 And so Mr. Rogers does a good job throughout 00:02:13.659 --> 00:02:16.699 this piece of kind of mimicking that through 00:02:16.699 --> 00:02:20.740 the composition. So the whole band starts off 00:02:20.620 --> 00:02:24.120 with one two and three and one two and three 00:02:24.120 --> 00:02:28.360 and they're all marked as accents with staccatos 00:02:28.360 --> 00:02:33.199 or just only accents so the lifted eighth notes 00:02:33.199 --> 00:02:36.120 are gonna be lifted and then just a little weight 00:02:36.120 --> 00:02:40.000 on the quarter notes snare drum is driving the 00:02:40.000 --> 00:02:43.439 tempo here and then we have this and there are 00:02:43.439 --> 00:02:50.039 sixteenth notes so this tempo 152 yeah gotta 00:02:50.039 --> 00:02:55.780 have really even hands. Yes. The higher brass 00:02:55.780 --> 00:02:59.900 have this one and two moment at measure three 00:02:59.900 --> 00:03:04.340 where the trumpet one is going ascending along 00:03:04.340 --> 00:03:07.800 with clarinet one. And then alto and tenor sax 00:03:07.800 --> 00:03:11.020 and horn are descending. So it kind of gives 00:03:11.020 --> 00:03:14.300 it this cool sound to it as they both go indifferent. 00:03:14.379 --> 00:03:17.120 I know there's a word for that. Like asymmetrical 00:03:17.120 --> 00:03:20.699 directions or whatever. Sorry music theory people. 00:03:21.300 --> 00:03:23.639 There's a word for what he did and wrote it and 00:03:23.639 --> 00:03:26.840 it sounds neat. And then there's this long note 00:03:26.840 --> 00:03:30.060 that happens on beat two and it holds all the 00:03:30.060 --> 00:03:32.199 way through the next measure and it kind of sounds 00:03:32.199 --> 00:03:36.520 like an alarm going off. So I like that it just 00:03:36.520 --> 00:03:40.310 kind of invokes that tension. as we go through 00:03:40.310 --> 00:03:43.949 the piece then the flute oboe and bells where 00:03:43.949 --> 00:03:46.270 you could leave bells out on this piece because 00:03:46.270 --> 00:03:49.349 it is doubled in the upper people part except 00:03:49.349 --> 00:03:52.610 it's just like the flute and oboe have this bells 00:03:52.610 --> 00:03:56.750 part by itself often yeah bells might help beef 00:03:56.750 --> 00:03:59.509 it up a little bit anyway they have this conversational 00:03:59.509 --> 00:04:02.409 piece where they play three and one and two and 00:04:02.409 --> 00:04:05.310 three one and they're like the only part that's 00:04:05.310 --> 00:04:09.259 playing this over the long siren part And then 00:04:09.259 --> 00:04:12.500 the lows have one, two, three, one, and then 00:04:12.500 --> 00:04:14.280 we're all back to doing the same thing again. 00:04:14.639 --> 00:04:17.360 One, two, and three, and one, two, and three, 00:04:17.360 --> 00:04:20.699 one, and two, and again it does, yep, and it 00:04:20.699 --> 00:04:23.699 does the same thing with the long note, the siren, 00:04:23.759 --> 00:04:26.819 and then at nine, same thing again, one, two, 00:04:26.819 --> 00:04:29.819 and three, one, two, and three, but now the lows 00:04:29.819 --> 00:04:33.139 are kind of doing like a chordal change underneath 00:04:33.139 --> 00:04:35.199 them. Almost like bell -tone little hits. Now 00:04:35.199 --> 00:04:39.399 the flute and oboe part are They need to be able 00:04:39.399 --> 00:04:41.040 to move their fingers pretty decently, right? 00:04:41.160 --> 00:04:43.420 They're the only woodwinds that are really actively 00:04:43.420 --> 00:04:46.060 changing notes. Everybody else kind of... hangs 00:04:46.060 --> 00:04:50.240 out on one note. And this piece does center around 00:04:50.240 --> 00:04:53.319 concert C a little bit. Yeah. And so you have 00:04:53.319 --> 00:04:56.660 to make sure that your oboes are making sure 00:04:56.660 --> 00:04:59.399 their Cs are not sticking out. You have to make 00:04:59.399 --> 00:05:01.860 sure your flutes are not flat on there in the 00:05:01.860 --> 00:05:04.519 staff Cs. You have to make sure your trumpets 00:05:04.519 --> 00:05:08.839 are kicking out on their Ds. So that's a thing 00:05:08.839 --> 00:05:12.360 in this piece. You do need to watch that tuning 00:05:12.360 --> 00:05:18.129 across the ensemble. So, nine, we've got this 00:05:18.129 --> 00:05:19.910 part where we're kind of building and building, 00:05:19.949 --> 00:05:25.790 and then at measure 12, the full band has dotted 00:05:25.790 --> 00:05:28.529 half notes, except for percussion, kind of building 00:05:28.529 --> 00:05:31.829 it up. We start softer, we get louder, and then 00:05:31.829 --> 00:05:35.790 we land for this really cool little part here. 00:05:36.410 --> 00:05:38.949 On all of these, you wanna make sure the kids 00:05:38.949 --> 00:05:41.290 are not breathing on the bar lines, so that it 00:05:41.290 --> 00:05:46.600 doesn't lose the momentum. the cord at measure 00:05:46.600 --> 00:05:55.350 14 It's a cool sounding cord. I'm not sure It's 00:05:55.350 --> 00:05:57.449 got an accidental in there that makes it sound 00:05:57.449 --> 00:06:00.629 really neat So it's the clarinet to the trumpet 00:06:00.629 --> 00:06:03.529 to and the alto sax part. So make sure in the 00:06:03.529 --> 00:06:05.910 horn part So make sure that those people are 00:06:05.910 --> 00:06:08.769 in tune that you balance that chord really well 00:06:08.769 --> 00:06:11.389 and hold it really steady So it sounds nice and 00:06:11.389 --> 00:06:15.149 then the lows get one two three one. So it's 00:06:15.149 --> 00:06:17.910 kind of like the end of that first little section 00:06:17.910 --> 00:06:21.670 Percussion small little percussion break. Yeah, 00:06:21.670 --> 00:06:24.120 just really kind of of keep an energy going we 00:06:24.120 --> 00:06:27.560 get to measure 18 and now we have kind of a woodwind 00:06:27.560 --> 00:06:30.620 and percussion feature so this is gonna be again 00:06:30.620 --> 00:06:33.180 everything is really fast this is gonna be more 00:06:33.180 --> 00:06:37.300 connected one three one two three one and two 00:06:37.300 --> 00:06:40.860 three one and then the brass come in and respond 00:06:40.860 --> 00:06:43.579 to there's also a little sleigh bells part here 00:06:43.579 --> 00:06:46.860 so yes sounds a little bit more like I don't 00:06:46.860 --> 00:06:50.579 know It's no, I mean it's noticeable. Yeah, when 00:06:50.579 --> 00:06:52.639 you listen you go. Oh, that's a different. Okay. 00:06:52.740 --> 00:06:55.079 I wasn't expecting that Yeah, right just a new 00:06:55.079 --> 00:06:57.689 little thought And then the brass take over. 00:06:57.689 --> 00:06:59.350 And then the brass come back in. So we kind of 00:06:59.350 --> 00:07:01.290 end up doing this conversational thing between 00:07:01.290 --> 00:07:03.110 what's happening in the upper woodwinds. This 00:07:03.110 --> 00:07:05.430 is a little, like to me, I think of this almost 00:07:05.430 --> 00:07:07.870 like the eye of the storm. Everything is a little 00:07:07.870 --> 00:07:11.750 calmer here in terms of volume. Very lyrical. 00:07:11.829 --> 00:07:14.750 Yes. And you need to make sure that you've done 00:07:14.750 --> 00:07:17.430 a good job teaching the kids or marking in their 00:07:17.430 --> 00:07:20.870 parts. Like for instance, the Flute Oboe Clarinet 00:07:20.870 --> 00:07:24.589 melody at 18 has a full, it's like a four measure 00:07:24.589 --> 00:07:28.860 phrase and they have to release on beat one of 00:07:28.860 --> 00:07:32.620 measure 22. Well, if they release early, then 00:07:32.620 --> 00:07:35.079 they kind of take away from the response that's 00:07:35.079 --> 00:07:36.980 happening in the trumpet and the low people. 00:07:37.420 --> 00:07:40.079 So you have to make sure that there's no gaps 00:07:40.079 --> 00:07:45.060 in the sound. Just. Double check that you when 00:07:45.060 --> 00:07:47.240 you're listening listen back to the rehearsal 00:07:47.240 --> 00:07:50.040 and make sure that you don't have everybody taking 00:07:50.040 --> 00:07:52.439 a breath and measure 23 between the half note 00:07:52.439 --> 00:07:55.019 and the quarter note or That you don't have people 00:07:55.019 --> 00:07:57.579 releasing early in the upper woodwinds at 24. 00:07:57.620 --> 00:07:59.959 It's supposed to all sound this Yeah, this whole 00:07:59.959 --> 00:08:02.139 section goes back and forth between woodwinds 00:08:02.139 --> 00:08:04.160 and brass like that And it needs to be like that 00:08:04.160 --> 00:08:06.579 seamless sound like Haiti's talking about right? 00:08:07.180 --> 00:08:09.360 Absolutely, no gaps and not letting the sound 00:08:09.360 --> 00:08:12.240 not even just no gaps not letting it die away 00:08:12.560 --> 00:08:15.959 the end of the phrase as well. Timpani gets a 00:08:15.959 --> 00:08:21.339 cool little part at measure 24, kind of driving 00:08:21.339 --> 00:08:24.220 a little bit further as we're getting into the 00:08:24.220 --> 00:08:26.980 next section at 26. So we have pick up notes 00:08:26.980 --> 00:08:30.120 on beat three and we all know how younger players 00:08:30.120 --> 00:08:32.220 like to play pick up notes which is with not 00:08:32.220 --> 00:08:35.360 any energy and confidence. So make sure that 00:08:35.360 --> 00:08:38.820 they feel confident entering, make sure that 00:08:38.820 --> 00:08:41.799 they take a breath on beat two, one, three and. 00:08:41.769 --> 00:08:44.730 one and make sure that it's crescendoing going 00:08:44.730 --> 00:08:47.409 into 26 so it sounds like it's all a part of 00:08:47.409 --> 00:08:50.509 the same thought. The woodwinds continue. There 00:08:50.509 --> 00:08:52.610 is no brass playing here. It's like a little 00:08:52.610 --> 00:08:56.269 woodwind choir moment. We're ending on that same 00:08:56.269 --> 00:09:01.529 chordal tone at measure 29 with saxes again on 00:09:01.529 --> 00:09:04.730 C sharp, clarinet on F sharp and then the lows 00:09:04.730 --> 00:09:10.039 do rejoin. They play a little response on beat 00:09:10.039 --> 00:09:13.799 two, two, three, one, two, and three, one. And 00:09:13.799 --> 00:09:16.240 so they have a little conversation there. Then 00:09:16.240 --> 00:09:20.120 we're back to the energetic style where we've 00:09:20.120 --> 00:09:23.860 got some accents again in like trumpet, horn, 00:09:24.080 --> 00:09:27.559 one, two, three, and one. But the flute and the 00:09:27.559 --> 00:09:29.580 oboe and the clarinet one get to have a little 00:09:29.580 --> 00:09:32.299 finger wiggle. One and two and three and one. 00:09:33.450 --> 00:09:36.629 Luckily, it's under the break for clarinets, 00:09:36.629 --> 00:09:42.110 just A to B flat. And then the timpani gets two 00:09:42.110 --> 00:09:45.750 and three and then we're at 34. And this part 00:09:45.750 --> 00:09:49.289 is not like accented yet, but we're we're getting 00:09:49.289 --> 00:09:52.350 into a little bit more like staccato type style. 00:09:52.669 --> 00:09:55.549 So it's still going to be connected, but just 00:09:55.549 --> 00:09:59.929 not quite as like thinned out and texturally 00:09:59.929 --> 00:10:03.690 as it was before and still firm. fronts to notes 00:10:03.690 --> 00:10:06.529 right so even though it's touching yes so at 00:10:06.529 --> 00:10:11.450 34 the flute oboe clarinet one um have like the 00:10:11.450 --> 00:10:14.570 melody and then we've got the alto and the horn 00:10:14.570 --> 00:10:17.970 with the counter melodies and again making sure 00:10:17.970 --> 00:10:20.009 that they're not all breathing in the same spots 00:10:20.009 --> 00:10:23.509 continuing it on we've got a little accents as 00:10:23.509 --> 00:10:27.450 we're kind of um Harpening back to the beginning 00:10:27.450 --> 00:10:30.830 of the piece and then the bells gets to kind 00:10:30.830 --> 00:10:32.710 of have the exposed part with them there and 00:10:32.710 --> 00:10:36.990 there's a tambourine part and then at 39 we continue 00:10:36.990 --> 00:10:40.590 on With this new thought now the trumpets get 00:10:40.590 --> 00:10:42.970 to come in with the melody along with the upper 00:10:42.970 --> 00:10:45.490 woodwinds everyone starts on a half note right 00:10:45.490 --> 00:10:49.549 here, which is what you know, I I Think you can 00:10:49.549 --> 00:10:52.090 spend some time making sure that that one measure 00:10:52.090 --> 00:10:55.190 sounds really good. Yeah because Everyone is 00:10:55.190 --> 00:10:56.850 on a half note and they are going to want to 00:10:56.850 --> 00:10:59.509 decay. They're going to want to decay that half 00:10:59.509 --> 00:11:01.789 note. Don't let that happen. Just keep teaching 00:11:01.789 --> 00:11:04.110 them three leads to one three leads to one, you 00:11:04.110 --> 00:11:06.809 know, and the half note has to lead to three 00:11:06.809 --> 00:11:10.149 Um, then we have some accents finally on beat 00:11:10.149 --> 00:11:14.590 three and measure 30 Uh 41 sorry as we're kind 00:11:14.590 --> 00:11:17.190 of leading back to what we had at the beginning 00:11:17.190 --> 00:11:20.070 stylistically the timpani Gets a little moment 00:11:20.070 --> 00:11:22.789 here alone with some percussion too, but the 00:11:22.789 --> 00:11:24.950 timpani is the most important part Then they're 00:11:24.950 --> 00:11:29.580 going to decrescendo out and at 44 We're gonna 00:11:29.580 --> 00:11:32.639 start kind of building up again to 52 I think 00:11:32.639 --> 00:11:34.600 this is one of the trickier sections of this 00:11:34.600 --> 00:11:38.120 because it has more independent Parts here and 00:11:38.120 --> 00:11:40.879 the counting is a little and there's not as much 00:11:40.879 --> 00:11:43.909 percussion, right? Yeah, right, right Yeah, but 00:11:43.909 --> 00:11:46.149 we have the brass with dotted half notes the 00:11:46.149 --> 00:11:48.470 upper brass dot dotted half notes and this really 00:11:48.470 --> 00:11:52.730 is kind of like a You know, yes. Yes, and then 00:11:52.730 --> 00:11:56.529 the upper woodwinds are Responding rest two and 00:11:56.529 --> 00:11:59.350 three rest two and three one two three and a 00:11:59.350 --> 00:12:02.070 long beat three Yes, all the way all the way 00:12:02.070 --> 00:12:04.669 to the rest three, but then you have this motor 00:12:04.669 --> 00:12:07.029 thing That's happening in the lower voices, which 00:12:07.029 --> 00:12:10.549 I which is you know the storm one and three one 00:12:10.549 --> 00:12:13.659 and three one two and three one And so all of 00:12:13.659 --> 00:12:16.600 these different things working together, which 00:12:16.600 --> 00:12:19.220 everybody has to be moving time together, be 00:12:19.220 --> 00:12:21.100 really independent, and then prioritize what 00:12:21.100 --> 00:12:24.600 is most important to you. So the balance is appropriate. 00:12:25.399 --> 00:12:30.700 And then we are starting off softer at measure... 00:12:32.629 --> 00:12:36.009 48 We all have a mezzo piano the lows are playing 00:12:36.009 --> 00:12:38.990 alone here. This is like building it up again 00:12:38.990 --> 00:12:44.769 1 2 3 1 2 3 1 and then trumpets come in 1 2 3 00:12:44.769 --> 00:12:49.870 1 2 3 Lows go 1 2 and 3 and 1 and then we land 00:12:49.870 --> 00:12:53.289 at 52 There's a little trill in the upper woodwinds. 00:12:53.350 --> 00:12:55.470 You can have one kid play it You can have all 00:12:55.470 --> 00:12:57.509 of them play it but make sure it's nice and soft 00:12:57.509 --> 00:13:00.009 So it doesn't take over that moving part in the 00:13:00.009 --> 00:13:03.629 low brass with the axe then we have a big timpani 00:13:03.629 --> 00:13:08.009 moment along with some snare drum and other accessory 00:13:08.009 --> 00:13:13.450 instruments at 52 then we start the like the 00:13:13.450 --> 00:13:19.440 storm back up one one three in one And then the 00:13:19.440 --> 00:13:22.019 upper woodwinds take over again. So it's back 00:13:22.019 --> 00:13:25.360 to what we had before, where it's more lyrical, 00:13:25.879 --> 00:13:28.120 thinner. Yeah, it's just the upper woodwinds 00:13:28.120 --> 00:13:30.879 again. We have now the snare drum is playing 00:13:30.879 --> 00:13:36.919 on the rim. So is the... I think that's a cymbal 00:13:36.919 --> 00:13:39.000 part. Probably like a suspended cymbal on a stick. 00:13:39.519 --> 00:13:41.840 Yeah, play with a stick on the suspended cymbal. 00:13:41.860 --> 00:13:44.519 Got little triangle hits, but it's very soft 00:13:44.519 --> 00:13:48.320 here. There's a little cool harmonic resolution 00:13:48.320 --> 00:13:53.460 at measure 62 in the second clarinet part. And 00:13:53.460 --> 00:13:55.860 the alto part that you'll want to bring out and 00:13:55.860 --> 00:13:57.980 then again, we've got those pickups make sure 00:13:57.980 --> 00:14:02.340 it's very seamless and 63 no gap between the 00:14:02.340 --> 00:14:05.759 flutes and oboes and trumpets coming in so Don't 00:14:05.759 --> 00:14:08.120 let those flutes breathe right there or if you 00:14:08.120 --> 00:14:10.639 do let them breathe Then you have to make sure 00:14:10.639 --> 00:14:14.259 that the the clarinets are sustained through 00:14:14.259 --> 00:14:18.279 that's right. That's right I would probably not 00:14:18.279 --> 00:14:20.179 have them breathe there though and I would have 00:14:20.179 --> 00:14:23.080 them stagger breathe during the long note in 00:14:23.080 --> 00:14:26.679 62 so that it's continuing to push forward into 00:14:26.679 --> 00:14:30.820 64 just to make it sound more lyrical. Then the 00:14:30.820 --> 00:14:32.980 trumpets come in with the upper woodwinds to 00:14:32.980 --> 00:14:35.080 kind of help out again making sure that this 00:14:35.080 --> 00:14:38.299 is all seamless and long and connected. There's 00:14:38.299 --> 00:14:42.480 a big long D in the trumpet part and C in the 00:14:42.480 --> 00:14:45.360 flute part again so we want to make sure that 00:14:45.360 --> 00:14:47.820 we are kicking on that and making sure it stays 00:14:47.820 --> 00:14:51.940 in tune. Then we are all crescendoing up. in 00:14:51.940 --> 00:14:56.600 71 to hit in 72. Timpani has another big moment 00:14:56.600 --> 00:14:59.960 along with snare drum and then at 73 we're back 00:14:59.960 --> 00:15:04.899 to the storm part. It's an almost identical recap 00:15:04.899 --> 00:15:06.779 of exactly what we had at the beginning. Yep 00:15:06.779 --> 00:15:10.200 with the storm siren and everything and the responses 00:15:10.200 --> 00:15:11.980 from the flutes and then we're basically done. 00:15:12.919 --> 00:15:15.000 So and I love the harmonies here at the end how 00:15:15.000 --> 00:15:18.399 he writes this. At 79 we've got that that cool 00:15:18.399 --> 00:15:20.879 harmony back that I can't think of the name of. 00:15:21.389 --> 00:15:24.330 with the Alto sax trumpet 2 and clarinet 2. Are 00:15:24.330 --> 00:15:26.789 you trying to think of Pickardy 3rd? Yes! That's 00:15:26.789 --> 00:15:31.110 it! Pickardy 3rd! Okay, thanks ladies and gentlemen. 00:15:31.590 --> 00:15:34.470 Yeah, it's a Pickardy 3rd. Oh, it happens a lot 00:15:34.470 --> 00:15:36.820 in this piece. It's cute. It's fun. Why could 00:15:36.820 --> 00:15:38.299 I not think? I don't know. I don't know. I don't 00:15:38.299 --> 00:15:40.100 know. But thanks. Yeah, you're welcome. That's 00:15:40.100 --> 00:15:41.659 what I'm here for. That is what I was thinking 00:15:41.659 --> 00:15:43.779 of. Well, I was looking at going, that's surely 00:15:43.779 --> 00:15:45.500 not what she's talking about, right? But that 00:15:45.500 --> 00:15:48.259 is what you're talking about. Okay. So we know 00:15:48.259 --> 00:15:50.799 now, um, I've been out of college a long time. 00:15:51.179 --> 00:15:54.340 I just, yeah, my coworker, he's the composition 00:15:54.340 --> 00:15:57.460 person. So he knows all this. Um, so timpani 00:15:57.460 --> 00:16:01.500 is really big here at 79, one, two, three, and 00:16:01.500 --> 00:16:04.279 one, two, three, and one. It's literally driving 00:16:04.279 --> 00:16:06.919 along with the snare drum. with the 16th notes, 00:16:07.419 --> 00:16:09.379 everybody has like these. And every time a new 00:16:09.379 --> 00:16:11.360 chord tone comes in, like bring it out, because 00:16:11.360 --> 00:16:14.360 it's really cool. Yeah, trumpet and flute, two, 00:16:14.620 --> 00:16:18.820 one, and it resolves. And then it just sounds 00:16:18.820 --> 00:16:21.100 really neat. It's so fun. And then the lows ended 00:16:21.100 --> 00:16:24.200 out with two, three, one, and you're going to 00:16:24.200 --> 00:16:27.460 choke cymbals and everything shuts off. So this 00:16:27.460 --> 00:16:32.000 is an exciting piece. I think that it's reminiscent 00:16:32.000 --> 00:16:36.460 of kind of like The Tempest. Do you ever play 00:16:36.460 --> 00:16:39.279 that back in the day? Gosh, yeah. Yeah, it's. 00:16:39.340 --> 00:16:41.899 It's kind of got a little spice of that, a little 00:16:41.899 --> 00:16:47.019 phantom ship type vibe to it too. But it doesn't 00:16:47.019 --> 00:16:53.639 change time or key, and it's in a great range. 00:16:54.360 --> 00:16:57.320 Very playable. I also like the versatility. This 00:16:57.320 --> 00:17:00.580 could be a fall concert piece, a spring concert 00:17:00.580 --> 00:17:03.299 piece. It could be a region band piece. It could 00:17:03.299 --> 00:17:06.799 be a UIL piece like this. There's a lot of versatility 00:17:06.799 --> 00:17:09.309 in this, which I think is very cool. the kids 00:17:09.309 --> 00:17:12.670 will definitely like it and it's a fun like piece 00:17:12.670 --> 00:17:14.829 to do in three four so if you're looking for 00:17:14.829 --> 00:17:17.750 something especially if you're considering doing 00:17:18.579 --> 00:17:22.039 a 3 -4 piece maybe that's a little bit more difficult 00:17:22.039 --> 00:17:25.119 than this for UIL. This would be a good one to 00:17:25.119 --> 00:17:28.160 program in the fall so that your kids are getting 00:17:28.160 --> 00:17:32.039 that exposure to counting in 3 -4 and also the 00:17:32.039 --> 00:17:34.940 leading through the measures and everything that 00:17:34.940 --> 00:17:37.660 comes with playing in 3 -4. Well we hope you 00:17:37.660 --> 00:17:41.200 will consider playing the oncoming storm in the 00:17:41.200 --> 00:17:43.859 future and thank you for joining us on this episode 00:17:43.859 --> 00:17:51.920 of Band BFFs! you