WEBVTT 00:00:06.759 --> 00:00:11.019 Welcome to our podcast, Band BFFs. The podcast 00:00:11.019 --> 00:00:13.300 where we make your music selection less complicated. 00:00:13.859 --> 00:00:15.720 On today's episode, we're going to be talking 00:00:15.720 --> 00:00:20.179 about Groovy by Richard Sauceto. Cheers to starting 00:00:20.179 --> 00:00:25.320 the conversation. Okay, Groovy is a recent addition 00:00:25.320 --> 00:00:29.100 to the Texas PML. It is a Grain 2. It's concert 00:00:29.100 --> 00:00:35.000 B -flat 4 -4 throughout. It does have split clarinet, 00:00:35.359 --> 00:00:39.490 split saxophone, split trumpet. parts the low 00:00:39.490 --> 00:00:41.689 brass like the trombone euphonium tuba part is 00:00:41.689 --> 00:00:45.250 not all unison all the way through lots of percussion 00:00:45.250 --> 00:00:49.590 and as the title indicates the percussion i think 00:00:49.590 --> 00:00:52.429 is really important to set up that whole groovy 00:00:52.429 --> 00:00:56.250 feel of the piece but you need minimum four to 00:00:56.250 --> 00:00:58.729 five percussionists to make this piece effective 00:00:59.359 --> 00:01:02.200 So it even says at the beginning of the piece, 00:01:02.359 --> 00:01:05.400 by the way, this piece came out in 2010, so quite 00:01:05.400 --> 00:01:09.650 a while ago. Have you you have played it? Yes, 00:01:09.650 --> 00:01:11.790 absolutely I have played it with my own band 00:01:11.790 --> 00:01:14.569 and I've done it with region bands before like 00:01:14.569 --> 00:01:16.810 I think so It's like it's been out for a long 00:01:16.810 --> 00:01:19.569 time, but it was just recently added to the PML 00:01:19.569 --> 00:01:22.590 So this would be a good one to possibly go back 00:01:22.590 --> 00:01:24.870 and look at if it's been a while since you have 00:01:24.870 --> 00:01:27.769 programmed it So it says relaxed and groovy at 00:01:27.769 --> 00:01:31.549 the beginning. The tempo is 160 I think one of 00:01:31.549 --> 00:01:33.969 the major things to remember when playing this 00:01:33.969 --> 00:01:37.489 piece is to start it way slower and work your 00:01:37.390 --> 00:01:41.409 way up because the style and articulation is 00:01:41.409 --> 00:01:45.390 so critical. The accents are so critical in this 00:01:45.390 --> 00:01:47.430 piece and the staccatos that if you start it 00:01:47.430 --> 00:01:50.870 too fast you can't go back and fix all of those 00:01:50.870 --> 00:01:52.510 little details later on. And there are going 00:01:52.510 --> 00:01:55.609 to be several opportunities where your students 00:01:55.609 --> 00:01:59.719 will fall into traps if you do not. prep them 00:01:59.719 --> 00:02:02.879 for it. Yes. So it starts out with just percussion 00:02:02.879 --> 00:02:06.540 for four measures with xylophone setting up the 00:02:06.540 --> 00:02:09.879 groove at the beginning of the piece with a little 00:02:09.879 --> 00:02:13.840 tambourine behind it and then at measure five 00:02:13.840 --> 00:02:17.039 the bells come in and have the same thing as 00:02:17.039 --> 00:02:20.039 flute and clarinet. The clarinets are split as 00:02:20.039 --> 00:02:24.340 Laura said. In this part clarinet one is above 00:02:24.340 --> 00:02:29.120 the break but only C and B. So it's not like 00:02:29.120 --> 00:02:32.419 super high. Real quick on the percussion. These 00:02:32.419 --> 00:02:35.379 xylophone mallets, it doesn't address the type 00:02:35.379 --> 00:02:38.659 of mallets to use here. Find what you like, what's 00:02:38.659 --> 00:02:41.699 gonna be your own personal preference, but for 00:02:41.699 --> 00:02:48.199 me, I like a rubber mallet and it can be a slightly 00:02:48.199 --> 00:02:50.300 harder rubber mallet for this, but I think when 00:02:50.300 --> 00:02:53.189 you start to get into plastic or... god forbid 00:02:53.189 --> 00:02:57.590 acrylic, something really shrill like that, this 00:02:57.590 --> 00:03:01.030 ostinato will become super abrasive and it will 00:03:01.030 --> 00:03:03.069 be difficult if they're playing with a really 00:03:03.069 --> 00:03:04.849 hard mallet, they're gonna have to keep their 00:03:04.849 --> 00:03:06.930 stick height really low and that requires a lot 00:03:06.930 --> 00:03:09.990 of control at this faster tempo. So you can make 00:03:09.990 --> 00:03:12.490 it a little bit easier on your xylo player by 00:03:12.490 --> 00:03:15.430 playing with a harder rubber mallet. So make 00:03:15.430 --> 00:03:17.750 sure that it's articulate enough but it will 00:03:17.750 --> 00:03:20.990 make the technique easier for them. Okay, going 00:03:20.990 --> 00:03:24.430 back to the clarinet part at five They have the 00:03:24.430 --> 00:03:26.870 melody along with the clarinet one flute and 00:03:26.870 --> 00:03:32.090 bells. It's a very like legato smooth opening 00:03:32.090 --> 00:03:35.770 Everything is tenuto marked and then at measure 00:03:35.770 --> 00:03:38.370 eight. We have our first little moment of style 00:03:38.370 --> 00:03:43.310 so it goes one and four one and You're supposed 00:03:43.310 --> 00:03:46.789 to make that be very very syncopated and that's 00:03:46.789 --> 00:03:50.090 the first little you know, glimpse into the groove 00:03:50.090 --> 00:03:52.169 part of the piece. It comes back several times. 00:03:52.270 --> 00:03:55.150 Oh yeah. And then it keeps going. It's long for 00:03:55.150 --> 00:03:57.389 three measures, the little syncopation for a 00:03:57.389 --> 00:04:00.889 measure. At 13, that part keeps going, but it's 00:04:00.889 --> 00:04:03.050 not the focal point anymore. So now you would 00:04:03.050 --> 00:04:05.650 mark in your parts or tell your kids to come 00:04:05.650 --> 00:04:09.270 down a level. Now the new part is horn and sax 00:04:09.270 --> 00:04:12.370 and the lows finally come in. Um, and we're, 00:04:12.530 --> 00:04:14.689 so we're just kind of layering, uh, horn and 00:04:14.689 --> 00:04:17.629 sax play a new part. And again, it's very smooth 00:04:17.629 --> 00:04:20.790 and connected, got tenuto markings. Um, and then 00:04:20.790 --> 00:04:22.519 we're kind of building and building all the to 00:04:22.519 --> 00:04:27.860 measure 21 at 17. the trombone and euphonium 00:04:27.860 --> 00:04:30.680 join everybody and their function is just to 00:04:30.680 --> 00:04:33.959 kind of help build up the suspension and they're 00:04:33.959 --> 00:04:37.160 getting stronger and stronger and then they have 00:04:37.160 --> 00:04:40.480 the the Accented portion with the highs at measure 00:04:40.480 --> 00:04:43.500 20 as we lead into 21 now when you make it to 00:04:43.500 --> 00:04:46.120 21 like it's this really cool effect It started 00:04:46.120 --> 00:04:48.459 soft and we've built up. It's still even just 00:04:48.459 --> 00:04:51.639 ensemble volume mezzo forte then you get to 21 00:04:51.639 --> 00:04:53.819 There's a little push right before 21 and you 00:04:53.819 --> 00:04:56.550 expect it to go somewhere and the bottom kind 00:04:56.550 --> 00:04:58.490 of falls out of it and it goes back. The winds 00:04:58.490 --> 00:05:00.670 drop out completely and it's back to percussion 00:05:00.670 --> 00:05:04.709 and they're like tapering the volume down just 00:05:04.709 --> 00:05:07.529 a little bit before you start this new idea that 00:05:07.529 --> 00:05:11.269 comes in at measure 25. At 25 we come in with 00:05:11.269 --> 00:05:13.110 the melody the first time that you hear it. Now 00:05:13.110 --> 00:05:15.709 this melody happens several times throughout 00:05:15.709 --> 00:05:19.399 the piece. almost every instrument will have 00:05:19.399 --> 00:05:22.459 an opportunity to play this really syncopated 00:05:22.459 --> 00:05:26.519 melody. Low brass don't have it. They have like 00:05:26.519 --> 00:05:28.879 a reference to it. One or two measures, yeah, 00:05:28.939 --> 00:05:30.600 but that's it. Low brass don't have it. I don't 00:05:30.600 --> 00:05:32.639 think horn and alto do either. Horn and alto, 00:05:32.639 --> 00:05:34.939 I think you're right. But most everybody has 00:05:34.939 --> 00:05:37.259 this. So this is an opportunity, this melody 00:05:37.259 --> 00:05:41.100 that you see at measure 25. One and three, four 00:05:41.100 --> 00:05:44.279 and two and three, four. One and three, four 00:05:44.279 --> 00:05:46.959 and two and three, four. repeats over and over. 00:05:47.300 --> 00:05:49.120 This would be a great opportunity to write that 00:05:49.120 --> 00:05:51.839 up in a melody sheet, teach it to the whole entire 00:05:51.839 --> 00:05:54.959 ensemble. It's great for your low brass players 00:05:54.959 --> 00:05:57.759 and horns and altos to move their fingers and 00:05:57.759 --> 00:06:00.019 learn this articulation and style right along 00:06:00.019 --> 00:06:02.519 with everyone else. It will keep everyone engaged 00:06:02.519 --> 00:06:05.660 and it will allow you to be intentional and diligent 00:06:05.660 --> 00:06:09.399 in drilling this. Yes, so Laura just mentioned 00:06:09.399 --> 00:06:13.019 the style is of utmost importance here. Your 00:06:13.019 --> 00:06:16.399 young players are going to be tempted slur into 00:06:16.399 --> 00:06:20.920 beat three so it's tongue slur tongue tongue 00:06:20.920 --> 00:06:24.399 slur tongue slur tongue tongue and each time 00:06:24.399 --> 00:06:28.339 that they tongue it's marked staccato so really 00:06:28.339 --> 00:06:31.220 driving that home is super important for clarity 00:06:31.220 --> 00:06:34.439 it is Only the clarinets playing here and it's 00:06:34.439 --> 00:06:37.519 not above the break so they can sound fabulous 00:06:37.519 --> 00:06:40.839 All together and it's got to be a hundred percent 00:06:40.839 --> 00:06:43.879 perfect It does and this is like Katie mentioned 00:06:43.879 --> 00:06:46.180 really early on in the piece about starting the 00:06:46.180 --> 00:06:48.759 tempo slower So that you can be really picky 00:06:48.759 --> 00:06:51.759 about this stuff now. I think that is super important 00:06:51.759 --> 00:06:54.920 I do things maybe a little differently than than 00:06:54.920 --> 00:06:58.060 other people do while I would play this melody 00:06:58.060 --> 00:07:00.500 with my whole entire band and I would play it 00:07:00.500 --> 00:07:04.399 super slow maybe even, I mean, it depends on 00:07:04.399 --> 00:07:07.279 the caliber of ensemble, maybe even at half speed, 00:07:07.560 --> 00:07:12.079 at 80 or 90, I mean, but I would play it, I wouldn't 00:07:12.079 --> 00:07:15.339 get overly caught up in the note length of the 00:07:15.339 --> 00:07:19.420 staccato note, but I would absolutely be... diligent 00:07:19.420 --> 00:07:23.180 about making sure the tongue was right. Ta, ta, 00:07:23.420 --> 00:07:28.500 ta, ta, ta, ta, ta. Stop, do it again. Get that 00:07:28.500 --> 00:07:31.040 right, and then as you start to speed the tempo 00:07:31.040 --> 00:07:35.019 up, add in that staccato. If they're really stressed 00:07:35.019 --> 00:07:38.740 about playing staccato at 80 or 90 BPM, you're 00:07:38.740 --> 00:07:41.060 gonna lose all sense of tone quality by the time 00:07:41.060 --> 00:07:44.399 you get to 160. So just bear that in mind, but 00:07:44.399 --> 00:07:47.100 I would be like... I would be, I would spend 00:07:47.100 --> 00:07:50.399 the time on this. It's so important. 31 and 32, 00:07:50.399 --> 00:07:53.939 it changes slightly. So you have a staccato beat 00:07:53.939 --> 00:08:00.240 too. Ta ta ta. And the last note is an accent. 00:08:00.540 --> 00:08:02.939 And really making sure that that lines up 100 00:08:02.939 --> 00:08:06.000 % is perfect, and they should not breathe between 00:08:06.000 --> 00:08:09.040 32 and 33. And they keep going with the melody, 00:08:09.120 --> 00:08:11.480 but you have to make sure that you draw an arrow, 00:08:11.540 --> 00:08:14.939 no breath. They need to find other spots. As 00:08:14.939 --> 00:08:17.060 Laura mentioned, there's two staccato quarter 00:08:17.060 --> 00:08:19.180 notes. That's perfect. Some of them can breathe 00:08:19.180 --> 00:08:20.800 after one. Some of them can breathe after the 00:08:20.800 --> 00:08:24.620 other. And then the, oh, I was completely inaccurate. 00:08:24.740 --> 00:08:26.540 This is where the altos take. cover the melody 00:08:26.540 --> 00:08:29.620 yes they do have the melody so alto and tenor 00:08:29.620 --> 00:08:33.200 sax join the clarinets on the melody part but 00:08:33.200 --> 00:08:35.340 they are marked mezzo forte because you want 00:08:35.340 --> 00:08:39.460 to now feature that um timbre and color and then 00:08:39.460 --> 00:08:41.539 tell the clarinets to just take a tiny chill 00:08:41.539 --> 00:08:47.500 pill um also the the low people uh trombone euphonium 00:08:47.500 --> 00:08:51.720 berry sax Bassoon they come in at 33 with this 00:08:51.720 --> 00:08:56.039 cool little like half note chromatic Figure and 00:08:56.039 --> 00:08:58.080 it's really cool sounding but they don't need 00:08:58.080 --> 00:09:00.059 to play it super loud But they do need to play 00:09:00.059 --> 00:09:03.960 it super in tune and it's got G flats and E flats 00:09:03.960 --> 00:09:05.740 So you just have to make sure you kind of spend 00:09:05.740 --> 00:09:09.000 some time on that and then the flutes and oboes 00:09:09.000 --> 00:09:13.019 have this cool little like So like mysterious 00:09:13.019 --> 00:09:16.490 little part Little just like grace notes. They're 00:09:16.490 --> 00:09:19.049 not very loud, but make sure that their part 00:09:19.049 --> 00:09:21.250 goes all the way to the rest. They don't die 00:09:21.250 --> 00:09:24.409 away. Bells have it as well. This continues on 00:09:24.409 --> 00:09:27.649 for quite a while. Trombones go up the chromatic 00:09:27.649 --> 00:09:29.730 scale and then back down the chromatic scale. 00:09:30.169 --> 00:09:33.070 So just making sure that your kids can play perfect 00:09:33.070 --> 00:09:35.970 on that part is really important so that it sounds 00:09:35.970 --> 00:09:39.129 quarterly really nice. And then everybody's gonna 00:09:39.129 --> 00:09:42.350 push through all the way to 41 and then we have 00:09:42.350 --> 00:09:45.590 a new little section. to 41 this ostinato that 00:09:45.590 --> 00:09:47.590 has been going on in the xylophone the whole 00:09:47.590 --> 00:09:51.389 time one one and two three and four one two and 00:09:51.389 --> 00:09:55.330 and four this now we add the flute and the oboe 00:09:55.330 --> 00:09:58.610 to that ostinato so it is still happening in 00:09:58.610 --> 00:10:02.230 the mallet percussion but now it goes to bells 00:10:02.230 --> 00:10:04.970 so you want to be careful about making sure that 00:10:04.970 --> 00:10:07.690 it doesn't get too shrill between bells flute 00:10:07.690 --> 00:10:10.950 and oboe it is just an ostinato you should really 00:10:10.950 --> 00:10:14.299 feel it more than hear it band has gone quiet 00:10:14.299 --> 00:10:18.340 again. That's right. This is way soft here, and 00:10:18.340 --> 00:10:20.740 even though that's the most rhythmic thing that's 00:10:20.740 --> 00:10:23.580 going on, we have added in all of the low brass 00:10:23.580 --> 00:10:25.340 and the altos. And they're playing what the clarinets 00:10:25.340 --> 00:10:28.799 did before, the tenuto stylistic... Just that 00:10:28.799 --> 00:10:31.259 chord or harmonic function. They're just laying 00:10:31.259 --> 00:10:33.379 down these whole notes and half notes exactly 00:10:33.379 --> 00:10:36.460 what the clarinets did and the flutes at the 00:10:36.460 --> 00:10:39.600 very beginning of the piece. They keep going 00:10:39.600 --> 00:10:42.320 on this, but the style again is very important. 00:10:43.559 --> 00:10:46.000 Notating the difference between a tenuto and 00:10:46.000 --> 00:10:49.039 an accent for the low people, making sure that 00:10:49.039 --> 00:10:51.399 that ostinato is playing the staccatos and the 00:10:51.399 --> 00:10:55.019 accents different from each other. Playing the 00:10:55.019 --> 00:10:58.659 notes that are not accented softer and lighter 00:10:58.659 --> 00:11:01.419 will help the accents be stronger. One thing 00:11:01.419 --> 00:11:03.519 I think that flute players sometimes will do, 00:11:03.580 --> 00:11:06.379 and oboe, is they'll see the accent and go, I 00:11:06.379 --> 00:11:09.240 gotta play louder, and then they crack and it 00:11:09.240 --> 00:11:12.250 doesn't sound right. Instead, play that note 00:11:12.250 --> 00:11:14.330 a little stronger, but not a lot stronger, and 00:11:14.330 --> 00:11:16.629 play the other note softer. That's right. And 00:11:16.629 --> 00:11:19.049 that makes the accent just kinda happen easier 00:11:19.049 --> 00:11:21.750 without making cracks occur. So if you're looking 00:11:21.750 --> 00:11:23.370 at a score with us, one of the things you're 00:11:23.370 --> 00:11:25.730 gonna notice is that there's not these articulation 00:11:25.730 --> 00:11:28.629 markings in the mallet part. But now when the 00:11:28.629 --> 00:11:31.409 flute and oboe come in, we have staccatos and 00:11:31.409 --> 00:11:34.730 accents, di di da, di di da, da, di da, di da. 00:11:35.190 --> 00:11:37.649 But it is up to you, like if you listen to the 00:11:37.649 --> 00:11:39.789 reference recording of this, I feel like they 00:11:39.789 --> 00:11:42.590 play the accent quarter notes like staccato quarter 00:11:42.590 --> 00:11:46.750 notes but it matches what's happening in the 00:11:46.750 --> 00:11:49.929 mallet percussion so it's it's up to you if it 00:11:49.929 --> 00:11:52.470 were me personally I think the quarter notes 00:11:52.470 --> 00:11:54.769 are too short like when you hear the reference 00:11:54.769 --> 00:11:56.529 recording I would give them a little more body 00:11:56.529 --> 00:11:58.590 of sound and do what Katie talked about make 00:11:58.590 --> 00:12:00.610 the staccato eighth note softer give a little 00:12:00.610 --> 00:12:03.730 more emphasis to those quarter notes you can 00:12:03.730 --> 00:12:07.210 even mark that in on the mallet part just a slight 00:12:07.210 --> 00:12:09.929 accent on the quarter notes would help the mallets 00:12:09.960 --> 00:12:12.639 support what's happening in those upper woodwinds 00:12:12.639 --> 00:12:17.539 as well. Yep. At 49, that ostentato part is now 00:12:17.539 --> 00:12:20.840 going to... level down and be softer because 00:12:20.840 --> 00:12:23.519 the clarinets come back with their melody and 00:12:23.519 --> 00:12:25.860 So we want to hear that again the lows continue 00:12:25.860 --> 00:12:28.240 the same thing They were just playing so they 00:12:28.240 --> 00:12:30.220 need to come down and volume a little bit too 00:12:30.220 --> 00:12:32.700 This time instead of the clarinets being alone 00:12:32.700 --> 00:12:35.460 the whole band is playing except except trumpets 00:12:35.460 --> 00:12:37.559 So you really have to tell everybody to back 00:12:37.559 --> 00:12:39.620 off so that we can hear the clarinet section 00:12:39.620 --> 00:12:43.440 So they don't have to force to be heard and then 00:12:43.440 --> 00:12:47.639 we crescendo up again going into 57 and And then 00:12:47.639 --> 00:12:51.360 we have an attack on beat one of 57. So it's 00:12:51.360 --> 00:12:53.039 different from before where it was like loud 00:12:53.039 --> 00:12:56.200 and then drop out. We do have a downbeat, but 00:12:56.200 --> 00:12:58.720 this is another percussion break for three measures. 00:12:59.240 --> 00:13:02.179 And the snare part is more active here. It's 00:13:02.179 --> 00:13:04.960 very important to add in all the accents. And 00:13:04.960 --> 00:13:07.120 then this is kind of like the, like starting 00:13:07.120 --> 00:13:10.580 to be like close to the jam out session. So then 00:13:10.580 --> 00:13:15.120 you have the winds come back in. measure 60 and 00:13:15.120 --> 00:13:18.179 mallet percussion has this really cool part that 00:13:18.179 --> 00:13:20.899 nobody else has that's like more wiggly and movie 00:13:20.899 --> 00:13:24.679 with notes and everybody else has accents on 00:13:24.679 --> 00:13:28.759 one and four one and then we're still going with 00:13:28.759 --> 00:13:32.120 the low with the percussion timpani now get to 00:13:32.120 --> 00:13:34.100 have the cool like what I consider to be the 00:13:34.100 --> 00:13:36.899 wiggly part like the mallets and so they get 00:13:36.899 --> 00:13:39.840 the melody which is fun because timpani like 00:13:39.840 --> 00:13:42.000 rarely ever gets the melody and then the band 00:13:42.000 --> 00:13:44.960 comes and again three measures later one and 00:13:44.960 --> 00:13:49.120 four one and then the part at 65 literally says 00:13:49.120 --> 00:13:52.600 rock out. Which is super fun. It is really I 00:13:52.600 --> 00:13:54.960 think it's adorable and this is where like the 00:13:54.960 --> 00:13:58.179 trumpets really have been very chill up to this 00:13:58.179 --> 00:14:00.860 point. Right. Just occasionally coming in adding 00:14:00.860 --> 00:14:03.139 a little interjection but their part like so 00:14:03.139 --> 00:14:05.139 this is not very difficult. It's not. This is 00:14:05.139 --> 00:14:07.940 a piece if you have a young trumpet section. 00:14:08.259 --> 00:14:10.000 Or not a lot of trumpets. That's right it might 00:14:10.000 --> 00:14:11.980 be something for you to consider. So here at 00:14:11.980 --> 00:14:15.460 65, this is the trumpet moment. So trumpet altos 00:14:15.460 --> 00:14:19.860 and clarinets have the rock on part one, two 00:14:19.860 --> 00:14:23.200 and three, four and one, two and four. Two and 00:14:23.200 --> 00:14:26.600 three, four and one, two and four. And the lows 00:14:26.600 --> 00:14:28.539 just have little interjections. That's right. 00:14:28.779 --> 00:14:31.080 But the trumpets need to be the ones leading 00:14:31.080 --> 00:14:34.220 the charge. So this is the new color. We've heard 00:14:34.220 --> 00:14:37.279 clarinet and alto. But this is, they can open 00:14:37.279 --> 00:14:39.759 up a little more. Now the way this is written, 00:14:39.980 --> 00:14:41.419 it's written tongue tongue slur tongue tongue 00:14:41.419 --> 00:14:44.559 slur tongue every time that your kids will cheat 00:14:44.559 --> 00:14:49.480 you will have cheaters yeah don't let them do 00:14:49.480 --> 00:14:51.960 it don't let them get away with it agreed and 00:14:51.960 --> 00:14:55.559 then the whole band comes down at 71 to mezzo 00:14:55.559 --> 00:14:58.460 forte so we've had this rock out moment and then 00:14:58.460 --> 00:15:01.100 we're like trying to build it up again and it's 00:15:01.100 --> 00:15:03.759 Katie's favorite a high woodwind trill Like, 00:15:03.879 --> 00:15:06.139 she loves those. She loves those. I would even, 00:15:06.179 --> 00:15:08.500 if I were you, man, throw it in the bells. Just, 00:15:08.500 --> 00:15:10.240 I'm just kidding. I'm just kidding. Don't do 00:15:10.240 --> 00:15:13.840 that. That was for Katie. Sorry. That's really 00:15:13.840 --> 00:15:18.379 funny. Okay. I hate nothing more than a bell 00:15:18.379 --> 00:15:21.940 trill, actually. I mean, other than a high D 00:15:21.940 --> 00:15:23.960 flute trill. You know, you got like eight flute 00:15:23.960 --> 00:15:27.259 players. That's awful. Like, come on. Okay. So. 00:15:27.559 --> 00:15:30.419 If you've ever listened to any episode, maybe 00:15:30.419 --> 00:15:32.740 one part should be playing the upper D trill. 00:15:33.580 --> 00:15:36.120 The oboe is also trilling, so that's super fun. 00:15:36.440 --> 00:15:38.080 And that's not the important part, they're just 00:15:38.080 --> 00:15:41.940 getting us excited about the next part. The saxophone 00:15:41.940 --> 00:15:47.559 has a really cool nod back to the chromatic feature 00:15:47.559 --> 00:15:49.779 that the trombone and euphonium had before, but 00:15:49.779 --> 00:15:53.559 now they're doing it in quarter notes. The trumpet 00:15:53.559 --> 00:15:56.759 and the clarinet are continuing on with the rock 00:15:56.759 --> 00:15:59.940 out. The bells also have the chromatic E thing 00:15:59.940 --> 00:16:03.539 with the altos lows are just doing an ostinato 00:16:03.539 --> 00:16:07.200 bomb bomb bomb bomb bomb So we're just getting 00:16:07.200 --> 00:16:12.080 everybody excited 73 trumpet and alto and clarinet 00:16:12.080 --> 00:16:15.259 keep going with the rock out and now flute and 00:16:15.259 --> 00:16:19.179 oboe for the first time get to have the the regular 00:16:19.179 --> 00:16:22.659 melody one and three four and two and three four 00:16:22.659 --> 00:16:25.679 so now it's like everybody's got their own cool 00:16:25.679 --> 00:16:29.440 little moment low brass are pretty not important 00:16:29.440 --> 00:16:32.679 here and nothing is difficult they're they're 00:16:32.679 --> 00:16:34.460 supplying harmonic foundation is all they're 00:16:34.460 --> 00:16:36.899 doing now everything they have is accented sure 00:16:36.899 --> 00:16:38.659 there's a lot of white notes a lot of dotted 00:16:38.659 --> 00:16:41.299 half notes in this so get them out of the way 00:16:41.299 --> 00:16:43.960 treat them like forte pianos get out of the way 00:16:43.960 --> 00:16:47.120 yep and then uh so we're rocking out we're continuing 00:16:47.120 --> 00:16:50.179 this we're layered then we've got a crescendo 00:16:50.179 --> 00:16:53.519 from 79 to 83 the whole band is kind of getting 00:16:53.519 --> 00:16:55.659 more and more and by the way this this time on 00:16:55.659 --> 00:16:58.620 the melody the flute part is written to be a 00:16:58.620 --> 00:17:01.259 divided part a divisi part where you could have 00:17:01.259 --> 00:17:03.799 one or two players play it up an octave to be 00:17:03.799 --> 00:17:06.400 heard a little bit over the like trumpet and 00:17:06.400 --> 00:17:09.279 alto part but if you don't have someone who can 00:17:09.279 --> 00:17:11.519 play it in tune you don't have to have them play 00:17:11.519 --> 00:17:14.519 it up if you can still hear it but what I would 00:17:14.519 --> 00:17:17.500 probably do is maybe put two eighth graders or 00:17:17.500 --> 00:17:20.180 something on the top part and then put everybody 00:17:20.180 --> 00:17:22.900 else on the lower part so it doesn't become too 00:17:22.900 --> 00:17:26.220 screechy and then we've got lots of like crash 00:17:26.220 --> 00:17:28.619 cymbal stuff is coming in here we're getting 00:17:28.619 --> 00:17:31.640 more and more excited and we're leading up with 00:17:31.640 --> 00:17:35.660 lots of accents to measure 83 and this is marked 00:17:35.950 --> 00:17:38.890 Triple F so we want to make sure kids like maybe 00:17:38.890 --> 00:17:41.789 I would like maybe take out of them. Yes, so 00:17:41.789 --> 00:17:46.589 they don't get too excited Yeah, play triple 00:17:46.589 --> 00:17:49.470 no no, and then we have a hit again, and then 00:17:49.470 --> 00:17:51.710 we do the decrescendo in the percussion It's 00:17:51.710 --> 00:17:55.430 just like before we have a recap at 87 of that 00:17:55.430 --> 00:17:58.990 same like in the beginning of the piece The altos 00:17:58.990 --> 00:18:01.269 and the horns have their little moment again. 00:18:01.329 --> 00:18:05.450 We're building it back up to 103 and at 103 trombone 00:18:05.319 --> 00:18:07.940 and you funny we start this like little reverse 00:18:07.940 --> 00:18:10.299 waterfall and yes like instead of starting in 00:18:10.299 --> 00:18:12.200 the highs and going to it starts in the lows 00:18:12.200 --> 00:18:14.839 and works its way up so the lows get it first 00:18:14.839 --> 00:18:17.420 then the horn alto clarinet then the trumpets 00:18:17.420 --> 00:18:20.160 finally there's a big old long trill going on 00:18:20.160 --> 00:18:23.279 this whole time i would do one person on the 00:18:23.279 --> 00:18:25.420 trill please goodness and now we've added in 00:18:25.420 --> 00:18:29.029 clarinets on top space e like don't want to hear 00:18:29.029 --> 00:18:31.650 it so you know just don't do too many kids there 00:18:31.650 --> 00:18:34.609 please and then we crescendo up and at 107 we 00:18:34.609 --> 00:18:37.809 have everybody basically all the high people 00:18:37.809 --> 00:18:40.869 on that ostinato one and two three and four one 00:18:40.869 --> 00:18:43.809 two and and four that's not the melody so make 00:18:43.809 --> 00:18:45.910 sure they just play it confidently underneath 00:18:45.910 --> 00:18:48.750 and listen that's happening in flute oboe clarinet 00:18:48.750 --> 00:18:52.849 alto trumpet horn horn so I mean you know it's 00:18:52.849 --> 00:18:55.509 marked fortissimo too so take your pencil and 00:18:55.509 --> 00:18:58.559 mark their parts ahead of time That's a forte. 00:18:58.740 --> 00:19:02.099 It needs to be the lows here. They have one, 00:19:02.119 --> 00:19:06.240 three, one, and four, one, three. So they're 00:19:06.240 --> 00:19:08.160 building us up. They're getting excited. We have 00:19:08.160 --> 00:19:12.099 a forte piano at the end of 110. So everybody 00:19:12.099 --> 00:19:14.359 is getting out of the way. The mallet percussion 00:19:14.359 --> 00:19:17.559 has a cool moment. Again, alone, little active 00:19:17.559 --> 00:19:22.380 snare part. And we're building up at 113. Now 00:19:22.380 --> 00:19:25.240 we've got everybody's back in, percussions rocking 00:19:25.240 --> 00:19:28.519 out, going all crazy with like... arpeggios, 00:19:28.960 --> 00:19:31.140 timpanis playing some cool stuff like the Lowe's 00:19:31.140 --> 00:19:33.359 did before. As you're doing, I'm sorry to interrupt, 00:19:33.480 --> 00:19:36.380 Katie, as you're doing this crescendo from 111, 00:19:36.380 --> 00:19:39.599 112, landing into 113, you have some people that 00:19:39.599 --> 00:19:42.099 have half note parts on this. I would go in, 00:19:42.160 --> 00:19:44.740 I would physically write in dynamic changes on 00:19:44.740 --> 00:19:47.279 each of those. I would build in the crescendo 00:19:47.279 --> 00:19:50.019 dynamically because when you have so many people 00:19:50.019 --> 00:19:52.339 that are playing an eight count, like a double 00:19:52.339 --> 00:19:54.720 whole note that is supposed to be forte, piano, 00:19:54.779 --> 00:19:57.819 crescendo, they have no concept of how to make 00:19:57.819 --> 00:20:00.599 that last for eight beats. So I would write in 00:20:00.599 --> 00:20:02.829 those dynamic changes. changes every two beats. 00:20:03.269 --> 00:20:05.470 Or if you do like a number system, you can write 00:20:05.470 --> 00:20:10.170 like 2, 4, 6, 8, 10. Great, great feedback for 00:20:10.170 --> 00:20:13.470 sure. And then at 113, the horns get this cool 00:20:13.470 --> 00:20:16.509 little moment along with sax and clarinet 2, 00:20:16.509 --> 00:20:18.369 3. Which needs to be featured. Bring it out. 00:20:18.390 --> 00:20:21.769 Bring it out. It's like just a cool little moment 00:20:21.769 --> 00:20:24.289 for them. Then everybody has the same rhythm. 00:20:24.390 --> 00:20:26.089 Literally the same rhythm except percussion. 00:20:27.089 --> 00:20:29.549 So make sure the style is lined up there. This 00:20:29.549 --> 00:20:32.299 would be a great Two measure thing to do in your 00:20:32.299 --> 00:20:35.259 daily drill. One 15 and one 16, because the whole 00:20:35.259 --> 00:20:38.920 band has it. One, two, and four, and two, and 00:20:38.920 --> 00:20:41.819 three. This is the last two measures. So doing 00:20:41.819 --> 00:20:51.349 that like on a Remington. like then you can get 00:20:51.349 --> 00:20:53.549 the whole band getting the style lined up, the 00:20:53.549 --> 00:20:55.849 rhythm lined up, they can feel very confident 00:20:55.849 --> 00:21:00.509 about the counting. I haven't ever heard this 00:21:00.509 --> 00:21:03.329 piece obviously at a contest because it was just 00:21:03.329 --> 00:21:07.720 added to the pml this year for us and Do remember 00:21:07.720 --> 00:21:09.960 though that at the beginning of the year whenever 00:21:09.960 --> 00:21:12.160 we are when we played this with my band a long 00:21:12.160 --> 00:21:14.980 long time ago We had a couple kids who had trouble 00:21:14.980 --> 00:21:17.579 with the last measure because it's not on different. 00:21:17.640 --> 00:21:20.319 Yeah different and it's just it's a tagline at 00:21:20.319 --> 00:21:22.740 the end So just trying to build that in is a 00:21:22.740 --> 00:21:26.539 great idea. So this piece is super fun and kid 00:21:26.539 --> 00:21:30.039 -friendly it is and listen, I mean It is, the 00:21:30.039 --> 00:21:32.420 kids will love it. Katie and I even talked about 00:21:32.420 --> 00:21:34.599 it. The melody is like a little earworm. It just 00:21:34.599 --> 00:21:37.079 gets stuck in your head. So you'll have kids 00:21:37.079 --> 00:21:39.779 singing it around your band hall, which I mean, 00:21:39.779 --> 00:21:42.259 we love that. We want them to be excited about 00:21:42.259 --> 00:21:43.799 the music they're playing. And this is a great 00:21:43.799 --> 00:21:47.859 piece that you could program with a varsity band 00:21:47.859 --> 00:21:50.240 at the beginning of the year for a fall concert. 00:21:50.599 --> 00:21:53.119 You could use it as an all -region clinician 00:21:53.119 --> 00:21:55.140 with an all -region band, as Laura mentioned. 00:21:55.539 --> 00:21:59.039 You could do it as a UIL piece. with a varsity 00:21:59.039 --> 00:22:02.140 band or a non -varsity band you could use it 00:22:02.140 --> 00:22:05.140 as a spring concert piece with a non -varsity 00:22:05.140 --> 00:22:08.789 band to give them something a little bit beefier 00:22:08.789 --> 00:22:10.710 at the end of the year leading into the next 00:22:10.710 --> 00:22:13.950 year. So it's very, very versatile. And as we 00:22:13.950 --> 00:22:16.109 mentioned, well written where there's not just 00:22:16.109 --> 00:22:19.029 a ton of stuff that you have to kind of be aware 00:22:19.029 --> 00:22:21.250 of. That's right. That's right. Well, we hope 00:22:21.250 --> 00:22:23.750 you will consider programming Groovy in the future. 00:22:23.849 --> 00:22:25.849 And thank you for joining us on this episode 00:22:25.849 --> 00:22:36.460 of Band BFFs. you