WEBVTT 00:00:06.719 --> 00:00:10.580 Welcome to our podcast Band BFFs. The podcast 00:00:10.580 --> 00:00:12.880 where we make your music selection less complicated. 00:00:13.339 --> 00:00:15.599 On today's episode, we are going to be discussing 00:00:15.599 --> 00:00:18.579 Contempo by Michael Story. Cheers to starting 00:00:18.579 --> 00:00:26.620 the conversation. Contempo is an old piece. 2004 00:00:26.620 --> 00:00:30.809 everybody. Pretty old. Older than your students. 00:00:31.769 --> 00:00:34.909 An oldie but a goodie, we think. This piece is 00:00:34.909 --> 00:00:38.109 in 3 -4 in the key of concert E flat throughout, 00:00:38.210 --> 00:00:42.090 or C minor. Split clarinet parts, split trumpet 00:00:42.090 --> 00:00:45.630 parts, the trombone and euphonium part are separated. 00:00:45.729 --> 00:00:48.649 They often play the same thing, but not always. 00:00:49.409 --> 00:00:52.049 Percussion is important, but you don't need a 00:00:52.049 --> 00:00:55.729 big percussion section. Five to six percussionists 00:00:55.729 --> 00:00:59.320 will be perfectly fine to cover. all of the parts 00:00:59.320 --> 00:01:02.520 of this. What we like about it, three, four, 00:01:02.960 --> 00:01:05.579 it's a great opportunity to teach lots of different 00:01:05.579 --> 00:01:09.260 style and there's accidentals and some tuning 00:01:09.260 --> 00:01:12.640 considerations and really good educational teaching 00:01:12.640 --> 00:01:15.879 piece. Yeah, it's also pretty long. Yeah, it's 00:01:15.879 --> 00:01:17.019 about three and a half minutes. Three and a half 00:01:17.019 --> 00:01:22.379 minutes and let's see, 154 measures. So... Think 00:01:22.379 --> 00:01:24.459 that what you will and this is a grade two on 00:01:24.459 --> 00:01:28.000 the Texas PMO. Correct. Yep. Okay So at the very 00:01:28.000 --> 00:01:30.780 beginning it starts out with just the woodwind 00:01:30.780 --> 00:01:33.540 instruments playing for four measures and bells 00:01:33.540 --> 00:01:37.640 and triangle The flute and oboe have the main 00:01:37.640 --> 00:01:41.040 statement first and it's an accented Statement 00:01:41.040 --> 00:01:44.319 so you're starting off with like very firm articulation 00:01:44.319 --> 00:01:47.439 Everybody that plays has accented fronts to the 00:01:47.439 --> 00:01:49.700 note and this is important because throughout 00:01:49.700 --> 00:01:52.030 the piece it's either you're playing and like 00:01:52.030 --> 00:01:55.950 an accented fanfare ish type part right or a 00:01:55.950 --> 00:02:00.569 staccato part or a lyrical slurry type part so 00:02:00.569 --> 00:02:02.849 we'll talk more about that as we get into it 00:02:02.849 --> 00:02:05.230 but just be aware that again as Laura mentioned 00:02:05.230 --> 00:02:09.169 there's a ton of style considerations So flute 00:02:09.169 --> 00:02:12.349 no bows start out and then the clarinet two comes 00:02:12.349 --> 00:02:15.129 in with a chord with tenor sax on measure two 00:02:15.129 --> 00:02:18.150 and this piece is fast. It's 144 and three so 00:02:18.150 --> 00:02:20.870 it's like really quick. It's not in one or anything 00:02:20.870 --> 00:02:24.189 but it kind of should have that like waltz type 00:02:24.189 --> 00:02:27.770 feel to it for sure. When the clarinet two comes 00:02:27.770 --> 00:02:30.949 in it's on an A and that's always just like the 00:02:30.949 --> 00:02:33.430 most out of tune note I remember thinking when 00:02:33.430 --> 00:02:35.870 we've played this or judged it in the past. So 00:02:35.870 --> 00:02:37.969 just be aware right from the get -go get that. 00:02:37.870 --> 00:02:40.650 you know get those resonance fingers down, make 00:02:40.650 --> 00:02:42.810 sure you get that A in tune. It's a throat tone 00:02:42.810 --> 00:02:48.110 A and then it's against a G in the first clarinet 00:02:48.110 --> 00:02:50.270 so like not oh I mean it's meant to be above 00:02:50.270 --> 00:02:53.569 the staff G. Right so we're throat tone A with 00:02:53.569 --> 00:02:56.110 an above the staff G so immediately right out 00:02:56.110 --> 00:02:59.150 of the gate you have a color chord tone that's 00:02:59.150 --> 00:03:03.110 in a horrible tuning range so just you know be 00:03:03.110 --> 00:03:05.330 mindful. And the tenor sax is also on an A but 00:03:05.330 --> 00:03:07.539 it's on above the staff A. Right so is supposed 00:03:07.539 --> 00:03:11.379 to sound the same, but it's like, ugh. I just 00:03:11.379 --> 00:03:13.979 remember that being not super fun right at the 00:03:13.979 --> 00:03:16.319 very beginning, and it's exposed. Okay, after 00:03:16.319 --> 00:03:18.840 this little opening statement at five, snare 00:03:18.840 --> 00:03:21.560 drum comes in on a roll. You have to make sure 00:03:21.560 --> 00:03:24.520 your snare plays it very quiet, otherwise it's... 00:03:24.569 --> 00:03:26.509 And I want to discuss this for a second. The 00:03:26.509 --> 00:03:30.150 snare part throughout this is pretty active in 00:03:30.150 --> 00:03:34.689 places where the winds are not as active. So 00:03:34.689 --> 00:03:37.409 the part like Katie talking, it's marked forte. 00:03:37.569 --> 00:03:40.009 This roll, it does not need to be played forte. 00:03:40.729 --> 00:03:44.449 So this often they need to concentrate themselves 00:03:44.449 --> 00:03:48.210 halfway between the rim and the center of the 00:03:48.210 --> 00:03:51.310 drum in that area dynamically. And you might 00:03:51.310 --> 00:03:54.389 even experiment with changing their stick. if 00:03:54.389 --> 00:03:56.229 it's still, if they're playing with generals 00:03:56.229 --> 00:04:00.569 and it's still too heavy and too loud, you might 00:04:00.569 --> 00:04:03.750 try a smaller beaded stick to give them a softer 00:04:03.750 --> 00:04:06.629 touch and a little more control, but that's like 00:04:06.629 --> 00:04:09.930 a little, an implement trick that you can use 00:04:09.930 --> 00:04:13.330 that can help control that volume, and it's important 00:04:13.330 --> 00:04:15.710 on this piece. Very, because like she mentioned, 00:04:15.750 --> 00:04:18.910 we'll get to it in a sec, it's very active. Okay, 00:04:19.029 --> 00:04:22.170 back to five. So now the trumpets come in along 00:04:22.170 --> 00:04:24.829 with the woodwinds. upper people and we have 00:04:24.829 --> 00:04:28.069 a little opening statement one and two and it's 00:04:28.069 --> 00:04:31.410 staccato staccato accent one and two one and 00:04:31.410 --> 00:04:35.370 two one and two three and one two and three and 00:04:35.370 --> 00:04:38.870 one and the lows come in to like kind of get 00:04:38.870 --> 00:04:42.250 it more exciting and build it up with these accented 00:04:42.250 --> 00:04:45.410 notes that have start on beat three each time 00:04:45.410 --> 00:04:51.870 and tie over so rest rest three three two three 00:04:51.870 --> 00:04:54.199 one and so we all lay them together, but it's 00:04:54.199 --> 00:04:57.199 all accented. Now, the other thing here, we're 00:04:57.199 --> 00:05:00.019 coming in, first trumpets are coming in on an 00:05:00.019 --> 00:05:03.939 A, second on a G, and horns are coming in cold 00:05:03.939 --> 00:05:07.500 on a third space C. So again, that's another 00:05:07.500 --> 00:05:09.959 tuning concern right there that you have to be 00:05:09.959 --> 00:05:13.939 aware of. We've talked about it before, but remember 00:05:13.939 --> 00:05:16.759 that your horns, I would go down the row one 00:05:16.759 --> 00:05:18.980 at a time with your horns and find if they're 00:05:18.980 --> 00:05:21.560 better, they are more consistent tuning on the 00:05:21.560 --> 00:05:24.279 F. side or B flat side. I will often have my 00:05:24.279 --> 00:05:27.220 horns, if we sit in that range of A, B, B flat, 00:05:27.480 --> 00:05:30.519 C in there, I will often have my horns play not 00:05:30.519 --> 00:05:32.680 on the trigger side of the horn because the tuning 00:05:32.680 --> 00:05:35.980 is more stable. So know that and experiment with 00:05:35.980 --> 00:05:38.980 that if you need to. Yep. So we're all building 00:05:38.980 --> 00:05:43.560 up to nine and then at nine it is just the trumpets 00:05:43.560 --> 00:05:47.660 playing. alone with a little bit of like snare 00:05:47.660 --> 00:05:51.279 and tom in there unison line between first and 00:05:51.279 --> 00:05:54.899 second trumpet and if your trumpets crack or 00:05:54.899 --> 00:05:59.540 miss notes here it's an issue because it is completely 00:05:59.540 --> 00:06:03.379 isolated so you will only want to play this piece 00:06:03.379 --> 00:06:06.959 maybe if you have an extremely solid trumpet 00:06:06.959 --> 00:06:10.480 section, or if you have a very large trumpet 00:06:10.480 --> 00:06:14.160 section, where in this exposed moment, you maybe 00:06:14.160 --> 00:06:16.920 have two or three players on each part play it, 00:06:17.220 --> 00:06:19.459 four total, five total, whatever you might need 00:06:19.459 --> 00:06:22.980 to do. But like, you cannot let your whole trumpet 00:06:22.980 --> 00:06:25.899 section play if they don't all kick on D. If 00:06:25.899 --> 00:06:29.519 they don't all, yeah. if they don't all feel 00:06:29.519 --> 00:06:32.540 comfortable going within an octave range in this 00:06:32.540 --> 00:06:34.540 part, because it goes from a low C to a high 00:06:34.540 --> 00:06:38.079 C, and they're jumping around, it's not all like 00:06:38.079 --> 00:06:42.420 steps. So they have to really be solid here. 00:06:43.220 --> 00:06:46.480 It's not easy. This melody at nine, this is setting 00:06:46.480 --> 00:06:50.459 the tone for the rest of the piece. So the style 00:06:50.459 --> 00:06:52.680 has to be there, and then the style needs to 00:06:52.680 --> 00:06:55.240 be consistent when other instruments come in 00:06:55.240 --> 00:06:57.860 with the same melodic idea. The good news is 00:06:57.860 --> 00:07:00.199 the trumpets have this for at least half the 00:07:00.199 --> 00:07:02.560 piece. So if you can get them to be able to play 00:07:02.560 --> 00:07:05.139 this really well, then they're solid for the 00:07:05.139 --> 00:07:07.379 rest of the piece. They're gonna layer down when 00:07:07.379 --> 00:07:09.379 other instruments come in and things like that, 00:07:09.519 --> 00:07:11.379 but they have it over and over and over. But 00:07:11.379 --> 00:07:14.579 the D kicking is a big deal. And at the end of 00:07:14.579 --> 00:07:17.279 their opening statement at measure 15, they're 00:07:17.279 --> 00:07:20.519 holding a D, so they've got a kick. That's where 00:07:20.519 --> 00:07:22.980 the lows come in, and they have an accented again 00:07:22.980 --> 00:07:27.220 on one, three, to it's like a little syncopated 00:07:27.220 --> 00:07:31.040 like an eola yeah an accent and have a little 00:07:31.040 --> 00:07:33.540 space between those chords so you can hear that 00:07:33.540 --> 00:07:36.800 um is a great idea and then flu clarinet one 00:07:36.800 --> 00:07:39.959 and oboe have like a little slurry part going 00:07:39.959 --> 00:07:42.800 into 17 just while the trumpets are holding. 00:07:43.079 --> 00:07:45.019 First clarinets are consistently above the break. 00:07:45.399 --> 00:07:48.680 Yes and above the staff a lot. Yes and doubling 00:07:48.680 --> 00:07:51.040 what's happening in flute and oboe. So that's 00:07:51.040 --> 00:07:54.319 a tuning thing to be mindful of right. But this 00:07:54.319 --> 00:07:56.720 opening statement I think these this accented 00:07:56.720 --> 00:07:58.959 thing needs to be like almost like bell tones. 00:07:59.019 --> 00:08:02.660 Yeah right and that sets the this the table for 00:08:02.660 --> 00:08:05.740 everybody else. We get to measure 17 and it's 00:08:05.740 --> 00:08:08.019 trumpets repeat. It's the same little thematic 00:08:08.019 --> 00:08:10.300 thing that we had before, trumpets isolated by 00:08:10.300 --> 00:08:13.319 themselves. Now what's different is when we get 00:08:13.319 --> 00:08:16.480 to measure 23, the trombone, euphonium, and low 00:08:16.480 --> 00:08:20.259 reeds come in to kind of finish this statement. 00:08:20.339 --> 00:08:22.899 Instead of that hemiola thing, now they're coming 00:08:22.899 --> 00:08:25.819 in with their accented quarter notes that have 00:08:25.819 --> 00:08:30.180 to match exactly with what the trumpets set up 00:08:30.180 --> 00:08:32.480 before they pass it back off to trumpets again 00:08:32.480 --> 00:08:35.139 at 25. Yep, there's like a little flute oboe 00:08:35.139 --> 00:08:38.110 clarinet slurry. thing again going into 25 so 00:08:38.110 --> 00:08:40.769 again it's kind of a repeat at 25 the trumpets 00:08:40.769 --> 00:08:44.470 continue on the same statement now the alto sax 00:08:44.470 --> 00:08:48.250 phones have joined them and the flutes oboes 00:08:48.250 --> 00:08:51.009 and clarinets have a new part that should be 00:08:51.009 --> 00:08:53.710 brought out a little bit it's just a little like 00:08:53.710 --> 00:08:57.389 counter melody the lows are all in now and they 00:08:57.389 --> 00:09:00.909 need to be soft I know when a low right low reeds 00:09:00.909 --> 00:09:03.289 and low brass when I've played this in the past 00:09:03.289 --> 00:09:05.409 it's been difficult because this is where it 00:09:05.389 --> 00:09:09.889 it gets noisy because everybody's like playing... 00:09:09.639 --> 00:09:11.799 it doesn't say like you play softer you play 00:09:11.799 --> 00:09:14.039 louder it just is everybody still playing forte 00:09:14.039 --> 00:09:16.720 so you've got to either write that in for your 00:09:16.720 --> 00:09:19.139 kids or teach them and make sure that they've 00:09:19.139 --> 00:09:21.139 layered things down and the low brass and low 00:09:21.139 --> 00:09:23.259 reeds are only providing a harmonic foundation 00:09:23.259 --> 00:09:25.179 here right so they just they're just chords in 00:09:25.179 --> 00:09:27.600 the background this is where the snare enters 00:09:27.600 --> 00:09:29.899 with that really active part this is the first 00:09:29.899 --> 00:09:32.500 time that the full ensemble were 2d band here 00:09:32.500 --> 00:09:36.559 at 25 and everybody's playing we've katie's just 00:09:36.559 --> 00:09:38.600 talked about layering and prioritizing parts 00:09:38.600 --> 00:09:41.149 snare comes in on this really active part and 00:09:41.149 --> 00:09:43.330 I think that contributes to the noisy quality 00:09:43.330 --> 00:09:45.690 right here. I totally agree. So the snare needs 00:09:45.690 --> 00:09:48.450 to be much softer than the dynamic that's written 00:09:48.450 --> 00:09:50.610 and we've already talked about you know considering 00:09:50.610 --> 00:09:53.970 changing sticking or sticks sorry but but closer 00:09:53.970 --> 00:09:57.269 to the edge get out of the way. And it's fast 00:09:57.269 --> 00:10:05.080 and it's active and it's like It can be overwhelming 00:10:05.080 --> 00:10:07.480 like I mean you need to have a good snare yes, 00:10:07.600 --> 00:10:10.139 they can either play too loud or they can rush 00:10:11.100 --> 00:10:13.159 crazily There's a lot of things that could go 00:10:13.159 --> 00:10:15.440 wrong. So make sure your best kid is on this 00:10:15.440 --> 00:10:18.740 part When we get to the end of this statement 00:10:18.740 --> 00:10:23.820 At 32 the trombone euphonium low read part. They 00:10:23.820 --> 00:10:26.240 have this little like they're moving in fifths 00:10:26.240 --> 00:10:28.139 They're doing like this little chromatic line 00:10:28.139 --> 00:10:33.039 1 2 3 1 and they're kind of building us up So 00:10:33.039 --> 00:10:35.139 just make sure that the tuning is really set 00:10:35.139 --> 00:10:38.840 there at 33 we continue the same statement the 00:10:38.840 --> 00:10:41.440 same priority realization of balance. Trumpets 00:10:41.440 --> 00:10:44.879 are doing the same thing. So here what I would 00:10:44.879 --> 00:10:47.179 do is I would try to feature something different, 00:10:47.399 --> 00:10:49.460 right? So that's the same theme again. Katie 00:10:49.460 --> 00:10:53.259 talked about having the upper woodwinds at 25. 00:10:53.299 --> 00:10:55.860 This would be a great place, right? So instead 00:10:55.860 --> 00:10:57.980 of just playing the same thing three times in 00:10:57.980 --> 00:11:00.980 a row, direct the listener's ear where you want 00:11:00.980 --> 00:11:05.120 it to go and that's your choice. At 39 the low 00:11:05.120 --> 00:11:07.279 people have another cool little moment where 00:11:07.279 --> 00:11:11.429 they go 2, 3, 1, 2, 3, and 1. And it's like a 00:11:11.429 --> 00:11:14.129 little scale going down, leading us into 41. 00:11:14.570 --> 00:11:17.950 I always like bringing that part out. Again, 00:11:18.090 --> 00:11:20.350 the flute clarinet 1 and oboe are doing a little 00:11:20.350 --> 00:11:22.690 slurry statement for a measure going into 41, 00:11:22.809 --> 00:11:25.309 too. But I like this little low brass, low reeds 00:11:25.309 --> 00:11:28.490 moment. Now it's the first time we have a new 00:11:28.490 --> 00:11:32.690 theme from the trumpets. So they have a new articulated 00:11:32.690 --> 00:11:38.710 melody. More lyrical. Yep. ta ta ta ta. And you 00:11:38.710 --> 00:11:41.769 have to make sure that they don't cheat and they 00:11:41.769 --> 00:11:43.990 tongue both of the eighth notes on beat three. 00:11:44.090 --> 00:11:49.029 You're gonna hear ta ta ta. Yes, that one. That's 00:11:49.029 --> 00:11:53.230 actually harder. So ta ta ta ta. And you have 00:11:53.230 --> 00:11:55.750 to make sure that it is exact because it comes 00:11:55.750 --> 00:12:00.649 back again. And then I think it comes back later 00:12:00.649 --> 00:12:03.460 in the piece. I can't remember, but it's at least 00:12:03.460 --> 00:12:06.120 here. And then the lows are kind of just doing 00:12:06.120 --> 00:12:09.220 like little interjections here and there, still 00:12:09.220 --> 00:12:13.440 accented, lots of accents all the time. When 00:12:13.440 --> 00:12:16.639 the trumpets finish their little moment at 47, 00:12:17.139 --> 00:12:19.639 the mood of the piece kind of changes here. It 00:12:19.639 --> 00:12:22.360 gets a little bit more like lyrical, mysterious. 00:12:23.840 --> 00:12:27.019 The toms come in with this little part and they're 00:12:27.019 --> 00:12:30.139 getting softer and softer and we lead into 49. 00:12:30.759 --> 00:12:34.600 it's a totally new idea here. So first clarinet 00:12:34.600 --> 00:12:40.139 is on an F sharp top line of the staff, and second 00:12:40.139 --> 00:12:43.360 clarinet is on a throat tone A, so that's fun. 00:12:44.720 --> 00:12:47.259 And this is exposed, it's clarinets and then 00:12:47.259 --> 00:12:50.379 it has some low reed and some bassoon and euphonium 00:12:50.379 --> 00:12:53.100 accompaniment with it, right? And that's it, 00:12:53.100 --> 00:12:55.360 it's really exposed. This needs to be very smooth, 00:12:55.379 --> 00:12:57.419 it needs to be very in tune, they need to move 00:12:57.419 --> 00:13:00.980 together, nice balance. to have more than one 00:13:00.980 --> 00:13:04.500 first clarinet play that. For sure. It's soft, 00:13:04.879 --> 00:13:07.379 there's no percussion happening right here. So 00:13:07.379 --> 00:13:09.100 just pick your best, make it treat it like a 00:13:09.100 --> 00:13:11.700 solo and make it a really special solo here. 00:13:11.919 --> 00:13:14.899 Now in this section we start to see accidental 00:13:14.899 --> 00:13:19.179 city. We mentioned the F sharp accidentals and 00:13:19.179 --> 00:13:22.419 clarinets. We also have C sharps and B natural 00:13:22.419 --> 00:13:25.899 accidentals happening everywhere in here. Once 00:13:25.899 --> 00:13:28.159 we get to the fifth measure of the phrase there 00:13:28.159 --> 00:13:32.480 is a written trumpet solo, so we've already talked 00:13:32.480 --> 00:13:34.419 about the fact that you need a strong trumpet 00:13:34.419 --> 00:13:36.960 section, but this solo, like I would treat it 00:13:36.960 --> 00:13:39.580 like you do the clarinet, what we're calling 00:13:39.580 --> 00:13:41.700 a solo, what I would do is a solo. And it's like 00:13:41.700 --> 00:13:44.240 a little convo back and forth. Exactly, exactly. 00:13:44.580 --> 00:13:46.919 Then there's this really cool accompaniment part 00:13:46.919 --> 00:13:49.440 that happens, I do too, I do too, it happens 00:13:49.440 --> 00:13:53.399 in the low brass, horns, alto, tenor, some of 00:13:53.399 --> 00:13:55.960 the low reeds, that's a dotted quarter eight 00:13:55.960 --> 00:13:59.909 pattern and it's tied, so one, And one, two, 00:13:59.950 --> 00:14:04.309 three, one, and one, two, three. and it changes 00:14:04.309 --> 00:14:07.429 style. It does. It changes accidentals all over 00:14:07.429 --> 00:14:12.090 the place. The syncopated pattern is accented 00:14:12.090 --> 00:14:15.049 and then everything else is either unaccented 00:14:15.049 --> 00:14:18.429 or slurred. Be natural and trombone. Yeah, thank 00:14:18.429 --> 00:14:22.409 you. That's fun, yeah. So and it's got to be 00:14:22.409 --> 00:14:25.590 soft because you don't want it to overtake the 00:14:25.590 --> 00:14:28.769 trumpet solo. But accurate. Soft but accurate. 00:14:29.110 --> 00:14:33.309 Which is hard, yeah. Then at 57. we're back to 00:14:33.309 --> 00:14:36.570 the little clarinet and this is beautiful writing 00:14:36.570 --> 00:14:41.649 and you want to encourage your kids to lead through 00:14:41.649 --> 00:14:45.309 the phrase to push through long notes one two 00:14:45.309 --> 00:14:49.370 and three and one three one two and three and 00:14:49.370 --> 00:14:53.309 one three one it just makes it sound really musical 00:14:53.309 --> 00:14:55.830 I'm sorry if that was off -key I just don't remember 00:14:55.830 --> 00:14:58.519 off the top of my head but That's the same thing 00:14:58.519 --> 00:15:01.840 right and the clarinet too is holding notes underneath. 00:15:02.000 --> 00:15:04.299 They need to do the same thing They also need 00:15:04.299 --> 00:15:06.940 to lead through to the moving note This is a 00:15:06.940 --> 00:15:08.980 great opportunity to teach some more of that 00:15:08.980 --> 00:15:12.679 like lyrical musical type styles so this section 00:15:12.679 --> 00:15:17.179 one little rehearsal trick that I Utilize I feel 00:15:17.179 --> 00:15:20.059 like the key center here and the tonality shifts 00:15:20.059 --> 00:15:22.379 And it's it's different and sometimes kids have 00:15:22.379 --> 00:15:25.580 a hard time like hearing it and getting the tuning 00:15:25.580 --> 00:15:29.549 accurate So a rehearsal tip that you can use 00:15:29.549 --> 00:15:33.049 with that, this whole section from I would say 00:15:33.049 --> 00:15:39.110 maybe 49 up to at least 65, if you have the students 00:15:39.110 --> 00:15:42.370 play the first note of the measure and hold it 00:15:42.370 --> 00:15:44.570 and play it like a chorale, you're gonna play 00:15:44.570 --> 00:15:47.669 a dotted half note, the first note of every measure, 00:15:47.970 --> 00:15:50.870 and that will get eventually, and I've done this 00:15:50.870 --> 00:15:53.730 where we treat it exactly like a chorale. This 00:15:53.730 --> 00:15:56.879 is gonna be our contempo chorale. we play this 00:15:56.879 --> 00:15:59.539 section and they get the harmonic foundation 00:15:59.539 --> 00:16:02.899 in their ear. When you do it repeatedly like 00:16:02.899 --> 00:16:06.740 anything, it settles so much easier. And then 00:16:06.740 --> 00:16:08.759 when you go back and put the moving notes on 00:16:08.759 --> 00:16:11.480 it, they have that harmonic foundation in their 00:16:11.480 --> 00:16:14.139 ear. So in a section like this where it shifts 00:16:14.139 --> 00:16:17.440 and it's way different, that's a trick that can 00:16:17.440 --> 00:16:20.120 help build your kid's confidence and make them 00:16:20.120 --> 00:16:23.120 more pitch stable and tuning stable. Yep, that's 00:16:23.120 --> 00:16:27.600 awesome. Then it ends like Laura said at 65 and 00:16:27.600 --> 00:16:30.700 then we have another new statement This is still 00:16:30.700 --> 00:16:33.440 again from first clarinet, but now the oboe has 00:16:33.440 --> 00:16:35.899 joined in so this is gonna be kind of like a 00:16:35.899 --> 00:16:39.340 primary Voice that you want to bring out so they 00:16:39.340 --> 00:16:42.580 have a new thought three one and three and one 00:16:42.580 --> 00:16:46.440 or sorry one and two and one and two and one 00:16:46.440 --> 00:16:49.679 and three and one two and that's in the trumpet 00:16:49.679 --> 00:16:53.220 part and then it goes to add in the flute so 00:16:53.389 --> 00:16:56.370 This is very lyrical -y. You'll notice in the 00:16:56.370 --> 00:16:59.950 parts, there's way less accents other than the 00:16:59.950 --> 00:17:04.349 the hemiola one and one, two, three, one. Those 00:17:04.349 --> 00:17:06.430 are the only accent in notes. Everything else 00:17:06.430 --> 00:17:10.670 is connected or slurred or has tenutos in the 00:17:10.670 --> 00:17:14.210 melody. So making this sound very seamless, making 00:17:14.210 --> 00:17:16.329 sure kids aren't breathing in the same spots, 00:17:16.329 --> 00:17:19.150 that will be very helpful. The trumpets kind 00:17:19.150 --> 00:17:21.430 of have a little bit of an interaction with the 00:17:21.430 --> 00:17:23.490 upper woodwinds, but they for sure are the stars 00:17:23.490 --> 00:17:29.750 here. The tuba part at 68 goes down to an E natural. 00:17:30.109 --> 00:17:33.990 They have a lot of E's and A's and B's just like 00:17:33.990 --> 00:17:37.190 the euphonium and trombone did before at 65, 00:17:37.269 --> 00:17:40.569 but it's new because they play alone this like 00:17:40.569 --> 00:17:43.210 bass part. They're doing that, yeah. Like the 00:17:43.210 --> 00:17:45.450 harmonic foundation. Yeah, but then the trombones 00:17:45.450 --> 00:17:47.930 and euphoniums add back in at 71, but there's 00:17:47.930 --> 00:17:50.230 a big moment where it's just bass clarinet, tuba, 00:17:50.230 --> 00:17:53.539 bari sax alone with that bass. line. Now at this 00:17:53.539 --> 00:17:56.259 section before we get to the new idea at 74, 00:17:57.259 --> 00:18:02.119 the trumpets and saxophones and horns come in 00:18:02.119 --> 00:18:05.579 on beat two echoing the upper woodwind melody 00:18:05.579 --> 00:18:09.859 one and two one and two but it is not accented 00:18:09.859 --> 00:18:12.440 and I think that's really important because the 00:18:12.440 --> 00:18:17.119 melodic statement is slurred. Right? So you want 00:18:17.119 --> 00:18:19.119 to make sure that they're not stinging the front 00:18:19.119 --> 00:18:21.700 of the notes. Otherwise it makes the upper woodwinds 00:18:21.700 --> 00:18:26.440 sound bumpy. Right? So just make sure that you're 00:18:26.440 --> 00:18:28.779 very careful of the fact that these are not accented. 00:18:28.859 --> 00:18:32.079 Yep. The trumpets then have this little interlude 00:18:32.079 --> 00:18:34.839 in response to the upper woodwinds at 72 leading 00:18:34.839 --> 00:18:38.299 into 74 and it's a little bit high up for the 00:18:38.299 --> 00:18:41.660 first trumpet starting on a C sharp third space 00:18:41.660 --> 00:18:44.920 and leading up to a D and I just know every time 00:18:44.920 --> 00:18:47.619 I've played this piece the second trumpet starts 00:18:47.619 --> 00:18:51.539 on a B flat and it's it's A sharp G sharp F sharp 00:18:51.539 --> 00:18:55.119 G sharp A sharp B So it's just like, it's a lot, 00:18:55.279 --> 00:18:58.160 you know, and kids are like, so the tuning I 00:18:58.160 --> 00:19:00.720 remember was pretty crazy here and just like 00:19:00.720 --> 00:19:03.099 kids' brains not understanding what all the sharp 00:19:03.099 --> 00:19:05.619 notes mean and everything. So just take some 00:19:05.619 --> 00:19:08.019 time. It's the only thing occurring there. Everybody 00:19:08.019 --> 00:19:13.000 else is just crescendoing going into 74. At 74, 00:19:13.240 --> 00:19:17.240 we continue the same lyrical type thought in 00:19:17.240 --> 00:19:19.660 the flute oboe clarinet one again. We still have 00:19:19.660 --> 00:19:23.210 chords happening in everybody else's part. trumpet 00:19:23.210 --> 00:19:26.809 solo again at 78 everybody else on the accompaniment 00:19:26.809 --> 00:19:29.609 needs to stay softer underneath that trumpet 00:19:29.609 --> 00:19:31.630 solo and it's harder because now there's more 00:19:31.630 --> 00:19:33.710 people are doing it that's right so everybody's 00:19:33.710 --> 00:19:36.730 got to be really real quiet here 82 same exact 00:19:36.730 --> 00:19:39.809 thing same exact trumpet part same considerations 00:19:39.809 --> 00:19:43.990 with staying soft leading into 90 and snare through 00:19:43.990 --> 00:19:46.230 all of this there is this action happening over 00:19:46.230 --> 00:19:48.410 here it's not it's not a terribly easy snare 00:19:48.410 --> 00:19:52.579 part rest and two three and and and and and two, 00:19:52.720 --> 00:19:55.519 three, and, and, and, and one, and that's opposite 00:19:55.519 --> 00:19:58.119 of what's happening in the bass drum. So I mean, 00:19:58.180 --> 00:20:00.039 like you need to, I know we've touched on it, 00:20:00.079 --> 00:20:02.359 but make sure that your percussion are solid 00:20:02.359 --> 00:20:04.519 and, and the snare drum is most important, but 00:20:04.519 --> 00:20:07.559 that's not the only one. Yeah, for sure. Okay. 00:20:07.799 --> 00:20:11.819 At 90, the trumpets have their famous statement 00:20:11.819 --> 00:20:15.019 from the beginning, but now the first trumpet 00:20:15.019 --> 00:20:19.940 is up an octave on the Ds. So that's fun because 00:20:19.940 --> 00:20:24.339 it's a high D in first trumpet and a low D in 00:20:24.339 --> 00:20:29.000 second trumpet. So it's an octave. And then another 00:20:29.000 --> 00:20:33.720 octave. And so it's octave C's, octave high F's, 00:20:33.920 --> 00:20:37.480 octave E naturals, and we're 90 measures into 00:20:37.480 --> 00:20:39.799 the piece. So like your trumpet ones are gonna 00:20:39.799 --> 00:20:42.200 be tired, because they don't rest a lot. They're 00:20:42.200 --> 00:20:46.420 playing. And so this, I know, can be kind of 00:20:46.420 --> 00:20:48.660 a little bit of a toony nightmare. We still got 00:20:48.660 --> 00:20:51.880 50 measures left. So just keep that in mind. 00:20:51.940 --> 00:20:54.759 Your trumpets have got to be physically able 00:20:54.759 --> 00:20:58.299 to play the entire piece. That's right. Okay, 00:20:58.640 --> 00:21:01.619 so they have the statements. We've already talked 00:21:01.619 --> 00:21:04.259 ad nauseam about how to play this, but the whole 00:21:04.259 --> 00:21:06.579 band has accents again here. We're done with 00:21:06.579 --> 00:21:10.859 the lyrical section. At 96, the full band has 00:21:10.859 --> 00:21:14.819 a five count. Hold, held note. Snare's finishing 00:21:14.819 --> 00:21:16.839 out his little thought or her little thought. 00:21:17.019 --> 00:21:21.000 Thank you. I just always think of, yeah. I'd 00:21:21.000 --> 00:21:23.660 like the drum, not like the drummer. Oh, okay. 00:21:23.680 --> 00:21:25.779 I don't know why, but I think the snare drum, 00:21:25.859 --> 00:21:29.119 yeah. Okay, but they don't, yeah. Okay, so they're 00:21:29.119 --> 00:21:32.579 holding the note out. One, two, three, one. And 00:21:32.579 --> 00:21:36.660 I've always taught everybody's off on two so 00:21:36.660 --> 00:21:39.660 that there's a hard lift. I agree completely. 00:21:39.759 --> 00:21:42.299 Okay, and then everybody comes. Zach Beck and 00:21:42.299 --> 00:21:45.740 or almost everybody on three so one two three 00:21:45.740 --> 00:21:51.039 one let time three one three now it's different 00:21:51.039 --> 00:21:54.839 and now at 101 it's sneaky it's mysterious again 00:21:54.839 --> 00:21:59.119 it's quiet this is where the snare drummer has 00:21:59.119 --> 00:22:02.000 got to be solid. They have to have a lot of control. 00:22:02.240 --> 00:22:04.420 It's written piano, so they're going to be closer 00:22:04.420 --> 00:22:06.119 to the edge, way lower stick height. It's that 00:22:06.119 --> 00:22:10.500 same part from before. Right, absolutely. But 00:22:10.500 --> 00:22:13.319 there's like nobody playing on top of them. Nothing. 00:22:13.740 --> 00:22:16.460 It's little tiptoes. That's exactly right. They 00:22:16.460 --> 00:22:20.640 are providing all of the forward momentum here. 00:22:21.220 --> 00:22:23.180 So they have to have lots of control. I love 00:22:23.180 --> 00:22:24.980 this. I really love this section. I think it's 00:22:24.980 --> 00:22:28.569 cute. there are all these little staccato note 00:22:28.569 --> 00:22:31.910 interjections that you have to make sure your 00:22:31.910 --> 00:22:35.750 students start with their tongue. And that it's 00:22:35.750 --> 00:22:38.910 all exactly lined up like a pizzicato on a bass. 00:22:39.390 --> 00:22:48.970 Exactly. The style here is so fun, and I love 00:22:48.970 --> 00:22:51.549 this part too, like you just said. Then the clarinets 00:22:51.549 --> 00:22:55.549 come in with another little lyrical, pretty little 00:22:55.549 --> 00:22:58.289 moment. This time, though, we're all written 00:22:58.289 --> 00:23:02.029 low, which is nice. It's just a little quieter 00:23:02.029 --> 00:23:04.329 here. And don't be afraid to add some shaping. 00:23:04.329 --> 00:23:07.990 Oh, you have to. Decide how you want that phrasing 00:23:07.990 --> 00:23:11.609 to sound. At 113, they continue going on, but 00:23:11.609 --> 00:23:14.569 now the trumpets come in with that short kind 00:23:14.569 --> 00:23:18.170 of pizzicato types. uh moment but they need to 00:23:18.170 --> 00:23:24.920 also be very quiet they're not the melody It's 00:23:24.920 --> 00:23:27.859 just like it's real cutesy here and then all 00:23:27.859 --> 00:23:31.960 of a sudden at 119 It's like surprise. Now we're 00:23:31.960 --> 00:23:34.420 excited and it's forte and it's just trumpet 00:23:34.420 --> 00:23:38.000 horn with alto sax coloring the horn It's like 00:23:38.000 --> 00:23:41.160 a fanfare one and two three and one two and three 00:23:41.160 --> 00:23:44.660 and one low big low brass boom boom boom boom 00:23:44.660 --> 00:23:49.779 and then at 123 we get back into or we haven't 00:23:49.779 --> 00:23:51.799 had this before yeah this is a new another new 00:23:51.799 --> 00:23:54.680 thought this is now upper woodwind and trumpet 00:23:54.680 --> 00:23:59.059 together and horn two three and one and two and 00:23:59.059 --> 00:24:04.980 two three two three and then it's slurry and 00:24:04.980 --> 00:24:07.819 this part that part right there accompaniment 00:24:07.819 --> 00:24:10.859 notes and everybody else this upper part in the 00:24:10.859 --> 00:24:13.990 trumpet with the flute because they're in the 00:24:13.990 --> 00:24:18.309 same range, and the clarinet one part is just 00:24:18.309 --> 00:24:21.349 kind of like... It can be shrill. Yes, and it's 00:24:21.349 --> 00:24:23.009 hard because we're almost at the end of the piece. 00:24:23.190 --> 00:24:26.210 Your first trumpets are tired by this time. And 00:24:26.210 --> 00:24:29.569 this phrase is written to end on a staccato note. 00:24:29.730 --> 00:24:33.809 Two, three, one, two, three, one. Yes, so do 00:24:33.809 --> 00:24:36.829 not let them smack the note. We talk about the 00:24:36.829 --> 00:24:40.450 visual of letting a helium balloon go versus 00:24:40.450 --> 00:24:43.269 a rocket ship. Shooting off right those are two 00:24:43.269 --> 00:24:46.109 totally different things and this is a let the 00:24:46.109 --> 00:24:50.430 helium balloon go just let it float. Yep It continues 00:24:50.430 --> 00:24:53.710 on. The lows are just playing chords here. It's 00:24:53.710 --> 00:24:57.589 easy peasy on normal notes. And then we're crescendoing 00:24:57.589 --> 00:25:00.589 up to 141. This is the last moment of the piece. 00:25:00.869 --> 00:25:04.329 Now we're back to the octave. Nope, not octaves. 00:25:04.690 --> 00:25:07.170 Different harmonic structure, but the first trumpet 00:25:07.170 --> 00:25:11.430 is playing the main melody up high with clarinet 00:25:11.430 --> 00:25:13.930 one up there. The second trumpet and second. 00:25:14.079 --> 00:25:16.519 Clarinet part's just a little bit different now. 00:25:16.819 --> 00:25:19.380 But we're back to the accented moment. The snare 00:25:19.380 --> 00:25:23.799 drum's still going. Then we're leading to the 00:25:23.799 --> 00:25:26.940 end at 147. We have these little half notes from 00:25:26.940 --> 00:25:30.240 brass and low reeds that need to be soft and 00:25:30.240 --> 00:25:33.220 grow as you're leading to the final moment at 00:25:33.220 --> 00:25:39.180 151. The clarinet part here is pretty... interesting 00:25:39.180 --> 00:25:42.740 because it's like it's very doodly is what I 00:25:42.740 --> 00:25:45.200 call it so it's one two and three and one two 00:25:45.200 --> 00:25:47.779 and three and one two and three and one so it's 00:25:47.779 --> 00:25:50.400 moving around a lot and it's Probably like one 00:25:50.400 --> 00:25:52.940 of the only times in the piece where there's 00:25:52.940 --> 00:25:55.079 like kind of constant stuff happening in the 00:25:55.079 --> 00:25:57.720 upper woodwinds And it is not marked for the 00:25:57.720 --> 00:26:06.740 top of the slur to be staccato Don't let them 00:26:06.740 --> 00:26:09.960 clip that short and so each time the half notes 00:26:09.960 --> 00:26:11.420 are getting a little bit louder a little bit 00:26:11.420 --> 00:26:13.220 louder They are doing the same thing. They should 00:26:13.220 --> 00:26:17.079 be getting louder and louder 151 the full band 00:26:17.079 --> 00:26:19.859 plays together. There's a big timpani This is 00:26:19.859 --> 00:26:22.440 the really the only big timpani I went. Yep. 00:26:22.839 --> 00:26:26.480 Um, oh my gosh I totally forgot one time when 00:26:26.480 --> 00:26:29.000 I played this I didn't have enough players for 00:26:29.000 --> 00:26:31.000 the piece and I just thought of it because you 00:26:31.000 --> 00:26:34.359 said that we had a kid run over and play the 00:26:34.359 --> 00:26:37.920 timpani part only here and that's it. It's the 00:26:37.920 --> 00:26:39.599 only moment it matters. But it took you saying 00:26:39.599 --> 00:26:43.480 that to jog my memory. So yeah, timpani while 00:26:43.480 --> 00:26:46.700 everybody's holding this cord and it's a picardy 00:26:46.700 --> 00:26:51.519 third. Thank you. Yes it is. You only get that 00:26:51.519 --> 00:26:53.819 if you've listened to any of our other episodes 00:26:53.819 --> 00:26:56.819 everybody. Okay so we're holding it and it's 00:26:56.819 --> 00:26:59.359 got to be really in tune. And it's a it's a C 00:26:59.359 --> 00:27:02.180 major chord and it's this piece is in C minor. 00:27:02.380 --> 00:27:04.779 It's a C major chord and yeah and yeah first 00:27:04.779 --> 00:27:06.759 trumpets are on fourth line D flutes are above 00:27:06.759 --> 00:27:09.759 the staff on C the first clarinets are on fourth 00:27:09.759 --> 00:27:12.940 line D trombones are a C above the staff. I mean 00:27:12.940 --> 00:27:16.180 y 'all do not be afraid to rewrite this. Rewrite 00:27:16.180 --> 00:27:18.740 this chord to make it sound good. It's a it's 00:27:18.740 --> 00:27:20.759 a thing. end of the piece, this is not an easy 00:27:20.759 --> 00:27:23.660 piece. Take it down around too. Yes! Make it 00:27:23.660 --> 00:27:24.640 sound good. And then it's going to lead into 00:27:24.640 --> 00:27:27.359 the ending, which is just one, two, three, and 00:27:27.359 --> 00:27:32.619 one. And down. yeah that's right it's a really 00:27:32.619 --> 00:27:34.980 really fun piece but it is not for the faint 00:27:34.980 --> 00:27:38.519 of heart because of the length and some of the 00:27:38.519 --> 00:27:40.900 tuning challenges that exist due to the writing 00:27:40.900 --> 00:27:43.660 but it's a wonderful piece and oldie buddy goodie 00:27:43.660 --> 00:27:46.299 as laura said if you have the if you have the 00:27:46.299 --> 00:27:48.980 ensemble to play it like make sure that the juice 00:27:48.980 --> 00:27:51.160 really is worth the squeeze with this one right 00:27:51.160 --> 00:27:54.880 but it is if your ensemble is able to handle 00:27:54.880 --> 00:27:58.640 it i think it's a Great piece. Yes. Well we hope 00:27:58.640 --> 00:28:00.799 you will consider programming Contempo in the 00:28:00.799 --> 00:28:03.220 future and thank you for joining us on this episode 00:28:03.220 --> 00:28:05.559 of Band BFFs!