WEBVTT 00:00:06.699 --> 00:00:10.759 Welcome to our podcast, Band BFFs, the podcast 00:00:10.759 --> 00:00:13.099 where we make your music selection less complicated. 00:00:13.519 --> 00:00:15.800 On today's episode, we are going to be discussing 00:00:15.800 --> 00:00:19.579 Basilisk by Tyler Arcari. Cheers to starting 00:00:19.579 --> 00:00:25.170 the conversation. Basilisk is a brand new piece. 00:00:25.710 --> 00:00:30.170 2025. Published this year so it is not on any 00:00:30.170 --> 00:00:33.170 PML and full disclosure Katie and I have not 00:00:33.170 --> 00:00:36.270 played or rather that's not true we did play 00:00:36.270 --> 00:00:39.289 a little bit of it in the 580MU reading band 00:00:39.289 --> 00:00:41.750 at our convention. We've not conducted taught 00:00:41.750 --> 00:00:47.390 or evaluated this piece but we really enjoyed 00:00:47.390 --> 00:00:49.710 it it was really cool I think this is a piece 00:00:49.710 --> 00:00:51.710 that would be super cool if you're like doing 00:00:51.710 --> 00:00:55.700 a region band or it's got a fall concert theme 00:00:55.700 --> 00:00:58.140 to it with the title Basilisk which is like a 00:00:58.140 --> 00:01:02.820 mythical snake. Very cool piece. This is in the 00:01:02.820 --> 00:01:05.920 key of E flat or C minor. It does have split 00:01:05.920 --> 00:01:11.040 clarinet split trumpet parts and a slew of percussion. 00:01:12.040 --> 00:01:14.379 Really you need I would say eight percussionists 00:01:14.379 --> 00:01:17.319 if you want to cover most of the parts. It has 00:01:17.319 --> 00:01:20.500 an optional chime part so if you even have nine 00:01:20.500 --> 00:01:23.120 or ten percussionists you're gonna find some 00:01:23.019 --> 00:01:27.599 for them to do in this piece. It's in 3 -4 and 00:01:27.599 --> 00:01:31.819 4 -4, 3 -4 most of the time. It does have, am 00:01:31.819 --> 00:01:34.060 I making that up? Doesn't it go to have a little 00:01:34.060 --> 00:01:36.969 section of 4 -4? Is it just 3 -4? It's 3 -4. 00:01:37.069 --> 00:01:39.269 It's 3 -4. Never mind. Okay. But it has a tempo 00:01:39.269 --> 00:01:40.950 change. That's what I'm thinking. I'm sorry. 00:01:41.090 --> 00:01:43.569 Thank you. Yeah, so there it starts very moderate 00:01:43.569 --> 00:01:47.549 tempo and then speeds up to 144 after the first 00:01:47.549 --> 00:01:51.569 15 measures. I also love it starts with this. 00:01:51.750 --> 00:01:54.430 Okay. Let me tell my story. Alright, so we played 00:01:54.430 --> 00:01:57.370 this. That's why she said, oh wait, we did play 00:01:57.370 --> 00:02:01.829 it for the Texas Bandmasters Association Conference. 00:02:03.120 --> 00:02:07.000 for 2025 in our Phi Beta Mu reading band session 00:02:07.000 --> 00:02:10.039 which shout out if you're from Texas or live 00:02:10.039 --> 00:02:14.180 around Texas go to that convention and go to 00:02:14.180 --> 00:02:17.180 this session because every year Laura and I get 00:02:17.180 --> 00:02:20.020 so many personal ideas for what we might want 00:02:20.020 --> 00:02:22.340 to play with our students but now also we get 00:02:22.340 --> 00:02:25.319 to share with you guys all the pieces that we 00:02:25.319 --> 00:02:28.539 enjoy and think would be very fitting for younger 00:02:28.539 --> 00:02:31.759 bands especially like middle school bands like 00:02:31.759 --> 00:02:34.539 she said region And even though we haven't conducted 00:02:34.539 --> 00:02:39.060 it, we get to play it. So it's kind of neat to 00:02:39.060 --> 00:02:41.159 see it from the kid's perspective, right? So 00:02:41.159 --> 00:02:44.259 it starts off, and my part got to do this, you 00:02:44.259 --> 00:02:47.860 have to be prepared. It has a written plastic 00:02:47.860 --> 00:02:51.900 bottle part for your flutes, your oboes, or an 00:02:51.900 --> 00:02:54.919 optional flute two part if you don't have oboes, 00:02:55.479 --> 00:02:59.020 saxophone and trumpet, both parts, and horn. 00:02:59.300 --> 00:03:02.550 That's a lot of water bottles. It's an empty 00:03:02.550 --> 00:03:05.409 plastic water bottle and you're gonna take it 00:03:05.409 --> 00:03:07.949 in your hands and just kind of crinkle it gently 00:03:07.949 --> 00:03:11.550 side to side and roll it. And it makes this crackling 00:03:11.550 --> 00:03:17.000 effect that's pretty loud. And so like my sweet 00:03:17.000 --> 00:03:19.319 friend took a video of me doing this while I 00:03:19.319 --> 00:03:21.419 was on stage because I was like, oh, this feels 00:03:21.419 --> 00:03:24.180 very loud. But it did because there were so many 00:03:24.180 --> 00:03:27.099 people playing the part. So even if you thought, 00:03:27.419 --> 00:03:29.580 oh my gosh, this is like a little bit aggressive 00:03:29.580 --> 00:03:32.319 like I did, maybe like don't have the brass do 00:03:32.319 --> 00:03:35.020 the crackling, just have the front row do it 00:03:35.020 --> 00:03:37.199 so that parents can kind of see it too. That's 00:03:37.199 --> 00:03:39.620 kind of fun. But again, if it's not overwhelming, 00:03:39.699 --> 00:03:42.340 let everybody do it. It's a mood setter and it's 00:03:42.340 --> 00:03:44.590 effective. It's an effective mood setter. sounds 00:03:44.590 --> 00:03:47.370 pretty cool starts with a rain stick and a thunder 00:03:47.370 --> 00:03:49.830 tube and then yeah it sounds like I mean it's 00:03:49.830 --> 00:03:52.169 meant to or an optional ocean drum yeah it's 00:03:52.169 --> 00:03:54.110 meant to sound like rain so I mean like you're 00:03:54.110 --> 00:03:57.650 just totally setting the the stage yes you know 00:03:57.650 --> 00:04:01.629 metaphorically speaking yeah so 82 is what it's 00:04:01.629 --> 00:04:04.629 written at so it starts off like ominously is 00:04:04.629 --> 00:04:07.150 what it says we've got the rolling going in the 00:04:07.150 --> 00:04:10.370 crackling effect the clarinets have the first 00:04:10.370 --> 00:04:14.370 opening statement with some low reads rest two 00:04:14.370 --> 00:04:20.420 three one two and one three one It's very pretty, 00:04:20.620 --> 00:04:24.980 it's very soft. Written well, it's under the 00:04:24.980 --> 00:04:27.620 staff, except for tenor sax a little bit higher. 00:04:28.759 --> 00:04:31.720 But just this is a great moment to teach phrasing 00:04:31.720 --> 00:04:34.439 and not everybody breathing at the same time. 00:04:34.740 --> 00:04:37.199 Maybe mark in parts like I want you to breathe 00:04:37.199 --> 00:04:39.600 in measure three, I want you to breathe in measure 00:04:39.600 --> 00:04:44.180 four, so that way it sounds very seamless. The 00:04:44.180 --> 00:04:47.560 tuba comes in and measure four with like a little 00:04:47.560 --> 00:04:52.939 with bass clarinet 1 2 3 1 So tuba is not playing 00:04:52.939 --> 00:04:55.199 at the beginning. It's just a woodwind feature, 00:04:55.220 --> 00:04:58.079 but then they add in here, which I think is kind 00:04:58.079 --> 00:05:01.300 of a cool effect Just the tuba, yeah And then 00:05:01.300 --> 00:05:05.399 you have cues in trombone and euphonium, but 00:05:05.399 --> 00:05:10.399 the bassoon at five plays kind of this low part 00:05:10.399 --> 00:05:13.819 with the tenor sax. The clarinets continue on 00:05:13.819 --> 00:05:15.819 with their melody. We're continuing with the 00:05:15.819 --> 00:05:19.519 crackling. And now the horn comes in with like 00:05:19.519 --> 00:05:21.600 that little line, kind of how the tubas had it 00:05:21.600 --> 00:05:25.360 before, two. And alto. Yeah, horn and alto. And 00:05:25.360 --> 00:05:26.439 then mallets have this too. And it's different 00:05:26.439 --> 00:05:30.360 here, but they come in on beat two. They get 00:05:30.360 --> 00:05:35.399 a new little spot two three one two three and 00:05:35.399 --> 00:05:38.220 one So it's kind of like in response to like 00:05:38.220 --> 00:05:40.819 what the clarinets were playing clarinets are 00:05:40.819 --> 00:05:43.259 now a little softer not playing the melody anymore 00:05:43.259 --> 00:05:47.139 That's the new melodic line and then we get to 00:05:47.139 --> 00:05:50.819 measure ten the trumpets now come in and have 00:05:50.819 --> 00:05:53.759 What look what looks to be a little bit like 00:05:53.759 --> 00:05:56.819 a like a counter melody counter melody clarinet 00:05:56.819 --> 00:05:59.459 with the clarinet? Yep We're lit. We're kind 00:05:59.459 --> 00:06:01.800 of all building up. It's marked crescendoing 00:06:01.800 --> 00:06:05.060 starting here at 10 and we're leading up and 00:06:05.060 --> 00:06:07.540 adding more parts Then finally the flute and 00:06:07.540 --> 00:06:11.279 oboe come in No more water bottles. We're all 00:06:11.279 --> 00:06:13.839 playing long notes. The timpani starts rolling 00:06:13.839 --> 00:06:17.779 along with bass drum tambourine Tom comes in 00:06:17.779 --> 00:06:21.379 and Tom is really the part that's gonna change 00:06:21.379 --> 00:06:23.779 the tempo That's right. Cuz it has a two measure 00:06:23.779 --> 00:06:27.759 ritardando right here before 16 and you you can 00:06:27.759 --> 00:06:32.740 either I assume treat that as like a like a ritardando 00:06:32.740 --> 00:06:37.379 one two and three and fast or if you wanted to 00:06:37.379 --> 00:06:40.100 you could do one two and three and one so that 00:06:40.100 --> 00:06:42.620 they know where the where the tempo is up to 00:06:42.620 --> 00:06:46.259 you and your level of ability in your band I 00:06:46.259 --> 00:06:48.399 would slow down I would too but I'm just saying 00:06:48.399 --> 00:06:51.300 that if your band isn't very good at yeah like 00:06:51.300 --> 00:06:53.680 hearing a tempo change and coming in together 00:06:53.680 --> 00:06:55.839 it would be a good idea to give them that tempo 00:06:55.839 --> 00:06:59.790 ahead of time At 16, everybody comes in, gotta 00:06:59.790 --> 00:07:03.250 be all together, and on the fast tempo, one, 00:07:03.250 --> 00:07:07.009 two, and three, one, two, three, one, two, three, 00:07:07.670 --> 00:07:11.149 one, off. And this is the melody part in trumpet 00:07:11.149 --> 00:07:13.569 and alto sax. Now the way I would rehearse this 00:07:13.569 --> 00:07:15.389 here is I would take the trumpet and the alto 00:07:15.389 --> 00:07:17.850 out, and I would rehearse everybody else and 00:07:17.850 --> 00:07:21.709 lock into that one, two, three, one, two, three. 00:07:21.579 --> 00:07:26.759 One, making sure that they're articulating, that 00:07:26.759 --> 00:07:29.540 we are playing in time, we're playing that note 00:07:29.540 --> 00:07:31.860 the same length as everybody else, then go back 00:07:31.860 --> 00:07:35.220 in and add that melodic line in. And it does 00:07:35.220 --> 00:07:38.220 not need to be, like there's no style markings 00:07:38.220 --> 00:07:46.079 on here, so I would do full value. And the low 00:07:46.079 --> 00:07:48.139 people, the people with the accompaniment that 00:07:48.139 --> 00:07:50.560 Laura was talking about, those notes are accented. 00:07:51.350 --> 00:07:55.470 but soft. Percussion is kind of chilling here, 00:07:55.670 --> 00:07:58.509 like they're not playing much, just doing the 00:07:58.509 --> 00:08:02.240 hits along with the accompaniment part. At 20 00:08:02.240 --> 00:08:04.720 they continue on trumpets and alto still with 00:08:04.720 --> 00:08:06.740 the melody still the same accompaniment, but 00:08:06.740 --> 00:08:11.879 at 22 Snares are going on they were off before 00:08:11.879 --> 00:08:15.500 and now we're leading up into 24 now There is 00:08:15.500 --> 00:08:18.980 a rhythm that happens in here. This is a a publisher 00:08:18.980 --> 00:08:23.439 grade 1 .5 and we Absolutely agree with that 00:08:23.439 --> 00:08:25.519 and part of the reason is because of some of 00:08:25.519 --> 00:08:27.939 the rhythmic challenges that are in this this 00:08:27.939 --> 00:08:33.279 syncopated statement 1 2 and one, happens a lot 00:08:33.279 --> 00:08:35.559 throughout here. It happens a ton in percussion, 00:08:35.700 --> 00:08:37.879 it starts in percussion, but then it happens 00:08:37.879 --> 00:08:40.700 in the low voices, it happens in the melodic 00:08:40.700 --> 00:08:44.240 instruments as well. So that rhythm, one, two, 00:08:44.360 --> 00:08:47.899 and one, is really important and it doesn't always 00:08:47.899 --> 00:08:50.179 stay on one note. Sometimes it's moving around. 00:08:50.240 --> 00:08:53.159 And it's marked with the accents, da, da, da, 00:08:53.159 --> 00:08:58.710 da. So we've... led up into 24. The trumpets 00:08:58.710 --> 00:09:01.330 are still going with alto, but now flute oboe 00:09:01.330 --> 00:09:03.450 and clarinet have added in on the melody along 00:09:03.450 --> 00:09:06.669 with mallet one. They're still continuing to 00:09:06.669 --> 00:09:08.450 play everything long and connected. We've now 00:09:08.450 --> 00:09:10.830 got a large woodblock. We've got a triangle. 00:09:11.409 --> 00:09:13.850 We're getting a lot more of percussive elements 00:09:13.850 --> 00:09:17.889 here. And then the low brass instead of now playing 00:09:17.889 --> 00:09:20.470 like quarter notes that are accented, we're playing 00:09:20.470 --> 00:09:24.470 a more chordal type of accompaniment. Everything's 00:09:24.470 --> 00:09:27.629 a little bit more smooth. connected not all breathing 00:09:27.629 --> 00:09:30.909 in the same spots but the whole band is playing 00:09:30.909 --> 00:09:35.309 here and then we're leading into 30 and at 30 00:09:35.309 --> 00:09:39.710 he marks and bring out for the low people trombone, 00:09:39.870 --> 00:09:44.210 euphonium, bassoon, bari sax one two and three 00:09:44.210 --> 00:09:46.889 so it's like kind of like the basilisk I guess 00:09:46.889 --> 00:09:49.899 is like coming out of the Think of like Harry 00:09:49.899 --> 00:09:52.559 Potter like here comes the snake coming out of 00:09:52.559 --> 00:09:55.820 the pipe in the bathroom with money Myrtle Sorry, 00:09:56.139 --> 00:09:58.679 but I mean I would think that's where the it 00:09:58.679 --> 00:10:02.919 rears its ugly head there you go So at 30 here 00:10:02.919 --> 00:10:06.179 comes the basilisk and then it's just those people 00:10:06.179 --> 00:10:08.399 and it's Accented and exciting everybody else 00:10:08.399 --> 00:10:11.240 is getting out of the way Then we start to all 00:10:11.240 --> 00:10:15.840 crescendo up at 31 that same thought is Accented 00:10:15.840 --> 00:10:19.740 the whole time while above them all the other 00:10:19.740 --> 00:10:23.519 melodic instruments are playing really really 00:10:23.519 --> 00:10:25.879 smooth and connected so it's supposed to be kind 00:10:25.879 --> 00:10:28.799 of different. Now there's this wild thing in 00:10:28.799 --> 00:10:31.500 here leading into this next new little idea before 00:10:31.500 --> 00:10:34.759 the before we end this section where most of 00:10:34.759 --> 00:10:37.220 the ensemble is crescendoing over this little 00:10:37.220 --> 00:10:39.960 three or four measure phrase leading up to the 00:10:39.960 --> 00:10:42.559 climax where we go one two and and one as the 00:10:42.559 --> 00:10:45.019 full ensemble but then there are some instruments 00:10:45.019 --> 00:10:48.240 the low voices not all the low voices the voices 00:10:48.240 --> 00:10:52.279 I should say Barry Sachs and tenor voices are 00:10:52.279 --> 00:10:56.700 decrescendoing as they lead into this so I like 00:10:56.700 --> 00:11:01.519 and just like you know the writing of bring out 00:11:01.519 --> 00:11:04.960 before like he's obviously been intentional about 00:11:05.200 --> 00:11:07.639 Okay, I want this instrument to do this. Oftentimes 00:11:07.639 --> 00:11:10.360 composers are not. We talk about Sheldon is really 00:11:10.360 --> 00:11:12.379 good about writing to that, right? So I like 00:11:12.379 --> 00:11:15.759 that he's been real specific. Yep. At 34, the 00:11:15.759 --> 00:11:18.100 full band has that rhythm we just spoke about, 00:11:18.159 --> 00:11:21.240 one, two, and, and one, and with accents and 00:11:21.240 --> 00:11:23.600 everything. So you'll have to, this is a great 00:11:23.600 --> 00:11:26.059 thing to add into like your daily exercises, 00:11:26.179 --> 00:11:28.580 right? Like you can play this on a Remington 00:11:28.580 --> 00:11:32.159 to make sure that the style is completely accurate. 00:11:32.940 --> 00:11:35.679 They have it. multiple times in a row together. 00:11:36.519 --> 00:11:40.200 Then 38, we start a new spot. This is a big percussion 00:11:40.200 --> 00:11:43.340 moment. Castanets, bass drum playing on the rim, 00:11:43.480 --> 00:11:47.440 a shaker, bongos, triangle, like all kinds of 00:11:47.440 --> 00:11:49.720 cool percussion stuff. Timpani, mallets, yeah. 00:11:50.340 --> 00:11:53.460 And then it's a woodwind choir for four measures. 00:11:53.679 --> 00:11:56.340 The flute oboe clarinet one lead it. Clarinet 00:11:56.340 --> 00:12:00.480 one is up higher in the staff, only up to about 00:12:00.480 --> 00:12:03.139 an E, but still up a little higher than before. 00:12:03.210 --> 00:12:06.009 We have little cords happening. You can add some 00:12:06.009 --> 00:12:09.690 beautiful shaping from the low reeds and the 00:12:09.690 --> 00:12:14.429 sacks then at 42 Low brass comes in just to add 00:12:14.429 --> 00:12:18.039 some cool portal type things, little counter 00:12:18.039 --> 00:12:20.919 melody in the trombone, euphonium, bassoon, and 00:12:20.919 --> 00:12:22.980 then we're back to that same rhythm leading into 00:12:22.980 --> 00:12:25.580 46. Now in this little section I would be careful 00:12:25.580 --> 00:12:29.179 the upper woodwinds have this three, one, two, 00:12:29.179 --> 00:12:31.919 and three, one, two, and three, one, two, and 00:12:31.919 --> 00:12:35.559 three, and the two and three is slurred. Because 00:12:35.559 --> 00:12:38.580 of the notes and the amount of physical movement 00:12:38.580 --> 00:12:41.440 that has to take place in their fingers they're 00:12:41.440 --> 00:12:43.960 going to rush the eighth notes like crazy. The 00:12:43.960 --> 00:12:47.259 tendency is going to be to go ta ta ta ta ta 00:12:47.259 --> 00:12:50.360 ta so I like I would make them tongue this at 00:12:50.360 --> 00:12:53.600 first until the rhythm is really solid and then 00:12:53.600 --> 00:12:55.820 go back in and add that slur. And the oboe's 00:12:55.820 --> 00:12:58.259 on C's like the whole time so just watch the 00:12:58.259 --> 00:13:02.039 tuning there too. Once we have built it up to 00:13:02.039 --> 00:13:05.460 45 we've got another little one two and and one 00:13:05.460 --> 00:13:09.379 and two and or one and and 46 when they land 00:13:09.379 --> 00:13:12.289 the lows have like their little I don't know, 00:13:12.350 --> 00:13:14.750 like a little basilisk theme again. One, two, 00:13:14.750 --> 00:13:18.549 and three, and one, two, and one. So it's passing 00:13:18.549 --> 00:13:21.230 back and forth between lows and highs here. Highs 00:13:21.230 --> 00:13:23.370 are not as important. Lows need to be featured. 00:13:23.490 --> 00:13:26.149 Like it's active. They're moving around. They 00:13:26.149 --> 00:13:28.029 need to be able to articulate, move their fingers, 00:13:28.149 --> 00:13:30.409 and move their slides. Slides like, yeah, really, 00:13:30.409 --> 00:13:33.690 really well. And then this continues on until 00:13:33.690 --> 00:13:36.250 54. This was the section, by the way, as Katie 00:13:36.250 --> 00:13:38.490 and I were re -listening to this, that we looked 00:13:38.490 --> 00:13:40.450 at each other and we were like, this is not a 00:13:40.450 --> 00:13:43.210 grade one. This is okay. Yeah, it is a grade 00:13:43.210 --> 00:13:45.429 one point five hundred percent. Yeah Yeah, it 00:13:45.429 --> 00:13:47.350 gets a little bit just more challenging lots 00:13:47.350 --> 00:13:50.309 of dynamics written in follow them true to form 00:13:50.309 --> 00:13:54.090 Because they're written in well and then at 54 00:13:54.090 --> 00:13:56.529 we've got the same thing lows are continuing 00:13:56.529 --> 00:13:59.750 on We've got little interjections from the upper 00:13:59.750 --> 00:14:03.350 people But there's now a new cool little horn 00:14:03.350 --> 00:14:05.830 parts and this is what needs to be brought out 00:14:05.830 --> 00:14:08.110 here Yep, you're gonna bring out one two and 00:14:08.110 --> 00:14:11.120 three one and that little part is just neat and 00:14:11.120 --> 00:14:16.519 different. It's up like on C, D, C in the horn 00:14:16.519 --> 00:14:18.379 part. That's what made us look at each other 00:14:18.379 --> 00:14:20.419 like, oh, that's getting up there a little higher. 00:14:20.659 --> 00:14:24.710 Dada, or no, C, D, B flat, G, G. So getting up 00:14:24.710 --> 00:14:27.730 to C is not horrible, but still there's a couple 00:14:27.730 --> 00:14:31.610 little Accidentals being added in at 59 and 60 00:14:31.610 --> 00:14:35.330 like an E flat bass clarinet D flat and the tuba 00:14:35.330 --> 00:14:39.029 part a flat in the horn We got a lot of the one 00:14:39.029 --> 00:14:44.409 two and and one two and and 162 we hit flute 00:14:44.409 --> 00:14:48.649 oboe Trumpet have the melody with sax and bells 00:14:48.649 --> 00:14:52.960 as well And so now they have the melody There's 00:14:52.960 --> 00:14:55.659 not very many accents in here, so everything 00:14:55.659 --> 00:14:58.600 should be connected unless you have an accented 00:14:58.600 --> 00:15:00.539 beat one. And it's usually on beat one, right? 00:15:00.799 --> 00:15:04.279 So in this one little thing, another style rehearsal 00:15:04.279 --> 00:15:07.000 strategy that might be helpful. So like this 00:15:07.000 --> 00:15:09.139 measure 61, this is not the first time this has 00:15:09.139 --> 00:15:12.360 happened, where the full ensemble has one, two, 00:15:12.419 --> 00:15:15.059 and, and one, and the accents are happening on 00:15:15.059 --> 00:15:18.879 the one and the and. What I would do is I, that 00:15:18.879 --> 00:15:22.379 is an easy motion for a snare. drummer because 00:15:22.379 --> 00:15:25.080 the accents are happening on the right hand so 00:15:25.080 --> 00:15:28.059 I would have the snare drummer play right left 00:15:28.059 --> 00:15:31.220 right left right and low strokes in the left 00:15:31.220 --> 00:15:34.220 hand accents in the right hand and then have 00:15:34.220 --> 00:15:38.580 the winds echo the drummer on a concert F da 00:15:38.580 --> 00:15:42.460 da da da so they really get it in their ear what 00:15:42.460 --> 00:15:45.080 it sounds like to have the accented note and 00:15:45.080 --> 00:15:48.440 then unaccented note that's easy on snare drum 00:15:48.440 --> 00:15:53.659 yep So 62 flute oboe sax trumpet again. They're 00:15:53.659 --> 00:15:55.840 continuing on with this melody But now it's a 00:15:55.840 --> 00:15:58.899 bit more back and forth one two and three and 00:15:58.899 --> 00:16:01.700 then lows come in one two three back to trumpet 00:16:01.700 --> 00:16:04.779 one two and three one So it is very much like 00:16:04.779 --> 00:16:06.820 when you have the dotted half note you back out 00:16:06.820 --> 00:16:08.840 of the way When you have the moving notes you 00:16:08.840 --> 00:16:10.419 bring them out. So this is a good opportunity 00:16:10.419 --> 00:16:13.580 to teach that Conceptual thing to all of your 00:16:13.580 --> 00:16:17.299 students and that continues on till 70 at 70. 00:16:17.299 --> 00:16:20.639 We they have the same people One, two, and three, 00:16:20.799 --> 00:16:23.919 one, lows, lows, lows, lows, lows. So we're still 00:16:23.919 --> 00:16:25.799 doing a little bit of a conversational piece, 00:16:25.799 --> 00:16:28.940 but it's not as long value. Now we just have 00:16:28.940 --> 00:16:30.960 quarter notes and eighth notes happening, and 00:16:30.960 --> 00:16:33.879 all the percussion is basically playing together 00:16:33.879 --> 00:16:37.840 here. Mallets are with upper woodwinds, but then 00:16:37.840 --> 00:16:39.980 percussion's all playing two and three and one. 00:16:40.320 --> 00:16:43.019 They're not playing differing types of rhythms. 00:16:44.789 --> 00:16:47.149 Upper people are still continuing on the melody 00:16:47.149 --> 00:16:52.149 and then we have a Chord again with an accidental 00:16:52.149 --> 00:16:56.309 at 76 this time. It's a G flat in the tuba a 00:16:56.309 --> 00:16:59.350 flattened horn a flattened trumpet So it's a 00:16:59.350 --> 00:17:01.289 little bit of a chord probably you'll have to 00:17:01.289 --> 00:17:04.289 spend a little time Tuning arriving at making 00:17:04.289 --> 00:17:06.809 sure we're all good and again as we've already 00:17:06.809 --> 00:17:09.410 You know said many times to feel free to rewrite 00:17:09.410 --> 00:17:12.569 it like if that's a bad note on a certain instrument 00:17:12.720 --> 00:17:14.839 change the chord a little bit. Yeah, I guarantee 00:17:14.839 --> 00:17:17.700 you your students don't have G flat major tonality 00:17:17.700 --> 00:17:24.099 in their ears. Are you sure and then? 77 is the 00:17:24.099 --> 00:17:26.759 same rhythm again one two and and one and then 00:17:26.759 --> 00:17:31.099 we have an arrival at 78 Upper yep upper woodwinds 00:17:31.099 --> 00:17:34.079 go one two and three one two and three like they 00:17:34.079 --> 00:17:37.720 did before There's a slapstick that comes in 00:17:37.720 --> 00:17:40.779 on beat three each time here leading up to the 00:17:40.779 --> 00:17:43.700 end The trumpets are playing a long chord along 00:17:43.700 --> 00:17:46.200 with horn and alto and then lows come in doll 00:17:46.200 --> 00:17:51.000 doll doll doll cord doll doll and then the horn 00:17:51.000 --> 00:17:54.039 and alto. Have a cool little interlude at 82. 00:17:55.009 --> 00:17:59.190 And 83 and then full band at 84 including percussion 00:17:59.190 --> 00:18:02.630 one two and and one and we all end it together 00:18:02.630 --> 00:18:06.369 So this piece is very programmatic fun Yeah, 00:18:06.369 --> 00:18:09.829 very programmatic lots of fun cool effects good 00:18:09.829 --> 00:18:13.750 things to teach but not like overly Ridiculous, 00:18:13.769 --> 00:18:17.589 right just moments like chunks of measures. Okay, 00:18:17.630 --> 00:18:19.710 let's really stress this eight measure phrase 00:18:19.710 --> 00:18:22.509 or whatever, right? But fun piece your kids will 00:18:22.509 --> 00:18:24.450 love it. It'll be an audience pleaser for sure 00:18:24.400 --> 00:18:26.900 Anytime you bring out the tub of empty water 00:18:26.900 --> 00:18:29.000 bottles and start passing it out to your ensemble, 00:18:29.200 --> 00:18:31.059 the audience sits up a little taller, right? 00:18:31.480 --> 00:18:33.920 So cool, so cool. All right, well we hope you 00:18:33.920 --> 00:18:36.480 will enjoy programming Basilisk in the future 00:18:36.480 --> 00:18:38.619 and thank you for joining us on this episode 00:18:38.619 --> 00:18:40.900 of Band BFFs.