WEBVTT 00:00:06.699 --> 00:00:10.619 Welcome to our podcast. Band BFFs. The podcast 00:00:10.619 --> 00:00:12.880 where we make your music selection less complicated. 00:00:13.400 --> 00:00:15.679 On today's episode, we are going to be talking 00:00:15.679 --> 00:00:20.140 about Hsien by Earl J. Fox Jr. Cheers to starting 00:00:20.140 --> 00:00:25.339 the conversation. Okay, so this piece is about 00:00:25.339 --> 00:00:28.379 three and a half minutes long. It's in the key 00:00:28.379 --> 00:00:34.159 of A flat, so keep that in mind. It does have 00:00:34.159 --> 00:00:36.719 two clarinet parts, two alto parts, two trumpet 00:00:36.719 --> 00:00:39.859 parts, two trombone parts, a slew of percussion. 00:00:40.280 --> 00:00:43.399 You can really, if you had a minimal amount of 00:00:43.399 --> 00:00:45.520 percussion, you could get away with five, but 00:00:45.520 --> 00:00:48.880 six is really, six or seven would be ideal to 00:00:48.880 --> 00:00:50.840 make sure all the little accessory parts are 00:00:50.840 --> 00:00:54.649 covered well. This piece was written in 2015. 00:00:54.729 --> 00:00:58.570 So it's You know been around for a little while. 00:00:58.590 --> 00:01:03.890 It's a Texas PML grade two And it's got us. It's 00:01:03.890 --> 00:01:07.670 a slow fast slow. Yeah piece just in general 00:01:07.670 --> 00:01:11.409 It's only about 90 measures long, but the slower 00:01:11.409 --> 00:01:15.510 portion is a little bit longer It's not like 00:01:15.510 --> 00:01:17.590 an eight measure intro and then it's fast the 00:01:17.590 --> 00:01:19.670 rest of the time It's a little bit of both and 00:01:19.670 --> 00:01:22.069 it calls for a flute soloist to clarinet soloist 00:01:22.069 --> 00:01:25.349 and a trumpet soloist yeah so lots of yeah mature 00:01:25.349 --> 00:01:27.969 items that would need to be present for sure 00:01:27.969 --> 00:01:32.370 so as mentioned it starts off Adagio marked at 00:01:32.370 --> 00:01:36.329 72 there's a flute solo a little clarinet it's 00:01:36.329 --> 00:01:38.689 like a clarinet I don't know it's not a solo 00:01:38.689 --> 00:01:41.290 it's kind of just echoing they just have to play 00:01:41.290 --> 00:01:46.650 FDF FDF, they're just echoing to the flutes. 00:01:47.409 --> 00:01:49.790 But there's a little motor part in second clarinet 00:01:49.790 --> 00:01:53.890 doing the one and two and three and four and 00:01:53.890 --> 00:01:57.489 at that tempo it's the only pulse going on in 00:01:57.489 --> 00:01:59.909 the ensemble and it's real important that that 00:01:59.909 --> 00:02:02.750 be in time and even. They're the metronome and 00:02:02.750 --> 00:02:05.129 then percussion's just doing little accessory 00:02:05.129 --> 00:02:07.290 things like suspended cymbal roll, little triangle 00:02:07.290 --> 00:02:10.330 hits. The flute solo obviously is what needs 00:02:10.330 --> 00:02:14.699 to be brought out. The rhythm is rest two e and 00:02:14.699 --> 00:02:19.780 a three four long yes and that note has to go 00:02:19.780 --> 00:02:22.460 all the way to the rest and you don't want any 00:02:22.460 --> 00:02:26.120 of the slurs to sound clipped like Laura mentioned 00:02:26.120 --> 00:02:28.860 that clarinet two part you want it to just sound 00:02:32.530 --> 00:02:36.189 teach them a DAW syllable. Whole note air like 00:02:36.189 --> 00:02:38.349 I would tell them whole note air through all 00:02:38.349 --> 00:02:41.250 of that and we're just denting the air on those 00:02:41.250 --> 00:02:44.750 two articulations per measure. Yep. It's just 00:02:44.750 --> 00:02:47.310 the woodwinds playing at the beginning and then 00:02:47.310 --> 00:02:51.610 at measure four as more voices come in euphonium 00:02:51.610 --> 00:02:56.060 and alto sax have a little four -y and a one 00:02:56.060 --> 00:02:58.840 that leads us into the next little section. So 00:02:58.840 --> 00:03:00.379 you want to make sure that that's brought out 00:03:00.379 --> 00:03:04.280 and moves right together. The first trumpet gets 00:03:04.280 --> 00:03:07.599 to now double what the flutes had and then the 00:03:07.599 --> 00:03:10.199 oboes come in as well and it's up high on C and 00:03:10.199 --> 00:03:14.240 D for the trumpet part. And then we're continuing 00:03:14.240 --> 00:03:18.039 on with like the clarinets doing that moving 00:03:18.039 --> 00:03:20.819 metronomic part except now it's all the clarinets 00:03:20.819 --> 00:03:23.199 and they're all playing the same thing. It's 00:03:23.199 --> 00:03:25.800 in a nice range for clarinet. Oh, yeah, so it's 00:03:25.800 --> 00:03:28.819 right now Yeah, right now exactly the flutes 00:03:28.819 --> 00:03:31.099 and the trumpets are up pretty high So flutes 00:03:31.099 --> 00:03:36.539 have like going up to a high E flat one and two 00:03:36.539 --> 00:03:40.819 a one three four And that's probably the hardest 00:03:40.819 --> 00:03:42.819 rhythm in the whole piece is just the dotted 00:03:42.819 --> 00:03:45.020 eight sixteenths. Yeah, but they're always in 00:03:45.020 --> 00:03:48.199 the slower rhythm Trumpets have the same thing. 00:03:48.199 --> 00:03:51.139 So they're going up to a high F Then we're kind 00:03:51.139 --> 00:03:54.759 of coming down Musically into measure nine where 00:03:54.759 --> 00:03:57.719 we all want to release on beat one now. It's 00:03:57.719 --> 00:04:00.060 a brass choir So it was a woodwind choir then 00:04:00.060 --> 00:04:02.560 everybody played now to brass choir at nine now 00:04:02.560 --> 00:04:04.099 Katie's already talked a little bit about this 00:04:04.099 --> 00:04:06.099 But I'm addressing right here in measure eight 00:04:06.099 --> 00:04:07.699 before we get to the brass choir and measure 00:04:07.699 --> 00:04:10.520 nine in the flute oboe and trumpet We have a 00:04:10.520 --> 00:04:14.280 tongue slur tongue slur tongue tongue while the 00:04:14.280 --> 00:04:16.620 clarinets are slurring everything and you want 00:04:16.620 --> 00:04:18.980 to make Absolute certain that they don't clip 00:04:18.980 --> 00:04:20.720 the ends of those slurs like Katie was talking 00:04:20.720 --> 00:04:22.779 about earlier in a two note slower like that, 00:04:22.920 --> 00:04:26.379 your kids are gonna go tee -yah, tee -yah, especially 00:04:26.379 --> 00:04:29.259 the trumpets as they're ascending, well they 00:04:29.259 --> 00:04:32.639 all are ascending there, so be very mindful of 00:04:32.639 --> 00:04:35.990 that. So now we're on the brass choir at nine 00:04:35.990 --> 00:04:39.589 and the trumpets get the melody the trumpet one 00:04:39.589 --> 00:04:43.290 And then the horn and the euphonium have a cool 00:04:43.290 --> 00:04:46.550 little counter melody here. That is I would say 00:04:46.550 --> 00:04:49.850 Equally as important as the melody and then the 00:04:49.850 --> 00:04:52.410 trombone and trombone and tuba parts are just 00:04:52.410 --> 00:04:55.709 kind of back for like harmonic harmonic chords 00:04:55.709 --> 00:04:58.850 Yeah, but this is again where you don't want 00:04:58.850 --> 00:05:04.800 anything to be like too short. So one two three 00:05:04.800 --> 00:05:08.600 and one don't breathe two and three and four 00:05:08.600 --> 00:05:11.399 so that's kind of tricky for trumpets right they're 00:05:11.399 --> 00:05:14.019 gonna have to push their air through going from 00:05:14.019 --> 00:05:17.360 the a to the upper D and keeping it in tune I'm 00:05:17.360 --> 00:05:20.279 focusing a lot on that because this little thing 00:05:20.279 --> 00:05:22.660 comes back and back and back where the trumpets 00:05:22.660 --> 00:05:26.300 have to constantly go up from an a to a D and 00:05:26.300 --> 00:05:30.579 be aware and be not flat so especially as I get 00:05:30.579 --> 00:05:32.899 more tired at the end of the piece those D's 00:05:32.899 --> 00:05:37.319 have to be like very in tune um I know I've adjudicated 00:05:37.319 --> 00:05:40.839 this piece not often but a couple times and just 00:05:40.839 --> 00:05:43.459 those upper D's in the trumpet if it's not exact 00:05:43.459 --> 00:05:47.319 it bugs me so that could just be me but Who knows? 00:05:48.139 --> 00:05:50.139 Like I mentioned, the euphoniums and horns have 00:05:50.139 --> 00:05:52.040 this cool little doodly part where they're kind 00:05:52.040 --> 00:05:54.259 of moving around a little bit. French horns are 00:05:54.259 --> 00:05:57.220 going up to a high D, euphoniums are just going 00:05:57.220 --> 00:06:02.139 to a G, but then even the tubas at 12 have one, 00:06:02.399 --> 00:06:06.939 two, and three, and four, a one, and just keeping 00:06:06.939 --> 00:06:09.680 that all moving right together is super critical. 00:06:09.959 --> 00:06:11.759 And as legato as possible, like it is marked 00:06:11.759 --> 00:06:14.899 legato, it says legato, but you know, I mean, 00:06:15.040 --> 00:06:17.240 just keeping that as smooth as... possible especially 00:06:17.240 --> 00:06:20.939 for brass players not to stereotype but sometimes 00:06:20.939 --> 00:06:23.339 younger brass players see moving notes and they 00:06:23.339 --> 00:06:27.040 think ooh tongue firm, tongue firm. So we want 00:06:27.040 --> 00:06:29.620 it to be clearly defined but really smooth. Yep 00:06:29.620 --> 00:06:32.740 now the alto clarinet and flute are doing what 00:06:32.740 --> 00:06:35.360 the alto and the euphonium did before so now 00:06:35.360 --> 00:06:38.639 they have four and a one and now we're back to 00:06:38.639 --> 00:06:41.699 full band again at 13. The horn and euphonium 00:06:41.699 --> 00:06:43.819 are continuing their little counter melody but 00:06:43.819 --> 00:06:48.089 now we've added in alto two, and then the trumpets 00:06:48.089 --> 00:06:50.779 are continuing their melody. But we've added 00:06:50.779 --> 00:06:55.019 an alto one, clarinet one, clarinet, or sorry, 00:06:55.180 --> 00:06:59.100 flute one, or flute, and oboe. So that's a lot 00:06:59.100 --> 00:07:02.879 of people on the melody, and it's up pretty high 00:07:02.879 --> 00:07:05.860 on everybody's instrument. So just making sure 00:07:05.860 --> 00:07:08.540 again that we're cross -tuning and making everything 00:07:08.540 --> 00:07:12.459 sound the same. At 16, we kind of come down a 00:07:12.459 --> 00:07:16.279 little bit in our dynamic. And then at 17, we're 00:07:16.279 --> 00:07:19.870 back to just a woodwind feature. have dropped 00:07:19.870 --> 00:07:23.689 out. So we're back to flute oboe clarinet melody. 00:07:24.430 --> 00:07:28.029 and this is about to be kind of towards the the 00:07:28.029 --> 00:07:30.149 end of this little section but we're going to 00:07:30.149 --> 00:07:33.029 crescendo one last time from 20 to 21 where the 00:07:33.029 --> 00:07:35.829 brass come back in uh we're back to the trumpet 00:07:35.829 --> 00:07:38.670 melody now the flute and clarinet have kind of 00:07:38.670 --> 00:07:42.250 like a little obligato type melodic part it's 00:07:42.250 --> 00:07:44.810 not the melody um the trumpets have the melody 00:07:44.810 --> 00:07:47.470 but it's also not that counter melody that horn 00:07:47.470 --> 00:07:50.110 and alto have it's just kind of like an in between 00:07:50.110 --> 00:07:54.579 just a little bit more doodly one and two three 00:07:54.579 --> 00:07:59.720 and a four and one and two and three four so 00:07:59.720 --> 00:08:01.899 it's just got a little bit more movement to it 00:08:01.899 --> 00:08:05.759 but it's got to be 100 % in time. Notice we haven't 00:08:05.759 --> 00:08:08.360 said anything about percussion yet. There's been 00:08:08.360 --> 00:08:11.040 no time keeping percussion. Yeah, so literally 00:08:11.040 --> 00:08:14.579 this piece is so tricky because the band has 00:08:14.579 --> 00:08:18.379 to be constantly counting one and two and not 00:08:18.379 --> 00:08:20.860 slowing down, not speeding up. It's just kind 00:08:20.860 --> 00:08:23.240 of tricky. And I would do exactly what Katie 00:08:23.240 --> 00:08:25.720 just said. As we're rehearsing it, that's exactly 00:08:25.720 --> 00:08:27.899 what I would turn the met off and I would make 00:08:27.899 --> 00:08:31.279 the band accountable for counting out loud and 00:08:31.279 --> 00:08:34.190 subdividing that pulse when they're not playing. 00:08:34.490 --> 00:08:36.350 When you're not playing you should be saying 00:08:36.350 --> 00:08:40.970 out loud one and two and three and four and or 00:08:40.970 --> 00:08:45.039 whatever if you like a or whatever system you 00:08:45.039 --> 00:08:48.059 like, but making the students accountable for 00:08:48.059 --> 00:08:50.940 pulse and subdivision throughout this slow section. 00:08:51.019 --> 00:08:55.200 Yep, because it's definitely needed. Then that's 00:08:55.200 --> 00:08:58.500 again a four measure 2D section. Now we're back 00:08:58.500 --> 00:09:01.620 to just the woodwinds at 25. We're getting slower 00:09:01.620 --> 00:09:04.519 and slower. We're back to the flute and clarinet 00:09:04.519 --> 00:09:07.820 little melody part just like the beginning, except 00:09:07.820 --> 00:09:10.360 this time we're gonna end on a fermata note. 00:09:10.779 --> 00:09:13.179 And it's just the flutes that have that last 00:09:13.159 --> 00:09:18.320 fermata notes so the band has one three and they're 00:09:18.320 --> 00:09:21.320 holding on three but the flutes have flute solo 00:09:21.320 --> 00:09:27.039 one and two and three four so it's just a little 00:09:27.039 --> 00:09:28.700 bit tricky you want to make sure you have a good 00:09:28.700 --> 00:09:31.919 flute soloist who can be okay playing alone on 00:09:31.919 --> 00:09:34.919 their own little part then you're gonna cut off 00:09:34.919 --> 00:09:37.600 and the tempo is gonna go about twice as fast 00:09:37.600 --> 00:09:44.019 144 and now the percussion It's very lively. 00:09:44.879 --> 00:09:48.600 Very lively and very likely to play way too loud. 00:09:49.000 --> 00:09:52.500 Yeah, so while the the style has changed and 00:09:52.500 --> 00:09:58.620 we had this like real like contemplative, that's 00:09:58.620 --> 00:10:02.039 the word, contemplative part, now it's like kind 00:10:02.039 --> 00:10:04.279 of like the dance -y part, right? So it's more 00:10:04.279 --> 00:10:06.519 energetic, it's fun, low brass, have the melody 00:10:06.519 --> 00:10:09.379 now, and it's Mark Staccato. So this reminds 00:10:09.379 --> 00:10:12.159 me, Katie and I were talking before, me very 00:10:12.159 --> 00:10:16.100 much of Brave Spirit not only in the in the tonality 00:10:16.100 --> 00:10:20.179 and like the the melodies but also the style 00:10:20.179 --> 00:10:22.820 starting with that flute feature at the beginning 00:10:22.820 --> 00:10:26.320 that's slow and then now we've got a faster paced 00:10:26.320 --> 00:10:29.860 tempo with a lot of style and it's just it's 00:10:29.860 --> 00:10:32.600 score it's it's written and orchestrated very 00:10:32.600 --> 00:10:35.559 similarly I think to Brave Spirit yep so they 00:10:35.559 --> 00:10:39.570 have staccato one and three and then an accent 00:10:39.570 --> 00:10:44.129 four one two and three four one so over and over 00:10:44.129 --> 00:10:46.769 you've got to really concentrate on those accents 00:10:46.769 --> 00:10:50.110 versus the staccatos and all low brass have it 00:10:50.110 --> 00:10:53.879 not low reeds just low brass including tuba Then 00:10:53.879 --> 00:10:57.639 you have a long tenuto beat for for one so it's 00:10:57.639 --> 00:11:00.159 basically the same thing over and over But you 00:11:00.159 --> 00:11:02.559 are gonna have to line this up super well to 00:11:02.559 --> 00:11:05.480 where everybody sounds the same But the snare 00:11:05.480 --> 00:11:08.679 part is very very active underneath this part 00:11:08.679 --> 00:11:11.740 and remains active the entire time that you are 00:11:11.740 --> 00:11:15.360 in this fast section So it's got a lot of flames 00:11:15.360 --> 00:11:19.039 a lot of flames a lot of flames accented flames 00:11:19.039 --> 00:11:22.980 so like I would make Would be very intentional 00:11:22.980 --> 00:11:24.879 about the student that you picked to play this 00:11:24.879 --> 00:11:28.039 part, right? I would make sure it's marked forte 00:11:28.039 --> 00:11:32.179 It does not need to be forte So make sure that 00:11:32.179 --> 00:11:34.000 they can play with good control close to the 00:11:34.000 --> 00:11:36.139 edge of the drum And I would even consider what 00:11:36.139 --> 00:11:38.480 types of sticks they're using so like if they're 00:11:38.480 --> 00:11:40.299 playing with just regular generals You might 00:11:40.299 --> 00:11:42.259 consider a smaller beaded stick to give them 00:11:42.259 --> 00:11:44.639 a little bit more articulation and control at 00:11:44.639 --> 00:11:48.889 a softer dynamic level it's it's a lot. Then 00:11:48.889 --> 00:11:51.889 there's a temple blocks part that comes back 00:11:51.889 --> 00:11:54.269 at the end of each little melody part for the 00:11:54.269 --> 00:11:57.309 lows here and so it's kind of fun and it sounds 00:11:57.309 --> 00:12:00.559 like very you know... Common for this type of 00:12:00.559 --> 00:12:03.840 yes, so it's it's a nice little part. But again 00:12:03.840 --> 00:12:05.700 you want to bring that out each time You have 00:12:05.700 --> 00:12:09.440 the temple blocks and snare can stay softer underneath 00:12:09.440 --> 00:12:11.879 the low brass So the low brass have this twice 00:12:11.879 --> 00:12:15.360 in a row and then at 37 the trumpets come in 00:12:15.360 --> 00:12:19.940 with the melody again And it's very legato. Yes 00:12:20.250 --> 00:12:23.309 So the lows are gonna come down in volume to 00:12:23.309 --> 00:12:25.929 mezzo piano And now the trumpets are playing 00:12:25.929 --> 00:12:28.110 it very smooth while they're doing their little 00:12:28.110 --> 00:12:31.230 bouncy underneath But this is what I was talking 00:12:31.230 --> 00:12:34.110 about before with going up to the high D like 00:12:34.110 --> 00:12:37.809 in 39 It's over and over that in that melody. 00:12:37.809 --> 00:12:41.070 You have to be in tune So just making sure that 00:12:41.070 --> 00:12:43.009 your trumpets are very aware of that. They are 00:12:43.009 --> 00:12:45.309 split trumpet parts So only the first trumpet 00:12:45.309 --> 00:12:49.250 has the melody second trumpet has a harmony part 00:12:49.769 --> 00:12:52.350 but it's just them. So now we still don't have 00:12:52.350 --> 00:12:55.789 any woodwinds. At measure 44, we're going to 00:12:55.789 --> 00:12:59.450 now go to everybody in in the woodwinds. So we 00:12:59.450 --> 00:13:03.090 have Horn and Alto have one, two, three, four, 00:13:03.149 --> 00:13:06.269 one, and then the flutes take over the melody, 00:13:07.169 --> 00:13:10.950 along with clarinet. The entire clarinet section 00:13:10.950 --> 00:13:15.820 comes in on a fifth line F. and the first clarinets 00:13:15.820 --> 00:13:18.919 just continue to climb and they're up on a high 00:13:18.919 --> 00:13:24.879 C and a high D over and over and over in this 00:13:24.879 --> 00:13:27.919 melody. Yeah, so they don't have to sit up there 00:13:27.919 --> 00:13:29.980 if they don't sound good up there. Right, or 00:13:29.980 --> 00:13:33.220 find one child who might sound okay up there 00:13:33.220 --> 00:13:35.960 and that's the one kid who gets to play it. Now 00:13:35.960 --> 00:13:38.960 also I want to point out that the xylophone is 00:13:38.960 --> 00:13:44.000 doubling This part right here on the melody and 00:13:44.000 --> 00:13:48.580 it has them rolling on it So I would be I mean 00:13:48.580 --> 00:13:51.820 make sure it says hard plastic mallets. I would 00:13:51.820 --> 00:13:54.700 not do that with hard plastic mallets. It's gonna 00:13:54.700 --> 00:14:01.659 go along with the like the legato style that 00:14:01.659 --> 00:14:03.899 that all the other melodic instruments are playing 00:14:03.899 --> 00:14:07.500 Yes, it will sound weird just find the find that 00:14:07.500 --> 00:14:10.950 the color of mallet. I don't literally mean the 00:14:10.950 --> 00:14:13.889 color but you know what the the aural color that 00:14:13.889 --> 00:14:17.909 you like texture there you go well whatever tamber 00:14:17.909 --> 00:14:21.970 tamber there it is the T word But find that to 00:14:21.970 --> 00:14:23.929 make sure that that balances with the melody 00:14:23.929 --> 00:14:28.250 appropriately. Yep. So now the only brass instrument 00:14:28.250 --> 00:14:31.389 playing is horn and they're doing what the saxes 00:14:31.389 --> 00:14:34.909 are doing. Now the low reeds have taken over 00:14:34.909 --> 00:14:38.669 the short trombone, euphonium part. And like 00:14:38.669 --> 00:14:40.590 I said, the flute and the clarinet are taking 00:14:40.590 --> 00:14:44.070 over the melody. So the clarinet part, y 'all, 00:14:44.090 --> 00:14:50.980 it goes up to C D C A G F A G So it's just way 00:14:50.980 --> 00:14:54.200 up there. They are literally in the same like 00:14:54.200 --> 00:14:57.080 range as the flute. So you have to make sure 00:14:57.080 --> 00:14:59.799 that that's either in tune or the clarinet just 00:14:59.799 --> 00:15:04.610 doesn't play that and only the flutes do. I remember 00:15:04.610 --> 00:15:07.169 that that was very tough for the band that played 00:15:07.169 --> 00:15:08.789 it. I mean, it makes me cringe looking at the 00:15:08.789 --> 00:15:11.730 score going, oh my gosh, I can only imagine how 00:15:11.730 --> 00:15:14.629 loud that would be. Yes. And we even had our 00:15:14.629 --> 00:15:16.710 first clarinet. We had one first clarinet on 00:15:16.710 --> 00:15:19.590 this part, one. And we had her sit in the second 00:15:19.590 --> 00:15:22.730 row to make sure that her sound wasn't just like 00:15:22.730 --> 00:15:25.049 piercing through the whole band. So you could 00:15:25.049 --> 00:15:28.049 even do something like that. The horn part does 00:15:28.049 --> 00:15:30.830 go up a little higher here, up to like a D. And 00:15:30.830 --> 00:15:35.789 then at 51, trauma. bone does a little arpeggiated 00:15:35.789 --> 00:15:39.330 thing one two three four one two three four one 00:15:39.330 --> 00:15:41.389 it was just an arpeggio at the beginning but 00:15:41.389 --> 00:15:43.750 it's like the melody part but then the horns 00:15:43.750 --> 00:15:47.440 go up to a high F out of kind of nowhere like 00:15:47.440 --> 00:15:52.539 a an announcement one and three four one and 00:15:52.539 --> 00:15:56.440 it's a big yeah it's a big moment too and so 00:15:56.440 --> 00:15:58.139 you want to make sure your horns can sound really 00:15:58.139 --> 00:16:00.419 good there the upper woodwinds are just chilling 00:16:00.419 --> 00:16:02.720 on a long note so this is kind of the part to 00:16:02.720 --> 00:16:06.850 bring out at 53. Now the lows get the melody 00:16:06.850 --> 00:16:10.049 and the tubas continue to do their little part 00:16:10.049 --> 00:16:13.210 from before along with the low reeds. Everybody 00:16:13.210 --> 00:16:16.669 else is on this just little one in and three 00:16:16.669 --> 00:16:19.730 in and one in but the clarinets are doing it 00:16:19.730 --> 00:16:23.190 on a high A and a high C. Yeah, yeah they are. 00:16:23.629 --> 00:16:26.669 So maybe don't have them do that or take it down 00:16:26.669 --> 00:16:29.769 an octave or I don't know what but it's like 00:16:29.769 --> 00:16:33.049 it's flute, oboe, clarinet. All clarinet, all 00:16:33.049 --> 00:16:35.950 trumpet on this exact part. And this is moving. 00:16:36.090 --> 00:16:38.429 This is moving. Right. So like the clarity of 00:16:38.429 --> 00:16:41.250 articulation and that range on that clarinet. 00:16:41.509 --> 00:16:44.169 It's very difficult. So you're wanting to hear 00:16:44.169 --> 00:16:47.889 trombone and euphonium and horn along with saxophone. 00:16:48.210 --> 00:16:50.710 So if you can't hear them easily, then I would 00:16:50.710 --> 00:16:54.419 put... 53 this is one on a part or whatever we 00:16:54.419 --> 00:16:56.240 need to do to make sure we can hear that nice 00:16:56.240 --> 00:16:59.340 tenor line as that's the melody. And mind you, 00:16:59.519 --> 00:17:04.519 the snare drum is still going. It's still going. 00:17:04.680 --> 00:17:08.039 So make sure that you're keeping that sweet little 00:17:08.039 --> 00:17:11.180 baby under control. This part here at 53, it 00:17:11.180 --> 00:17:15.079 can really start to sound noisy and out of control 00:17:15.079 --> 00:17:18.599 if you don't just have the most perfect precision. 00:17:18.660 --> 00:17:22.839 And so that's just so important. At 60 we're 00:17:22.839 --> 00:17:26.720 leading into 61 with a big crescendo mostly from 00:17:26.720 --> 00:17:30.940 the low people. Now at 61 the trumpets take over 00:17:30.940 --> 00:17:35.240 the melody again. along with alto, sax, and horn. 00:17:35.799 --> 00:17:38.500 And the tenor line, the trombone, euphonium part, 00:17:38.900 --> 00:17:42.119 has a little counter melody. Flutes and clarinets 00:17:42.119 --> 00:17:44.539 have gone to playing kind of what the clarinet 00:17:44.539 --> 00:17:47.180 had at the beginning. One and two and three. 00:17:47.460 --> 00:17:50.480 Hold on, hold on. But they have one and two and 00:17:50.480 --> 00:17:52.880 three and four. And now we're not slow, we're 00:17:52.880 --> 00:17:55.700 fast, right? So we really have to make sure that 00:17:55.700 --> 00:17:59.329 this is accurate. the staff in the clarinet uh 00:17:59.329 --> 00:18:01.670 -huh it's going up to a high C both parts friends 00:18:01.670 --> 00:18:06.089 both parts both parts above the staff right so 00:18:06.089 --> 00:18:10.170 that's not easy to do um so this might be another 00:18:10.170 --> 00:18:12.589 part where you find one first clarinet and one 00:18:12.589 --> 00:18:15.190 second clarinet that can play it in tune and 00:18:15.190 --> 00:18:17.630 and call it a day i mean they're written higher 00:18:17.630 --> 00:18:21.880 than well the flute part Sometimes they're well, 00:18:21.940 --> 00:18:23.859 no, they're exactly like the flute. Yeah, the 00:18:23.859 --> 00:18:26.759 exact same octave Yeah, so it's written well 00:18:26.759 --> 00:18:29.539 for flute just up really really high for clarinet 00:18:29.539 --> 00:18:33.119 I would I would hesitate to have many people 00:18:33.119 --> 00:18:35.680 on this part If any you might want to consider 00:18:35.680 --> 00:18:38.259 writing the whole thing down just so it doesn't 00:18:38.259 --> 00:18:41.559 sound screechy From the clarinet and quite honestly, 00:18:41.559 --> 00:18:45.400 I might even consider taking you know, one of 00:18:45.400 --> 00:18:49.049 those clarinet parts and and Make changing it 00:18:49.049 --> 00:18:51.609 to the melody a tenor part. Yeah, or an oboe 00:18:51.609 --> 00:18:54.849 part or whatever because I write I just not needed 00:18:54.849 --> 00:18:57.849 It's not the melody. So it needs to get out of 00:18:57.849 --> 00:19:01.150 the way so we can hear the the horn and trumpet 00:19:01.150 --> 00:19:03.890 part so this whole time in the horn and trumpet 00:19:03.890 --> 00:19:08.960 part to the horns are playing like harmonic thing 00:19:08.960 --> 00:19:11.779 with the trumpet too. So that's kind of the focal 00:19:11.779 --> 00:19:14.720 point. Again, you want to make sure that we are 00:19:14.720 --> 00:19:17.839 featuring the melody, a little bit of the low 00:19:17.839 --> 00:19:20.720 brass and then very little of the flute clarinet 00:19:20.720 --> 00:19:24.140 part and the snare part. We're continuing on 00:19:24.140 --> 00:19:27.039 with this for a long time. We get to 69. It's 00:19:27.039 --> 00:19:29.940 still the exact same thing. You want to make 00:19:29.940 --> 00:19:31.900 sure also that your kids are not all breathing 00:19:31.900 --> 00:19:33.940 in the same spots with the flute and clarinet 00:19:33.940 --> 00:19:36.900 part. And since it is so doodly you can change 00:19:36.900 --> 00:19:39.230 it. and you're breathing on even measures, you're 00:19:39.230 --> 00:19:41.109 breathing on odd measures. And we have these 00:19:41.109 --> 00:19:43.809 weird interjections, and not weird, but these 00:19:43.809 --> 00:19:46.410 interjections of staccato notes in the midst 00:19:46.410 --> 00:19:49.869 of the four slurred notes. It's repeatedly ta 00:19:49.869 --> 00:19:52.869 -ta -ta -ta, but every once in a while you'll 00:19:52.869 --> 00:19:54.829 have this staccato note kind of thrown in there. 00:19:55.430 --> 00:20:00.059 So just being really, really mindful. Yeah, it's 00:20:00.059 --> 00:20:02.859 it's very tricky. So we're continuing on with 00:20:02.859 --> 00:20:05.700 this melody again Now trumpets are up into C's 00:20:05.700 --> 00:20:08.400 and D's often over and over and over on this 00:20:08.400 --> 00:20:12.259 melody And then we're getting into the end at 00:20:12.259 --> 00:20:15.220 72. We have a roll and tondo. We're now slowing 00:20:15.220 --> 00:20:18.619 down We have one two and it's kind of back and 00:20:18.619 --> 00:20:21.359 forth where some of the band has a accent on 00:20:21.359 --> 00:20:24.599 two Yeah, one two three four. Yeah, so we go 00:20:24.599 --> 00:20:27.400 back and forth and the horns have this really 00:20:27.400 --> 00:20:30.549 cool like I don't know, like a hunting call, 00:20:30.869 --> 00:20:36.609 so they have like C, C, E, F, C, E, C. But the 00:20:36.609 --> 00:20:39.009 C, C, F part needs to be kind of brought out. 00:20:39.250 --> 00:20:41.329 It's like the last little thing. And now we're 00:20:41.329 --> 00:20:44.569 getting softer and slower. We're doing the one, 00:20:44.569 --> 00:20:47.650 two, three, four with the accents. I would probably. 00:20:48.290 --> 00:20:51.069 Bop this part the first couple times you play 00:20:51.069 --> 00:20:54.069 it to make sure it's slowing down on the same 00:20:54.069 --> 00:20:57.970 beat together the the Active snare part is now 00:20:57.970 --> 00:21:01.349 gone and it's rolling So you want to keep it 00:21:01.349 --> 00:21:04.029 out of the rest of the percussion are participating 00:21:04.029 --> 00:21:07.730 like bass drum and stuff So everyone needs to 00:21:07.730 --> 00:21:12.430 be unified in right and then we are back to 72 00:21:12.430 --> 00:21:16.069 our halftime at 81 and we're back to the same 00:21:16.069 --> 00:21:18.000 thing from the beginning the clarinet has this 00:21:18.000 --> 00:21:21.839 little exact same one yeah the flute has a melody 00:21:21.839 --> 00:21:25.619 the trumpet now though has like a back -and -forth 00:21:25.619 --> 00:21:29.200 with the flute in the clarinet and it's up high 00:21:29.200 --> 00:21:33.500 CDC over and over so just you know and it's marked 00:21:33.500 --> 00:21:36.220 one player trumpet is gonna be fatigued at this 00:21:36.220 --> 00:21:38.400 point making sure that they're really in tune 00:21:38.400 --> 00:21:41.019 making sure again that the flute player is watching 00:21:41.019 --> 00:21:44.779 we have lost all that pulse in the snare so now 00:21:44.779 --> 00:21:47.119 it's the band they have to really be listening 00:21:46.890 --> 00:21:49.710 to each other the clarinet two part has that 00:21:49.710 --> 00:21:53.710 same moving eighth note structure and then it 00:21:53.710 --> 00:21:57.990 ends with just the flute part ending the last 00:21:57.990 --> 00:22:01.809 little moment at 86 87 the clarinets kind of 00:22:01.809 --> 00:22:05.549 finish it off with three and four and and then 00:22:05.549 --> 00:22:09.250 everybody comes in at 88 like brass haven't been 00:22:09.250 --> 00:22:11.750 playing for several measures everybody comes 00:22:11.750 --> 00:22:17.240 in on the final chord piano with a fermata and 00:22:17.240 --> 00:22:20.380 then percussion ends. with a beat three hit. 00:22:21.460 --> 00:22:25.720 So it ends very delicately and you really have 00:22:25.720 --> 00:22:28.920 to make sure the kids breathe together and play 00:22:28.920 --> 00:22:31.920 together and it doesn't sound bumpy. But this 00:22:31.920 --> 00:22:35.019 is a beautiful piece. Your kids will really enjoy 00:22:35.019 --> 00:22:37.920 it. The melody is very catchy. I think they'll 00:22:37.920 --> 00:22:42.779 buy into it. They'll enjoy playing it but I think 00:22:42.779 --> 00:22:45.940 it is harder than it looks on the page. Absolutely. 00:22:45.980 --> 00:22:48.380 I think you look at it and go oh yeah but there's 00:22:48.430 --> 00:22:50.849 is some meat in this. This is a very good piece 00:22:50.849 --> 00:22:54.049 though to really train up a few like little soloists. 00:22:54.430 --> 00:22:56.630 Oh definitely. Everybody gets an important part 00:22:56.630 --> 00:22:59.049 at some point so it's a good piece if you have 00:22:59.049 --> 00:23:02.029 a pretty mature well -rounded band for sure. 00:23:02.369 --> 00:23:04.730 Yeah I agree. Yeah well we hope you will enjoy 00:23:04.730 --> 00:23:06.789 playing Cheyenne in the future and thank you 00:23:06.789 --> 00:23:10.549 for joining us on this episode of Band BFFs.