WEBVTT 00:00:06.640 --> 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. 00:00:13.179 --> 00:00:15.140 On today's episode, we're going to be talking 00:00:15.140 --> 00:00:19.260 about Mighty Mite March by Ted Mesang arranged 00:00:19.260 --> 00:00:22.359 by Sean O 'Loughlin. Cheers to starting the conversation. 00:00:24.179 --> 00:00:28.019 Okay, this is a great traditional style march. 00:00:28.079 --> 00:00:31.280 It's in the key of concert B flat or G minor. 00:00:31.300 --> 00:00:35.500 Of course, we add a flat at the trio. It is, 00:00:35.640 --> 00:00:37.320 Katie and I were just discussing, I don't think 00:00:37.320 --> 00:00:41.479 a march for the faint of heart. Pretty traditional 00:00:41.479 --> 00:00:44.539 scoring instrumentation, double clarinet parts, 00:00:44.799 --> 00:00:49.340 double trumpet parts, traditional percussion, 00:00:49.659 --> 00:00:52.979 so snare bass crash, triangle at the trio, timpani 00:00:52.979 --> 00:00:55.000 mallets, but you could get away with doing this 00:00:55.000 --> 00:00:58.240 with three or four percussionists easy if you 00:00:58.240 --> 00:01:01.909 needed to. We were also noting that it was written 00:01:01.909 --> 00:01:06.670 in 1951 so obviously it's been arranged I guess 00:01:06.670 --> 00:01:09.129 since then but it's just been around a long time 00:01:09.129 --> 00:01:12.250 so yes it's very traditional and by that we mean 00:01:12.250 --> 00:01:15.370 really high trumpet one really high trombone 00:01:15.370 --> 00:01:19.530 really high flute parts yeah so unless you necessarily 00:01:19.530 --> 00:01:22.090 have the right group that is able to play really 00:01:22.090 --> 00:01:24.909 high first clarinet if they're not able to play 00:01:24.909 --> 00:01:26.930 with their best sounds up high this may not be 00:01:26.930 --> 00:01:29.859 the march for you but it could absolutely showcase 00:01:29.859 --> 00:01:34.780 a really great low brass section and a trumpet 00:01:34.780 --> 00:01:37.379 section. You got to have pretty... Decent first 00:01:37.379 --> 00:01:39.879 trumpet for this piece. Yeah, I agree and and 00:01:39.879 --> 00:01:42.980 upper woodwinds with some technicality the technique 00:01:42.980 --> 00:01:44.659 in the woodwinds I don't feel like it's quite 00:01:44.659 --> 00:01:46.879 as demanding and some of the range stuff in the 00:01:46.879 --> 00:01:50.599 brass, but still that still yeah Yeah, so as 00:01:50.599 --> 00:01:53.640 Laura mentioned also, it's written in cut time 00:01:53.640 --> 00:01:56.540 So you would want to approach teaching this piece 00:01:56.540 --> 00:02:00.420 though by teaching it in 4 -4 and then just gradually 00:02:00.420 --> 00:02:03.099 Bumping the tempo up until you got to the final 00:02:03.099 --> 00:02:06.620 tempo, which is marked at 120 and cut time So, 00:02:07.359 --> 00:02:09.580 you know, I've played this before, Laura has 00:02:09.580 --> 00:02:12.840 too, or one of our bands, and that's how we approached 00:02:12.840 --> 00:02:15.639 it. We started very slow to work on the technique, 00:02:15.759 --> 00:02:18.180 to make sure we've got pitches, we've got the 00:02:18.180 --> 00:02:21.199 style in there before we would just like click 00:02:21.199 --> 00:02:25.400 it up a little bit each week. Yeah. And I am 00:02:25.400 --> 00:02:27.180 in favor, when you're doing something like that, 00:02:27.199 --> 00:02:29.759 like I think it's okay to teach the kids, we... 00:02:29.740 --> 00:02:32.639 count before we play anything in my band hall. 00:02:32.900 --> 00:02:36.259 And I think it's okay to count in 4 -4, but once 00:02:36.259 --> 00:02:38.800 you make that shift to cut time, it's important 00:02:38.800 --> 00:02:41.039 to make sure that they understand how to count 00:02:41.039 --> 00:02:44.599 it in cut time as well. That skill is really 00:02:44.599 --> 00:02:46.740 important. It's not the same as counting it in 00:02:46.740 --> 00:02:50.659 a fast 4. Right. And I will usually, if we're 00:02:50.659 --> 00:02:53.159 gonna do cut time, still put the metronome where 00:02:53.159 --> 00:02:56.939 the kids are tapping in cut time. So it might 00:02:56.939 --> 00:02:59.719 be click click, click, click, and this will be 00:02:59.719 --> 00:03:03.740 down, up, down, up, but it's still clicking like 00:03:03.740 --> 00:03:07.080 one, two, three, four, but they're still tapping 00:03:07.080 --> 00:03:09.180 and cut time so that way when it goes faster 00:03:09.180 --> 00:03:12.259 and faster, yes. And then again, they're learning 00:03:12.259 --> 00:03:15.520 how to put an accent on beat two, big beat two 00:03:15.520 --> 00:03:18.259 and that sort of thing, yeah. So the very beginning 00:03:18.259 --> 00:03:20.939 starts off with everybody having a similar rhythm, 00:03:21.379 --> 00:03:26.409 one, two. or sorry, one, two, one, two, one, 00:03:26.669 --> 00:03:29.949 two, one. That's what all the brass have. Trumpet 00:03:29.949 --> 00:03:32.909 and flute and high clarinet have one, two, a 00:03:32.909 --> 00:03:35.710 one, two, a oney and a two and one. And they 00:03:35.710 --> 00:03:38.509 have to tongue on one, which I think that one, 00:03:38.870 --> 00:03:42.110 two, a ta, two, a ta. Yeah, so that's really 00:03:42.110 --> 00:03:44.770 important for clarity. Yeah, when you're up in 00:03:44.770 --> 00:03:48.550 the tempo wise, that is very tricky. And then 00:03:48.550 --> 00:03:51.210 the trumpets are mimicking what the high woodwinds 00:03:51.210 --> 00:03:54.370 are doing, too, and landing on a high E. So again, 00:03:54.430 --> 00:03:56.849 we mentioned you got to have a pretty decent 00:03:56.849 --> 00:03:59.870 trumpet section. Then the lows take over the 00:03:59.870 --> 00:04:03.669 melody going into measure five, and they are 00:04:03.669 --> 00:04:07.770 going to play everything very tongue firm. Very 00:04:07.770 --> 00:04:10.389 firm. Yes. In measure eight, they have... a figure 00:04:10.389 --> 00:04:13.009 that they have over and over which is one and 00:04:13.009 --> 00:04:18.540 two a one in cut time and so I was taught by 00:04:18.540 --> 00:04:22.459 my mentors at the time, to put a slash between 00:04:22.459 --> 00:04:25.300 the dotted quarter and the eighth note, so that 00:04:25.300 --> 00:04:27.519 way it sounds like a dotted eight sixteenth with 00:04:27.519 --> 00:04:29.639 a little lift to it. And it's hung the eighth 00:04:29.639 --> 00:04:31.879 note really firm. Really firm, yeah, definitely. 00:04:32.220 --> 00:04:34.220 And then I think one of the things in this whole 00:04:34.220 --> 00:04:35.879 section when you're trying to balance, there 00:04:35.879 --> 00:04:38.779 are a ton of instruments on the counter melody 00:04:38.779 --> 00:04:42.899 here, not nearly as many on the melody, so that 00:04:42.899 --> 00:04:45.680 balance can be really tricky, making sure that 00:04:45.680 --> 00:04:48.009 you do balance to the low voice. This is at least 00:04:48.009 --> 00:04:50.250 the first time through on this first strain. 00:04:51.290 --> 00:04:54.329 And then the whole notes that they land on are 00:04:54.329 --> 00:04:57.350 not always in the friendliest of positions. So 00:04:57.350 --> 00:05:00.589 the tuning is really critical here. Not just 00:05:00.589 --> 00:05:02.829 even the tuning, but also just the follow through. 00:05:03.990 --> 00:05:14.209 It's long notes. And they want to go. and they 00:05:14.209 --> 00:05:16.509 want to like die away on all the long notes instead 00:05:16.509 --> 00:05:18.430 of pushing through so that makes it difficult 00:05:18.430 --> 00:05:21.430 yeah so the first two long notes in the trombone 00:05:21.430 --> 00:05:24.689 are G and A natural so yes I agree with that 00:05:24.689 --> 00:05:27.889 it goes to a C in measure 15 which are all just 00:05:27.889 --> 00:05:31.810 the fun positions so again I probably would not 00:05:31.810 --> 00:05:34.129 pick this piece for my group unless I knew I 00:05:34.129 --> 00:05:37.430 had a really stellar trombone euphonium section 00:05:37.430 --> 00:05:39.689 because this comes back over and over and over 00:05:40.860 --> 00:05:43.779 as laura mentioned the counter melody part is 00:05:43.779 --> 00:05:49.300 very highly scored in this piece and what I would 00:05:49.300 --> 00:05:51.620 probably do is the first time around have it 00:05:51.620 --> 00:05:54.800 be maybe one on a part in that section and then 00:05:54.800 --> 00:05:57.439 the second time around let everybody play and 00:05:57.439 --> 00:06:00.000 just tell the lows to kind of beef up their volume 00:06:00.000 --> 00:06:03.259 a little bit more. The tuba is not on the melody 00:06:03.259 --> 00:06:06.079 either they're on like a little pseudo bass line. 00:06:07.139 --> 00:06:09.519 Sometimes they come in and kind of help out but 00:06:09.519 --> 00:06:11.959 a lot of the time they're not matching so it's 00:06:11.959 --> 00:06:15.220 really truly just trombone, euphonium and tenor 00:06:15.220 --> 00:06:20.370 sax. on the melody the whole time. the counter 00:06:20.370 --> 00:06:24.230 melody part at measure five the flute oboe clarinet 00:06:24.230 --> 00:06:27.069 sax trumpet horn well so many people they're 00:06:27.069 --> 00:06:30.769 all playing and a two and a one and two and you 00:06:30.769 --> 00:06:33.269 have to make sure that half note goes all the 00:06:33.269 --> 00:06:37.709 way the rest and a two and a one off and you 00:06:37.709 --> 00:06:40.949 want to make sure you teach that like super duper 00:06:40.949 --> 00:06:44.009 duper from the very beginning do not let the 00:06:44.009 --> 00:06:46.850 long notes die away use vibrato make sure they 00:06:46.850 --> 00:06:48.610 push through and that's exactly what I was about 00:06:48.610 --> 00:06:50.750 to say vibrato instruments can really help by 00:06:50.750 --> 00:06:53.069 making sure that they're using vibrato and intensifying 00:06:53.069 --> 00:06:55.850 that, and that'll kind of even give the energy 00:06:55.850 --> 00:07:00.709 it needs. Between 10 and 11, there is no place 00:07:00.709 --> 00:07:02.850 for the kids to take a breath, so they need to 00:07:02.850 --> 00:07:05.870 put an arrow, a no breath, and push through all 00:07:05.870 --> 00:07:07.850 the way to 12 where they can take a breath again. 00:07:08.649 --> 00:07:11.370 The trumpet part, as we mentioned, is up high. 00:07:11.410 --> 00:07:14.629 It's landing on upper Ds and upper Es often, 00:07:14.790 --> 00:07:19.290 upper Fs. So the tuning between these sections 00:07:19.290 --> 00:07:23.490 can be very tricky if you don't think about it 00:07:23.490 --> 00:07:25.930 early enough on yeah yeah definitely and when 00:07:25.930 --> 00:07:28.269 you're going slow it's just it's harder for them 00:07:28.269 --> 00:07:30.819 to like keep their little faces set and everything 00:07:30.819 --> 00:07:33.740 for that long of a period of time but as it goes 00:07:33.740 --> 00:07:35.920 faster it kind of clicks in. Yeah there is just 00:07:35.920 --> 00:07:39.220 a lot of the cross tuning where the flute and 00:07:39.220 --> 00:07:42.839 oboe and first clarinet are sitting and aligning 00:07:42.839 --> 00:07:46.720 that in a horrible range for first trumpet so 00:07:46.720 --> 00:07:49.519 that you know like like we said not not for the 00:07:49.519 --> 00:07:51.319 faint of not for the faint of heart. For sure 00:07:51.319 --> 00:07:55.540 so this same idea keeps going forever and ever 00:07:55.540 --> 00:07:58.459 percussion is very traditional the bells part 00:07:58.459 --> 00:08:03.459 is mimicking what the low brass are playing so 00:08:03.459 --> 00:08:06.199 you know take it or leave it and then on this 00:08:06.199 --> 00:08:09.709 it's a traditional go back to the first Part 00:08:09.709 --> 00:08:11.970 and then have a second ending as I mentioned 00:08:11.970 --> 00:08:14.629 I would probably have less people the first time 00:08:14.629 --> 00:08:16.790 and everybody come in the second time and and 00:08:16.790 --> 00:08:19.029 I mean That's one of the fun things about marches 00:08:19.029 --> 00:08:20.670 I think is there's a million different ways that 00:08:20.670 --> 00:08:23.069 you can color them find something that is gonna 00:08:23.069 --> 00:08:26.250 showcase Your band and make it sound really special 00:08:26.250 --> 00:08:28.889 I'm always a fan of you know highlighting the 00:08:28.889 --> 00:08:30.550 melody the first time and then bringing out the 00:08:30.550 --> 00:08:32.509 counter melody But you know what it took me a 00:08:32.509 --> 00:08:34.789 long time in my career to like be comfortable 00:08:34.789 --> 00:08:36.929 with that You know, I was always like in my young 00:08:36.929 --> 00:08:38.899 years. I was like I have to play with it it says 00:08:38.899 --> 00:08:42.039 on the page and then it was like no I don't because 00:08:42.039 --> 00:08:44.659 they don't know you know and that was kind of 00:08:44.659 --> 00:08:47.700 born out of my band just like didn't have what 00:08:47.700 --> 00:08:49.820 it needed for me to play that march or whatever 00:08:49.820 --> 00:08:51.820 now I pick my literature according to my band 00:08:51.820 --> 00:08:53.970 which is what I should have done when I was younger. 00:08:55.029 --> 00:08:56.710 But yeah, don't be afraid to change it. I feel 00:08:56.710 --> 00:08:57.750 like there's more freedom. There's more freedom 00:08:57.750 --> 00:09:00.570 in a march to experiment like that. Yes, absolutely. 00:09:01.730 --> 00:09:04.490 Okay, so after we get to the second ending at 00:09:04.490 --> 00:09:08.289 21, now we're at 22, the timpani has to shift 00:09:08.289 --> 00:09:12.129 pitches, so that's just a little side note because 00:09:12.129 --> 00:09:15.529 that's something different for timpani. At 22, 00:09:15.529 --> 00:09:18.230 we've got the same people on the low brass, but 00:09:18.230 --> 00:09:22.929 now the trumpets are playing this new part. I 00:09:22.929 --> 00:09:24.850 guess that would be the melody, the trumpet and 00:09:24.850 --> 00:09:26.529 sax. Yes, I would consider that. Trumpet, sax, 00:09:26.629 --> 00:09:28.629 clarinet too, and oboe are now on the melody 00:09:28.629 --> 00:09:31.370 and the low brass are on a little bit of a counter 00:09:31.370 --> 00:09:33.590 melody. So this is the second string now, right? 00:09:33.590 --> 00:09:36.110 Right. And the trumpets again are going way up 00:09:36.110 --> 00:09:38.309 there. They're sitting at the top of the staff 00:09:38.309 --> 00:09:41.750 the whole time, the first trumpet and then the 00:09:41.750 --> 00:09:44.649 clarinet too is kind of doing a little bit of 00:09:44.649 --> 00:09:48.460 a harmony part along with like trumpet too. So 00:09:48.460 --> 00:09:50.360 your first trumpets kind of have to lead the 00:09:50.360 --> 00:09:52.919 way here and they're double with it there They 00:09:52.919 --> 00:09:55.360 are let me see make sure I'm reading. Yeah, they 00:09:55.360 --> 00:10:01.659 are just doubled by oboe oboe. That's it So that's 00:10:01.789 --> 00:10:04.610 Something to think about yeah, um the there's 00:10:04.610 --> 00:10:07.409 like a little obligato -esque type thing from 00:10:07.409 --> 00:10:09.330 the flute in the first clarinet They're trilling 00:10:09.330 --> 00:10:12.070 up above the staff and then and a two e and a 00:10:12.070 --> 00:10:14.929 one and two and one two And they kind of come 00:10:14.929 --> 00:10:17.950 in with a little bit of the melody After their 00:10:17.950 --> 00:10:20.289 little obligato and they do match with the first 00:10:20.289 --> 00:10:23.529 trumpets have Every two measures so they're just 00:10:23.529 --> 00:10:25.789 trilling and then they match with the melody 00:10:25.789 --> 00:10:29.490 The lows again are playing kind of the background 00:10:29.490 --> 00:10:33.100 here, but they're up so high so the trombone 00:10:33.100 --> 00:10:37.740 part is up on C's and D's over and over and over 00:10:37.740 --> 00:10:40.679 so it's just important again to make sure that 00:10:40.679 --> 00:10:43.100 that's like really in tune they're not landing 00:10:43.100 --> 00:10:47.440 on a chordal point and being flat gosh that's 00:10:47.440 --> 00:10:52.220 so important bassoon is up on D's a lot too so 00:10:52.220 --> 00:10:55.139 the good thing is the horn part is pretty fairly 00:10:56.269 --> 00:10:58.889 Easy most of the time. Yeah, if you have kind 00:10:58.889 --> 00:11:02.490 of a pretty okay horn section like a little articulation 00:11:02.490 --> 00:11:05.830 That's not super. Yeah. No, I know. Yeah, but 00:11:05.830 --> 00:11:08.129 for the most part this this part is definitely 00:11:08.129 --> 00:11:11.529 just challenging for upper trumpet and a little 00:11:11.529 --> 00:11:13.269 bit of the technique like Laura mentioned on 00:11:13.269 --> 00:11:15.169 like flute and clarinet and then just balancing 00:11:15.169 --> 00:11:17.190 just making sure that you know what part you 00:11:17.190 --> 00:11:19.909 know you want to be most important making sure 00:11:19.909 --> 00:11:22.330 that those the few woodwinds that you have the 00:11:22.330 --> 00:11:24.710 flutes and the first clarinets that are on the 00:11:24.710 --> 00:11:26.590 little technique like what Katie was calling 00:11:26.590 --> 00:11:29.070 the obligato part, making sure that that's really, 00:11:29.070 --> 00:11:31.809 really clean. It's really not hard in their fingers. 00:11:31.970 --> 00:11:33.610 No, it's just like a little scale. It's just 00:11:33.610 --> 00:11:35.190 little scales, but just making sure that that's 00:11:35.190 --> 00:11:37.470 really clean. And I think that actually as thick 00:11:37.470 --> 00:11:40.049 as some of the other stuff is, that can get lost. 00:11:40.169 --> 00:11:41.950 There's a little part at the end too that comes 00:11:41.950 --> 00:11:43.929 back with just flute that's kind of the same 00:11:43.929 --> 00:11:45.950 thing. So just pay attention to balance. Make 00:11:45.950 --> 00:11:47.409 sure it sounds like what you're hearing all the 00:11:47.409 --> 00:11:49.509 part. Teach it tongued at first. So that way 00:11:49.509 --> 00:11:51.929 the kids won't rush it. Teach everything tongued. 00:11:51.990 --> 00:11:54.980 Then you can add in the articulation later. There's 00:11:54.980 --> 00:11:57.419 also, I forgot about this snare roll. It just 00:11:57.419 --> 00:11:59.940 kinda came back to me. That can tend to be a 00:11:59.940 --> 00:12:02.980 little bit overwhelming at like 30 and 31. They 00:12:02.980 --> 00:12:05.419 have like a roll underneath the trumpet melody. 00:12:06.419 --> 00:12:08.620 Maybe it was just my snare drummer that was loud. 00:12:08.980 --> 00:12:12.039 But you wanna keep it contained and not like 00:12:12.039 --> 00:12:14.840 a loud buzz roll. And it's doubled in the trill. 00:12:14.980 --> 00:12:18.419 Like I feel like it's meant to play off of that. 00:12:18.519 --> 00:12:20.100 And just like you don't want the trill covering 00:12:20.100 --> 00:12:22.419 everything up. You don't want the snare covering 00:12:22.419 --> 00:12:25.000 everything up either. Absolutely. Then at the 00:12:25.000 --> 00:12:28.100 end on measure 37 at the first ending we have 00:12:28.100 --> 00:12:31.720 ta ta ta ta and then we go back and the second 00:12:31.720 --> 00:12:34.320 time around at 38 we're leading into the trio 00:12:34.320 --> 00:12:39.000 the euphonium and sax and bassoon part has one 00:12:39.000 --> 00:12:42.519 and two and one and they kind of take over Yeah, 00:12:42.519 --> 00:12:45.120 and and first clarinet and oboe. So that's the 00:12:45.120 --> 00:12:49.200 melody It is a high E flat in the euphonium. 00:12:49.200 --> 00:12:53.399 Euphoniums do have the melody So same with bassoon 00:12:53.200 --> 00:12:56.879 bassoon is scored on their high E flat so it's 00:12:56.879 --> 00:13:01.879 way yeah it's way up there in the range so again 00:13:01.879 --> 00:13:05.299 I would not program this this piece unless you 00:13:05.299 --> 00:13:07.919 have some like rock solid euphoniums who are 00:13:07.919 --> 00:13:11.379 not going to crack I know I've adjudicated this 00:13:11.379 --> 00:13:14.740 piece before Pieces like it where the euphonium 00:13:14.740 --> 00:13:16.960 part is really important Yes, and then they're 00:13:16.960 --> 00:13:18.480 getting up higher and higher and they're just 00:13:18.480 --> 00:13:20.419 cracking and cracking or they're really out of 00:13:20.419 --> 00:13:23.600 tune And it just kind of takes away. Yeah, so 00:13:23.600 --> 00:13:26.100 from the whole thing I think this is tough right 00:13:26.100 --> 00:13:30.080 here for a myriad of reasons not not only for 00:13:30.080 --> 00:13:31.960 the range that it's in that it's marked soft 00:13:31.960 --> 00:13:34.360 and then they are doubling the euphonium melody 00:13:34.360 --> 00:13:37.120 is doubling the clarinet and we have the clarinet 00:13:37.120 --> 00:13:39.919 and octaves yeah, and then where the euphonium 00:13:39.919 --> 00:13:42.590 is is doubling one of the octaves of Claire so 00:13:42.590 --> 00:13:46.730 it's like a whoa yeah at least the notes are 00:13:46.730 --> 00:13:50.269 relatively stable for clarinet right but man 00:13:50.269 --> 00:13:53.590 yeah that's a and and then the harmony part is 00:13:53.590 --> 00:13:57.610 coming in the trombone and oboe and alto all 00:13:57.610 --> 00:14:01.649 in the horn yes yep but yeah it's it's just kind 00:14:01.649 --> 00:14:05.139 of like a little bit less traditional in the 00:14:05.139 --> 00:14:08.039 sense of how it's scored. So you just want to 00:14:08.039 --> 00:14:09.480 make sure you're featuring the right people. 00:14:09.559 --> 00:14:11.759 If you've got some really amazing euphonium and 00:14:11.759 --> 00:14:14.580 bassoon kids, then this is the trio for you. 00:14:15.179 --> 00:14:20.429 Also, you could choose to say I don't have any 00:14:20.429 --> 00:14:22.370 good euphoniums so I'm gonna let my bassoon be 00:14:22.370 --> 00:14:25.090 the featured instrument or my euphoniums are 00:14:25.090 --> 00:14:26.809 amazing I'm gonna make sure that they're all 00:14:26.809 --> 00:14:29.450 playing this and less of the woodwinds are playing 00:14:29.450 --> 00:14:31.950 or whatever it is so yeah like Laura mentioned 00:14:31.950 --> 00:14:34.210 earlier like don't be afraid to play around with 00:14:34.210 --> 00:14:36.629 scoring and you could literally just have one 00:14:36.629 --> 00:14:40.549 on a part And that sometimes sounds really awesome 00:14:40.549 --> 00:14:43.110 on a trio if it's the right one on the part. 00:14:44.330 --> 00:14:47.990 So this part keeps going. Also, the follow through 00:14:47.990 --> 00:14:49.990 is so important. We've talked about that a little 00:14:49.990 --> 00:14:52.769 bit. But just making sure anytime they have long 00:14:52.769 --> 00:14:54.870 notes that they're all doing the same thing. 00:14:55.169 --> 00:14:58.649 So for instance, the melody here goes one, one, 00:14:58.649 --> 00:15:02.889 one, two, one, and two, and one. And so you would 00:15:02.889 --> 00:15:08.009 want to cross out the tied note in 42. so that 00:15:08.009 --> 00:15:10.070 everybody could lift and take a breath there. 00:15:10.909 --> 00:15:13.230 So, marking out in your parts ahead of time is 00:15:13.230 --> 00:15:15.090 super important, that way we're all playing it 00:15:15.090 --> 00:15:17.830 the same way. Earlier, Laura and I, when we were 00:15:17.830 --> 00:15:20.330 talking about this though, sometimes the melody 00:15:20.330 --> 00:15:22.570 tends to get a little bit snippy here, so they'll 00:15:22.570 --> 00:15:27.149 go, and two, and one, two, one, two, yup, dumb. 00:15:27.409 --> 00:15:30.450 It's marked as a staccato note, but you don't 00:15:30.450 --> 00:15:34.730 want it to be choked. Or accented. You want it 00:15:34.730 --> 00:15:38.850 to be a literal, Staccato note. Ta. Exactly. 00:15:39.980 --> 00:15:43.860 and we made the little hand gesture so yeah but 00:15:43.860 --> 00:15:46.539 it's I mean it's for real you have to make sure 00:15:46.539 --> 00:15:49.379 that because the whole band has that staccato 00:15:49.379 --> 00:15:51.179 note marked you want to make sure it lines up 00:15:51.179 --> 00:15:53.440 and then you come back in on an accent on beat 00:15:53.440 --> 00:15:57.379 two lift two and really the accent should just 00:15:57.379 --> 00:15:59.659 take care of itself because it's coming off of 00:15:59.659 --> 00:16:02.860 the lift I would write on that OTR my kids know 00:16:02.860 --> 00:16:05.419 OTR means open throat release so that's just 00:16:05.419 --> 00:16:08.120 a reminder to keep things ah in the back of your 00:16:08.120 --> 00:16:11.470 throat ah when release that note so that it doesn't 00:16:11.470 --> 00:16:15.450 sound punchy and or accented which I think both 00:16:15.450 --> 00:16:17.649 of those are the tendency. I also wanted to throw 00:16:17.649 --> 00:16:20.429 out there something with percussion in this section. 00:16:21.289 --> 00:16:24.190 Lots of people do this but if you are especially 00:16:24.190 --> 00:16:26.049 if you thin out the scoring and you've got one 00:16:26.049 --> 00:16:29.070 on a part or anything like that here having the 00:16:29.070 --> 00:16:32.350 snare drummer play piano close to the edge on 00:16:32.350 --> 00:16:34.590 the head of the drum if they're if they've got 00:16:34.590 --> 00:16:36.970 great control and dexterity that works really 00:16:36.970 --> 00:16:38.629 well you can also have them play on the rim. 00:16:39.519 --> 00:16:42.720 until you add some other people back in and the 00:16:42.720 --> 00:16:45.220 dynamic starts to increase a little bit. I also 00:16:45.220 --> 00:16:47.200 love a little woodblock action sometimes. I do 00:16:47.200 --> 00:16:50.320 too. You can do whatever you want. That's the 00:16:50.320 --> 00:16:52.519 cool thing about a march. We don't talk about 00:16:52.519 --> 00:16:55.019 that a lot, but this is, like we said, a very 00:16:55.019 --> 00:16:58.580 traditional march. do that for sure, you know, 00:16:58.659 --> 00:17:01.139 and it would take away or would help thin it 00:17:01.139 --> 00:17:02.799 out even more. She's got a little triangle in 00:17:02.799 --> 00:17:05.359 the background, so that would be such a good 00:17:05.359 --> 00:17:09.200 idea. Okay, so the trio's continuing on. We're 00:17:09.200 --> 00:17:11.500 making sure that we're not dying away on long 00:17:11.500 --> 00:17:13.220 notes. Trumpets are resting through all of this, 00:17:13.339 --> 00:17:15.940 by the way, which is actually really nice, right? 00:17:15.940 --> 00:17:17.519 Because they've had a bit of a chop buster, at 00:17:17.519 --> 00:17:19.240 least the first trumpets have. They're literally 00:17:19.240 --> 00:17:21.640 the only people resting other than flute and 00:17:21.640 --> 00:17:24.420 timpani. So then we're continuing through. We 00:17:24.420 --> 00:17:27.960 have the same, yeah, oh and tuba. Oh, and I did 00:17:27.960 --> 00:17:30.480 say that before whenever the last time I played 00:17:30.480 --> 00:17:33.940 this piece I actually let my tubas Play what 00:17:33.940 --> 00:17:37.700 the Berry Saks had I just liked it better. It 00:17:37.700 --> 00:17:41.539 sounded more full and less Small with the phonium 00:17:41.539 --> 00:17:44.900 as the lead part. It just helped but I mean do 00:17:44.900 --> 00:17:47.980 whatever is best for your group Okay, so we're 00:17:47.980 --> 00:17:52.160 continuing on and then we end at measure 71 We're 00:17:52.160 --> 00:17:54.680 at the dogfight now and everybody's in we're 00:17:54.680 --> 00:17:56.940 back on crash cymbals instead of triangle we 00:17:56.940 --> 00:17:59.380 would be back on the snare drum if we've done 00:17:59.380 --> 00:18:03.640 rim or woodblock and We come out with a bang 00:18:03.640 --> 00:18:06.819 the trumpets and the horns have to play one two 00:18:06.819 --> 00:18:09.940 three and a one and two and one and it's like 00:18:09.940 --> 00:18:12.039 you're either gonna have to teach them how to 00:18:12.039 --> 00:18:14.759 single -tongue really fast or double -tongue. 00:18:14.799 --> 00:18:17.920 So it's definitely not again for the faint of 00:18:17.920 --> 00:18:20.160 heart. And the trumpets right off the ghost. 00:18:20.500 --> 00:18:23.880 This is it. That's all that's happening. So there's 00:18:23.880 --> 00:18:26.799 no hiding behind muddy articulation. And the 00:18:26.799 --> 00:18:32.180 trumpet part is C sharp A and then A C sharp 00:18:32.180 --> 00:18:36.339 E A D and I remember whenever we played this 00:18:36.339 --> 00:18:40.730 my first trumpets played E fourth instead of 00:18:40.730 --> 00:18:43.490 open yeah because then they could just stay in 00:18:43.490 --> 00:18:45.829 the same position the whole time yeah so just 00:18:45.829 --> 00:18:48.509 kind of think about that that might be a good 00:18:48.509 --> 00:18:51.769 idea the second trumpet is not as high it does 00:18:51.769 --> 00:18:55.089 go up to a c sharp though um it's just jumping 00:18:55.089 --> 00:18:58.210 around a lot the horns go up to a d and then 00:18:58.210 --> 00:19:00.289 within two notes they're down to the octave d 00:19:00.289 --> 00:19:03.130 lower so and the thing that i think makes i mean 00:19:03.130 --> 00:19:07.170 obviously i think the articulation is way important 00:19:07.170 --> 00:19:10.789 on this, and it's hard enough letting your trumpet 00:19:10.789 --> 00:19:12.809 players sound great when they're double tonguing, 00:19:12.849 --> 00:19:15.430 and then you add a conical brass instrument with 00:19:15.430 --> 00:19:18.269 the bell facing away from you that is also playing 00:19:18.269 --> 00:19:21.609 with them, and that clarity of articulation is 00:19:21.609 --> 00:19:23.890 not easy. So if you only have one horn player 00:19:23.890 --> 00:19:26.509 that can do it really well, then only have one 00:19:26.509 --> 00:19:29.130 horn player do it, because this cannot be muddy 00:19:29.130 --> 00:19:31.589 articulation here. Cannot be. And it's gotta 00:19:31.589 --> 00:19:34.349 be like a daily rep thing, like every day they 00:19:34.349 --> 00:19:37.220 have to play these too much. for you. Like no 00:19:37.220 --> 00:19:40.380 matter what. Also I remember whenever we played 00:19:40.380 --> 00:19:43.380 this one little trick that helped the kids tongue 00:19:43.380 --> 00:19:47.019 quicker on two and a one was to just really not 00:19:47.019 --> 00:19:48.960 think about separating the notes at all. Making 00:19:48.960 --> 00:19:51.400 sure that the airstream was just the same the 00:19:51.400 --> 00:19:56.119 whole time. And so even a small little crescendo 00:19:56.119 --> 00:19:58.559 helped with just their their sound coming out. 00:19:58.559 --> 00:20:00.619 As you know that just helps all articulation 00:20:00.619 --> 00:20:04.259 more. Constant air. Then the band comes back 00:20:04.259 --> 00:20:09.980 in with a high C and trombone. one and a two 00:20:09.980 --> 00:20:13.140 and one and two and so it's cute but it starts 00:20:13.140 --> 00:20:16.440 up real high as the response so your kids have 00:20:16.440 --> 00:20:19.160 to be really good at just like coming in off 00:20:19.160 --> 00:20:22.680 the cuff on a really high note tubas are on an 00:20:22.680 --> 00:20:26.180 upper C as well so the articulation here is really 00:20:26.180 --> 00:20:30.039 important ta ta ta ta ta ta and the the last 00:20:30.039 --> 00:20:32.059 three notes are accented for the band then we 00:20:32.059 --> 00:20:36.720 do it again ta ta ta ta ta ta ta Which is like 00:20:36.720 --> 00:20:39.440 exactly the way Katie's thing is what's gonna 00:20:39.440 --> 00:20:45.880 happen. Oh, did I slur that? Yeah, yeah, and 00:20:45.880 --> 00:20:48.200 maybe I missed it but that is okay. Yeah. No, 00:20:48.200 --> 00:20:50.420 I believe you I probably did do it wrong So make 00:20:50.420 --> 00:20:53.240 sure yes again that all that articulation lines 00:20:53.240 --> 00:20:56.650 up then we do it again With Trumpet and Horn 00:20:56.650 --> 00:20:58.990 having the same thing one two two and a one and 00:20:58.990 --> 00:21:02.109 two and one da da da da da da da Yeah, yeah, 00:21:02.109 --> 00:21:05.329 so it's whoo, and then it's back and forth obviously 00:21:05.329 --> 00:21:09.210 like a normal dogfight and two and one a two 00:21:09.210 --> 00:21:12.410 and the low people 79 and 80 again with that 00:21:12.410 --> 00:21:15.769 little like hairline of space between the dotted 00:21:15.769 --> 00:21:17.549 quarter and the eighth note and the low voices 00:21:17.549 --> 00:21:19.769 have this kind of repeatedly this dotted quarter 00:21:19.769 --> 00:21:23.809 eight yeah so just make that consistent space 00:21:23.809 --> 00:21:28.089 every time yes consistently consistently playing 00:21:28.089 --> 00:21:31.089 it the same way over and over and between all 00:21:31.089 --> 00:21:34.130 the instrument parts is what makes bands sound 00:21:34.130 --> 00:21:35.690 clean. Consistency is the name of the game. Yep 00:21:35.690 --> 00:21:38.319 that's true. Then they go up and they kind of 00:21:38.319 --> 00:21:44.880 keep going at 84 and then the whole band comes 00:21:44.880 --> 00:21:49.809 in then the trumpets are in on a high F So this 00:21:49.809 --> 00:21:51.849 is the last little strain of the melody. The 00:21:51.849 --> 00:21:55.470 trumpets have the lead. And yeah, like I said, 00:21:55.609 --> 00:21:59.490 on a high F. And I just, I remember vividly my 00:21:59.490 --> 00:22:02.230 trumpets were so tired by this point. And so 00:22:02.230 --> 00:22:03.609 like - Trombones are on a high E flat. Uh huh, 00:22:03.910 --> 00:22:05.670 like tuning was just a little bit cray cray. 00:22:06.009 --> 00:22:08.450 So you wanna make sure that, you know, the students 00:22:08.450 --> 00:22:11.210 are able to play all the way to the end with. 00:22:11.339 --> 00:22:14.940 good energy and good sounds. And this is the 00:22:14.940 --> 00:22:16.779 area I was talking about where it's only the 00:22:16.779 --> 00:22:19.599 flutes now. With the obbligato. Yeah. And so 00:22:19.599 --> 00:22:22.240 that's it. The rest of the ensemble is marked 00:22:22.240 --> 00:22:25.980 fortissimo and I mean you've got the tuba berry 00:22:25.980 --> 00:22:28.339 bassoon bass clarinet playing your motor part. 00:22:28.660 --> 00:22:32.960 Otherwise everyone is on this. It's like a harmony. 00:22:33.579 --> 00:22:35.859 Yeah and the flutes are the only ones doing something 00:22:35.859 --> 00:22:38.380 different and it's not written in a high range 00:22:38.380 --> 00:22:41.109 for flutes. It's in the staff. Right. It's gonna 00:22:41.109 --> 00:22:43.630 be hard to hear them. Yeah, but like the clarinet 00:22:43.630 --> 00:22:46.750 part is up high clarinet one The horn parts now 00:22:46.750 --> 00:22:49.170 up to like D's over and over like she mentioned 00:22:49.170 --> 00:22:53.750 you've trombone is up at high e flat so the tuning 00:22:53.750 --> 00:22:56.289 of the chords is something to spend a lot of 00:22:56.289 --> 00:22:59.289 time on at the end when they're tired and When 00:22:59.289 --> 00:23:01.829 they might not sound their best so make sure 00:23:01.829 --> 00:23:04.349 you talk a lot about tuning tendencies You can 00:23:04.349 --> 00:23:07.170 play and stop on a chord. We would do that a 00:23:07.170 --> 00:23:10.089 lot You know one and two and hold and make sure 00:23:09.869 --> 00:23:11.910 that the chords sounded really good together. 00:23:12.049 --> 00:23:13.609 One of the things that we would do, I've done 00:23:13.609 --> 00:23:16.450 this on a march several times when it has been 00:23:16.450 --> 00:23:19.069 like what we're discussing when the tuning and 00:23:19.069 --> 00:23:22.690 tonality has been not great, find a chunk of 00:23:22.690 --> 00:23:25.890 the march, take an eight measure or 16 bar chunk 00:23:25.890 --> 00:23:28.829 of the march and treat it like a chorale and 00:23:28.829 --> 00:23:32.849 we would play it as a chorale every day and of 00:23:32.849 --> 00:23:35.589 course the harmony sounded horrible when you 00:23:35.589 --> 00:23:38.730 first start but when you slow it down and you 00:23:38.730 --> 00:23:41.759 force there ears to work and them to listen they 00:23:41.759 --> 00:23:45.140 start to understand the harmonic structure and 00:23:45.140 --> 00:23:47.000 how everything is supposed to work and then when 00:23:47.000 --> 00:23:50.000 you put it back in at performance speed and add 00:23:50.000 --> 00:23:52.740 the style they still have that tonality in their 00:23:52.740 --> 00:23:57.170 ears so I think You can use that even though 00:23:57.170 --> 00:23:59.089 stylistically that's not what you would want 00:23:59.089 --> 00:24:02.009 for a march. Harmonically it can really help. 00:24:02.470 --> 00:24:04.910 And don't be afraid to rewrite chords. So if 00:24:04.910 --> 00:24:07.549 you don't have enough people on the route, then 00:24:07.549 --> 00:24:09.490 just change it up. If you have so many people 00:24:09.490 --> 00:24:11.869 on the third that it just sounds awful, just 00:24:11.869 --> 00:24:14.210 change it. It's okay. They're not gonna know. 00:24:14.690 --> 00:24:16.230 They'll just go, wow, this sounds so nice. That 00:24:16.230 --> 00:24:19.190 sounds really good. Yeah, so I mean most judges 00:24:19.190 --> 00:24:21.349 can't tell if you've changed a trumpet two pitch. 00:24:21.730 --> 00:24:26.349 So we keep doing this. and the flutes the clarinet 00:24:26.349 --> 00:24:28.309 comes in every once in a while and kind of helps 00:24:28.309 --> 00:24:31.329 out the flute but not often the trumpets literally 00:24:31.329 --> 00:24:33.470 lead the way to the end with clarinet one we're 00:24:33.470 --> 00:24:37.569 up so high on those F's and it's just a traditional 00:24:37.569 --> 00:24:41.329 ending we're going higher and higher the trombones 00:24:41.329 --> 00:24:44.470 are staying above the staff the whole time same 00:24:44.470 --> 00:24:46.650 things as before just making sure we're tonguing 00:24:46.650 --> 00:24:48.509 and keeping it the exact same all the way at 00:24:48.509 --> 00:24:51.390 the end the last note we always think the word 00:24:51.390 --> 00:24:55.779 tone to keep it a long stinger so yeah it's this 00:24:55.779 --> 00:24:59.119 is just under about three minutes in length yeah 00:24:59.119 --> 00:25:02.240 so I mean like 245 or something like it is it 00:25:02.240 --> 00:25:04.880 can be an endurance challenge for your brass 00:25:04.880 --> 00:25:08.019 especially so just yeah make sure you got the 00:25:08.019 --> 00:25:10.740 right band yeah but it's a great piece so much 00:25:10.740 --> 00:25:13.420 fun as we both mentioned we've played it before 00:25:13.420 --> 00:25:17.400 it's just a great challenge for any band who's 00:25:17.400 --> 00:25:21.200 ready to feature trumpet low brass yep it's it's 00:25:21.200 --> 00:25:23.880 a good one so we hope will program Mighty Might 00:25:23.880 --> 00:25:25.599 March in the future and thank you for joining 00:25:25.599 --> 00:25:29.079 us on this episode of Banned BFFs!