WEBVTT 00:00:06.599 --> 00:00:10.679 Welcome to our podcast. Band BFFs. The podcast 00:00:10.679 --> 00:00:13.019 where we make your music selection less complicated. 00:00:13.519 --> 00:00:15.960 On today's episode, we're going to be discussing 00:00:15.960 --> 00:00:19.980 Danza Zanzare by JaRod Hall. Cheers to starting 00:00:19.980 --> 00:00:23.660 the conversation. All right, this is a piece 00:00:23.660 --> 00:00:26.359 that Katie and I had the privilege of playing 00:00:26.359 --> 00:00:29.739 this summer at the TBA, Texas Bandmasters Association 00:00:29.739 --> 00:00:32.200 Convention with our Phi Beta Mu reading band. 00:00:32.240 --> 00:00:33.939 That's always a highlight of the convention, 00:00:34.299 --> 00:00:37.000 I think. I love getting to play some of the new 00:00:37.000 --> 00:00:39.159 music and see it from a student or performer 00:00:39.159 --> 00:00:42.240 perspective. We loved this piece when we played 00:00:42.240 --> 00:00:45.000 it. Like all the band directors on stage, we 00:00:45.000 --> 00:00:47.560 were all like, oh, this is so fun. It was so 00:00:47.560 --> 00:00:50.299 cute, so cute. In fact, it's so great that I've 00:00:50.299 --> 00:00:52.479 decided to play it with my band for my fall concert 00:00:52.479 --> 00:00:55.979 so it's super duper fun and the kids absolutely 00:00:55.979 --> 00:00:57.340 love it so far. Of course they do how can they 00:00:57.340 --> 00:00:59.539 not. Right. This is really it's pretty straight 00:00:59.539 --> 00:01:02.439 ahead it's 4 -4 the key of concert B flat throughout 00:01:02.439 --> 00:01:05.400 it's only two minutes in length it's got split 00:01:05.400 --> 00:01:08.480 clarinet split flute part split trumpet parts 00:01:08.480 --> 00:01:12.659 all of this and percussion is pretty heavily 00:01:12.659 --> 00:01:14.540 written I think Gerard did a really nice job 00:01:14.540 --> 00:01:16.739 of giving your percussion some things to keep 00:01:16.739 --> 00:01:21.260 them interesting or interested. Six percussion 00:01:21.040 --> 00:01:23.859 You could probably do it with five but six or 00:01:23.859 --> 00:01:25.420 seven is going to make sure that all the parts 00:01:25.420 --> 00:01:27.359 are covered and a lot of these parts are really 00:01:27.709 --> 00:01:30.870 cute programmatic add to the whole effect. Yep. 00:01:31.810 --> 00:01:35.150 And this piece is called Danza Zanzari, which 00:01:35.150 --> 00:01:39.090 means dance of the mosquitoes. A little background. 00:01:39.269 --> 00:01:41.870 He wrote it when he was visiting Italy because 00:01:41.870 --> 00:01:45.390 he was like kind of taken aback by how many mosquitoes 00:01:45.390 --> 00:01:47.750 were out in the morning and the evening. And 00:01:47.750 --> 00:01:50.409 he said that you could like hear them and everything. 00:01:50.430 --> 00:01:52.290 And so he was kind of inspired to write this 00:01:52.290 --> 00:01:56.450 piece about mosquitoes so there's a lot of like 00:01:56.450 --> 00:01:59.269 little features here and there and the kids really 00:01:59.269 --> 00:02:03.209 enjoy getting to like figure out you know all 00:02:03.209 --> 00:02:06.409 the little nods to like and if you are from the 00:02:06.409 --> 00:02:09.810 south you have a you you have a a relationship 00:02:09.810 --> 00:02:13.590 with mosquitoes for sure so yes this is relatable 00:02:13.590 --> 00:02:17.590 for sure for sure so the piece starts out um 00:02:17.590 --> 00:02:21.870 with just percussion and the chimes get the melody 00:02:21.870 --> 00:02:24.889 which is so fun yeah i really love that chimes 00:02:24.889 --> 00:02:27.930 you know are not they're often used as an effect 00:02:27.930 --> 00:02:31.250 and i loved here that they're featured yep And 00:02:31.250 --> 00:02:33.389 all the percussion parts are cool. It's like 00:02:33.389 --> 00:02:36.009 a nice groove, the kids love it. They're gonna 00:02:36.009 --> 00:02:38.490 come down in volume after their initial opening 00:02:38.490 --> 00:02:40.650 at measure four, which is where the clarinet 00:02:40.650 --> 00:02:44.389 melody comes in. And they are gonna want to play 00:02:44.389 --> 00:02:46.530 very strong, even though they're the only ones 00:02:46.530 --> 00:02:49.550 playing. They have the melody and it's written 00:02:49.550 --> 00:02:54.530 really well in the staff. The style and articulation 00:02:54.530 --> 00:02:58.169 here is really important. For one, two, three. 00:02:58.379 --> 00:03:02.599 four, one, and two, and three, ta, ya, ta, ya, 00:03:02.900 --> 00:03:07.020 ta, ya, ta, ta, ya, ta. So the articulation is 00:03:07.020 --> 00:03:09.460 the thing that makes it a little bit trickier 00:03:09.460 --> 00:03:11.960 because it doesn't stay the same every single 00:03:11.960 --> 00:03:15.020 time and you just have to either mark it in their 00:03:15.020 --> 00:03:18.060 parts, but make sure you're teaching all the 00:03:18.060 --> 00:03:20.159 accents and the lifts from the very get -go. 00:03:20.180 --> 00:03:22.719 And I like how he marks it. He has the accent, 00:03:22.879 --> 00:03:26.360 or he has the quarter notes marked. the lower 00:03:26.360 --> 00:03:28.979 of the notes marked is accented, and then the 00:03:28.979 --> 00:03:30.800 upper note that you would want to be floated 00:03:30.800 --> 00:03:34.080 marked as staccato. And so I really like the 00:03:34.080 --> 00:03:36.979 visual of that. It helps we talk all the time 00:03:36.979 --> 00:03:39.000 about floating the high note, floating the high 00:03:39.000 --> 00:03:42.800 note, and it's written in that way. So making 00:03:42.800 --> 00:03:46.479 sure that the kids don't energize or emphasize 00:03:46.479 --> 00:03:49.259 the staccato note, but do the reverse of that. 00:03:49.840 --> 00:03:53.419 Ta, ya, ta, ya, ta. So that, I mean, that's kind 00:03:53.419 --> 00:03:57.139 of tricky. Yeah, but it goes on the clarinet 00:03:57.139 --> 00:03:59.919 melody goes on for eight measures and so they're 00:03:59.919 --> 00:04:03.599 the opening statement and it ends the way that 00:04:03.599 --> 00:04:06.099 I kind of like to think of this is like It's 00:04:06.099 --> 00:04:08.599 the first little mosquito army coming out of 00:04:08.599 --> 00:04:11.879 coming out to get us um, and then it ends one 00:04:11.879 --> 00:04:15.560 and two three four one and then you get this 00:04:15.560 --> 00:04:18.980 like Strong entrance on beat three from horn 00:04:18.980 --> 00:04:22.860 trombone euphonium and low reeds and now they're 00:04:22.860 --> 00:04:24.579 they're in the background but they've come in, 00:04:24.600 --> 00:04:26.899 they've made their presence known. The flute 00:04:26.899 --> 00:04:29.839 and oboe are now playing the melody with the 00:04:29.839 --> 00:04:33.579 clarinet. Percussion is continuing on in their 00:04:33.579 --> 00:04:38.680 own little thing. The horn and low brass and 00:04:38.680 --> 00:04:40.300 low reeds kind of every once in a while have 00:04:40.300 --> 00:04:43.800 little interjections to bring out, but other 00:04:43.800 --> 00:04:48.149 than that they're just playing chords. The tuning 00:04:48.149 --> 00:04:51.050 is a little bit trickier in measures 18 and 19 00:04:51.050 --> 00:04:54.790 in the trombone There's some accidentals thrown 00:04:54.790 --> 00:04:58.170 in euphonium has a G flat So just making sure 00:04:58.170 --> 00:05:01.209 that all that tuning lines up the flutes go up 00:05:01.209 --> 00:05:03.509 a little higher here, too They're up above the 00:05:03.509 --> 00:05:07.689 staff and then piccolo comes in at measure 20 00:05:07.689 --> 00:05:10.329 Along with the trumpets. So this is the first 00:05:10.329 --> 00:05:12.889 time that they've played and the alto sax So 00:05:12.889 --> 00:05:16.230 they've got one two and three four and now the 00:05:16.230 --> 00:05:18.889 flute doing it too. This is the Melody at 21. 00:05:19.910 --> 00:05:22.209 They're up kind of high flutes and piccolo are 00:05:22.209 --> 00:05:26.389 above the staff. flutes are in thirds so just 00:05:26.389 --> 00:05:28.750 making sure that the tuning is definitely there 00:05:28.750 --> 00:05:31.610 those A's tend to be a little bit out of tune 00:05:31.610 --> 00:05:34.389 with the upper C's both of those against each 00:05:34.389 --> 00:05:35.329 other. And the second flutes are doubling the 00:05:35.329 --> 00:05:38.410 oboe which is not always awesome. Sometimes that's 00:05:38.410 --> 00:05:40.410 great but sometimes not so just make sure you're 00:05:40.410 --> 00:05:41.389 being aware of that. And the oboes are above 00:05:41.389 --> 00:05:44.170 the staff too. And I think this is so interesting 00:05:44.170 --> 00:05:46.009 I like the way the percussion parts are written 00:05:46.009 --> 00:05:48.930 here they're real like nothing is overly complicated 00:05:48.930 --> 00:05:51.269 but it really adds to the mood and the groove. 00:05:51.269 --> 00:05:54.079 Yeah. But really interesting Interestingly, so 00:05:54.079 --> 00:05:58.600 far we have not had any tuba play. So this is 00:05:58.600 --> 00:06:02.000 which in a... In a Gerard piece, I always think 00:06:02.000 --> 00:06:04.220 that is so interesting because he's a tuba player. 00:06:04.660 --> 00:06:06.540 But yeah, here we are at measure 21 and there's 00:06:06.540 --> 00:06:09.360 still no tuba. Nope, my tubas really enjoy counting 00:06:09.360 --> 00:06:11.379 and showing me how long they're resting in the 00:06:11.379 --> 00:06:13.100 back. But then when they come in, they're in. 00:06:13.480 --> 00:06:17.860 So here's 21. We have the melody is in the trumpet, 00:06:18.439 --> 00:06:23.259 alto, flute and piccolo and oboe. So they're 00:06:23.259 --> 00:06:25.980 playing the counter melody is in tenor sax and 00:06:25.980 --> 00:06:29.019 horn. It's up kind of high for trumpet up to 00:06:29.019 --> 00:06:31.939 like E flat. and D. Flutes are above the staff. 00:06:32.639 --> 00:06:34.660 It's important to make sure that they're playing 00:06:34.660 --> 00:06:37.939 four -measure phrases. It's written that way, 00:06:38.220 --> 00:06:40.139 but just making sure you're drawing an arrow 00:06:40.139 --> 00:06:42.500 or an energizing. Flutes need to use lots of 00:06:42.500 --> 00:06:45.800 vibrato with oboe, going over the bar line, but 00:06:45.800 --> 00:06:47.639 it's written to where, you know, it's obvious 00:06:47.639 --> 00:06:49.439 where they're gonna take their breath. But that 00:06:49.439 --> 00:06:51.939 half note at the end of the second measure is... 00:06:51.939 --> 00:06:53.040 Don't breathe. Yeah, that's right. It's gonna 00:06:53.040 --> 00:06:54.920 make young players think that's an okay place 00:06:54.920 --> 00:06:56.860 to breathe. Yep, and then they're doing kind 00:06:56.860 --> 00:06:59.790 of like everything's... pretty connected tonguing 00:06:59.790 --> 00:07:04.810 wise. And then we have da, da, da, da, da, da, 00:07:04.810 --> 00:07:08.350 da, da. So it just sounds like heroic and like 00:07:08.350 --> 00:07:10.769 I said, it's kind of like a mosquito army coming 00:07:10.769 --> 00:07:13.829 to get you. So the kids like it and it's got 00:07:13.829 --> 00:07:17.589 like some contrary. Motion motion. That's what 00:07:17.589 --> 00:07:19.670 you call it, right? Yes the euphonium and the 00:07:19.670 --> 00:07:22.350 like trombone are going down one and two and 00:07:22.350 --> 00:07:24.750 the flutes are going one and two and Then the 00:07:24.750 --> 00:07:27.629 tubas come in finally and they pump up the volume 00:07:27.629 --> 00:07:31.110 and then everybody's playing at 29 And it's the 00:07:31.110 --> 00:07:32.910 same thing that we were playing before but now 00:07:32.910 --> 00:07:35.610 it sounds way beefier Just with the addition 00:07:35.610 --> 00:07:39.430 of those tubaloo reeds. Yep, the melody now. 00:07:39.730 --> 00:07:41.910 Well now we have both melodies happening at the 00:07:41.910 --> 00:07:44.870 same time So we have the normal the first melody 00:07:44.870 --> 00:07:49.860 bottom We have that melody, but we also have 00:07:49.860 --> 00:07:56.839 the... So in his program notes, he talks about 00:07:56.839 --> 00:08:00.680 the first melody is the mosquito. The other melody 00:08:00.680 --> 00:08:03.120 is like the beauty of the Italian countryside. 00:08:03.560 --> 00:08:05.939 So that's pretty cool. You know, it's just got 00:08:05.939 --> 00:08:08.879 just, it's just nicely written and the kids like 00:08:08.879 --> 00:08:11.180 it because they get to have like different fun 00:08:11.180 --> 00:08:14.339 parts that are equally as important. So this 00:08:14.339 --> 00:08:17.920 is continuing. on you want to again balance to 00:08:17.920 --> 00:08:20.860 the the horn part here with the danza zanzari 00:08:20.860 --> 00:08:24.139 part with the clarinets and the flutes now piccolo 00:08:24.139 --> 00:08:28.680 is up on high f's and high c's so if you're not 00:08:28.680 --> 00:08:32.519 sure if and that is optional yeah you can play 00:08:32.519 --> 00:08:34.340 it down the octave right right right don't be 00:08:34.340 --> 00:08:36.820 afraid right yeah because i was gonna say it's 00:08:36.820 --> 00:08:38.580 a little bit tricky to be in tune at measure 00:08:38.580 --> 00:08:41.740 35 so this is where the whole band again has 00:08:41.740 --> 00:08:46.039 one and two four and one and then we have a hard 00:08:46.039 --> 00:08:49.539 cut off on beat three and the percussion is continuing 00:08:49.539 --> 00:08:52.379 on with their cool groove here chimes have the 00:08:52.379 --> 00:08:54.480 melody again it's just like the beginning. I 00:08:54.480 --> 00:08:58.840 love this part. She's smiling over here just 00:08:58.840 --> 00:09:01.059 getting excited. I am getting excited it's so 00:09:01.059 --> 00:09:02.879 cool first of all I love the way he utilizes 00:09:02.879 --> 00:09:05.259 the percussion yeah I think it's written yeah 00:09:05.259 --> 00:09:08.340 it's written really really well within this you 00:09:08.340 --> 00:09:10.720 know this is where really the mosquitoes come 00:09:10.720 --> 00:09:12.659 out and I just I think it's just so precious. 00:09:12.679 --> 00:09:16.940 It is precious. So at 42, the woodwinds start... 00:09:16.940 --> 00:09:19.600 Our true language, which Katie loves. In this 00:09:19.600 --> 00:09:22.080 piece, I don't have a problem with it. It starts 00:09:22.080 --> 00:09:25.179 out with a forte piano trill so it's really quiet 00:09:25.179 --> 00:09:28.200 and they're just fluttering and it's like the 00:09:28.200 --> 00:09:30.320 mosquito coming at you and then they're getting 00:09:30.320 --> 00:09:33.720 louder and then they get softer because now the 00:09:33.720 --> 00:09:36.399 brass come in and they're gonna mouthpiece buzz 00:09:36.399 --> 00:09:39.679 and they have the melody so they're just vibrating. 00:09:40.379 --> 00:09:44.019 Four, one, two, three. Four, one, two, three. 00:09:44.100 --> 00:09:48.899 Percussion still grooving. and then the woodwinds 00:09:48.899 --> 00:09:52.200 get to clap. So it's like you're smacking the 00:09:52.200 --> 00:09:57.919 mosquito. It's fun. I think it's adorable. If 00:09:57.919 --> 00:10:01.629 two really like old... People think this is so 00:10:01.629 --> 00:10:03.909 fun. Think about the children. I promise there's 00:10:03.909 --> 00:10:06.490 just water in our cups right now, but this is 00:10:06.490 --> 00:10:09.570 it's adorable. I just love it. It's so cute and 00:10:09.570 --> 00:10:11.629 the kids think it's really fun too. And it's 00:10:11.629 --> 00:10:14.990 actually not as easy as it seems because the 00:10:14.990 --> 00:10:17.289 the part keeps getting like more different counting. 00:10:17.289 --> 00:10:20.149 The texture is thicker. Yeah. Yeah, and it's 00:10:20.149 --> 00:10:23.289 just it's not always four one rest rest. It's 00:10:23.289 --> 00:10:28.490 four one clap. three four clap two four so they 00:10:28.490 --> 00:10:31.129 have to really be counting because it changes 00:10:31.129 --> 00:10:33.169 a little bit and the pitches the brass are buzzing 00:10:33.169 --> 00:10:36.649 are supposed to be the written pitches yeah making 00:10:36.649 --> 00:10:39.110 sure like i mean i think that's great oh my gosh 00:10:39.110 --> 00:10:42.029 we worked on that quite a bit because you know 00:10:42.029 --> 00:10:44.950 not everybody is actually vibrating the right 00:10:44.950 --> 00:10:47.230 pitch and so talking about oh you're actually 00:10:47.230 --> 00:10:50.710 a little bit high um and then they get to vibrate 00:10:50.710 --> 00:10:54.860 two one and two and three, just like what the 00:10:54.860 --> 00:10:57.480 clarinets had before. That's not super duper 00:10:57.480 --> 00:10:59.980 easy either, just moving like little chromatically 00:10:59.980 --> 00:11:03.240 to make it sound the right way. Everybody's gonna 00:11:03.240 --> 00:11:05.860 be doing it. And it slurred. Yeah. And it slurred. 00:11:05.960 --> 00:11:09.059 Yep. Then the woodwinds come back in playing. 00:11:09.220 --> 00:11:11.179 After all their clapping, they haven't quite 00:11:11.179 --> 00:11:13.659 gotten all the mosquitoes yet. So now they've 00:11:13.659 --> 00:11:16.870 got another forte piano trill. and they come 00:11:16.870 --> 00:11:20.490 in and they have like this new melody part while 00:11:20.490 --> 00:11:24.870 the brass are vibrating underneath it. You are 00:11:24.870 --> 00:11:27.429 supposed to hear the woodwinds a little bit more 00:11:27.429 --> 00:11:30.090 here than the brass, but like the little brass, 00:11:30.090 --> 00:11:33.789 you know, mouthpiece army is still occurring, 00:11:34.049 --> 00:11:36.450 yes. And percussion is still playing too, just 00:11:36.450 --> 00:11:39.649 way softer underneath. The timpani part's really 00:11:39.649 --> 00:11:42.850 cool too, in this whole little section, so I 00:11:42.850 --> 00:11:44.970 did tell my timpani player he could come out 00:11:44.970 --> 00:11:46.990 of the mix just little bit more than everything 00:11:46.990 --> 00:11:51.090 else. Then the woodwinds have like a melody. 00:11:51.639 --> 00:11:55.360 Where they're gonna go one and two and three? 00:11:55.519 --> 00:11:59.539 rest two and three rest two and three and four 00:11:59.539 --> 00:12:03.039 and one and two and three four and There's no 00:12:03.039 --> 00:12:05.340 percussion when they do that. So they have to 00:12:05.340 --> 00:12:08.299 stay together under a slur move their fingers 00:12:08.299 --> 00:12:11.639 together Then they're up higher one and two and 00:12:11.639 --> 00:12:13.879 three and four and then the woodwind or the brass 00:12:13.879 --> 00:12:16.639 come in Trumpets come in on their instrument. 00:12:16.720 --> 00:12:20.460 Yeah this time. Yeah not vibrating anymore one 00:12:20.460 --> 00:12:23.220 two and three Four and one and then it's like 00:12:23.220 --> 00:12:27.100 very heroic lots of like crash cymbal big like 00:12:27.100 --> 00:12:30.759 trombone counter melody part Lots of accents. 00:12:31.000 --> 00:12:33.740 It's exciting. Yes. It's just supposed to be 00:12:33.740 --> 00:12:37.000 I think like the mosquitoes are winning. Yeah 00:12:37.000 --> 00:12:40.399 triumphant even though the little Dang bugs. 00:12:40.559 --> 00:12:43.440 Yeah. Yeah, it's it's really fun. So it's written. 00:12:43.460 --> 00:12:47.320 It's pretty like, you know busy so you have to 00:12:47.320 --> 00:12:50.240 make sure you can always hear the the Mosquito 00:12:50.240 --> 00:12:54.059 part the horns the alto the clarinet to those 00:12:54.059 --> 00:12:57.000 are the parts I like the new part in the trombone 00:12:57.000 --> 00:13:00.019 and euphonium here We have this, you know kind 00:13:00.019 --> 00:13:02.500 of interjection from them, which I think is really 00:13:02.500 --> 00:13:06.220 cool. Yep It's continuing on. Woodwinds, like 00:13:06.220 --> 00:13:08.419 Laura mentioned, are doing some cool doodlies. 00:13:08.580 --> 00:13:11.179 One e and a two e and a three. So it's just kind 00:13:11.179 --> 00:13:13.720 of sounding like little mosquitoes buzzing all 00:13:13.720 --> 00:13:18.659 around. And then we kind of all land on one and 00:13:18.659 --> 00:13:24.039 two and sixty -six one and two. And then, timpani, 00:13:24.220 --> 00:13:28.340 bass drum, toms, they go, one, two, and it's 00:13:28.340 --> 00:13:31.039 supposed to be like, I think it's like stomping 00:13:31.039 --> 00:13:33.799 on the mosquitoes. That's how I get them. And 00:13:33.799 --> 00:13:36.139 the kids like thinking of it that way too. And 00:13:36.139 --> 00:13:40.639 then the horn and the altos come in with the 00:13:40.639 --> 00:13:45.100 new part. Three, four, one, two, three, four, 00:13:45.179 --> 00:13:48.620 and one and two. It just sounds like a triumphant 00:13:48.620 --> 00:13:51.240 like mosquito. The mosquitoes are winning. Yeah, 00:13:51.379 --> 00:13:52.639 they are winning for sure. Damn, the mosquitoes, 00:13:52.779 --> 00:13:54.639 they're winning. I know, they're gonna win. They 00:13:54.639 --> 00:13:59.220 always do. Then we end with like a little modulation. 00:14:01.220 --> 00:14:07.559 Is it one of those things? It is, right? Are 00:14:07.559 --> 00:14:09.019 you talking about a Pickardy third? Pickardy 00:14:09.019 --> 00:14:11.379 third again? Yeah. Is that what it is? Oh my 00:14:11.379 --> 00:14:14.799 gosh. We go major. Yeah. Yeah, it's a Picardy 00:14:14.799 --> 00:14:17.259 third for sure. I know if you've listened to 00:14:17.259 --> 00:14:19.720 us you understand Yeah, how she's so ashamed 00:14:19.720 --> 00:14:22.820 of me. I'm not ashamed. Okay. Yeah, right. So 00:14:22.820 --> 00:14:26.200 but yeah, no, this is yeah, yeah Yeah, so we 00:14:26.200 --> 00:14:28.299 end with this cool part. I haven't gotten this 00:14:28.299 --> 00:14:31.700 far with my band yet So it's it's modulating 00:14:31.700 --> 00:14:34.700 to the major key now. I've been in G minor this 00:14:34.700 --> 00:14:37.740 whole time Yes, but the horn and sax and clarinet 00:14:37.740 --> 00:14:40.419 kind of have the part with the flute It's the 00:14:40.419 --> 00:14:42.500 last little moment then we have another stomp 00:14:42.500 --> 00:14:45.500 stomp from the percussion and then the brass 00:14:45.500 --> 00:14:48.940 ended out three and four one two and a three 00:14:48.940 --> 00:14:54.179 so it just ends like cute and fun it is super 00:14:54.179 --> 00:14:57.230 cute I am a little offended them the mosquitoes 00:14:57.230 --> 00:15:00.870 one. Listen, everyone needs their day in the 00:15:00.870 --> 00:15:04.049 sunshine. But this piece is super cute. Like 00:15:04.049 --> 00:15:08.350 I said, it's kind of like an earworm. The kids 00:15:08.350 --> 00:15:10.330 are going to enjoy singing it, which is going 00:15:10.330 --> 00:15:12.350 to be good because then they can mouthpiece buzz 00:15:12.350 --> 00:15:15.470 it correctly. It's just a catchy tune and it's 00:15:15.470 --> 00:15:18.190 just fun. It's programmatic. It's well written. 00:15:18.610 --> 00:15:23.549 It's scored well and fun. Rarely ever do I... 00:15:23.559 --> 00:15:26.600 deviate away from not playing spooky music at 00:15:26.600 --> 00:15:29.100 my fall concert, but I thought this was spooky 00:15:29.100 --> 00:15:32.000 enough sounding and just fun that it kind of 00:15:32.000 --> 00:15:33.980 fits with the theme and the kids love it. So 00:15:33.980 --> 00:15:36.200 yeah, I agree. Well, we hope you will program 00:15:36.200 --> 00:15:39.000 Danza Zanzari in the future, brand new piece 00:15:39.000 --> 00:15:42.600 2025, and thank you for joining us on this episode 00:15:42.600 --> 00:15:44.899 of Band BFFs.