Welcome to our podcast, Band BFFs. The podcast
where we make your music selection less complicated.
On today's episode, we're going to be speaking
about two British folk songs by Elliot Del Borgo.
Cheers to starting the conversation. This is
a band standard y 'all. Standard. Yes. And we
were just talking about this while preparing
that both of us have played it. Yes. And I played
it a long time ago as a baby little band director.
So did I. With a non -Varsity band. So did I.
And it did not really fit my band well at the
time and I'm pretty sure we made at least one
lower rating on UIL because of this piece. So
it's not for everyone. No. but it is a gorgeous
piece. And great, great teaching things in this
piece. So on the Texas PML, this is a grade two.
It is in the key of concert E flat. It is in
4 -4 and changes time signature to 2 -4. It does
not have a whole lot of percussion. So I mean,
if you have a standard percussion size of about
six, you are in good shape. And a lot of the
stuff is thinly written where you could cross.
players over if you needed to do that. This is
in two sections just as the title would indicate.
One of the things that I love about it is that
if your band could benefit from learning something
lyrical but you can't yet dive into something
that is a full piece that is lyrical style, this
is a great like it's 23 measures of lyrical and
then it picks up the pace and is fast and stylistically
changes and all of that but of course that is
a challenge. Yes and like I think that that's
what kind of held my band back in the day I mean
I don't know for sure but I think that You know,
your band has to be able to sustain notes in
tune. They have to be able to balance really
well. It's written very beautifully, but there
are a lot of internal parts. Yes. And you want
everything to be able to be transparent and heard.
So, yeah. It is about three minutes long. In
terms of parts, it does have split trumpet parts.
It has three clarinet parts, but the second and
third clarinet part often doubles. So don't let
that freak you out. It has two alto sax parts,
and the flute part is often independent from
the oboe part. So just some things to keep in
mind. Also the trombone and euphonium part are
different as well. So at the very beginning,
as Laura mentioned, it's marked contabile and
it is 72 on the metronome. So you want to be
able to, again, sustain, have longer phrases.
you're you know brass players breathing every
two measures on a bar line so phrasing is a big
deal it starts out with this beautiful clarinet
melody and we always talk about anytime you have
something under a slur and it's a melody to squeeze
your fingers you need to make sure you take your
time squeeze them so you move on the beat when
you're learning it learn it tongued, so that
way the clarinets, but they need to legato -tongue
it, but they need to tongue it first to make
sure that their fingers can move on the beat.
Then when you add in the slur, that usually transfers
pretty well, but this piece can go off the rails
pretty quickly if your clarinets are not keeping
a steady metronomic beat. There's not pulse provided
from the percussion section or anywhere else
except the clarinets. They're playing eighth
notes through here. Katie mentioned about squeezing.
We talk about, in my band hall, a lot about feeling
the rhythm with your fingers. Like actually physically
feel the rhythm with your fingers. But of course,
starting tongued, starting first tongued. Even
at the end of each of the slurs in the melody,
it goes like one and two and three and four.
one and so talking to the kids about even though
the slur ends there you're still pushing through
the bar line to the next measure that is so important
on this piece not just in the melody but even
in like the euphonium part one two three four
one Three, one. Yeah, breathing in the middle
and telling them ahead of time through marking
your parts, which we talk about on basically
every episode where to take a breath. So everybody's
not all breathing in the same spots and taking
care of that early on. So they're learning it
that way from the get -go and not just like,
well, now we have a problem. Everybody's breathing
at this measure. And this is especially important
in the second half. And I'll go over that in
a minute, but it's It's so important to tell
them ahead of time where to practice taking those
breaths. That's right. So there's always like
a chord happening. So it opens with this beautiful
clarinet leading this eighth note melodic phrase
and just supporting chord structure underneath
from the rest of the woodwind choir plus trombone,
euphonium. It comes in with a flute section solely
that really kind of acts like a duet with the
first clarinet part. So I think... treating those
two like that, like they are a duet, the second
and third clarinet parts become an accompaniment
or counter melody. And they need to go way softer.
Yes, they need to get way underneath that melody
in the flute and counter melody in the first
clarinet part. But I love this beautiful beginning.
It's all flute clarinet and some oboe with the
melody. The trumpets don't even enter, at least
first trumpets don't enter until measure 13.
So just letting your woodwind. kind of shine
and show off and sparkle beautiful tone qualities
and phrasing here is gorgeous. Yep. The pickup
note is always very important in the melody too.
It always happens on beat four so teaching the
kids that four leads to one and that those notes
are not independent is really important. As Laura
mentioned at nine the oboe comes in and kind
of shines with the flute so making the oboe be
a little bit more of a priority is kind of cool
because it's that color and then at measure 13
the first trumpet comes in with that melody and
now the flute shifts to being the secondary instrument
like the first clarinet was before and oboe goes
away. When you have the first trumpet play here
they're they're pretty independent and they're
the only ones with the actual melody so you need
to be careful when programming do you only have
one kid that's available to play that well what
if they're sick on the day of a concert right
so you may want to make sure you only program
if you've got enough people to have two or three
possibly on that part because nobody else in
the band has the melody they have just harmonic
accompaniment underneath. As we get into measure
17 the clarinets have this really beautiful little
two and three and four and one that leads us
in and this is like everybody's favorite spot
is to breathe between 16 and 17 so while the
clarinets will help cover that up a little bit
we don't want the kids to get in the habit of
I have a whole note now I'm gonna breathe and
you know so talking about not breathing on bar
lines that is so critical for this first part
of to British then the flutes come back with
another important part along with the first clarinet
again so we're back to kind of like that little
duet. The chords kind of have some accidentals
in this section. It's written really beautifully,
but it's not always easy. Like the tubas are
down pretty low on their instrument, like on
low B flat, low B. Tenor sax is on a low C sharp.
Bassoon is on just regular B, but there's a lot
of like little chord things here. Trombones are
up above the staff on a D. So spending time in
rehearsal on tuning each chord is super important
as well. Yeah, especially at cadence points like
that. I would focus, I would start with after
they have this under fingers, starting with tuning
at cadence points. And then like look at the,
in measure 20, when we get to that little arrival,
that's an E flat major chord. And I'm looking
at like the first trumpets are on the third of
the chord. And it's an A for them, which is a
sharp partial. These are all just things to be
mindful of. You know, we want the third to be
lowered, so just being super, super mindful of
that. But the scoring overall, I think the scoring
of this piece is really smart, very smart. One
little spot, the measure 20, which she's talking
about right now, everybody has this beautiful
chord, and only the first clarinet has the same
thing the second and third had before. Two and
three and, and it's just them. So again, you've
gotta tell every... everybody else in the band,
they're playing a beautiful chord, they have
to play it in tune, they have to be softer on
it so that you can hear that first clarinet melody
leading into measure 21. But their sound also,
many of the people then have a measure of rest
in 21. Their sound must touch silence. It must
absolutely make it all the way to the bar line
and even just across so that the clarinets are
not left out on an island by themselves. And
he wrote it this way because it's very tooty
and then at it's just the high woodwinds. And
so it's written so well and it's so... beautiful
but you have to again go through all the little
details of you can't drop it you got to make
sure you keep holding all the way to beat one
so that then the flutes and the oboes and the
saxes can take over. Well and this little this
three measure transition before we change tempos
and get to the second British folk song here
to me is one of the scariest three measures of
the piece because it's so exposed it is gesture
woodwinds it's flute oboe clarinet and alto and
that's it. So there's not even any low read in
there. They have to sound really gorgeous. Yes,
really gorgeous, but it's it's thinly scored
and it's exposed and it's you end up on a fermata
that you you know, hope and pray is in tune before
you transition to the next section. Yes. So basically
if you've got some great upper woodwinds, this
might be a good piece for you to look at. Then
it transitions to a quickly section and it goes
into 2 -4. we basically double the tempo now
we're in 144 obviously when you're first learning
the piece don't go 144 right just you can start
it like 80 or 90 and then work your way up um
but this part is so much fun and the kids love
it it's going to be a melody they're walking
around singing um when they go to their next
class the snare drum and the uh woodblock later
bongo um gosh all the percussion gets really
active in in this second section your snare drummer
has to be really good because it's not the same
all the time and they're doing some really like
different rhythms here over and over and at a
fast pace. Well and then the woodblock is often
opposite what's happening with the snare drum
so the snare drum you know the woodblock the
snare drum like in measure 25 snare drums playing
on downbeats woodblock is playing on upbeats
just completely opposite of them so both of those
students whoever is on your snare drum part whoever's
on your woodblock part has to be solid they have
to be confident with time. Yeah and encourage
them to practice together you know so that way
they know like how it's gonna feel. With the
upper woodwinds here the first clarinets are
at the upper range of the staff so they're sitting
you know F's and things at the top of the staff
while flutes are an octave higher than that so
cross tuning here between your flutes and your
first clarinets is important. You need to make
sure that your first clarinet that's playing
that can number one play controlled and in tune
and voicing like keep their tone. because the
voicing is really, really clear here. And I've
heard this piece played a lot of times, and this
bugs me a little bit, where they go... And it's
just like, oh my gosh, why are we punching me
in the face with articulation, right? So that
is the articulation, but it should be more like...
Like even. Nothing's louder, nothing is screaming.
And again, like Laura just said, that's hard
when you're up high on... flute and clarinet
so maybe this is a part where you find one clarinet
who can play it really well or one flute who
can play it really well. Now this phrase... Because
it's exposed. It's just those three instruments
playing four measures and then the other instruments
that were playing before clarinet two and sax
are playing a chord. No brass. So I also, this
eighth note little statement ends with a quarter
note. One and two and one and two and one and
two and one and two. And that's where everybody
wants to breathe. That's what I was wanting to
say. Don't do it. Don't do it. I already brought
it up. Katie sings one and two and one and two
and one and two and do not breathe. Yes, exactly.
You come up with whatever you need to. Do not
let them do it. And then we're about to talk
about the low people in a second. So they come
in at 28. with the melody so It's established
by those upper woodwinds. At 28, they keep doing
the same thing. You're gonna write in their part,
go down to mezzo piano, because now they're high,
but now they're also not the focal point. The
focal point is the low people. And I would thin
it out. Yeah, literally go one on a part. Yes,
exactly, exactly. So now we've got bassoon, and
we've got tenor and bari, and we've got trombone
and euphonium, not tuba. And they have the melody,
and it's... marked marcato. So this is gonna
be more of a stately, you know, type, accented
type part. One, two, and one, and two, one, and
two, and they want to breathe right there. Don't
let them do it! And I've heard it played so many
times where everybody breathes in the same place.
It just doesn't sound mature. Now, it would be
mature if they could play eight measure phrases,
but not every middle school band can do that.
Well, in two, four time, at this tempo marking
at 144 BPM in two four time an eight bar phrase
should be sustainable for absolutely anybody.
And if not, this is not the piece for you. Like
that's the bottom line. Because they're really
needing to go all the way to 35 and then they
need to sneak a breath between the two quarter
notes or breathe in, you know, 32 or something
like that. There's lots of places where you can
get creative. But again, we don't want everybody
breathing between 35 and 36 where they finally
don't have the melody anymore. But that is something
that is really important in this piece. don't
drop phrases. Right. They need to continue on.
Yeah. I will also say something I hear, the marcato
marking, this definitely needs to be playful,
it needs to be firm, but I would not, like, be
careful not to make the quarter notes. You don't
want to hear... That's not what we're after.
So quarter notes still need to be full value,
but they just need to be firmly articulated at
the front. They're still gonna lead to the next
measure like we talked about in the first section.
Absolutely. At 36, now the lows are not the melody,
so they're all gonna come way down in volume.
The trumpets alone have the melody. This is probably
the section that maybe did my band in. So they're
alone, and everybody else is playing what I think
of as like these little like bagpipe types. Like
drones, yeah. Like drones and it's really beautiful
but it needs to be really quiet so that your
trumpets don't have to force their sounds to
be heard. It's not a hard melody but it is doubled
so they both have the same thing here and you
want to make sure again that they're not all
breathing in the same spot. So maybe having first
trumpets breathe in one spot, seconds breathing
in a different, that will help you if they can't
make it. um in one breath then you get this cute
little um four e and a one or sorry two e and
a one part that's in the first clarinet oboe
and flute leading into the next section they
are going to play the 16th note strong but then
they're sitting on that same high e flat yeah
like they need to play that either down an octave
or one on a part so that it's not screeching
because what we want to hear is the trumpet one
and alto sax so think in your band that might
be a total of four children right or maybe more,
but maybe not. And so you've gotta balance everybody
down to da da da da da da da da, and that's a
really cool, beautiful, colorful moment in the
piece. And so everybody else has to balance down
so you can hear that. Now, those 16th notes only
happen on beat two. It's just one beat of 16th
notes, but they are a little trickier than you
think it is. So don't overlook it and just go,
oh, whatever. That'll happen fast enough. It
doesn't matter, right? It is not stepwise. skip
in there that gives kids some trouble, and the
clarinet part, not only is there a skip, it crosses
the break, going from an A to a C. So technically,
that's not super easy to do. Just making sure
that you have good practice tools in place to
help your kids be successful. Measure 47 is a
really important cadence point, and Laura and
I were talking about when we've judged this in
the past, or even played it ourselves with our
bands. I have a pet peeve here. Yeah, this measure,
when people end it and they go... Long short.
Or short short. It's not written long short or
short short, it's written long long. The notes
should touch and go all the way full value to
measure 48. Yeah, the one that drives me the
most nuts is... They look the same, they should
sound the same. Exactly. They should sound the
same, right? Yes, so we're both... the same track.
They need to go all the way to the bar line.
Now we're back to the writing where only flute,
oboe, first clarinet and saxophone are playing
and flutes take over that same little motif that
the sax and trumpet just played. They're up above
the staff. Clarinets again are at the top of
the staff. They have like a little just a little
fun duet -y type part with the oboe and the oboe
part is doing E flats and D flats. The technique
here for the oboe is not the most simple, so
make sure you spend some time from 48 to 55 with
your woodwind little feature. I like this section
because it starts to kind of layer and build.
And the percussion even helps. There's like a
cute little triangle part here and then we add
in like a little triangle roll and it's all cute.
I love this little part because the triangle
is rolling and It's like little fun woodwinds
playing the melody. It just kind of goes along
with that cutesy theme. Be mindful not to use
too heavy a beater on this. Otherwise you're
gonna get like a dinner triangle sounding. So
yeah, be mindful of that. Yeah, and also make
sure your children know how to roll on a triangle
and where to roll on a triangle. That's really
important too. So then at 52 the upper people
are still having the melody, but we've added
in some chords with low reeds. and trombone and
euphonium then the trumpets and the saxes come
in it's kind of like a um I don't know the musical
word, like they come in first and then they come
in, it's not a round. It's not the same thing.
It's like a, kind of, yeah, kind of like that.
So the woodwinds play first, then the trumpets
and the saxes come in with one, two, and one,
and two, that same part that the lows had before,
but now it's a bit different. One, two, and one,
and two, one, and two, and they cannot breathe
there, and they should crescendo there, so that
way it leads into the next section. one and two
and one and it's a forte piano and they're gonna
get all soft. While that's going on. You've got
the like the trombone euphonium and the second
and third clarinets that are doing these little
energy. This part is so fun. It is really fun
but they will rush the crap out of it. Yes. Because
they'll play it too short. They'll go one and
two instead of one and two and And three, one,
two, so all the quarter notes cannot be short.
Because it will lead to rushing like Laura said
and it won't sound stylistic. So yeah. It starts
in just those voices but then two measures later
we add in a lot more of the ensemble on that
same rhythmic part. So this is like a rhythm
study. Play it on a concert F, play it on your
Remington. Do this until the whole ensemble understands
how stylistically you want that rhythm executed.
can go back and put it on notes in the ensemble.
Yep and percussion has it as well so that's helpful.
You could even have percussion play it while
everybody else ear tongue fingers and then they
can add in or whatever. Then we're back to the
flutes and the oboes and the sax and first clarinet
having the melody. So they have the one two and
one and two don't breathe there don't breathe
here one two. So you have to get creative about
where they can breathe like flutes may not be
able to play an eight measure phrase. So if they
need to breathe and measure 84 after the quarter
note, or whatever it might be, writing that in
again for them so they know is super helpful.
Then we get that same cadence point at 67. Is
it 67? It is. Oh, oh god. Oh god. I'm so sorry.
I'm sorry everybody and also for posterity. Nobody
will think this is funny in years, but okay We're
going through a time right now where kids like
to say six seven So if you're listening to this
in the future, just have fun with that little
tidbit I wish I am so over that six seven thing.
I think we all are I also literally just said
80 something it's cuz my Handwriting was horrible.
It's 60 whatever it was. So anyway, we're at
67 and this is another cadence point. That's
the same thing we just talked about where everybody
goes and and one two not and and da da and then
we get a whole nother part at 68 so this part
I love that yeah I do too so the low brass take
over low brass and low reeds take over this this
melody or this new idea the woodwinds I'm gonna
talk about this for just a second the flutes
clarinets and first clarinets have some diddles
so and they will compress that like crazy. And
they'll play it really loud and it is not the
melody. It does not need to be loud. So that
is something I would work really hard on making
sure that rhythmically it is very accurate. But
the low brass and low reeds are what needs to
shine. One and two and one two, one and two and
one two. Don't breathe, don't breathe. Or there's
those two half notes right there. So what I taught
the kids to do is half of them would breathe
on the bar line between 72 and 73. and the other
half would breathe between 73 and 74. That way
someone was carrying through. Yes. Now this is
not the main melodic theme. No. The trumpets.
Trumpet and sax and other parts are really cool.
They're playing the main theme, but this low
brass part, this is the new thing, right? So
this is, even though it's not the main melody,
it's the new idea. So we want to bring this out
and make sure that it's featured. And that everybody's
articulating it the same way. We're not getting
softer as we play lower on our instrument. We're
keeping every... the same volume because that's
obviously something that's important. Bass clarinet's
going down real low right here, so, and bari
sax is going below the staff. Just making sure
a bass sounds their best as they descend on their
instrument. So snare drum rolls in this section
right here and we're coming up to them where
they're a lot more of this type of thing. But
where they're rolling, you gotta make sure that
it's a good quality buzz roll and we don't hear
their hands in their roll. Like we should not
hear, zazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazaz
So again make sure you get the right kid on this
part. Yep. Then we get to this same little area
where everybody kind of has the same thing one
and two or one two so again making sure that
your sound touches the bar line of 76. Now we
have a new little idea in the horn and sax and
clarinet two three part that I love featuring
while the flute oboe and clarinet one still have
the same dee dee dee dee dee from before and
now it goes goes even higher. The flutes go up
to a high F, the clarinet one goes to a G. So
these little diddles up here, it's a little bit
of a different idea, right? They're meant to
be accompanying, we're about to go into, I love
this part too. I know. It's the theme, but it's
- Diminion, dimin, diminition? Augmentation it's
it's augmented augmentation. Yes, it's augmented.
So yes. Oh, yeah Yes, so the whole theme is augmented
So now instead of being one two and one and two
or one One two one two one no breath one two
one. No breath, right? Yeah, but I love it and
I did her woodwinds get these little do and I
love this part before Yeah, that's like little
they're like getting us ready for this cool part
and the horn and sax have this one One, one,
one, one. It almost to me sounds like chiming
bells. Like here we go, the low brass are about
to be important. And I think this part is so
cool. Yes, I do too. It's one of my favorite
parts. Yep. So we already sang this is the low
brass feature where they're getting to be cool,
low reeds. They continue on, the upper people
continue on not being important. So do not let
them be loud so they don't take away. And the
bongos come in here too. There's a, this part
is so important, and we're about to have like
a little percussion feature. So it's like super
important again that your percussionists have
good pulls, good time, where they're not compressing
16th notes or rushing, that sort of thing. Snare,
woodblock, bongos, those kids are the ones that
are most important. So we land at 94, so we finish
this, there's all this energy, we get to 94,
and it's the flute, the oboe, and the first clarinet
on a high concert E flat. and it can sound so
shrill like they just get there and land it has
to be with such control and your flutes and oboes
must shake the earth with their vibrato yeah
they must and I would for sure make this be a
solo yeah because there's no way that everybody's
gonna be a hundred percent in tune with like
15 yeah on that note. Yeah, and then percussion
It's a big the percussion break Katie was talking
about so now and it's marked fortissimo in the
percussion parts It doesn't need to be yeah,
they're the only ones doing something, you know
Except for those the upper woodwinds on that
screaming E flat that it does not need to be
fortissimo It needs to be strong and told and
it needs to be controlled and in time Yes, and
it's such a cool moment for them, which I love
Then we come back in at 98 with the band again
kind of again doing this This Canon type idea,
yeah. One, two, and one, and two, led by alto
and trumpet, then the lows. One, two, and one,
and two. And you're teaching them that when they're
done with that main statement, they're coming
way down, so that the new group can be featured.
And then we still have the upper people doing
ding ding ding ding ding again. So they're the
least important, even though they want to be
important because they're up so high. Then we
have another repeat of the one and two. from
before, then 106 is my favorite. But also, it
doesn't always work, so you need to play this
piece if your kids can do this, but if they can't
do this part really well, this may not be the
piece for you. Do not save it to the end. 106
to 114. Do not save it to the end to teach. Do
not save it to the end to teach. This is, I call
it the waterfall section. Yeah. Right? So it
passes this reverse eighth dotted quarter rhythm,
one and, so it's all, I mean, really, but you're
in two and three and four and one and two and
one and two and one and two and. written so well
where it literally is going from high instruments
to low backup and you have to hear every single
entry yes yes yes and this is a great section
to bop this is a great section to like tell the
kids like when you don't have this part you're
playing quiet like for instance uh trumpet one
and flute actually is it flute two oh it's a
divisi part yeah so some of the flutes and some
of the trumpets have one and and they shouldn't
just be super loud one and So that you can hear
all the other parts or like other people come
in on two and three So they're gonna play two
and strong, but are two and one. Sorry. They're
gonna play two and strong But then when they
have a long note, they're gonna play softer.
This takes a lot of maturity It does to get it
right where you as the listener you literally
can hear what? Yeah, it's not easy it is not
easy it takes practice and it's not always scored
very well too so you might want to even rewrite
it like if you're like I can't hear the eighth
notes on beat one of 107 then write it so that
more people have it or whatever it might be yes
yeah I think bopping Katie's 100 right about
bopping I would also play it on a concert F until
the rhythms and their entrances are drilled into
their head when they come in yeah but this section
I love it but it's it's hard yeah And like Laura
said don't start at measure one on this piece
necessarily Maybe do this and a little bit of
the beginning at the same time So that way they're
getting a little bit of the fun part, but they're
also getting a little bit of the lyrical part
Then we get back to 114 and it's like before
Trumpets have one and two and one and then the
whole band has this cool rhythm together one
and And this is a bass drum solo. Two E and boom.
Bass drum on beat one. And you guys, it's just
marked forte. I have heard some bass drummers
like peel the paint off the walls. They have
hit the drum so hard. So it is a cool effect.
One and dig it up. Boom. And one, two, right.
Yeah, and the snare bongos and toms have the
digita that we're singing. And so they don't
need to overplay either because there's nothing
else happening. They're all alone. So it's kind
of like they're the catalyst for the rest of
the band. Digita. And, and one, two. So this
is cool. And this part can also... Unison rhythm.
drive me nuts when they go and and one two and
and one two or and and and rush yeah so long
long and and one two like make sure that it's
full value so it doesn't rush and then the whole
band has the same thing at um 121 one and two
and one and two and and it's literally Unison.
Yes, the whole band has the same notes until
the chorus same rhythm and the same articulation
and this is so hard To have everybody sound so
good. I mean it has to be transparent. It just
has to be transparent. You've got to hear everybody.
You've got to hear the tuba. You've got to hear
the low reeds. And then we have these beautiful
chords at 123. Ta ta. And this is literally the
first time in the piece that an accent is written
in for the winds. So this is where, this is kind
of the end of the piece. So this is a big old
punchy part. Then you get another little percussion
moment at 124. And then we start another... little
waterfall but this time it's a reverse waterfall.
It's from the bottom up. So it's from the bottom
up one and two and and then we end with two more
accent and notes. Now they are actually marked
marcato here at the end so you can get away with
making them you know a little more separated
than maybe than maybe what you did earlier but
the key is making them the same right? T -ya
ta ta t -ya ta ta ta ta. Same length. Same. Like
I made my kids write that on the page. Same.
Same. Same. Absolutely. Man, I love this piece.
I absolutely love this piece, but it is challenging.
You need to make sure that you do your score
study and that you get into the individual parts
to make sure that it is something that is appropriate
and going to fit your band. Thank you for joining
us on this episode of Band BFFs. you