WEBVTT

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Welcome to our podcast, Band BFFs. The podcast

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where we make your music selection less complicated.

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On today's episode, we're going to be speaking

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about two British folk songs by Elliot Del Borgo.

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Cheers to starting the conversation. This is

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a band standard y 'all. Standard. Yes. And we

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were just talking about this while preparing

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that both of us have played it. Yes. And I played

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it a long time ago as a baby little band director.

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So did I. With a non -Varsity band. So did I.

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And it did not really fit my band well at the

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time and I'm pretty sure we made at least one

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lower rating on UIL because of this piece. So

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it's not for everyone. No. but it is a gorgeous

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piece. And great, great teaching things in this

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piece. So on the Texas PML, this is a grade two.

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It is in the key of concert E flat. It is in

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4 -4 and changes time signature to 2 -4. It does

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not have a whole lot of percussion. So I mean,

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if you have a standard percussion size of about

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six, you are in good shape. And a lot of the

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stuff is thinly written where you could cross.

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players over if you needed to do that. This is

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in two sections just as the title would indicate.

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One of the things that I love about it is that

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if your band could benefit from learning something

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lyrical but you can't yet dive into something

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that is a full piece that is lyrical style, this

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is a great like it's 23 measures of lyrical and

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then it picks up the pace and is fast and stylistically

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changes and all of that but of course that is

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a challenge. Yes and like I think that that's

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what kind of held my band back in the day I mean

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I don't know for sure but I think that You know,

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your band has to be able to sustain notes in

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tune. They have to be able to balance really

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well. It's written very beautifully, but there

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are a lot of internal parts. Yes. And you want

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everything to be able to be transparent and heard.

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So, yeah. It is about three minutes long. In

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terms of parts, it does have split trumpet parts.

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It has three clarinet parts, but the second and

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third clarinet part often doubles. So don't let

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that freak you out. It has two alto sax parts,

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and the flute part is often independent from

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the oboe part. So just some things to keep in

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mind. Also the trombone and euphonium part are

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different as well. So at the very beginning,

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as Laura mentioned, it's marked contabile and

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it is 72 on the metronome. So you want to be

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able to, again, sustain, have longer phrases.

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you're you know brass players breathing every

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two measures on a bar line so phrasing is a big

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deal it starts out with this beautiful clarinet

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melody and we always talk about anytime you have

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something under a slur and it's a melody to squeeze

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your fingers you need to make sure you take your

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time squeeze them so you move on the beat when

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you're learning it learn it tongued, so that

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way the clarinets, but they need to legato -tongue

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it, but they need to tongue it first to make

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sure that their fingers can move on the beat.

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Then when you add in the slur, that usually transfers

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pretty well, but this piece can go off the rails

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pretty quickly if your clarinets are not keeping

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a steady metronomic beat. There's not pulse provided

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from the percussion section or anywhere else

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except the clarinets. They're playing eighth

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notes through here. Katie mentioned about squeezing.

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We talk about, in my band hall, a lot about feeling

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the rhythm with your fingers. Like actually physically

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feel the rhythm with your fingers. But of course,

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starting tongued, starting first tongued. Even

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at the end of each of the slurs in the melody,

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it goes like one and two and three and four.

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one and so talking to the kids about even though

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the slur ends there you're still pushing through

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the bar line to the next measure that is so important

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on this piece not just in the melody but even

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in like the euphonium part one two three four

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one Three, one. Yeah, breathing in the middle

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and telling them ahead of time through marking

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your parts, which we talk about on basically

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every episode where to take a breath. So everybody's

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not all breathing in the same spots and taking

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care of that early on. So they're learning it

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that way from the get -go and not just like,

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well, now we have a problem. Everybody's breathing

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at this measure. And this is especially important

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in the second half. And I'll go over that in

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a minute, but it's It's so important to tell

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them ahead of time where to practice taking those

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breaths. That's right. So there's always like

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a chord happening. So it opens with this beautiful

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clarinet leading this eighth note melodic phrase

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and just supporting chord structure underneath

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from the rest of the woodwind choir plus trombone,

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euphonium. It comes in with a flute section solely

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that really kind of acts like a duet with the

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first clarinet part. So I think... treating those

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two like that, like they are a duet, the second

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and third clarinet parts become an accompaniment

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or counter melody. And they need to go way softer.

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Yes, they need to get way underneath that melody

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in the flute and counter melody in the first

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clarinet part. But I love this beautiful beginning.

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It's all flute clarinet and some oboe with the

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melody. The trumpets don't even enter, at least

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first trumpets don't enter until measure 13.

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So just letting your woodwind. kind of shine

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and show off and sparkle beautiful tone qualities

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and phrasing here is gorgeous. Yep. The pickup

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note is always very important in the melody too.

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It always happens on beat four so teaching the

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kids that four leads to one and that those notes

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are not independent is really important. As Laura

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mentioned at nine the oboe comes in and kind

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of shines with the flute so making the oboe be

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a little bit more of a priority is kind of cool

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because it's that color and then at measure 13

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the first trumpet comes in with that melody and

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now the flute shifts to being the secondary instrument

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like the first clarinet was before and oboe goes

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away. When you have the first trumpet play here

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they're they're pretty independent and they're

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the only ones with the actual melody so you need

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to be careful when programming do you only have

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one kid that's available to play that well what

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if they're sick on the day of a concert right

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so you may want to make sure you only program

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if you've got enough people to have two or three

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possibly on that part because nobody else in

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the band has the melody they have just harmonic

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accompaniment underneath. As we get into measure

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17 the clarinets have this really beautiful little

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two and three and four and one that leads us

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in and this is like everybody's favorite spot

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is to breathe between 16 and 17 so while the

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clarinets will help cover that up a little bit

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we don't want the kids to get in the habit of

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I have a whole note now I'm gonna breathe and

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you know so talking about not breathing on bar

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lines that is so critical for this first part

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of to British then the flutes come back with

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another important part along with the first clarinet

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again so we're back to kind of like that little

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duet. The chords kind of have some accidentals

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in this section. It's written really beautifully,

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but it's not always easy. Like the tubas are

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down pretty low on their instrument, like on

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low B flat, low B. Tenor sax is on a low C sharp.

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Bassoon is on just regular B, but there's a lot

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of like little chord things here. Trombones are

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up above the staff on a D. So spending time in

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rehearsal on tuning each chord is super important

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as well. Yeah, especially at cadence points like

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that. I would focus, I would start with after

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they have this under fingers, starting with tuning

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at cadence points. And then like look at the,

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in measure 20, when we get to that little arrival,

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that's an E flat major chord. And I'm looking

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at like the first trumpets are on the third of

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the chord. And it's an A for them, which is a

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sharp partial. These are all just things to be

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mindful of. You know, we want the third to be

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lowered, so just being super, super mindful of

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that. But the scoring overall, I think the scoring

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of this piece is really smart, very smart. One

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little spot, the measure 20, which she's talking

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about right now, everybody has this beautiful

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chord, and only the first clarinet has the same

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thing the second and third had before. Two and

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three and, and it's just them. So again, you've

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gotta tell every... everybody else in the band,

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they're playing a beautiful chord, they have

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to play it in tune, they have to be softer on

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it so that you can hear that first clarinet melody

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leading into measure 21. But their sound also,

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many of the people then have a measure of rest

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in 21. Their sound must touch silence. It must

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absolutely make it all the way to the bar line

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and even just across so that the clarinets are

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not left out on an island by themselves. And

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he wrote it this way because it's very tooty

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and then at it's just the high woodwinds. And

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so it's written so well and it's so... beautiful

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but you have to again go through all the little

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details of you can't drop it you got to make

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sure you keep holding all the way to beat one

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so that then the flutes and the oboes and the

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saxes can take over. Well and this little this

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three measure transition before we change tempos

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and get to the second British folk song here

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to me is one of the scariest three measures of

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the piece because it's so exposed it is gesture

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woodwinds it's flute oboe clarinet and alto and

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that's it. So there's not even any low read in

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there. They have to sound really gorgeous. Yes,

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really gorgeous, but it's it's thinly scored

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and it's exposed and it's you end up on a fermata

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that you you know, hope and pray is in tune before

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you transition to the next section. Yes. So basically

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if you've got some great upper woodwinds, this

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might be a good piece for you to look at. Then

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it transitions to a quickly section and it goes

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into 2 -4. we basically double the tempo now

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we're in 144 obviously when you're first learning

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the piece don't go 144 right just you can start

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it like 80 or 90 and then work your way up um

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but this part is so much fun and the kids love

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it it's going to be a melody they're walking

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around singing um when they go to their next

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class the snare drum and the uh woodblock later

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bongo um gosh all the percussion gets really

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active in in this second section your snare drummer

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has to be really good because it's not the same

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all the time and they're doing some really like

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different rhythms here over and over and at a

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fast pace. Well and then the woodblock is often

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opposite what's happening with the snare drum

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so the snare drum you know the woodblock the

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snare drum like in measure 25 snare drums playing

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on downbeats woodblock is playing on upbeats

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just completely opposite of them so both of those

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students whoever is on your snare drum part whoever's

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on your woodblock part has to be solid they have

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to be confident with time. Yeah and encourage

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them to practice together you know so that way

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they know like how it's gonna feel. With the

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upper woodwinds here the first clarinets are

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at the upper range of the staff so they're sitting

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you know F's and things at the top of the staff

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while flutes are an octave higher than that so

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cross tuning here between your flutes and your

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first clarinets is important. You need to make

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sure that your first clarinet that's playing

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that can number one play controlled and in tune

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and voicing like keep their tone. because the

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voicing is really, really clear here. And I've

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heard this piece played a lot of times, and this

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bugs me a little bit, where they go... And it's

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just like, oh my gosh, why are we punching me

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in the face with articulation, right? So that

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is the articulation, but it should be more like...

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Like even. Nothing's louder, nothing is screaming.

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And again, like Laura just said, that's hard

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when you're up high on... flute and clarinet

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so maybe this is a part where you find one clarinet

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who can play it really well or one flute who

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can play it really well. Now this phrase... Because

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it's exposed. It's just those three instruments

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playing four measures and then the other instruments

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that were playing before clarinet two and sax

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are playing a chord. No brass. So I also, this

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eighth note little statement ends with a quarter

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note. One and two and one and two and one and

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two and one and two. And that's where everybody

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wants to breathe. That's what I was wanting to

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say. Don't do it. Don't do it. I already brought

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it up. Katie sings one and two and one and two

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and one and two and do not breathe. Yes, exactly.

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You come up with whatever you need to. Do not

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let them do it. And then we're about to talk

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about the low people in a second. So they come

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in at 28. with the melody so It's established

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by those upper woodwinds. At 28, they keep doing

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the same thing. You're gonna write in their part,

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go down to mezzo piano, because now they're high,

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but now they're also not the focal point. The

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focal point is the low people. And I would thin

00:14:04.450 --> 00:14:07.610
it out. Yeah, literally go one on a part. Yes,

00:14:08.269 --> 00:14:12.250
exactly, exactly. So now we've got bassoon, and

00:14:12.250 --> 00:14:14.649
we've got tenor and bari, and we've got trombone

00:14:14.649 --> 00:14:17.769
and euphonium, not tuba. And they have the melody,

00:14:17.769 --> 00:14:20.710
and it's... marked marcato. So this is gonna

00:14:20.710 --> 00:14:24.590
be more of a stately, you know, type, accented

00:14:24.590 --> 00:14:28.769
type part. One, two, and one, and two, one, and

00:14:28.769 --> 00:14:31.230
two, and they want to breathe right there. Don't

00:14:31.230 --> 00:14:33.710
let them do it! And I've heard it played so many

00:14:33.710 --> 00:14:36.389
times where everybody breathes in the same place.

00:14:36.590 --> 00:14:39.509
It just doesn't sound mature. Now, it would be

00:14:39.509 --> 00:14:42.450
mature if they could play eight measure phrases,

00:14:43.029 --> 00:14:45.450
but not every middle school band can do that.

00:14:45.509 --> 00:14:49.019
Well, in two, four time, at this tempo marking

00:14:49.019 --> 00:14:53.659
at 144 BPM in two four time an eight bar phrase

00:14:53.659 --> 00:14:56.759
should be sustainable for absolutely anybody.

00:14:56.840 --> 00:14:59.080
And if not, this is not the piece for you. Like

00:14:59.080 --> 00:15:00.639
that's the bottom line. Because they're really

00:15:00.639 --> 00:15:03.600
needing to go all the way to 35 and then they

00:15:03.600 --> 00:15:05.799
need to sneak a breath between the two quarter

00:15:05.799 --> 00:15:10.059
notes or breathe in, you know, 32 or something

00:15:10.059 --> 00:15:12.399
like that. There's lots of places where you can

00:15:12.399 --> 00:15:14.840
get creative. But again, we don't want everybody

00:15:14.840 --> 00:15:18.019
breathing between 35 and 36 where they finally

00:15:18.019 --> 00:15:21.639
don't have the melody anymore. But that is something

00:15:21.639 --> 00:15:24.700
that is really important in this piece. don't

00:15:24.700 --> 00:15:27.559
drop phrases. Right. They need to continue on.

00:15:28.360 --> 00:15:31.200
Yeah. I will also say something I hear, the marcato

00:15:31.200 --> 00:15:33.639
marking, this definitely needs to be playful,

00:15:33.799 --> 00:15:36.559
it needs to be firm, but I would not, like, be

00:15:36.559 --> 00:15:38.559
careful not to make the quarter notes. You don't

00:15:38.559 --> 00:15:43.820
want to hear... That's not what we're after.

00:15:44.419 --> 00:15:46.399
So quarter notes still need to be full value,

00:15:46.440 --> 00:15:49.200
but they just need to be firmly articulated at

00:15:49.200 --> 00:15:50.740
the front. They're still gonna lead to the next

00:15:50.740 --> 00:15:52.899
measure like we talked about in the first section.

00:15:53.440 --> 00:15:57.940
Absolutely. At 36, now the lows are not the melody,

00:15:58.019 --> 00:16:00.419
so they're all gonna come way down in volume.

00:16:01.039 --> 00:16:04.860
The trumpets alone have the melody. This is probably

00:16:04.860 --> 00:16:08.259
the section that maybe did my band in. So they're

00:16:08.259 --> 00:16:10.820
alone, and everybody else is playing what I think

00:16:10.820 --> 00:16:12.879
of as like these little like bagpipe types. Like

00:16:12.879 --> 00:16:16.000
drones, yeah. Like drones and it's really beautiful

00:16:16.000 --> 00:16:18.960
but it needs to be really quiet so that your

00:16:18.960 --> 00:16:21.399
trumpets don't have to force their sounds to

00:16:21.399 --> 00:16:25.679
be heard. It's not a hard melody but it is doubled

00:16:25.679 --> 00:16:28.399
so they both have the same thing here and you

00:16:28.399 --> 00:16:30.399
want to make sure again that they're not all

00:16:30.399 --> 00:16:32.960
breathing in the same spot. So maybe having first

00:16:32.960 --> 00:16:35.059
trumpets breathe in one spot, seconds breathing

00:16:35.059 --> 00:16:37.440
in a different, that will help you if they can't

00:16:37.440 --> 00:16:41.220
make it. um in one breath then you get this cute

00:16:41.220 --> 00:16:44.960
little um four e and a one or sorry two e and

00:16:44.960 --> 00:16:47.559
a one part that's in the first clarinet oboe

00:16:47.559 --> 00:16:50.120
and flute leading into the next section they

00:16:50.120 --> 00:16:52.700
are going to play the 16th note strong but then

00:16:52.700 --> 00:16:55.639
they're sitting on that same high e flat yeah

00:16:55.639 --> 00:16:58.820
like they need to play that either down an octave

00:16:58.820 --> 00:17:02.240
or one on a part so that it's not screeching

00:17:02.240 --> 00:17:05.380
because what we want to hear is the trumpet one

00:17:05.380 --> 00:17:08.519
and alto sax so think in your band that might

00:17:08.519 --> 00:17:12.230
be a total of four children right or maybe more,

00:17:12.369 --> 00:17:15.789
but maybe not. And so you've gotta balance everybody

00:17:15.789 --> 00:17:19.089
down to da da da da da da da da, and that's a

00:17:19.089 --> 00:17:21.750
really cool, beautiful, colorful moment in the

00:17:21.750 --> 00:17:23.970
piece. And so everybody else has to balance down

00:17:23.970 --> 00:17:26.410
so you can hear that. Now, those 16th notes only

00:17:26.410 --> 00:17:29.349
happen on beat two. It's just one beat of 16th

00:17:29.349 --> 00:17:31.990
notes, but they are a little trickier than you

00:17:31.990 --> 00:17:35.390
think it is. So don't overlook it and just go,

00:17:35.609 --> 00:17:37.329
oh, whatever. That'll happen fast enough. It

00:17:37.329 --> 00:17:40.700
doesn't matter, right? It is not stepwise. skip

00:17:40.700 --> 00:17:43.200
in there that gives kids some trouble, and the

00:17:43.200 --> 00:17:45.500
clarinet part, not only is there a skip, it crosses

00:17:45.500 --> 00:17:49.200
the break, going from an A to a C. So technically,

00:17:49.500 --> 00:17:52.799
that's not super easy to do. Just making sure

00:17:52.799 --> 00:17:56.160
that you have good practice tools in place to

00:17:56.160 --> 00:17:59.880
help your kids be successful. Measure 47 is a

00:17:59.880 --> 00:18:02.259
really important cadence point, and Laura and

00:18:02.259 --> 00:18:05.099
I were talking about when we've judged this in

00:18:05.099 --> 00:18:07.799
the past, or even played it ourselves with our

00:18:07.799 --> 00:18:10.519
bands. I have a pet peeve here. Yeah, this measure,

00:18:10.700 --> 00:18:15.900
when people end it and they go... Long short.

00:18:16.359 --> 00:18:19.759
Or short short. It's not written long short or

00:18:19.759 --> 00:18:22.500
short short, it's written long long. The notes

00:18:22.500 --> 00:18:25.160
should touch and go all the way full value to

00:18:25.160 --> 00:18:28.779
measure 48. Yeah, the one that drives me the

00:18:28.779 --> 00:18:33.420
most nuts is... They look the same, they should

00:18:33.420 --> 00:18:34.839
sound the same. Exactly. They should sound the

00:18:34.839 --> 00:18:37.789
same, right? Yes, so we're both... the same track.

00:18:37.789 --> 00:18:39.769
They need to go all the way to the bar line.

00:18:41.089 --> 00:18:44.569
Now we're back to the writing where only flute,

00:18:44.730 --> 00:18:47.269
oboe, first clarinet and saxophone are playing

00:18:47.269 --> 00:18:51.210
and flutes take over that same little motif that

00:18:51.210 --> 00:18:53.750
the sax and trumpet just played. They're up above

00:18:53.750 --> 00:18:56.250
the staff. Clarinets again are at the top of

00:18:56.250 --> 00:18:59.349
the staff. They have like a little just a little

00:18:59.349 --> 00:19:03.309
fun duet -y type part with the oboe and the oboe

00:19:03.309 --> 00:19:07.609
part is doing E flats and D flats. The technique

00:19:07.609 --> 00:19:12.509
here for the oboe is not the most simple, so

00:19:12.509 --> 00:19:17.029
make sure you spend some time from 48 to 55 with

00:19:17.029 --> 00:19:21.349
your woodwind little feature. I like this section

00:19:21.349 --> 00:19:24.109
because it starts to kind of layer and build.

00:19:25.049 --> 00:19:27.069
And the percussion even helps. There's like a

00:19:27.069 --> 00:19:29.769
cute little triangle part here and then we add

00:19:29.769 --> 00:19:32.190
in like a little triangle roll and it's all cute.

00:19:32.369 --> 00:19:34.529
I love this little part because the triangle

00:19:34.529 --> 00:19:37.470
is rolling and It's like little fun woodwinds

00:19:37.470 --> 00:19:39.750
playing the melody. It just kind of goes along

00:19:39.750 --> 00:19:42.009
with that cutesy theme. Be mindful not to use

00:19:42.009 --> 00:19:45.109
too heavy a beater on this. Otherwise you're

00:19:45.109 --> 00:19:48.710
gonna get like a dinner triangle sounding. So

00:19:48.710 --> 00:19:51.769
yeah, be mindful of that. Yeah, and also make

00:19:51.769 --> 00:19:53.990
sure your children know how to roll on a triangle

00:19:53.990 --> 00:19:56.589
and where to roll on a triangle. That's really

00:19:56.589 --> 00:20:00.390
important too. So then at 52 the upper people

00:20:00.390 --> 00:20:02.309
are still having the melody, but we've added

00:20:02.309 --> 00:20:05.539
in some chords with low reeds. and trombone and

00:20:05.539 --> 00:20:09.460
euphonium then the trumpets and the saxes come

00:20:09.460 --> 00:20:13.710
in it's kind of like a um I don't know the musical

00:20:13.710 --> 00:20:15.589
word, like they come in first and then they come

00:20:15.589 --> 00:20:17.490
in, it's not a round. It's not the same thing.

00:20:17.730 --> 00:20:21.089
It's like a, kind of, yeah, kind of like that.

00:20:21.109 --> 00:20:23.710
So the woodwinds play first, then the trumpets

00:20:23.710 --> 00:20:26.150
and the saxes come in with one, two, and one,

00:20:26.329 --> 00:20:29.309
and two, that same part that the lows had before,

00:20:29.309 --> 00:20:32.369
but now it's a bit different. One, two, and one,

00:20:32.390 --> 00:20:36.109
and two, one, and two, and they cannot breathe

00:20:36.109 --> 00:20:39.410
there, and they should crescendo there, so that

00:20:39.410 --> 00:20:42.349
way it leads into the next section. one and two

00:20:42.349 --> 00:20:44.950
and one and it's a forte piano and they're gonna

00:20:44.950 --> 00:20:47.710
get all soft. While that's going on. You've got

00:20:47.710 --> 00:20:50.650
the like the trombone euphonium and the second

00:20:50.650 --> 00:20:52.569
and third clarinets that are doing these little

00:20:52.569 --> 00:20:54.589
energy. This part is so fun. It is really fun

00:20:54.589 --> 00:20:57.710
but they will rush the crap out of it. Yes. Because

00:20:57.710 --> 00:21:00.690
they'll play it too short. They'll go one and

00:21:00.690 --> 00:21:06.150
two instead of one and two and And three, one,

00:21:06.210 --> 00:21:09.490
two, so all the quarter notes cannot be short.

00:21:09.849 --> 00:21:12.609
Because it will lead to rushing like Laura said

00:21:12.609 --> 00:21:15.930
and it won't sound stylistic. So yeah. It starts

00:21:15.930 --> 00:21:18.529
in just those voices but then two measures later

00:21:18.529 --> 00:21:21.410
we add in a lot more of the ensemble on that

00:21:21.410 --> 00:21:25.009
same rhythmic part. So this is like a rhythm

00:21:25.009 --> 00:21:27.690
study. Play it on a concert F, play it on your

00:21:27.690 --> 00:21:30.490
Remington. Do this until the whole ensemble understands

00:21:30.490 --> 00:21:33.509
how stylistically you want that rhythm executed.

00:21:34.190 --> 00:21:36.869
can go back and put it on notes in the ensemble.

00:21:37.109 --> 00:21:39.869
Yep and percussion has it as well so that's helpful.

00:21:40.250 --> 00:21:41.930
You could even have percussion play it while

00:21:41.930 --> 00:21:44.029
everybody else ear tongue fingers and then they

00:21:44.029 --> 00:21:47.029
can add in or whatever. Then we're back to the

00:21:47.029 --> 00:21:49.470
flutes and the oboes and the sax and first clarinet

00:21:49.470 --> 00:21:52.069
having the melody. So they have the one two and

00:21:52.069 --> 00:21:54.390
one and two don't breathe there don't breathe

00:21:54.390 --> 00:21:57.329
here one two. So you have to get creative about

00:21:57.329 --> 00:21:59.509
where they can breathe like flutes may not be

00:21:59.509 --> 00:22:01.990
able to play an eight measure phrase. So if they

00:22:01.990 --> 00:22:05.019
need to breathe and measure 84 after the quarter

00:22:05.019 --> 00:22:07.079
note, or whatever it might be, writing that in

00:22:07.079 --> 00:22:09.920
again for them so they know is super helpful.

00:22:10.420 --> 00:22:14.740
Then we get that same cadence point at 67. Is

00:22:14.740 --> 00:22:20.170
it 67? It is. Oh, oh god. Oh god. I'm so sorry.

00:22:20.609 --> 00:22:23.670
I'm sorry everybody and also for posterity. Nobody

00:22:23.670 --> 00:22:26.990
will think this is funny in years, but okay We're

00:22:26.990 --> 00:22:28.809
going through a time right now where kids like

00:22:28.809 --> 00:22:32.470
to say six seven So if you're listening to this

00:22:32.470 --> 00:22:34.930
in the future, just have fun with that little

00:22:34.930 --> 00:22:37.809
tidbit I wish I am so over that six seven thing.

00:22:37.809 --> 00:22:40.349
I think we all are I also literally just said

00:22:40.349 --> 00:22:43.289
80 something it's cuz my Handwriting was horrible.

00:22:43.289 --> 00:22:45.690
It's 60 whatever it was. So anyway, we're at

00:22:45.690 --> 00:22:48.430
67 and this is another cadence point. That's

00:22:48.430 --> 00:22:50.220
the same thing we just talked about where everybody

00:22:50.220 --> 00:22:55.579
goes and and one two not and and da da and then

00:22:55.579 --> 00:22:58.539
we get a whole nother part at 68 so this part

00:22:58.539 --> 00:23:01.619
I love that yeah I do too so the low brass take

00:23:01.619 --> 00:23:04.519
over low brass and low reeds take over this this

00:23:04.519 --> 00:23:07.960
melody or this new idea the woodwinds I'm gonna

00:23:07.960 --> 00:23:10.099
talk about this for just a second the flutes

00:23:10.099 --> 00:23:13.079
clarinets and first clarinets have some diddles

00:23:13.079 --> 00:23:20.970
so and they will compress that like crazy. And

00:23:20.970 --> 00:23:23.589
they'll play it really loud and it is not the

00:23:23.589 --> 00:23:26.150
melody. It does not need to be loud. So that

00:23:26.150 --> 00:23:28.009
is something I would work really hard on making

00:23:28.009 --> 00:23:30.390
sure that rhythmically it is very accurate. But

00:23:30.390 --> 00:23:32.650
the low brass and low reeds are what needs to

00:23:32.650 --> 00:23:36.369
shine. One and two and one two, one and two and

00:23:36.369 --> 00:23:39.670
one two. Don't breathe, don't breathe. Or there's

00:23:39.670 --> 00:23:42.029
those two half notes right there. So what I taught

00:23:42.029 --> 00:23:43.930
the kids to do is half of them would breathe

00:23:43.930 --> 00:23:47.160
on the bar line between 72 and 73. and the other

00:23:47.160 --> 00:23:49.819
half would breathe between 73 and 74. That way

00:23:49.819 --> 00:23:52.740
someone was carrying through. Yes. Now this is

00:23:52.740 --> 00:23:55.440
not the main melodic theme. No. The trumpets.

00:23:55.940 --> 00:23:57.980
Trumpet and sax and other parts are really cool.

00:23:57.980 --> 00:23:59.880
They're playing the main theme, but this low

00:23:59.880 --> 00:24:02.019
brass part, this is the new thing, right? So

00:24:02.019 --> 00:24:04.319
this is, even though it's not the main melody,

00:24:04.660 --> 00:24:07.079
it's the new idea. So we want to bring this out

00:24:07.079 --> 00:24:09.579
and make sure that it's featured. And that everybody's

00:24:09.579 --> 00:24:12.380
articulating it the same way. We're not getting

00:24:12.380 --> 00:24:15.299
softer as we play lower on our instrument. We're

00:24:15.299 --> 00:24:19.690
keeping every... the same volume because that's

00:24:19.690 --> 00:24:21.630
obviously something that's important. Bass clarinet's

00:24:21.630 --> 00:24:24.809
going down real low right here, so, and bari

00:24:24.809 --> 00:24:27.210
sax is going below the staff. Just making sure

00:24:27.210 --> 00:24:29.650
a bass sounds their best as they descend on their

00:24:29.650 --> 00:24:32.250
instrument. So snare drum rolls in this section

00:24:32.250 --> 00:24:33.990
right here and we're coming up to them where

00:24:33.990 --> 00:24:37.430
they're a lot more of this type of thing. But

00:24:37.430 --> 00:24:39.009
where they're rolling, you gotta make sure that

00:24:39.009 --> 00:24:40.869
it's a good quality buzz roll and we don't hear

00:24:40.869 --> 00:24:42.910
their hands in their roll. Like we should not

00:24:42.910 --> 00:24:45.071
hear, zazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazazaz

00:24:45.069 --> 00:24:48.170
So again make sure you get the right kid on this

00:24:48.170 --> 00:24:52.410
part. Yep. Then we get to this same little area

00:24:52.410 --> 00:24:54.349
where everybody kind of has the same thing one

00:24:54.349 --> 00:24:57.369
and two or one two so again making sure that

00:24:57.369 --> 00:25:00.950
your sound touches the bar line of 76. Now we

00:25:00.950 --> 00:25:04.549
have a new little idea in the horn and sax and

00:25:04.549 --> 00:25:07.490
clarinet two three part that I love featuring

00:25:07.490 --> 00:25:10.789
while the flute oboe and clarinet one still have

00:25:10.789 --> 00:25:13.769
the same dee dee dee dee dee from before and

00:25:13.769 --> 00:25:16.619
now it goes goes even higher. The flutes go up

00:25:16.619 --> 00:25:19.599
to a high F, the clarinet one goes to a G. So

00:25:19.599 --> 00:25:21.940
these little diddles up here, it's a little bit

00:25:21.940 --> 00:25:23.819
of a different idea, right? They're meant to

00:25:23.819 --> 00:25:26.279
be accompanying, we're about to go into, I love

00:25:26.279 --> 00:25:29.200
this part too. I know. It's the theme, but it's

00:25:29.200 --> 00:25:33.819
- Diminion, dimin, diminition? Augmentation it's

00:25:33.819 --> 00:25:36.480
it's augmented augmentation. Yes, it's augmented.

00:25:36.599 --> 00:25:40.660
So yes. Oh, yeah Yes, so the whole theme is augmented

00:25:40.660 --> 00:25:43.519
So now instead of being one two and one and two

00:25:43.519 --> 00:25:48.720
or one One two one two one no breath one two

00:25:48.720 --> 00:25:51.920
one. No breath, right? Yeah, but I love it and

00:25:51.920 --> 00:25:54.240
I did her woodwinds get these little do and I

00:25:54.240 --> 00:25:57.220
love this part before Yeah, that's like little

00:25:57.220 --> 00:25:59.259
they're like getting us ready for this cool part

00:25:59.259 --> 00:26:03.440
and the horn and sax have this one One, one,

00:26:03.440 --> 00:26:07.539
one, one. It almost to me sounds like chiming

00:26:07.539 --> 00:26:10.099
bells. Like here we go, the low brass are about

00:26:10.099 --> 00:26:12.279
to be important. And I think this part is so

00:26:12.279 --> 00:26:14.000
cool. Yes, I do too. It's one of my favorite

00:26:14.000 --> 00:26:16.799
parts. Yep. So we already sang this is the low

00:26:16.799 --> 00:26:18.920
brass feature where they're getting to be cool,

00:26:18.940 --> 00:26:21.900
low reeds. They continue on, the upper people

00:26:21.900 --> 00:26:24.779
continue on not being important. So do not let

00:26:24.779 --> 00:26:28.539
them be loud so they don't take away. And the

00:26:28.539 --> 00:26:32.259
bongos come in here too. There's a, this part

00:26:32.259 --> 00:26:34.440
is so important, and we're about to have like

00:26:34.440 --> 00:26:37.400
a little percussion feature. So it's like super

00:26:37.400 --> 00:26:39.799
important again that your percussionists have

00:26:39.799 --> 00:26:42.519
good pulls, good time, where they're not compressing

00:26:42.519 --> 00:26:45.700
16th notes or rushing, that sort of thing. Snare,

00:26:45.779 --> 00:26:48.779
woodblock, bongos, those kids are the ones that

00:26:48.779 --> 00:26:52.000
are most important. So we land at 94, so we finish

00:26:52.000 --> 00:26:55.359
this, there's all this energy, we get to 94,

00:26:55.519 --> 00:26:58.200
and it's the flute, the oboe, and the first clarinet

00:26:58.200 --> 00:27:02.279
on a high concert E flat. and it can sound so

00:27:02.279 --> 00:27:06.920
shrill like they just get there and land it has

00:27:06.920 --> 00:27:09.839
to be with such control and your flutes and oboes

00:27:09.839 --> 00:27:13.140
must shake the earth with their vibrato yeah

00:27:13.140 --> 00:27:16.480
they must and I would for sure make this be a

00:27:16.480 --> 00:27:21.000
solo yeah because there's no way that everybody's

00:27:21.000 --> 00:27:22.920
gonna be a hundred percent in tune with like

00:27:23.180 --> 00:27:26.140
15 yeah on that note. Yeah, and then percussion

00:27:26.140 --> 00:27:28.259
It's a big the percussion break Katie was talking

00:27:28.259 --> 00:27:30.720
about so now and it's marked fortissimo in the

00:27:30.720 --> 00:27:33.539
percussion parts It doesn't need to be yeah,

00:27:33.559 --> 00:27:35.500
they're the only ones doing something, you know

00:27:35.500 --> 00:27:37.720
Except for those the upper woodwinds on that

00:27:37.720 --> 00:27:40.319
screaming E flat that it does not need to be

00:27:40.319 --> 00:27:42.660
fortissimo It needs to be strong and told and

00:27:42.660 --> 00:27:44.880
it needs to be controlled and in time Yes, and

00:27:44.880 --> 00:27:47.220
it's such a cool moment for them, which I love

00:27:47.220 --> 00:27:51.000
Then we come back in at 98 with the band again

00:27:51.000 --> 00:27:53.890
kind of again doing this This Canon type idea,

00:27:54.029 --> 00:27:57.289
yeah. One, two, and one, and two, led by alto

00:27:57.289 --> 00:28:00.390
and trumpet, then the lows. One, two, and one,

00:28:00.450 --> 00:28:02.849
and two. And you're teaching them that when they're

00:28:02.849 --> 00:28:06.329
done with that main statement, they're coming

00:28:06.329 --> 00:28:09.970
way down, so that the new group can be featured.

00:28:10.269 --> 00:28:12.069
And then we still have the upper people doing

00:28:12.069 --> 00:28:15.190
ding ding ding ding ding again. So they're the

00:28:15.190 --> 00:28:17.470
least important, even though they want to be

00:28:17.470 --> 00:28:19.849
important because they're up so high. Then we

00:28:19.849 --> 00:28:22.670
have another repeat of the one and two. from

00:28:22.670 --> 00:28:27.130
before, then 106 is my favorite. But also, it

00:28:27.130 --> 00:28:30.309
doesn't always work, so you need to play this

00:28:30.309 --> 00:28:33.269
piece if your kids can do this, but if they can't

00:28:33.269 --> 00:28:35.609
do this part really well, this may not be the

00:28:35.609 --> 00:28:37.269
piece for you. Do not save it to the end. 106

00:28:37.269 --> 00:28:40.130
to 114. Do not save it to the end to teach. Do

00:28:40.130 --> 00:28:42.509
not save it to the end to teach. This is, I call

00:28:42.509 --> 00:28:44.630
it the waterfall section. Yeah. Right? So it

00:28:44.630 --> 00:28:47.509
passes this reverse eighth dotted quarter rhythm,

00:28:47.589 --> 00:28:50.609
one and, so it's all, I mean, really, but you're

00:28:50.609 --> 00:28:53.289
in two and three and four and one and two and

00:28:53.289 --> 00:28:56.170
one and two and one and two and. written so well

00:28:56.170 --> 00:28:58.630
where it literally is going from high instruments

00:28:58.630 --> 00:29:02.769
to low backup and you have to hear every single

00:29:02.769 --> 00:29:06.690
entry yes yes yes and this is a great section

00:29:06.690 --> 00:29:11.440
to bop this is a great section to like tell the

00:29:11.440 --> 00:29:14.180
kids like when you don't have this part you're

00:29:14.180 --> 00:29:17.380
playing quiet like for instance uh trumpet one

00:29:17.380 --> 00:29:20.680
and flute actually is it flute two oh it's a

00:29:20.680 --> 00:29:23.099
divisi part yeah so some of the flutes and some

00:29:23.099 --> 00:29:26.500
of the trumpets have one and and they shouldn't

00:29:26.500 --> 00:29:30.609
just be super loud one and So that you can hear

00:29:30.609 --> 00:29:32.750
all the other parts or like other people come

00:29:32.750 --> 00:29:36.089
in on two and three So they're gonna play two

00:29:36.089 --> 00:29:39.349
and strong, but are two and one. Sorry. They're

00:29:39.349 --> 00:29:41.609
gonna play two and strong But then when they

00:29:41.609 --> 00:29:43.369
have a long note, they're gonna play softer.

00:29:43.990 --> 00:29:46.869
This takes a lot of maturity It does to get it

00:29:46.869 --> 00:29:49.490
right where you as the listener you literally

00:29:49.490 --> 00:29:54.569
can hear what? Yeah, it's not easy it is not

00:29:54.569 --> 00:29:57.890
easy it takes practice and it's not always scored

00:29:58.059 --> 00:30:00.779
very well too so you might want to even rewrite

00:30:00.779 --> 00:30:03.539
it like if you're like I can't hear the eighth

00:30:03.539 --> 00:30:08.140
notes on beat one of 107 then write it so that

00:30:08.140 --> 00:30:10.519
more people have it or whatever it might be yes

00:30:10.519 --> 00:30:12.720
yeah I think bopping Katie's 100 right about

00:30:12.720 --> 00:30:17.119
bopping I would also play it on a concert F until

00:30:17.119 --> 00:30:21.380
the rhythms and their entrances are drilled into

00:30:21.380 --> 00:30:25.420
their head when they come in yeah but this section

00:30:25.420 --> 00:30:28.460
I love it but it's it's hard yeah And like Laura

00:30:28.460 --> 00:30:31.420
said don't start at measure one on this piece

00:30:31.420 --> 00:30:34.920
necessarily Maybe do this and a little bit of

00:30:34.920 --> 00:30:37.539
the beginning at the same time So that way they're

00:30:37.539 --> 00:30:39.259
getting a little bit of the fun part, but they're

00:30:39.259 --> 00:30:41.059
also getting a little bit of the lyrical part

00:30:41.059 --> 00:30:44.980
Then we get back to 114 and it's like before

00:30:44.980 --> 00:30:47.839
Trumpets have one and two and one and then the

00:30:47.839 --> 00:30:50.740
whole band has this cool rhythm together one

00:30:50.740 --> 00:30:57.529
and And this is a bass drum solo. Two E and boom.

00:30:57.809 --> 00:31:00.710
Bass drum on beat one. And you guys, it's just

00:31:00.710 --> 00:31:03.609
marked forte. I have heard some bass drummers

00:31:03.609 --> 00:31:06.289
like peel the paint off the walls. They have

00:31:06.289 --> 00:31:10.069
hit the drum so hard. So it is a cool effect.

00:31:10.569 --> 00:31:14.609
One and dig it up. Boom. And one, two, right.

00:31:14.839 --> 00:31:18.440
Yeah, and the snare bongos and toms have the

00:31:18.440 --> 00:31:20.880
digita that we're singing. And so they don't

00:31:20.880 --> 00:31:22.779
need to overplay either because there's nothing

00:31:22.779 --> 00:31:25.640
else happening. They're all alone. So it's kind

00:31:25.640 --> 00:31:27.460
of like they're the catalyst for the rest of

00:31:27.460 --> 00:31:30.859
the band. Digita. And, and one, two. So this

00:31:30.859 --> 00:31:32.740
is cool. And this part can also... Unison rhythm.

00:31:33.420 --> 00:31:37.259
drive me nuts when they go and and one two and

00:31:37.259 --> 00:31:41.380
and one two or and and and rush yeah so long

00:31:41.380 --> 00:31:45.779
long and and one two like make sure that it's

00:31:45.779 --> 00:31:48.799
full value so it doesn't rush and then the whole

00:31:48.799 --> 00:31:54.019
band has the same thing at um 121 one and two

00:31:54.019 --> 00:31:57.839
and one and two and and it's literally Unison.

00:31:58.039 --> 00:32:00.740
Yes, the whole band has the same notes until

00:32:00.740 --> 00:32:03.819
the chorus same rhythm and the same articulation

00:32:03.819 --> 00:32:09.099
and this is so hard To have everybody sound so

00:32:09.099 --> 00:32:12.559
good. I mean it has to be transparent. It just

00:32:12.559 --> 00:32:13.900
has to be transparent. You've got to hear everybody.

00:32:13.980 --> 00:32:15.420
You've got to hear the tuba. You've got to hear

00:32:15.420 --> 00:32:18.299
the low reeds. And then we have these beautiful

00:32:18.299 --> 00:32:22.240
chords at 123. Ta ta. And this is literally the

00:32:22.240 --> 00:32:24.880
first time in the piece that an accent is written

00:32:24.880 --> 00:32:27.940
in for the winds. So this is where, this is kind

00:32:27.940 --> 00:32:30.160
of the end of the piece. So this is a big old

00:32:30.160 --> 00:32:32.940
punchy part. Then you get another little percussion

00:32:32.940 --> 00:32:36.990
moment at 124. And then we start another... little

00:32:36.990 --> 00:32:39.569
waterfall but this time it's a reverse waterfall.

00:32:39.890 --> 00:32:40.750
It's from the bottom up. So it's from the bottom

00:32:40.750 --> 00:32:44.390
up one and two and and then we end with two more

00:32:44.390 --> 00:32:47.630
accent and notes. Now they are actually marked

00:32:47.630 --> 00:32:51.329
marcato here at the end so you can get away with

00:32:51.329 --> 00:32:54.130
making them you know a little more separated

00:32:54.130 --> 00:32:56.950
than maybe than maybe what you did earlier but

00:32:56.950 --> 00:33:00.150
the key is making them the same right? T -ya

00:33:00.150 --> 00:33:04.990
ta ta t -ya ta ta ta ta. Same length. Same. Like

00:33:04.990 --> 00:33:07.289
I made my kids write that on the page. Same.

00:33:07.609 --> 00:33:11.170
Same. Same. Absolutely. Man, I love this piece.

00:33:11.509 --> 00:33:14.829
I absolutely love this piece, but it is challenging.

00:33:14.990 --> 00:33:16.490
You need to make sure that you do your score

00:33:16.490 --> 00:33:19.289
study and that you get into the individual parts

00:33:19.289 --> 00:33:22.089
to make sure that it is something that is appropriate

00:33:22.089 --> 00:33:24.529
and going to fit your band. Thank you for joining

00:33:24.529 --> 00:33:36.329
us on this episode of Band BFFs. you