WEBVTT 00:00:06.779 --> 00:00:10.699 Welcome to our podcast, Band BFFs. The podcast 00:00:10.699 --> 00:00:13.099 where we make your music selection less complicated. 00:00:13.519 --> 00:00:15.660 On today's episode, we are going to be discussing 00:00:15.660 --> 00:00:19.140 You Better Slay by Gerard Hall. Cheers to starting 00:00:19.140 --> 00:00:24.920 the conversation. This piece is so fun to program 00:00:24.920 --> 00:00:30.039 for a winter concert or an elementary wintertime 00:00:30.039 --> 00:00:33.380 demonstration, right? It came out when Stetson 00:00:33.380 --> 00:00:37.039 Beguine did it for Midwest a couple years ago 00:00:37.039 --> 00:00:40.119 and y 'all this piece your kids are gonna be 00:00:40.119 --> 00:00:42.740 begging you to play it year after year Yeah, 00:00:42.740 --> 00:00:44.859 actually, it's funny. You should say that I was 00:00:44.859 --> 00:00:47.500 just talking to another director who said his 00:00:47.500 --> 00:00:50.039 kids asked him Hey, can we make this an annual 00:00:50.039 --> 00:00:52.219 thing like instead? of sleigh ride, can we do 00:00:52.219 --> 00:00:54.960 this one? Which I think is so cool. Yeah, it's 00:00:54.960 --> 00:00:59.420 so fun. It is in funk style, so lots of articulation. 00:00:59.579 --> 00:01:02.240 The key of concert B flat throughout, it's about 00:01:02.240 --> 00:01:05.060 two and a half minutes. It's in cut time. So 00:01:05.060 --> 00:01:07.840 that I think is probably with the syncopated 00:01:07.840 --> 00:01:10.159 funk rhythms, I think that's probably the thing 00:01:10.159 --> 00:01:12.459 that makes it most complicated. It does have 00:01:12.459 --> 00:01:15.879 split clarinet, alto trumpet, and trombone parts. 00:01:16.280 --> 00:01:19.299 Lots of cool percussion in this. This is something 00:01:19.299 --> 00:01:23.120 that you really need. to have six. percussionist 00:01:23.120 --> 00:01:26.219 minimum to cover all of the accessory equipment 00:01:26.219 --> 00:01:28.719 and you want all of those parts covered because 00:01:28.719 --> 00:01:31.120 I think they really add to the color of the piece. 00:01:31.200 --> 00:01:33.540 Yep and there's an optional vibraphone part but 00:01:33.540 --> 00:01:35.659 it sounds really cool it adds a lot of color 00:01:35.659 --> 00:01:38.379 to it so it would be a good one if you have enough 00:01:38.379 --> 00:01:42.560 players. So it's in cut time as Laura just mentioned 00:01:42.560 --> 00:01:47.040 and it starts off with all the low voices and 00:01:47.040 --> 00:01:52.170 I don't know how you teach cut time but I remember 00:01:52.170 --> 00:01:55.349 when I played this piece last year I taught it 00:01:55.349 --> 00:01:58.469 to them in four first so we learned to count 00:01:58.469 --> 00:02:02.409 it one two three one two three four yes two three 00:02:02.409 --> 00:02:05.170 and I am currently preparing it for winter concert 00:02:05.170 --> 00:02:08.370 and we are doing the same thing okay but what 00:02:08.370 --> 00:02:12.650 I do is we learn it in a fast four but I put 00:02:12.650 --> 00:02:16.680 the met click on every two beats so that they 00:02:16.680 --> 00:02:19.819 feel the emphasis where the cut time beat will 00:02:19.819 --> 00:02:23.479 eventually be. And that helps them to start to 00:02:23.479 --> 00:02:27.099 kind of feel that. But we counted in 4 -4. Yeah, 00:02:27.139 --> 00:02:29.120 all of that. I made the kids actually tap their 00:02:29.120 --> 00:02:31.520 foot in cut time even from the very beginning. 00:02:31.520 --> 00:02:34.180 Yeah. So, but we did count it in 4 -4. Okay, 00:02:34.199 --> 00:02:37.500 so that's how we both did it. But that helps 00:02:37.500 --> 00:02:40.219 just, you know, to give you guys some ideas for 00:02:40.219 --> 00:02:42.539 when you rehearse it too. So it starts off like 00:02:42.539 --> 00:02:45.370 I just mentioned with the low voice is going 00:02:45.370 --> 00:02:48.669 one two three and then you get like a long chord 00:02:48.669 --> 00:02:51.349 in the upper people a little harmon mute on the 00:02:51.349 --> 00:02:55.050 trumpet and they're gonna hold this long tied 00:02:55.050 --> 00:02:58.009 note for a while with some cool like drum stuff 00:02:58.009 --> 00:03:00.729 happening behind it and then the lows are just 00:03:00.729 --> 00:03:05.840 doing a little bass line for one For one and 00:03:05.840 --> 00:03:09.479 so it's just fun very fun. It's very funk. It's 00:03:09.479 --> 00:03:12.280 very groovy Your kids have to be really good 00:03:12.280 --> 00:03:15.659 independent counters. Yes and players Yes, because 00:03:15.659 --> 00:03:18.159 especially when it goes up to tempo they have 00:03:18.159 --> 00:03:20.879 to feel really good about I'm gonna play on an 00:03:20.879 --> 00:03:23.400 and beat here I'm gonna play on a downbeat here. 00:03:23.680 --> 00:03:27.099 So just this is definitely a piece that if you 00:03:27.939 --> 00:03:30.460 have kids that can count, this is a good one, 00:03:30.599 --> 00:03:34.199 but it's really tricky if kids can't feel that 00:03:34.199 --> 00:03:39.039 syncopation or the upbeats in nature. As we continue 00:03:39.039 --> 00:03:42.259 on, the saxes, who are featured a lot in the 00:03:42.259 --> 00:03:45.240 piece, along with clarinet two, come in with 00:03:45.240 --> 00:03:48.270 two, three, and four, and then the lows. For 00:03:48.270 --> 00:03:51.830 a note, like in response. So it's just really 00:03:51.830 --> 00:03:54.270 fun. The whole piece starts out kind of thin, 00:03:54.770 --> 00:03:57.990 thinly scored at nine. The lows keep doing the 00:03:57.990 --> 00:04:00.189 same little like walking bass line, but now we've 00:04:00.189 --> 00:04:03.250 added in flute, oboe, clarinet, one, two, three, 00:04:03.250 --> 00:04:05.610 and four. So it's like the same thing. Lots of 00:04:05.610 --> 00:04:07.889 column response, kind of moving through the ensemble. 00:04:07.969 --> 00:04:10.729 Lots of articulation. So all of those quarter 00:04:10.729 --> 00:04:13.090 notes that Katie's singing are marked staccato, 00:04:13.349 --> 00:04:15.210 and then there's slurred. Yeah, there's slurred 00:04:15.210 --> 00:04:17.790 patterns. There's marcato, all those. low voices, 00:04:18.149 --> 00:04:21.670 that funk stuff, that syncopated stuff they are 00:04:21.670 --> 00:04:27.870 doing is all marked to Marcato. Just lots of 00:04:27.870 --> 00:04:31.670 style, lots of style, independent counting, accidentals 00:04:31.670 --> 00:04:35.949 because of the key. It's the beginning of Slayerite. 00:04:37.410 --> 00:04:40.850 But it's like in a funk version. So it's real 00:04:40.850 --> 00:04:43.170 fun. And then the trumpets come in one measure 00:04:43.170 --> 00:04:45.430 later along with clarinet, too, and alto sax 00:04:45.430 --> 00:04:47.970 with the same thing. So, you know, these are 00:04:47.970 --> 00:04:53.610 just little conversational pieces. You know, 00:04:53.610 --> 00:04:55.579 they're just kind of all. having little call 00:04:55.579 --> 00:04:58.279 and response type things. It's like a tower of 00:04:58.279 --> 00:05:01.360 power were to do a sleigh ride version. Love 00:05:01.360 --> 00:05:04.879 it. Then the kind of like medium to low voices, 00:05:05.160 --> 00:05:07.519 trombone, euphony, and bassoon tenor sax have 00:05:07.519 --> 00:05:10.759 a long note. We still have the low voices kind 00:05:10.759 --> 00:05:14.000 of punctuating it. Then we add in the horn and 00:05:14.000 --> 00:05:22.420 the tenor sax with like the first melody. So 00:05:22.420 --> 00:05:25.339 it's like a little part of a little town of Bethlehem 00:05:25.339 --> 00:05:29.819 So it's really fun And then at measure 14 flute 00:05:29.819 --> 00:05:32.980 oboe clarinet still have another little interjection 00:05:32.980 --> 00:05:35.800 two and three and four in Followed immediately 00:05:35.800 --> 00:05:38.199 by alto four and one and two and three. Yeah, 00:05:38.279 --> 00:05:41.000 so it's just like real jazzy Vibraphone gets 00:05:41.000 --> 00:05:43.560 to have it with sax, you know, that's just cool. 00:05:43.560 --> 00:05:46.980 Like yeah jazz vibes. I love it Percussion is 00:05:46.980 --> 00:05:50.519 just kind of jamming away on like a drum set 00:05:50.519 --> 00:05:53.540 type part It's like snare, hi -hat, and bass 00:05:53.540 --> 00:05:56.459 drum. And that is really important. It could 00:05:56.459 --> 00:05:59.199 be a drum set or it can be multiple children. 00:05:59.319 --> 00:06:03.000 There's a lot of accent, closed hi -hat, open 00:06:03.000 --> 00:06:04.720 hi -hat. Yeah, the hi -hat part is kind of tricky. 00:06:04.740 --> 00:06:06.920 It's really important obviously to add to that 00:06:06.920 --> 00:06:09.139 whole feel, making sure they can execute that 00:06:09.139 --> 00:06:13.000 right. Yep and then um we have our last little 00:06:13.000 --> 00:06:15.920 interjection where like all the uppers go two 00:06:15.920 --> 00:06:18.879 three and four and then everybody together one 00:06:18.879 --> 00:06:22.060 and then we're decrescendoing. 19 is just the 00:06:22.060 --> 00:06:24.759 hi -hat -y type part and then we start off with 00:06:24.759 --> 00:06:29.379 um this like little staccato -y part for everybody 00:06:29.379 --> 00:06:35.370 so two three four one and four or four yeah so 00:06:35.370 --> 00:06:37.910 it's real fun the kids love it it's a woodwind 00:06:37.910 --> 00:06:41.290 feature and then brass comes in and the next 00:06:41.290 --> 00:06:45.360 measure for their feature three and or sorry. 00:06:45.759 --> 00:06:49.939 Yep. Yeah. Three and two. Yep. They answer. And 00:06:49.939 --> 00:06:54.579 then one and, and, and, and, and, and, and two 00:06:54.579 --> 00:06:57.120 and uh, and then the lows. So much syncopation. 00:06:57.259 --> 00:07:00.120 Yes. And so it's really fun and it's marked really 00:07:00.120 --> 00:07:03.420 well with all the accented entrances. Um, but 00:07:03.420 --> 00:07:06.040 just going over that with the kids when it's 00:07:06.040 --> 00:07:09.480 slower is really helpful, obviously. Um, but 00:07:09.480 --> 00:07:12.689 then the lows get to have this cool part. low 00:07:12.689 --> 00:07:15.550 reeds only clarinet bass is just woodwinds very 00:07:15.550 --> 00:07:17.689 sax yeah they get to have this cool like little 00:07:17.689 --> 00:07:23.120 walking bass line and 29 and 30 and then four 00:07:23.120 --> 00:07:27.660 one and two and and four so it's just um you 00:07:27.660 --> 00:07:30.600 know continuing on just featuring your beautiful 00:07:30.600 --> 00:07:33.439 woodwinds then there's a little solo for the 00:07:33.439 --> 00:07:37.060 trumpet and it's uh muted still yep and it's 00:07:37.060 --> 00:07:40.500 just a fun little like jazzy interjection and 00:07:40.500 --> 00:07:43.660 then the lows get to come in two three and four 00:07:43.660 --> 00:07:52.509 one and then they take over the the melody Da 00:07:52.509 --> 00:07:56.269 da da da da. And then trumpets come in and this 00:07:56.269 --> 00:07:58.589 is like where it starts to build up Just like 00:07:58.589 --> 00:08:01.149 in a jazz chart where everybody comes in and 00:08:01.149 --> 00:08:06.689 you're building it up One three one and and four 00:08:06.689 --> 00:08:11.250 One and two and three so it's just just a beautiful 00:08:11.250 --> 00:08:14.329 fun arrangement And again everybody's getting 00:08:14.329 --> 00:08:17.290 to have something you know harmonies are a little 00:08:17.290 --> 00:08:19.430 bit different Which I think yeah, which I think 00:08:19.430 --> 00:08:22.410 is is really really cool, but it just gives a 00:08:22.410 --> 00:08:25.009 different. It's a different twist Yeah, so then 00:08:25.009 --> 00:08:27.089 the flutes and the trumpets kind of have the 00:08:27.089 --> 00:08:30.829 melody along with clarinet back and forth and 00:08:30.829 --> 00:08:40.990 they're doing So that's going back and forth 00:08:40.990 --> 00:08:44.850 and then we've got just some cool like little 00:08:44.850 --> 00:08:48.289 like chords underneath like Laura mentioned from 00:08:48.289 --> 00:08:51.190 some of the lower voices in the mids and then 00:08:51.190 --> 00:08:55.549 at 50 we kind of all have half notes again and 00:08:55.549 --> 00:08:59.350 some chord chain like some passing tones and 00:08:59.350 --> 00:09:02.889 51 cool color chords and then we're crescendoing 00:09:02.889 --> 00:09:05.850 up and then this is where it starts to be super 00:09:05.850 --> 00:09:08.090 fun this is like the shout section in a jazz 00:09:08.090 --> 00:09:13.519 piece so 54 is unison rhythm yep Two, three, 00:09:13.759 --> 00:09:17.379 one, and one, two, three, and four, and. Yeah, 00:09:17.399 --> 00:09:19.019 I'm thinking you can't tell you're there yet. 00:09:19.220 --> 00:09:21.799 One, and two, and one, two, three, four, one. 00:09:21.840 --> 00:09:24.360 But it's the whole band with the same rhythm, 00:09:24.740 --> 00:09:28.519 the same notes. So it's like all of these horn 00:09:28.519 --> 00:09:31.080 hits in a jazz chart, but it's unison for your 00:09:31.080 --> 00:09:33.440 whole band. It's so cool. And it's also like, 00:09:33.559 --> 00:09:37.659 it takes a lot of precision because everybody 00:09:37.659 --> 00:09:40.940 has the same thing. So just really cleaning this 00:09:40.940 --> 00:09:44.179 section. We did this like on a loop a lot in 00:09:44.179 --> 00:09:46.919 rehearsal because we wanted to make sure it sounded 00:09:46.919 --> 00:09:50.700 really nice. There's like a little marimba solo 00:09:50.700 --> 00:09:53.500 too where they get the interjection in a measure 00:09:53.500 --> 00:09:56.070 of... complete silence for the wind three and 00:09:56.070 --> 00:09:58.669 four it's just the marimba which is pretty fun 00:09:58.669 --> 00:10:01.169 and then we have another like the end of the 00:10:01.169 --> 00:10:05.190 shout section is at 60 one two three four one 00:10:05.190 --> 00:10:10.029 then the low brass get to plan a melody right 00:10:10.029 --> 00:10:13.909 here and then it's still like the yeah they're 00:10:13.909 --> 00:10:17.289 still in the flute oboe clarinet but i love it 00:10:17.289 --> 00:10:19.230 i think this part is really cool because i like 00:10:19.230 --> 00:10:21.850 that the tenor voices like your trombone euphonium 00:10:21.850 --> 00:10:24.950 tenor sax bassoon this tenor voices get this 00:10:24.950 --> 00:10:27.990 kind of legato it's even it's marked legato this 00:10:27.990 --> 00:10:29.870 totally different feel but there's still the 00:10:29.870 --> 00:10:32.769 stuff that's going on behind them is still funk 00:10:32.769 --> 00:10:34.889 yeah right it's still all of that articulate 00:10:34.889 --> 00:10:37.649 stuff but you have this beautiful legato melody 00:10:37.649 --> 00:10:40.190 just layering through I love this section yes 00:10:40.190 --> 00:10:43.250 I do too so they're playing the melody as we 00:10:43.250 --> 00:10:45.230 were just singing and then there's even like 00:10:45.230 --> 00:10:49.370 a little like scoop yeah in the Trombones. We're 00:10:49.370 --> 00:10:51.549 gonna make fun of ourselves later. Let's listen 00:10:51.549 --> 00:10:55.009 to this good at the same time. Sorry And then 00:10:55.009 --> 00:10:57.710 at the end of the melody though, they get my 00:10:57.710 --> 00:11:02.230 kids loved this measure 68 and and one and it 00:11:02.230 --> 00:11:05.690 says punch it so like I was like come on trombones, 00:11:05.889 --> 00:11:07.950 you know, like it's fun and if you articulate 00:11:07.950 --> 00:11:12.110 it well, that sounds so cool and then We've got 00:11:12.110 --> 00:11:14.830 to like a little again a little interjection 00:11:14.830 --> 00:11:17.750 from some of the upper people and then at 70 00:11:17.750 --> 00:11:24.129 the um trumpets have ding dong merrily on high 00:11:24.399 --> 00:11:27.259 Is that the name of the piece? Uh, yeah, let's 00:11:27.259 --> 00:11:29.360 say yes. Yeah. Yeah, let's say yes. Hopefully 00:11:29.360 --> 00:11:31.580 you guys all know this song. Um, it's the only 00:11:31.580 --> 00:11:33.860 time when that little melody comes through, but 00:11:33.860 --> 00:11:36.159 the trumpets get to be the important part here. 00:11:36.460 --> 00:11:39.279 But it's like, it's complicated and awesome writing 00:11:39.279 --> 00:11:42.139 because there's still other stuff going on. Like 00:11:42.139 --> 00:11:47.570 the, um, What is this? Yeah, the tenor line people 00:11:47.570 --> 00:11:51.830 still doing the da da da da da da da da da da 00:11:51.830 --> 00:11:53.850 da da da da da da da da da da da da da da da 00:11:53.850 --> 00:11:56.250 da da da da da da da da da da da da da da da 00:11:56.250 --> 00:12:02.190 da da da da da da da da da da da da da da da 00:12:02.190 --> 00:12:02.210 da da da da da da da da da da da da da da da 00:12:02.210 --> 00:12:02.309 da da da da da da da da da da da da da da da 00:12:02.309 --> 00:12:02.309 da da da da da da da da da da da da da da da 00:12:02.309 --> 00:12:03.210 da da da da da da da da da da da da da da da 00:12:03.210 --> 00:12:03.210 da da da da da da da da da da da da da da da 00:12:03.210 --> 00:12:03.210 da da da da da da da da da da da da da da da 00:12:03.210 --> 00:12:03.470 da da da da da da da da da da da da da da da 00:12:03.470 --> 00:12:13.669 da da da da da da da da da da da da da da da 00:12:13.669 --> 00:12:13.669 da da da da da da da da da da da da da da da 00:12:13.669 --> 00:12:13.669 da da da da da da da da da da da da da da da 00:12:13.669 --> 00:12:15.669 da da da da da cannot be just it's not every 00:12:15.669 --> 00:12:17.850 melody for itself you have to figure out you 00:12:17.850 --> 00:12:19.850 know yes who needs to be in the foreground who 00:12:19.850 --> 00:12:21.769 needs to be in the background yep absolutely 00:12:21.769 --> 00:12:25.009 because it is it's a bit it's a lot yeah but 00:12:25.009 --> 00:12:27.309 if you layer it correctly it sounds really cool 00:12:27.309 --> 00:12:29.629 and I'm still like I'm glad I'm gonna be picking 00:12:29.629 --> 00:12:31.909 Katie's brain on this this we have had three 00:12:31.909 --> 00:12:34.990 very short rehearsals on this so that like we 00:12:34.990 --> 00:12:37.049 are not at a point that we are even talking at 00:12:37.049 --> 00:12:39.710 that level yet I know it's coming yeah but the 00:12:39.710 --> 00:12:42.429 trumpet part is super cool here at 70 bring that 00:12:42.429 --> 00:12:45.220 out then the tenor voices like Laura had just 00:12:45.220 --> 00:12:47.059 mentioned, they're gonna come down one level. 00:12:47.379 --> 00:12:49.820 There's a cool like walking bass line underneath 00:12:49.820 --> 00:12:52.480 that is awesome. Then you still just have the 00:12:52.480 --> 00:12:55.000 cute little interjections from flute, oboe, clarinet 00:12:55.000 --> 00:12:59.659 and sax. They just keep having that as their 00:12:59.659 --> 00:13:03.759 main function. Then we're crescendoing. We got 00:13:03.759 --> 00:13:08.059 another scoop in 74. So they're doing a partridge 00:13:08.059 --> 00:13:12.440 and a pear tree. Not on the downbeat. Everybody 00:13:12.440 --> 00:13:15.600 has it together on beat two. It's super fun. 00:13:15.700 --> 00:13:17.659 Then percussion keeps on grooving. The hi -hat 00:13:17.659 --> 00:13:20.460 part is super fun. There's little scrapes in 00:13:20.460 --> 00:13:23.799 the suspended cymbal part. Then the vibes get 00:13:23.799 --> 00:13:27.320 to have the... along with flute, oboe, and sax. 00:13:27.700 --> 00:13:30.679 And then we get this cool like buildup again, 00:13:30.879 --> 00:13:34.360 kind of like a jazz chart. Two, three, four, 00:13:34.379 --> 00:13:37.399 one, two, three, and one, two, three, four, one. 00:13:37.720 --> 00:13:39.940 So you're getting to kind of build it up and 00:13:39.940 --> 00:13:42.700 it's a little bit more like... low voices here 00:13:42.700 --> 00:13:48.279 so that's pretty fun and then at 84 oh man my 00:13:48.279 --> 00:13:51.460 kids love this part so this is definitely like 00:13:51.460 --> 00:13:57.340 low brass super fun so we have like tuba euphonium 00:13:57.799 --> 00:14:01.279 and trombone with and then there's cues in the 00:14:01.279 --> 00:14:04.080 low reeds i would let them play it if you know 00:14:04.080 --> 00:14:06.399 why not if it's just for a christmas concert 00:14:06.399 --> 00:14:09.000 and the horn is going to play with them too so 00:14:09.000 --> 00:14:21.580 they have so it's just like this little like 00:14:21.580 --> 00:14:24.740 eight measures of like a it's like a totally 00:14:24.740 --> 00:14:27.539 different like vibe it's not even a Christmas 00:14:27.539 --> 00:14:30.100 song it just sounds fun and it's cool and the 00:14:30.100 --> 00:14:32.960 kids love it and then this was their favorite 00:14:32.960 --> 00:14:36.080 part 92 this is the low brass part so they get 00:14:36.080 --> 00:14:39.039 this cool Now listen, we skipped over the clap. 00:14:39.259 --> 00:14:41.120 Oh, yeah, I'm so sorry. There is a woodwind clap. 00:14:41.179 --> 00:14:44.100 Well, and then we have to say Stetson was amazing 00:14:44.100 --> 00:14:49.240 at Midwest when he did this piece. Midwest is 00:14:49.240 --> 00:14:52.379 a band and orchestra international convention 00:14:52.379 --> 00:14:57.320 that happens every December in Chicago, in case 00:14:57.320 --> 00:14:59.379 any of our listeners have never heard of Midwest 00:14:59.379 --> 00:15:03.159 or been to it. And his band was one of the featured 00:15:03.159 --> 00:15:07.940 programs that year. And Stetson came out on stage 00:15:07.940 --> 00:15:12.159 in this like sparkly red awesome jacket it was 00:15:12.159 --> 00:15:15.580 so amazing and then all of his kids had like 00:15:15.580 --> 00:15:20.919 the fans like you know like a yeah like a hand 00:15:20.919 --> 00:15:24.039 fan not like the kind that is electronic like 00:15:24.039 --> 00:15:27.879 like a like a folding fan a folding fan I don't 00:15:27.879 --> 00:15:31.240 know okay and so they all like at the same time 00:15:31.240 --> 00:15:34.980 they didn't clap they did the They like opened 00:15:34.980 --> 00:15:36.620 the folding fan, do you remember? Yes, I do. 00:15:36.899 --> 00:15:39.120 And so every kid like took their fan and opened 00:15:39.120 --> 00:15:41.830 it and it made the like... Like all of them made 00:15:41.830 --> 00:15:44.529 like, it made a clap sound and then they like 00:15:44.529 --> 00:15:47.710 kept doing it. It was just so much fun. But that's 00:15:47.710 --> 00:15:50.330 like, you know, an extra step if you want to 00:15:50.330 --> 00:15:52.570 like go above and beyond like Keita, that's super 00:15:52.570 --> 00:15:55.570 fun. But it does just say clap in the part. So 00:15:55.570 --> 00:15:57.649 like my band, when we played it last year, we 00:15:57.649 --> 00:16:00.850 just clapped. Um, but it is so fun and we like, 00:16:01.029 --> 00:16:04.309 we did it kind of sassy and like up where everybody 00:16:04.309 --> 00:16:08.009 could see it. Um, okay. Then we get the low brass 00:16:08.009 --> 00:16:14.950 part one and four. and four. So it's like, it's 00:16:14.950 --> 00:16:18.230 such a cool funk line and my tubas loved it so 00:16:18.230 --> 00:16:19.629 much. You're missing out. I wish this was videoed 00:16:19.629 --> 00:16:22.190 because you could see Katie's dance moves. You 00:16:22.190 --> 00:16:23.990 don't get the full effect without them. Sorry. 00:16:24.350 --> 00:16:26.289 I mean it's way better when you do that, especially 00:16:26.289 --> 00:16:28.649 on the podium for the kids. They think you're 00:16:28.649 --> 00:16:31.440 really cool when you do that. Anyway, so... I'm 00:16:31.440 --> 00:16:33.980 shaking my head. Yeah, right. So this part is 00:16:33.980 --> 00:16:37.220 so fun though and like how often, you know, Gerard 00:16:37.220 --> 00:16:39.539 being a tuba player, he gives them cool stuff, 00:16:39.639 --> 00:16:42.519 which I love. Like the bari part and the bass 00:16:42.519 --> 00:16:44.440 clarinet, they're getting to play just this like 00:16:44.440 --> 00:16:47.879 really low jam and then the saxes get to come 00:16:47.879 --> 00:16:52.019 in with the clarinet. One, two, three, four, 00:16:52.159 --> 00:16:55.360 one. It's kind of like, like a little bit like... 00:16:55.210 --> 00:16:58.289 mysteriously. And then the lows are still doing 00:16:58.289 --> 00:17:03.909 it. And then there's little claps interspersed 00:17:03.909 --> 00:17:08.710 in here too. And then the trumpets and the horns 00:17:08.710 --> 00:17:11.920 and the clarinets and flutes. in oboe are now 00:17:11.920 --> 00:17:14.859 at 100 clapping the whole time so they're clap 00:17:14.859 --> 00:17:16.980 clap clap clap they're just doing it on the beat 00:17:16.980 --> 00:17:20.440 for a while while the saxes keep going and then 00:17:20.440 --> 00:17:22.799 the trombone and euphonium have now joined the 00:17:22.799 --> 00:17:29.099 cool funk line boom boom boom boom boom Now, 00:17:29.539 --> 00:17:32.000 listen, on all this clapping, it's marked fortissimo, 00:17:32.579 --> 00:17:36.359 but it is way more important that it be precise, 00:17:37.539 --> 00:17:40.380 that it is in time, and it is precise than that 00:17:40.380 --> 00:17:44.000 it is loud. And you gotta let your saxes rip 00:17:44.000 --> 00:17:47.519 here, because it is a sax feature, and they've 00:17:47.519 --> 00:17:54.359 got little, what do we call these? Glissando's, 00:17:54.359 --> 00:18:00.630 yeah. Little rips. Yeah, little rips, rips. So 00:18:00.630 --> 00:18:03.349 fun. The Barry player should just go to town 00:18:03.349 --> 00:18:06.329 here. Then we're getting another build up to 00:18:06.329 --> 00:18:10.269 a shout section. Two, one, or sorry. Yeah, if 00:18:10.269 --> 00:18:12.349 we're in cut time it would be that, but three, 00:18:12.589 --> 00:18:21.759 one, three, one. Yeah, so it's just super fun. 00:18:21.920 --> 00:18:24.799 It's another shout section Everybody's kind of 00:18:24.799 --> 00:18:27.559 playing similarly together then the trumpets 00:18:27.559 --> 00:18:31.480 get three and a one two three four they're the 00:18:31.480 --> 00:18:33.779 last little melody here and then we come back 00:18:33.779 --> 00:18:37.519 with the sleigh ride from the flute and clarinet 00:18:37.519 --> 00:18:41.119 and oboe over them with the marimba and the vibes 00:18:41.119 --> 00:18:44.099 and then we're crescendoing and the woodwinds 00:18:44.099 --> 00:18:47.359 are building us up to 122 where we have one and 00:18:47.359 --> 00:18:49.680 two again so it's kind of like a recap of the 00:18:49.680 --> 00:18:51.599 beginning but it's not just the lows this time 00:18:51.599 --> 00:18:54.559 it's the full ensemble and then two three and 00:18:54.559 --> 00:18:59.779 four one and then it ends and a two and a one 00:18:59.779 --> 00:19:04.759 and one or sorry two and one yeah so it's really 00:19:04.759 --> 00:19:06.759 fun the whole band has like the same rhythm at 00:19:06.759 --> 00:19:09.259 the very very end there is not a lot of times 00:19:09.259 --> 00:19:12.160 in this piece where it is full band like it's 00:19:12.160 --> 00:19:14.980 it is woodwind or it's here it's mid voices or 00:19:14.980 --> 00:19:17.400 high voices or low voices there are plenty of 00:19:17.400 --> 00:19:20.000 times but there's not a lot of resting no it's 00:19:20.000 --> 00:19:22.000 just like you have four measures off that's right 00:19:22.000 --> 00:19:25.440 playing that's right or yeah it's but it's they're 00:19:25.440 --> 00:19:27.970 playing like the whole piece almost. Your kids 00:19:27.970 --> 00:19:30.849 will love this, but I think Katie opened it up 00:19:30.849 --> 00:19:32.890 by saying, and I think it is so important, they 00:19:32.890 --> 00:19:36.089 have to be independent counters. If they are 00:19:36.089 --> 00:19:38.289 not independent counters, this is not for you. 00:19:38.289 --> 00:19:41.690 Yeah. For sure. But it's super flashy and so 00:19:41.690 --> 00:19:44.170 much fun. It'll have your audience on their feet. 00:19:44.190 --> 00:19:47.269 Yeah. And I played this, like Laura said, last 00:19:47.269 --> 00:19:51.400 year for my elementary tour and just... everybody 00:19:51.400 --> 00:19:54.519 went crazy and we played it at the mall too and 00:19:54.519 --> 00:19:57.200 like all the mall people were like loving that 00:19:57.200 --> 00:19:59.680 song. Yeah. It was like the most fun one of all 00:19:59.680 --> 00:20:03.059 of them. So, you know, Gerard is such a great 00:20:03.059 --> 00:20:05.599 writer and he really knows how to make sure everybody 00:20:05.599 --> 00:20:08.440 can get their special moment in the sunshine 00:20:08.440 --> 00:20:10.460 and you will not be disappointed with this piece. 00:20:10.460 --> 00:20:13.079 So we hope you will consider programming. You 00:20:13.079 --> 00:20:15.500 better slay in the future and thank you for joining 00:20:15.500 --> 00:20:18.779 us on this episode of Band BFFs.