WEBVTT 00:00:06.679 --> 00:00:10.679 Welcome to our podcast, Band BFFs. The podcast 00:00:10.679 --> 00:00:12.880 where we make your music selection a little less 00:00:12.880 --> 00:00:16.739 complicated. On today's episode, we will be discussing 00:00:16.739 --> 00:00:20.760 Destiny Fanfare by McKell Rogers. Cheers to starting 00:00:20.760 --> 00:00:25.280 the conversation. Alright, this piece is, I think, 00:00:25.480 --> 00:00:28.620 great to use for a march. It can be used for 00:00:28.620 --> 00:00:33.240 a spring concert. It's got lots of energy. It 00:00:33.240 --> 00:00:35.859 is concert E -flat. It's fast -paced at about 00:00:35.859 --> 00:00:40.159 135, 140 BPM, two minutes in length. It does 00:00:40.159 --> 00:00:42.539 have split clarinet parts and split trumpet parts. 00:00:43.000 --> 00:00:46.079 The trombone and euphonium part are different, 00:00:46.100 --> 00:00:48.119 but they do double each other a lot throughout 00:00:48.119 --> 00:00:50.619 the piece. It does have quite a bit of percussion. 00:00:51.379 --> 00:00:54.740 So on the percussion front, timpani is important. 00:00:54.820 --> 00:00:56.560 That's an instrument that - Super important. 00:00:56.659 --> 00:00:59.479 And bells, like this is not a, oh, you can do 00:00:59.479 --> 00:01:01.340 without the bells because it doubles the flute. 00:01:01.579 --> 00:01:03.719 It does not. It is different. So timpani and 00:01:03.719 --> 00:01:06.739 bells are really important. You really need, 00:01:06.819 --> 00:01:08.900 let's see, like - Like seven. Yeah, six to seven. 00:01:09.379 --> 00:01:12.480 Oh, Lord. Oh, yoy, yoy, yoy. Percussion is - 00:01:12.480 --> 00:01:17.140 Everybody know. No, no, no. Six, seven. No, no. 00:01:17.400 --> 00:01:21.060 Hi, yoy, yoy. Uh, okay. So anyway, let's dive 00:01:21.060 --> 00:01:22.819 in and start talking about this. I really like 00:01:22.819 --> 00:01:26.099 this piece. Yeah. So the bells like Laura mentioned 00:01:26.099 --> 00:01:28.799 are alone. They go one and two and three and 00:01:28.799 --> 00:01:31.019 four and one and two and three and four and the 00:01:31.019 --> 00:01:34.200 whole time. So they're keeping a pulse and then 00:01:34.200 --> 00:01:37.519 the upper woodwinds are going one and two and 00:01:37.519 --> 00:01:40.079 three and four and interspersed with each other. 00:01:40.439 --> 00:01:42.739 So like flute and oboe have one, two and three, 00:01:42.819 --> 00:01:45.760 four and one, but then like clarinet two has 00:01:45.760 --> 00:01:49.549 one and two, three and four with sax. so it gives 00:01:49.549 --> 00:01:52.430 the same vibe that the bells are playing but 00:01:52.430 --> 00:01:55.810 just in different parts and this part is the 00:01:55.810 --> 00:01:58.450 like kind of the just introduction before the 00:01:58.450 --> 00:02:01.609 fanfare it needs to definitely come down in volume 00:02:01.609 --> 00:02:03.750 and measure three because then we get our first 00:02:03.750 --> 00:02:07.230 moment and the timpani have a special part two 00:02:07.230 --> 00:02:10.469 two three and four and one so just like a fanfare 00:02:10.469 --> 00:02:12.669 timpani is like really really crucial and the 00:02:12.669 --> 00:02:14.509 timpani has a couple of moments like that so 00:02:14.509 --> 00:02:16.370 yeah when we were doing this piece I think the 00:02:16.370 --> 00:02:18.969 most critical thing about this opening, and this 00:02:18.969 --> 00:02:21.009 little part comes back in the upper woodwinds, 00:02:21.090 --> 00:02:25.030 is making sure that everything is long and connected. 00:02:25.110 --> 00:02:27.569 Now I know when the trumpets come in and we actually 00:02:27.569 --> 00:02:29.469 start the real fanfare part of it, there's going 00:02:29.469 --> 00:02:32.889 to be lots of firm articulation. But this part 00:02:32.889 --> 00:02:36.050 right here needs to sound da -di -a -da -di -a 00:02:36.050 --> 00:02:39.909 -da or di -a -da -di -a -da -di -a -da. And the 00:02:39.909 --> 00:02:42.090 kid's tendency is going to be to clip the slur 00:02:42.090 --> 00:02:47.080 and to make the quarter note short. You cannot 00:02:47.080 --> 00:02:48.759 let them do that. Oh, they'll rush real bad. 00:02:49.159 --> 00:02:52.599 Yeah, and it just won't have the same sounding 00:02:52.599 --> 00:02:55.000 like one instrument playing it. Exactly. Then 00:02:55.000 --> 00:02:58.659 the trumpet and horn and trombone part come in 00:02:58.659 --> 00:03:02.699 with the fanfare at measure three. One, three, 00:03:02.800 --> 00:03:07.139 one and two, four and one, two, three, one and. 00:03:07.520 --> 00:03:10.219 So that's the main part that you want to bring 00:03:10.219 --> 00:03:12.180 out. And again, you've asked everybody else to 00:03:12.180 --> 00:03:15.719 back off. are above the staff on all this like 00:03:15.719 --> 00:03:18.120 B flat and C it's not super high but they need 00:03:18.120 --> 00:03:21.259 to be really quiet. You could even perhaps have 00:03:21.259 --> 00:03:24.180 some of them played down an octave to match the 00:03:24.180 --> 00:03:26.960 range that the oboe is in. And same with the 00:03:26.960 --> 00:03:28.860 first clarinet. The first clarinet is written 00:03:28.860 --> 00:03:32.180 on the over the break C and D but the second 00:03:32.180 --> 00:03:34.139 clarinet part is completely different. And they're 00:03:34.139 --> 00:03:36.520 playing the other part with sax and so you might 00:03:36.520 --> 00:03:39.419 have less numbers there so it might make sense 00:03:39.419 --> 00:03:41.840 to have a lot of your clarinets on second clarinet 00:03:41.840 --> 00:03:45.740 part to just balance out that. And it's okay 00:03:45.740 --> 00:03:47.740 to take that down an octave if you feel like 00:03:47.740 --> 00:03:50.020 it's too shrill with the notes being in the octave 00:03:50.020 --> 00:03:52.500 that they are. Then take the clarinets down an 00:03:52.500 --> 00:03:56.310 octave and put them on that low C. To make that 00:03:56.310 --> 00:03:58.370 just sound better and not cover up what's happening 00:03:58.370 --> 00:04:02.069 in the brasses. Yeah So once the fanfare has 00:04:02.069 --> 00:04:04.490 reached one and we're still going in the upper 00:04:04.490 --> 00:04:06.750 woodwinds They're doing the same thing Then they 00:04:06.750 --> 00:04:10.050 come back in two three four one and two and three 00:04:10.050 --> 00:04:14.430 four one so lots of accented moments here between 00:04:14.430 --> 00:04:17.589 High brass in the trumpet and then low brass 00:04:17.589 --> 00:04:20.449 quote -unquote and horn trombone, euphonium tuba, 00:04:20.449 --> 00:04:23.970 low reeds So then finally the flutes clarinets 00:04:23.970 --> 00:04:26.589 and come in with two and three four with the 00:04:26.589 --> 00:04:29.410 trumpets here and now they're kind of on that 00:04:29.410 --> 00:04:31.970 melody then it changes and we're shifting into 00:04:31.970 --> 00:04:36.569 measure 14 there's a decrescendo a double tied 00:04:36.569 --> 00:04:39.930 whole note and then the lows have like a little 00:04:39.930 --> 00:04:43.430 driving rhythm one two and four and one two and 00:04:43.430 --> 00:04:47.529 three four and then they're very soft and they're 00:04:47.529 --> 00:04:50.750 playing this for a long time so they really need 00:04:50.750 --> 00:04:54.649 to just be quiet under the band because we're 00:04:54.649 --> 00:04:57.910 about to feature horn alto and clarinet together 00:04:57.910 --> 00:05:01.689 on a pretty like almost like a legato yeah of 00:05:01.689 --> 00:05:06.689 melody four and one two four one and two four 00:05:06.689 --> 00:05:10.949 and one two three four one so that's really fun 00:05:10.949 --> 00:05:15.930 um real pretty that horn last note is a c everybody 00:05:15.930 --> 00:05:18.569 else is written in a great range like clarinets 00:05:18.569 --> 00:05:21.889 are just playing up to C like Laura mentioned 00:05:21.889 --> 00:05:24.230 before. And just making sure in this section 00:05:24.230 --> 00:05:27.689 that even though it does stylistically feel like 00:05:27.689 --> 00:05:31.670 this is a little bit more legato, the clarity 00:05:31.670 --> 00:05:34.870 of articulation still needs to be there with 00:05:34.870 --> 00:05:38.129 the accompaniment parts doing that da da da da 00:05:38.129 --> 00:05:43.029 da da di di. just making sure that there's still 00:05:43.029 --> 00:05:45.769 the firmness of the fronts of the notes, but 00:05:45.769 --> 00:05:49.009 that they are absolutely full value. Percussion 00:05:49.009 --> 00:05:54.769 at this point is playing real busy stuff. It 00:05:54.769 --> 00:05:57.250 needs to be nice and in the background. Yeah, 00:05:58.129 --> 00:06:01.230 trumpets take over with the melody along with 00:06:01.230 --> 00:06:05.589 horn at 18 and the horns are like an octave below 00:06:05.589 --> 00:06:10.089 the trumpet and both trumpet parts are in harmony 00:06:10.089 --> 00:06:13.850 here. And then the flutes kind of add in at the 00:06:13.850 --> 00:06:17.149 very back end of that little melody line. Then 00:06:17.149 --> 00:06:19.889 everybody, those upper people have one and two 00:06:19.889 --> 00:06:23.589 and three, four, and then we're full band at 00:06:23.589 --> 00:06:28.079 22. The lows are still doing their little background 00:06:28.079 --> 00:06:32.220 obligato part, but now they've got D flats thrown 00:06:32.220 --> 00:06:35.160 in. So just make sure you spend a lot of time 00:06:35.160 --> 00:06:38.439 on that, making sure that they're in tune and 00:06:38.439 --> 00:06:40.800 with the low reads that are playing it with them. 00:06:41.100 --> 00:06:43.439 Got a couple of accidentals and some other parts 00:06:43.439 --> 00:06:47.240 here as well. Just like the... sound of the music 00:06:47.240 --> 00:06:49.759 is changing a little bit. Trumpets have the melody, 00:06:49.759 --> 00:06:53.199 flute and clarinet and oboe have a little sparkly 00:06:53.199 --> 00:06:55.420 counter melody part. Yeah, it's really pretty. 00:06:55.879 --> 00:06:59.139 And it's not hard, but it's got a lot of articulation. 00:07:04.180 --> 00:07:09.339 So just making sure that the kids like are actually 00:07:09.339 --> 00:07:12.939 lining that up and it sounds the same from player 00:07:12.939 --> 00:07:18.300 to player. Yep. Trumpets are still having the 00:07:18.300 --> 00:07:21.579 the main melodic line along with the horn and 00:07:21.579 --> 00:07:25.480 alto sax and then they come to everybody kind 00:07:25.480 --> 00:07:30.319 of together at 27 1 and 3 4 and then big timpani 00:07:30.319 --> 00:07:34.660 moment and Suspended cymbal roll and then we've 00:07:34.660 --> 00:07:38.699 got a whole note accent at measure 29 lows still 00:07:38.699 --> 00:07:42.779 have 1 2 and four and one then an accidental 00:07:42.779 --> 00:07:46.160 and then one and we're getting into a cool little 00:07:46.160 --> 00:07:48.439 moment at 31 which I assume would be kind of 00:07:48.439 --> 00:07:51.699 like the trio section. So this features clarinet 00:07:51.699 --> 00:07:55.339 so clarinet has the melody rest two three four 00:07:55.339 --> 00:07:58.339 one and then the trumpets answer them so it's 00:07:58.339 --> 00:08:00.660 this really pretty conversation between the flute 00:08:00.660 --> 00:08:03.579 and clarinet or I'm sorry between the clarinet 00:08:03.579 --> 00:08:06.639 and trumpet it's really really pretty it is marked 00:08:06.639 --> 00:08:11.040 slurred here so it is more legato. The flute 00:08:11.040 --> 00:08:14.139 and oboe end up coming in and joining the clarinet 00:08:14.139 --> 00:08:17.500 later as well. Low brass are just sitting on 00:08:17.500 --> 00:08:19.680 whole notes and just a real simple accompaniment 00:08:19.680 --> 00:08:22.939 part. Snare drum is still cranking on the 16th 00:08:22.939 --> 00:08:25.399 note stuff. So I know when we've done this, like 00:08:25.399 --> 00:08:27.500 it was an issue getting our snare drummer to 00:08:27.500 --> 00:08:29.819 not get overly excited about that. They get tired 00:08:29.819 --> 00:08:33.159 when they see 16th notes. So don't get overly 00:08:33.159 --> 00:08:35.399 excited and keep the volume really under control. 00:08:36.279 --> 00:08:39.879 39 the trumpets continue on but now with the 00:08:39.879 --> 00:08:45.059 clarinets on the melody one and three four one 00:08:45.440 --> 00:08:50.220 two and three four one and then the flutes and 00:08:50.220 --> 00:08:53.899 the clarinet and oboe kind of have the part together 00:08:53.899 --> 00:08:57.100 again lows are still just playing a background 00:08:57.100 --> 00:09:00.820 accompaniment part it's not awful at all just 00:09:00.820 --> 00:09:02.299 you got to be able to count it's just a harmonic 00:09:02.299 --> 00:09:06.460 foundation yep and then we've got then we come 00:09:06.460 --> 00:09:09.440 back at 43 with the same little part from before 00:09:09.440 --> 00:09:12.759 one two and three four and one two and three 00:09:12.759 --> 00:09:15.100 four and then the fanfare from the trumpet two 00:09:15.100 --> 00:09:19.659 and three four one two and three one and so 47 00:09:19.659 --> 00:09:22.519 everybody comes together and we get a two measure 00:09:22.519 --> 00:09:25.679 melody from the low brass. Two measures one two 00:09:25.679 --> 00:09:28.700 but they got to own it one and two four one and 00:09:28.700 --> 00:09:30.600 then it's over and then they're doing the one 00:09:30.600 --> 00:09:33.879 two and four and again so this would be probably 00:09:33.879 --> 00:09:37.299 a good piece to program if your low brass aren't 00:09:37.299 --> 00:09:40.500 super super solid at playing alone and in tune 00:09:40.500 --> 00:09:42.720 this would be a good one to program for sure 00:09:42.720 --> 00:09:44.899 your trumpets and your upper woodwinds have to 00:09:44.899 --> 00:09:49.759 be pretty solid. Then we're back to another little 00:09:49.759 --> 00:09:53.799 like the melody again at 51, four and one, two 00:09:53.799 --> 00:09:56.299 and three. It's kind of like that slurred flute 00:09:56.299 --> 00:09:59.139 part from before, but now the trumpets are joining 00:09:59.139 --> 00:10:03.539 in. The low brass is just still playing one, 00:10:03.539 --> 00:10:05.580 two and three, four. Just like a rhythmic part. 00:10:05.879 --> 00:10:08.299 And we're building up again to 55 and then this 00:10:08.299 --> 00:10:11.809 is just like the beginning. timpani feature the 00:10:11.809 --> 00:10:13.590 woodwinds are doing the same thing from before 00:10:13.590 --> 00:10:15.850 trumpets and horn and trombone come in again 00:10:15.850 --> 00:10:20.129 with one three one and two or one two three four 00:10:20.129 --> 00:10:23.009 and one two three so we're just kind of building 00:10:23.009 --> 00:10:25.889 it up to the end there's a cute little trill 00:10:25.889 --> 00:10:29.330 at 61 in the upper woodwinds real quiet underneath 00:10:29.330 --> 00:10:32.110 and then we've got it's in flute oboe clarinet 00:10:32.110 --> 00:10:34.549 and alto saxophone yeah so I mean you may pick 00:10:34.549 --> 00:10:36.850 one player or two players in each not everybody 00:10:36.850 --> 00:10:39.350 that but not everybody then the lows come in 00:10:39.399 --> 00:10:42.460 and then big accidentals it's kind of like a 00:10:42.460 --> 00:10:46.289 different way to just modulate at the end one 00:10:46.289 --> 00:10:52.429 three one timpani one so it's got just a very 00:10:52.429 --> 00:10:56.350 fanfare type of feel to it but like laura mentioned 00:10:56.350 --> 00:10:58.870 you could play it as a march you could play it 00:10:58.870 --> 00:11:01.750 as a concert opener concert closer be great to 00:11:01.750 --> 00:11:04.610 do for an all region band there's nothing that's 00:11:04.610 --> 00:11:07.250 a lot of technically very challenging to it and 00:11:07.250 --> 00:11:10.129 the range is pretty good trumpets just go up 00:11:10.129 --> 00:11:13.440 to c soda clarinets flutes are just going up 00:11:13.440 --> 00:11:17.500 to see also the horn part is. a very manageable 00:11:17.500 --> 00:11:20.820 range as well, so that's pretty awesome. It's 00:11:20.820 --> 00:11:22.860 one of those pieces that to me it sounds harder 00:11:22.860 --> 00:11:25.259 than it is. Yeah. Right, like I think, and that's 00:11:25.259 --> 00:11:27.340 a sign of a piece that I think is written really 00:11:27.340 --> 00:11:29.259 well. Yeah, absolutely. Yeah, it sounds harder 00:11:29.259 --> 00:11:31.860 than it is. I think your kids will like it and 00:11:31.860 --> 00:11:34.480 it's really, oh I just slapped myself in the 00:11:34.480 --> 00:11:37.860 face. I'm demonstrative with my hands. Really 00:11:37.860 --> 00:11:40.200 fun piece. Yes, well we hope you will consider 00:11:40.200 --> 00:11:43.500 programming this piece in the future and thank 00:11:43.500 --> 00:11:47.629 you for joining us on this episode of BAMBFFs!