WEBVTT

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Welcome to our podcast, Dan 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 discussing

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Whispers in the Wind by Robert Sheldon. Cheers

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to starting the conversation. This piece is a

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gorgeous grade one on the Texas PML. Super pretty.

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Very pretty. Great for teaching lyrical style

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and phrasing. It's in the key of concert B flat

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throughout. It's about two minutes in length.

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No split clarinet or trumpet parts. The low brass

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part is, the trombone, euphony, and bassoon part

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is the same. Very limited percussion, so it's

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great if you have a small percussion section

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or if you pair it with a piece, another piece

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that has more intensive percussion requirements.

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Just bells, suspended cymbal, timpani, and certainly

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you can double like on marimba, something like

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that if you have too many players. Yes. So this

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piece, as Laura mentioned is just absolutely

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gorgeous and it's a great teaching tool for lyrical

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playing and also like phrase breath markings

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like you're gonna breathe on the odd measures

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you're gonna breathe on the even measures so

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it's a good teaching tool throughout any point

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in the year so that your kids can really learn

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how to be more musical and play things that are

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more sustained and also like how to balance and

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how to listen for those moving lines and things

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like that. And we were just discussing like this

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is, you know, I tend to shy away from doing things

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that are very lyrical and pretty with a younger

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band. But if you have a really strong younger

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band, the piece is two minutes long. It might

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be something that you try at a fall concert or

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a winter concert or certainly with a varsity

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band great early in the year to get them thinking

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with these with these longer phrases and like

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Katie mentioned balancing and all of that I just

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it's so so pretty yeah that's well written too

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and it's it's there no individual part is technically

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challenging at all it really is all about the

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phrasing and the balance yep yep So at the very

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beginning, it starts off with Mark Tree and the

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low people come in, like tuba, bari, sax, bass,

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clarinet, along with the flute. And then you

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get this beautiful little first moment of line

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from alto, sax, and trumpet. And then you get

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the same low people play 4 -1. And this motif

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comes over and over and over in the piece. Four,

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one. So you're teaching the kids four leads to

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one. And you can teach about like many crescendos,

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you know, where you're gonna lead from four to

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one with just a little bit more air so that the

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note is always leading somewhere. That is super

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important in a piece like this where people have

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whole notes and things. You wanna make sure that

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everything is going somewhere. I also really

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like that the way he has written this almost

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everywhere in this piece. where you have an instrument

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grouping that has this four one there is another

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instrument grouping that has two half notes yes

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so it's always overlapping which I just that's

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just smart right it is and that way if you have

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young players that like don't really understand

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like my half note has to go all the way the bar

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line you've got something else kind of covering

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it up that's right yeah but this is great like

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just the best teaching piece for this for sure.

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Once we're in measure three, we have the same

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little line except now it's more like the tenor

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voices. So horn, trombone, euphonium, bassoon,

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tenor sax, clarinet they come in on beat three

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and do a little line and then clarinets take

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over the melody going into measure five they

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have the melodic line with the horn and the saxophone

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doing kind of like a little counter melody line

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the trombone and euphonium and bassoon part is

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again fairly easy and it's like a lot of just

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like F and E flat and G there's a couple ranges

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really range is very attainable so that that

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way when you're playing this piece, you're not

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focusing on like technical things. You're focusing

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on, okay, and I just played this piece with my

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band at my fall concert. That's why we're doing

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it today, because it was a good teaching piece

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for me, for teaching the kids like, okay, we're

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gonna play these eight measures. Which part do

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you hear moving? And then it was like, was your

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part moving? No, then you're not the melody.

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So I kind of used it at the beginning of the

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year to teach kids like what to listen for instead

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of always having to spell it out for them. Like

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here's who you bounce to. But again, we also.

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Like talked a lot about how you make an accompaniment

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part not be boring Yeah, because that's that's

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a hard skill for young players, right? Like they

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see like a bunch of whole notes and they're like

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well I'm just gonna play some whole notes, but

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whole notes can be beautiful too, right? So Anyways

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back to the piece this, you know whole idea the

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counter melody line again with horn and sax They've

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got half notes and then every once in a while

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they have quarter notes three four And so when

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you have those parts you want to bring that out

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more from the mix then the melody because that's

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like the little part that's moving it into the

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next measure. Then it leads right back into the

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clarinet melody. And then the clarinet melody

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has a dotted half note in measure eight. So then

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the tenor line with tenor sax, trombone, euphony,

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and bassoon have this little like scalar moment

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where they go F, E flat, D, C, B flat. So they're

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leading us into the next moment. then clarinet

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takes over again and then trumpet to alto and

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tenor sax have another one of those little quarter

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note lines going into measure 11 while the clarinets

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are kind of holding long notes and Then the whole

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band is kind of building up into measure 12 Where

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the flute oboe and trumpet take over the melody

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with the clarinet? So in this whole section one

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of the things like a rehearsal strategy Katie

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talked about already You know trying to get the

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ears to the moving part. So a rehearsal strategy

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that I have used with a piece like this, first

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of all they're moving at all different times.

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So like you may have a part that goes quarter

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half quarter and another part that goes half

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half so you're hearing the notes change on every

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beat. You can certainly bop it which I think

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is great for vertical alignment but sometimes

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in a younger band if you are bopping a piece

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that you eventually want to be played very smooth

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and connected that can have the opposite effect

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that you want. One of the things I have done

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with a piece like this is told my kids, okay,

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we're gonna go this eight measure phrase and

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I only want you to play when you have a quarter

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note or an eighth note. That's it. You're only

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gonna play when you have a quarter note or an

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eighth note. So it might be that they're entering

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at an odd time, like they're playing on beat

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one and beat four. But then you clearly hear

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where the moving part is throughout the whole

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entire ensemble. And play it the way you would

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play it in your music, so long connected. But

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then you end up hearing those moving notes throughout

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the whole line. And that can sometimes be helpful

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to kind of draw the band's ear to where it needs

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to go when the full band is playing. Yep, that's

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a great idea. Back at 13 so now the melody is

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again in trumpet flute and clarinet not clarinet.

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Sorry flute and oboe Now the clarinets have gone

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to what I call a doodly part. So now they're

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just doing like little arpeggios Underneath,

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but they're not hard GE GE GE. It's not like

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it's difficult And then they're part of the accompaniment

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and then the trombone euphonium is kind of doing

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the same thing horn has the same little counter

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melody line, but now with tenor sax and then

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alto sax takes an even further back step in the

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balance of things but there's like a good five

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different parts going on at 13 so you really

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have to teach the kids how to prioritize that's

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right and like teaching that skill can be difficult

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you know especially when it's like a lot of seventh

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graders where last year they just tried to play

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almost everything like pretty strong all the

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time you know so now and it's not just melody

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or not melody It's like melody. and then like

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counter melody, and then like maybe a little

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counter melody light, and then an accompaniment

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line, and then a bass line, you know, there's

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like, there's a lot more things to listen for.

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We'll use numbers to prioritize that stuff. This

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is a, this is, you know, something that I got

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from David Dunham years ago, where, okay, you're

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the melody, your part is a 10, all right? You

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are the counter melody, you're a seven, you're

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accompaniment, you're a three, okay, you're a

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counter melody, but you're the harmony, you're

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a six, right? underneath that, or your harmony

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to the melody, you're in eight. So just kind

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of layering it in those numbers so the kids kind

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of, they understand that. Ten is the melody and

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where am I in reference to that. So we're continuing

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on with that same melodic line. Then it gets

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a little dotted quarter note. That's the most

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difficult rhythm in the whole piece. At 18, one,

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two, three, and one. And I called that whispers

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in the wind when I was teaching it. I have no

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idea if Mr. Sheldon wanted that. But that's what

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Miss Lewis did. Yeah, it seems to me like you

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probably did. I mean, it makes a lot of sense.

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So when that part came back over and over, I

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was like, well, we got to hear the whispers in

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the wind part. It's the title. So that's you

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can steal that if you want. Oh, by the way, we

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forgot to mention this is a new PML grade one

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piece in Texas for this year So this would be

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a great choice if you're looking for something

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for your upcoming program So the horn and alto

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line get a bit more exciting and fun at 17 their

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counter melody line is a little bit just more

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eight And so you'll want to bring that part out

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as well at 20 the tenor voices take over the

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melody Then there's an a cello rondo. So, you

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know just a little bit They're gonna help pump

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up the tempo a tiny bit. They have quarter notes.

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So they're gonna watch you. Yep and so there's

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an a natural right before you hit the 21 and

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so that note was pretty like, you know, we just

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got to make sure we're all the way And there's

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no percussion helping with time Percussion is

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either doing melodic or they're doing the wind.

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Little timpani roll or a little suspended cymbal

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roll. There's no pulses from the director and

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the children. So at 21 now that like I mentioned

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the tenor line has the melody plus French horn

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and then flute now has this cutesy the cutesy

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little like one two three four one two and clarinet

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has it too. You want to make sure that part is

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not overwhelming just because you know you're

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gonna have a lot of numbers of flutes and oboes

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so bring that down. I love this low voice lead

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here it's really pretty it's in a very comfortable

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range like you know Katie talked about that earlier,

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this is not an extreme range for any instrument.

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So you can really focus on making your most beautiful

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sound. And I really like that. I think sometimes

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with groups, we get so caught up in, wow, this

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sounds cool and this is really active, that players

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end up sacrificing their tone quality, which

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we never want them to do. But this tenor line

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is beautiful, beautiful. And like my mentor,

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Melody Mello always says, this piece makes you

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sound older because if you play it well because

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it's in such a nice range it's just gonna make

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you sound just professional you know so I think

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it's it's a great choice at 22 the bass line

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has this cool little moment that you'll want

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to bring out a little bit while the melody is

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chilling on a dotted half note 23 we're back

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to the melodic line and then at 24 the bass line

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gets another little cool like conversational

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moment With the melody so I always like to bring

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that out whenever tuba gets something fun. I'm

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like, let's bring that out, you know At 25 they're

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continuing on that melody There is a moment where

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they're gonna all want to take a breath in 25

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Because it's a half note at the end of a slur

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and then they're gonna do quarter notes going

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into measure 26 You're not gonna want everybody

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to breathe there because then it's gonna be this

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huge gap. The elbow is the only that plays on

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beat two after that half note. Everyone else

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in the band has a half note and alto plays on

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beat two so it's gonna sound really young and

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exposed if you. So we talked about some of you

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are gonna breathe in 24 after your half note

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and some of you can breathe in 25 after your

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half note. So just again taking the opportunity

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to teach them about you know. Like special breathing

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considerations and where you're gonna do that

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the Alta line then takes over as Laura mentioned

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at 25 And it's really beautiful. That's like

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a tiny little moment for them flutes a little

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bit important at that moment, too And then we're

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leading into 27 where there's now a roll in Tondo

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So we're getting a little bit slower again. The

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trumpets get the leading line here And then 28,

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the trumpets take over the melody from the beginning.

00:14:02.429 --> 00:14:05.950
And now we're back to our first tempo. And it

00:14:05.950 --> 00:14:07.710
sounds just like the beginning, except instead

00:14:07.710 --> 00:14:10.350
of clarinets having the melody, it's trumpets.

00:14:10.809 --> 00:14:12.769
The tubas and the bass line are doing the same

00:14:12.769 --> 00:14:16.789
thing. The little flute and clarinet part. the

00:14:16.789 --> 00:14:20.210
little accompaniment cutesy part. And then 32

00:14:20.210 --> 00:14:23.070
horn and alto get this cool moment with like

00:14:23.070 --> 00:14:27.769
a little scale. One, two, three, and four. One,

00:14:27.769 --> 00:14:30.809
two, three. So just bringing that part out makes

00:14:30.809 --> 00:14:33.830
it sound a bit older while trumpets are just

00:14:33.830 --> 00:14:35.710
chilling on a dotted half note on their melody.

00:14:35.710 --> 00:14:38.570
At the end of their phrase, yes. And then we

00:14:38.570 --> 00:14:41.529
have another Rolentondo, the same like phrase

00:14:41.529 --> 00:14:44.649
consideration at 35 where everybody's gonna wanna

00:14:44.649 --> 00:14:47.210
breathe after the half note. So just make sure

00:14:47.210 --> 00:14:49.289
again you've talked about some people get to

00:14:49.289 --> 00:14:52.669
breathe in 32 Some people can breathe in 33.

00:14:52.710 --> 00:14:55.789
So that way it's not a big gap There's another

00:14:55.789 --> 00:15:00.240
Roland Tondo at 34 And we have our only accents

00:15:00.240 --> 00:15:03.899
in the whole piece. Um, in this measure, uh,

00:15:04.019 --> 00:15:07.200
it's just a little like last moment. I told the

00:15:07.200 --> 00:15:09.600
kids it's like a big, it's just a statement on

00:15:09.600 --> 00:15:13.860
three and four, three, four, one. And then we're

00:15:13.860 --> 00:15:18.159
getting softer and slower. And then at 36, we've

00:15:18.159 --> 00:15:21.220
hit exactly like the very beginning back to the

00:15:21.220 --> 00:15:24.399
tempo 80 from the beginning. Again, starts out

00:15:24.399 --> 00:15:27.139
with the Mark tree again and the flute and the

00:15:27.139 --> 00:15:29.480
baseline. trumpet and everybody I called this

00:15:29.480 --> 00:15:31.720
like the sighing moment they come in on beat

00:15:31.720 --> 00:15:36.289
three and go three three just kind of sounds

00:15:36.289 --> 00:15:38.850
like a whisper in the wind you know and then

00:15:38.850 --> 00:15:41.669
the ending is exactly like the beginning the

00:15:41.669 --> 00:15:46.090
last little moment of melody is at 39 with the

00:15:46.090 --> 00:15:50.409
clarinets they go three four one and everybody's

00:15:50.409 --> 00:15:53.070
got a chord for the most part and then the whole

00:15:53.070 --> 00:15:56.029
band does come in for a final fermata chord at

00:15:56.029 --> 00:16:01.509
41 and just that skill in itself right like you've

00:16:01.509 --> 00:16:05.120
slowed down so much They all have sustained.

00:16:05.120 --> 00:16:07.879
They all have to look up at you We all have to

00:16:07.879 --> 00:16:11.159
start at the same time our chord has to be perfectly

00:16:11.159 --> 00:16:14.659
balanced We have to breathe together. We have

00:16:14.659 --> 00:16:16.820
together to enter together Yeah, so just like

00:16:16.820 --> 00:16:20.100
those those skills that sometimes I think we

00:16:20.100 --> 00:16:22.279
all take for granted like oh the kids know how

00:16:22.279 --> 00:16:24.539
to do that No, they don't not all like we didn't

00:16:24.539 --> 00:16:27.740
teach them, you know And so this is a great piece

00:16:27.740 --> 00:16:30.019
and it's just gorgeous. It will make your band

00:16:30.019 --> 00:16:34.080
sound old it will make them sound mature as long

00:16:34.080 --> 00:16:36.799
as you you know as long as they have developed

00:16:36.799 --> 00:16:40.340
tones because of the range yeah um it's it's

00:16:40.340 --> 00:16:42.860
just a really really great piece to show off

00:16:42.860 --> 00:16:46.500
your lyrical playing so we hope that you will

00:16:46.500 --> 00:16:48.500
consider programming whispers in the wind in

00:16:48.500 --> 00:16:50.980
the future and thank you for joining us on this

00:16:50.980 --> 00:16:53.820
episode of band bffs