WEBVTT 00:00:06.799 --> 00:00:10.699 Welcome to our podcast, Band BFFs. The podcast 00:00:10.699 --> 00:00:13.160 where we make your music selection less complicated. 00:00:13.560 --> 00:00:16.339 On today's episode, we will be discussing Triumphs 00:00:16.339 --> 00:00:19.480 by Joshua Hinkle. Cheers to starting the conversation. 00:00:21.439 --> 00:00:25.280 This piece is in the key of concert B flat. It's 00:00:25.280 --> 00:00:27.000 four four throughout. It's really a fanfare, 00:00:27.019 --> 00:00:32.119 right? It is three minutes long It does not it's 00:00:32.119 --> 00:00:34.320 pretty straight ahead It's got split clarinet 00:00:34.320 --> 00:00:36.740 part split alto parts and split trumpet and trombone 00:00:36.740 --> 00:00:39.820 parts Percussion is really straight ahead five 00:00:39.820 --> 00:00:43.259 percussion parts There is a relatively active 00:00:43.259 --> 00:00:45.039 percussion two part, but it can be covered by 00:00:45.039 --> 00:00:48.259 one player The timpani part is very important. 00:00:48.280 --> 00:00:50.820 You can't leave that out in as in a normal fanfare 00:00:50.759 --> 00:00:53.340 Yes, and the snare drummer you need the snare 00:00:53.340 --> 00:00:54.960 drummer. It's a really fast piece. We're going 00:00:54.960 --> 00:00:57.539 about 144 BPM here So you want to make sure your 00:00:57.539 --> 00:01:00.299 snare drummer is really solid and has got nice? 00:01:00.299 --> 00:01:03.799 Touch a control at that tempo and even the mallet 00:01:03.799 --> 00:01:07.730 part is pretty active as well. Yeah. Yep So, 00:01:07.730 --> 00:01:11.049 um, as Laura mentioned, it's a fanfare and so 00:01:11.049 --> 00:01:14.150 it's pretty standard in that regard. Lots of, 00:01:14.409 --> 00:01:17.870 you need pretty solid brass, um, especially you 00:01:17.870 --> 00:01:20.590 need solid high brass. Yeah. Trumpet horn and 00:01:20.590 --> 00:01:23.129 alto. Yeah. And Laura and I were saying this 00:01:23.129 --> 00:01:26.510 would be a great piece for like a spring concert 00:01:26.510 --> 00:01:28.950 for a top band where you could kind of put it 00:01:28.950 --> 00:01:31.129 together, top middle school band where you could 00:01:31.129 --> 00:01:34.069 kind of put it together pretty quickly, or it 00:01:34.069 --> 00:01:35.750 would be a great piece that you could work on 00:01:35.750 --> 00:01:38.849 for a while. with like a non -varsity group that 00:01:38.849 --> 00:01:42.469 has good high brass. Or this would be great for 00:01:42.469 --> 00:01:46.329 a fall concert for a sub non -varsity or non 00:01:46.329 --> 00:01:49.670 -varsity high school group as well. It's just 00:01:49.670 --> 00:01:52.569 it's a wonderful well -written piece without 00:01:52.569 --> 00:01:56.590 a ton of just difficult rhythms and things like 00:01:56.590 --> 00:01:59.750 that. So when it starts out active percussion 00:01:59.750 --> 00:02:03.049 like Laura mentioned The woodwinds are kind of 00:02:03.049 --> 00:02:05.650 just doing like an accompaniment part, setting 00:02:05.650 --> 00:02:09.189 up the pulse at the very beginning. It's all 00:02:09.189 --> 00:02:14.689 staccato, so it just kind of sounds like... They're 00:02:14.689 --> 00:02:16.729 just setting it up, but the rhythm is easy to 00:02:16.729 --> 00:02:19.909 count. At measure five, high brass comes in, 00:02:19.990 --> 00:02:22.229 trumpet, horn, and sax. The way that it's written 00:02:22.229 --> 00:02:24.389 in the introduction, the rhythm in the flute 00:02:24.389 --> 00:02:26.349 and oboe is slightly different than that of the 00:02:26.349 --> 00:02:28.530 clarinet in order to make sure that you hear 00:02:28.530 --> 00:02:30.310 straight eighth notes all the way, but they are 00:02:30.310 --> 00:02:32.409 given a little bit of a... break and I would 00:02:32.409 --> 00:02:34.750 not personally especially the range where this 00:02:34.750 --> 00:02:37.129 is written clarinet is up high both parts are 00:02:37.129 --> 00:02:39.009 over the break we've got the first clarinet on 00:02:39.009 --> 00:02:41.930 G above the staff and the second clarinet on 00:02:41.930 --> 00:02:47.310 the register C the third space and the xylophone 00:02:47.310 --> 00:02:50.509 is playing the same part as this so work to get 00:02:50.509 --> 00:02:52.990 those upper woodwinds to match the clarity of 00:02:52.990 --> 00:02:55.449 articulation that the xylophone has I don't think 00:02:55.449 --> 00:02:58.050 you have to be overly concerned with how crisp 00:02:58.050 --> 00:03:01.340 it is just that the first of the fronts of the 00:03:01.340 --> 00:03:03.500 notes matches the same articulation in the mallets. 00:03:04.039 --> 00:03:07.599 Yep. So the timpani, again, has an important 00:03:07.599 --> 00:03:10.379 part in measures three and four as the intro 00:03:10.379 --> 00:03:13.840 is closing. Five, the first melodic section comes 00:03:13.840 --> 00:03:17.219 in, again in high brass and saxophone, just a 00:03:17.219 --> 00:03:20.180 dotted quarter note rhythm, one and two, or sorry, 00:03:20.719 --> 00:03:25.000 one and three, one and three, four, and it goes 00:03:25.000 --> 00:03:29.159 up to a top. line F for trumpet. Big skips in 00:03:29.159 --> 00:03:31.539 the trumpet. Both trumpet parts, trumpet one 00:03:31.539 --> 00:03:34.520 and two, they're unison here. So you have to 00:03:34.520 --> 00:03:36.759 have a pretty good trumpet section that can do 00:03:36.759 --> 00:03:40.280 that. Again, it's not split here in harmony. 00:03:40.780 --> 00:03:43.139 The horn part is not difficult right now, they're 00:03:43.139 --> 00:03:46.740 just playing the chords underneath. One of the 00:03:46.740 --> 00:03:49.120 things that will help make this skip in the trumpets 00:03:49.120 --> 00:03:51.319 better, it goes from a G in the staff to a top 00:03:51.319 --> 00:03:54.479 line F, so that's a pretty significant leap that 00:03:54.479 --> 00:03:57.150 you want to play with control. but it's nice 00:03:57.150 --> 00:04:00.129 because the high F is articulated. So they are 00:04:00.129 --> 00:04:03.289 not having to slur up that distance. They at 00:04:03.289 --> 00:04:05.229 least get to articulate, which will help. Yep. 00:04:05.469 --> 00:04:08.509 And then at nine, the low brass comes in kind 00:04:08.509 --> 00:04:10.270 of like a big, you know, with the bass drum, 00:04:10.530 --> 00:04:12.789 like a big bomb, you know, everybody comes in 00:04:12.789 --> 00:04:15.949 and holds. Woodwinds are still doing the exact 00:04:15.949 --> 00:04:20.089 same thing. 13 oh timpani has the little last 00:04:20.089 --> 00:04:24.889 response at measure 12 13 now the high brass 00:04:24.889 --> 00:04:29.449 go to the accompaniment part and the bells flute 00:04:29.449 --> 00:04:33.610 oboe clarinet and sax all have the melody and 00:04:33.610 --> 00:04:38.269 again clarinet one and two alto one and two everybody's 00:04:38.269 --> 00:04:40.810 on the melodic line so there it's not like a 00:04:40.810 --> 00:04:43.730 harmony part everybody's playing up high saxes 00:04:43.730 --> 00:04:48.149 go to above the staff a clarinets are all again 00:04:48.149 --> 00:04:50.550 mostly over the break on the melody. Flutes are 00:04:50.550 --> 00:04:53.399 going up to C above the staff. So you just have 00:04:53.399 --> 00:04:55.959 to be careful about especially some cross tuning. 00:04:56.060 --> 00:04:58.939 Yeah really I think it's the tuning issues between 00:04:58.939 --> 00:05:01.339 the flute and the saxophone especially are going 00:05:01.339 --> 00:05:03.240 to be things on those longer value notes, the 00:05:03.240 --> 00:05:04.519 half notes that you have that you're going to 00:05:04.519 --> 00:05:07.379 need to be mindful of. I do also think the clarity 00:05:07.379 --> 00:05:10.579 of articulation, the xylophone stops playing 00:05:10.579 --> 00:05:13.560 the eighth note pulse at this point and so that 00:05:13.560 --> 00:05:15.879 pulse is just brought to you by the trumpets, 00:05:15.939 --> 00:05:19.399 horns and tenor sax. So I think you are going 00:05:19.399 --> 00:05:20.980 to have to be a little more mindful about the 00:05:20.980 --> 00:05:23.649 clarity of articulation. especially in the horns 00:05:23.649 --> 00:05:26.490 to make sure that they match the trumpet and 00:05:26.490 --> 00:05:29.819 the tenor sax here. And then I would also say 00:05:29.819 --> 00:05:32.899 be really careful or I guess mindful, thoughtful 00:05:32.899 --> 00:05:35.300 about where the kids are going to breathe. Yes. 00:05:35.560 --> 00:05:38.040 Because it's going to be common for them to want 00:05:38.040 --> 00:05:40.660 to all breathe after three measures because it's 00:05:40.660 --> 00:05:44.300 after a half note in the melody. So I would like, 00:05:44.300 --> 00:05:47.360 you know, assign A's and B's or whatever odds 00:05:47.360 --> 00:05:50.399 and evens to make sure that everybody's not breathing 00:05:50.399 --> 00:05:53.060 at the exact same time during the melody, whether 00:05:53.060 --> 00:05:55.639 that's no matter who has the melody when they 00:05:55.639 --> 00:05:58.449 do, just make sure everybody's taking different 00:05:58.449 --> 00:06:01.269 staggered breaths. Then again, we have another 00:06:01.269 --> 00:06:05.389 drone, like Laura said, at 17. Everybody comes 00:06:05.389 --> 00:06:08.089 in and holds. The trumpets are the only ones 00:06:08.089 --> 00:06:11.550 with that eighth note accompaniment now. Another 00:06:11.550 --> 00:06:15.790 big timpani moment at 20, along with some chord 00:06:15.790 --> 00:06:18.629 changes in the middle and tenor voices going 00:06:18.629 --> 00:06:21.769 into 21. So it's setting us up for this new idea 00:06:21.769 --> 00:06:24.689 at measure 21. At 21, we kind of get this bold. 00:06:24.939 --> 00:06:28.360 Accented statement. This is really where a lot 00:06:28.360 --> 00:06:32.300 of times fan fairs start with a big fanfare statement 00:06:32.300 --> 00:06:35.220 This really has a pretty lengthy introduction 00:06:35.220 --> 00:06:37.860 and 21 is the first part that I really feel like 00:06:37.860 --> 00:06:41.879 you get that fanfare. And it's accented. It hasn't 00:06:41.879 --> 00:06:44.319 been accented until now. Now rhythmically this 00:06:44.319 --> 00:06:46.939 is really straight ahead. It's accented on every 00:06:46.939 --> 00:06:50.959 note for every part. The rhythm is really easy 00:06:50.959 --> 00:06:53.480 but the range like the first trumpets are sitting 00:06:53.480 --> 00:06:56.079 on E's and F's at the top of the staff and of 00:06:56.079 --> 00:06:59.439 course that means flutes are on D's and E flats 00:06:59.439 --> 00:07:02.300 above the staff so and and the clarinets again 00:07:02.300 --> 00:07:04.639 are in the same range as those first trumpets. 00:07:04.839 --> 00:07:07.939 So cross tuning considerations as well but big 00:07:07.939 --> 00:07:10.209 thing for me, and Katie addressed this a little 00:07:10.209 --> 00:07:13.009 bit earlier, this is written where you have, 00:07:13.509 --> 00:07:16.230 it should be a four or eight bar phrase, but 00:07:16.230 --> 00:07:18.509 you have a half note for everybody at the end 00:07:18.509 --> 00:07:21.230 of the second measure, and that is going to be 00:07:21.230 --> 00:07:23.269 a place, and there is no percussion that's kind 00:07:23.269 --> 00:07:26.110 of helping to cross the bridge over the bar line, 00:07:26.170 --> 00:07:28.810 so making sure that they are playing in those 00:07:28.810 --> 00:07:32.009 longer valued phrases, and at 144 BPM, that really 00:07:32.009 --> 00:07:36.060 should not be a problem, right? And then after 00:07:36.060 --> 00:07:39.660 this first statement at 25 the snare drum comes 00:07:39.660 --> 00:07:42.600 back in kind of takes over a little bit of the 00:07:42.600 --> 00:07:46.860 like activity The drone people kind of come back 00:07:46.860 --> 00:07:49.899 and everybody's got a tied note while only the 00:07:49.899 --> 00:07:52.319 upper woodwinds keep going on the fanfare So 00:07:52.319 --> 00:07:55.500 it's just flute oboe all clarinet clarinet is 00:07:55.500 --> 00:07:59.480 now in octaves So that's a tuning thing. You 00:07:59.480 --> 00:08:01.920 got to pay attention to as well and then bells 00:08:01.920 --> 00:08:04.819 and speaking of octaves The low brass have the 00:08:04.819 --> 00:08:08.860 same part here, also in octaves. So again, just 00:08:08.860 --> 00:08:11.600 be mindful of that. These are not difficult notes 00:08:11.600 --> 00:08:13.259 or anything, but you just need to be aware that 00:08:13.259 --> 00:08:15.399 tuning may be something that you need to spend 00:08:15.399 --> 00:08:17.259 some time on, especially if it's a younger ensemble. 00:08:17.740 --> 00:08:23.439 At 27, it changes to into con amore. So it's 00:08:23.439 --> 00:08:26.939 still written in four, but you can conduct it 00:08:26.939 --> 00:08:29.980 more in two -four. It's got more of that flowy 00:08:29.980 --> 00:08:34.629 feel. Yeah. So that's fun that we said the exact 00:08:34.629 --> 00:08:36.330 - I can't believe we just said flowy feel, I 00:08:36.330 --> 00:08:38.629 know, yeah. We did not plan that, everybody. 00:08:38.929 --> 00:08:41.289 So we've been doing this too long. I guess so. 00:08:41.289 --> 00:08:44.389 Yeah. So - It's softer. This is definitely a 00:08:44.389 --> 00:08:46.169 little more lyrical. It's mezzo -piano. Yes, 00:08:46.330 --> 00:08:50.169 it's definitely lyrical. Only the horn has kind 00:08:50.169 --> 00:08:53.970 of like the counter melody line with like sax, 00:08:54.129 --> 00:08:57.950 tenor sax. low reed. There's no other brass playing 00:08:57.950 --> 00:09:01.610 here. The melody is in flute, oboe, and clarinet. 00:09:01.769 --> 00:09:05.129 And the clarinets are all on the same notes as 00:09:05.129 --> 00:09:07.129 well as flute and oboe. So no harmony. They're 00:09:07.129 --> 00:09:09.230 just, they're playing the melody. And it's really 00:09:09.230 --> 00:09:12.129 just drone harmony behind them. Yeah. And again, 00:09:12.470 --> 00:09:14.330 you want to talk about breathing because they're 00:09:14.330 --> 00:09:15.870 going to, again, want to play a four measure 00:09:15.870 --> 00:09:18.970 phrase and breathe. In this case, the tenor sax, 00:09:19.149 --> 00:09:22.190 alto, and horn do have like a line where they 00:09:22.190 --> 00:09:25.190 could cover the breath if you wanted. them to 00:09:25.190 --> 00:09:27.789 all breathe after four measures, or you could 00:09:27.789 --> 00:09:29.629 tell the kids to push through the phrase and 00:09:29.629 --> 00:09:32.629 take a sneak breath in like 32 and 33, which 00:09:32.629 --> 00:09:34.610 is what I would do. That was exactly what I would 00:09:34.610 --> 00:09:36.289 do as well. I would try to avoid that bar line 00:09:36.289 --> 00:09:38.230 breath as much as possible. I would too, but 00:09:38.230 --> 00:09:40.370 they're, you know, too thorough. Yeah, that's 00:09:40.370 --> 00:09:44.809 exactly right. Yes. And then in 34, as we're 00:09:44.809 --> 00:09:47.570 going into 35, which is the next box number, 00:09:48.110 --> 00:09:51.710 the lower voices, low brass come in on beat three, 00:09:52.029 --> 00:09:54.320 and they kind of take over. over that harmonic 00:09:54.320 --> 00:09:57.500 structure that the sax and horn were doing before. 00:09:58.080 --> 00:10:01.980 Now the horn and the alto go to a true counter 00:10:01.980 --> 00:10:05.259 melody line with the flute, oboe, clarinet, and 00:10:05.259 --> 00:10:08.440 now adding in the trumpet on the melody. So bringing 00:10:08.440 --> 00:10:10.720 out that line I think would be pretty cool. The 00:10:10.720 --> 00:10:13.139 range on the melody now in the trumpet, flute, 00:10:13.159 --> 00:10:15.580 and clarinet is much more reasonable. It's lower, 00:10:15.659 --> 00:10:18.919 it's in the staff. So it is set up, the range 00:10:18.919 --> 00:10:21.539 for the counter melody however is a little bit 00:10:21.539 --> 00:10:23.919 higher. So yeah, we've got the horns going all 00:10:23.919 --> 00:10:26.659 the way up to a high F. It's gonna be easy to 00:10:26.659 --> 00:10:29.080 feature that counter melody because of the range. 00:10:29.740 --> 00:10:32.620 But again, just making sure that your altos and 00:10:32.620 --> 00:10:36.059 horns can blend really well together. We don't 00:10:36.059 --> 00:10:38.340 want this in the horn part to sound forced. This 00:10:38.340 --> 00:10:40.820 should sound relaxed and just, again, it's mezzo 00:10:40.820 --> 00:10:44.470 piano, so relaxed and just really pretty. Um, 00:10:44.570 --> 00:10:47.289 as we, there's like a little Mark Tree moment 00:10:47.289 --> 00:10:50.029 at 42. Percussion has been out. Percussion is 00:10:50.029 --> 00:10:52.909 just chilling. And it's like a chorale feature 00:10:52.909 --> 00:10:57.250 for the band. Um, at 43 now the bells come back 00:10:57.250 --> 00:11:00.009 in. Um, I don't know if it's bells or xylophone 00:11:00.009 --> 00:11:02.250 at this moment. I think this is bells. I think 00:11:02.250 --> 00:11:05.049 it's still bells too. Yeah. So they come back 00:11:05.049 --> 00:11:07.610 in and they, they have the same thing as flute 00:11:07.610 --> 00:11:12.129 and oboe, which is just playing two, three, four, 00:11:12.210 --> 00:11:15.259 one, two. It's just back and forth, not important. 00:11:15.759 --> 00:11:19.879 The melody is an alto saxophone solo. So if it 00:11:19.879 --> 00:11:22.840 were me, I would probably make the flute and 00:11:22.840 --> 00:11:25.879 oboe part either be one on a part or maybe two 00:11:25.879 --> 00:11:29.580 flutes and one oboe so that that part's not overwhelming 00:11:29.580 --> 00:11:32.860 if not everybody can play soft enough to feature 00:11:32.860 --> 00:11:36.919 a saxophone. All the other woodwinds have, which 00:11:36.919 --> 00:11:39.220 is just bassoon, bass clarinet, and clarinet, 00:11:39.399 --> 00:11:42.769 they have just chords underneath, no brass. I 00:11:42.769 --> 00:11:45.830 agree. I think your options are either thin out 00:11:45.830 --> 00:11:48.850 the woodwind accompaniment in order to hear the 00:11:48.850 --> 00:11:52.690 saxophone solo or make it a saxophone solee. 00:11:52.730 --> 00:11:55.750 Right. If your saxophone section can play, and 00:11:55.750 --> 00:11:58.049 this is not rhythmically, it's not hard, even 00:11:58.049 --> 00:12:00.889 tuning wise, it's really not crazy. There's a 00:12:00.889 --> 00:12:02.590 couple of things above the staff you might have 00:12:02.590 --> 00:12:05.250 to be mindful of. But for the most part, you 00:12:05.250 --> 00:12:09.090 could make this a saxophone solee and probably 00:12:09.090 --> 00:12:11.649 fix your volume issues. But there's also no harm. 00:12:11.629 --> 00:12:13.769 at all if you want it to be a solo, then just 00:12:13.769 --> 00:12:15.830 thin out the accompaniment. I do think you will 00:12:15.830 --> 00:12:18.889 probably need to do one of those two things in 00:12:18.889 --> 00:12:21.269 order to hear the clarity in this line like you 00:12:21.269 --> 00:12:27.159 want. Yep. Then at 51... There's, we have another 00:12:27.159 --> 00:12:29.159 kind of like, I would call it like the drone 00:12:29.159 --> 00:12:32.039 again, sort of, a bunch of people come in on 00:12:32.039 --> 00:12:34.600 beat one and hold, then we're getting softer 00:12:34.600 --> 00:12:38.679 and softer, low brass comes in. And then in 53, 00:12:38.740 --> 00:12:42.000 there's a little tiny flute solo for two measures, 00:12:42.539 --> 00:12:45.419 then a little clarinet solo right after that. 00:12:45.600 --> 00:12:48.240 So we're kind of featuring some of the upper 00:12:48.240 --> 00:12:50.659 woodwind parts. We pass this little line one 00:12:50.659 --> 00:12:54.399 for one. And then the trumpet one has the solo. 00:12:54.480 --> 00:12:58.580 last in the quote unquote in two section. Then 00:12:58.580 --> 00:13:03.279 it's marked at 58 to go back to in four because 00:13:03.279 --> 00:13:05.799 now the style is changing back to what we had 00:13:05.799 --> 00:13:09.419 at the beginning. Now I think in this more lyrical 00:13:09.419 --> 00:13:12.620 section that we had before also the drone like 00:13:12.620 --> 00:13:14.580 Katie mentioned the drone that the low brass 00:13:14.580 --> 00:13:18.019 have there in fifths a lot of the way through 00:13:18.019 --> 00:13:21.720 there. So tuning wise that should be and they're 00:13:21.720 --> 00:13:24.330 all relatively secure notes. You have a D flat 00:13:24.330 --> 00:13:26.549 thrown in there a G flat D flat I think somewhere 00:13:26.549 --> 00:13:30.090 in there that you might need to be You know G 00:13:30.090 --> 00:13:33.789 flat G. Okay, there we go But but for the most 00:13:33.789 --> 00:13:37.029 part like it's they're locked in in fifths. So 00:13:37.029 --> 00:13:39.029 harmonically that should be relatively simple 00:13:39.029 --> 00:13:42.730 Yep, then at 59 we come back with the same thought 00:13:42.730 --> 00:13:45.590 from before flute oboe clarinet and xylo have 00:13:45.590 --> 00:13:48.350 the one and two and three and four and again 00:13:48.350 --> 00:13:52.049 They continue on snare becomes more active timpani 00:13:52.049 --> 00:13:55.149 is featured again just like the beginning 63 00:13:55.149 --> 00:13:57.529 we have for the first time the low brass get 00:13:57.529 --> 00:14:02.350 the melody so they take over and low reads all 00:14:02.350 --> 00:14:05.110 the woodwinds are now doing these like contrary 00:14:05.110 --> 00:14:09.350 motion eight notes so like flute and a bar going 00:14:09.350 --> 00:14:12.029 one and two and one and two and and clarinets 00:14:12.029 --> 00:14:15.629 are going one and two and one and two and so 00:14:15.629 --> 00:14:18.779 it's the background part but you know you want 00:14:18.779 --> 00:14:20.899 to make sure that that doesn't clash or sound 00:14:20.899 --> 00:14:25.100 too loud and then some of the other parts like 00:14:25.100 --> 00:14:28.279 sax, bassoon, bass clarinet they just have one 00:14:28.279 --> 00:14:32.590 and They have these little like staccato rhythmic 00:14:32.590 --> 00:14:35.909 hits. Now the bells doubles what's happening 00:14:35.909 --> 00:14:38.830 in flute and oboe and the range that it's written 00:14:38.830 --> 00:14:42.190 in for bells plus what it's written in for flutes 00:14:42.190 --> 00:14:45.870 plus the contrary motion range that the clarinets 00:14:45.870 --> 00:14:50.970 are in. You may experiment with only having one 00:14:50.970 --> 00:14:54.090 or two of your flutes play it in the octave it's 00:14:54.090 --> 00:14:56.590 in and taking it down. You might have your bell 00:14:56.590 --> 00:15:00.039 player take it down an octave. or your clarinets 00:15:00.039 --> 00:15:02.659 just really project because where it's written 00:15:02.659 --> 00:15:05.279 with bells and flutes doubling in that same octave 00:15:05.279 --> 00:15:08.600 they will overpower the clarinets. That's right. 00:15:08.960 --> 00:15:12.399 Yep. So this again is the low brass feature and 00:15:12.399 --> 00:15:16.399 by low brass I mean trombones. Because euphonium 00:15:16.399 --> 00:15:18.700 and tuba have the same part as bassoon and bass 00:15:18.700 --> 00:15:21.500 clarinet. And trumpet. And technically bass clarinet 00:15:21.500 --> 00:15:24.799 and tenor sax have the melody along with trombone. 00:15:25.200 --> 00:15:27.860 But making sure again we're not all taking breaths 00:15:27.860 --> 00:15:30.700 after the three measures of the melody so that 00:15:30.700 --> 00:15:33.440 it sounds seamless is important. We come back 00:15:33.440 --> 00:15:37.200 in with our hit at 67. I'm doing the motion. 00:15:37.419 --> 00:15:40.740 I'm sorry. I'm sorry you're missing it. And so 00:15:40.740 --> 00:15:43.240 everybody's got that little drone there. And 00:15:43.240 --> 00:15:46.940 then 68 is just the same thing. Active snare, 00:15:47.139 --> 00:15:49.620 we've got a little harmonic change at 69 going 00:15:49.620 --> 00:15:53.299 into 70. 70 is the timpani getting a moment again. 00:15:53.639 --> 00:15:57.559 Now we've got another new little moment at 71. 00:15:58.019 --> 00:16:01.440 That trombone tenor line melody is now in flute 00:16:01.440 --> 00:16:07.740 oboe clarinet, but there's an alto sax solo again. 00:16:08.019 --> 00:16:11.779 And it's kind of like the melody, but it's like... 00:16:11.919 --> 00:16:15.820 Is it a soli? It's a soli, yeah. Sorry, but it's 00:16:15.820 --> 00:16:18.740 just in the first alto part, so if you only have 00:16:18.740 --> 00:16:21.480 two altos, it would be a solo, unless you wanted 00:16:21.480 --> 00:16:24.220 them both to play or whatever. It's kind of like 00:16:24.220 --> 00:16:26.240 the melody, but it's like fancy melody. Yeah, 00:16:26.259 --> 00:16:29.879 it's like a decorated melody, but it does have 00:16:29.879 --> 00:16:34.820 the skeleton of the melody before. But you would 00:16:34.820 --> 00:16:38.220 want it to be brought out for sure. And I was 00:16:38.220 --> 00:16:40.720 just thinking, if I were to play this at my spring 00:16:40.720 --> 00:16:44.279 concert, I might let the alto saxophone section 00:16:44.279 --> 00:16:48.179 or soloist stand up because it's just like at 00:16:48.179 --> 00:16:50.360 my spring concert, like that might be kind of 00:16:50.360 --> 00:16:52.820 fun. If you're playing it again at like a fall 00:16:52.820 --> 00:16:55.679 concert, you could have the soloist stand. I 00:16:55.679 --> 00:16:58.480 mean, there's no rule against that or whatever, 00:16:58.620 --> 00:17:01.080 make them feel special and featured. So you could 00:17:01.080 --> 00:17:03.799 do that to feature the flute and the clarinet 00:17:03.799 --> 00:17:05.920 and the trumpet solo that happened earlier during 00:17:05.920 --> 00:17:08.960 the middle section if you wanted to. I mean, 00:17:08.960 --> 00:17:12.279 why not? in with sleigh bells here which is kind 00:17:12.279 --> 00:17:14.599 of an unusual color to add at this point it's 00:17:14.599 --> 00:17:17.400 interesting sounding but totally different it's 00:17:17.400 --> 00:17:19.339 one of the things that I think makes this one 00:17:19.339 --> 00:17:22.559 it's it's like a little four bar it's very short 00:17:22.559 --> 00:17:25.519 but kind of a unique little interjection into 00:17:25.519 --> 00:17:28.900 this whole fanfare idea after that idea we go 00:17:28.900 --> 00:17:32.359 back 75 we've got a chord trumpets are back on 00:17:32.359 --> 00:17:34.740 the little staccato accompaniment part like we 00:17:34.740 --> 00:17:37.960 spoke about before timpani has another moment 00:17:37.960 --> 00:17:42.349 again leading us into 79 we're back to the accented 00:17:42.349 --> 00:17:47.130 bold section one two three and four one two three 00:17:47.130 --> 00:17:50.109 don't breathe one two three and four and the 00:17:50.109 --> 00:17:54.140 trumpets are trumpet one is Up at the top of 00:17:54.140 --> 00:17:56.500 the staff and they're playing G above the staff 00:17:56.500 --> 00:17:59.000 flutes are above the staff So this is gonna be 00:17:59.000 --> 00:18:01.660 a cross tuning thing This is exactly like what 00:18:01.660 --> 00:18:04.559 we had before with the low brass and octaves 00:18:04.559 --> 00:18:08.359 kind of moving down a B -flat scale and then 00:18:08.359 --> 00:18:10.599 that cross tuning like we mentioned before with 00:18:10.599 --> 00:18:14.599 the the true fanfare type section here, it's 00:18:14.599 --> 00:18:17.700 exactly Exactly like what you had before out 00:18:17.700 --> 00:18:19.859 to one horn have a little like counter melody 00:18:19.859 --> 00:18:25.039 moment at 82 going into 83 and 84 there's a trill 00:18:25.039 --> 00:18:28.480 that comes in in the upper woodwinds I would 00:18:28.480 --> 00:18:31.180 have that be either one on a part or marked piano 00:18:31.180 --> 00:18:36.559 and then at 85 we it is marked heroically and 00:18:36.559 --> 00:18:39.279 now the trumpets continue on in the melody the 00:18:39.279 --> 00:18:43.200 horns and altos have a counter melody line at 00:18:43.200 --> 00:18:46.940 like 88 89 that you'll want to bring out and 00:18:46.940 --> 00:18:50.720 then the upper people are doing something different, 00:18:50.799 --> 00:18:53.519 but it's basically the same thing as the beginning 00:18:53.519 --> 00:18:55.859 where it's like one, and two, and three, and 00:18:55.859 --> 00:18:58.400 four, and but this time it's just one, and two, 00:18:58.420 --> 00:19:00.640 and three, and four, and they're just changing 00:19:00.640 --> 00:19:02.319 different intervals. Yeah, there's bigger skips 00:19:02.319 --> 00:19:04.819 here than it was at the beginning, and the trumpet 00:19:04.819 --> 00:19:07.740 part is slightly different. Same rhythm, same 00:19:07.740 --> 00:19:11.420 idea, but slightly different, slightly different 00:19:11.420 --> 00:19:13.640 notes. We're just building, you can tell, I mean 00:19:13.640 --> 00:19:14.599 this is building to the finish. We're building 00:19:14.599 --> 00:19:18.380 it up to the end, yep. 89 flute oboe clarinet 00:19:18.380 --> 00:19:20.680 take over the melody everybody else is on just 00:19:20.680 --> 00:19:23.380 like changing chords so you'll just want to make 00:19:23.380 --> 00:19:25.200 sure you balance that correctly where you can 00:19:25.200 --> 00:19:28.960 still hear the tuba 91 starts a cool little bell 00:19:28.960 --> 00:19:32.779 tones section yeah um each part that comes in 00:19:32.779 --> 00:19:35.839 is marked forte piano, and with an accent, so 00:19:35.839 --> 00:19:38.579 you'll have to work on making sure that each 00:19:38.579 --> 00:19:42.279 new entrance is heard. I'm sure Laura and I both 00:19:42.279 --> 00:19:44.779 do this, we'll usually bop this. That's exactly 00:19:44.779 --> 00:19:45.500 what I was gonna say, I would bop it. To where 00:19:45.500 --> 00:19:48.440 you can hear the front, and make sure that each 00:19:48.440 --> 00:19:52.039 entrance is just as strong as the section before 00:19:52.039 --> 00:19:54.700 that, which sometimes that can be difficult, 00:19:54.720 --> 00:19:57.799 like on the first one, it's tuba, bari, sax, 00:19:57.900 --> 00:20:01.099 bass, clarinet, second one, bassoon, tenor, sax. 00:20:01.069 --> 00:20:03.950 euphonium might be a little more difficult to 00:20:03.950 --> 00:20:09.359 hear who knows. Next one is trombone only. Yep, 00:20:09.779 --> 00:20:11.960 and then the next one is horn and alto so that 00:20:11.960 --> 00:20:15.319 trombone only one Might need a beef up like you 00:20:15.319 --> 00:20:17.240 might either need to have them play it stronger 00:20:17.240 --> 00:20:20.559 or maybe have tenor sax join them You know I 00:20:20.559 --> 00:20:22.700 always kind of mess around with writing if I 00:20:22.700 --> 00:20:26.440 can't hear one of the entrances I might say okay 00:20:26.440 --> 00:20:28.599 tenor sax you come in there instead or bassoon 00:20:28.599 --> 00:20:31.140 you come in there instead so that each one you 00:20:31.140 --> 00:20:34.990 always hear one three one, three, and you can 00:20:34.990 --> 00:20:37.130 hear each of them the same way. And relate this. 00:20:37.410 --> 00:20:39.630 I'm sure many of you do concert F around the 00:20:39.630 --> 00:20:41.490 room with your band. Relate this to concert F 00:20:41.490 --> 00:20:43.309 around the room. Everybody's entrance needs to 00:20:43.309 --> 00:20:44.970 sound the same, right? You need to match volume. 00:20:44.990 --> 00:20:47.569 You need to match energy. And then, of course, 00:20:47.630 --> 00:20:50.650 once they get that, you can work on the piano 00:20:50.650 --> 00:20:53.349 part of the forte piano and making sure they 00:20:53.349 --> 00:20:55.430 stay out of the way. There is a crescendo written 00:20:55.430 --> 00:21:00.049 right before measure 95. And so add that in. 00:21:00.230 --> 00:21:02.230 But the difficulty is, especially those people, 00:21:02.250 --> 00:21:05.210 those to the very bass clarinet that come in 00:21:05.210 --> 00:21:07.309 four measures before, because this builds over 00:21:07.309 --> 00:21:09.829 the course of four measures, making sure that 00:21:09.829 --> 00:21:14.809 they sustain at piano the entire time until we 00:21:14.809 --> 00:21:16.990 get to that crescendo measure. So don't overdo 00:21:16.990 --> 00:21:21.269 it. At 95, everybody comes in with accents again, 00:21:21.309 --> 00:21:25.690 one and two, and then four, one is like tuba, 00:21:25.690 --> 00:21:29.369 bari, sax, bass, clarinet, timpani, and then 00:21:29.369 --> 00:21:34.390 horn has a written like F G, but it's written 00:21:34.390 --> 00:21:37.349 where you can also play it up an octave, which 00:21:37.349 --> 00:21:40.509 if you've got a stellar horn section, that'd 00:21:40.509 --> 00:21:42.690 be fun because you can kind of feature them a 00:21:42.690 --> 00:21:45.490 little bit with the saxophones. Yeah. Yep. And 00:21:45.490 --> 00:21:48.410 then we're closing out to the just a big one 00:21:48.410 --> 00:21:52.470 and two. Again, another horn alto moment kind 00:21:52.470 --> 00:21:54.430 of in response to all of this. They are the ones 00:21:54.430 --> 00:21:57.470 who fill in the gaps. Everyone's holding a half 00:21:57.470 --> 00:22:00.730 note tied to a whole note and the horn and alto 00:22:00.730 --> 00:22:04.789 are moving on half notes there. Just a nice finish. 00:22:05.910 --> 00:22:08.089 Upper voices, it's really divided in two where 00:22:08.089 --> 00:22:10.509 we have upper voices and middle and lower voices. 00:22:11.250 --> 00:22:14.329 Big statements on beat one and then three, one, 00:22:14.430 --> 00:22:17.329 three from everybody else. until you end with 00:22:17.329 --> 00:22:20.130 a big chord, all accents, you end with a forte 00:22:20.130 --> 00:22:24.119 piano crescendo. eight beat chord building to 00:22:24.119 --> 00:22:26.700 your stinger with just snare drum and timpani 00:22:26.700 --> 00:22:28.720 and timpani big timpani doing cool stuff at the 00:22:28.720 --> 00:22:32.160 end yeah and then a little last chord for everybody 00:22:32.160 --> 00:22:35.279 this is it's three minutes long so uh you know 00:22:35.279 --> 00:22:38.220 maybe slightly a little bit longer than maybe 00:22:38.220 --> 00:22:40.539 the average fanfare but really good i think it's 00:22:40.539 --> 00:22:44.160 written very well um if your players if you've 00:22:44.160 --> 00:22:45.859 got strong players like katie mentioned at the 00:22:45.859 --> 00:22:48.920 beginning especially in the high brass uh section 00:22:48.920 --> 00:22:51.900 i think this could be a great concert opener 00:22:51.900 --> 00:22:53.799 and something fun for your kids. Or even closer. 00:22:54.079 --> 00:22:56.819 That's true, yeah. All right, well we hope you 00:22:56.819 --> 00:22:59.839 will consider programming Triumphs in the future 00:22:59.839 --> 00:23:02.299 and thank you for joining us on this episode 00:23:02.299 --> 00:23:04.599 of Banned BFFs.