WEBVTT 00:00:06.680 --> 00:00:10.800 Welcome to our podcast, BNBFF, the podcast where 00:00:10.800 --> 00:00:12.960 we make your music selection less complicated. 00:00:13.419 --> 00:00:15.599 On today's episode, we're going to be discussing 00:00:15.599 --> 00:00:18.879 Squirrel Chase by Carol Britton Chambers. Cheers 00:00:18.879 --> 00:00:23.079 to starting the conversation. What an adorable 00:00:23.079 --> 00:00:26.440 piece this is. I know this is so fun. This is 00:00:26.440 --> 00:00:28.820 great for, I think you can use this, this is 00:00:28.820 --> 00:00:31.460 great spring concert, region band, fall concert, 00:00:31.719 --> 00:00:34.979 I mean any time. Kids are gonna love it. It is 00:00:34.979 --> 00:00:37.399 a gallop so it's very fast and kind of March 00:00:37.399 --> 00:00:40.840 style. It is in the key of concert B flat. Two 00:00:40.840 --> 00:00:45.460 minutes long, so this flies by. It does have 00:00:45.460 --> 00:00:47.799 split clarinet parts. You can use the oboe part 00:00:47.799 --> 00:00:50.320 as a second flute part if you have a big enough 00:00:50.320 --> 00:00:53.100 section. It has split trumpet parts as well, 00:00:53.320 --> 00:00:57.960 but no split alto parts. And the trombonephonium 00:00:57.960 --> 00:01:00.679 part, it is split trombonephonium and they do 00:01:00.679 --> 00:01:03.399 not double each other the whole time. Percussion, 00:01:03.520 --> 00:01:06.000 there is a lot of active percussion in this, 00:01:06.159 --> 00:01:08.700 but a lot of it is effects, so sound effects 00:01:08.700 --> 00:01:12.310 to make this. squirrel chase sound. You really 00:01:12.310 --> 00:01:14.569 need probably six percussionists to make this 00:01:14.569 --> 00:01:17.510 work. You could get creative if you had less 00:01:17.510 --> 00:01:21.430 than that but I think six is safe. If you have 00:01:21.430 --> 00:01:23.409 more than that there's enough to go around if 00:01:23.409 --> 00:01:25.890 you want to spread it out. And the mallet part 00:01:25.890 --> 00:01:28.829 is really like important for just the color like 00:01:28.829 --> 00:01:31.870 the xylophone color. Yes. Since it's a gallop 00:01:31.870 --> 00:01:35.010 is pretty important. And it's soloed in here 00:01:35.010 --> 00:01:39.359 as well. So the whole piece starts off with just 00:01:39.359 --> 00:01:42.799 a woodblock solo. Um, you want to make sure you're 00:01:42.799 --> 00:01:44.920 all your other kids in the band start with their 00:01:44.920 --> 00:01:47.760 mouthpiece off their face so that that way they 00:01:47.760 --> 00:01:50.140 don't accidentally play on the first measure. 00:01:50.159 --> 00:01:52.560 Yeah. So it's kind of like, it reminds me of 00:01:52.560 --> 00:01:56.400 like a little squirrel running. And then the 00:01:56.400 --> 00:02:00.379 band comes in and measure three, um, with, uh, 00:02:00.459 --> 00:02:03.500 the snare drum and then the winds come in on 00:02:03.500 --> 00:02:06.920 beat, not beat three measure three, sorry. the 00:02:06.920 --> 00:02:09.340 band comes in on beat two of measure three. So 00:02:09.340 --> 00:02:13.259 snare, two, one, two, one, and then everybody's 00:02:13.259 --> 00:02:16.860 in at measure five. As with all gallops, I think 00:02:16.860 --> 00:02:19.560 style is really, really important in this one, 00:02:19.560 --> 00:02:21.919 and what stands out to me the most on this piece 00:02:21.919 --> 00:02:24.240 in particular is the dotted eight sixteenth rhythm. 00:02:24.719 --> 00:02:27.900 The dotted eight sixteenth rhythm is very crisp 00:02:27.900 --> 00:02:31.060 and very clear in this all the way throughout. 00:02:32.239 --> 00:02:36.259 Lots of space and lots of strength of articulation 00:02:36.259 --> 00:02:38.759 on the sixteenth note. Don't let that sixteenth 00:02:38.759 --> 00:02:42.539 note get lost. It repeats a ton of times in this. 00:02:42.639 --> 00:02:46.280 And I would mark in my students parts like a 00:02:46.280 --> 00:02:48.680 slash between the dotted eighth note and the 00:02:48.680 --> 00:02:51.439 sixteenth so that they practice doing those as 00:02:51.439 --> 00:02:58.400 different air streams. Not... So just making 00:02:58.400 --> 00:03:01.280 sure again like Laura said that you go over that 00:03:01.280 --> 00:03:03.680 style with them You can play that on a concert 00:03:03.680 --> 00:03:07.139 F. You can pass it around the room I have so 00:03:07.139 --> 00:03:10.060 many ways to practice making sure that it's stylized. 00:03:10.080 --> 00:03:12.139 I would have my percussion play I would have 00:03:12.139 --> 00:03:15.599 a xylophone and a snare drummer model it da da 00:03:15.599 --> 00:03:19.479 da and then the winds Echo it if they try to 00:03:19.479 --> 00:03:23.000 match that clarity in the snare and the xylophone 00:03:23.000 --> 00:03:25.400 Then they'll have the idea of what that's supposed 00:03:25.400 --> 00:03:29.840 to sound like. Yep So the melody is in flute 00:03:29.840 --> 00:03:35.659 clarinet one alto one or only alto and trumpet 00:03:35.659 --> 00:03:39.219 one So they have this melodic line that we've 00:03:39.219 --> 00:03:42.340 been talking about lots of different articulations 00:03:42.340 --> 00:03:48.800 ta ta ta ta ta ta ta ta ta long Long, long. So 00:03:48.800 --> 00:03:51.900 a lot of tenutos, accents, staccatos, all within 00:03:51.900 --> 00:03:53.719 four measures of the melody. That's right. So 00:03:53.719 --> 00:03:56.000 making sure again that all the style matches 00:03:56.000 --> 00:03:59.240 up is important. The accompaniment part is just 00:03:59.240 --> 00:04:03.330 di -di. dee dee dee dee dee dee dee dee dee. 00:04:03.629 --> 00:04:06.370 So making sure that they're underneath is important. 00:04:06.669 --> 00:04:08.990 And then you have some motor, and I do think 00:04:08.990 --> 00:04:11.310 that accompaniment line is classified as motor 00:04:11.310 --> 00:04:13.370 as well, but then you have like the downbeat 00:04:13.370 --> 00:04:16.069 motor part. One, two. Yeah, with the tuba's very 00:04:16.069 --> 00:04:19.410 bass. Yeah, that bass line as well. This continues 00:04:19.410 --> 00:04:22.589 on until 13. You got some cool little like hi 00:04:22.589 --> 00:04:25.670 -hat hits in there as like percussion effects 00:04:25.670 --> 00:04:29.149 that, again, you can come up with whatever story. 00:04:29.129 --> 00:04:31.110 you want when you're playing this piece, right? 00:04:31.430 --> 00:04:33.050 There's a squirrel running around and people 00:04:33.050 --> 00:04:36.829 are trying to catch him. You know, or there's 00:04:36.829 --> 00:04:39.870 like another animal chasing him and you can come 00:04:39.870 --> 00:04:41.750 up with whatever you want. But that's kind of 00:04:41.750 --> 00:04:43.910 what I think the percussion effects sometimes 00:04:43.910 --> 00:04:49.889 are. I envision Christmas vacation. That is literally 00:04:49.889 --> 00:04:52.730 what I envision when I hear this. I envision 00:04:52.730 --> 00:04:54.730 Christmas vacation when the squirrel jumps out 00:04:54.730 --> 00:04:57.149 of the tree and the family is running around 00:04:57.149 --> 00:04:59.769 the house. You're trying to trying to avoid the 00:04:59.769 --> 00:05:01.449 squirrel, not get the squirrel, but let go. Is 00:05:01.449 --> 00:05:04.170 it a squirrel? Uh -huh, yes. I think it's a raccoon. 00:05:04.529 --> 00:05:06.509 No. Oh, sweet love. Is it a squirrel? Yes, it's 00:05:06.509 --> 00:05:09.519 a squirrel. Okay. It is. Or is it a cat? There 00:05:09.519 --> 00:05:12.519 is a cat the cat gets fried. Yeah with it, but 00:05:12.519 --> 00:05:14.680 no there's a squirrel in the okay. Yeah, it's 00:05:14.680 --> 00:05:16.699 the score Oh, you're right. Yeah, it's a squirrel. 00:05:16.839 --> 00:05:19.160 Yeah, not a raccoon It's not but that's that 00:05:19.160 --> 00:05:21.699 is what I'm so like is Katie Katie is always 00:05:21.699 --> 00:05:25.220 really good about creating a story sure to go 00:05:25.220 --> 00:05:28.939 along with the piece I that is not my forte for 00:05:28.939 --> 00:05:31.399 sure, but I can take someone else's story Thank 00:05:31.399 --> 00:05:33.500 You National Lampoon's Christmas Vacation. Yeah 00:05:33.500 --> 00:05:36.060 and apply it to this. Yeah, whatever works so 00:05:36.060 --> 00:05:39.470 fun. Yes a lot of the times The pick up notes 00:05:39.470 --> 00:05:42.550 on this piece going into the melody are tenuto 00:05:42.550 --> 00:05:44.970 marked. So just make sure that the students are 00:05:44.970 --> 00:05:47.129 all doing the same thing, like here going pick 00:05:47.129 --> 00:05:52.250 up into 13, long, two, two, two, two, two, two, 00:05:52.250 --> 00:05:55.069 two, two, two. So the melody changes a little 00:05:55.069 --> 00:05:59.259 bit here at 13. And then those are house top 00:05:59.259 --> 00:06:02.420 accents at 16 that the whole band has. One and 00:06:02.420 --> 00:06:06.800 two. And then we go back into 17 with long, long, 00:06:06.899 --> 00:06:11.920 long, long, da, da, da, da. And the, um, this 00:06:11.920 --> 00:06:15.240 percussion part has the dotted eight 16th now. 00:06:16.339 --> 00:06:20.639 Yeah, we have like, exactly. And it happens repeatedly 00:06:20.639 --> 00:06:22.860 in that. So I love that because it's not happening 00:06:22.860 --> 00:06:25.279 in winds there, but you're getting to hear that 00:06:25.279 --> 00:06:30.589 model in the snare. At 19, the lows get this 00:06:30.589 --> 00:06:33.129 little do -do -do -do -do just like a little 00:06:33.129 --> 00:06:36.149 mini scale going downward that I think should 00:06:36.149 --> 00:06:38.529 be brought out and put a crescendo under to feature 00:06:38.529 --> 00:06:41.410 them a bit. And then a crash cymbal. So it's 00:06:41.410 --> 00:06:43.610 like that's like the squirrel running around 00:06:43.610 --> 00:06:46.970 do -do -do -do. like somebody tried to catch 00:06:46.970 --> 00:06:49.029 the squirrel, but he got away again, you know? 00:06:49.069 --> 00:06:51.230 You tripped over the trash can or whatever the 00:06:51.230 --> 00:06:55.050 case may be, right? This range in this is not 00:06:55.050 --> 00:06:57.350 difficult, really for any instrument. Range is 00:06:57.350 --> 00:07:00.949 not difficult. It is a matter of style, balance, 00:07:01.389 --> 00:07:03.529 matching note length, right? Like that's really 00:07:03.529 --> 00:07:06.189 what it's about. Even rhythmically, once you 00:07:06.189 --> 00:07:09.730 get the flare of the dot at 8 16, rhythmically 00:07:09.730 --> 00:07:11.449 it's not difficult either, but you've got to 00:07:11.449 --> 00:07:15.540 be super picky about your style. 21 the trumpets 00:07:15.540 --> 00:07:18.220 and the flute and our trumpets take over the 00:07:18.220 --> 00:07:21.920 melody with saxophone on the dotted 8 16th rhythm 00:07:21.920 --> 00:07:24.740 upper woodwinds have kind of like a little counter 00:07:24.740 --> 00:07:29.079 melody 1 2 and 1 2 and 1 and 2 and 1 and 2 and 00:07:29.079 --> 00:07:32.040 1 so you'll want the trumpet and sax to come 00:07:32.040 --> 00:07:34.379 out but that's another little featured moment 00:07:34.379 --> 00:07:37.540 with upper woodwinds and then the accompaniment 00:07:37.540 --> 00:07:40.439 part is continuing on with the modes and the 00:07:40.439 --> 00:07:45.160 lows. Yep. And then 29 is a new moment. Right 00:07:45.160 --> 00:07:48.040 before 29, the triangle gets the hit. So again, 00:07:48.199 --> 00:07:49.899 it's like the squirrel's still running around, 00:07:50.300 --> 00:07:52.860 and oops, we didn't catch the squirrel. Triangle, 00:07:53.339 --> 00:07:56.540 and then 29. One and two, one and two. These 00:07:56.540 --> 00:08:00.000 are low voices here with upper voices echoing. 00:08:00.259 --> 00:08:03.779 One and, and one, two. One and two, one and two. 00:08:04.100 --> 00:08:07.779 And we're soft, filling it up. You're welcome 00:08:07.779 --> 00:08:10.649 for that by the way. Yes. The flute, oboe, and 00:08:10.649 --> 00:08:13.189 clarinet get a cutesy little part at 35, 1 E 00:08:13.189 --> 00:08:16.509 and 2 E and 1 E and 2 E and 1. So I think that's 00:08:16.509 --> 00:08:18.470 cute. It's like the little squirrel running away. 00:08:18.529 --> 00:08:21.990 Yes. With bells, of course, on that same part. 00:08:22.449 --> 00:08:26.379 And then 37, we get, it's like. A new thought, 00:08:26.920 --> 00:08:30.500 again, one in, in, in, in, one in, in, in, in. 00:08:30.519 --> 00:08:33.240 And that's trombones and euphoniums that are 00:08:33.240 --> 00:08:35.179 doing that. So they are playing the role of the 00:08:35.179 --> 00:08:38.340 horn, you know, at measure 37. You have the tuba 00:08:38.340 --> 00:08:40.600 berry bass clarinet that are holding that downbeat 00:08:40.600 --> 00:08:43.019 motor. And then your trombones and euphoniums 00:08:43.019 --> 00:08:45.399 are doing the upbeat. So they are not used to 00:08:45.399 --> 00:08:47.879 that in the same way that your horns may be used 00:08:47.879 --> 00:08:51.220 to that. Horns take it over four measures in. 00:08:51.480 --> 00:08:53.659 But again, just making sure that that pulse is 00:08:53.659 --> 00:08:56.179 really solid percussion. is also playing those 00:08:56.179 --> 00:08:58.720 upbeats with the trombone and euphonium, bass 00:08:58.720 --> 00:09:01.840 drum is with the downbeat people. So that can 00:09:01.840 --> 00:09:06.690 help security there. At 41 there is a xylophone 00:09:06.690 --> 00:09:09.909 solo, super fun again that's really important. 00:09:10.190 --> 00:09:13.970 It is cued in flute and clarinet so if you wanted 00:09:13.970 --> 00:09:17.350 to like beef up the melody more you could or 00:09:17.350 --> 00:09:20.029 just let percussion have the fun part for once 00:09:20.029 --> 00:09:23.389 you know. Then again as Laura mentioned the horns 00:09:23.389 --> 00:09:25.149 are kind of taking over the accompaniment part 00:09:25.149 --> 00:09:27.950 along with the other mids like saxophone and 00:09:27.950 --> 00:09:37.159 low reed. And then the at 47 the low voices like 00:09:37.159 --> 00:09:41.059 trombone and euphonium are marked playing a part 00:09:41.059 --> 00:09:44.659 way above the staff here on high E flat and D, 00:09:44.820 --> 00:09:49.100 along with trumpet two, clarinet two, oboe and 00:09:49.100 --> 00:09:52.000 flute. So kind of a different color combo there. 00:09:52.740 --> 00:09:56.799 And they just have one and two and two two. And 00:09:56.799 --> 00:09:59.740 so bringing that part out and there's a whip 00:09:59.740 --> 00:10:02.299 part underneath it. So it's like whip, whip. 00:10:02.360 --> 00:10:06.100 Whip and so this is just again like a struggle 00:10:06.100 --> 00:10:09.500 between the the aggressor trying to catch the 00:10:09.500 --> 00:10:13.100 squirrel Like you've caught the squirrel and 00:10:13.100 --> 00:10:15.919 then do do -do -do. Oh got away. Yeah sucker 00:10:15.919 --> 00:10:20.480 gets away Yep, and then 49 is back to the melody 00:10:20.480 --> 00:10:24.789 and flute clarinet one accompaniment again in 00:10:24.789 --> 00:10:27.250 kind of the mid -voices. There's no low brass 00:10:27.250 --> 00:10:29.450 here other than the bass line and no trumpet. 00:10:29.509 --> 00:10:31.809 And this melody here, what they've done is basically 00:10:31.809 --> 00:10:33.929 taken the counter melody that the upper woodwinds 00:10:33.929 --> 00:10:35.549 were playing before. It's not the same dotted 00:10:35.549 --> 00:10:37.590 eight sixteenth melody we had. We've taken that 00:10:37.590 --> 00:10:39.289 counter melody that the flutes had before and 00:10:39.289 --> 00:10:41.950 now it's featured. So there are no trumpets. 00:10:42.009 --> 00:10:43.730 Trumpets are laying out, trombone, euphonium 00:10:43.730 --> 00:10:45.149 are laying out. We've got some of the people 00:10:45.149 --> 00:10:47.690 playing some motor behind it but now we're featuring 00:10:47.690 --> 00:10:50.909 that part as the melody. And then at 53 the trumpets 00:10:50.909 --> 00:10:53.629 come back in on the melody. with oboe and clarinet 00:10:53.629 --> 00:10:58.789 too one two a one and one two a one and sorry 00:10:58.789 --> 00:11:01.110 yeah that was right I counted it right and then 00:11:01.110 --> 00:11:04.629 there's again some little features here a suspended 00:11:04.629 --> 00:11:08.649 cymbal roll tambourine yes so there's lots of 00:11:08.649 --> 00:11:11.830 cool little percussion effects 57 the melody 00:11:11.830 --> 00:11:14.870 goes back to flute oboe clarinet and sax this 00:11:14.870 --> 00:11:18.509 time it's what they were just playing and then 00:11:18.509 --> 00:11:22.950 two measures later at 59 trumpet tenor sax and 00:11:22.950 --> 00:11:25.070 clarinet to come in with this cool little counter 00:11:25.070 --> 00:11:28.190 melody or bill that's like descending one two 00:11:28.190 --> 00:11:32.690 one two and then the lows join them we're leading 00:11:32.690 --> 00:11:38.309 to 61 and it's like one two one two one and then 00:11:38.309 --> 00:11:43.059 nothing then there's a slide whistle solo Then 00:11:43.059 --> 00:11:45.200 the woodblock part comes back in like the beginning 00:11:45.200 --> 00:11:48.379 of the song. So this is literally, I think, where 00:11:48.379 --> 00:11:51.679 the squirrel gets away from you, right? The first 00:11:51.679 --> 00:11:55.799 time where it really is happening. So then at 00:11:55.799 --> 00:11:58.980 65, we come in with now the low brass, get the 00:11:58.980 --> 00:12:04.759 melody. And then there's vibra slap going on. 00:12:05.080 --> 00:12:08.779 So lots of cool moments. 69, we've got claves 00:12:08.779 --> 00:12:12.080 coming in. The melody goes back to the... and 00:12:12.080 --> 00:12:15.440 the clarinet and the trumpet part. So it's kind 00:12:15.440 --> 00:12:17.620 of like the beginning again. Yes, we're recapping 00:12:17.620 --> 00:12:21.519 what we had before. Hi -hat comes in at 72, pretty 00:12:21.519 --> 00:12:26.600 cool. 77, the xylophone gets the important part 00:12:26.600 --> 00:12:29.679 again, but now again with the flute, oboe, and 00:12:29.679 --> 00:12:32.139 clarinet and trumpet, joining them in, the whole 00:12:32.139 --> 00:12:34.840 band is playing. It's fun, it's like the ending 00:12:34.840 --> 00:12:40.139 sort of. Then at 84, we have a moment again where 00:12:40.139 --> 00:12:42.080 it's like we thought caught the squirrel one 00:12:42.080 --> 00:12:47.000 two and three crash cymbal and then 85 again 00:12:47.000 --> 00:12:50.940 the melody is in trumpet only with sax again 00:12:50.940 --> 00:12:53.539 but then there's another counter melody line 00:12:53.539 --> 00:12:59.440 with um flute clarinet one that's it so they 00:12:59.440 --> 00:13:02.720 have one and two and one and two and one so this 00:13:02.720 --> 00:13:05.600 could be like Don't know in your mind. This is 00:13:05.600 --> 00:13:08.440 another animal helping the squirrel escape or 00:13:08.440 --> 00:13:11.360 something But it becomes a bit more like textured 00:13:11.360 --> 00:13:14.000 here. I really like the low brass part in this 00:13:14.000 --> 00:13:16.139 section the low brass low read Yeah, their part 00:13:16.139 --> 00:13:17.899 changes a little bit So now you want to bring 00:13:17.899 --> 00:13:19.720 this out and feature this this is something new 00:13:19.720 --> 00:13:24.220 one two one and one two one and two and one Yeah, 00:13:24.220 --> 00:13:27.200 so something a little different to kind of Wrap 00:13:27.200 --> 00:13:29.240 your ear around kind of like in a march this 00:13:29.240 --> 00:13:31.399 sec the last time around you want to pull out 00:13:31.399 --> 00:13:34.370 the low brass It's kind of the same here Then 00:13:34.370 --> 00:13:38.850 you get to the end one two one toy horn on beat 00:13:38.850 --> 00:13:43.169 two of 92 which Do like a bike horn. Yeah, and 00:13:43.169 --> 00:13:46.870 you need to find a good one when you when you 00:13:46.870 --> 00:13:49.470 when you honk it that it actually comes out of 00:13:49.470 --> 00:13:52.110 the mix You might even want to have like two 00:13:52.110 --> 00:13:55.169 of them or something. So it's loud enough because 00:13:55.169 --> 00:13:59.070 that's a hard Sound to make like a project. Yeah. 00:13:59.070 --> 00:14:02.679 Yeah And then 93, we're back to the lows again 00:14:02.679 --> 00:14:06.600 going one and two, one and two. One and, and 00:14:06.600 --> 00:14:09.600 one, two, just like we had before. Stylistically, 00:14:09.899 --> 00:14:12.179 in both times, stylistically, this is written 00:14:12.179 --> 00:14:15.000 on the syncopated rhythm, one and, and, it's 00:14:15.000 --> 00:14:18.100 written staccato, tenuto staccato. In the percussion, 00:14:18.240 --> 00:14:22.720 it's written accented on the quarter note, like 00:14:22.720 --> 00:14:24.759 you would normally play syncopation. I would 00:14:24.759 --> 00:14:27.639 have your wind players do that as well. Do the 00:14:27.639 --> 00:14:30.679 same thing, yeah. Di da, di da, da, without shortening 00:14:30.679 --> 00:14:32.879 that quarter note, right? But still give that 00:14:32.879 --> 00:14:34.659 emphasis. And then we've got the same thing. 00:14:34.639 --> 00:14:38.379 again at 97 one and two one and two now the full 00:14:38.379 --> 00:14:42.659 band at 99 comes in mezzo piano one and two and 00:14:42.659 --> 00:14:45.919 one and two and one this is like the big moment 00:14:45.919 --> 00:14:48.960 there's nothing and then the whole band yells 00:14:48.960 --> 00:14:52.279 squirrel and you're supposed to turn around like 00:14:52.279 --> 00:14:54.940 the kids are supposed to turn around and look 00:14:55.230 --> 00:14:58.830 the percussion because then there's a maracas 00:14:58.830 --> 00:15:02.529 solo like the little squirrel tail is Quivering 00:15:02.529 --> 00:15:05.929 is what I see in my mind when I hear the maracas 00:15:05.929 --> 00:15:08.389 here It's like the squirrels like I'm caught 00:15:08.389 --> 00:15:13.110 and then at 105 everybody comes back in One, 00:15:13.169 --> 00:15:15.509 a two, and one, and two, and one, a two, and 00:15:15.509 --> 00:15:19.470 one, and two, and everybody's in again. 109 mezzo 00:15:19.470 --> 00:15:21.970 piano, we're building it up. One and, and one 00:15:21.970 --> 00:15:24.149 and, and same thing as what Laura said. This 00:15:24.149 --> 00:15:27.529 would be a place that if you like to experiment 00:15:27.529 --> 00:15:29.769 with marches at all, this would be a place where 00:15:29.769 --> 00:15:31.970 like if you want to put in a cello rondo to the 00:15:31.970 --> 00:15:34.250 end, this would be where you would do it, right? 00:15:34.250 --> 00:15:36.710 You would add it here. Yep, in a gallop for sure. 00:15:37.230 --> 00:15:39.830 And then we're crescendoing up to 113, the full 00:15:39.830 --> 00:15:44.669 band has one, one. One, one and two and one and 00:15:44.669 --> 00:15:47.409 two and, like a little chromatic -y thing to 00:15:47.409 --> 00:15:51.009 finish it out. One, 17 ends with woodblock, doot, 00:15:51.009 --> 00:15:52.850 doot, doot, doot, the same little squirrel thing. 00:15:53.149 --> 00:15:56.840 And then the whole piece ends, two, one. So, 00:15:56.860 --> 00:15:59.659 oh gosh, it's adorable. It is really cute. Kids 00:15:59.659 --> 00:16:02.340 love it. Anything that is thematic like this, 00:16:02.480 --> 00:16:05.919 right? Kids love. And it will be a crowd pleaser, 00:16:06.100 --> 00:16:08.100 too. Your audience will love it. I told Laura 00:16:08.100 --> 00:16:10.539 before we started this episode, my son just got 00:16:10.539 --> 00:16:13.200 to play it with an all -region band like a month 00:16:13.200 --> 00:16:15.600 ago, and he said this was his favorite piece 00:16:15.600 --> 00:16:18.580 that he got to work on with Mr. Bosch. So that's 00:16:18.580 --> 00:16:21.360 kind of fun. He loved getting to play it, saying 00:16:21.360 --> 00:16:24.259 squirrel. He gets into the fun stuff. Yeah. So 00:16:24.259 --> 00:16:26.460 and all the kids love it. It's just, it's a great 00:16:26.460 --> 00:16:29.879 piece. I would end a concert with it. And well 00:16:29.879 --> 00:16:32.740 written, good teaching tool for Dotted 816, for 00:16:32.740 --> 00:16:34.580 style. Everybody gets to do cool stuff. Yeah, 00:16:34.700 --> 00:16:37.220 I mean just, it's a win all the way around. Yes, 00:16:37.460 --> 00:16:39.820 so we hope you will consider programming Squirrel 00:16:39.820 --> 00:16:41.860 Chase in the future and thank you for joining 00:16:41.860 --> 00:16:45.379 us on this episode of Band BFFs.