WEBVTT 00:00:06.740 --> 00:00:10.779 Welcome to our podcast, Band BFFs. The podcast 00:00:10.779 --> 00:00:13.039 where we make your music selection less complicated. 00:00:13.500 --> 00:00:16.239 On today's episode, we will be discussing Skedaddle 00:00:16.239 --> 00:00:19.460 by Timothy Loest. Cheers to starting the conversation. 00:00:21.929 --> 00:00:25.510 Okay. This piece, we covered it briefly as a 00:00:25.510 --> 00:00:28.190 part of an episode about a year ago, a year and 00:00:28.190 --> 00:00:31.750 a half ago or so, um, for new music that had 00:00:31.750 --> 00:00:34.710 been released and we did a multi -piece episode. 00:00:35.170 --> 00:00:38.170 We thought this piece deserves a little more 00:00:38.170 --> 00:00:40.210 standalone. Yeah. There you go. A standalone 00:00:40.210 --> 00:00:42.969 episode. Skedaddle is in the key. It's by Timothy 00:00:42.969 --> 00:00:45.990 Lewis. It's in the key of E flat four, four throughout. 00:00:46.189 --> 00:00:49.670 It's about two minutes long. Um, it is really, 00:00:49.670 --> 00:00:54.310 really cool, high energy, fast. It has, ideally, 00:00:54.789 --> 00:00:57.549 you need seven percussionists to pull this off, 00:00:57.750 --> 00:01:00.310 but you can do without the bell part, so if you've 00:01:00.310 --> 00:01:04.430 got six, that's totally fine. We were listening 00:01:04.430 --> 00:01:07.090 to it just to review it a minute ago, and I said 00:01:07.090 --> 00:01:10.730 it kind of sounds Mackie -esque at the beginning. 00:01:11.129 --> 00:01:13.969 Much more simplified. Yes, way more simplified 00:01:13.969 --> 00:01:17.430 than normal, for sure. But it's got a cool sound 00:01:17.430 --> 00:01:19.609 to it that I think the kids will gravitate towards 00:01:19.609 --> 00:01:22.049 really quickly. I don't really feel like it. 00:01:22.250 --> 00:01:24.670 There's a section of the band that you need to 00:01:24.670 --> 00:01:28.549 have be a rock star section. The range on it 00:01:28.549 --> 00:01:31.709 is perfectly comfortable. It's a grade two on 00:01:31.709 --> 00:01:36.609 the Texas PML. But it does have some exposed 00:01:36.609 --> 00:01:39.590 clarinet stuff, some exposed trumpet stuff and 00:01:39.590 --> 00:01:43.390 percussion. It opens with hi hat and like all 00:01:43.390 --> 00:01:46.049 by themselves setting the pace. And the piece 00:01:46.049 --> 00:01:48.549 is called Skedaddle because it's meant to invoke 00:01:48.549 --> 00:01:53.060 really fast. So your hi -hat player needs to 00:01:53.060 --> 00:01:56.019 be a really, really solid timekeeper. And it 00:01:56.019 --> 00:01:58.120 even says, it's marked at the beginning, cut 00:01:58.120 --> 00:02:00.840 and run tempo. So it's like, you're supposed 00:02:00.840 --> 00:02:04.400 to go really, really fast. Like 168 is what it's 00:02:04.400 --> 00:02:06.799 marked at. So this, again, this piece would be 00:02:06.799 --> 00:02:10.520 so fun for either a UIL contest or perhaps for 00:02:10.520 --> 00:02:14.139 a spring concert as something fun for the students 00:02:14.139 --> 00:02:17.099 to work on because it's got a lot of like cool 00:02:17.099 --> 00:02:20.120 stuff, but it's not super difficult. to put together. 00:02:20.120 --> 00:02:22.599 I played it for my spring concert last year and 00:02:22.599 --> 00:02:25.139 my kids loved it and it went together real easily. 00:02:25.539 --> 00:02:27.900 That's awesome. So at the beginning, like Laura 00:02:27.900 --> 00:02:31.360 mentioned, it starts with a closed high hat and 00:02:31.360 --> 00:02:34.719 it says to use nylon tip sticks on it just to 00:02:34.719 --> 00:02:36.860 make it give that like clarity of articulation. 00:02:37.340 --> 00:02:40.219 And then the low brass comes in with like a beat 00:02:40.219 --> 00:02:43.460 one and measure three. And then we start in ostinato 00:02:43.460 --> 00:02:45.460 for the first time with the clarinets, but it's 00:02:45.460 --> 00:02:49.000 written as like a regular under the staff D so 00:02:49.000 --> 00:02:51.219 it's nothing like ridiculous and this rhythm 00:02:51.219 --> 00:02:53.599 comes back all throughout the whole entire piece 00:02:53.599 --> 00:02:57.020 one two and and four and and three and four one 00:02:57.020 --> 00:03:00.539 and and and four and and three that comes back 00:03:00.539 --> 00:03:03.139 over and over yep and so basically you could 00:03:03.139 --> 00:03:05.360 just do a rhythm sheet where everybody learns 00:03:05.360 --> 00:03:07.340 how to play it everybody learns how to clap and 00:03:07.340 --> 00:03:09.659 count it and then that way when it comes in their 00:03:09.659 --> 00:03:12.439 music you've done it and there's a lot of like 00:03:12.439 --> 00:03:15.340 cool style markings on it like each whatever 00:03:15.340 --> 00:03:18.169 the first beat is sometimes it's one sometimes 00:03:18.169 --> 00:03:21.289 it's and, those are always accented. So it's 00:03:21.289 --> 00:03:23.229 supposed to sound like you're running and it's 00:03:23.229 --> 00:03:25.250 like keeping up with the pace. Now I will tell 00:03:25.250 --> 00:03:27.650 you on this rhythm that you have what the tendency 00:03:27.650 --> 00:03:29.909 is gonna be, what I found with my students, when 00:03:29.909 --> 00:03:32.449 it starts with that one, two, and, and four, 00:03:32.629 --> 00:03:34.430 beat four is a quarter note, they're gonna wanna 00:03:34.430 --> 00:03:36.090 clip it and make it like the other eighth notes. 00:03:36.169 --> 00:03:38.750 One, two, and, and four, and, and three, and 00:03:38.750 --> 00:03:41.409 four, that's wrong. One, two, and, and long, 00:03:41.729 --> 00:03:44.979 and, and three, and long. Yep. Every time that 00:03:44.979 --> 00:03:46.879 happens. And that's what Katie just mentioning 00:03:46.879 --> 00:03:49.419 a rhythm sheet. I think that's like you do that 00:03:49.419 --> 00:03:52.539 with a full ensemble and then drill that in their 00:03:52.539 --> 00:03:55.129 ear before you even start the piece. Yep. Or 00:03:55.129 --> 00:03:56.889 like in their parts when you're marking their 00:03:56.889 --> 00:03:59.069 parts ahead of time You can draw a tenuto on 00:03:59.069 --> 00:04:01.590 all those notes at the beginning That way they 00:04:01.590 --> 00:04:02.770 remember that they're gonna do that throughout 00:04:02.770 --> 00:04:05.610 the rest of the piece Then the lows come in again 00:04:05.610 --> 00:04:08.469 with some more hits and measure five and then 00:04:08.469 --> 00:04:10.729 in six This is what made me think of Mackey because 00:04:10.729 --> 00:04:12.789 he likes to do this Like it's kind of quiet and 00:04:12.789 --> 00:04:15.110 then all of a sudden the whole band has a chord 00:04:15.110 --> 00:04:17.990 And so everybody has that on beat three It's 00:04:17.990 --> 00:04:20.850 marked fortissimo and the upper woodwinds go 00:04:20.850 --> 00:04:23.290 and upper trumpet three and four in and then 00:04:23.290 --> 00:04:25.839 it's quiet again and it goes back to just the 00:04:25.839 --> 00:04:28.240 clarinets and the low hits. So it's got lots 00:04:28.240 --> 00:04:30.959 of cool energy. Yeah, it's meant to be a surprise. 00:04:30.980 --> 00:04:33.259 That's exactly right. And then the next time 00:04:33.259 --> 00:04:36.139 when we have the hit on beat three, the high 00:04:36.139 --> 00:04:38.560 people are going down this time three and four 00:04:38.560 --> 00:04:41.300 in. So it's just got like kind of a cool groove 00:04:41.300 --> 00:04:44.720 at the very beginning. That mallet on the moving 00:04:44.720 --> 00:04:46.620 notes, the three and four and that's happening 00:04:46.620 --> 00:04:50.220 in xylophone as well. So I love I love when we 00:04:50.220 --> 00:04:52.699 have that mallet and wind player thing line up. 00:04:52.699 --> 00:04:54.550 You can tell your wind players to listen to the 00:04:54.550 --> 00:04:56.750 articulation of the xylophone player. So have 00:04:56.750 --> 00:04:58.649 the xylophone pick the mallets that you want, 00:04:58.750 --> 00:05:01.410 that you like the articulation there. And then 00:05:01.410 --> 00:05:03.889 your wind players can match the articulation 00:05:03.889 --> 00:05:05.709 of the xylophone player. And it really makes 00:05:05.709 --> 00:05:10.670 that super clear. Yep. At 11 now the low people, 00:05:10.750 --> 00:05:14.569 low reeds and low brass join the clarinets in 00:05:14.569 --> 00:05:17.529 the same ostinato rhythm. But this time it's 00:05:17.529 --> 00:05:19.610 marked mezzo piano. So it's like, because more 00:05:19.610 --> 00:05:21.430 people have come in, it's a little bit stronger. 00:05:21.610 --> 00:05:24.810 And then the Trumpets, horns and alto and tenor 00:05:24.810 --> 00:05:26.790 sax come in and they have these like little, 00:05:27.209 --> 00:05:30.110 just like little, I don't know, wind, wind whispers 00:05:30.110 --> 00:05:31.829 or something. I think of them as little swells. 00:05:31.850 --> 00:05:35.209 They're a little half note. One, three, one, 00:05:35.230 --> 00:05:36.970 three. Makes it kind of sound like Mission Impossible 00:05:36.970 --> 00:05:40.050 or something, you know, a little bit. So that's 00:05:40.050 --> 00:05:43.209 fun. And of course you can draw in the dynamic 00:05:43.209 --> 00:05:46.910 shaping for that. Or you can have the kids draw 00:05:46.910 --> 00:05:48.569 it in on their own music, but that's something 00:05:48.569 --> 00:05:51.350 to make it sound more musical. They continue 00:05:51.350 --> 00:05:56.860 on on the ostinatos? In measure 15, this little 00:05:56.860 --> 00:05:59.459 part right here, the upper voices, the ostinatos 00:05:59.459 --> 00:06:01.819 continuing on like Katie just mentioned, and 00:06:01.819 --> 00:06:05.160 the upper voices kind of go back and forth with 00:06:05.160 --> 00:06:09.500 one and three and one and two and. And that is 00:06:09.500 --> 00:06:11.540 an issue like the kids want it to be one and 00:06:11.540 --> 00:06:15.120 three and every time. So just making sure that 00:06:15.120 --> 00:06:17.579 they understand how they fit. Just be confident 00:06:17.579 --> 00:06:19.300 in their rhythm, clap and count it, whatever, 00:06:19.459 --> 00:06:21.079 pencil band it, click with their pencils. on 00:06:21.079 --> 00:06:22.560 the stands, whatever, to make sure that they're 00:06:22.560 --> 00:06:26.319 really confident about that rhythm. At 19, we 00:06:26.319 --> 00:06:29.040 go back to thinning the texture of the band out 00:06:29.040 --> 00:06:32.040 a little bit. Clarinets go back to being the 00:06:32.040 --> 00:06:35.160 ones with the ostinato. Now the like little half 00:06:35.160 --> 00:06:38.980 note line is in flute and oboe. It's an ascending 00:06:38.980 --> 00:06:41.319 line. It's an ascending line. Yep. Instead of 00:06:41.319 --> 00:06:45.060 up and down and then horn and alto, the mids 00:06:45.060 --> 00:06:47.560 join them in halfway through. Lows are still 00:06:47.560 --> 00:06:50.360 doing some hits down below. And then they again 00:06:50.360 --> 00:06:52.680 have a big beat three where the upper people 00:06:52.680 --> 00:06:56.060 again go three and four in. So that's another 00:06:56.060 --> 00:06:58.899 little like transitional area. Then there is 00:06:58.899 --> 00:07:02.379 this does have China symbol in it and so you 00:07:02.379 --> 00:07:05.100 have to be really careful because you know Everyone 00:07:05.100 --> 00:07:07.579 loves the sound of a china symbol. Kids love 00:07:07.579 --> 00:07:11.699 to play it, but it can be way overdone So just 00:07:11.699 --> 00:07:14.459 be careful with that right here at measure 23 00:07:14.459 --> 00:07:17.800 the lows get a little four measure Melody rest 00:07:17.800 --> 00:07:20.500 two and three four rest two and three and four 00:07:20.500 --> 00:07:23.240 rest two and three four rest two and three and 00:07:23.240 --> 00:07:25.889 four So making sure that I mean that's really 00:07:25.889 --> 00:07:28.389 important making sure that it's locked in very 00:07:28.389 --> 00:07:30.310 clear articulation They're moving their fingers 00:07:30.310 --> 00:07:32.370 and slides together all that kind of good stuff. 00:07:33.129 --> 00:07:35.689 Yep fun percussion in this This is just all these 00:07:35.689 --> 00:07:39.589 we have all these to get it. Yeah. Yep at 27 00:07:39.589 --> 00:07:42.129 we go back to like the theme from the beginning 00:07:42.129 --> 00:07:45.730 It's just the the symbol again and this time 00:07:45.730 --> 00:07:47.550 the clarinets don't come in with an ostinato 00:07:47.550 --> 00:07:49.949 This is the first time in the piece where the 00:07:49.949 --> 00:07:52.850 ostinato is basically gone. So right here it 00:07:52.850 --> 00:07:55.949 changes tonalities we go to a major it's been 00:07:55.949 --> 00:07:58.370 in a minor tonality now it switches into a major 00:07:58.370 --> 00:08:01.930 tonality the clarinets and alto saxes the hi 00:08:01.930 --> 00:08:03.689 -hat is laying down the same groove they have 00:08:03.689 --> 00:08:05.730 been doing one and two and three and a four and 00:08:05.730 --> 00:08:09.350 and now we have this one two and and four and 00:08:09.350 --> 00:08:12.430 two and three and four one two and and four and 00:08:12.430 --> 00:08:14.850 two and three and four so it's different not 00:08:14.850 --> 00:08:18.470 the same ostinato but it's now like this new 00:08:18.470 --> 00:08:22.319 melody trumpets have a muted part that is just 00:08:22.319 --> 00:08:24.839 meant to be a response to this rest two and three 00:08:24.839 --> 00:08:28.600 and one and two. And so making sure that your 00:08:28.600 --> 00:08:30.180 trumpets have mutes or that they're playing, 00:08:30.199 --> 00:08:32.039 you can always kind of have them play into the 00:08:32.039 --> 00:08:34.340 bell of the stand. Have you ever done that? No, 00:08:34.480 --> 00:08:36.320 I usually use a mute, but I mean, you could do 00:08:36.320 --> 00:08:39.600 that. If you don't have a mute. Yeah. We'll have 00:08:39.600 --> 00:08:42.220 them put the bell almost up to the music stand 00:08:42.220 --> 00:08:44.659 or whatever. And it gives a similar type of effect. 00:08:45.259 --> 00:08:48.440 Xylophone is doing those hits along with the 00:08:48.440 --> 00:08:50.679 trumpets. And then there's like a little timpani 00:08:50.679 --> 00:08:53.940 moment. in here. It's like in response to the 00:08:53.940 --> 00:08:55.940 trumpets. That's exactly right. Two and three 00:08:55.940 --> 00:08:59.639 and one and two and four and one. Yeah. So it's 00:08:59.639 --> 00:09:01.759 part of the conversation and it's important that 00:09:01.759 --> 00:09:04.240 you cannot leave out the timpani part. You need 00:09:04.240 --> 00:09:06.399 the timpani part. Yeah. That's right. And then 00:09:06.399 --> 00:09:09.080 there's like little, you know, rim, like playing 00:09:09.080 --> 00:09:11.820 on the rim of the snare drum here, which to me 00:09:11.820 --> 00:09:13.620 would sound like, you know, you're running or 00:09:13.620 --> 00:09:16.159 whatever, like little fast footsteps. So lots 00:09:16.159 --> 00:09:18.940 of cool just like effects here. Straight Mutes, 00:09:19.100 --> 00:09:22.059 always an effect for sure. Absolutely. At measure 00:09:22.059 --> 00:09:26.440 37, the flute and oboe and horn and tenor sax 00:09:26.440 --> 00:09:28.740 come in with now a new idea. Everybody else, 00:09:28.759 --> 00:09:30.860 this is all about layering. This whole piece 00:09:30.860 --> 00:09:33.000 is about layering. So it's good for teaching. 00:09:33.200 --> 00:09:35.059 Hey, when we add this new idea, bring your volume 00:09:35.059 --> 00:09:38.419 down. The flutes, oboe, horn and tenor sax come 00:09:38.419 --> 00:09:41.220 in rest two and three, four and one. So it's 00:09:41.220 --> 00:09:43.159 a new idea that we haven't heard before that 00:09:43.159 --> 00:09:48.080 we want featured. Yep. And then the timpani continues 00:09:48.080 --> 00:09:50.600 doing the kind of responses to the trumpet part. 00:09:50.600 --> 00:09:53.720 That's continuing on as well. Now the flutes 00:09:53.720 --> 00:09:56.559 and horn and sax are going up a little bit higher 00:09:56.559 --> 00:09:59.419 on their instrument. But again, nothing is written 00:09:59.419 --> 00:10:01.899 out of the range. That would be easy to sound 00:10:01.899 --> 00:10:05.980 beautiful on, which is awesome. Then we get to 00:10:05.980 --> 00:10:09.960 45 and it drops down immediately again to piano. 00:10:10.019 --> 00:10:11.840 So we were kind of building it up, building it 00:10:11.840 --> 00:10:14.179 up, getting louder and louder again. Now we're 00:10:14.179 --> 00:10:18.500 back to Now the low people have like this like 00:10:18.500 --> 00:10:23.299 kind of half note bass line and then horn and 00:10:23.299 --> 00:10:25.779 tenor sax and clarinet to an oboe have the counter 00:10:25.779 --> 00:10:29.019 melody to the flute clarinet and alto sax having 00:10:29.019 --> 00:10:32.779 the melody. And the snare part gets a lot more 00:10:32.779 --> 00:10:35.159 active here at 45. And now it's on the head. 00:10:35.279 --> 00:10:37.620 The snare has been playing on the rim. Now it's 00:10:37.620 --> 00:10:40.899 on the head. This section right here, the melody 00:10:40.899 --> 00:10:42.700 is written to be tongue, tongue slur tongue, 00:10:42.840 --> 00:10:45.519 tongue slur tongue, tongue slur tongue. and everything 00:10:45.519 --> 00:10:48.259 should be really legato sounding in this section. 00:10:49.120 --> 00:10:50.740 So making sure that they follow through with 00:10:50.740 --> 00:10:52.539 their air on those slurs and we aren't clipping 00:10:52.539 --> 00:10:56.320 them. Ta, ta, ta, ta, ta, ta, ta. It needs to 00:10:56.320 --> 00:10:58.419 be air follow through all the way through all 00:10:58.419 --> 00:11:00.379 of this. And luckily the tenudos are written 00:11:00.379 --> 00:11:02.539 in to kind of help at least with the quarter 00:11:02.539 --> 00:11:05.519 notes following through. Then it gets a little 00:11:05.519 --> 00:11:08.039 bit stronger, a little crescendo into 49. The 00:11:08.039 --> 00:11:10.960 trumpets now join in with the melody. Same thing's 00:11:10.960 --> 00:11:13.039 happening in the low brass part and then we crescendo 00:11:13.039 --> 00:11:17.269 going into 50. 53 is where the cowbell comes 00:11:17.269 --> 00:11:22.210 in and it is helping keep the tempo for the entire 00:11:22.210 --> 00:11:24.590 percussion section. So it's like the metronome 00:11:24.590 --> 00:11:27.129 and the rest of the percussionists are out. And 00:11:27.129 --> 00:11:29.509 this section really does sound to me, the trumpet 00:11:29.509 --> 00:11:32.009 horn and alto saxophone take over the Austin 00:11:32.009 --> 00:11:34.850 auto one, two and, and four and, and three and 00:11:34.850 --> 00:11:37.490 four. And it's now we're still in that major 00:11:37.490 --> 00:11:39.870 tonality. And like we were at the beginning and 00:11:39.870 --> 00:11:42.250 the cowbell, it really does make it sound like, 00:11:42.250 --> 00:11:44.490 like a rock. song. Yeah, it really does. You 00:11:44.490 --> 00:11:47.049 just want to clap along at this part. Hey, that 00:11:47.049 --> 00:11:48.710 would be fun to do on a spring concert. Like 00:11:48.710 --> 00:11:50.470 you could turn around and have the audience to 00:11:50.470 --> 00:11:52.710 clap. Yeah. Or like have your percussionist that 00:11:52.710 --> 00:11:55.269 aren't playing do like stick clicks above their 00:11:55.269 --> 00:11:57.990 head. Oh my God. That'd be so cute. In here coming 00:11:57.990 --> 00:12:00.529 up. So that's adorable. Yeah. You heard it here 00:12:00.529 --> 00:12:03.250 first, everybody. There you go. Um, and then 00:12:03.250 --> 00:12:05.409 again, they're continuing on with the ostinato 00:12:05.409 --> 00:12:07.690 and the, again, the accents are important. So 00:12:07.690 --> 00:12:10.289 make sure you're making sure the kids do that. 00:12:10.289 --> 00:12:12.720 Cause that just helps with the groove. um then 00:12:12.720 --> 00:12:15.179 the lows come in it's like you know like a big 00:12:15.179 --> 00:12:19.039 rock moment and they're just holding these chords. 00:12:20.059 --> 00:12:22.620 You know? Yeah. So that's really fun. Kids love 00:12:22.620 --> 00:12:24.639 when they get to have cool bass parts like that. 00:12:24.899 --> 00:12:28.600 And then at 61, we go back to the same idea we 00:12:28.600 --> 00:12:32.019 had before with flute oboe clarinet, doing the 00:12:32.019 --> 00:12:35.759 rest two and three, four and one and two. So 00:12:35.759 --> 00:12:37.860 it's like their, their little melody comes in 00:12:37.860 --> 00:12:40.159 and like Laura mentioned, everybody else layers 00:12:40.159 --> 00:12:43.179 down so we can hear it. And we also add in the 00:12:43.179 --> 00:12:45.720 cabasa that gets up with the timekeeping. This 00:12:45.720 --> 00:12:48.620 is the only right here where the bells have something 00:12:48.620 --> 00:12:51.039 that is unique, that is not anywhere else. And 00:12:51.039 --> 00:12:52.740 I know we talked about the bell part not being 00:12:52.740 --> 00:12:55.379 super important, but your xylophone player could 00:12:55.379 --> 00:12:57.860 cover the bell part right here because it's only 00:12:57.860 --> 00:13:01.240 bells. So you would still just need one player 00:13:01.240 --> 00:13:03.220 for that. But the bell part is important here 00:13:03.220 --> 00:13:05.330 because it is a little bit different. Kind of 00:13:05.330 --> 00:13:07.649 like it's it seems kind of like an electric guitar 00:13:07.649 --> 00:13:10.549 part or something. You know, yeah, like riffing 00:13:10.549 --> 00:13:13.669 at sixty five. The whole band is in the lows 00:13:13.669 --> 00:13:17.169 are doing those cool chords. Trumpet horn trombone 00:13:17.169 --> 00:13:19.809 and alto sax and clarinet to and bassoon are 00:13:19.809 --> 00:13:23.049 doing the ostinato flute. Oboe clarinet are the 00:13:23.049 --> 00:13:25.629 melody. So we want to bring that part out a lot. 00:13:25.750 --> 00:13:28.190 Bells are still doing the different thing and 00:13:28.190 --> 00:13:30.730 cabasa is still going. So we're just kind of 00:13:30.730 --> 00:13:33.570 grooving. And right here at measure sixty nine, 00:13:33.690 --> 00:13:37.639 this format I love this. Cowbell goes away. Cowbell's 00:13:37.639 --> 00:13:39.960 out. This is where the stick clicks are. So we 00:13:39.960 --> 00:13:42.940 have stick clicks on two and four for four measures. 00:13:43.179 --> 00:13:45.720 This little section right here sounds to me, 00:13:45.820 --> 00:13:49.080 it sounds to me like an ice cream truck. It's 00:13:49.080 --> 00:13:51.480 like the entertainer. One and two, three and 00:13:51.480 --> 00:13:54.200 four, one and two and four and one. And with 00:13:54.200 --> 00:13:56.940 the stick clicks and the chromaticism and the 00:13:56.940 --> 00:13:59.480 other voices that are kind of moving up, building 00:13:59.480 --> 00:14:02.059 that energy and suspense. And then everybody 00:14:02.059 --> 00:14:06.100 has a big fortissimo. hit at 71 and then it immediately 00:14:06.100 --> 00:14:09.480 drops down so subito piano and then crescendo 00:14:09.480 --> 00:14:13.240 again that ostinato is continued in the low voices 00:14:13.240 --> 00:14:16.600 um and then we build build build until we get 00:14:16.600 --> 00:14:19.080 to measure 75 where we're getting to like the 00:14:19.080 --> 00:14:21.720 big the big finale yep And then the ostinato 00:14:21.720 --> 00:14:24.100 continues with the mid voices like clarinet, 00:14:24.279 --> 00:14:26.940 sax, horn, back to that minor tonality. Yep. 00:14:26.940 --> 00:14:28.759 And then back to the same thing we had before 00:14:28.759 --> 00:14:30.879 with the big hits on beat three and the upper 00:14:30.879 --> 00:14:34.399 people going three and four in. And then we continue 00:14:34.399 --> 00:14:36.480 that on. And then at the very end lows get to 00:14:36.480 --> 00:14:39.460 have another moment of glory. But the key center 00:14:39.460 --> 00:14:41.940 is different here and it's got A naturals and 00:14:41.940 --> 00:14:44.120 B naturals. So this is like a section you will, 00:14:44.460 --> 00:14:47.080 this four measures, you will slow down and like 00:14:47.080 --> 00:14:50.950 lock in those fourth position B. natural. Yes. 00:14:51.250 --> 00:14:53.769 Everybody's favorite. Yes. Lots of accidentals 00:14:53.769 --> 00:14:56.149 and everything. Yep. That has to be really solid 00:14:56.149 --> 00:14:59.690 and in tune and confident. Yep. And then, so 00:14:59.690 --> 00:15:01.850 they're doing their little moment. And then the 00:15:01.850 --> 00:15:04.789 last measure is just them two and three, four, 00:15:04.789 --> 00:15:08.850 one, and everybody ends on one. So that's super 00:15:08.850 --> 00:15:11.669 duper fun. And timpani of course gets to do one, 00:15:11.669 --> 00:15:14.990 two, and four and one. So solo with the, yeah. 00:15:15.009 --> 00:15:19.740 Yeah. So that this piece is so fun. Sounds really 00:15:19.740 --> 00:15:22.259 fun. There's fun stuff for every part. Everybody 00:15:22.259 --> 00:15:25.980 gets to play the ostinato at some point in the 00:15:25.980 --> 00:15:28.879 music. There's fun percussion. Everybody loves 00:15:28.879 --> 00:15:31.580 a piece that the audience can clap along to. 00:15:31.840 --> 00:15:34.940 But really, this goes together relatively quickly. 00:15:35.019 --> 00:15:37.840 If you're doing this with a younger band, there 00:15:37.840 --> 00:15:41.980 is so much good teaching material in it. I love 00:15:41.980 --> 00:15:46.039 the dynamic contrast. Once they get the ostinato 00:15:46.039 --> 00:15:48.879 rhythm, then the rhythms are not... difficult. 00:15:49.480 --> 00:15:52.539 There's a lot of syncopation, but once they get 00:15:52.539 --> 00:15:55.240 the basic ostinato rhythm, the rest of it is, 00:15:55.320 --> 00:15:57.519 is really kind of lays down. Yeah. Like you said, 00:15:57.539 --> 00:15:59.679 it's all about the layering. So that's, this 00:15:59.679 --> 00:16:03.240 is a great teaching piece. If you haven't really 00:16:03.240 --> 00:16:05.639 taught that a lot yet with a younger band, you 00:16:05.639 --> 00:16:07.480 could, you know, you could teach, Hey, listen, 00:16:07.720 --> 00:16:09.679 literally when you have this part, you got to 00:16:09.679 --> 00:16:11.500 go down and then everybody else gets to come 00:16:11.500 --> 00:16:14.240 up. So yeah, great way to teach, uh, to, you 00:16:14.240 --> 00:16:16.720 know, talk about balance. Yep. Well, we hope 00:16:16.720 --> 00:16:19.580 you will consider programming Skedaddle in the 00:16:19.580 --> 00:16:22.000 future and thank you for joining us on this episode 00:16:22.000 --> 00:16:24.220 of Band BFFs.