WEBVTT 00:00:06.740 --> 00:00:10.619 Welcome to our podcast, Band BFFs. The podcast 00:00:10.619 --> 00:00:12.980 where we make your music selection less complicated. 00:00:13.279 --> 00:00:16.000 On today's episode, we will be discussing March 00:00:16.000 --> 00:00:19.179 of the Hobgoblins by Randall Standridge. Cheers 00:00:19.179 --> 00:00:24.079 to starting the conversation. This is a relatively 00:00:24.079 --> 00:00:26.879 new piece. Let's see. It was published in 2024. 00:00:27.839 --> 00:00:31.989 It is a publisher grade one and a half. key of 00:00:31.989 --> 00:00:35.950 concert E flat or C minor and in six eight time, 00:00:36.070 --> 00:00:39.609 um, which I love cause I think it's a great both 00:00:39.609 --> 00:00:43.030 love this piece. It's so good. I think it is 00:00:43.030 --> 00:00:46.630 a really, really good introductory to six eight 00:00:46.630 --> 00:00:50.210 type of piece in typical standards fashion. There 00:00:50.210 --> 00:00:52.429 is lots of percussion and you really do need 00:00:52.429 --> 00:00:55.490 all of the percussion parts. So, uh, it's best 00:00:55.490 --> 00:00:59.609 if you have seven players, you could eliminate 00:00:59.609 --> 00:01:01.759 one. Oh, Oh, Katie's making that, I'm sorry. 00:01:02.939 --> 00:01:06.439 You could do it with six or seven, everybody. 00:01:07.140 --> 00:01:10.079 I did it with six last year. I just left out 00:01:10.079 --> 00:01:13.219 the bells part and kept the xylophone part because 00:01:13.219 --> 00:01:15.459 they're always covered in other wind players. 00:01:15.500 --> 00:01:18.799 But I think that the xylophone color sounds more 00:01:18.799 --> 00:01:21.819 like impish, like the hobgoblin. So that's why 00:01:21.819 --> 00:01:23.739 I kept that one in. But you could do whatever. 00:01:24.459 --> 00:01:26.780 Cannot leave out timpani. Yes, timpani. Yeah. 00:01:26.879 --> 00:01:29.000 I mean, most of that percussion is really, really 00:01:29.000 --> 00:01:31.079 important. So let's dive in and talk a little 00:01:31.079 --> 00:01:34.280 bit about this piece. It's so super cool. We 00:01:34.280 --> 00:01:37.519 both just love it and it's so easy to put together. 00:01:37.519 --> 00:01:40.640 So both Laura and I played it for a fall concert 00:01:40.640 --> 00:01:43.739 and we actually included this piece in one of 00:01:43.739 --> 00:01:48.620 our like new to, um, or maybe it was like far 00:01:48.620 --> 00:01:51.299 pieces or something. Yeah. At some point we did 00:01:51.299 --> 00:01:53.439 a little intro to this piece, but we wanted to 00:01:53.439 --> 00:01:56.159 make a standalone for it because both of us think 00:01:56.159 --> 00:01:59.340 it's great. And many times on like, You know 00:01:59.340 --> 00:02:02.219 social media people ask like what's a good six 00:02:02.219 --> 00:02:04.799 eight piece to do as an introductory piece for 00:02:04.799 --> 00:02:07.760 your band I'm I'm always gonna say March of the 00:02:07.760 --> 00:02:11.060 Hobgoblins now because it's fun. The kids love 00:02:11.060 --> 00:02:14.439 it They want to like go home and practice it 00:02:14.439 --> 00:02:17.960 so And it's got like it's just it's easy to put 00:02:17.960 --> 00:02:21.180 together and it's very much like a march in its 00:02:21.180 --> 00:02:24.280 style and form So it's easy to talk to about 00:02:24.280 --> 00:02:26.500 how a march works and all of that good stuff 00:02:26.500 --> 00:02:29.580 too at the beginning of the year I I do my very 00:02:29.580 --> 00:02:32.599 best to try and program something in a compound 00:02:32.599 --> 00:02:36.419 meter for our fall concert. If we are unable 00:02:36.419 --> 00:02:38.979 to make that happen for the fall concert, at 00:02:38.979 --> 00:02:41.919 least by the winter concert. So something in 00:02:41.919 --> 00:02:44.699 the first semester I try to program in a compound 00:02:44.699 --> 00:02:48.240 meter so that the seventh grade students are 00:02:48.240 --> 00:02:51.039 getting some exposure to that if they didn't 00:02:51.039 --> 00:02:53.560 get to that at the end of the sixth grade year, 00:02:53.560 --> 00:02:59.240 which often we don't. about this is that all 00:02:59.240 --> 00:03:03.199 of the rhythms are repeated in here. It basically 00:03:03.199 --> 00:03:06.060 is. You either have a measure of eighth notes... 00:03:06.060 --> 00:03:08.379 One lolly, two lolly. Or you have... One lolly, 00:03:08.520 --> 00:03:11.740 two. Yes. Or you have two dotted quarters, or 00:03:11.740 --> 00:03:15.360 you have the one, three, two, one. Yes. Yep. 00:03:15.939 --> 00:03:18.979 Um, so speaking of, so Katie and I count six, 00:03:18.979 --> 00:03:20.759 eight differently. Let's talk about that for 00:03:20.759 --> 00:03:23.060 a sec. I actually do both. So when I teach six, 00:03:23.060 --> 00:03:25.879 eight, I will write one, two, three, four, five, 00:03:26.060 --> 00:03:28.620 six with six eighth notes on the board and explain 00:03:28.620 --> 00:03:32.039 why it's called six eight is because of this. 00:03:32.219 --> 00:03:35.490 Right. But then I will say, but Sometimes when 00:03:35.490 --> 00:03:38.349 you're counting quickly, it's easier to say one 00:03:38.349 --> 00:03:40.569 lolly, two lolly. And that's how we count triplets 00:03:40.569 --> 00:03:42.849 when we do articulation exercise and things like 00:03:42.849 --> 00:03:45.449 that. So I just will show them on the board. 00:03:45.870 --> 00:03:47.449 We take one, two, three, four, five, six, and 00:03:47.449 --> 00:03:50.710 we change it to one lolly, two lolly. So when 00:03:50.710 --> 00:03:53.270 our foot taps, we're tapping on one and two, 00:03:53.669 --> 00:03:55.830 which is an easy way to keep counting in your 00:03:55.830 --> 00:03:58.650 head. And I, of course, tell the kids if it makes 00:03:58.650 --> 00:04:01.370 more sense for your brain to count it like one, 00:04:01.389 --> 00:04:04.659 three, four, six, do that. But Miss Lewis is 00:04:04.659 --> 00:04:07.580 gonna teach you and the Lees and everything because 00:04:07.580 --> 00:04:10.159 also our feeder high schools count that way. 00:04:10.479 --> 00:04:12.719 So I'm just kind of trying to set them up for 00:04:12.719 --> 00:04:14.939 like Laura said success and account a compound 00:04:14.939 --> 00:04:19.139 meter in future programming. So like Katie, I 00:04:19.139 --> 00:04:24.100 start off with 123456. And I will tell you, I 00:04:24.100 --> 00:04:28.180 have changed recently and how I count six eight 00:04:28.180 --> 00:04:32.100 with my students on the suggestion of the very 00:04:32.100 --> 00:04:35.279 brilliant David Puckett. and I have found this 00:04:35.279 --> 00:04:38.300 to be like my kids latched onto it really, really 00:04:38.300 --> 00:04:40.500 easily. We learn it first in one, two, three, 00:04:40.500 --> 00:04:44.300 four, five, six. Then we learn it, or then when 00:04:44.300 --> 00:04:46.980 the tempo gets faster, like Katie said, we talk 00:04:46.980 --> 00:04:49.660 about the fact that we do tap our foot two times 00:04:49.660 --> 00:04:54.959 per measure. And I used to, before David made 00:04:54.959 --> 00:04:57.500 this suggestion, I used to do the one, three, 00:04:57.519 --> 00:04:59.579 four, six, one, three, four, one, two, three, 00:04:59.579 --> 00:05:02.040 four, one, four, five, six, one, whatever it 00:05:02.040 --> 00:05:03.879 happened to be. we would still count the full 00:05:03.879 --> 00:05:06.800 six beats in the measure. But I found that some 00:05:06.800 --> 00:05:09.040 of the kids would have trouble, okay, where's 00:05:09.040 --> 00:05:11.899 beat five? Where's beat three? Like I'm losing 00:05:11.899 --> 00:05:15.160 those inner beats like that. So what we started 00:05:15.160 --> 00:05:17.439 doing is counting in one, two, three, one, two, 00:05:17.439 --> 00:05:19.519 three. One, two, three, one, two, three, one, 00:05:19.660 --> 00:05:21.920 three, one, three, one. And I have found, I mean, 00:05:22.040 --> 00:05:25.420 I could put a more complex rhythm on the board. 00:05:25.439 --> 00:05:28.180 And when they only had to chunk it in threes 00:05:28.180 --> 00:05:31.980 instead of sixes, it immediately cleaned up their 00:05:31.980 --> 00:05:34.100 counting and their comprehension of the rhythm. 00:05:34.439 --> 00:05:36.379 There's no right or wrong way to teach 6 -8. 00:05:36.680 --> 00:05:38.779 You do what works for you. You do what works 00:05:38.779 --> 00:05:41.579 for your kids. But that is what has worked for 00:05:41.579 --> 00:05:45.439 Katie and I. Yep. Perfect. So the beginning starts 00:05:45.439 --> 00:05:48.959 again with everybody playing a straight measure 00:05:48.959 --> 00:05:52.199 of eighth notes. It has a forte piano at the 00:05:52.199 --> 00:05:54.259 beginning with a crescendo all the way to forte. 00:05:55.129 --> 00:05:58.629 one lolly, two lolly, one, and then in the rest 00:05:58.629 --> 00:06:02.149 is the timpani part. So the timpani is huge in 00:06:02.149 --> 00:06:04.670 this piece. Pick like your very, very best player. 00:06:04.709 --> 00:06:07.009 Let them go to town because they're going to 00:06:07.009 --> 00:06:09.750 have so much fun with it. And again, a hobgoblin 00:06:09.750 --> 00:06:12.389 is like a little elf or a sprite that's like 00:06:12.389 --> 00:06:15.589 mischievous. So a lot of this piece is written 00:06:15.589 --> 00:06:18.449 like Laura mentioned in like a minor tonality. 00:06:18.550 --> 00:06:21.370 So it's kind of fun just to see all the chromaticism 00:06:21.370 --> 00:06:23.170 and everything too. And you can talk to your 00:06:23.170 --> 00:06:25.720 students about that. and why he would compose 00:06:25.720 --> 00:06:28.560 this way for something that is mischievous. Anyway, 00:06:28.560 --> 00:06:30.800 back to it. And then it does the same thing again. 00:06:30.879 --> 00:06:34.199 One lolly, two lolly, one E2, one lolly, two, 00:06:34.279 --> 00:06:38.800 one lolly, two, one, two, two, one. And those 00:06:38.800 --> 00:06:42.000 all have accents. One lolly, two, one lolly, 00:06:42.019 --> 00:06:45.699 two. So it gives the kids another advantage to 00:06:45.699 --> 00:06:47.639 like bringing out the accents and understanding 00:06:47.639 --> 00:06:50.060 where the foot tap falls and everything. I love 00:06:50.060 --> 00:06:52.420 the forte piano crescendo on the measures that 00:06:52.420 --> 00:06:54.680 have six eighth notes. eighth notes in them. 00:06:54.699 --> 00:06:57.220 I think that's easy for kids to latch on to. 00:06:57.240 --> 00:07:00.600 It's a great way to teach a four tapiano crescendo. 00:07:00.740 --> 00:07:03.160 Okay. We're going to be at a level eight and 00:07:03.160 --> 00:07:05.079 then you're going to drop to a two and then it's 00:07:05.079 --> 00:07:08.139 a eight, two, three, four, five, six, seven that 00:07:08.139 --> 00:07:12.120 you're welcome. Yes. Okay. But like I think that 00:07:12.120 --> 00:07:14.699 having the straight eighth notes makes that really 00:07:14.699 --> 00:07:16.600 easy. Every eighth note gets just a little bit 00:07:16.600 --> 00:07:18.819 louder. It's an easy way to teach that for sure. 00:07:19.300 --> 00:07:21.860 Um, and then we reach measure nine, which is 00:07:21.860 --> 00:07:23.759 the first, uh, you know, The beginning is the 00:07:23.759 --> 00:07:26.160 introduction, uh, just like in any March. So 00:07:26.160 --> 00:07:28.459 you can teach that to the students for like form. 00:07:28.819 --> 00:07:31.839 Um, at nine, this is the, the first time we have 00:07:31.839 --> 00:07:34.339 the melody and it's in flute, oboe, clarinet, 00:07:34.339 --> 00:07:37.759 and trumpet. And it's very crisp and trumpet 00:07:37.759 --> 00:07:41.360 is not split in parts here. So they're all on 00:07:41.360 --> 00:07:43.160 the same part. And then bells and xylophone as 00:07:43.160 --> 00:07:47.120 well. Yep. It's one. Yeah. One three one or one 00:07:47.120 --> 00:07:49.800 Lee, two Lee, one Lee, two Lee, one Lee, two 00:07:49.800 --> 00:07:52.910 Lee, one and they're marked staccato. So you're 00:07:52.910 --> 00:07:54.829 going to teach the kids to make everything very 00:07:54.829 --> 00:07:58.089 lifted and light, like the little hobgoblin is, 00:07:58.089 --> 00:08:02.230 you know, bouncing around. The low people all 00:08:02.230 --> 00:08:07.410 have one, two. one two one two one two lolly 00:08:07.410 --> 00:08:11.069 one but they have a lot of chromatic or chromaticism 00:08:11.069 --> 00:08:14.089 is huge in this piece so making sure that your 00:08:14.089 --> 00:08:16.509 students all like this is a great introduction 00:08:16.509 --> 00:08:19.750 again to like and harmonic notes and you can 00:08:19.750 --> 00:08:21.810 review that with kids you know at the beginning 00:08:21.810 --> 00:08:24.889 of the year or end of the year with a band that 00:08:24.889 --> 00:08:28.209 is is still developing um it goes back and forth 00:08:28.209 --> 00:08:30.769 between a natural and a flat and the trombone 00:08:30.769 --> 00:08:35.110 part a lot and d natural and d flat so really 00:08:35.110 --> 00:08:37.730 honing in on like fourth and fifth position and 00:08:37.730 --> 00:08:40.990 second and third is a big deal in this piece 00:08:40.990 --> 00:08:43.750 and that's why I think I like it so much is because 00:08:43.750 --> 00:08:47.600 it's not difficult rhythmically, but you can 00:08:47.600 --> 00:08:49.779 then go back and focus on things like are we 00:08:49.779 --> 00:08:52.179 truly in fifth position on this D flat? I have 00:08:52.179 --> 00:08:55.159 two things in this section to be mindful of. 00:08:55.519 --> 00:08:58.059 The baseline has those dotted quarter notes and 00:08:58.059 --> 00:09:00.779 they are marked staccato, but I would really 00:09:00.779 --> 00:09:03.360 treat those more like lifted notes. They should 00:09:03.360 --> 00:09:06.789 not sound like da, da, da. They need a little 00:09:06.789 --> 00:09:08.509 more, yeah, a little more resonance to them. 00:09:08.529 --> 00:09:11.169 So be mindful of that. And then what your students 00:09:11.169 --> 00:09:13.710 are going to want to do, this is phrased in four. 00:09:13.950 --> 00:09:17.389 It's written in four bar phrases. One, three, 00:09:17.409 --> 00:09:19.830 one, three, one, three, one, three, one, three, 00:09:19.970 --> 00:09:22.129 one, three, one, one, three, one, three, one. 00:09:22.309 --> 00:09:23.570 They're going to want to breathe after every 00:09:23.570 --> 00:09:26.070 dotted half note for sure. Making sure that you 00:09:26.070 --> 00:09:28.710 address that with them and have them thinking 00:09:28.710 --> 00:09:31.509 about the phrasing from the beginning. Yeah. 00:09:31.509 --> 00:09:34.190 And you can even stagger that and say half of 00:09:34.190 --> 00:09:37.049 you get to breathe after. the first dotted half 00:09:37.049 --> 00:09:38.950 note in 12, and some of you can breathe after 00:09:38.950 --> 00:09:42.289 the second dotted half note in 14. Or if they 00:09:42.289 --> 00:09:44.149 can make it all the way to 16, they can breathe 00:09:44.149 --> 00:09:46.909 between two dotted quarter notes. So again, yes, 00:09:46.909 --> 00:09:49.610 that's a great way of teaching like how to take 00:09:49.610 --> 00:09:52.190 in sneaky breaths in six, eight time, because 00:09:52.190 --> 00:09:54.309 you're going to usually have rhythms like that 00:09:54.309 --> 00:09:57.230 and whatever you play. Whenever the long note 00:09:57.230 --> 00:10:00.070 happens in the melody, the lows always have one, 00:10:00.330 --> 00:10:04.600 two, lolly, one, one, two, lolly, one. bringing 00:10:04.600 --> 00:10:08.269 that. It's like a back -and -forth conversation 00:10:08.269 --> 00:10:10.029 between the highs and the lows, which I think 00:10:10.029 --> 00:10:13.789 is really fun, too. At 17, now the melody changes 00:10:13.789 --> 00:10:16.950 from being simpler with one, one -lee -two -lee 00:10:16.950 --> 00:10:19.470 to one -la -lee -two -la -lee -one. So they have 00:10:19.470 --> 00:10:22.090 to tongue. But it's basically subdividing. That's 00:10:22.090 --> 00:10:24.190 all of a sudden. It's the same melody, but now 00:10:24.190 --> 00:10:26.629 it's subdivided. But it's faster articulation 00:10:26.629 --> 00:10:29.610 for young developing players. But I think it's 00:10:29.610 --> 00:10:32.429 great because it's not like you're moving on 00:10:32.429 --> 00:10:35.690 every single note. It's the same three notes. 00:10:35.789 --> 00:10:39.490 on the beat, so it's like CCC. D D D E flat E 00:10:39.490 --> 00:10:42.409 flat E flat F F F for like the flute part. So 00:10:42.409 --> 00:10:44.730 that's nice because then they just have to focus 00:10:44.730 --> 00:10:47.110 on the articulation, but they're not having to 00:10:47.110 --> 00:10:49.129 move their fingers on every single beat with 00:10:49.129 --> 00:10:51.450 it. Um, so it makes them feel really successful 00:10:51.450 --> 00:10:53.110 when they can do that. And it's fun to tongue 00:10:53.110 --> 00:10:55.350 fast for those kids. And I think it's a, I think 00:10:55.350 --> 00:10:57.710 it's a really good teaching tool as well for 00:10:57.710 --> 00:10:59.889 articulation. Like do all six of those eighth 00:10:59.889 --> 00:11:02.070 notes sound exactly the same, right? As your 00:11:02.070 --> 00:11:04.029 tongue touching in the same place every time. 00:11:04.309 --> 00:11:09.210 Yep. Um, then we go to, uh, a big timpani solo 00:11:09.210 --> 00:11:12.490 in measure 24 at the end of that phrase. And 00:11:12.490 --> 00:11:14.970 now we have a new section at 25. The whole band 00:11:14.970 --> 00:11:18.929 has one, two, one, two, and then Lowe's have 00:11:18.929 --> 00:11:22.789 one, Lee, two, Lee, one as a response. Everybody. 00:11:23.600 --> 00:11:27.179 everybody than the low brass. So like your lows 00:11:27.179 --> 00:11:29.159 are going to really like this piece because they're 00:11:29.159 --> 00:11:32.639 not their piece or their part is not like sad 00:11:32.639 --> 00:11:34.720 town. It's not the accompaniment the whole time 00:11:34.720 --> 00:11:37.799 they get to have responses. They get to be important 00:11:37.799 --> 00:11:41.000 and kind of stand out. All of these notes have 00:11:41.000 --> 00:11:44.200 accents on them. So most of them have the Marcato 00:11:44.200 --> 00:11:46.519 accent and then some of them have the house top 00:11:46.519 --> 00:11:49.539 accents. So it's just good to make sure again, 00:11:49.539 --> 00:11:53.100 you can teach those differences and how stylize 00:11:53.100 --> 00:11:56.120 that. I would, I found in this section that my, 00:11:56.419 --> 00:11:59.100 even though like the first note is written accented, 00:11:59.200 --> 00:12:01.100 the second one is that Marcato accent, right? 00:12:01.200 --> 00:12:05.559 So we should have da, da, da, da, but they wanted 00:12:05.559 --> 00:12:09.970 to like crescendo, da, da. That's what I found 00:12:09.970 --> 00:12:12.210 like my kids wanted to do. So we had to like 00:12:12.210 --> 00:12:14.210 talk about, okay, wait a second, look at the 00:12:14.210 --> 00:12:16.470 shape of the note. That's the opposite direction. 00:12:16.610 --> 00:12:18.809 You're ballooning the note and not putting that 00:12:18.809 --> 00:12:21.789 accent on there. So, um, but again, that it's, 00:12:21.789 --> 00:12:24.429 uh, it's, it's great for helping them identify 00:12:24.429 --> 00:12:26.230 that. Look at what you look at what you see on 00:12:26.230 --> 00:12:28.169 the page, interpret it and execute that. Yeah, 00:12:28.169 --> 00:12:31.049 it's very stylistic, but it's again, a great 00:12:31.049 --> 00:12:33.669 teaching piece in between. Um, each time that 00:12:33.669 --> 00:12:36.210 the lows would go one Lee to Lee one, Tiffany 00:12:36.210 --> 00:12:39.139 goes one Lolly to Lolly. one. So it's like this 00:12:39.139 --> 00:12:42.039 big piece where it's just people talking back 00:12:42.039 --> 00:12:43.919 and forth basically. And the timpani is really 00:12:43.919 --> 00:12:46.500 important. Then we have the same little moment 00:12:46.500 --> 00:12:49.960 again at 33 and then at 37, the whole band comes 00:12:49.960 --> 00:12:53.240 down to mezzo piano. I know that when I played 00:12:53.240 --> 00:12:55.460 this piece, I make them all cross that out and 00:12:55.460 --> 00:12:57.679 we changed it to mezzo piano instead of mezzo 00:12:57.679 --> 00:13:01.019 forte to keep it really, really low. One, two, 00:13:01.299 --> 00:13:04.320 one, two, then another forte piano, just like 00:13:04.320 --> 00:13:06.919 the beginning. One lolly, two lolly, one lolly. 00:13:06.799 --> 00:13:11.480 two lolly one two. two one and so it's kind of 00:13:11.480 --> 00:13:14.899 like the intro back again then it's a percussion 00:13:14.899 --> 00:13:18.220 feature which is really fun yes and like it's 00:13:18.220 --> 00:13:20.220 you don't always have a percussion feature in 00:13:20.220 --> 00:13:23.200 a march so this is makes it really cool for your 00:13:23.200 --> 00:13:25.279 percussion feature is timpani i mean like of 00:13:25.279 --> 00:13:28.159 course one loli two loli one loli one they have 00:13:28.159 --> 00:13:31.200 a whole they have a whole melody that timpani 00:13:31.200 --> 00:13:33.980 does here so there's no mallet percussion playing 00:13:33.980 --> 00:13:36.139 in this section you have your snare drummer your 00:13:36.139 --> 00:13:39.269 bass drummer and then the timpani is really featured 00:13:39.269 --> 00:13:43.470 here, so it's really, it's a cool little percussion 00:13:43.470 --> 00:13:47.090 feature. As we get into measure 51, this is what 00:13:47.090 --> 00:13:49.210 you would consider the trio of a traditional 00:13:49.210 --> 00:13:52.809 march, which I like, even though this is a little 00:13:52.809 --> 00:13:54.870 bit different, called March of the Hobgoblins, 00:13:55.230 --> 00:13:57.970 we did talk about that this would be... this 00:13:57.970 --> 00:14:01.389 would be considered a trio. Um, it is softer. 00:14:01.389 --> 00:14:04.629 It features the clarinet section, the melody 00:14:04.629 --> 00:14:08.009 changes here. Um, and it's more like woodwind 00:14:08.009 --> 00:14:11.750 and some thinned out low brass. Um, it goes to 00:14:11.750 --> 00:14:14.850 wood blocks, kind of like you could do like a 00:14:14.850 --> 00:14:19.490 traditional March triangle. Um, so the clarinets 00:14:19.490 --> 00:14:21.649 have the melody and then we just have like chords 00:14:21.649 --> 00:14:24.850 from low brass. Um, and then the mids are just 00:14:24.850 --> 00:14:28.029 doing long chords as well. It's very, Very, very 00:14:28.029 --> 00:14:33.750 smooth. No more accents in this section. And 00:14:33.750 --> 00:14:37.230 then the clarinets are finishing out their melody 00:14:37.230 --> 00:14:40.490 at measure 63. And then it's like the little 00:14:40.490 --> 00:14:46.730 mischievous hobgoblin showed up again. Then it 00:14:46.730 --> 00:14:49.830 goes back. Sneaky in there. And then now it's 00:14:49.830 --> 00:14:52.429 just, it's right underneath the long note in 00:14:52.429 --> 00:14:54.509 the clarinet. And it's marked mezzo piano. I 00:14:54.509 --> 00:14:56.899 mean, it just needs to be sneaky. then at measure 00:14:56.899 --> 00:15:00.620 67 the flute and oboe add in with the clarinet 00:15:00.620 --> 00:15:02.860 joining on that melody now we have in the bells 00:15:02.860 --> 00:15:05.480 and the bells now we have full ensemble playing 00:15:05.480 --> 00:15:09.460 and the trumpets are doing a little interjection 00:15:09.460 --> 00:15:12.639 yeah like a little heroic fanfare and theirs 00:15:12.639 --> 00:15:16.019 is written staccato so why we have two one two 00:15:16.019 --> 00:15:21.240 one two one two one two one two one two one just 00:15:21.240 --> 00:15:25.379 a cool little uh back and forth yep And then 00:15:25.379 --> 00:15:31.610 at 75, everybody basically has... something you 00:15:31.610 --> 00:15:34.710 either have the melody or you have the accompaniment 00:15:34.710 --> 00:15:36.950 part, but the whole band is finally playing here. 00:15:37.210 --> 00:15:38.809 I don't think we were all playing before. Yes, 00:15:38.809 --> 00:15:42.110 we were. Okay. So it continues on. And then we 00:15:42.110 --> 00:15:45.470 crescendo up again with help from snare drum 00:15:45.470 --> 00:15:48.429 and timpani. And we have the same as what we 00:15:48.429 --> 00:15:51.350 had at the beginning at 79 for tapiano back down. 00:15:51.409 --> 00:15:54.470 One, Lolly, two, Lolly, one, two, timpani, one, 00:15:54.470 --> 00:15:57.850 Lolly, two, Lolly one. Just like the beginning. 00:15:57.909 --> 00:16:01.960 And then 87 is like, Thank you. the final, I 00:16:01.960 --> 00:16:04.759 guess, hurrah. So now the trumpets have the melody 00:16:04.759 --> 00:16:07.820 with clarinets and xylophone, but the flutes 00:16:07.820 --> 00:16:11.480 and oboes get this cute little and bells, this 00:16:11.480 --> 00:16:14.879 cute little chromatic like line above them. And 00:16:14.879 --> 00:16:17.559 yeah, it's so cute and it's easy. It's just one, 00:16:17.559 --> 00:16:22.259 two, one, two, one, two, one, two, one, two, 00:16:22.259 --> 00:16:25.240 one, two. So it's just on the beats while the 00:16:25.240 --> 00:16:27.200 melody is still happening in the back and forth 00:16:27.200 --> 00:16:29.379 is happening with the low brass. And it is the 00:16:29.379 --> 00:16:31.860 new thing. So I do think it's important to make 00:16:31.860 --> 00:16:34.179 sure that it's heard, but you don't want it to 00:16:34.179 --> 00:16:37.580 completely be a wet blanket over everything else 00:16:37.580 --> 00:16:40.100 that's happened. It is really important, but 00:16:40.100 --> 00:16:42.379 they're like, I know my flutes would always get 00:16:42.379 --> 00:16:44.820 excited about this part and get a little, you 00:16:44.820 --> 00:16:47.259 know, like, okay, let's calm down a little bit. 00:16:47.419 --> 00:16:48.879 We still got to, we still got to hear the other 00:16:48.879 --> 00:16:53.039 parts. Yeah. At 95, we get the same articulated 00:16:53.039 --> 00:16:55.360 rhythm from the beginning. One, Lolly, two, Lolly, 00:16:55.480 --> 00:16:57.720 one, Lolly, two, Lolly, one, Lee, two, Lee, one. 00:16:58.039 --> 00:17:00.480 So it's the same thing again. Flutes are continuing 00:17:00.480 --> 00:17:02.320 that little chromatic thing with oboe and then 00:17:02.320 --> 00:17:05.059 they finally joined back on the melody at 99 00:17:05.059 --> 00:17:08.299 And then we have another little timpani interlude 00:17:08.299 --> 00:17:12.140 at 102 but this time The timpani is decrescendoing 00:17:12.140 --> 00:17:14.180 because the full band is gonna come back in at 00:17:14.180 --> 00:17:17.180 a piano dynamic at 103 and that's on snare Yep. 00:17:17.180 --> 00:17:19.240 Oh, I'm sorry. I said timpani, but yeah, snare 00:17:19.240 --> 00:17:22.380 drum there. And then the band has one lead to 00:17:22.380 --> 00:17:26.660 the one lead to the one to timpani again. Then 00:17:26.660 --> 00:17:29.519 the full band has dotted quarter notes going 00:17:29.519 --> 00:17:33.880 on and then big timpani moment at 111 timpani 00:17:33.880 --> 00:17:36.519 solo along with tambourine kind of like backing 00:17:36.519 --> 00:17:38.980 them up in the background. One lead to lully 00:17:38.980 --> 00:17:42.019 one lead to lully one two and the full band has 00:17:42.019 --> 00:17:46.000 that at the end. So it's, it's so much fun and 00:17:46.000 --> 00:17:48.880 like we just basically sang for you. There's 00:17:48.880 --> 00:17:51.670 only like four different rhythms in the piece. 00:17:51.769 --> 00:17:55.529 So it's a great, like we said, intro to six, 00:17:55.529 --> 00:17:57.950 eight, without it getting too complicated to 00:17:57.950 --> 00:17:59.430 where they're like, I don't know, is that on 00:17:59.430 --> 00:18:02.269 the law or the Lee or whatever? Um, you know, 00:18:02.309 --> 00:18:05.509 there's it's just makes it come together so quickly 00:18:05.509 --> 00:18:08.450 and you can go pretty quick on it. And so the 00:18:08.450 --> 00:18:10.750 kids really enjoy doing that on a march. Yeah. 00:18:10.750 --> 00:18:14.109 And I love kind of related to the speed, like 00:18:14.109 --> 00:18:16.289 Katie was talking about. Um, it doesn't have 00:18:16.289 --> 00:18:18.970 to be like, I think you have a little flexibility. 00:18:19.150 --> 00:18:21.829 on the tempo for sure. Right. It's not like a 00:18:21.829 --> 00:18:23.930 locked in at one 20 and that's what it has to 00:18:23.930 --> 00:18:25.910 be. So if you want to push it a little more, 00:18:26.009 --> 00:18:27.849 make it a little more energetic and exciting, 00:18:28.150 --> 00:18:30.789 you have the opportunity to do that. Yes. Well, 00:18:30.869 --> 00:18:32.970 we hope you will consider programming March of 00:18:32.970 --> 00:18:35.390 the Hobgoblins in the future. And thank you for 00:18:35.390 --> 00:18:38.890 joining us on this episode of band BFFs.