WEBVTT 00:00:06.660 --> 00:00:10.400 Welcome to our podcast, Band BFFs. The podcast 00:00:10.400 --> 00:00:12.679 where we make your music selection less complicated. 00:00:13.060 --> 00:00:15.679 On today's episode, we will be discussing Fandango 00:00:15.679 --> 00:00:18.239 by Carol Britton Chambers. Cheers to starting 00:00:18.239 --> 00:00:23.539 the conversation. All right, this is a new piece. 00:00:23.539 --> 00:00:28.019 It was published in 2025, so brand new. This 00:00:28.019 --> 00:00:30.820 is pretty challenging. It's a publisher grade, 00:00:31.000 --> 00:00:34.619 three and a half. It's about four, three and 00:00:34.619 --> 00:00:37.000 a half or four minutes long. It's really fast. 00:00:37.060 --> 00:00:41.359 It's in the key of A flat or F minor. It has 00:00:41.359 --> 00:00:45.060 split flute parts, three clarinet parts, a split 00:00:45.060 --> 00:00:47.640 alto part, three trumpet parts, a split horn 00:00:47.640 --> 00:00:50.140 and trombone part that is different from the 00:00:50.140 --> 00:00:53.979 euphony. part and a slew of percussion. You really 00:00:53.979 --> 00:00:57.640 need six or seven, I said it, percussionists 00:00:57.640 --> 00:01:01.920 to pull. all of this off. This is a really fun 00:01:01.920 --> 00:01:04.819 Spanish, I mean, Fandango tells you it's a dance, 00:01:05.239 --> 00:01:10.420 but challenging. Yes, and also it goes back and 00:01:10.420 --> 00:01:14.040 forth between 3 -4 and 4 -4 a ton during this 00:01:14.040 --> 00:01:17.540 piece. So it's a good challenging, it's not on 00:01:17.540 --> 00:01:20.879 the Texas PML currently, so it'd be a fun challenge 00:01:20.879 --> 00:01:24.799 for like fall concerts with a high school band 00:01:24.799 --> 00:01:29.670 or maybe a spring concert. Really good, really 00:01:29.670 --> 00:01:31.549 good, you know, middle school band or a high 00:01:31.549 --> 00:01:34.569 school band for sure. A region band, this would 00:01:34.569 --> 00:01:38.170 be super fun to do with as well. So it's in the 00:01:38.170 --> 00:01:42.530 key of A flat. So obviously the key signature 00:01:42.530 --> 00:01:46.430 causes issues just to begin with. And then as 00:01:46.430 --> 00:01:48.750 Laura mentioned, like all of the different split 00:01:48.750 --> 00:01:51.790 parts, a lot of times the parts are written to 00:01:51.790 --> 00:01:55.329 do like a major second next to each other as 00:01:55.329 --> 00:01:58.409 well. So, or a minor second. kind of just depends 00:01:58.409 --> 00:02:01.390 on where you are, but it's a little bit challenging 00:02:01.390 --> 00:02:04.290 with just knowing all the different like partials 00:02:04.290 --> 00:02:07.049 and chord structures and everything. So you gotta 00:02:07.049 --> 00:02:09.189 make sure you have a band that can pretty much 00:02:09.189 --> 00:02:12.789 read. And I swear every other note or every note 00:02:12.789 --> 00:02:15.389 has a style marking on it. So she, I mean, she's 00:02:15.389 --> 00:02:18.909 incredibly intentional about what she wants the 00:02:18.909 --> 00:02:21.449 music to sound like. So, you know, obviously 00:02:21.449 --> 00:02:23.990 as we're teaching it, we owe the integrity of 00:02:23.990 --> 00:02:26.430 that, you know, to the music, be very, very intentional 00:02:26.430 --> 00:02:30.900 about that. So it starts out, it's marked conenergica, 00:02:31.219 --> 00:02:34.280 an area. With energy. Yeah, I know, but how do 00:02:34.280 --> 00:02:37.280 we say that word? And are here and are here. 00:02:37.360 --> 00:02:38.860 That's right. That was terrible. Don't judge 00:02:38.860 --> 00:02:43.219 my Spanish accent So like it's marked 176 so 00:02:43.219 --> 00:02:46.560 it goes really really fast It starts out at the 00:02:46.560 --> 00:02:49.520 beginning with upper woodwind melody and some 00:02:49.520 --> 00:02:53.000 saxophone One two and three and one two three 00:02:53.000 --> 00:02:55.199 one two and three and one two three So you get 00:02:55.199 --> 00:02:57.340 to teach the kids about how in three four one 00:02:57.340 --> 00:03:01.439 is the big beat? Beat ones don't always have 00:03:01.439 --> 00:03:03.979 accents a lot of times they do but then they'll 00:03:03.979 --> 00:03:08.360 go to staccatos one tongue slur slur slur staccatos 00:03:08.360 --> 00:03:10.900 staccatos staccato so it's supposed to sound 00:03:10.900 --> 00:03:13.659 like different dance steps I would imagine yeah 00:03:13.659 --> 00:03:17.120 and this it the challenge of coming out of that 00:03:17.120 --> 00:03:19.939 slur really fast and articulating the downbeat 00:03:19.939 --> 00:03:22.340 one two and three and tongue tongue tongue one 00:03:22.340 --> 00:03:24.379 two and three and tongue tongue tongue those 00:03:24.379 --> 00:03:28.159 eighth notes are slurred so that I mean the clarity 00:03:28.159 --> 00:03:30.560 of that has to be super super clear yeah which 00:03:30.560 --> 00:03:32.080 of course as you're learning it slower you're 00:03:32.080 --> 00:03:34.659 not going to learn it at 176 beats Right. You 00:03:34.659 --> 00:03:37.599 can be real particular about that. Yep. And then 00:03:37.599 --> 00:03:40.740 the brass have hits usually on one, sometimes 00:03:40.740 --> 00:03:44.000 on one, two. So it's just, you got to be really 00:03:44.000 --> 00:03:45.860 careful about counting so that you don't play 00:03:45.860 --> 00:03:48.680 during a rest. Then it switches quickly to four, 00:03:48.699 --> 00:03:52.599 four in measure seven. And it goes on with some 00:03:52.599 --> 00:03:55.539 percussion. Bongos, and this is really, really 00:03:55.539 --> 00:03:58.520 important. Bongos, hi -hat, all of this in this 00:03:58.520 --> 00:04:00.659 little section are really important to be super 00:04:00.659 --> 00:04:03.659 crisp, really clear, very accurate rhythms throughout. 00:04:04.039 --> 00:04:06.719 Yep, then there's a fun bass line that starts 00:04:06.719 --> 00:04:09.319 up at measure eight with obviously tuba and low 00:04:09.319 --> 00:04:15.550 reeds. One and four, one and four, one and. four, 00:04:15.729 --> 00:04:18.050 one, and it kind of keeps going. So that's fun 00:04:18.050 --> 00:04:21.129 because, you know, it's just very much a baseline 00:04:21.129 --> 00:04:23.490 that you would normally hear. The trumpets have 00:04:23.490 --> 00:04:26.069 the melody alone at measure eight, but again, 00:04:26.069 --> 00:04:29.670 they are in split parts. Two and three are together 00:04:29.670 --> 00:04:34.370 and only split on certain chord notes. The students 00:04:34.370 --> 00:04:36.949 have like more of a lyrical type playing here, 00:04:37.069 --> 00:04:39.990 not as many staccatos, but still, like Laura 00:04:39.990 --> 00:04:43.899 mentioned, lots of specific accents that they 00:04:43.899 --> 00:04:46.899 need to put into their melody to make sure that 00:04:46.899 --> 00:04:49.040 it kind of comes out of the mix. A lot of dotted 00:04:49.040 --> 00:04:51.019 half notes in this with the trumpet melody so 00:04:51.019 --> 00:04:55.379 one four and one two three four one lots of dotted 00:04:55.379 --> 00:04:57.519 half notes through here and the tendency is going 00:04:57.519 --> 00:05:00.300 to be to let those decay. Obviously we want those 00:05:00.300 --> 00:05:02.920 to almost feel like there's a little mini or 00:05:02.920 --> 00:05:05.000 micro crescendo at the end of those so we get 00:05:05.000 --> 00:05:08.600 that forward momentum and movement there. Then 00:05:08.600 --> 00:05:11.439 the upper woodwinds and horns and altos come 00:05:11.439 --> 00:05:15.279 in with a little counter melody about four measures 00:05:15.279 --> 00:05:19.779 into the trumpet feature. Yep the xylophone comes 00:05:19.779 --> 00:05:24.060 in as well a measure later to kind of join them 00:05:24.060 --> 00:05:26.879 and kind of give a little bit more of that timbre 00:05:26.879 --> 00:05:30.560 and then the trumpet melody is continuing on 00:05:30.560 --> 00:05:34.279 it goes up the trumpet First trumpet part is 00:05:34.279 --> 00:05:36.199 pretty high on this piece. So we didn't mention 00:05:36.199 --> 00:05:38.860 that at the beginning But it about is about to 00:05:38.860 --> 00:05:41.139 get up to like a high G above the staff at one 00:05:41.139 --> 00:05:43.740 point It goes up to a high B flat clarinets also 00:05:43.740 --> 00:05:47.019 really high and above the staff Yeah, so the 00:05:47.019 --> 00:05:49.920 range is a little bit higher. You just have to 00:05:49.920 --> 00:05:52.759 make sure you can play it with control So going 00:05:52.759 --> 00:05:57.220 into 16 now the melody it goes to the upper woodwinds 00:05:57.220 --> 00:05:59.420 They have the same thing the trumpets had before 00:05:59.420 --> 00:06:02.019 And now the trumpets are kind of in the background 00:06:02.019 --> 00:06:04.339 with these little conversational hits and it's 00:06:04.339 --> 00:06:07.740 the same as the trombone and tenor sax part. 00:06:08.660 --> 00:06:11.399 And then same obvious thing is what Laura said. 00:06:11.500 --> 00:06:13.779 You don't want the kids to decay on dotted half 00:06:13.779 --> 00:06:17.360 notes. All the accents, like there's a rhythm 00:06:17.360 --> 00:06:21.079 in measure 18 that goes one, two, and four, and 00:06:21.079 --> 00:06:25.259 one. It's one, two, and. And so everybody in 00:06:25.259 --> 00:06:27.920 the band has the accents on those beats minus 00:06:27.920 --> 00:06:30.600 the baseline. So it's just good to kind of line 00:06:30.600 --> 00:06:32.620 up that style. and make sure that that really 00:06:32.620 --> 00:06:35.180 pops out when the students are playing it. This 00:06:35.180 --> 00:06:38.839 is a classic example of a piece where I think 00:06:38.839 --> 00:06:41.680 a melody sheet would be a super helpful tool, 00:06:41.860 --> 00:06:45.399 a rehearsal tool, because almost everybody at 00:06:45.399 --> 00:06:48.120 some point is gonna have that one, four, and 00:06:48.120 --> 00:06:50.800 one, two, three, four, one, two, and four, and 00:06:50.800 --> 00:06:53.300 one. They're gonna have that. So writing that 00:06:53.300 --> 00:06:56.339 out in a melody sheet and getting the style exactly 00:06:56.339 --> 00:06:59.339 like you want it, unison with everybody will 00:06:59.339 --> 00:07:02.579 make the process of you know, applying it to 00:07:02.579 --> 00:07:05.519 the music easier. And same with the three, four 00:07:05.519 --> 00:07:07.939 melody, one, two, and three, and one, two, three. 00:07:08.079 --> 00:07:09.939 And then there's another little melody that comes 00:07:09.939 --> 00:07:12.319 in too, but you can write all of those out and 00:07:12.319 --> 00:07:14.620 teach those as a melody sheet to your whole ensemble. 00:07:14.720 --> 00:07:16.459 Same with these little accompaniment lines as 00:07:16.459 --> 00:07:18.279 well. Yeah. And then everybody's learning how 00:07:18.279 --> 00:07:22.939 to count too. So at 23, we're leading into 24. 00:07:23.060 --> 00:07:25.860 That's where we go back to three, four. Now the 00:07:25.860 --> 00:07:28.319 low people have the melody, one, two, three, 00:07:28.399 --> 00:07:31.240 one, and, and, and one. And then now the upper 00:07:31.240 --> 00:07:34.060 people, one, two, three, one, and, and, and one. 00:07:34.180 --> 00:07:36.339 So it's like a cute little back and forth. They're 00:07:36.339 --> 00:07:37.939 gonna wanna slow that down. Right. They're gonna 00:07:37.939 --> 00:07:39.980 wanna slow those upbeats down. So just being 00:07:39.980 --> 00:07:42.300 super precise and there's not like there's time 00:07:42.300 --> 00:07:44.300 going on in the percussion. Yeah, no. In this 00:07:44.300 --> 00:07:45.680 section. They're playing what the winds are playing. 00:07:45.740 --> 00:07:48.920 Yeah, I mean it has to be locked in. completely. 00:07:49.199 --> 00:07:52.819 Yep at 30 everybody has a forte piano and then 00:07:52.819 --> 00:07:54.639 percussion has a little bit of stuff underneath 00:07:54.639 --> 00:07:58.540 and we're leading into 32 which is where we go 00:07:58.540 --> 00:08:03.160 back into 4 -4 and this transition is kind of 00:08:03.160 --> 00:08:06.319 tricky because we just came out of 3 -4 with 00:08:06.319 --> 00:08:08.720 not a lot of pulse and stuff going on and then 00:08:08.720 --> 00:08:11.360 you go into a rest at the beginning of 32 in 00:08:11.360 --> 00:08:13.980 the melody. So this starts with the upper woodwinds 00:08:13.980 --> 00:08:16.079 in the melody and again no percussion helping 00:08:16.079 --> 00:08:18.639 out with pulse just colors. rest two and three 00:08:18.639 --> 00:08:22.360 and and and one three four rest two and three 00:08:22.360 --> 00:08:25.100 and and and two three four I counted the wrong 00:08:25.100 --> 00:08:28.139 rhythm there but it's the rhythm is a little 00:08:28.139 --> 00:08:30.579 complicated and once again there's a style marking 00:08:30.579 --> 00:08:33.539 on every single solitary note that's articulated 00:08:33.539 --> 00:08:36.649 yep So you gotta be particular with it. Then 00:08:36.649 --> 00:08:38.509 the brass, it's just the upper woodwinds that 00:08:38.509 --> 00:08:41.049 have that. It's only four measures. So I mean, 00:08:41.289 --> 00:08:44.669 once they get it, it just has to be really clean 00:08:44.669 --> 00:08:46.750 and really clear. Everybody else is just playing 00:08:46.750 --> 00:08:49.470 four, one. There's a cute little vibra slap moment 00:08:49.470 --> 00:08:51.570 and stuff like that. A little castanets coming 00:08:51.570 --> 00:08:54.669 up. Some mallet little interjections, yeah. And 00:08:54.669 --> 00:08:58.970 then at 37, we're back into it's that that's 00:08:58.970 --> 00:09:01.289 kind of like a little transitional moment. Uh, 00:09:01.289 --> 00:09:03.370 now the low reads have that part from before 00:09:03.370 --> 00:09:07.730 one and four, one and four and horn and sax have 00:09:07.730 --> 00:09:11.769 melody alone. And, um, it's obvious you gotta 00:09:11.769 --> 00:09:13.809 have really good French horns because they're 00:09:13.809 --> 00:09:16.870 all by themselves, right? Um, it's not written 00:09:16.870 --> 00:09:20.090 high or anything. It goes up to an upper E flat 00:09:20.090 --> 00:09:23.889 upper F at one point in the horn. So not a. huge 00:09:23.889 --> 00:09:25.690 deal, but just something that you wanna make 00:09:25.690 --> 00:09:28.009 it sound really flowy. Just like the trumpet 00:09:28.009 --> 00:09:29.490 melody from before. That's exactly what I was 00:09:29.490 --> 00:09:31.750 gonna say. Even though it's not quite as many 00:09:31.750 --> 00:09:33.549 slurs as what the trumpets had in their line 00:09:33.549 --> 00:09:35.789 before, it is definitely intended to be a little 00:09:35.789 --> 00:09:37.009 more legato. And it certainly does not have any 00:09:37.009 --> 00:09:40.049 staccatos and accents and stuff, so yes, this 00:09:40.049 --> 00:09:42.830 is gonna be a little bit more fun. There's like 00:09:42.830 --> 00:09:47.250 a little timpani and triangle moment. There's 00:09:47.250 --> 00:09:50.750 some, like I said, some cool castanets. It's 00:09:50.750 --> 00:09:53.500 very percussion, but it's like... like little 00:09:53.500 --> 00:09:55.600 interjections. So it's not like percussion's 00:09:55.600 --> 00:09:58.000 playing a pulse the whole time. It's just like 00:09:58.000 --> 00:10:00.700 little cute, you know, ooh, check me out, one, 00:10:00.700 --> 00:10:04.179 two, and one. Like it's just very randomly put 00:10:04.179 --> 00:10:06.840 in there. Right here at measure 41, the clarinets 00:10:06.840 --> 00:10:09.320 come in and join the alto trumpet and horn with 00:10:09.320 --> 00:10:12.620 the melody and then flute, oboe, and some of 00:10:12.620 --> 00:10:16.960 our percussion add a clapping part. Now, I know 00:10:16.960 --> 00:10:20.240 sometimes clapping may scare people away from 00:10:20.240 --> 00:10:22.700 doing a piece. I certainly don't think it should 00:10:22.700 --> 00:10:24.940 be anything that that scares you or shies you 00:10:24.940 --> 00:10:26.899 away from doing a piece but you absolutely have 00:10:26.899 --> 00:10:28.960 to make sure you practice it yeah right like 00:10:28.960 --> 00:10:32.139 I mean it's written again it's written to accented 00:10:32.139 --> 00:10:35.019 it's a certain rhythm with yes and it's meant 00:10:35.019 --> 00:10:38.899 to be visual like she's very clear yes but head 00:10:38.899 --> 00:10:41.379 high yeah we want this to look the same it's 00:10:41.379 --> 00:10:45.559 meant to be not only aural but visual as well 00:10:45.559 --> 00:10:49.039 so you have to work on it yep So this melody 00:10:49.039 --> 00:10:51.460 continues on. We have another little interlude 00:10:51.460 --> 00:10:53.820 from the timpani and the triangle, which is really 00:10:53.820 --> 00:10:56.879 cute. And then we're building up to 45, which 00:10:56.879 --> 00:11:00.200 is where most of the band comes in. The hand 00:11:00.200 --> 00:11:02.120 clappers kind of stop and get their instruments 00:11:02.120 --> 00:11:06.720 ready. Everybody else has one and four, four 00:11:06.720 --> 00:11:12.279 and one and four. three, one. And I'm like, oh 00:11:12.279 --> 00:11:14.220 gosh, that would be kind of difficult because 00:11:14.220 --> 00:11:16.960 they really have to count those ties like really, 00:11:16.960 --> 00:11:19.000 really well. And then right here coming out of 00:11:19.000 --> 00:11:22.399 it, it flips the rhythm instead of that dotted 00:11:22.399 --> 00:11:24.659 quarter eight, that hemeola feel that we're getting. 00:11:24.919 --> 00:11:27.639 Now it flips. It's an eight dotted quarter. So 00:11:27.639 --> 00:11:31.120 you come out of that little line with one, three, 00:11:31.360 --> 00:11:34.620 and one, three, one, which feels weird. Yeah, 00:11:34.639 --> 00:11:37.559 this is definitely a rhythmic challenge. You'd 00:11:37.559 --> 00:11:40.360 have to work on that a ton. But this part at 00:11:40.360 --> 00:11:42.720 least does have a snare drum pulse underneath 00:11:42.720 --> 00:11:46.700 it. The flutes and the upper clarinet get to 00:11:46.700 --> 00:11:48.919 have like a little counter melody here. Actually 00:11:48.919 --> 00:11:51.059 no, this is the melody with the trumpets and 00:11:51.059 --> 00:11:55.840 the trombones. And then lots of accents happening 00:11:55.840 --> 00:11:58.440 here. We're kind of building it up again. And 00:11:58.440 --> 00:12:00.460 then now we're going to be in this little cool 00:12:00.460 --> 00:12:05.419 soloistic section at 53. So it has a trumpet 00:12:05.419 --> 00:12:09.379 one solo. There's time being kept from the bass 00:12:09.379 --> 00:12:12.580 line and some hand clapping in the percussion 00:12:12.580 --> 00:12:14.620 and then like there will be these interjections 00:12:14.620 --> 00:12:17.740 of claves. Now the solo is written for trumpet 00:12:17.740 --> 00:12:22.139 but it is cued in alto and flute so you can choose 00:12:22.139 --> 00:12:25.639 to to move it wherever you would like but obviously 00:12:25.639 --> 00:12:28.500 it is designed for trumpet. Your trumpet player 00:12:28.500 --> 00:12:30.559 needs to have a really pretty sound. I mean they're 00:12:30.559 --> 00:12:32.980 holding at one point they're holding a C for 00:12:32.879 --> 00:12:37.720 for 12 beats, a third space C for 12 beats, they 00:12:37.720 --> 00:12:39.659 need to be able to make a really pretty sound 00:12:39.659 --> 00:12:43.039 and they need to have vibrato. This is 100 % 00:12:43.039 --> 00:12:46.580 a vibrato section for the solo. The solo is not 00:12:46.580 --> 00:12:49.460 technically hard at all, but they need to sound 00:12:49.460 --> 00:12:52.669 like a million bucks. agreed and then two measures 00:12:52.669 --> 00:12:56.730 later the trombone one has a solo and again it's 00:12:56.730 --> 00:13:00.830 cued also in euphonium and tenor sax and bassoon 00:13:00.830 --> 00:13:03.970 so you could choose to do somebody else if you 00:13:03.970 --> 00:13:07.289 want but it's just like a little back and forth 00:13:07.289 --> 00:13:10.940 solo between them for the next 10 -ish measures. 00:13:11.399 --> 00:13:14.480 So it's got the long trumpet solo, the long trombone 00:13:14.480 --> 00:13:17.100 solo, just some little small hand claps, and 00:13:17.100 --> 00:13:19.879 the bass line. That's it. So it's like very exposed 00:13:19.879 --> 00:13:24.240 here. The trombone keeps going. So does the trumpet. 00:13:24.539 --> 00:13:30.659 They're building up to measure 61. No, sorry. 00:13:31.259 --> 00:13:34.419 59 and then they're getting a little bit softer. 00:13:34.620 --> 00:13:37.299 Oh, it's depending on which part it is. And then 00:13:37.299 --> 00:13:40.000 now the oboe and the clarinets are gonna come 00:13:40.000 --> 00:13:42.860 in at the very end of their decrescendo. And 00:13:42.860 --> 00:13:44.840 xylophone, which adds a nice color here. Yep. 00:13:45.120 --> 00:13:47.740 And then we're basically just trying to do a 00:13:47.740 --> 00:13:50.899 transition back into the 3 -4 time. And it's 00:13:50.899 --> 00:13:52.980 like supposed to be really quiet, like it's fading 00:13:52.980 --> 00:13:54.740 away, fading away, and there's barely anybody 00:13:54.740 --> 00:13:57.259 playing. All the winds are fading, but then suspended 00:13:57.259 --> 00:14:00.360 cymbal is crescendo -ing. So they are helping 00:14:00.360 --> 00:14:02.720 get you across that bar line and back to the 00:14:02.720 --> 00:14:05.200 one two and three and one two three. It's just 00:14:05.200 --> 00:14:08.159 like the beginning again including going straight 00:14:08.159 --> 00:14:11.139 into four four time about four measures later. 00:14:11.379 --> 00:14:14.179 So at 72 we're back to the trumpet melody with 00:14:14.179 --> 00:14:17.539 sax this time. Everybody else has just got the 00:14:17.539 --> 00:14:20.460 bass line or a little counter melody. We do introduce 00:14:20.460 --> 00:14:24.299 a new little counter melody at 76 in the flute 00:14:24.299 --> 00:14:27.340 and oboe and clarinet. It's real cute. It's all 00:14:27.340 --> 00:14:30.840 the parts that we do. did before, but now, yes, 00:14:30.980 --> 00:14:33.259 but now we're putting it, now we're layering 00:14:33.259 --> 00:14:36.320 it all together, right? So like the bass line, 00:14:36.500 --> 00:14:39.340 that trumpet melody, that tricky four measure 00:14:39.340 --> 00:14:44.820 transition. So now all of that is layering together 00:14:44.820 --> 00:14:48.909 here. and we're building up to 80, and 80 is 00:14:48.909 --> 00:14:51.649 a big moment. Now the upper people are having 00:14:51.649 --> 00:14:54.570 the melody again. And this, the upper woodwinds 00:14:54.570 --> 00:14:56.669 right here, like you are gonna have to take some 00:14:56.669 --> 00:14:58.490 of this down an octave. Your altos are above 00:14:58.490 --> 00:15:00.950 the staff, your flutes are on high E flats and 00:15:00.950 --> 00:15:03.230 Ds, you've got your oboes are above the staff, 00:15:03.809 --> 00:15:06.870 your first clarinet is above the staff here. 00:15:06.909 --> 00:15:11.750 It can be really shrill if that is not balanced 00:15:11.750 --> 00:15:13.730 correctly. Yeah, the first note in the first 00:15:13.730 --> 00:15:18.639 clarinet is a Second ledger line C. So yes, that's 00:15:18.639 --> 00:15:22.429 like that's an octave above. normal range. So 00:15:22.429 --> 00:15:24.750 yeah, for sure. And the second and third clarinets 00:15:24.750 --> 00:15:26.450 are doubling what's happening in the trumpet. 00:15:26.789 --> 00:15:28.690 Right. So you might just want to have one kid 00:15:28.690 --> 00:15:32.289 play that or something. Exactly. Yeah. And then 00:15:32.289 --> 00:15:35.909 we go back into 3 -4 time at 84. It's what we 00:15:35.909 --> 00:15:40.250 had before. Same style markings are super important. 00:15:40.289 --> 00:15:42.690 Percussions kind of doing the same thing. Then 00:15:42.690 --> 00:15:47.769 we have the full band has a 2D rhythm 1 and 1, 00:15:47.769 --> 00:15:51.710 2, 3, 92. and now we're in four, four time again. 00:15:52.549 --> 00:15:54.610 This is really a low brass moment. I think, you 00:15:54.610 --> 00:15:57.309 know, low brass, low read moment for just four 00:15:57.309 --> 00:15:59.669 bars. They get to kind of trombone, euphonium 00:15:59.669 --> 00:16:03.149 get to have the cool part. Yes. The baseline 00:16:03.149 --> 00:16:05.149 is still happening though in like very sax and 00:16:05.149 --> 00:16:08.590 tuba. And then we build up and add in the mid 00:16:08.590 --> 00:16:12.149 voices like horn, trumpet, oboe, clarinet. And 00:16:12.149 --> 00:16:15.830 then we build up again and add in the flute part 00:16:15.830 --> 00:16:18.210 coming into a hundred and the trumpet one part. 00:16:18.429 --> 00:16:21.559 So this is at 100 where the trumpet is playing 00:16:21.559 --> 00:16:26.159 above the staff G and A and B flat. So it gets 00:16:26.159 --> 00:16:28.700 really... gets really high here, and of course, 00:16:28.740 --> 00:16:30.700 it's the end of the piece, so you gotta make 00:16:30.700 --> 00:16:33.139 sure your brass players can handle it. They've 00:16:33.139 --> 00:16:35.580 gotta pass in the tang. A cool timpani moment 00:16:35.580 --> 00:16:40.019 at 101, the whole ensemble is one and four, four 00:16:40.019 --> 00:16:42.519 and one, and timpani gets a... Two, three, four, 00:16:42.840 --> 00:16:45.080 and one. Like a cool little solo in there, so 00:16:45.080 --> 00:16:47.919 cool percussion and timpani moment. Yep. Lots 00:16:47.919 --> 00:16:50.720 of accents happening again with all the hemiola 00:16:50.720 --> 00:16:53.360 rhythms, and then we've got just some straight 00:16:53.360 --> 00:16:57.389 up chords here, one, three, one. two and like 00:16:57.389 --> 00:17:00.230 we had or sorry one three and like we had before 00:17:00.230 --> 00:17:03.049 one four then we're back into three four and 00:17:03.049 --> 00:17:05.589 it's just like the beginning one two and three 00:17:05.589 --> 00:17:09.089 and one two three and some of those chords some 00:17:09.089 --> 00:17:11.109 of those big like half note chord hits don't 00:17:11.109 --> 00:17:13.490 be afraid to rewrite those as needed for your 00:17:13.490 --> 00:17:16.789 ensemble to make it sound you know balanced like 00:17:16.789 --> 00:17:20.809 it needs to and you know the right number of 00:17:20.809 --> 00:17:23.289 parts covered all that don't be afraid to to 00:17:23.289 --> 00:17:27.130 rescore that if you need to yep 112 is the ending. 00:17:27.309 --> 00:17:29.769 We're still just in this three, four time. Kind 00:17:29.769 --> 00:17:32.269 of ends with the upper people doing a cute little 00:17:32.269 --> 00:17:36.349 one, two, three, one, and, and, and one off. 00:17:36.829 --> 00:17:39.029 And everybody just ends with that last part and 00:17:39.029 --> 00:17:40.650 a little bit of fun percussion thrown in there 00:17:40.650 --> 00:17:42.990 with Tiffany. And down. And down. That's kind 00:17:42.990 --> 00:17:46.410 of what it feels like. So it's very cute. I mean, 00:17:46.609 --> 00:17:51.460 it's got a lot of, a lot of great. teaching opportunities. 00:17:51.640 --> 00:17:55.460 Lots of style is challenging, but kids will love 00:17:55.460 --> 00:17:58.700 it. The melody is catchy. It's fun. There's a 00:17:58.700 --> 00:18:01.299 lot thematically that you could do with it or 00:18:01.299 --> 00:18:04.059 programmatically if you wanted to add, you know, 00:18:04.200 --> 00:18:06.599 whatever. And if you were considering doing some 00:18:06.599 --> 00:18:09.599 sort of like Spanish March for UIL, this would 00:18:09.599 --> 00:18:12.440 be a great one to do in the fall so that you've 00:18:12.440 --> 00:18:14.839 already kind of exposed your kids to some of 00:18:14.839 --> 00:18:17.940 that style stuff. Yeah, absolutely. So, so much 00:18:17.940 --> 00:18:20.900 fun. Well, we hope you will programming Fandango 00:18:20.900 --> 00:18:23.339 in the future and thank you for joining us on 00:18:23.339 --> 00:18:26.299 this episode of Banned BFFs!