WEBVTT 00:00:06.680 --> 00:00:10.400 Welcome to our podcast, Band BFFs. The podcast 00:00:10.400 --> 00:00:12.720 where we make your music selection less complicated. 00:00:13.179 --> 00:00:15.199 On this episode, we are going to be discussing 00:00:15.199 --> 00:00:19.140 Fanfare for the Fearless by Brian Balmages. Cheers 00:00:19.140 --> 00:00:22.339 to starting the conversation. What a great title, 00:00:22.440 --> 00:00:27.129 right? It really is. Speaking of fearless. So 00:00:27.129 --> 00:00:30.170 we are just what a great little segue segue that 00:00:30.170 --> 00:00:33.770 way. Thank you We just got home from seeing the 00:00:33.770 --> 00:00:36.850 devil wears Prada too. So cute. It was so adorable 00:00:36.850 --> 00:00:39.490 Such a fun little band BFF state. It was great. 00:00:39.649 --> 00:00:41.030 Okay, so we haven't talked about it. Did you 00:00:41.030 --> 00:00:43.770 have a favorite outfit from the show? I Loved 00:00:43.770 --> 00:00:46.429 her blue dress. Okay, the blue. Oh the blue dress 00:00:46.429 --> 00:00:50.869 was beautiful. I love Miranda Miranda talk about 00:00:50.869 --> 00:00:54.950 fearless. She's crazy for sure She wore this 00:00:54.950 --> 00:00:57.549 incredible, I have to look up the designer, the 00:00:57.549 --> 00:01:01.270 jacket, this long like trench jacket that was 00:01:01.270 --> 00:01:04.530 bejeweled. And oh my God, it was absolutely stunning. 00:01:04.590 --> 00:01:06.790 So much fun. Yeah. Anyway, a life that we will 00:01:06.790 --> 00:01:09.709 never live with our fashion of band shirt and 00:01:09.709 --> 00:01:14.290 jeans. But that's okay. I have a slew of those. 00:01:14.290 --> 00:01:17.430 Yeah, it's fun, right? Yeah. Okay. Well, back 00:01:17.430 --> 00:01:20.890 to this piece. We think this is so precious. 00:01:21.560 --> 00:01:24.859 for a fall concert, which is why we wanted to 00:01:24.859 --> 00:01:28.430 publish it now as you're trying to. maybe possibly 00:01:28.430 --> 00:01:31.510 get rid of some budget money for the year, or 00:01:31.510 --> 00:01:33.870 if you have a little bit left over over the summer 00:01:33.870 --> 00:01:37.349 and you're looking to spend out your PO on some 00:01:37.349 --> 00:01:39.969 new literature, this would be a great one to 00:01:39.969 --> 00:01:43.069 choose for a fall program for any middle school 00:01:43.069 --> 00:01:45.629 group. I also think this would be great for something 00:01:45.629 --> 00:01:49.489 like a region band concert opener or a band camp 00:01:49.489 --> 00:01:52.189 or something like that. Yeah, I mean, lots of 00:01:52.189 --> 00:01:54.629 lots of opportunities for this simple enough. 00:01:54.650 --> 00:01:57.209 It's in the key of concert E flat. less than 00:01:57.209 --> 00:02:00.569 two minutes long, like a fanfare should be. It 00:02:00.569 --> 00:02:02.890 does have split clarinet parts and split trumpet 00:02:02.890 --> 00:02:07.549 parts, six percussion parts, six or seven percussion 00:02:07.549 --> 00:02:10.990 parts. But like, as we've kind of looked at it, 00:02:11.229 --> 00:02:14.490 we both actually, we kind of have a slight difference 00:02:14.490 --> 00:02:17.229 of opinion. I think that timpani is very important 00:02:17.229 --> 00:02:20.860 in its role in a fanfare. But the timpani part 00:02:20.860 --> 00:02:24.080 is mirrored by the snare part throughout. So 00:02:24.080 --> 00:02:27.180 there's not any timpani solos. If you don't have 00:02:27.180 --> 00:02:29.599 enough players, you could do without timpani, 00:02:29.620 --> 00:02:32.280 but I do feel like it's a fanfare instrument. 00:02:32.460 --> 00:02:34.960 So the discussion was, would you cut timpani 00:02:34.960 --> 00:02:37.860 or would you cut chimes? And I feel like chimes 00:02:37.860 --> 00:02:40.520 are very fanfare. I think that the chimes add 00:02:40.520 --> 00:02:43.479 to the fanfare quality. Listen, the timpani is 00:02:43.479 --> 00:02:45.699 covered in the snare part. If it had a timpani 00:02:45.699 --> 00:02:48.000 solo, I would feel differently about it. But 00:02:48.000 --> 00:02:51.490 so anyway, but it is up to your discretion. It 00:02:51.490 --> 00:02:53.110 is up to your discretion. But if you have seven, 00:02:53.250 --> 00:02:56.879 then you're good. Yes. Okay. So obviously it's 00:02:56.879 --> 00:02:59.979 marked heroically. It's 120 on the metronome. 00:03:00.120 --> 00:03:02.639 The style should be very lifted, much like a 00:03:02.639 --> 00:03:08.699 march. The low voice line is mostly not the melody, 00:03:09.000 --> 00:03:11.960 but it does have like little accented parts that 00:03:11.960 --> 00:03:14.800 you can teach the kiddos to bring out to just 00:03:14.800 --> 00:03:17.840 make it be extra special. And it usually is mirrored 00:03:17.840 --> 00:03:20.580 by some of the percussion parts. So the beginning 00:03:20.580 --> 00:03:23.639 starts out with trumpet melody, specifically 00:03:23.639 --> 00:03:28.449 trumpet one. melody and trumpet two and clarinet 00:03:28.449 --> 00:03:32.229 have harmony and the French horn also has like 00:03:32.229 --> 00:03:35.349 a little harmony line with them. It's just like 00:03:35.349 --> 00:03:38.610 quarter notes one two three four one actually 00:03:38.610 --> 00:03:40.530 Katie mentioned she was exactly like she was 00:03:40.530 --> 00:03:42.569 like this sounds familiar. It gives Cascadia 00:03:42.569 --> 00:03:45.250 celebration vibes. Yeah, a little bad a little 00:03:45.250 --> 00:03:47.990 it's in four four throughout. So definitely not 00:03:47.990 --> 00:03:53.270 like some little melodic. Yeah, yes. And it's 00:03:53.270 --> 00:03:56.539 got great. ways for you to teach phrasing. At 00:03:56.539 --> 00:03:58.439 the end of those two measures, you would push 00:03:58.439 --> 00:04:02.599 through one and two, three, four, one, two, three, 00:04:02.599 --> 00:04:06.719 and four, and one. And the two, three, and four 00:04:06.719 --> 00:04:11.000 is in the timpani and snare part. And so they 00:04:11.000 --> 00:04:13.780 push direction through so that if your kids were 00:04:13.780 --> 00:04:15.419 young enough, they had to breathe there, they 00:04:15.419 --> 00:04:18.000 could, but that would be a good spot to teach 00:04:18.000 --> 00:04:20.279 them to push through a phrase and sneak a breath 00:04:20.279 --> 00:04:24.839 somewhere else. needs to be really firmly articulated 00:04:24.839 --> 00:04:27.459 lifted style there's only there's no staccatos 00:04:27.459 --> 00:04:29.300 or anything like that but there are accented 00:04:29.300 --> 00:04:31.500 notes written in so I think as long as you're 00:04:31.500 --> 00:04:34.079 just addressing firmness of fronts of articulation 00:04:34.079 --> 00:04:35.540 and making sure that there's agreement across 00:04:35.540 --> 00:04:38.160 the ensemble on that strength then the style 00:04:38.160 --> 00:04:42.040 will come through there's like a little sax flute 00:04:42.040 --> 00:04:46.860 oboe interjection and measure four two and three 00:04:46.860 --> 00:04:49.540 four one while the melody is holding that whole 00:04:49.540 --> 00:04:51.879 note so again it's written well to kind of cover 00:04:51.879 --> 00:04:54.699 up if your kiddos need to breathe after four 00:04:54.699 --> 00:04:57.699 measures. Then the little melody part starts 00:04:57.699 --> 00:05:00.379 up again in the trumpet and then low brass this 00:05:00.379 --> 00:05:04.360 time has two and three or sorry three and four 00:05:04.360 --> 00:05:06.959 one. They have like the little interjection that 00:05:06.959 --> 00:05:08.819 the flute had before. And there's a cute little 00:05:08.819 --> 00:05:10.800 counter melody written in the flute oboe and 00:05:10.800 --> 00:05:12.740 alto line here. So this would be something to 00:05:12.740 --> 00:05:14.959 kind of bring out because you've heard that melodic 00:05:14.959 --> 00:05:17.339 statement from the trumpets already in the first 00:05:17.339 --> 00:05:19.139 eight measures. So now let's focus on hearing 00:05:19.139 --> 00:05:21.100 something different in this little counter melody. 00:05:21.449 --> 00:05:25.250 Yep. The lows still kind of have the same thing, 00:05:25.250 --> 00:05:28.029 and again with it being in the key of E -flat, 00:05:28.129 --> 00:05:29.970 A -flats are all that you really have to worry 00:05:29.970 --> 00:05:34.069 about in the trombone part, which is good. And 00:05:34.069 --> 00:05:37.110 then we're getting into the next little part. 00:05:37.189 --> 00:05:40.490 We're pushing into measure 15, and they're ending 00:05:40.490 --> 00:05:44.829 the melody one and two, three, four and one, 00:05:45.089 --> 00:05:48.870 three, four, one, and the trumpet too has the 00:05:48.870 --> 00:05:52.399 three, four, one going into measure 17. alone 00:05:52.399 --> 00:05:54.560 so you really want to make sure you have at least 00:05:54.560 --> 00:05:56.819 a few children on that trumpet. Yeah the only 00:05:56.819 --> 00:05:58.379 moving quarter notes there. Then when we get 00:05:58.379 --> 00:06:01.360 to measure 17 we kind of change ideas and styles 00:06:01.360 --> 00:06:04.000 all together. It goes to more of a woodwind feature. 00:06:04.000 --> 00:06:07.000 We have these hairpin dynamics written in. It's 00:06:07.000 --> 00:06:10.120 definitely smoother. There's slurs. There's tenuto 00:06:10.120 --> 00:06:13.660 markings. Yes more legato style and flowy in 00:06:13.660 --> 00:06:17.300 this. Rest two three four one two three four. 00:06:17.300 --> 00:06:20.399 We're passing this little melodic idea between 00:06:20.399 --> 00:06:24.850 saxes. and clarinets and flutes. There is support 00:06:24.850 --> 00:06:28.730 in the horn line and cues written in some of 00:06:28.730 --> 00:06:31.209 the low brass. You can just kind of decide if 00:06:31.209 --> 00:06:33.790 your low reeds are strong enough to support that. 00:06:33.910 --> 00:06:36.509 And then a really cool little bell part that 00:06:36.509 --> 00:06:38.389 accompanies... It's just keeping the pulse. Yeah, 00:06:38.589 --> 00:06:42.430 just some eighth note stuff, but definitely different, 00:06:42.629 --> 00:06:44.490 unique. It is not doubling what's happening in 00:06:44.490 --> 00:06:48.550 the melody, so it is important. Yep. There are 00:06:48.550 --> 00:06:51.829 little again interjections in the timpani and 00:06:51.829 --> 00:06:53.990 snare drum every once in a while four and one 00:06:53.990 --> 00:06:58.649 at the end of the little phrases Again saxophone 00:06:58.649 --> 00:07:01.170 takes over after flute and oboe have had the 00:07:01.170 --> 00:07:04.629 first little main melody with clarinet It's just 00:07:04.629 --> 00:07:06.850 a really pretty little woodwind moment and brass 00:07:06.850 --> 00:07:11.689 finally do enter in at measure 21 Again, just 00:07:11.689 --> 00:07:14.009 with supporting chords underneath the woodwind 00:07:14.009 --> 00:07:17.639 feature and then we crescendo up going into 25 00:07:17.639 --> 00:07:21.680 where we have another kind of new moment we're 00:07:21.680 --> 00:07:25.000 passing back and forth another idea rest two 00:07:25.000 --> 00:07:29.699 three four one two three four one yeah so it 00:07:29.699 --> 00:07:32.680 starts off in horn and clarinet then goes to 00:07:32.680 --> 00:07:35.879 alto and tenor sax goes back to horn and clarinet 00:07:35.879 --> 00:07:40.339 and trumpet the next time and then finally ends 00:07:40.339 --> 00:07:43.339 up with the flute and the oboe having it so it's 00:07:43.339 --> 00:07:45.800 like a cool little pass around moment where everybody 00:07:45.740 --> 00:07:49.639 gets to be important you do have some split divided 00:07:49.639 --> 00:07:54.040 chords in the trombone part at 25 in fifths and 00:07:54.040 --> 00:07:56.620 then in fourths so just watching the tuning in 00:07:56.620 --> 00:07:58.220 that area is gonna be important there's a little 00:07:58.220 --> 00:08:01.319 wind chimes this is where the chimes actually 00:08:01.319 --> 00:08:04.379 do have like kind of a supporting pulse line 00:08:04.379 --> 00:08:07.839 some would say more important even than the timpani 00:08:07.839 --> 00:08:12.579 apparently yes but the timpani is about to play 00:08:12.579 --> 00:08:15.399 one and right along with the snare drum it sure 00:08:15.399 --> 00:08:18.639 is that's true but you know it's just a different 00:08:18.639 --> 00:08:21.759 timbre percussionist no it is absolutely yeah 00:08:21.759 --> 00:08:25.040 um so they're building it back up uh this time 00:08:25.040 --> 00:08:27.439 the little three four one going into the moment 00:08:27.439 --> 00:08:32.080 is in trombone tuba berry sax bass clarinet um 00:08:32.080 --> 00:08:35.120 then we're going back from the flowy style at 00:08:35.120 --> 00:08:38.480 29 to more staccato style and you it kind of 00:08:38.480 --> 00:08:41.620 brass starts really soft and Christian, you can 00:08:41.620 --> 00:08:43.980 feel that we're going back to the original melodic 00:08:43.980 --> 00:08:47.220 idea, this thing in the low brass, low reeds, 00:08:47.360 --> 00:08:50.970 one, and three, and one, and. Three, and one, 00:08:51.070 --> 00:08:52.669 and it's just kind of building and building and 00:08:52.669 --> 00:08:56.169 you're going back to that firmer style. And again, 00:08:56.250 --> 00:08:59.029 we went to this soft thing and now we're building 00:08:59.029 --> 00:09:02.029 back up and it's gonna end up being a recap of 00:09:02.029 --> 00:09:05.029 exactly what we had at the beginning. Nice transition 00:09:05.029 --> 00:09:08.210 in here. Yep, horn, trumpet too are still being 00:09:08.210 --> 00:09:10.690 kind of featured in with saxophone and flute, 00:09:10.710 --> 00:09:16.049 no bow. So just a nice little like. mellow sounding 00:09:16.049 --> 00:09:18.250 grouping of instruments here. And the trumpet 00:09:18.250 --> 00:09:20.490 two part in this section as we get ready to get 00:09:20.490 --> 00:09:22.490 back into the recap, the trumpet two part is 00:09:22.490 --> 00:09:25.570 actually doubling the horn and trumpet one is 00:09:25.570 --> 00:09:27.549 doing something completely different. So kind 00:09:27.549 --> 00:09:31.049 of an interesting doubling right there, but it's 00:09:31.049 --> 00:09:33.110 in a very comfortable range for trumpet and horn 00:09:33.110 --> 00:09:38.090 actually. Then there's a timpani. Crescendo along 00:09:38.090 --> 00:09:41.610 with doubling doubling the snare Going back into 00:09:41.610 --> 00:09:44.529 the main melodic feature at 34. So we're back 00:09:44.529 --> 00:09:46.690 to the trumpets having the melody trumpet one 00:09:46.690 --> 00:09:50.320 specifically It's literally a recap from the 00:09:50.320 --> 00:09:53.480 beginning all the way till 42 42 We have that 00:09:53.480 --> 00:09:56.340 same melodic figure in flute and oboe that counter 00:09:56.340 --> 00:09:59.259 melody with the counter melody with sax and bells 00:09:59.259 --> 00:10:03.100 And then we're kind of finishing out with a little 00:10:03.100 --> 00:10:08.139 new idea at 48 Trumpet goes one two three four 00:10:08.139 --> 00:10:10.320 and then flute and clarinet and sax have one 00:10:10.320 --> 00:10:14.019 two three four And then we get into the one little 00:10:14.019 --> 00:10:18.179 low brass melody So there is some different stuff 00:10:18.179 --> 00:10:22.519 happening with this recap here at measure 42, 00:10:22.740 --> 00:10:25.580 that counter melody, KD reference. There is some 00:10:25.580 --> 00:10:27.919 new stuff happening in the percussion symbol 00:10:27.919 --> 00:10:30.919 family there that you can kind of bring out to 00:10:30.919 --> 00:10:32.860 help make the color of this section a little 00:10:32.860 --> 00:10:34.220 different than what we heard back at measure 00:10:34.220 --> 00:10:38.100 nine. Yep. Um, after these little mini scales 00:10:38.100 --> 00:10:41.480 at 50, we have the one moment of low brass and 00:10:41.480 --> 00:10:43.799 low read glory. So they have the three measure 00:10:43.799 --> 00:10:47.139 moment. Yep. One, two, three, four, one, and 00:10:47.139 --> 00:10:49.940 two, three, and four, one. And then everybody's 00:10:49.940 --> 00:10:53.080 pushing through with a up. Look at that timpani 00:10:53.080 --> 00:10:56.960 moment. Not the same as snare drum. No, she's 00:10:56.960 --> 00:10:59.639 right. Different snare drum. Well, obviously 00:10:59.639 --> 00:11:01.539 it has different pitches. The snare drum is playing 00:11:01.539 --> 00:11:03.980 one, two, and three, four, and the timpani plays 00:11:03.980 --> 00:11:07.440 one, two, and three, four, and one, four, and 00:11:07.440 --> 00:11:12.139 so it was slightly. It does make it fanfare -ish. 00:11:13.100 --> 00:11:15.889 And then the last three measures are just. You 00:11:15.889 --> 00:11:18.210 know, accent at quarter, quarter, rest, quarter, 00:11:18.509 --> 00:11:21.450 rest, whole note, timpani and snare drum, whole 00:11:21.450 --> 00:11:23.889 quarter note. So, and I would make that a full 00:11:23.889 --> 00:11:27.429 value. Absolutely. Much like a March. Yes. So 00:11:27.429 --> 00:11:31.669 very cute. Um, very accessible. Very playable. 00:11:31.830 --> 00:11:34.549 Yes. The ranges are not extreme. Students will 00:11:34.549 --> 00:11:37.649 like it because it sounds really fun. It sounds 00:11:37.649 --> 00:11:40.350 like a fanfare. It sounds like a concert opener. 00:11:40.350 --> 00:11:43.769 Yeah. You know, just exciting and you could do 00:11:43.769 --> 00:11:45.860 whatever you want with it. to make it be extra 00:11:45.860 --> 00:11:48.299 special like Laura mentioned with different symbol 00:11:48.299 --> 00:11:50.419 choices and things like that. And enough to keep 00:11:50.419 --> 00:11:53.779 each of the players engaged in the learning process 00:11:53.779 --> 00:11:58.399 because nobody has just a completely boring simplified 00:11:58.399 --> 00:12:01.919 part. This is a great, to me, introduction back 00:12:01.919 --> 00:12:05.379 into accented style for students that have had 00:12:05.379 --> 00:12:08.320 a whole summer off that need a review of what 00:12:08.320 --> 00:12:10.399 does it mean to play accented? What does it mean 00:12:10.399 --> 00:12:13.059 to play March style? So, yeah. Alright, well 00:12:13.059 --> 00:12:16.299 we hope you guys will consider programming fanfare 00:12:16.299 --> 00:12:18.480 for the fearless in the future and thank you 00:12:18.480 --> 00:12:22.580 for joining us on this episode of Banned BFFs!