WEBVTT 00:00:06.720 --> 00:00:10.359 Welcome to our podcast, Band BFFs. The podcast 00:00:10.359 --> 00:00:12.580 where we make your music selection less complicated. 00:00:12.960 --> 00:00:15.500 On today's episode, we will be discussing Zydeco 00:00:15.500 --> 00:00:19.039 Cajun crawdad dance by Roland Barrett. Cheers 00:00:19.039 --> 00:00:21.699 to starting the conversation. I dare you to say 00:00:21.699 --> 00:00:24.079 that fast five times. No, I had enough trouble 00:00:24.079 --> 00:00:29.269 with slowly one time, but thank you. What a fun 00:00:29.269 --> 00:00:32.409 piece this is. This is very programmatic if you 00:00:32.409 --> 00:00:35.990 can't tell by the title. Yes. It is just under 00:00:35.990 --> 00:00:39.950 three minutes long. It's in cut time. It does 00:00:39.950 --> 00:00:42.609 have a little section in 4 -4 but cut time and 00:00:42.609 --> 00:00:46.049 a fast cut time. It is in the key of concert 00:00:46.049 --> 00:00:49.590 B -flat and then it goes to F and then returns 00:00:49.590 --> 00:00:52.289 back to the key of concert B -flat. This is definitely 00:00:52.289 --> 00:00:53.990 something that is a little bit meatier. It's 00:00:53.990 --> 00:00:57.299 more rhythmically complex. It's more melodically 00:00:57.299 --> 00:01:00.920 complex, articulations, style, style, style, 00:01:01.579 --> 00:01:05.840 split trumpet parts, split clarinet parts. Lots 00:01:05.840 --> 00:01:08.980 of percussion. It calls for a wash. We were just 00:01:08.980 --> 00:01:10.799 having the discussion. It calls for a washboard. 00:01:10.859 --> 00:01:12.980 I mean, it's very this is meant to be very Creole, 00:01:12.980 --> 00:01:17.599 right? Louisiana style music, but the washboard 00:01:17.599 --> 00:01:20.000 is really important in this. If you don't have 00:01:20.000 --> 00:01:23.260 a washboard, you could sub that the washboard 00:01:23.260 --> 00:01:27.359 part for a Weero. It does call for a Weero in 00:01:27.359 --> 00:01:30.599 a separate section of this, but you could choose 00:01:30.599 --> 00:01:34.000 to not cover the actual Weero part and instead 00:01:34.000 --> 00:01:38.189 just use that as a substitute washboard if you 00:01:38.189 --> 00:01:43.769 had to. Yep. So as Laura mentioned, it's a brisk 00:01:43.769 --> 00:01:48.510 120 marked in cut time. It starts off with like 00:01:48.510 --> 00:01:51.930 a little flute trill and just like bells playing 00:01:51.930 --> 00:01:56.549 and suspended cymbal. And then we have the first 00:01:56.549 --> 00:02:00.530 statement of the little zydeco melody, one and 00:02:00.530 --> 00:02:03.590 two. And then the next measure, another group 00:02:03.590 --> 00:02:06.370 one E and two. Um, so it's just kind of doing 00:02:06.370 --> 00:02:09.370 this little introduction to the melody and then 00:02:09.370 --> 00:02:12.789 two E and a one E and two one E and two. So it's 00:02:12.789 --> 00:02:14.969 just kind of passing back and forth. Lots of 00:02:14.969 --> 00:02:19.009 accidentals written in, um, go, uh, concert a 00:02:19.009 --> 00:02:21.669 flats. Um, so just got to be kind of aware of 00:02:21.669 --> 00:02:24.370 that again, as Laura mentioned, lots of style, 00:02:24.610 --> 00:02:27.270 lots of accents on beat one. So to kind of give 00:02:27.270 --> 00:02:30.150 that, you know, feel of like one and three being 00:02:30.150 --> 00:02:33.719 brought out. and then everybody kind of joins 00:02:33.719 --> 00:02:36.159 together. So it's kind of like imagining like 00:02:36.159 --> 00:02:38.240 a party, like you're getting ready for a Cajun 00:02:38.240 --> 00:02:42.080 party. And everybody's just like interjecting 00:02:42.080 --> 00:02:45.900 that part over and over. You know, that sort 00:02:45.900 --> 00:02:47.840 of thing. And they end up on a long note like, 00:02:48.379 --> 00:02:51.419 and they hold out that note. So just like teacher 00:02:51.419 --> 00:02:53.860 kids. Well, first of all, I would not try to 00:02:53.860 --> 00:02:55.919 learn it in cut time, right? Oh, of course. So 00:02:55.919 --> 00:02:58.659 start learning it in a fast four four. Now I 00:02:58.659 --> 00:03:01.569 know that there are different schools of thought 00:03:01.569 --> 00:03:04.349 on this, but because it's eventually supposed 00:03:04.349 --> 00:03:09.050 to be 120 in cut time, I would try to go faster 00:03:09.050 --> 00:03:12.710 than 120 in 4 -4 so that you are not learning 00:03:12.710 --> 00:03:17.889 it in half speed or less than. It is way more 00:03:17.889 --> 00:03:20.550 difficult to really help the kids capture the 00:03:20.550 --> 00:03:24.330 feel of the piece like that. So I would start 00:03:24.330 --> 00:03:28.629 it at 130, 140 in 4 -4 time just to get them 00:03:28.629 --> 00:03:30.550 comfortable on of the more syncopated rhythms 00:03:30.550 --> 00:03:32.750 which we're coming up to in just a second and 00:03:32.750 --> 00:03:35.990 then as quickly as possible shift it to cut time 00:03:35.990 --> 00:03:39.069 even keeping that same tempo 140 and 44 okay 00:03:39.069 --> 00:03:42.729 now we're going to go 70 in cut time so that 00:03:42.729 --> 00:03:44.870 they can start to get the feel of what it's like 00:03:44.870 --> 00:03:48.330 in cut time. I'm also currently doing a cut time 00:03:48.330 --> 00:03:53.189 piece and I did the same thing once we got to 00:03:53.189 --> 00:03:56.629 140 I switched it over but I did teach it from 00:03:56.629 --> 00:03:58.229 the get -go that the kids were not going to tap 00:03:58.229 --> 00:04:01.099 their in 4 -4. Yes. And I made them do a rhythm 00:04:01.099 --> 00:04:03.900 sheet on our piece and we didn't do the rhythms 00:04:03.900 --> 00:04:07.840 in 4 -4. I made them write in the rhythms in 00:04:07.840 --> 00:04:10.659 cut time so that they would learn how to count 00:04:10.659 --> 00:04:14.259 it in cut time so their foot tap would be in 00:04:14.259 --> 00:04:16.459 cut time so that when we finally eventually made 00:04:16.459 --> 00:04:18.959 that shift into the faster feel they weren't 00:04:18.959 --> 00:04:20.540 going I don't know what we're doing anymore or 00:04:20.540 --> 00:04:22.360 like one two three four one two three four you 00:04:22.360 --> 00:04:25.040 know their foot can't keep up with that so that 00:04:25.040 --> 00:04:28.910 I think is a good idea for for just any piece 00:04:28.910 --> 00:04:31.269 that's gonna have cut time teach them to tap 00:04:31.269 --> 00:04:34.050 their foot that way the whole time yes yeah i 00:04:34.050 --> 00:04:36.589 think that's really important yep um after the 00:04:36.589 --> 00:04:39.970 long note everybody gets to go one and two one 00:04:39.970 --> 00:04:45.000 and two and uh and two and yeah I don't know 00:04:45.000 --> 00:04:47.699 I'm sight reading this piece but uh it's very 00:04:47.699 --> 00:04:50.980 very syncopated yeah one e and two and a e f 00:04:50.980 --> 00:04:53.959 three or a two and yeah one e and two and a e 00:04:53.959 --> 00:04:56.420 a two and yeah so that rhythm comes back a lot 00:04:56.420 --> 00:04:59.339 so I mean obviously I would make sure that they 00:04:59.339 --> 00:05:02.019 know how to count it in cut time I think that's 00:05:02.019 --> 00:05:06.500 important um playing it on one note uh so that 00:05:06.500 --> 00:05:08.519 they have the idea of what the rhythm is and 00:05:08.519 --> 00:05:10.980 then putting it on your pitches and the way that 00:05:10.980 --> 00:05:13.750 uh Roland Barrett has written out the articulations. 00:05:13.870 --> 00:05:17.310 The slurs are really, they actually, I think, 00:05:17.550 --> 00:05:19.730 make it even easier. And it has a little bit 00:05:19.730 --> 00:05:25.149 more of that like back beat feel. So that's cool 00:05:25.149 --> 00:05:27.170 because he probably wrote it to keep it like 00:05:27.170 --> 00:05:29.290 really stylistic too, which I think is awesome. 00:05:29.689 --> 00:05:32.069 So there are two big primary melodies that happen. 00:05:32.089 --> 00:05:38.170 This one here at the very beginning. And that's 00:05:38.170 --> 00:05:40.879 what we're getting into right now. We've set 00:05:40.879 --> 00:05:43.399 the whole piece up, we get to measure 23, and 00:05:43.399 --> 00:05:45.439 the flute and the clarinets are the ones that 00:05:45.439 --> 00:05:48.819 are establishing that first little melody. We 00:05:48.819 --> 00:05:51.560 have motor parts going on. The motor part reminds 00:05:51.560 --> 00:05:54.819 me of the little like, boom, boom. Like the little, 00:05:55.579 --> 00:05:57.279 what is that? Yeah, I know what you're talking 00:05:57.279 --> 00:05:59.420 about. I wish you could see her face so you could 00:05:59.420 --> 00:06:01.480 see what she's. What is that thing called though? 00:06:01.779 --> 00:06:04.750 Like a. Like a jug. Yes. Is that what it is? 00:06:04.750 --> 00:06:05.949 Yes, yes, yes, yes. Yeah, like where you blow 00:06:05.949 --> 00:06:08.430 on the jug across like a flute, like you blow 00:06:08.430 --> 00:06:11.470 across the jug hole and it goes, boom, boom, 00:06:11.470 --> 00:06:15.870 jug. I don't know. What do you call it? We need 00:06:15.870 --> 00:06:17.850 to be more educated on Creole music. Sorry everybody. 00:06:18.430 --> 00:06:21.069 But they does that too in the part. It's like 00:06:21.069 --> 00:06:23.250 it's tuba in euphonium and they're going boom, 00:06:23.310 --> 00:06:25.970 boom, boom, boom. They're all on the downbeat 00:06:25.970 --> 00:06:27.550 and then we have some of the others that are 00:06:27.550 --> 00:06:28.889 on the upbeat. Yeah, it's cute. So we've got 00:06:28.889 --> 00:06:31.790 like the - Yeah, the jug band. Yes. Well, yeah. 00:06:32.460 --> 00:06:35.439 I'm gonna just shift and we're gonna pivot and 00:06:35.439 --> 00:06:38.360 pivot, pivot. Okay, thank you. Our friend's reference 00:06:38.360 --> 00:06:41.139 will always help. But they are on the downbeat 00:06:41.139 --> 00:06:43.240 tubas, bass clarinets, bari. They are on the 00:06:43.240 --> 00:06:45.339 downbeat and then we've got trombones and euphoniums 00:06:45.339 --> 00:06:47.079 that are filling in on the upbeat. So they're 00:06:47.079 --> 00:06:48.899 like playing the role of a French horn in a march 00:06:48.899 --> 00:06:53.079 and just making sure that that locks in. The 00:06:53.079 --> 00:06:55.480 woodblock, we didn't even talk about. percussion 00:06:55.480 --> 00:06:58.100 besides the washboard and weero stuff, but there 00:06:58.100 --> 00:07:00.839 is quite a bit of percussion and it's all really 00:07:00.839 --> 00:07:03.560 important to add to the texture and the feel 00:07:03.560 --> 00:07:06.279 of this. Woodblock is like taking the place of 00:07:06.279 --> 00:07:08.759 snare drum in a lot of this, so you need your 00:07:08.759 --> 00:07:12.910 woodblock player to be, you know, solid. So we 00:07:12.910 --> 00:07:14.949 have this little melodic idea. This goes all 00:07:14.949 --> 00:07:17.189 the way through in the upper woodwinds. We end 00:07:17.189 --> 00:07:19.769 up adding oboe in eventually, but we repeat this 00:07:19.769 --> 00:07:22.470 little melodic statement until we make it to 00:07:22.470 --> 00:07:25.149 measure 31. Now those same instruments that were 00:07:25.149 --> 00:07:29.089 playing the first melody now go into this accompaniment 00:07:29.089 --> 00:07:31.529 mode on this little half note feature. And it's 00:07:31.529 --> 00:07:34.290 slurred and just like flowing underneath the 00:07:34.290 --> 00:07:36.810 melody which is in the trumpet. And trumpet brings 00:07:36.810 --> 00:07:41.459 in the second theme that we hear in this piece, 00:07:42.019 --> 00:07:44.819 um, one and two, uh, e and two and one and two 00:07:44.819 --> 00:07:48.519 e, uh, one and two, uh, e and two and one and 00:07:48.519 --> 00:07:52.120 two e, uh, so, and most of the band will have 00:07:52.120 --> 00:07:55.939 one of those two themes at some point in the 00:07:55.939 --> 00:07:58.779 piece, if not both. So Katie mentioning that 00:07:58.779 --> 00:08:02.139 she did a rhythm sheet for that. This is a great 00:08:02.139 --> 00:08:04.560 for a melody sheet because you can address the 00:08:04.560 --> 00:08:06.459 rhythm, you can address the style, you can address 00:08:06.459 --> 00:08:09.040 the notes and the whole band. it's gonna affect 00:08:09.040 --> 00:08:13.259 the whole band. Yep. So we get to 39, the upper 00:08:13.259 --> 00:08:15.819 woodwinds have that same first melody again. 00:08:15.920 --> 00:08:19.439 We're back to the jug band feel at 39. No, I'm 00:08:19.439 --> 00:08:22.240 not letting it go everyone. And the little woodblock 00:08:22.240 --> 00:08:25.720 part comes back again, like we had before. And 00:08:25.720 --> 00:08:29.360 this little melodic thing goes on for eight measures. 00:08:29.379 --> 00:08:32.740 And then at 47, now the low brass get that part 00:08:32.740 --> 00:08:36.240 that the trumpets had before. And now the trumpets 00:08:36.240 --> 00:08:39.620 have gone back to that slurry flowy thing that 00:08:39.620 --> 00:08:42.120 the upper woodwinds had before now the trumpets 00:08:42.120 --> 00:08:44.960 get it and this is kind of like a brass feature 00:08:44.960 --> 00:08:47.679 sort of but there's not even a tuba part yeah 00:08:47.679 --> 00:08:50.299 so it's featured in euphonium and trombone and 00:08:50.299 --> 00:08:53.539 there is not um a lot of times in this piece 00:08:53.539 --> 00:08:56.120 where the whole band is playing there is well 00:08:56.120 --> 00:08:58.480 i guess the better way to put it is section yeah 00:08:58.480 --> 00:09:01.019 there is there is way more of this piece that 00:09:01.019 --> 00:09:04.519 is small different color groups of instruments 00:09:04.519 --> 00:09:08.200 even like in this area you know from measure 00:09:08.200 --> 00:09:11.879 23 on So it's kind of cool to kind of experiment 00:09:11.879 --> 00:09:13.480 with those different colors and give those sections 00:09:13.480 --> 00:09:16.740 an opportunity to be featured for sure. Those 00:09:16.740 --> 00:09:19.600 low reeds and low brass, the tenor voices, if 00:09:19.600 --> 00:09:22.659 you will, are moving on with that part. And then 00:09:22.659 --> 00:09:25.440 we get to 55 and we're back to the upper people 00:09:25.440 --> 00:09:28.740 with that first melody part. Trumpets now have 00:09:28.740 --> 00:09:31.779 kind of like a counter melody rhythmic line, 00:09:31.779 --> 00:09:36.639 I would call it, along with snare drum. And horns 00:09:36.639 --> 00:09:39.620 have like this really cool moment with saxophone 00:09:39.620 --> 00:09:42.919 that I thought was neat to kind of feature a 00:09:42.919 --> 00:09:44.820 little bit more because it's just a different 00:09:44.820 --> 00:09:48.919 thought. little harmonic cool pretty part yes 00:09:48.919 --> 00:09:52.230 we do have the full band in here playing at this 00:09:52.230 --> 00:09:55.590 point. First time since the intro. But it is 00:09:55.590 --> 00:10:02.850 that same idea that just in different color groups 00:10:02.850 --> 00:10:04.649 moving throughout the band. Now we're getting 00:10:04.649 --> 00:10:07.129 ready to come into a transition point where it 00:10:07.129 --> 00:10:09.070 slows down. There's a ritardando and the full 00:10:09.070 --> 00:10:12.250 band is moving in half notes together. We end 00:10:12.250 --> 00:10:16.649 up on a fermata before we transition to 4 -4 00:10:16.649 --> 00:10:21.330 time and much slower. This is just a little Two 00:10:21.330 --> 00:10:23.889 bar, what is the word I'm looking for? Just a 00:10:23.889 --> 00:10:26.830 little like... Interlude. There you go. Just 00:10:26.830 --> 00:10:30.909 an in -between thing. Slow at 60 BPM. It's just 00:10:30.909 --> 00:10:34.649 woodwinds, real pretty sounds, two, three, four, 00:10:34.850 --> 00:10:38.210 fermata, other people playing fermata. And then 00:10:38.210 --> 00:10:42.409 we get to the Cajun party. This is the party 00:10:42.409 --> 00:10:45.250 dance area of the piece and I think it's really 00:10:45.250 --> 00:10:48.610 cool. Timpani has a solo. They just like kind 00:10:48.610 --> 00:10:51.519 of hit a roll. and then get louder and louder 00:10:51.519 --> 00:10:54.840 and louder. And then everybody gets to just go 00:10:54.840 --> 00:11:01.299 wild. Yes. Clapping, cheering, like all the things, 00:11:01.620 --> 00:11:04.399 everybody, you know, clapping on the upbeats 00:11:04.399 --> 00:11:06.679 or the backbeats, which are super important in 00:11:06.679 --> 00:11:09.279 Creole music. Katie's so torn up about it. Yeah. 00:11:09.279 --> 00:11:11.799 I'm very excited about the little, the woohoo 00:11:11.799 --> 00:11:14.000 moments that like you could do, you know, like, 00:11:14.259 --> 00:11:16.720 like a Cajun party. Yeah. They can have fun. 00:11:18.860 --> 00:11:21.759 Yeah, you just shout out stuff random stuff while 00:11:21.759 --> 00:11:23.899 they're clapping. So this is awesome. Percussion 00:11:23.899 --> 00:11:26.340 is playing. We've got the washboard going. That's 00:11:26.340 --> 00:11:29.100 really setting the I mean this to me. I'll tell 00:11:29.100 --> 00:11:32.919 you if you have oh my gosh. What was that? What 00:11:32.919 --> 00:11:35.139 was that? No, I'm not even gonna try and name 00:11:35.139 --> 00:11:36.720 the movie because I'm gonna I'm gonna butcher 00:11:36.720 --> 00:11:40.679 it. But that movie that came out last year. that 00:11:40.679 --> 00:11:43.600 was so, it won all these awards and it was about 00:11:43.600 --> 00:11:46.899 the zombies and the barn and they were doing 00:11:46.899 --> 00:11:48.919 the, do you know the movie I'm talking about? 00:11:49.039 --> 00:11:51.360 Have you not seen it? Well anyway, okay, so those 00:11:51.360 --> 00:11:52.799 of you out there in the world who have seen the 00:11:52.799 --> 00:11:54.299 movie I'm talking about and I'm totally blanking 00:11:54.299 --> 00:11:59.139 on what the name of this movie is. But this reminds 00:11:59.139 --> 00:12:04.149 me of the type of music. Blood Barn? No. I looked 00:12:04.149 --> 00:12:08.610 up Zombie Barn. Oh Lord. No, I'm so sorry. I 00:12:08.610 --> 00:12:10.250 should never have referenced it without having 00:12:10.250 --> 00:12:12.570 the name of the movie right on the tip of my 00:12:12.570 --> 00:12:17.710 brain. But anyway, that dance theme music, that's 00:12:17.710 --> 00:12:19.769 what this is. So now you do need to make sure 00:12:19.769 --> 00:12:22.889 that your kids can clap in time and that we can 00:12:22.889 --> 00:12:26.720 keep everything - 28 years later? No. But you 00:12:26.720 --> 00:12:28.700 have to give her an A for effort. She is really 00:12:28.700 --> 00:12:32.240 - This is not a test? No. Zombies 4? No. Was 00:12:32.240 --> 00:12:37.360 it about zombies? Um, yes. Something - I mean, 00:12:37.620 --> 00:12:41.940 zombies may not be the right word, but in - No, 00:12:42.139 --> 00:12:49.639 we need to give it up. I'm sure if someone is 00:12:49.639 --> 00:12:51.059 listening right now and you know what movie we're 00:12:51.059 --> 00:12:53.759 talking about, I'm sure you're yelling at your 00:12:53.759 --> 00:12:56.639 phone going, oh my gosh, this is what it's supposed 00:12:56.639 --> 00:13:00.179 to be. But right here, I love this part because 00:13:00.179 --> 00:13:03.240 it gives every chance, every section or a couple 00:13:03.240 --> 00:13:06.019 of sections a chance to be featured and they 00:13:06.019 --> 00:13:08.179 pair them up in different ways. I mean, I would, 00:13:08.480 --> 00:13:10.559 I'm currently working on this for spring concert 00:13:10.559 --> 00:13:13.200 with my band and we've absolutely planned to 00:13:13.200 --> 00:13:16.820 let the sections stand up and be, you know, stand 00:13:16.820 --> 00:13:20.919 up and truly featured when they play this. But 00:13:20.919 --> 00:13:23.460 we pass that melody that we established before. 00:13:24.179 --> 00:13:26.419 And everybody else is clapping on the back beat 00:13:26.419 --> 00:13:29.419 all the way throughout. So they kind of keep 00:13:29.419 --> 00:13:32.620 going. Percussion is doing a really great job 00:13:32.620 --> 00:13:35.080 kind of underneath with keeping the beat. Then 00:13:35.080 --> 00:13:39.210 we get a new grouping of the sax family. um along 00:13:39.210 --> 00:13:42.669 with the trumpet um so kind of the mid voices 00:13:42.669 --> 00:13:45.590 and then after them we're still clapping and 00:13:45.590 --> 00:13:49.669 going on at 95 we get to have the low voices 00:13:49.669 --> 00:13:53.289 which also includes horn um and they take over 00:13:53.289 --> 00:13:56.029 the same melody line everybody else is clapping 00:13:56.029 --> 00:14:00.740 and then we get to a Back to the first original 00:14:00.740 --> 00:14:04.259 key of concert B -flat and 4 -4 time. And this 00:14:04.259 --> 00:14:08.059 is true 4 -4 and not cut time this time. So the 00:14:08.059 --> 00:14:10.679 tempo is still marked 120 but you're actually 00:14:10.679 --> 00:14:16.120 in 4 -4. Sinners. Okay. The movie is called Sinners. 00:14:16.419 --> 00:14:18.419 Okay. She had enough time to look it up. Yeah. 00:14:18.440 --> 00:14:20.899 Okay. There we go. Okay. So now we're in the 00:14:20.899 --> 00:14:25.019 actual true 4 -4 moment at 105. And it is at 00:14:25.019 --> 00:14:28.399 120 BPM. So it's the same tempo that you went 00:14:28.399 --> 00:14:31.159 before. So basically what we've done is we've 00:14:31.159 --> 00:14:34.379 augmented the melody. So it is the exact same 00:14:34.379 --> 00:14:36.700 melody that we had before, but augmented. Now 00:14:36.700 --> 00:14:39.320 the flutes and the first clarinets and the bells 00:14:39.320 --> 00:14:42.019 are playing some kind of wiggly eighth notes 00:14:42.019 --> 00:14:44.639 accompanying it. it's not the same accompaniment 00:14:44.639 --> 00:14:47.460 that we had before. Melodies in the trumpet, 00:14:47.700 --> 00:14:50.840 tenor sax, second clarinet, and oboe. And then 00:14:50.840 --> 00:14:54.860 we've gone to snare drum here instead of washboard. 00:14:55.259 --> 00:14:58.620 So it is definitely a little bit different feel 00:14:58.620 --> 00:15:02.480 here, but it's the same concept, just augmented. 00:15:03.360 --> 00:15:07.159 After this moment, we have another fermata. moment 00:15:07.159 --> 00:15:10.559 and then a cutoff and a fermata um another little 00:15:10.559 --> 00:15:14.159 timpani roll with the timpani and this time the 00:15:14.159 --> 00:15:18.100 suspended cymbal looks like going into the cut 00:15:18.100 --> 00:15:22.940 time feel again at 113 and it is back into true 00:15:22.940 --> 00:15:24.960 cut time and it's just like the beginning with 00:15:24.960 --> 00:15:28.440 the trill and the flute one and two another instrument 00:15:28.440 --> 00:15:31.960 another instrument yeah so that kind of finishes 00:15:31.960 --> 00:15:36.179 out to um the end it's just like the beginning 00:15:36.179 --> 00:15:38.600 where everybody eventually comes together with 00:15:38.600 --> 00:15:44.139 one en two and a en two and one two one en two 00:15:44.139 --> 00:15:48.330 so cute just a cute little ending too Very fun. 00:15:48.809 --> 00:15:51.629 Once you get the feel of it and you understand 00:15:51.629 --> 00:15:55.629 that syncopated rhythm and everybody's locked 00:15:55.629 --> 00:15:59.990 in on that, this is not overly challenging, but 00:15:59.990 --> 00:16:03.049 fun. It'll appeal to audiences. The kids will 00:16:03.049 --> 00:16:04.809 have a good time playing it. I think there's 00:16:04.809 --> 00:16:09.269 lots of uses for a piece like this. Lots of opportunities 00:16:09.269 --> 00:16:12.070 to play something in a different style. Yeah, 00:16:12.070 --> 00:16:15.330 definitely. So cool. Well, we hope you will consider 00:16:15.330 --> 00:16:18.909 programming. Zydeco Cajun crawdad dance in the 00:16:18.909 --> 00:16:20.610 future. That was excellent. Good for you. I know. 00:16:20.610 --> 00:16:22.570 I'm real proud of myself. And thank you for joining 00:16:22.570 --> 00:16:25.990 us on this episode of Band BFFs.