WEBVTT 00:00:06.479 --> 00:00:10.460 Welcome to our podcast, Band BFFs. The podcast 00:00:10.460 --> 00:00:12.960 where we make your music selection less complicated. 00:00:13.380 --> 00:00:19.879 Well, we have a very special episode today. It's 00:00:19.879 --> 00:00:24.739 our 100th episode ever, which makes us both like, 00:00:24.739 --> 00:00:26.730 whoa. I know, I can't believe it. It's gonna 00:00:26.730 --> 00:00:29.670 be crazy. So we're gonna talk about Knox Bridge 00:00:29.670 --> 00:00:33.049 Jubilee by Todd Stalter. Cheers to starting the 00:00:33.049 --> 00:00:38.030 conversation. The 100th conversation about band 00:00:38.030 --> 00:00:41.789 literature, Katie. Oh my gosh. So weird. I know, 00:00:41.850 --> 00:00:45.090 but we started this whole journey on a little 00:00:45.090 --> 00:00:47.689 bit of a whim. I don't know what three years 00:00:47.689 --> 00:00:51.130 ago, maybe not even. Um, but this is going to 00:00:51.130 --> 00:00:54.750 be the first episode also of our fourth season. 00:00:54.950 --> 00:00:57.630 Yes. So thank you for those of you that have 00:00:57.630 --> 00:01:01.049 checked out episodes and, and hung out with us 00:01:01.049 --> 00:01:03.009 and traveled this journey with us. We are so 00:01:03.009 --> 00:01:05.549 thankful for, for all of you. Very thankful for 00:01:05.549 --> 00:01:09.069 your, for your patronage and also your support 00:01:09.069 --> 00:01:11.590 throughout all the and hopefully we've helped 00:01:11.590 --> 00:01:14.689 you come up with some great literature in all 00:01:14.689 --> 00:01:17.329 of your band years. And we hope to be continuing 00:01:17.329 --> 00:01:19.909 this for a long time. Absolutely. All right, 00:01:19.909 --> 00:01:21.769 well let's get started with today's episode, 00:01:21.950 --> 00:01:24.769 Knoxbridge Jubilee. This is a grade two that 00:01:24.769 --> 00:01:28.430 is not on the Texas PML. It's in the key of concert 00:01:28.430 --> 00:01:30.950 B flat, no key changes throughout, and it's in 00:01:30.950 --> 00:01:34.569 4 -4. This is a little bit, I think this is a 00:01:34.569 --> 00:01:38.489 bit of a challenging grade two. We do have split 00:01:38.489 --> 00:01:41.359 clarinet and both clarinet parts are above the 00:01:41.359 --> 00:01:45.599 break, split alto parts, trumpet, trombone, and 00:01:45.599 --> 00:01:47.780 the trombone and euphonium parts are not always 00:01:47.780 --> 00:01:50.760 aligned, loads of percussion, and your timpani 00:01:50.760 --> 00:01:53.540 player is really, really, really, really, really 00:01:53.540 --> 00:01:57.010 important in this one. Yep. It's about two minutes 00:01:57.010 --> 00:02:00.549 long and the tempo is very brisk. It's written 00:02:00.549 --> 00:02:04.310 it to be about 150 on the metronome Just like 00:02:04.310 --> 00:02:07.650 the title suggests. It's like a celebration piece. 00:02:07.650 --> 00:02:10.650 So we thought that was pretty fitting for our 00:02:10.650 --> 00:02:15.830 episode of the season and the 100th ever so It's 00:02:15.830 --> 00:02:18.830 got a lot of great teaching elements in it as 00:02:18.830 --> 00:02:22.629 well lots of style aspects But a lot of it is 00:02:22.629 --> 00:02:26.139 very up energy or very like cutesy and light. 00:02:26.460 --> 00:02:28.400 So we'll talk through all of that throughout 00:02:28.400 --> 00:02:30.580 the piece. And kids will enjoy it. The melodic 00:02:30.580 --> 00:02:33.979 content is very, kids like it. It's singable, 00:02:34.120 --> 00:02:37.919 it's fun, but it doesn't do the same thing like 00:02:37.919 --> 00:02:41.259 20 times. It changes ideas throughout. So I think 00:02:41.259 --> 00:02:43.819 kids really enjoy working on a piece like this. 00:02:44.659 --> 00:02:49.949 But it is a more challenging grade too. So it 00:02:49.949 --> 00:02:52.490 starts out with just the upper woodwinds kind 00:02:52.490 --> 00:02:54.830 of playing back and forth, one and two and three 00:02:54.830 --> 00:02:57.650 and four, and it kind of all streams together 00:02:57.650 --> 00:03:00.289 along with the bells. Snare drum comes in with 00:03:00.289 --> 00:03:02.569 a kind of little active part in measure two, 00:03:02.569 --> 00:03:05.289 and then the full band joins in measure three 00:03:05.289 --> 00:03:09.090 with accents, a big beat to entrance in the low 00:03:09.090 --> 00:03:12.389 brass and low reeds, you know, just to kind of 00:03:12.389 --> 00:03:15.610 give it that little punch. And it's kind of like 00:03:15.610 --> 00:03:20.310 almost like a fanfare type opening. to kind of 00:03:20.310 --> 00:03:23.490 change the modality of it. Lots of tongues and 00:03:23.490 --> 00:03:27.590 slurs throughout as well. And then it ends with 00:03:27.590 --> 00:03:31.550 like one and, and then three, four, one, three, 00:03:31.590 --> 00:03:34.610 one, and everybody hits. And then big timpani 00:03:34.610 --> 00:03:37.289 solo followed by snare drum kind of taking it 00:03:37.289 --> 00:03:40.729 into the first box number at 11. Exciting opening. 00:03:40.870 --> 00:03:43.069 Very exciting opening. And it is something you 00:03:43.069 --> 00:03:45.710 have to spend time on making sure all parts align 00:03:45.710 --> 00:03:48.300 because people aren't entering on this. same 00:03:48.300 --> 00:03:50.479 beat every time so and making sure that style 00:03:50.479 --> 00:03:52.919 that's it's a great like use bopping to help 00:03:52.919 --> 00:03:55.500 you in that introduction to get everything locked 00:03:55.500 --> 00:03:58.180 in where it needs to be. I know we talked about 00:03:58.180 --> 00:04:00.379 the timpani player but your snare drum player 00:04:00.379 --> 00:04:02.780 like the percussion parts on this are really 00:04:02.780 --> 00:04:06.120 important and you really need strong players 00:04:06.120 --> 00:04:08.800 really across the board like on accessories on 00:04:08.800 --> 00:04:11.000 mallets on snare on timpani you just need to 00:04:11.000 --> 00:04:12.599 make sure they're they're strong and confident 00:04:12.599 --> 00:04:16.160 players. At measure 11 we get our first taste 00:04:16.160 --> 00:04:18.600 of the initial melody that we're going to hear 00:04:18.600 --> 00:04:21.839 it's in trumpet horns and altos and by the way 00:04:21.839 --> 00:04:24.300 those three instruments I think are really important 00:04:24.300 --> 00:04:26.680 they're featured a lot in this piece so trumpet 00:04:26.680 --> 00:04:29.319 and horns and altos one two and three four and 00:04:29.319 --> 00:04:32.019 one two and three four and one and then we get 00:04:32.019 --> 00:04:35.180 interjections in all of the other the low voices 00:04:35.180 --> 00:04:39.379 echo them immediately after one two and three 00:04:39.379 --> 00:04:41.680 four and they have the exact same thing And then 00:04:41.680 --> 00:04:44.500 we have a little accompaniment one and three 00:04:44.500 --> 00:04:47.980 and one and that happens in those upper and middle 00:04:47.980 --> 00:04:51.459 voices. So immediately you're talking about layering, 00:04:52.139 --> 00:04:54.720 balance, what the most important part is, making 00:04:54.720 --> 00:04:56.459 sure that all of that is coming to the front 00:04:56.459 --> 00:04:59.769 and that the kids are aware of it. Yep. Then 00:04:59.769 --> 00:05:03.610 the same little melody part goes on again in 00:05:03.610 --> 00:05:08.230 the trumpet and the horn and the alto part. And 00:05:08.230 --> 00:05:10.310 then we're kind of all decrescendoing a little 00:05:10.310 --> 00:05:13.509 bit and then we get louder again going into measure 00:05:13.509 --> 00:05:17.730 19 where the woodwinds have another little section 00:05:17.730 --> 00:05:21.769 that's different in response. One and two and, 00:05:21.970 --> 00:05:26.069 and four and one and two. So, or one, two, three, 00:05:26.069 --> 00:05:28.930 sorry. But it's really cute. And like I said, 00:05:29.050 --> 00:05:31.110 I think a lot of times in this piece, like the 00:05:31.110 --> 00:05:33.029 cutesy parts come from the upper woodwinds with 00:05:33.029 --> 00:05:36.089 like staccatos, with like an ostinato type part, 00:05:36.730 --> 00:05:38.769 or like right here, they're just doing like a 00:05:38.769 --> 00:05:40.810 little interjection from the brass. And this 00:05:40.810 --> 00:05:42.930 is literally just like, I mean, it literally 00:05:42.930 --> 00:05:45.269 is like a little, yeah, it's like a little part 00:05:45.269 --> 00:05:47.370 that just glues the next part together with this 00:05:47.370 --> 00:05:50.980 first part. Yep. um then we have a little syncopated 00:05:50.980 --> 00:05:54.899 rhythm one and four one two and three and four 00:05:54.899 --> 00:05:58.800 and 23 so then at 23 we're back to the same people 00:05:58.800 --> 00:06:02.360 on the melody and now we add in more of the band 00:06:02.360 --> 00:06:05.120 on the background part so they just have like 00:06:05.120 --> 00:06:09.829 one and four one and So like as Laura mentioned, 00:06:09.910 --> 00:06:12.189 you can talk a lot about balancing, making sure 00:06:12.189 --> 00:06:14.509 that all the other voices have to fit into those 00:06:14.509 --> 00:06:17.389 melodic ones. Goes back to the low brass, having 00:06:17.389 --> 00:06:20.149 the same thing in response, just like before. 00:06:20.350 --> 00:06:23.009 Lots of upbeat accents in the percussion part. 00:06:23.209 --> 00:06:25.430 So like, and that stuff is really important to 00:06:25.430 --> 00:06:27.930 give the feel that you want here. So making sure 00:06:27.930 --> 00:06:31.129 that you're, I mean, lots of, you know, accents 00:06:31.129 --> 00:06:33.550 on the one, and two, and three, and four, and 00:06:33.550 --> 00:06:36.069 just being really, really cognizant of that, 00:06:36.089 --> 00:06:38.189 keeping their unaccent. notes low so that we 00:06:38.189 --> 00:06:41.329 get the feel we're going for here. Yep. As we 00:06:41.329 --> 00:06:43.490 go into the next little section we have some 00:06:43.490 --> 00:06:46.250 accents on one and three and then the lows have 00:06:46.250 --> 00:06:49.569 it on two and four and then we have like an arrival 00:06:49.569 --> 00:06:52.350 point with a chord and then the low brass have 00:06:52.350 --> 00:06:56.029 two and three and four leading us into another 00:06:56.029 --> 00:07:02.029 chord two three four one. Yep. And then there's 00:07:02.029 --> 00:07:04.569 a little snare and timpani moment again and then 00:07:04.569 --> 00:07:06.879 we're back to the cutie little woodwindy part 00:07:06.879 --> 00:07:10.860 at 33. So a totally new idea here. So it is this 00:07:10.860 --> 00:07:13.300 type of accompaniment that they had before but 00:07:13.300 --> 00:07:15.839 now it's being turned into a little melody. One 00:07:15.839 --> 00:07:18.740 and and three and and and two and three four 00:07:18.740 --> 00:07:21.560 and one and and it's just in the flute oboe and 00:07:21.560 --> 00:07:24.379 clarinet right here. So yeah nice and light but 00:07:24.379 --> 00:07:27.660 it does have lots of style markings, staccatos, 00:07:27.860 --> 00:07:30.259 accents, all the things. So you and tenutos you 00:07:30.259 --> 00:07:32.519 want to make sure that they're well versed in 00:07:32.519 --> 00:07:34.839 all of that. There's a timpani tuning change 00:07:34.839 --> 00:07:37.240 there too. so make sure you put somebody that 00:07:37.240 --> 00:07:40.639 can do that on that part as well. We add in the 00:07:40.639 --> 00:07:43.839 middle and lower voices just on an accompaniment 00:07:43.839 --> 00:07:47.620 one and four and that's how we had them play 00:07:47.620 --> 00:07:50.199 it. We treated every note it's marked piano in 00:07:50.199 --> 00:07:52.579 the accompaniment parts so we treated every note 00:07:52.579 --> 00:07:57.339 like it was a little forte piano ta ta ta even 00:07:57.339 --> 00:07:59.639 a little bit of space there to define those notes 00:07:59.639 --> 00:08:02.839 so that the rhythm is very clear in the accompaniment 00:08:02.839 --> 00:08:05.889 part. The bells are important here. They do something 00:08:05.889 --> 00:08:07.550 totally different from everybody else. They have 00:08:07.550 --> 00:08:10.550 like a little interjection one and two. Um, and 00:08:10.550 --> 00:08:13.550 then the Kabasa part is the part with the like 00:08:13.550 --> 00:08:16.470 accented, um, upbeats like Laura mentioned before 00:08:16.470 --> 00:08:19.410 that the snare had now the Kabasa has that and 00:08:19.410 --> 00:08:21.029 it's kind of keeping the pulse for the band. 00:08:21.569 --> 00:08:24.370 Um, cause there is no stair part here. Once we 00:08:24.370 --> 00:08:27.189 get to 41, we shift ideas. So the upper woodwinds, 00:08:27.290 --> 00:08:29.430 that flobanet, flute, oboe, clarinet people are 00:08:29.430 --> 00:08:31.589 continuing with what they started before. The 00:08:31.589 --> 00:08:34.029 middle and low voices are continuing with that 00:08:34.029 --> 00:08:37.129 syncopated accompaniment, but now we bring in 00:08:37.129 --> 00:08:40.990 a layer in a new melody. This to me feels soloistic. 00:08:41.090 --> 00:08:44.809 It's not marked as a solo. It's a first trumpet 00:08:44.809 --> 00:08:48.389 feature and a first alto feature, but you could 00:08:48.389 --> 00:08:51.830 treat it like a solo if you wanted to. But the 00:08:51.830 --> 00:08:54.000 first trumpets and the first altos basically 00:08:54.000 --> 00:08:56.340 have a conversation with each other. One and 00:08:56.340 --> 00:09:00.220 two and one and two and four and one and two 00:09:00.220 --> 00:09:02.759 and. Exactly. So they're going back and forth 00:09:02.759 --> 00:09:05.179 kind of this little battle. Now because it is 00:09:05.179 --> 00:09:08.100 just first alto first trumpet and the rest of 00:09:08.100 --> 00:09:13.240 the band is playing something else. Balance is 00:09:13.240 --> 00:09:16.159 a real issue in this section so just making sure 00:09:16.159 --> 00:09:18.919 that again you're that you are you are approaching 00:09:18.919 --> 00:09:22.470 that with your band and they understand it. So 00:09:22.470 --> 00:09:24.629 they kind of go back and forth here for quite 00:09:24.629 --> 00:09:26.730 a little bit of time the flute gets involved 00:09:26.730 --> 00:09:32.289 too with like a little Little bit of a conversational 00:09:32.289 --> 00:09:35.450 piece here and there between the two like kind 00:09:35.450 --> 00:09:39.509 of glues it in And then we end up with a brand 00:09:39.509 --> 00:09:43.129 new like idea at 49 So yeah, like Laura mentioned 00:09:43.129 --> 00:09:45.090 at the beginning this piece doesn't really like 00:09:45.090 --> 00:09:47.250 have the same theme and melody that comes back 00:09:47.250 --> 00:09:50.750 over and over and over it's more programmatic 00:09:50.750 --> 00:09:53.029 like it has different different features and 00:09:53.029 --> 00:09:56.129 things like that. So 49 becomes like the low 00:09:56.129 --> 00:10:00.289 read feature with euphonium and they have kind 00:10:00.289 --> 00:10:04.110 of that same upbeat accented part that like snare 00:10:04.110 --> 00:10:07.409 and kibasa had before one and two and four and 00:10:07.409 --> 00:10:10.409 one and or one and two and three and four and 00:10:10.409 --> 00:10:13.230 one and two and three and four and so it kind 00:10:13.230 --> 00:10:16.590 of gives them a little I don't know, like a river 00:10:16.590 --> 00:10:19.549 -y type? This part feels, to me, it feels rock 00:10:19.549 --> 00:10:23.070 -ish. Oh, okay. And it kind of, like rock song, 00:10:23.190 --> 00:10:25.970 I mean, you know? Oh, yeah. And it doesn't, like, 00:10:26.049 --> 00:10:28.830 it feels very different than anything else in 00:10:28.830 --> 00:10:31.990 the piece. It sounds really cool. Yeah. But it's 00:10:31.990 --> 00:10:34.090 very different than anything in the piece. And 00:10:34.090 --> 00:10:36.649 the accents are what makes it sound cool. Yeah. 00:10:40.009 --> 00:10:43.250 So, I mean, they have to make those accents come 00:10:43.250 --> 00:10:46.789 through. Yep. And then we've got just at 53, 00:10:47.490 --> 00:10:50.909 the low people kind of continue on with their 00:10:50.909 --> 00:10:57.970 part. The horn joins in on that moment too. Yeah, 00:10:58.269 --> 00:11:01.269 a couple measures later. And then we have kind 00:11:01.269 --> 00:11:05.269 of like a back and forth here between. it's not 00:11:05.269 --> 00:11:07.110 the same it's not like the high people and the 00:11:07.110 --> 00:11:09.649 low people it's like flute oboe and trombone 00:11:09.649 --> 00:11:12.009 and trumpet and then the other people in the 00:11:12.009 --> 00:11:15.429 band have the response so lots of like counting 00:11:15.429 --> 00:11:18.190 where everybody's kind of like playing on a different 00:11:18.190 --> 00:11:24.610 beat um like one and one and two or one and four 00:11:24.610 --> 00:11:27.639 and and three and four, and so the kids really 00:11:27.639 --> 00:11:28.940 have to know how to count. I think it is great 00:11:28.940 --> 00:11:32.460 for individual eighth note rhythm counting. Yeah, 00:11:32.620 --> 00:11:35.460 and there's not like a snare pulse keeping the 00:11:35.460 --> 00:11:37.139 pulse for you. Exactly. Everyone has it. We spent 00:11:37.139 --> 00:11:41.519 a lot of time counting it. clapping it, playing 00:11:41.519 --> 00:11:44.580 it on a concert F, but counting it first so that 00:11:44.580 --> 00:11:47.259 everyone can hear, hey, here's how my eight note 00:11:47.259 --> 00:11:48.440 line's up. This is the beat I'm playing on, yes, 00:11:48.440 --> 00:11:52.200 yes. And so that's just a two measure little 00:11:52.200 --> 00:11:55.019 interjection too. Then there's a two measure 00:11:55.019 --> 00:11:57.779 drum break, mainly featuring the snare drum. 00:11:58.139 --> 00:12:00.759 Then everybody's got accent at quarters, one, 00:12:00.759 --> 00:12:04.360 two, three, four, one, three and four and one 00:12:04.360 --> 00:12:06.580 and then we kind of go back to the beginning 00:12:06.580 --> 00:12:09.830 with the trumpet, horn and alto. melody again 00:12:09.830 --> 00:12:12.730 with the other people now getting to do kind 00:12:12.730 --> 00:12:16.970 of a cutesy little doodly part. instead of just 00:12:16.970 --> 00:12:20.090 doo -doo, doo -doo -doo. And we've heard the 00:12:20.090 --> 00:12:22.570 melody one, two, and three, four, and one, two, 00:12:22.570 --> 00:12:24.850 and three, four, and one. We've heard that before. 00:12:24.950 --> 00:12:27.809 So now it's a nice time to feature some of that 00:12:27.809 --> 00:12:30.629 extra noodley counter melody stuff that's happening 00:12:30.629 --> 00:12:33.850 that's new and different here at 59. And it's 00:12:33.850 --> 00:12:36.110 not, the range is not like out of control or 00:12:36.110 --> 00:12:38.309 anything, but flute goes up to like a high E 00:12:38.309 --> 00:12:42.909 flat, and like. the low brass has up to like 00:12:42.909 --> 00:12:46.110 a C above the staff but nothing maybe oh there's 00:12:46.110 --> 00:12:49.509 a high E flat so range is a little bit higher 00:12:49.509 --> 00:12:51.950 than and I mentioned both clarinet parts clarinet 00:12:51.950 --> 00:12:54.830 one and two are over the break consistently in 00:12:54.830 --> 00:12:58.990 this one yep So we get to that part and then 00:12:58.990 --> 00:13:02.350 we're kind of coming towards the ending at 63 00:13:02.350 --> 00:13:05.450 the same melody people are going there's now 00:13:05.450 --> 00:13:08.889 a trill in the upper woodwinds and then we have 00:13:08.889 --> 00:13:10.929 the same thing from before where we have the 00:13:10.929 --> 00:13:12.690 half note on one and three and then the other 00:13:12.690 --> 00:13:15.210 people that play on two and four two and three 00:13:15.210 --> 00:13:19.799 and four And then we do like the low brass, sorry, 00:13:20.019 --> 00:13:24.120 the middle people have one and two and, one and 00:13:24.120 --> 00:13:26.580 two and. So they're kind of building it up, and 00:13:26.580 --> 00:13:29.559 then a two measure drum break, and then everybody, 00:13:29.799 --> 00:13:32.340 well not everybody, but a lot of the upper people 00:13:32.340 --> 00:13:36.500 have like one and four, and then a forte piano, 00:13:37.139 --> 00:13:39.500 one and, and that's the end of the piece. So 00:13:39.500 --> 00:13:42.679 it's like, it's gotta, it's just a little bit. 00:13:42.889 --> 00:13:45.529 It's got something for everybody. Like it's got 00:13:45.529 --> 00:13:46.909 something for everybody. Kind of back and forth 00:13:46.909 --> 00:13:49.990 on some ideas. It does. And I don't think, like 00:13:49.990 --> 00:13:51.590 Katie and I were talking, I don't know that you 00:13:51.590 --> 00:13:55.210 can like... that you can classify it as a fanfare, 00:13:55.289 --> 00:13:59.309 but it has fanfare -esque elements. And then 00:13:59.309 --> 00:14:02.429 it also, then there's these kind of cool rhythmic 00:14:02.429 --> 00:14:08.889 elements. It's a lot. It's a lot. But I think 00:14:08.889 --> 00:14:11.149 it's a great teaching tool, something that would 00:14:11.149 --> 00:14:16.610 be great for a fall concert for a varsity middle 00:14:16.610 --> 00:14:20.830 school band, or if you do those in high school, 00:14:20.870 --> 00:14:22.129 probably you guys aren't doing fall concerts. 00:14:24.090 --> 00:14:28.110 But it could be an easier spring concert piece 00:14:28.110 --> 00:14:30.250 for a sub -non varsity at the high school. Yeah, 00:14:30.269 --> 00:14:32.570 and it kind of sounds fanfarish. Yeah, for sure, 00:14:32.669 --> 00:14:35.980 at a high school sub -non, yeah. Yeah, absolutely. 00:14:36.139 --> 00:14:38.320 They could do this and sound like a million bucks. 00:14:38.799 --> 00:14:41.220 Yeah. Fun piece. Kids like it. We just recently 00:14:41.220 --> 00:14:44.559 played it in my band program and the kids loved 00:14:44.559 --> 00:14:48.480 it and we learned a lot. It was nice to have 00:14:48.480 --> 00:14:51.419 something to keep kind of feeding them as we 00:14:51.419 --> 00:14:53.179 were going towards the end of the year. So, great 00:14:53.179 --> 00:14:56.120 piece. Awesome. Well, we hope that you will enjoy 00:14:56.120 --> 00:14:58.279 programming Knoxbridge Jubilee in the future 00:14:58.279 --> 00:15:01.320 and thank you for joining us on our 100th episode 00:15:01.320 --> 00:15:07.440 of Band BFFs.