WEBVTT 00:00:06.820 --> 00:00:10.720 Welcome to our podcast. Band BFFs. The podcast 00:00:10.720 --> 00:00:13.000 where we make your music selection less complicated. 00:00:13.400 --> 00:00:15.480 On today's episode, we are going to be discussing 00:00:15.480 --> 00:00:18.320 a jubilant spirit by Carol Brayton Chambers. 00:00:18.539 --> 00:00:22.489 Cheers to starting the conversation. This piece 00:00:22.489 --> 00:00:25.449 is in the key of concert B -flat. It's in 3 -4, 00:00:25.530 --> 00:00:29.609 which we love. Oh, yes. And it is about a minute 00:00:29.609 --> 00:00:32.929 and a half long, really limited percussion in 00:00:32.929 --> 00:00:36.270 this. Snare, bass, mallets, which are all in... 00:00:36.329 --> 00:00:39.049 timpani which are really important and then there 00:00:39.049 --> 00:00:42.469 is an accessory line as well but you this one 00:00:42.469 --> 00:00:44.810 you could do with what five players i actually 00:00:44.810 --> 00:00:47.310 played it one time with my sub non -varsity with 00:00:47.310 --> 00:00:49.850 three percussionists now obviously not all the 00:00:49.850 --> 00:00:52.750 parts were covered yeah but i mean we played 00:00:52.750 --> 00:00:54.829 it at uil that way yeah it can be done it can 00:00:54.829 --> 00:00:58.390 be done um this piece is a great teaching piece 00:00:58.390 --> 00:01:02.210 and really well written um for any band to feel 00:01:02.210 --> 00:01:06.670 and sound really successful um As Laura mentioned, 00:01:06.890 --> 00:01:10.430 the Percussion parts are minimal, but also easily 00:01:10.430 --> 00:01:13.510 written. So they're not gonna be too super duper 00:01:13.510 --> 00:01:15.689 challenging for your kids. If you can have all 00:01:15.689 --> 00:01:17.790 the parts covered, it just makes it sound better. 00:01:17.849 --> 00:01:22.129 There's like a gong part. The timpani part is 00:01:22.129 --> 00:01:25.049 really cool and helps with the building of the 00:01:25.049 --> 00:01:27.390 part every four measures. So I would try to include 00:01:27.390 --> 00:01:30.250 it if you could. But if you don't have enough 00:01:30.250 --> 00:01:33.010 players, that's okay too. There is a brief percussion 00:01:33.010 --> 00:01:36.769 feature in it and bells are the melody. So I 00:01:36.769 --> 00:01:39.450 mean, yeah, that needs to be that needs to be 00:01:39.450 --> 00:01:41.769 prioritized as well. What I like about this is 00:01:41.769 --> 00:01:44.189 it sounds like the title would indicate. It sounds 00:01:44.189 --> 00:01:47.290 kind of fanfare. Yeah, for sure. But a young 00:01:47.290 --> 00:01:50.150 band fanfare. I love that it's in three, four, 00:01:50.170 --> 00:01:53.670 because we always need good music to help teach 00:01:53.670 --> 00:01:55.349 three, four and help the kids get comfortable 00:01:55.349 --> 00:01:58.129 reading music and time signatures other than, 00:01:58.129 --> 00:02:00.750 you know, two, four and four, four. Yeah. So 00:02:00.750 --> 00:02:03.329 I love that. It does. And the accents. I love 00:02:03.329 --> 00:02:05.950 that. Yeah, it kind of has this like regal. feel 00:02:05.950 --> 00:02:10.229 to it, you know? Lots of emphasis on beat one. 00:02:10.229 --> 00:02:12.550 Yeah, and it's good to teach that to the kids 00:02:12.550 --> 00:02:15.909 without the accent sounding loud, but it's just 00:02:15.909 --> 00:02:19.750 more like an emphasis on the beat. The piece 00:02:19.750 --> 00:02:22.789 starts off with most of the band having that 00:02:22.789 --> 00:02:27.270 accented part. The lower accompaniment part just 00:02:27.270 --> 00:02:31.430 has dotted half notes. There are some accidentals 00:02:31.430 --> 00:02:34.330 written in, often concert A flats in this piece, 00:02:34.629 --> 00:02:37.210 so that's just good to know that you're gonna 00:02:37.210 --> 00:02:41.550 have to teach key signature versus not. And then 00:02:41.550 --> 00:02:44.129 the melody is in the upper woodwinds and the 00:02:44.129 --> 00:02:47.530 trumpet. So it starts off with one. three and 00:02:47.530 --> 00:02:52.430 one three one tongue slur tongue tongue so again 00:02:52.430 --> 00:02:55.550 you've got accents staccatos and a slur within 00:02:55.550 --> 00:02:57.710 the first four measures so it's good to teach 00:02:57.710 --> 00:03:01.030 those different articulations but also teach 00:03:01.030 --> 00:03:03.110 them that when you have a slur in a piece like 00:03:03.110 --> 00:03:05.389 this you don't want the third note to be clipped 00:03:05.389 --> 00:03:09.810 so tongue slur long long off would be the way 00:03:09.810 --> 00:03:12.490 to kind of teach that so they don't go ta ta 00:03:12.490 --> 00:03:17.740 ta And then the melody continues on with the 00:03:17.740 --> 00:03:19.439 same people, but now it's a different melody 00:03:19.439 --> 00:03:23.099 at measure five. Accent, accent, staccato, staccato. 00:03:23.240 --> 00:03:26.500 Da, da, da, da, da, da, da, da, da. And the lows 00:03:26.500 --> 00:03:31.020 just have one, three, one. Three, one. The tempo 00:03:31.020 --> 00:03:34.219 is 140, by the way, so it's pretty brisk, yeah. 00:03:35.080 --> 00:03:38.860 So the upper melody is continuing on, and then 00:03:38.860 --> 00:03:41.620 we get to measure nine, and everybody has those 00:03:41.620 --> 00:03:44.560 accents again on beat one. One, two, three, and 00:03:44.560 --> 00:03:48.360 one, three, and one, two, three, one. and then 00:03:48.360 --> 00:03:50.479 the lows have this cool little accompaniment 00:03:50.479 --> 00:03:54.520 line, one, two, and, and one. That's the toughest 00:03:54.520 --> 00:03:56.159 rhythm in the whole piece. And that's the only 00:03:56.159 --> 00:03:57.900 time, and the percussion, like the snare drum 00:03:57.900 --> 00:04:00.259 has some syncopated rhythms like that throughout, 00:04:00.580 --> 00:04:03.680 but that is the only complicated rhythm. And 00:04:03.680 --> 00:04:05.219 in the snare, one of the things that I would 00:04:05.219 --> 00:04:07.139 say, the way the accents are written in the snare 00:04:07.139 --> 00:04:09.419 part, the accents are written to help support 00:04:09.419 --> 00:04:11.340 what's happening in the wind players with emphasis 00:04:11.340 --> 00:04:14.439 on beat one, except for when it has that little 00:04:14.439 --> 00:04:17.399 syncopated pattern. One, two, and, and one. So 00:04:17.399 --> 00:04:19.819 you wanna make sure that your snare drummer brings 00:04:19.819 --> 00:04:21.720 that out because that's really gonna help emphasize 00:04:21.720 --> 00:04:24.360 the feel. The timpani part has that too, if you 00:04:24.360 --> 00:04:29.160 have a timpani player playing. And then 13, the 00:04:29.160 --> 00:04:32.079 trumpet and the clarinet continue on with the 00:04:32.079 --> 00:04:34.779 melodic line, but now the flute and the oboe 00:04:34.779 --> 00:04:37.319 get a counter melody. Which I really - With the 00:04:37.319 --> 00:04:40.120 mallets. And it's in the alto as well. I like 00:04:40.120 --> 00:04:42.899 the way this is written because I like that it 00:04:42.899 --> 00:04:46.060 has all of those vibrato instruments written 00:04:46.060 --> 00:04:50.370 on. as this counter melody. And the way the counter 00:04:50.370 --> 00:04:52.430 melody is written, it's got half notes in it. 00:04:52.629 --> 00:04:56.129 It moves around two, three, one, three and one, 00:04:56.350 --> 00:04:59.129 two, rest, two, three and one. But they have 00:04:59.129 --> 00:05:02.949 lots of half notes in here. So a good opportunity 00:05:02.949 --> 00:05:05.310 for a young band to really emphasize making sure 00:05:05.310 --> 00:05:07.569 that you're using vibrato. And again, that counter 00:05:07.569 --> 00:05:10.129 melody line is in all vibrato instruments, which 00:05:10.129 --> 00:05:12.470 is great. So you can emphasize that, work on 00:05:12.470 --> 00:05:16.709 that with that group together. just sang at measure 00:05:16.709 --> 00:05:19.689 15. It's a quarter note and a half note which 00:05:19.689 --> 00:05:22.889 is different than any other rhythm that they've 00:05:22.889 --> 00:05:24.829 had in the melody so far. They have a lot of 00:05:24.829 --> 00:05:29.850 half quarter. And whenever I've taught this in 00:05:29.850 --> 00:05:32.329 the past sometimes kids don't like to hold that 00:05:32.329 --> 00:05:35.170 half note out two full beats all the way to the 00:05:35.170 --> 00:05:39.089 rest on beat one which will put them off of the 00:05:39.089 --> 00:05:41.670 correct rhythm with the rest of the band. So 00:05:41.670 --> 00:05:44.050 that's just an important thing to note when you're 00:05:44.050 --> 00:05:46.379 marking your part. you can draw an arrow over 00:05:46.379 --> 00:05:49.500 that half note going to the rest with a vibrato 00:05:49.500 --> 00:05:51.519 marking to remind you like you have to count 00:05:51.519 --> 00:05:54.379 two and three and I would even have them I wouldn't 00:05:54.379 --> 00:05:56.060 write it in but as you're rehearsing it I would 00:05:56.060 --> 00:05:59.019 even have them subdivide it yeah ta ta ta ta 00:05:59.019 --> 00:06:02.500 ta off to ta ta ta ta ta and then just keep that 00:06:02.500 --> 00:06:04.939 subdivision in their head when they take it away 00:06:04.939 --> 00:06:09.079 yep Then at 17, we're back to the band having 00:06:09.079 --> 00:06:12.959 the one with the accents two and one, two and 00:06:12.959 --> 00:06:16.839 lots of concert A flat accidentals again there. 00:06:18.040 --> 00:06:20.639 And then it goes back to the key signature note 00:06:20.639 --> 00:06:23.540 in measure 19. So that's why it's important to 00:06:23.540 --> 00:06:26.259 teach them those rules so that they know what 00:06:26.259 --> 00:06:29.839 to expect. At 20, everybody lands on a concert 00:06:29.839 --> 00:06:32.500 B -flat and it goes for three beats to 21, which 00:06:32.500 --> 00:06:34.060 is where we get the percussion break. And this 00:06:34.060 --> 00:06:36.579 is a sound of silence moment, right? Where everyone 00:06:36.579 --> 00:06:38.459 in the ensemble is holding that dotted half note 00:06:38.459 --> 00:06:40.579 all the way to beat one. But it's all the same 00:06:40.579 --> 00:06:43.420 note, which is great. A nice unison B -flat. 00:06:43.759 --> 00:06:46.459 And then we transition into that four bar percussion 00:06:46.459 --> 00:06:50.620 break. air bass and bells on this. So again really 00:06:50.620 --> 00:06:53.259 important the bells has the melody and it's a 00:06:53.259 --> 00:06:57.139 cute cute little melody one two and one two three 00:06:57.139 --> 00:07:00.180 one two and one two three it's really cute. The 00:07:00.180 --> 00:07:03.079 year that I played this I did not have a student 00:07:03.079 --> 00:07:07.519 play the bells until this part so he played accessories 00:07:07.519 --> 00:07:10.639 okay and then he had the bells right next to 00:07:10.639 --> 00:07:13.019 him and he played the bells just in this part 00:07:13.019 --> 00:07:14.920 because there's nothing else happening and then 00:07:14.920 --> 00:07:17.189 he went back to the accessories part. So that's 00:07:17.189 --> 00:07:19.410 just a little side note if you happen to have 00:07:19.410 --> 00:07:20.750 a smaller band. A creative way, that's right. 00:07:21.110 --> 00:07:23.670 And then at measure 25, the woodwinds come back 00:07:23.670 --> 00:07:28.250 in. So it is just a woodwind feature. One, two, 00:07:28.269 --> 00:07:30.850 three, one, two, three, and one. It's a slightly 00:07:30.850 --> 00:07:32.629 different melody than what we've heard before. 00:07:32.850 --> 00:07:35.209 We do have those concert A flat accidentals like 00:07:35.209 --> 00:07:37.689 Katie was talking about. And we have more of 00:07:37.689 --> 00:07:40.350 this in the melody dotted half note followed 00:07:40.350 --> 00:07:44.329 by a quarter rest. So making sure that they are 00:07:44.329 --> 00:07:46.779 subdividing or holding. all the way through that 00:07:46.779 --> 00:07:50.180 dotted half note. But this cute little woodwind 00:07:50.180 --> 00:07:52.480 melody right here, the percussion, your timpani 00:07:52.480 --> 00:07:54.980 player even kind of transitions. It's written 00:07:54.980 --> 00:07:57.439 for them to transition off of timpani. To gong. 00:07:57.439 --> 00:08:01.000 To go to gong. Yep. There's a little shaker part 00:08:01.000 --> 00:08:03.139 here that kind of takes over for the snare drum 00:08:03.139 --> 00:08:05.949 as well. And then the like. quote unquote, the 00:08:05.949 --> 00:08:09.269 bass drum part turns into clave. So everybody's 00:08:09.269 --> 00:08:13.329 kind of changing just the timbre here. And then 00:08:13.329 --> 00:08:18.350 I remember that 29, just the chord color is a 00:08:18.350 --> 00:08:21.439 little bit. Different in that measure. So just 00:08:21.439 --> 00:08:23.860 make sure that the kids like check their tuners 00:08:23.860 --> 00:08:26.639 lean into it. It's got like B flat and clarinet 00:08:26.639 --> 00:08:30.060 Sometimes that can obviously be very sharp. So 00:08:30.060 --> 00:08:32.200 just making sure their throat tones are in tune 00:08:32.200 --> 00:08:36.519 But it's kind of like not like an angsty feel 00:08:36.519 --> 00:08:38.840 here, but like a little bit It's just minor and 00:08:38.840 --> 00:08:41.379 it just sounds and I mean it's it's got like 00:08:41.379 --> 00:08:44.419 mysterious It's got like a bass clarinet B flat 00:08:44.419 --> 00:08:47.639 against clarinet a so it is I mean it's meant 00:08:47.639 --> 00:08:50.940 to be just and just lean into it. Yes and teach 00:08:50.940 --> 00:08:52.659 the kids that so they're not like I'm playing 00:08:52.659 --> 00:08:55.740 a wrong note you know. Same thing with the slurs 00:08:55.740 --> 00:08:59.519 here we have ta ta ta ta this time they get to 00:08:59.519 --> 00:09:03.220 play staccato eighth notes after the slurs and 00:09:03.220 --> 00:09:06.759 then just easy dotted half note counting and 00:09:06.759 --> 00:09:10.340 then measure 32 in the upper woodwind or all 00:09:10.340 --> 00:09:14.960 woodwinds leads to 33 where the brass come in 00:09:15.210 --> 00:09:18.549 and some of the upper woodwinds lay out but the 00:09:18.549 --> 00:09:21.950 counter melody or the melody around the melody 00:09:21.950 --> 00:09:25.669 goes into horn and alto they continue on on the 00:09:25.669 --> 00:09:27.730 same melody part and then the low people come 00:09:27.730 --> 00:09:31.409 in on a on the accompaniment part and then yes 00:09:31.409 --> 00:09:33.470 it's kind of like around because clarinet and 00:09:33.470 --> 00:09:35.809 flute come in two measures later with trumpet 00:09:35.809 --> 00:09:40.600 yeah so uh but the same melody Ta, ta, ta, ta, 00:09:40.659 --> 00:09:44.539 ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, 00:09:45.500 --> 00:09:45.679 ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, 00:09:45.679 --> 00:09:45.699 ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, 00:09:45.679 --> 00:09:45.700 ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, 00:09:45.720 --> 00:09:45.740 ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, 00:09:45.720 --> 00:09:45.740 ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, 00:09:45.720 --> 00:09:45.740 ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, 00:09:45.799 --> 00:09:46.100 ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, 00:09:52.580 --> 00:10:01.700 ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, 00:10:00.779 --> 00:10:04.059 We get that rhythm, same low person rhythm at 00:10:04.059 --> 00:10:09.299 48, one, two, and one. And then at 49, we go 00:10:09.299 --> 00:10:12.620 back to that same vibrato instrument counter 00:10:12.620 --> 00:10:14.940 melody that Laura talked about before. Trumpet 00:10:14.940 --> 00:10:19.259 and clarinet takes over the same melody we had 00:10:19.259 --> 00:10:21.980 before, one, two, three, and one, two, and three, 00:10:21.980 --> 00:10:23.759 one. And then we have that cool counter melody 00:10:23.759 --> 00:10:26.039 that happens in the flute, oboe, and saxophone. 00:10:26.379 --> 00:10:28.720 A complete and total recap of what we had before. 00:10:29.019 --> 00:10:30.690 But you can tell that we're kind of... of setting 00:10:30.690 --> 00:10:34.529 it up for the big finish, right? At 55, I like 00:10:34.529 --> 00:10:38.330 how it's written to be a piano. The whole band 00:10:38.330 --> 00:10:41.629 has a piano drop down here. So that's kind of 00:10:41.629 --> 00:10:44.570 good to teach the kids where everybody is going 00:10:44.570 --> 00:10:47.490 to do that. And you can practice, you know, in 00:10:47.490 --> 00:10:50.009 your fundamentals, doing a big drop down like 00:10:50.009 --> 00:10:52.730 that, or just in the context of the piece. But 00:10:52.730 --> 00:10:56.870 everybody has a piano, two measures to a forte 00:10:56.870 --> 00:11:01.090 crescendo at 57. And then just kind of teaching 00:11:01.090 --> 00:11:03.549 kids the right way to crescendo I think is really 00:11:03.549 --> 00:11:06.990 important here. You know, the melody is still 00:11:06.990 --> 00:11:09.509 the most important part to crescendo, not the 00:11:09.509 --> 00:11:13.049 like trombone part. So, you know because trombones 00:11:13.049 --> 00:11:15.389 like to crescendo louder than everybody else 00:11:15.389 --> 00:11:18.950 all the time So just teaching that smart or you 00:11:18.950 --> 00:11:21.350 can use numbers, you know, we've said that in 00:11:21.350 --> 00:11:25.190 a lot of other You know podcast episodes before 00:11:25.190 --> 00:11:27.789 using numbers like this is a level two And then 00:11:27.789 --> 00:11:29.990 this beat is a level four and this beat is a 00:11:29.990 --> 00:11:33.909 level six Whatever system you use but just not 00:11:33.909 --> 00:11:36.769 letting it like just all of a sudden yell out 00:11:38.079 --> 00:11:40.100 And percussion can really help with that too. 00:11:40.179 --> 00:11:42.200 We've got a little suspended cymbal roll, which 00:11:42.200 --> 00:11:46.019 always can help a band in a crescendo. And the 00:11:46.019 --> 00:11:48.340 snare is on eighth notes, two and three and one 00:11:48.340 --> 00:11:51.710 and two and three and. So that's. simple, just 00:11:51.710 --> 00:11:54.370 raise your stick high, but that can help the 00:11:54.370 --> 00:11:57.710 wind players make that crescendo sound more smooth 00:11:57.710 --> 00:11:59.330 and effective. And the tambourine has a little 00:11:59.330 --> 00:12:02.070 roll there too, and tambourine is really a cool 00:12:02.070 --> 00:12:05.870 color in the ending of this piece as well. And 00:12:05.870 --> 00:12:09.370 then at 57, the full band has a hit on beat one 00:12:09.370 --> 00:12:11.429 with an accent, that's where they land on the 00:12:11.429 --> 00:12:14.889 forte, then percussion gets a little feature 00:12:14.889 --> 00:12:18.409 again for like a moment, and then the band has 00:12:18.409 --> 00:12:22.250 two, three, one. rest, rest, rest, two, three, 00:12:22.250 --> 00:12:25.129 one. So it's kind of like a back and forth combo 00:12:25.129 --> 00:12:28.269 between bands and percussion, which is really 00:12:28.269 --> 00:12:31.809 fun. And the band is, I'm trying to remember 00:12:31.809 --> 00:12:37.830 if we're all in unison. It appears, yes, we're 00:12:37.830 --> 00:12:40.730 all playing the same notes. So that's good because 00:12:40.730 --> 00:12:42.490 you can make sure that everybody just sounds 00:12:42.490 --> 00:12:44.929 really pretty on accents and you can line it 00:12:44.929 --> 00:12:48.480 up, make it sound exactly the same. And then 00:12:48.480 --> 00:12:52.559 at 61 the melody is just in flute clarinet trumpet 00:12:52.559 --> 00:12:56.740 The last little moment of glory one two three 00:12:56.740 --> 00:13:01.080 one two three and one Band band and the whole 00:13:01.080 --> 00:13:04.340 band has two concert B flats at the end accented 00:13:04.340 --> 00:13:08.100 So it's a really really easy finish. This piece 00:13:08.100 --> 00:13:12.580 is like Very very well written for any band to 00:13:12.580 --> 00:13:17.419 just sound their best great range very playable 00:13:17.419 --> 00:13:21.320 very playable fun melody yeah it's very singable 00:13:21.320 --> 00:13:24.580 it's very dance like i mean it's just it's a 00:13:24.580 --> 00:13:28.080 fun three four piece there's nothing tricky other 00:13:28.080 --> 00:13:30.460 than just kids are having to count in three instead 00:13:30.460 --> 00:13:33.740 of four yeah um but it's a good teaching piece 00:13:33.740 --> 00:13:37.720 for that concept in music so Awesome. Well, we 00:13:37.720 --> 00:13:40.879 hope that you will consider programming a jubilant 00:13:40.879 --> 00:13:43.399 spirit in the future. And thank you for joining 00:13:43.399 --> 00:13:46.879 us on this episode of Band BFFs.