Transcription complète de Choose Joy

00:04:09.439 some of the tenor reed people are just sustaining 00:04:09.439 --> 00:04:12.080 with like a harmonic foundation and the flute. 00:04:12.080 --> 00:04:15.819 have a melody in a very nice comfortable range 00:04:15.819 --> 00:04:19.360 for them four and one two three four one two 00:04:19.360 --> 00:04:23.939 three very easy very calm beautiful playing the 00:04:23.939 --> 00:04:26.540 altos end up joining them with the same little 00:04:26.540 --> 00:04:30.259 idea we add some horn interjections in there 00:04:30.259 --> 00:04:34.819 as well but this really pretty melody very little 00:04:34.819 --> 00:04:37.279 percussion in this section except for mallet 00:04:37.279 --> 00:04:40.120 percussion and the euphonium doubles that horn 00:04:40.120 --> 00:04:42.029 interjection that she was talking about and it 00:04:42.029 --> 00:04:44.750 goes up a little bit higher to like high E flat 00:04:44.750 --> 00:04:48.029 and high F so your euphoniums need to be pretty 00:04:48.029 --> 00:04:49.930 good at being able to do that kind of stuff too 00:04:49.930 --> 00:04:52.170 because they're sitting in the same range. So 00:04:52.170 --> 00:04:54.430 back to percussion for just a second we had that 00:04:54.430 --> 00:04:56.529 really high energetic opening and I know we talked 00:04:56.529 --> 00:04:58.470 about some of the mallet instruments the snare 00:04:58.470 --> 00:05:02.490 part when it is big and full is often really 00:05:02.490 --> 00:05:05.430 active and of course at that tempo at 160 BPM 00:05:05.430 --> 00:05:07.430 when you're playing that digga that digga that 00:05:07.430 --> 00:05:10.029 digga digga digga that that's that's not easy 00:05:10.029 --> 00:05:12.889 and there's accents you need to make sure that 00:05:12.889 --> 00:05:14.730 they can play that and then that they can play 00:05:14.730 --> 00:05:17.089 that with a pretty soft touch otherwise that 00:05:17.089 --> 00:05:20.189 can get that can get noisy it can get really 00:05:20.189 --> 00:05:23.100 really noisy for sure and then at 19 we've got 00:05:23.100 --> 00:05:26.079 this really cool like big moment again with everybody 00:05:26.079 --> 00:05:28.819 kind of having a similar rhythm together one 00:05:28.819 --> 00:05:32.500 two and and four one two and and four one and 00:05:32.500 --> 00:05:36.100 and it's again it's written real high up for 00:05:36.100 --> 00:05:38.660 pretty much all the brass the trumpets are at 00:05:38.660 --> 00:05:41.959 the top of the staff trumpet one um the horns 00:05:41.959 --> 00:05:45.500 are up on higher e flat trombone is above the 00:05:45.500 --> 00:05:48.259 staff the lowest low brass is a high b flat yeah 00:05:48.259 --> 00:05:51.199 that's the lowest low brass yeah so it's it's 00:05:51.079 --> 00:05:53.319 It's up there, yep. The range sits up there. 00:05:53.519 --> 00:05:56.459 So this is kind of a full band moment where we're 00:05:56.459 --> 00:05:59.199 restating this one, two, and, and four, one, 00:05:59.199 --> 00:06:02.500 two, and, and four. When we get to measure, the 00:06:02.500 --> 00:06:04.480 whole ensemble is doing this together, when we 00:06:04.480 --> 00:06:08.860 get to measure 25, we have a dotted quarter, 00:06:09.040 --> 00:06:13.100 double 16th, one, and a three, and a lot of the 00:06:13.100 --> 00:06:15.300 upper voices have that first trumpet, the horn 00:06:15.300 --> 00:06:18.319 has it, your upper woodwinds, your altos all 00:06:18.319 --> 00:06:21.560 have that rhythm. So being really and lining 00:06:21.560 --> 00:06:25.720 that rhythm up together. Obviously when you learn 00:06:25.720 --> 00:06:29.040 it slower I would do it tongued and then add 00:06:29.040 --> 00:06:31.720 the slur and then speed it up so until their 00:06:31.720 --> 00:06:33.740 fingers are really comfortable with what that 00:06:33.740 --> 00:06:37.439 rhythm is. Yep at 27 the whole band is kind of 00:06:37.439 --> 00:06:41.279 coming down we have a tied note but now the two 00:06:41.279 --> 00:06:43.899 mallet parts get to really be featured we add 00:06:43.899 --> 00:06:47.040 in sleigh bells so percussion is kind of getting 00:06:47.040 --> 00:06:50.800 a little moment and then there's a chimes little 00:06:50.800 --> 00:06:54.259 feature, one, two, three, four, one, two, three. 00:06:54.439 --> 00:06:58.199 So that's pretty fun. And then it goes into a 00:06:58.199 --> 00:07:00.560 really pretty little flute solo. Now once the 00:07:00.560 --> 00:07:02.839 sleigh bells come in, they stay in for most of 00:07:02.839 --> 00:07:04.540 the piece and they are straight eighth notes 00:07:04.540 --> 00:07:09.439 at 160 BPM. So you are either going to need to, 00:07:09.720 --> 00:07:12.839 we have not gotten to this point in our preparation 00:07:12.839 --> 00:07:14.620 on this, but I know when I've played a piece 00:07:14.620 --> 00:07:16.699 similar, well it was a standard piece, Brave 00:07:16.699 --> 00:07:19.410 Spirit, before that had the sleigh. that were 00:07:19.410 --> 00:07:22.889 like that at a really fast pace, we mounted, 00:07:22.910 --> 00:07:27.470 we had like a single rack sleigh bells that were 00:07:27.470 --> 00:07:30.110 flat and we were able to mount it and have the 00:07:30.110 --> 00:07:33.610 student play it with mallets. So it kept the 00:07:33.610 --> 00:07:36.810 tempo really consistent and the jingle really 00:07:36.810 --> 00:07:39.129 consistent all the way through. That is so smart, 00:07:39.389 --> 00:07:41.670 I've never even heard of that. So that may be 00:07:41.670 --> 00:07:45.329 something you consider doing or at the very least 00:07:45.329 --> 00:07:47.290 you may have to trade it out between players 00:07:47.290 --> 00:07:49.970 because that... is physically taxing. Yes, no 00:07:49.970 --> 00:07:52.350 kidding. And like that would slow down. Yes. 00:07:52.430 --> 00:07:54.430 Yeah, playing it with mallets is way smart. Yeah. 00:07:54.430 --> 00:07:57.329 That's awesome. When we get to 31, now we're 00:07:57.329

--> 00:07:59.769 in this new idea. So the mallet instruments like 00:07:59.769 --> 00:08:02.870 Katie mentioned are doing all of this one and 00:08:02.870 --> 00:08:04.889 two and three and four and one and two and three. 00:08:04.910 --> 00:08:07.689 So there's this busyness there. And there is 00:08:07.689 --> 00:08:12.610 a flute solo. It starts off similarly to the 00:08:12.610 --> 00:08:14.670 beginning, four and one, two and three, four 00:08:14.670 --> 00:08:16.889 and one and two and three, four and one and two. 00:08:17.160 --> 00:08:19.319 It's a nice little, it sounds like a little, 00:08:19.680 --> 00:08:23.480 like you're riding on a sleigh. Really, really 00:08:23.480 --> 00:08:26.620 cute little melody. It passes off, the solo line 00:08:26.620 --> 00:08:30.740 passes off to the altos. And then there is accompaniment. 00:08:31.279 --> 00:08:34.759 There is support coming from the low reeds, but 00:08:34.759 --> 00:08:38.539 most of it really is in this flute clarinet. 00:08:38.659 --> 00:08:40.620 A clarinet comes in with a little small interject 00:08:40.620 --> 00:08:44.019 in solo as well. And they join the sax and the 00:08:44.019 --> 00:08:46.200 flute part. But it really is like these three 00:08:46.200 --> 00:08:50.139 solos. and percussion. Yep, yep. and that's only 00:08:50.139 --> 00:08:53.879 for eight measures though and then 39 now the 00:08:53.879 --> 00:08:56.539 trumpets are gonna take over the melody and they 00:08:56.539 --> 00:08:59.080 have something real similar but now both trumpet 00:08:59.080 --> 00:09:01.679 parts are playing the same thing but it's written 00:09:01.679 --> 00:09:06.259 down the range is easy finally yes and then it's 00:09:06.259 --> 00:09:08.480 just four one and two and three and four you 00:09:08.480 --> 00:09:11.000 know one and two and three four one and two and 00:09:11.000 --> 00:09:13.360 three and four you know one so like the rhythms 00:09:13.360 --> 00:09:16.360 are not ridiculously difficult it's just the 00:09:16.360 --> 00:09:20.559 execution of the time every They do the 16th 00:09:20.559 --> 00:09:23.740 notes. It's slurred. Yes, so that's good where 00:09:23.740 --> 00:09:25.960 you're not having to articulate at that speed 00:09:25.960 --> 00:09:28.860 But it doesn't mean that everything is slurred 00:09:28.860 --> 00:09:31.600 So you have to kind of make sure that you clean 00:09:31.600 --> 00:09:35.220 up all the stuff that isn't the slurred moments 00:09:35.220 --> 00:09:39.070 then the lows get this little like three and 00:09:39.070 --> 00:09:42.250 four and one, leading into measure 43, which 00:09:42.250 --> 00:09:44.210 I just always think it's fun when lows get to 00:09:44.210 --> 00:09:47.210 do something cool. And then we have this part 00:09:47.210 --> 00:09:50.149 where everybody's tonguing together. One and 00:09:50.149 --> 00:09:52.629 two and three and four and one and two and three 00:09:52.629 --> 00:09:56.450 and four and one and two. Yeah, so. Just lining 00:09:56.450 --> 00:09:59.710 that up is gonna be like I would put brackets 00:09:59.710 --> 00:10:02.909 around 43 and 44 and like do that probably on 00:10:02.909 --> 00:10:05.190 a loop just to make sure that it all lines up 00:10:05.190 --> 00:10:07.049 because then the melody part and the trumpet 00:10:07.049 --> 00:10:10.549 and the clarinet now is still 1 & 2 & 3 & 4 & 00:10:10.549 --> 00:10:13.269 1 & 2 & 3 so they're moving but the accompaniment 00:10:13.269 --> 00:10:17.250 is all on one note It needs to be way underneath 00:10:17.250 --> 00:10:20.149 and that's not easy to articulate that fast, 00:10:20.590 --> 00:10:24.129 that staccato, that soft. Right? All of those 00:10:24.129 --> 00:10:26.610 factors. This would definitely be a rep section. 00:10:27.190 --> 00:10:31.870 Then you've got the trumpets continuing on. And 00:10:31.870 --> 00:10:36.629 then horns. Then trumpets higher. All the way 00:10:36.629 --> 00:10:41.009 up to an A. Yeah, so it goes up pretty high for 00:10:41.009 --> 00:10:43.570 those trumpets, first trumpets. Then another 00:10:43.570 --> 00:10:46.929 little percussion feature for our measure and 00:10:46.929 --> 00:10:49.850 then we're back to four and a one, two and a 00:10:49.850 --> 00:10:52.230 three. The recap of the beginning. It's exactly 00:10:52.230 --> 00:10:54.190 like the beginning. So this is where it comes 00:10:54.190 --> 00:10:56.870 back for the first time. Now this next section, 00:10:56.889 --> 00:10:58.870 this is one of my favorite sections when we arrive 00:10:58.870 --> 00:11:04.210 at measure 59, it gets softer, it goes to a feeling 00:11:04.210 --> 00:11:07.649 into, it feels almost like this, well it says 00:11:07.649 --> 00:11:10.529 into, like it's in cut time. Like we have totally 00:11:10.529 --> 00:11:13.330 stretched out the melody just a little bit. The 00:11:13.330 --> 00:11:15.850 percussion still stays active. So there are still 00:11:15.850 --> 00:11:17.509 eighth notes in the mallets. The sleigh bells 00:11:17.509 --> 00:11:19.570 are still going. We got the little chimes moment 00:11:19.570 --> 00:11:22.809 again. One, two, three, four, one, two, three, 00:11:22.870 --> 00:11:26.269 four. But then we get this really, I love this 00:11:26.269 --> 00:11:30.370 section. It is in the tenor voices. They are 00:11:30.370 --> 00:11:36.269 playing, you know, one, two, three, four, one, 00:11:36.409 --> 00:11:40.330 two. and cut time, but it's one, three, one, 00:11:40.450 --> 00:11:44.490 three, one. It's really lovely, very pretty. 00:11:45.090 --> 00:11:47.929 They do have a measure. An octave jump from 67 00:11:47.929 --> 00:11:51.169 to 68. And we have spent a lot. Six, seven. Oh, 00:11:51.169 --> 00:11:54.070 God, Katie. I had to do it, I'm sorry. You guys, 00:11:54.269 --> 00:11:56.490 please don't judge. Just judge her, not me. Just 00:11:56.490 --> 00:12:00.850 me, not Laura. We really have spent a lot of 00:12:00.850 --> 00:12:02.990 time. I'm glad I haven't

actually identified 00:12:02.990 --> 00:12:04.629 the measure to them, but we have spent a lot 00:12:04.629 --> 00:12:08.580 of time working that octave. Oh they know. I 00:12:08.580 --> 00:12:12.440 assure you they do. Because it is slurred and 00:12:12.440 --> 00:12:16.139 it needs to sound relaxed. This whole N2 thing 00:12:16.139 --> 00:12:20.289 is very calm. Very calm. And then it continues 00:12:20.289 --> 00:12:23.830 on. The bass line is just supporting it. Then 00:12:23.830 --> 00:12:25.789 after they've had their, the tenor voices have 00:12:25.789 --> 00:12:27.970 had their moment. Now the upper woodwinds are 00:12:27.970 --> 00:12:30.830 going to come in and have the same little, like 00:12:30.830 --> 00:12:32.710 it's not the same melody. It's a counter melody, 00:12:33.429 --> 00:12:35.750 but it's got to be featured this time around, 00:12:35.789 --> 00:12:38.690 but it's still smooth. It's slurred. It's in 00:12:38.690 --> 00:12:40.870 like Laura mentioned, like it's the melody, but 00:12:40.870 --> 00:12:43.730 stretched out. And then the trumpets trumpet 00:12:43.730 --> 00:12:46.450 one comes in and kind of has its own little moment 00:12:46.450 --> 00:12:50.009 for two measures. And then it's, 79 we get this 00:12:50.009 --> 00:12:53.029 cool horn and alto part that is marked soaring. 00:12:53.429 --> 00:12:55.970 So it needs to be coming out of the mix and now 00:12:55.970 --> 00:12:59.110 the tenor voices have gone down. Flute and oboe 00:12:59.110 --> 00:13:02.889 are just doing straight up eighth notes. Kind 00:13:02.889 --> 00:13:06.509 of like what the marimba part has been the whole 00:13:06.509 --> 00:13:09.690 time. It's doubling what's happening in the xylophone 00:13:09.690 --> 00:13:13.570 here and it needs to be a whisper. It really 00:13:13.570 --> 00:13:17.409 is just the feeling of like... Kinetic energy 00:13:17.409 --> 00:13:20.190 underneath the other part, but you don't you 00:13:20.190 --> 00:13:22.090 really don't want to hear it, right? You want 00:13:22.090 --> 00:13:24.090 to feel the movement, but you don't really want 00:13:24.090 --> 00:13:27.529 to hear it So it needs to be very very controlled 00:13:27.529 --> 00:13:30.789 very subtle not overbearing in any way What needs 00:13:30.789 --> 00:13:33.610 to come through is the alto and horn line like 00:13:33.610 --> 00:13:36.169 Katie said and it's really beautiful The trumpets 00:13:36.169 --> 00:13:38.669 still have this kind of melodic idea, but then 00:13:38.669 --> 00:13:40.669 this horn and alto have this cool counter melody 00:13:40.669 --> 00:13:43.750 that soars over It's really really pretty rhythmically. 00:13:43.750 --> 00:13:47.190 It's very easy. What is no easy is making it 00:13:47.190 --> 00:13:49.870 sound calm, making it sound relaxed, and the 00:13:49.870 --> 00:13:53.090 range in the horn is up there. It gets up to 00:13:53.090 --> 00:13:57.230 E flats and Fs at the top of the staff. That 00:13:57.230 --> 00:14:00.509 really really pretty section. Yep. then this 00:14:00.509 --> 00:14:04.009 continues on for a while but now as Laura mentioned 00:14:04.009 --> 00:14:07.210 the trumpets are kind of like playing a different 00:14:07.210 --> 00:14:11.049 part with the horns and they just keep going 00:14:11.049 --> 00:14:13.049 higher and higher and higher so they're just 00:14:13.049 --> 00:14:19.149 doing like three one three one three one three 00:14:19.149 --> 00:14:22.679 one three one and they're going up to high A 00:14:22.679 --> 00:14:25.600 flat and possibly B flat. I don't know, it got 00:14:25.600 --> 00:14:28.100 cut off on this score. But I mean, it's going 00:14:28.100 --> 00:14:30.419 up really, really high and then it kind of comes 00:14:30.419 --> 00:14:34.019 down. So your first trumpets, like she mentioned, 00:14:34.299 --> 00:14:37.960 have to be really solid because we are 100 measures 00:14:37.960 --> 00:14:41.299 in and that's when they're playing above the 00:14:41.299 --> 00:14:45.460 staff. then we reach like another moment and 00:14:45.460 --> 00:14:48.779 now it says in four back to the energetic moment 00:14:48.779 --> 00:14:51.379 so we're less like slurry now we're going back 00:14:51.379 --> 00:14:54.399 to like the feeling from before with the transition 00:14:54.399 --> 00:14:57.720 we've got a big percussion moment again big chimes 00:14:57.720 --> 00:15:00.240 moment again times are super important yep and 00:15:00.240 --> 00:15:06.519 then we go back to the and the flutes but now 00:15:06.519 --> 00:15:10.720 the upper brass and well the trumpet one trombone 00:15:10.720 --> 00:15:13.830 one and you phony get to have the Ode to Joy 00:15:13.830 --> 00:15:15.830 melody. And tenor sax. They actually, yes. So 00:15:15.830 --> 00:15:17.970 there's still this active stuff in the woodwinds 00:15:17.970 --> 00:15:19.610 and percussion. This is one of the parts I'm 00:15:19.610 --> 00:15:21.570 talking about about the snare drummer needing 00:15:21.570 --> 00:15:25.470 to be able to like demonstrate great control. 00:15:25.690 --> 00:15:28.870 Great control. It's marked piano or it's marked 00:15:28.870 --> 00:15:32.549 forte but it does not need to be forte. Get them 00:15:32.549 --> 00:15:35.309 down. Let that Ode to Joy melody and the tenor 00:15:35.309 --> 00:15:38.929 voices and first trumpet come out and we've heard 00:15:38.929 --> 00:15:40.850 the four A into one, two A into three, four A 00:15:40.850 --> 00:15:44.580 into one. yeah that we can keep those upper woodwinds 00:15:44.580 --> 00:15:47.279 secondary. Yep and so they just have one two 00:15:47.279 --> 00:15:51.320 three four one two three four one two three four 00:15:51.320 --> 00:15:54.539 one and three don't breathe one two three four 00:15:54.539 --> 00:15:57.919 one two three four and then trombone two and 00:15:57.919 --> 00:16:01.360 trumpet on the second phrase add in so it's like 00:16:01.360 --> 00:16:05.600 getting stronger just by sheer numbers one and

00:16:05.600 --> 00:16:09.779 three four and now Everybody in the band is playing 00:16:09.779 --> 00:16:13.000 articulated eighth notes at 160. One and two 00:16:13.000 --> 00:16:14.860 and three and four. It's not everybody in the 00:16:14.860 --> 00:16:17.080 band. I mean everybody who's playing. That's 00:16:17.080 --> 00:16:20.399 right. It's the low brass and low reeds. My low 00:16:20.399 --> 00:16:23.580 brass and low reeds love this section. It is 00:16:23.580 --> 00:16:26.019 the section they practice more often than anything 00:16:26.019 --> 00:16:29.399 else. But the clarity of articulation, it is 00:16:29.399 --> 00:16:32.559 just them and xylophone. Xylophone is not playing 00:16:32.559 --> 00:16:34.500 the same thing, but what I have talked about 00:16:34.500 --> 00:16:36.120 is even though xylophone doesn't have the same 00:16:36.120 --> 00:16:38.639 part, same melodic part they are doing eighth 00:16:38.639 --> 00:16:41.360 notes like the wind players are and to listen 00:16:41.360 --> 00:16:43.360 to the clarity of articulation and the xylophone 00:16:43.360 --> 00:16:45.940 and try to match that so it's one and two and 00:16:45.940 --> 00:16:48.159 three and four and one and two and three four 00:16:48.159 --> 00:16:50.519 and one and two and three and they are moving 00:16:50.519 --> 00:16:53.240 they are moving that slide is moving those fingers 00:16:53.240 --> 00:16:55.580 are moving keeping everything nice and light 00:16:55.580 --> 00:16:57.840 it's mezzo forte it's not meant to sound heavy 00:16:57.840 --> 00:17:00.259 it's not meant to sound loud it's meant to sound 00:17:00.259 --> 00:17:02.860 clean mm -hmm so that is the key just making 00:17:02.860 --> 00:17:05.660 sure that it is really really clean and then 00:17:05.660 --> 00:17:09.480 the trumpet add in and they're playing not the 00:17:09.480 --> 00:17:11.759 melody but they're just doing like straight eighth 00:17:11.759 --> 00:17:14.299 straight eighth notes on one note and you want 00:17:14.299 --> 00:17:16.740 to make sure that you're they're not the focal 00:17:16.740 --> 00:17:20.039 point because you still want to be hearing the 00:17:20.039 --> 00:17:22.319 lower people that are being featured and then 00:17:22.319 --> 00:17:26.960 there's a melody in the sax and horn part for 00:17:26.960 --> 00:17:31.160 one for one for one it's a nice little counter 00:17:31.160 --> 00:17:33.259 idea to what you've been hearing the low breast 00:17:33.259 --> 00:17:35.730 and so that's the part that needs to be brought 00:17:35.730 --> 00:17:37.950 out and everybody else needs to be underneath 00:17:37.950 --> 00:17:42.789 then at 119 besides those voices now everybody 00:17:42.789 --> 00:17:45.970 is entering like flute and oboe and clarinet 00:17:45.970 --> 00:17:48.990 are now coming in and joining and they are also 00:17:48.990 --> 00:17:52.410 on the eighth note part so like Laura said this 00:17:52.410 --> 00:17:56.269 is about being clean and precise because there's 00:17:56.269 --> 00:17:59.329 a lot of people playing straight up, you know, 00:17:59.470 --> 00:18:02.190 staccato eighth notes together. And some people 00:18:02.190 --> 00:18:03.809 are changing notes and some people are staying 00:18:03.809 --> 00:18:06.009 on the same note. So making sure that that's 00:18:06.009 --> 00:18:09.509 appropriate. Yep. And then the trumpets have 00:18:09.509 --> 00:18:14.829 a little moment of melody. Then horn and clarinet, 00:18:15.349 --> 00:18:17.250 then the trumpet. It's kind of like the beginning. 00:18:17.609 --> 00:18:19.990 And then trumpets are up nice and high on A, 00:18:20.109 --> 00:18:22.769 G. Then it goes back to the beginning again. 00:18:23.410 --> 00:18:26.109 Oh, and there's one little key. Yes, the adorable 00:18:26.109 --> 00:18:28.640 little ding. Three ding on the bells. Oh my, 00:18:28.759 --> 00:18:32.490 on the bells. It is, it's so adorable. Yep, then 00:18:32.490 --> 00:18:34.670 it's literally like a recap from the beginning 00:18:34.670 --> 00:18:36.809 again. We still have another little horn and 00:18:36.809 --> 00:18:40.329 alto feature We go back to a little flute moment 00:18:40.329 --> 00:18:42.950 like the flute solo But now it's the flute oboe 00:18:42.950 --> 00:18:46.349 and first clarinet playing and it's easier Rhythms 00:18:46.349 --> 00:18:48.450 and everything and then the trumpets take over 00:18:48.450 --> 00:18:50.869 that melody and then we're building everybody 00:18:50.869 --> 00:18:55.269 up again one two three four one and The xylo 00:18:55.269 --> 00:18:57.970 and marimba and the flute oboe clarinet get a 00:18:57.970 --> 00:19:00.390 little moment of a cute little scale one two 00:19:00.390 --> 00:19:02.890 and three three, four, and one, three, four, 00:19:02.950 --> 00:19:06.769 one, and dum, bum, bum. And then it goes to the 00:19:06.769 --> 00:19:09.849 flutes. Then it's every one. Then it's the little 00:19:09.849 --> 00:19:14.009 flutes there. Yep. And then we get another little. 00:19:14.690 --> 00:19:17.450 Ode to Joy -ish moment. Yep, in the low grass 00:19:17.450 --> 00:19:20.690 and low reeds. Yep, and then this is like the 00:19:20.690 --> 00:19:23.390 end of the marching band like part. And down. 00:19:23.549 --> 00:19:26.650 This is really what I think of. It's like Forte 00:19:26.650 --> 00:19:28.430 piano and the upper people. I mean this literally 00:19:28.430 --> 00:19:31.250 could be a marching show. So you've got the bum 00:19:31.250 --> 00:19:34.769 bum bum bum bum bum bum and then flute and trumpet. 00:19:36.950 --> 00:19:39.710 They're getting the excitement going. Everybody 00:19:39.710 --> 00:19:44.089 else has one, three, one. Three and then horn. 00:19:46.350 --> 00:19:49.990 It literally and down. Yeah, it it does sound 00:19:49.990 --> 00:19:51.470 like be a marching band. Yeah, it could be a 00:19:51.470 --> 00:19:56.089 show Yeah, so it's like the most high -energy 00:19:56.089 --> 00:19:59.470 It piece ever like you definitely have to choose 00:19:59.470 --> 00:20:02.190 joy every day when you play this like it is super 00:20:02.190 --> 00:20:04.289 high energy It definitely has some technical 00:20:04.289 --> 00:20:07.430 demands and some articulation. Yes and huge kid 00:20:07.430 --> 00:20:09.509 magnet. Yes. Yeah, kids will love it because 00:20:09.509 --> 00:20:13.049 it's fun and The rhythms are not you're not gonna 00:20:13.049 --> 00:20:14.759 have to sit there and be like when do you come 00:20:14.759 --> 00:20:17.079 in, the and, beat one, blah, blah, blah, right? 00:20:17.420 --> 00:20:19.960 Like the rhythms are a little bit more easy. 00:20:20.180 --> 00:20:23.059 It's just, it's a long piece and just lots of 00:20:23.059 --> 00:20:25.180 fun stuff. And the range, I think the range is 00:20:25.180 --> 00:20:27.160 one of the more challenging aspects of the piece. 00:20:27.220 --> 00:20:29.279 For sure. Lots of fun, your kids will love it. 00:20:29.480 --> 00:20:32.240 So fun, yes. Well we hope you will consider programming 00:20:32.240 --> 00:20:34.519 Choose Joy in the future and thank you for joining 00:20:34.519 --> 00:20:37.819 us on this episode of Band BFFs.