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Welcome to our podcast, Band BFFs.
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The podcast where we make your music selection less complicated.
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On today's episode, we're going to be discussing Brace for Impact by Christina Huss.
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Cheers to starting the conversation.
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We got a brace for impact in our lives, huh?
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I guess.
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We just came up on the holiday season. We just got our first little moment of breathing room.
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It's like a few days after Christmas.
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Yes, right here before things kick into high gear in the second semester.
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It's been a lot though, right?
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It has. I've been enjoying just kind of resting and taking it easy.
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I've had a couple of really lazy days, which sometimes my brain needs to have.
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Yes, Netflix and Hangout.
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And then I've been cleaning my house like a crazy person, which I know will not surprise anyone.
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Yeah, KB has taken all of her decorations down.
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Her house is decked out for Valentine's.
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Meanwhile, mine will have Christmas up until we go back to school.
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Hey, man, listen. I need a clean start.
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I'm bracing for the impact of the new semester.
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Nicely done.
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But this piece is super fun. It's a Texas PML Grade 1.
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So it is in 4-4 throughout.
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It's in the key of E-flat or C minor.
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Really easy rhythms.
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It's a minute and 40 seconds long, so it is not long at all.
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It has two clarinet parts, two trumpet parts.
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It's really fast, like 150, 160 BPM.
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Lots of percussion parts.
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You need five to six players on percussion to really execute this well.
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Doubled low brass parts, low reed parts, a lot.
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So really just split clarinet, split trumpet parts.
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But even then, they're often playing in line with each other.
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So 2D rhythms often.
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The piece starts off at 156 and does not slow down.
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It's literally like you are bracing for impact.
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But it's exciting. The kids like it.
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And again, it's pretty accessible.
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Lots of hits on beat 1, 2, 3, 4, 1, 2, 3, 4, 1.
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And the low people part.
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And the highs 1, 2, and 3, 4, and 1, 2, and 3, 4, 1.
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And there are accents on 1 and then 3, 4, 1 to line up with the low brass.
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So easy to play and line up those accent articulations for any level of group.
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It continues on with the upper people having that little moment of glory.
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And then a little different part at 7.
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Yeah, you have a little syncopation in here and accents.
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1 and 2 and 3 and 4 and 3 and 3 and 4.
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And it's got slurs.
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And the slurs follow along with that feel.
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So like it lays pretty easy.
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One of the things I like about this, like even though the wind parts are really pretty straight ahead,
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rhythmically and range wise, the percussion part is, it's not overly simplified.
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And I mean, I like that a lot.
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That way you're not having snare drummers back there playing quarter notes and eighth notes.
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They're playing something that is more active.
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That's got some 16ths.
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Yep.
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And the syncopated rhythm is in the bass drum part.
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The mallets get more of the melody.
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But it's got that like driving feel to it for sure.
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Then all the accents at 7 and 8 line up with the syncopated low brass part.
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They have 1 and 4, 1, 2, 3, 4.
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And the upper people have 1 and 2 and 3 and 4 and 1 and 2 and 3, 4.
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So all those accents, if you really line it up and do it well, line up perfectly
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and make it just have that cool little style going into 9.
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And that would be something I would take those two measures
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and I would work that into a fundamental exercise with your band,
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having upper voices play 1 and 2 and 3 and 4 and 1 and 2 and 3 and 4.
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And you can do it all on a concert F.
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And the low mid and low voices just playing the hits along with them
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so that the kids get the feel for what that feels like
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and how that aligns together stylistically.
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Yep.
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And then Timpani kind of does cool stuff along with Tuba here too.
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So I wouldn't necessarily leave it out.
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It's got a pretty cool little part for sure.
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9, the melody continues on in the clarinets and the trumpets.
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And now we had a cool counter melody in the flute and oboe and alto saxophone
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and horn, which I really like the horn color dominating this here.
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If your horns are strong enough, it's got some pretty big leaps in terms of skiffs.
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It's a perfect fit up to a D.
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Yeah.
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So they need to sound good.
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But it, you know, and it's scored well, like I said, in flute, oboe and alto.
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If you only have one horn that can really play it and sound good,
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then let them do that, but it's covered in other instruments.
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And so they're the new part that you want to bring out in feature.
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Everybody else has the same considerations from before.
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We do the same little syncopated thing going into 17.
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Trumpets are living on a D below the staff.
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So one, two and three, four and one.
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You must kick.
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Yes.
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I mean, that is going to be super important.
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And make a trituner and make sure that you are in tune and green, green, green.
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You know, sometimes.
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And that is something I would write in.
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Yeah.
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Right?
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Like, kick.
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Sometimes I think trumpets are like, oh yeah, I'm kicking.
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But like, are you kicking enough?
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Like, look at your tuner.
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Right.
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Oh wait, I need to kick more, you know.
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Yeah.
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That's like something you've got to train and teach non-varsity and
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sub-non-varsity students.
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They can't just be like, yeah, I'm kicking a little bit or like, oh,
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that's good enough.
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Oh, my third valve slide doesn't work.
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Oops.
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Like, you know, well, then you're not going to be in tune on a D.
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So making sure, you know, you really take a lot of time on that.
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That is definitely critical when they're all playing D for like the whole piece.
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Then the key signature just has B flats in trumpet one.
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It's like down below the staff.
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Yeah, range-wise it's actually very doable.
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Yeah.
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So then we get this, the sax and the saxophones join the flute and the
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trumpet on the one and two and three and four and one and two and three,
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four part.
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Then it's 17.
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We have a new moment with cabasa getting to, it's like a lot of the
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percussion drops out per cabasa is the one giving the pulse.
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The trombones have a different part than some of the other people had before.
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The trombone, euphonia and bassoon have a different little melody line.
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It's kind of like counter melody to the flute and oboe who have the melody.
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Dynamically, we've dropped down here.
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It's a lot softer.
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This is a little bit more flowy.
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Like there's more slurs in the upper melody.
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So, less.
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So, whole notes in a lot of the low people.
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Yeah.
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And the low brass, the trombone, euphonia and bassoon part here and it doubles
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what's happening in the tenor.
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You want to make sure that they're firm on the fronts of their notes,
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but this should not be, this is not the same type of style.
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We're thinking denting the air.
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Yes, absolutely.
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On the succumbent part.
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Yes.
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Then at the end of the melody, like melody goes one, two, three, four and one and
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they have a whole note.
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When they have the whole note, the lows go one, two, three, four, one.
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So, it's kind of like a little playback and forth.
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Then they get softer again and the flute and the oboe continue their melody with
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the counter melody again.
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Now, sorry, the counter melody is now in sax and horn compared to before.
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And the horn again is like doing some just different jumps like A flat to C to D.
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It's just, they're going to really have to be able to hear their part.
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And like spend a lot of time in sectionals making sure that it sounds correct.
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And that it doesn't sound strange.
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Yeah, there's a lot of like accidentals in here too.
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So making sure that the students understand the rule of accidentals.
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The flute part has like D flat in it at one moment, then it's D natural, the next
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measure.
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So just making sure kids know what they're doing and marking that in their parts
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ahead of time will really help.
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My favorite way to finger D flat on flute is right hand down.
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So that way it sounds really in tune.
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Even though it's going fast, I think that's a good thing to kind of teach the kids.
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And then oboe has D flat too.
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So making sure that you've kind of thought through your pinky situation, A flat and
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D flat pinkies here in the oboe part and E flat and F.
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So this is a good moment to sit down and say, you know, what you've got to do so that
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you can get tripped up and trying to use two right pinkies in the same measure.
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Then the lows, we're kind of getting out of the slurry section at 24.
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The lows have a little baseline going down with accents one, two, three, four.
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Big timpani roll, which is going to help kind of build this moment leading into 25.
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Crash symbol at 25 and then it's back to the beginning.
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It's exactly like we had at the very beginning with the hits and the accents on the same
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beats, same little syncopated thing at 31 and the upper people.
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Then we have a whole note, Day Crescendo for the whole band.
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A fun little chord.
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And then a fun little cluster like chord coming back up to 35.
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Like it's supposed to be kind of scary and like dramatic like what's going to happen.
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And then we change to three, four.
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And there this is a big percussion moment, which is just like fun.
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And this is like timpani major.
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I mean, it's like it's a major timpani solo here.
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So timpani player needs to be playing with really articulate mallets.
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There needs to be a lot of clarity in the part.
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It doesn't need to sound muddy.
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You know, one, two, and one, two, three, one, two, and while cabasa is going.
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Keep in the beat.
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There's a ratchet part.
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Tom's snare and bass come back in.
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It's an extended percussion feature.
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Yes.
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And then at 43, this is fun.
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And this, by the way, is a really cool piece to do with like a region band to.
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Yeah.
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If you are ever something programmatic, spring concert or fall concert.
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Now, I know lots of there's probably lots of different opinions on clapping in music,
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you know, and I know it is it roll the dice, right?
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You can see if it's going to go well or if it's not, but this one has clapping.
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Yeah.
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Good clapping.
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So the whole group, the woodwinds have the same rhythm and then the lows have a different
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rhythm and the low claps have accents on them.
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So you can go into like lots of depth about like their normal.
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They're actually but marked and then like, yeah, I know, right?
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So like, how do you make that happen?
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I don't know.
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But yeah, it gets louder and louder as they continue on, but you can talk about different
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ways to clap like offsetting your hands kind of like symbols.
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We talk it straight up together to make it sound louder.
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We talk it.
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That's good grammar.
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We talk and I said it.
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I said, I talk about a golf clap.
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So like, you know, if you think about being at a golf match and you know how they kind
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of clap off pretentiously, that that's how when we clap as a full ensemble, that's how
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we need to clap, you know, it's a golf clap.
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You can also dynamically bring it up by like being lower and then higher and like get stronger
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that way.
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Whatever it's whatever you want to do.
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Listen, everybody like you can talk.
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You can talk the claps to death, but like when they're talking about accenting, I would
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tell my kids that they don't need to bring their hands any further apart.
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They just need to use more velocity, right?
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You know, so you can have it through percussion.
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That's right.
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That's right.
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You can have a piano accented class and the students are sitting there going, wait, tell
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me exactly how far apart to pull my hands.
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But anyway, you can have fun here.
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It gets louder and louder and we're accenting and the percussion is continuing to be featured,
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which is fine.
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Everybody is going to be to rush because they have the syncopation one, two and one and that
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three and three.
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Yeah.
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And one and three.
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The clappers are going to want to rush.
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So they're raining it in.
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Yep.
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Because they're excited about it.
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Then the timpani continues their little solo.
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It's like climaxed up to measure 54.
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They have a roll.
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Then we're back into four, four and it's like the beginning again.
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Flute and oboe and clarinet kind of get the melody.
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Trumpets are chilling on the D again.
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Low people are playing just the little impact moments.
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Percussion is grooving.
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It's a lot like the very, very beginning, but now we're adding in more voices.
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More thicker.
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Thicker.
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Textured.
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Yeah.
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Then we have the same little syncopated one and two and three and four and one and two
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and three, four.
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Fink, chino.
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Four take piano, trill, situation.
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We all know how I feel about trills.
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Let one kid trill and just don't make it be a huge deal.
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It's like a little bell tones on each beat.
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Trombones and tubas on beat one.
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Horns enter on beat two with alto sax.
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Trumpet two enters alone on beat three.
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And why is it always squared like that?
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But it right?
264
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It always is.
265
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That's like two or three kids.
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So maybe beef it up by writing that the tenor sax gets to play on beat three along with
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your trumpet two or have some of your clarinets do it instead of trilling, but be, you know,
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I don't know.
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Be thoughtful about it.
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I would bop this measure like a million times, right?
271
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One, two, three, four.
272
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Yep.
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And trumpet one gets the four alone.
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So maybe even having some flutes do that with them.
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And then one, two and three, four and one and two and three, four.
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And like big snare drum at the end and timpani and choke everything in the cymbals.
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It's a fun little ending.
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So this is definitely like you just hit the impact.
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So this is a fun piece.
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The kids really, really like it.
281
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Yeah.
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So lots of articulation, some tuning considerations.
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But it's not horrible.
284
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It is not range wise.
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Yeah.
286
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Yeah.
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Rhythmic horn part.
288
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Yes.
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It's a little bit above range for most younger ensembles.
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Sub non or developing non-barcity groups.
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Yeah.
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But this is a great piece.
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And we hope that you will consider playing Brace for Impact.
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Thank you for joining us on this episode of Band BFF.
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Welcome to our podcast, Band BFFs.
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The podcast where we make your music selection less complicated.
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On today's episode, we're going to be discussing Brace for Impact by Christina Huss.
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Cheers to starting the conversation.
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We got a brace for impact in our lives, huh?
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I guess.
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We just came up on the holiday season. We just got our first little moment of breathing room.
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It's like a few days after Christmas.
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Yes, right here before things kick into high gear in the second semester.
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It's been a lot though, right?
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It has. I've been enjoying just kind of resting and taking it easy.
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I've had a couple of really lazy days, which sometimes my brain needs to have.
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Yes, Netflix and Hangout.
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And then I've been cleaning my house like a crazy person, which I know will not surprise anyone.
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Yeah, KB has taken all of her decorations down.
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Her house is decked out for Valentine's.
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Meanwhile, mine will have Christmas up until we go back to school.
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Hey, man, listen. I need a clean start.
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I'm bracing for the impact of the new semester.
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Nicely done.
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But this piece is super fun. It's a Texas PML Grade 1.
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So it is in 4-4 throughout.
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It's in the key of E-flat or C minor.
24
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Really easy rhythms.
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It's a minute and 40 seconds long, so it is not long at all.
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It has two clarinet parts, two trumpet parts.
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It's really fast, like 150, 160 BPM.
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Lots of percussion parts.
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You need five to six players on percussion to really execute this well.
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Doubled low brass parts, low reed parts, a lot.
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So really just split clarinet, split trumpet parts.
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But even then, they're often playing in line with each other.
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So 2D rhythms often.
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The piece starts off at 156 and does not slow down.
35
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It's literally like you are bracing for impact.
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But it's exciting. The kids like it.
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And again, it's pretty accessible.
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Lots of hits on beat 1, 2, 3, 4, 1, 2, 3, 4, 1.
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And the low people part.
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And the highs 1, 2, and 3, 4, and 1, 2, and 3, 4, 1.
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And there are accents on 1 and then 3, 4, 1 to line up with the low brass.
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So easy to play and line up those accent articulations for any level of group.
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It continues on with the upper people having that little moment of glory.
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And then a little different part at 7.
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Yeah, you have a little syncopation in here and accents.
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1 and 2 and 3 and 4 and 3 and 3 and 4.
47
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And it's got slurs.
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And the slurs follow along with that feel.
49
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So like it lays pretty easy.
50
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One of the things I like about this, like even though the wind parts are really pretty straight ahead,
51
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rhythmically and range wise, the percussion part is, it's not overly simplified.
52
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And I mean, I like that a lot.
53
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That way you're not having snare drummers back there playing quarter notes and eighth notes.
54
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They're playing something that is more active.
55
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That's got some 16ths.
56
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Yep.
57
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And the syncopated rhythm is in the bass drum part.
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The mallets get more of the melody.
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But it's got that like driving feel to it for sure.
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Then all the accents at 7 and 8 line up with the syncopated low brass part.
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They have 1 and 4, 1, 2, 3, 4.
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And the upper people have 1 and 2 and 3 and 4 and 1 and 2 and 3, 4.
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So all those accents, if you really line it up and do it well, line up perfectly
64
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and make it just have that cool little style going into 9.
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And that would be something I would take those two measures
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and I would work that into a fundamental exercise with your band,
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having upper voices play 1 and 2 and 3 and 4 and 1 and 2 and 3 and 4.
68
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And you can do it all on a concert F.
69
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And the low mid and low voices just playing the hits along with them
70
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so that the kids get the feel for what that feels like
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and how that aligns together stylistically.
72
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Yep.
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And then Timpani kind of does cool stuff along with Tuba here too.
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So I wouldn't necessarily leave it out.
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It's got a pretty cool little part for sure.
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9, the melody continues on in the clarinets and the trumpets.
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And now we had a cool counter melody in the flute and oboe and alto saxophone
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and horn, which I really like the horn color dominating this here.
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If your horns are strong enough, it's got some pretty big leaps in terms of skiffs.
80
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It's a perfect fit up to a D.
81
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Yeah.
82
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So they need to sound good.
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But it, you know, and it's scored well, like I said, in flute, oboe and alto.
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If you only have one horn that can really play it and sound good,
85
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then let them do that, but it's covered in other instruments.
86
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And so they're the new part that you want to bring out in feature.
87
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Everybody else has the same considerations from before.
88
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We do the same little syncopated thing going into 17.
89
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Trumpets are living on a D below the staff.
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So one, two and three, four and one.
91
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You must kick.
92
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Yes.
93
00:05:21,520 --> 00:05:22,520
I mean, that is going to be super important.
94
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And make a trituner and make sure that you are in tune and green, green, green.
95
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You know, sometimes.
96
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And that is something I would write in.
97
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Yeah.
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Right?
99
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Like, kick.
100
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Sometimes I think trumpets are like, oh yeah, I'm kicking.
101
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But like, are you kicking enough?
102
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Like, look at your tuner.
103
00:05:35,520 --> 00:05:36,520
Right.
104
00:05:36,520 --> 00:05:37,520
Oh wait, I need to kick more, you know.
105
00:05:37,520 --> 00:05:38,520
Yeah.
106
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That's like something you've got to train and teach non-varsity and
107
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sub-non-varsity students.
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They can't just be like, yeah, I'm kicking a little bit or like, oh,
109
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that's good enough.
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Oh, my third valve slide doesn't work.
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Oops.
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Like, you know, well, then you're not going to be in tune on a D.
113
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So making sure, you know, you really take a lot of time on that.
114
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That is definitely critical when they're all playing D for like the whole piece.
115
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Then the key signature just has B flats in trumpet one.
116
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It's like down below the staff.
117
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Yeah, range-wise it's actually very doable.
118
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Yeah.
119
00:06:11,520 --> 00:06:15,520
So then we get this, the sax and the saxophones join the flute and the
120
00:06:15,520 --> 00:06:19,520
trumpet on the one and two and three and four and one and two and three,
121
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four part.
122
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Then it's 17.
123
00:06:22,520 --> 00:06:28,520
We have a new moment with cabasa getting to, it's like a lot of the
124
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percussion drops out per cabasa is the one giving the pulse.
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The trombones have a different part than some of the other people had before.
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The trombone, euphonia and bassoon have a different little melody line.
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It's kind of like counter melody to the flute and oboe who have the melody.
128
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Dynamically, we've dropped down here.
129
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It's a lot softer.
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This is a little bit more flowy.
131
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Like there's more slurs in the upper melody.
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So, less.
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So, whole notes in a lot of the low people.
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Yeah.
135
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And the low brass, the trombone, euphonia and bassoon part here and it doubles
136
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what's happening in the tenor.
137
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You want to make sure that they're firm on the fronts of their notes,
138
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but this should not be, this is not the same type of style.
139
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We're thinking denting the air.
140
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Yes, absolutely.
141
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On the succumbent part.
142
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Yes.
143
00:07:17,520 --> 00:07:22,520
Then at the end of the melody, like melody goes one, two, three, four and one and
144
00:07:22,520 --> 00:07:23,520
they have a whole note.
145
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When they have the whole note, the lows go one, two, three, four, one.
146
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So, it's kind of like a little playback and forth.
147
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Then they get softer again and the flute and the oboe continue their melody with
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the counter melody again.
149
00:07:36,520 --> 00:07:41,520
Now, sorry, the counter melody is now in sax and horn compared to before.
150
00:07:41,520 --> 00:07:46,520
And the horn again is like doing some just different jumps like A flat to C to D.
151
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It's just, they're going to really have to be able to hear their part.
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And like spend a lot of time in sectionals making sure that it sounds correct.
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00:07:54,520 --> 00:07:56,520
And that it doesn't sound strange.
154
00:07:56,520 --> 00:07:59,520
Yeah, there's a lot of like accidentals in here too.
155
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So making sure that the students understand the rule of accidentals.
156
00:08:03,520 --> 00:08:09,520
The flute part has like D flat in it at one moment, then it's D natural, the next
157
00:08:09,520 --> 00:08:10,520
measure.
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So just making sure kids know what they're doing and marking that in their parts
159
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ahead of time will really help.
160
00:08:15,520 --> 00:08:20,520
My favorite way to finger D flat on flute is right hand down.
161
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So that way it sounds really in tune.
162
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Even though it's going fast, I think that's a good thing to kind of teach the kids.
163
00:08:26,520 --> 00:08:28,520
And then oboe has D flat too.
164
00:08:28,520 --> 00:08:33,520
So making sure that you've kind of thought through your pinky situation, A flat and
165
00:08:33,520 --> 00:08:37,520
D flat pinkies here in the oboe part and E flat and F.
166
00:08:37,520 --> 00:08:41,520
So this is a good moment to sit down and say, you know, what you've got to do so that
167
00:08:41,520 --> 00:08:46,520
you can get tripped up and trying to use two right pinkies in the same measure.
168
00:08:46,520 --> 00:08:51,520
Then the lows, we're kind of getting out of the slurry section at 24.
169
00:08:51,520 --> 00:08:56,520
The lows have a little baseline going down with accents one, two, three, four.
170
00:08:56,520 --> 00:09:00,520
Big timpani roll, which is going to help kind of build this moment leading into 25.
171
00:09:00,520 --> 00:09:03,520
Crash symbol at 25 and then it's back to the beginning.
172
00:09:03,520 --> 00:09:07,520
It's exactly like we had at the very beginning with the hits and the accents on the same
173
00:09:07,520 --> 00:09:12,520
beats, same little syncopated thing at 31 and the upper people.
174
00:09:12,520 --> 00:09:16,520
Then we have a whole note, Day Crescendo for the whole band.
175
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A fun little chord.
176
00:09:17,520 --> 00:09:22,520
And then a fun little cluster like chord coming back up to 35.
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Like it's supposed to be kind of scary and like dramatic like what's going to happen.
178
00:09:26,520 --> 00:09:29,520
And then we change to three, four.
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00:09:29,520 --> 00:09:32,520
And there this is a big percussion moment, which is just like fun.
180
00:09:32,520 --> 00:09:34,520
And this is like timpani major.
181
00:09:34,520 --> 00:09:37,520
I mean, it's like it's a major timpani solo here.
182
00:09:37,520 --> 00:09:41,520
So timpani player needs to be playing with really articulate mallets.
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00:09:41,520 --> 00:09:43,520
There needs to be a lot of clarity in the part.
184
00:09:43,520 --> 00:09:44,520
It doesn't need to sound muddy.
185
00:09:44,520 --> 00:09:49,520
You know, one, two, and one, two, three, one, two, and while cabasa is going.
186
00:09:49,520 --> 00:09:50,520
Keep in the beat.
187
00:09:50,520 --> 00:09:52,520
There's a ratchet part.
188
00:09:52,520 --> 00:09:54,520
Tom's snare and bass come back in.
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It's an extended percussion feature.
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Yes.
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And then at 43, this is fun.
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And this, by the way, is a really cool piece to do with like a region band to.
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Yeah.
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If you are ever something programmatic, spring concert or fall concert.
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Now, I know lots of there's probably lots of different opinions on clapping in music,
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you know, and I know it is it roll the dice, right?
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You can see if it's going to go well or if it's not, but this one has clapping.
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Yeah.
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Good clapping.
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So the whole group, the woodwinds have the same rhythm and then the lows have a different
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rhythm and the low claps have accents on them.
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So you can go into like lots of depth about like their normal.
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They're actually but marked and then like, yeah, I know, right?
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So like, how do you make that happen?
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I don't know.
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But yeah, it gets louder and louder as they continue on, but you can talk about different
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ways to clap like offsetting your hands kind of like symbols.
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We talk it straight up together to make it sound louder.
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We talk it.
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That's good grammar.
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We talk and I said it.
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I said, I talk about a golf clap.
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So like, you know, if you think about being at a golf match and you know how they kind
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of clap off pretentiously, that that's how when we clap as a full ensemble, that's how
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we need to clap, you know, it's a golf clap.
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You can also dynamically bring it up by like being lower and then higher and like get stronger
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that way.
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Whatever it's whatever you want to do.
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Listen, everybody like you can talk.
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You can talk the claps to death, but like when they're talking about accenting, I would
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tell my kids that they don't need to bring their hands any further apart.
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They just need to use more velocity, right?
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You know, so you can have it through percussion.
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That's right.
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That's right.
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You can have a piano accented class and the students are sitting there going, wait, tell
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me exactly how far apart to pull my hands.
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But anyway, you can have fun here.
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It gets louder and louder and we're accenting and the percussion is continuing to be featured,
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which is fine.
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Everybody is going to be to rush because they have the syncopation one, two and one and that
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three and three.
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Yeah.
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And one and three.
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The clappers are going to want to rush.
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So they're raining it in.
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Yep.
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Because they're excited about it.
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Then the timpani continues their little solo.
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It's like climaxed up to measure 54.
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They have a roll.
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Then we're back into four, four and it's like the beginning again.
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Flute and oboe and clarinet kind of get the melody.
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Trumpets are chilling on the D again.
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Low people are playing just the little impact moments.
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Percussion is grooving.
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It's a lot like the very, very beginning, but now we're adding in more voices.
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More thicker.
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Thicker.
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Textured.
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Yeah.
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Then we have the same little syncopated one and two and three and four and one and two
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and three, four.
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Fink, chino.
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Four take piano, trill, situation.
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We all know how I feel about trills.
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Let one kid trill and just don't make it be a huge deal.
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It's like a little bell tones on each beat.
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Trombones and tubas on beat one.
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Horns enter on beat two with alto sax.
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Trumpet two enters alone on beat three.
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And why is it always squared like that?
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But it right?
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It always is.
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That's like two or three kids.
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So maybe beef it up by writing that the tenor sax gets to play on beat three along with
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your trumpet two or have some of your clarinets do it instead of trilling, but be, you know,
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I don't know.
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Be thoughtful about it.
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I would bop this measure like a million times, right?
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One, two, three, four.
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Yep.
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And trumpet one gets the four alone.
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So maybe even having some flutes do that with them.
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And then one, two and three, four and one and two and three, four.
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And like big snare drum at the end and timpani and choke everything in the cymbals.
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It's a fun little ending.
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So this is definitely like you just hit the impact.
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So this is a fun piece.
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The kids really, really like it.
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Yeah.
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So lots of articulation, some tuning considerations.
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But it's not horrible.
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It is not range wise.
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Yeah.
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Yeah.
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Rhythmic horn part.
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Yes.
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It's a little bit above range for most younger ensembles.
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Sub non or developing non-barcity groups.
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Yeah.
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But this is a great piece.
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And we hope that you will consider playing Brace for Impact.
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Thank you for joining us on this episode of Band BFF.
