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From YouTube: Where's Brian?
Description
On this episode of Where's Brian we're working with a group that has been around since 1924. We've been here once before in a different role. Do you know where I am today?
A
On
today's
episode
of
where's
Brian
we're
headed
back
to
a
setting
we've
seen
on
a
previous
episode,
but
today
we'll
be
working
with
a
group.
That's
been
around
since
nineteen
twenty
four
do
you
know
where
I
am
today,
I'm
brian
phillips.
On
most
days
I
work
in
an
office
for
the
aim
city
manager,
since
starting
here,
I've
learned
a
lot
about
the
different
job
city.
Employees
have
many
of
them.
A
The
Ames
municipal
band
began
receiving
City
sponsorship
in
1924.
The
group
holds
concerts
every
Thursday
night
in
June
and
July
a
band
shell
park,
dr
michael
gala
mo
is
the
ames
municipal,
band's,
seventh
conductor
and
today
he'll
show
us
what
it
takes
to
leave
the
band
here
in
Mike.
How
are
you
good.
B
Have
about
fifty
two
people
in
the
Ames
municipal
band
and
we
perform
every
Thursday
night
during
the
months
of
june
and
july,
and
in
addition
to
that,
we
perform
at
the
boone
municipal
band
festival,
which
is
held
each
summer.
We
participate
in
the
fourth
of
july
parade
and
we
perform
in
the
parade
for
the
memorial
day
ceremony,
which
is
held
out
at
the
municipal
cemetery.
Well,.
B
Usually
contact
the
city
through
my
king
or
they
send
me
an
email.
They
find
out
that
I'm
in
charge
and
they
should
be
an
email
saying,
here's
my
playing
experience
and
that's
kind
of
what
we
want
to
know.
How
do
we
contact
them
and
really
it's
kind
of
like
a
tenure
system
once
you're
in
the
group
for
a
season
you're
kind
of
in
permanently
so
with
new
people?
B
It's
usually
adding
them
in
as
substitute
players
and
then,
if
there's
an
opening,
we
kind
of
go
to
our
subs
and
see
who
might
be
the
best
choice
and
put
somebody
in
permanently.
We
have
three
members
who
have
been
in
the
band
over
60
years,
so
there's
some
sections
where
there's
not
a
whole
lot
of
openings
Wow.
B
Use
kind
of
a
formula:
each
week
we
try
to
we
always
open
with
the
star-spangled
banner.
We
have
some
sort
of
an
opener.
We
always
have
a
vocal
soloist.
We
have
an
instrumental
soloist.
We
always
have
some
sort
of
like
classical
piece
in
there.
We
always
have
something
that's
kind
of
more
Hollywood.
We
always
have
some
sort
of
him
too
near
the
end.
We
always
close
with
a
Sousa
March.
So
it's
a
little
bit
of
everything.
There's
a
little
bit
of
a
formula.
B
B
A
B
B
B
Got
a
march
here:
this
is
a
great
march
by
carl
king
called
a
prestissimo
margin.
Prestissimo
means
very
very
fast,
but
it's
a
piece
that
I
think
we
could
started
kind
of
a
medium
speed
and
then,
at
the
end,
let's,
let's
put
in
a
shell
around
0,
which
means,
let's
put
an
acceleration
of
the
tempo
and
that's
something
that
you'll
lead
and
hopefully
the
players
will
fight.
Okay,.
B
B
B
Right
there
all
right
and-
and
we
don't
want
the
elbow
to
be
in
too
tight.
Ok,
we
want
it
to
be
out
just
a
little
bit
and
again
in
the
center
of
the
body,
and
what
we're
going
to
do
is
start
here
in
the
first
gesture
and
the
most
important
gesture.
The
preparatory
gesture
is
that
you
come
in
and
up
so
it's
one
there
you
go
and
on
that
gesture.
One
other
thing
we'd
like
you
to
do,
would
be
to
take
a
breath
so
up
there,
you
go
like
that.
Okay,
that's
how
it
is
all.
B
And
the
the
beginning
is
yep
and
that's
probably
the
temple,
so
the
prep
is
going
to
be
fairly
fist.
One
two
ready
bum,
but
but
up
up
up
up
up
that
would
get
them
started
like
that.
Ok,
I
would
get
him
started
now
things
you
can
do
at
the
left
hand
is,
if
you
want
the
group
to
be
softer
while
you're
doing
this,
can
you
bring
the
left
hand
out
and
put
it
yeah
put
it
out.
We
always
say
fingers
together,
okay,
because
this
is
a
much
different
look
okay
than
this.
B
Where
you
want
them
to
come
down
slower
or
softer,
this
way
bring
this
down
yes
and
with
young
conductors.
We
see
this
a
lot
too,
whereas
we
want
to
practice
to
see
we
can
get
some
independence,
ok,
going,
ok
and
one
of
the
things
that
will
do
and
we'll
teach
you
the
end
of
this,
but
there's
a
session
where
we
can
really
slow
it
down,
and
then
we
can
we'll
decide
if
you
want
to
get
get
a
cello
Randall,
slowly
or
if
we
want
to
just
go
to
a
quick
temple.
So.
C
B
D
D
B
D
B
B
But
it
would
be
neat
if
we
could
slow
it
down
here
and
then
you
could,
starting
at
the
beginning
of
the
last
string,
maybe
starting
to
Charlie
round.
Oh
here
you
can
start
to
get
faster
or
it
might
be
more
fun
to
do
this
slow
and
stately,
and
then,
when
we
get
halfway
through
that
section
here
to
all
of
a
sudden,
let's
get
it
going
nice
and
fast
and
furious
and
rip
it
to
the
end.
Okay,
take
it
out
that
way
that
would
that
would
be.
That
would
be
fun.
B
Okay,
so
should
we
work
through
from
the
beginning
sure
we
can
do
that?
Okay,
now,
let's
talk
about
the
piece,
there's
a
little
bit
of
an
inch
and
then
there's
material,
which
is
the
first
string
which
is
repeated.
Okay,
then
there's
material
here
for
the
second
string,
which
is
repeating
and
then
what
we
call
the
trio
of
a
market
changes
key
and
it
gets
a
lot
softer.
That's
always
kind
of
the
soft
and
lyrical
okay.
B
After
this,
the
soft
and
lyrical,
it
goes
into
this
break
string
that
we
talked
about
and
write
up
in
and
right
after
the
break
straight
near.
The
end
of
that
is
where
we're
going
to
do
that.
So,
if
you
can
remember
that,
there's
a
soft,
soft
and
slow
lyrical
section
and
what
kind
of
sing
through
this
with
you,
okay
to
kind
of
get
it
going
and
then
there's
the
loud
section.
We
call
the
brakes
train
or
the
dogfight
something
something.
B
F
B
D
B
B
Exactly
and
and
feel
free
to
use
a
little
bit
more,
the
wrist
less
arm,
ok,
good,
good
good.
We
tell
conductors,
if
you're
conducting
something
like
a
march
to
imagine
that
you're
conducting
insight
or
rectangle-
and
in
this
case
it
would
be
a
vertical
type
of
rectangle.
Ok,
so
that
there's
more
weight
to
the
beat
I,
see.
Ok,
if
you're
conducting
something
that's
smooth
and
lyrical
I,
don't
like
a
ballot
or
something
think
that
your
rectangle
is
more
horizontal,
so
that
you're
doing
things
that
are
more
side
to
side
and
there's
less
weight.
B
B
F
B
B
The
title
of
is
prestissimo
march,
which
means
super
fast.
You
can
start
it
real
fast,
probably
for
this
purpose.
Let's
not,
but
let's
end
it
real
fast.
Ok,
ok,
and
this
is
a
circus
March.
This
was
used
probably
when
they
did
when
they
had
horses
in
and
that
sort
of
stuff,
because
the
subtitle
is
gallop
composed
by
Karl
king
who
lived
in
Fort
Dodge.
Oh
well,.
C
B
A
B
A
F
We
are
very
honored
to
have
one
of
their
own
stars
with
us
here
tonight.
He
normally
works
in
the
city
manager's
office,
but
you
may
know
him
as
the
frontman
and
where's
Brian
the
series
of
programs
that
take
you
behind
the
scenes
with
many
city
of
ames
functions.
Please
welcome
Brian
himself
to
the
stage
here
tonight.
Ladies
and
gentlemen,
brian
phillips.
F
Now
an
upcoming
segment
of
where's
brian
will
focus
on
the
ames
municipal
band
and
what
it
takes
to
put
on
one
of
these
concerts
here
in
banshee
apart
and
what
better
way
to
submerge
brian
in
the
ames
municipal
band
culture
than
to
have
him
try
his
hand
at
directing
the
band
doc
has
handed
off
the
baton
to
brian
he's
going
to
lead
the
band
in
the
prestissimo
march
by
carl
king.
He
was
checking
his
pulse
backstage
a
few
minutes
ago.
F
I
think
it
might
have
been
at
a
pristine
motu,
but
I
do
Michael
emo
has
given
him
some
serious
coaching
he's
done
some
serious
rehearsing
with
the
band
and
he
is
he's
truly
going
to
be
directing
the
band
he's
not
going
to
be
simply
standing
on
the
podium
and
waving
a
baton
up
and
down.
At
least.
We
hope.
No,
no
pressure
at
all
right
bright.
No,
no
so
where's
Brian
well
tonight
he's
right
here
leading
your
aims.
Municipal
de
out.