DOCSLIB.ORG

Guide to Bassoon Reed Making

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Guide to Bassoon Reed Making Guide to Bassoon Reed Making February 13, 2021 Bassoon Professor Elizabeth Low-Atwater [email protected] 1 Arundo Donax From the Wikipedia Page: Arundo donax, giant cane, is a tall perennial cane. It is one of several so-called reed species. It ​ ​ ​ ​ ​ ​ ​ ​ ​ has several names including carrizo, arundo, Spanish cane, Colorado river reed, wild cane, and ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ giant reed. ​ Arundo donax grows in damp soils, either fresh or moderately saline, and is native to the ​ Mediterranean Basin and Middle East, and probably also parts of Africa and the southern Arabian ​ ​ ​ ​ ​ ​ Peninsula. ​ Tube Cane Cane is selected based on its diameter thickness of 24-26mm and is measured with a caliper tool. After cut to the correct lengths, the cane then sits for an average of 1 to 2 years to cure. 2 Steps from Cane to Finished Reed There are essentially six stages of the reed making process. We will dive into each of the steps specifically but laid out they are: 1. Gouged 2. Shaped 3. Profiled 4. Formed Tube (Cocoons) 5. Blank: Wired/Sealed/Turbaned 6. Finished Reed: Cut tip & Scraped 3 Split and Gouged Cane From the tube cane, it is then split into 3 to 4 pieces soaked overnight, and taken through a pre-gouger and gouger to remove the inside soft parts of the cane. Pre Gouger Gouger Shaping In this process, the gouged piece of cane is soaked for 2-3 hours then placed into a straight shaper. The metal shaper helps act as a guide to cut out the given shape. This is done with a ceramic knife, x-acto knife, and a diamond file. There are many different types of shapers that vary in the width and are measured at the tip, middle (narrowest point), and the end. The shape shown below is the H Bell Shaper. 4 Profiling After shaping, the cane is then run through the final piece of machinery to carve off the outer layer of bark from the edge to the tip or the center fold line of the reed. It will eventually stop when it hits the thickness determined by the guiding metal plate. Once one side is done, the barrel with the cane is flipped and the other side is then scraped in the same fashion to create a mirror image on the other side. After, the piece of cane is then set to rest and dry out for a few days. 5 Forming the Tube to make the Cane Cocoons FIRST STAGE​: Prepping the Cane [​Tools Needed​: water kettle, towel, easel, ruler with 32nds of inches marked, pencil, x-acto knife, sand paper, end nippers, and cotton string] *please note: because it will be folded in half to create a mirror image of each side of the reed, be sure do these steps on both bark portions of the cane. 1. Place cane into a bowl or jar and pour boiling water into it. This will then sit and soak in this water to cool for 3-4 hours or until all the cane has sunk to the bottom of container. 2. Take out a piece of cane and dry it with a towel 3. Taking a ruler and pencil, place the cane on the easel- measure and mark out 3/32nds from the throat. From that first line, measure and mark out 1 inch. Then measure 10/32nds from the top line and bottom line.* 4. Take the x-acto knife, score over the pencil lines to deepen the markings.* 5. With the end nippers, cut off the last portion of each side of the cane from the 4th end line. This will make sure the tube is the same length when folded.* 6. Bevel the four corner rails of cane. Lay a piece of sandpaper down on an elevated flat surface and hold the cane on its side corner at a 45 degree angle to sand off a 6 little bit of the sides. This will help when forming that the sides will join flat together in the round and create tension from the back to keeping an open tip.* unbeveled 45 degree angle sandpaper it off beveled! 7. From the throat to the end of each side, score the bark with the x-acto knife. This is a crucial stage as the bark will not stretch when being formed into the tube and therefore crack the blade of your reed if not scored properly.* 8. Using the straight edge of the ruler, fold the center of the cane. 9. Wrap the cotton string tightly around to “cocoon” the reed. Starting around the throat, tightly wrap twice creating an x to ensure that the blade won’t crack. (A) Work the wrapping all the way towards the end of the reed, making sure to leave a bit of space at the bottom as it will stretch when being formed. (B) Make your way back up towards the middle of the tube and tie off. (C) (A) (B) (C) 7 SECOND STAGE​: Forming the Tube [​Tools Needed​: gas range stove, water kettle, forming mandrel, holding mandrel, pliers, and drying rack] 1. Boil water from kettle and wait until steam is coming out from spout 2. Take the forming mandrel and heat the metal pin in fire while placing the end of the prepped reed held by pliers towards the steam. Hold both in place and count to 30. 3. Insert the heated forming mandrel into the gently opened steamed reed (you should hear a sizzling sound), then take out mandrel nd​ 4. ​Repeat #2 & 3 with the holding mandrel, pushing it to the 2​ notched line. Take pliers and mold/squish the cane around the mandrel to create its perfect circular shape 5. Place cocoons on a drying rack and allow for 2 weeks to completely dry out 8 Creating the Blank Reed After the long wait, it is finally ready! [​Tools & Supplies Needed​: pliers, holding mandrel, ruler, pencil, end nippers, wire, cotton crochet thread, duco cement] 1. Unravel the cotton string ​ 2. Wiring the reed: ​ Place the reed on the holding mandrel and wrap 3 pieces of 22 gauge brass wire. Work from bottom to top- wrapping the 3rd wire first, then the 2nd, and last adding the 1st wire. As you wrap the 3rd and 2nd wires, be sure to take your pliers and squish to encourage the cane to join its sides together. This will ensure a perfectly round tube and to keep air from leaking out of the sides. Please refer to the picture below, that the 2nd wire is opposite facing from the 1st and 3rd. Check each wire to make sure it is securely tight and not moving around with your fingers. 9 *How to wrap the wire: ➔ Hold the wire up to the previously scored wire line, secure with thumb having the wire points facing away from you. Be sure to keep track of each end of the wires- this is crucial to ensuring you have a tight wrap around your reed. I have labeled each side with color: right for red and left for blue. ➔ Wrap both ends of the wire around to the back of the reed making the two ends cross. **Be sure that the right side (red) is on ​top​ of the left (blue). ➔ Wrap both ends now to the front, still making sure that the right end (red) again crosses on ​top​ of the left end (blue). Please look to see that the top wire (red) has maintained its position for the entire wrap and is not recrossing underneath. Also note, the x where the two wires cross now in the front. 10 ➔ At that x crossing point, take your pliers and pinch over it. Pull, and then twist to the right. Continue to pull and twist (not at the same time) to create a tight wrap around the reed. As you pull and twist, make sure to squish the cane to join the two sides together to make a perfectly round tube 3. Using duco cement, add glue from second wire down, leave to dry (2-5 minutes). Again, this will help keep air from leaking out the sides of the reed as you to play it. 4. Wrap turban ​ **How to wrap the turban: Tie around the third wire Wrap around once to secure Wrap 2nd round above 1st Now wrap it under the 1st Keep wrapping to cover wire Wrap to desired size 11 Wrap to cover underneath Wrap to cover on top of the turban Tie off! 5. Cut off the bit of the third wire sticking out of turban and bend it back into the turban to keep from having it poke out. Fold the 2nd wire twist up and the 1st wire twist down. 6. Again with duco cement, completely cover a thick glob of glue over the turban to seal it off. This will harden into a plastic like protective cover. 7. Cut the tip- measure and mark 27mm from the throat and use end nippers to cut. Before cutting, be sure to check both sides to make sure you are cutting straight across. 12 Finishing the Reed: Scraping & Adjusting The First Scrape 1. ​Tip​: Use a straight blade knife, or sandpaper- should be fairly thin for a good response 2. ​Wings​: Using a straight blade knife and diamond triangle file, define the pyramid tip at the top. Make sure it thins out away from the thicker heart towards the corners of reed 3. Channels​: Scrape all the way from the back, up through the wings with a curved blade knife 4.
Load more

Recommended publications
  • The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
    The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below).
    [Show full text]
  • Common Reed Phragmites Australis (Cav.) Trin. Ex Steud. Grass Family (Poaceae)
    FACT SHEET: GIANT REED Common Reed Phragmites australis (Cav.) Trin. ex Steud. Grass family (Poaceae) NATIVE RANGE Eurasia DESCRIPTION Common reed, or Phragmites, is a tall, perennial grass that can grow to over 15 feet in height. In North America, both native phragmites (Phragmites australis ssp. americanus Saltonstall, P.M. Peterson & Soreng) and introduced subspecies are found. Introduced Phragmites forms dense stands which include both live stems and standing dead stems from previous year’s growth. Leaves are elongate and typically 1-1.5 inches wide at their widest point. Flowers form bushy panicles in late July and August and are usually purple or golden in color. As seeds mature, the panicles begin to look “fluffy” due to the hairs on the seeds and they take on a grey sheen. Below ground, Phragmites forms a dense network of roots and rhizomes which can go down several feet in depth. The plant spreads horizontally by sending out rhizome runners which can grow 10 or more feet in a single growing season if conditions are optimal. Please see the table below for information on distinguishing betweeen native and introduced Phragmites. ECOLOGICAL THREAT Once introduced Phragmites invades a site it quickly can take over a marsh community, crowding out native plants, changing marsh hydrology, altering wildlife habitat, and increasing fire potential. Its high biomass blocks light to other plants and occupies all the growing space belowground so plant communities can turn into a Phragmites monoculture very quickly. Phragmites can spread both by seed dispersal and by vegetative spread via fragments of rhizomes that break off and are transported elsewhere.
    [Show full text]
  • Tuning In” Podcast Terminology
    H+H “TUNING IN” PODCAST TERMINOLOGY Alto A designation for a range of the human voice, between soprano and tenor. Both women and men perform in the alto range. Aria A song movement which features a soloist singing in a steady tempo (as opposed to the unmeasured, sung-speech style of the recitativ). In addition to the standard continuo accompaniment, an aria can call for a few additional instruments and sometimes even feature a solo instrument, such as the solo violin in “Erbarme dich”. Bass Used to describe a musical instrument and the lowest line of music, in this case it refers to a range of the human voice below tenor. Bass line The lowest written line of music, usually carried out by instruments such as cellos and double basses along with a doubling keyboard instrument such as the organ or harpsichord. In some instances, Bach composes a bass line for an instrument in a higher range, such as the oboe da caccia, but keeps the voice and other instrument or instruments above that range. Chorale A movement which typically features a four-part hymn supported by the orchestra such that the high-pitched instruments play the same line as the sopranos, mid-range instruments play the alto line, etc.; in a Lutheran service, chorale movements allowed the congregation to join in song. Continuo As in Basso Continuo, or “Continuous Bass.” Refers to the group of players who play the lowest line of the music, typically a keyboard instrument such as organ or harpsichord, sometimes a plucked instrument such as theorbo (bass lute), and a sustaining instrument such as the cello; bass instruments which provide the harmonic foundation throughout the entire Passion, even in solo vocal movements (for which the rest of the orchestra does not play).
    [Show full text]
  • Hybrid Winds
    Hybrid Winds Linsey Pollak When I was about fifteen I had a dream that featured a wind instrument lives on the Sunshine Coast in whose sound I remembered clearly on Queensland and is a renowned waking. It reminded me of a somewhat community music facilitator, mellow crumhorn (Renaissance wind- composer and musical director who capped double reed pipe) or a sort of has built instruments for over 20 high-pitched baritone sax. That sound Figure 1: Gaidanet. years, specialising in aerophones eludes me now, for I have always been chasing that elusive, dreamt, wind- a semitone when it is opened. In fact it from Eastern Europe. He has a instrument sound. only works for the top half of the octave reputation for making and playing I started my instrument making in Macedonian gaidas, but for the full instruments made from rubber journey 25 years ago making bamboo range in Bulgarian gaidas which have a gloves, carrots, watering cans, flutes. That quickly led to a longer stint more conical bore. This enables a unique chairs, brooms, bins and other found of making wooden renaissance flutes, style of playing and ornamentation. objects. His ongoing obsession and an interest in other Renaissance and What I wanted to do was to have combines much of this: making medieval winds. But the real love affair access to the gaida style of playing and ornamentation while playing a lip-blown music more accessible to began 20 years ago with the Macedonian instrument like a clarinet. I experimented communities through instrument gaida (bagpipes), and so I travelled to Macedonia for eight months over three first with a clarinet mouthpiece and a building and playing workshops.
    [Show full text]
  • Physical Study of Double-Reed Instruments for Application to Sound-Synthesis André Almeida, Christophe Vergez, René Causse, Xavier Rodet
    Physical study of double-reed instruments for application to sound-synthesis André Almeida, Christophe Vergez, René Causse, Xavier Rodet To cite this version: André Almeida, Christophe Vergez, René Causse, Xavier Rodet. Physical study of double-reed instru- ments for application to sound-synthesis. International Symposium in Musical Acoustics, Dec 2002, Mexico, Mexico. pp.1-1. hal-01161426 HAL Id: hal-01161426 https://hal.archives-ouvertes.fr/hal-01161426 Submitted on 8 Jun 2015 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Physical study of double-reed instruments for application to sound-synthesis Andre´ Almeida∗, Christophe Vergezy, Rene´ Causse´∗, Xavier Rodet∗ ∗IRCAM, Centre Pompidou/CNRS, 1 Place Igor Stravinsky, 75004 Paris, France yLMA, CNRS, 31 Chemin Joseph Aiguier, 13402 cedex 20 Marseille, France Physical models for most reed instruments have been studied for about 30 years and relatively simple models are enough to describe the main features of their behavior. These general models seem to be valid for all members of the family, yet the sound of a clarinet is distinguishable from the sound of a saxophone or an oboe. Though the conical bore of an oboe or a bassoon has a strong effect over the timbre difference, it doesn’t seem to be a sufficient explanation for the specific character of these double-reed instruments.
    [Show full text]
  • Instrument Descriptions
    RENAISSANCE INSTRUMENTS Shawm and Bagpipes The shawm is a member of a double reed tradition traceable back to ancient Egypt and prominent in many cultures (the Turkish zurna, Chinese so- na, Javanese sruni, Hindu shehnai). In Europe it was combined with brass instruments to form the principal ensemble of the wind band in the 15th and 16th centuries and gave rise in the 1660’s to the Baroque oboe. The reed of the shawm is manipulated directly by the player’s lips, allowing an extended range. The concept of inserting a reed into an airtight bag above a simple pipe is an old one, used in ancient Sumeria and Greece, and found in almost every culture. The bag acts as a reservoir for air, allowing for continuous sound. Many civic and court wind bands of the 15th and early 16th centuries include listings for bagpipes, but later they became the provenance of peasants, used for dances and festivities. Dulcian The dulcian, or bajón, as it was known in Spain, was developed somewhere in the second quarter of the 16th century, an attempt to create a bass reed instrument with a wide range but without the length of a bass shawm. This was accomplished by drilling a bore that doubled back on itself in the same piece of wood, producing an instrument effectively twice as long as the piece of wood that housed it and resulting in a sweeter and softer sound with greater dynamic flexibility. The dulcian provided the bass for brass and reed ensembles throughout its existence. During the 17th century, it became an important solo and continuo instrument and was played into the early 18th century, alongside the jointed bassoon which eventually displaced it.
    [Show full text]
  • The Source Spectrum of Double-Reed Wood-Wind Instruments
    Dept. for Speech, Music and Hearing Quarterly Progress and Status Report The source spectrum of double-reed wood-wind instruments Fransson, F. journal: STL-QPSR volume: 8 number: 1 year: 1967 pages: 025-027 http://www.speech.kth.se/qpsr MUSICAL ACOUSTICS A. THE SOURCE SPECTRUM OF DOUBLE-REED WOOD-VIIND INSTRUMENTS F. Fransson Part 2. The Oboe and the Cor Anglais A synthetic source spectrum for the bassoon was derived in part 1 of the present work (STL-GPSR 4/1966, pp. 35-37). A synthesis of the source spectrum for two other representative members of the double-reed family is now attempted. Two oboes of different bores and one cor anglais were used in this experiment. Oboe No. 1 of the old system without marking, manufactured in Germany, has 13 keys; Oboe No. 2, manufactured in France and marked Gabart, is of the modern system; and the Cor Anglais No. 3 is of the old system with 13 keys and made by Bolland & Wienz in Hannover. Measurements A mean spectrogram for tones within one octave covering a frequen- cy range from 294 to 588 c/s was produced for the oboes by playing two scrics of tones. One serie was d4, e4, f4, g4, and a and the other 4 serie was g 4, a4, b4, c 5' and d5. Both series were blown slurred ascending and descending in rapid succession, recorded and combined to a rather inharmonic duet on one loop. The spectrograms are shown in Fig. 111-A- 1 whcre No. 1 displays the spectrogram for the old sys- tem German oboe and No.
    [Show full text]
  • Reed Instruments About Reeds
    Reed Instruments About Reeds A reed is a thin elastic strip of cane fixed at one end and free at the other. It is set into vibration by moving air. Reeds are the sound generators in the instruments described below. Cane reeds are built as either double or single reeds. A double reed consists of two pieces of cane carved and bound into a hollow, round shape at one end and flattened out and shaved thin at the other. The two pieces are tied together to form an channel. The single reed is a piece of cane shaved at one end and fastened at the other to a mouthpiece. Single Reed Instruments Clarinet: A family of single reed instruments with mainly a cylindrical bore. They are made of grenadilla (African blackwood) or ebonite, plastic, and metal. Clarinets are transposing instruments* and come in different keys. The most common ones used in orchestras are the clarinet in A and the clarinet in Bb. When a part calls for a clarinet in A, the player may either double -i.e. play the clarinet in A, or play the clarinet in Bb and transpose* the part as he plays. During the time of Beethoven, the clarinet in C was also in use and players were expected to be able to play all three instruments when required. All clarinets are notated in the treble clef and have approximately the same written range: E below middle C to c´´´´ (C five ledger lines above the staff). Bass Clarinet: A member of the clarinet family made of wood, which sounds an octave lower than the Clarinet in Bb.
    [Show full text]
  • Indian Music Instruments Sarangi Sitar Sitar Is of the Most Popular Music
    Indian Music Instruments Sarangi Sitar Sitar is of the most popular music instruments of North India. The Sitar has a long neck with twenty metal frets and six to seven main cords. Below the frets of Sitar are thirteen sympathetic strings which are tuned to the notes of the Raga. A gourd, which acts as a resonator for the strings is at the lower end of the neck of the Sitar. The frets are moved up and down to adjust the notes. Some famous Sitar players are Ustad Vilayat Khan, Pt. Ravishankar, Ustad Imrat Khan, Ustad Abdul Halim Zaffar Khan, Ustad Rais Khan and Pt Debu Chowdhury. Sarod Sarod has a small wooden body covered with skin and a fingerboard that is covered with steel. Sarod does not have a fret and has twenty-five strings of which fifteen are sympathetic strings. A metal gourd acts as a resonator. The strings are plucked with a triangular plectrum. Some notable exponents of Sarod are Ustad Ali Akbar Khan, Ustad Amjad Ali Khan, Pt. Buddhadev Das Gupta, Zarin Daruwalla and Brij Narayan. Sarangi Sarangi is one of the most popular and oldest bowed instruments in India. The body of Sarangi is hollow and made of teak wood adorned with ivory inlays. Sarangi has forty strings of which thirty seven are sympathetic. The Sarangi is held in a vertical position and played with a bow. To play the Sarangi one has to press the fingernails of the left hand against the strings. Famous Sarangi maestros are Rehman Bakhs, Pt Ram Narayan, Ghulam Sabir and Ustad Sultan Khan.
    [Show full text]
  • The Double Reed Project
    The Double Reed Project: Recruitment, Instruction, and Retainment of Double Reed Instrumentalists at the 6th – 12th Grade Level Arts Honors Undergraduate Thesis Austin Ahlborn The Ohio State University Dr. David Hedgecoth Advisor April 2019 Abstract The purpose of this study is to better understand how double reed instrumentalists are recruited, instructed, and retained within the scheme of public-school instrumental music programs. Data was collected through semi-structured interviews with high school band directors. These directors were individuals who worked at schools with successful double reed programs within their overall band programs. Participants described the structure of their programs and individual approaches to double reed recruitment, instruction, and retainment. Interview data suggests that a number of factors influenced success among these programs including private lessons, the personality of the double reed players, and teacher encouragement and comfortability with double reed instruments. Interviews also revealed challenges that educators face such as knowledge of instrument specific pedagogy, bassoon and oboe reeds, and the nature of wind band repertoire, especially with respect to the bassoon. Introduction As integral parts of the modern-day symphony orchestra and wind ensemble, the bassoon and oboe are well known by professional musicians and music educators alike. These instruments have been part of standard instrumentation in orchestral ensembles since the 16th century and more recently in the modern wind band. The standard double reed section in professional orchestras and wind bands typically consists of two to four bassoonists, with one bassoonist who will double on contrabassoon when the instrument is called for, and two to three oboists, with one oboist doubling the English Horn as needed (Garofalo & Whaley, 1976; Reed, 1962).
    [Show full text]
  • A Digital Synthesis Model of Double-Reed Wind Instruments
    EURASIP Journal on Applied Signal Processing 2004:7, 990–1000 c 2004 Hindawi Publishing Corporation A Digital Synthesis Model of Double-Reed Wind Instruments Ph. Guillemain LaboratoiredeM´ecanique et d’Acoustique, Centre National de la Recherche Scientifique, 31 chemin Joseph-Aiguier, 13402 Marseille cedex 20, France Email: [email protected] Received 30 June 2003; Revised 29 November 2003 We present a real-time synthesis model for double-reed wind instruments based on a nonlinear physical model. One specificity of double-reed instruments, namely, the presence of a confined air jet in the embouchure, for which a physical model has been proposed recently, is included in the synthesis model. The synthesis procedure involves the use of the physical variables via a digital scheme giving the impedance relationship between pressure and flow in the time domain. Comparisons are made between the behavior of the model with and without the confined air jet in the case of a simple cylindrical bore and that of a more realistic bore, the geometry of which is an approximation of an oboe bore. Keywords and phrases: double-reed, synthesis, impedance. 1. INTRODUCTION The physical model is first summarized in Section 2.In order to obtain the synthesis model, a suitable form of the The simulation of woodwind instrument sounds has been in- flow model is then proposed, a dimensionless version is writ- vestigated for many years since the pioneer studies by Schu- ten and the similarities with single-reed models (see, e.g., macher [1] on the clarinet, which did not focus on digital [7]) are pointed out.
    [Show full text]
  • Primary—The Animated Orchestra Study Guide
    17 Primary 18 Study Guide The Toronto Symphony Orchestra’s School Concerts are generously supported by Mrs. Gert Wharton and an anonymous donor. Table of Contents Concert Overview Concert Preparation Program Notes 3 4 - 6 7 - 10 Lesson Plans Artist Biographies Musical Terms Glossary 11 - 19 20 - 23 24 - 25 Instruments in Musicians Teacher & Student the Orchestra of the TSO Evaluation Forms 26 - 37 38 - 41 42 - 43 The Toronto Symphony Orchestra gratefully acknowledges Robin Malach for preparing the lesson plans included in this guide Concert Overview The Animated Orchestra Primary: Suitable for students in grades K–4 Dina Gilbert, conductor Greg Smith, narrator Join the TSO on an adventure where students discover the magic of music. Through storytelling and one-of-a-kind characters, students will be introduced to orchestral favourites that allow their imagination to soar. Meet a creative ferret named Ari who will tell the story of The Animated Orchestra with narrator Greg Smith. There will even be an audience sing-along where students get to perform alongside the TSO! Program to include excerpts from*: Georges Bizet Aragonaise from Carmen Suite No. 1 Traditional Mister Sun Audience Sing-Along Georges Bizet Les Toréadors from Carmen Suite No. 1 Greg Smith The Animated Orchestra *Program subject to change 3 Concert Preparation Let's Get Ready! Your class is coming to Roy Thomson Hall to see and hear the Toronto Symphony Orchestra! Here are some suggestions of what to do before, during, and after the performance. Whether it’s your first symphony concert or you’re a seasoned audience member, there’s always something new to learn and experience! Before Listen and Read Listen to the pieces of music • Have you heard any of these pieces before? • Which one is your favourite and why? • Do you hear anything new or interesting? • Try out one of our listening journals and record your observations.
    [Show full text]