| PS1VM | Ag4 | f | (Gill, age 50, tutor) unspecified |
| PS1VN | Ag0 | m | (Tom, age 14, student) unspecified |
| Gill (PS1VM) | [...] |
| Tom (PS1VN) | [...] |
| Gill (PS1VM) |
[1] [...] cos it makes a fun funny humming ... or buzzing noise because it picks up the vibrations through the table otherwise. [2] Now then ... Pen and pencil would ... would be a useful idea. [3] Now what did we do before? |
| Tom (PS1VN) |
[4] Erm we've done ... time signatures, compound time signatures. [5] Erm |
| Gill (PS1VM) |
[6] Yeah [...] didn't we? |
| Tom (PS1VN) |
[7] tonics all that sort of stuff, diminished, augmented |
| Gill (PS1VM) |
[8] We did some intervals |
| Tom (PS1VN) |
[9] [...] intervals. |
| Gill (PS1VM) |
[10] Yes. [11] Right. [12] ... Now ... can you tell me about time signatures? [13] What, what are the two types of time signatures? |
| Tom (PS1VN) |
[14] Compound |
| Gill (PS1VM) |
[15] Mhm. |
| Tom (PS1VN) |
[16] and erm what's the other one? |
| Gill (PS1VM) |
[17] Simple. |
| Tom (PS1VN) |
[18] Simple. [dog barks] |
| Gill (PS1VM) |
[19] Yeah. [20] [...] Just ordinary simple and compound. [21] And there's |
| Tom (PS1VN) |
[22] Simple and compound. [23] Yeah. [24] Compound's things like six nine, six nine erm |
| Gill (PS1VM) |
[25] Nine twelve |
| Tom (PS1VN) |
[26] Yeah. [27] That sort of stuff. [dog barks] |
| Gill (PS1VM) |
[28] At the top. [29] That's the top number. |
| Tom (PS1VN) |
[30] Erm. [31] And compound is three four. |
| Gill (PS1VM) |
[32] Tha that's comp that's compound. [33] Now compound is always six. |
| Tom (PS1VN) |
[34] Oh. |
| Gill (PS1VM) |
[35] Simple is just ordinary three beats a bar, |
| Tom (PS1VN) |
[36] Yeah. |
| Gill (PS1VM) |
[37] four beats in a bar, two beats in a bar. [38] It's the compou think of compound as being the one that's more difficult to think about. [39] Six eight times, nine eight times. |
| Tom (PS1VN) |
[40] Yeah. [41] Right. |
| Gill (PS1VM) |
[42] Still leaves three two three or four beats in a bar, but they're compound times. [43] They're dotted beats. [44] ... That's really all that compound means. [45] It means dotted beats. [46] Erm ... what would twelve ... twelve four? [47] Think about twelve four cos that's a compound time. [48] It's got twelve at the top. [49] Erm it may help to look at it. [50] Cos you can't think about it straight away. [51] Think ... twelve, and it'll be twelve what? |
| Tom (PS1VN) |
[52] Dotted semi-quavers. |
| Gill (PS1VM) |
[53] No. [54] What does four stand for in an ordinary time signature? |
| Tom (PS1VN) |
[55] Oh crotchets. |
| Gill (PS1VM) |
[56] Right so |
| Tom (PS1VN) |
[57] So. |
| Gill (PS1VM) |
[58] if there are twelve of those. [59] Twelve crotchets. [60] One two three four five six seven eight nine ten eleven twelve. [61] Think of them in groups of threes ... and that gives you four ... dotted? |
| Tom (PS1VN) |
[62] Quavers. [63] No. [64] Semi-quavers. |
| Gill (PS1VM) |
[65] You're, you're going small |
| Tom (PS1VN) |
[66] Yes. |
| Gill (PS1VM) |
[67] and you've got to go the other way. |
| Tom (PS1VN) |
[68] Oh yeah. [69] It's erm |
| Gill (PS1VM) |
[70] If there are tw if there are twelve crotchets and each of those are in groups of three. |
| Tom (PS1VN) |
[71] Dotted minims. |
| Gill (PS1VM) |
[72] So you've got four dotted minims. [73] So twelve, I mean if you can remember them twelve stands for four beats in a bar anyway |
| Tom (PS1VN) |
[74] Yeah. |
| Gill (PS1VM) |
[75] and ... if you just think what twelve crotchets are going to be divided up into |
| Tom (PS1VN) |
[76] Mm. |
| Gill (PS1VM) |
[77] it's going to dotted minims. [78] Cos you know it's going to be dotted something or other. [79] ... And if you were to see ... er an extract of music ... for example here's a twelve eight one. [80] This one actually tells you it's in twelve eight time. [81] And it's asking you to put in the bar lines. [82] ... Where would you ... put those bar lines do you think? [83] It would al I think it probably also asks you to ... to group them properly. [84] But just for the moment we won't worry about the grouping aspect. [85] ... I think, assume everything starts on the first beat of the bar as well. |
| Tom (PS1VN) |
[86] Okay. |
| Gill (PS1VM) |
[87] It'll tell you if it doesn't. [...] |
| Tom (PS1VN) |
[88] Erm |
| Gill (PS1VM) |
[89] [whispering] Eight stands for [] ? |
| Tom (PS1VN) |
[90] Quavers. |
| Gill (PS1VM) |
[91] [whispering] Right [...] [] |
| Tom (PS1VN) |
[92] [whispering] One two three four five six seven eight nine ten eleven twelve [] . |
| Gill (PS1VM) |
[93] So obviously the first one would be there. [94] And probably if it's going to be a whole one |
| Tom (PS1VN) |
[95] One two three four five six seven eight nine ten eleven twelve. |
| Gill (PS1VM) |
[96] So in fact there are just two bars. [97] Now how would you actually group ... those notes? |
| Tom (PS1VN) |
[98] Erm ... it'd be groups of three again wouldn't it? |
| Gill (PS1VM) |
[99] In groups of three. |
| Tom (PS1VN) | [...] |
| Gill (PS1VM) |
[100] Those two've got to be grouped together. [101] [whispering] One two three four [] |
| Tom (PS1VN) |
[102] Er ... it'd be sort of half of that. [103] Half of the erm crotchet. [104] I don't know how you do that. |
| Gill (PS1VM) |
[105] [whispering] Can we go backwards. [106] One two three four five [] |
| Tom (PS1VN) |
[107] You can only do it if you miss out that. [108] One two three. [109] One two three. [110] And that leaves you with a ... a little bit [...] ... |
| Gill (PS1VM) |
[111] Right. [112] Yes. [113] It actually explains it. [114] Exactly what they want you to do. [115] ... Er where you've got a note that obviously goes over a beat ... as in that one there |
| Tom (PS1VN) |
[116] Yeah. |
| Gill (PS1VM) |
[117] you're, you're going to have to write two quavers and tie them. [118] Is that what you said? |
| Tom (PS1VN) |
[119] Yeah. |
| Gill (PS1VM) |
[120] [laughing] It might have been what you said [] . [121] So those two ... okay. [122] That one will be joined to a quaver beat, so that you'll have a group of three. [123] And another quaver, those two will be tied ... the join taking them onto the next group of three and so on. |
| Tom (PS1VN) |
[124] So basically you're splitting this in compound time? |
| Gill (PS1VM) |
[125] Yes. |
| Tom (PS1VN) |
[126] So it it'd still sound |
| Gill (PS1VM) |
[127] Cos that, that actually looks as though it's the half way part of the bar too doesn't it? [128] So, and you, you don't actually go over the half |
| Tom (PS1VN) |
[129] Yeah. |
| Gill (PS1VM) |
[130] way part of the bar with one single note. [131] If you've got a note it's got to be held. [132] You actually split into two an and use a tie. [133] ... If you're in two time or four time which you are. [134] You're in four ... four dotted ... crotchets beats there aren't they? [135] ... You will sometimes be asked to ... er look at something like that and then put the time signature in. [136] These have got the time signature in but you're, they're asking you to put in the bar lines and then grouping the notes properly. [137] As in that one, you've go you've got to alter what they actually put there. [138] Not going to alter the sound of it. [139] The sound must still be the same but you've got to alter the notes for grouping purposes. [140] That may happen in any of those. [141] I wonder if they've got any here now that haven't got ... any time signatures, because that's the other thing that they ... they like to give you. [142] ... Down here. [143] Add time signatures. [144] Alright. [145] Let's see what you can make of first of all that one. [146] And whether they're all compound, they may not all be compound. [147] Some may be, some may not. [148] I don't know. [149] ... Find the simplest bar ... in each one. |
| Tom (PS1VN) |
[150] [...] this one. |
| Gill (PS1VM) |
[151] Looking through it that is the simplest one cos you can see |
| Tom (PS1VN) |
[152] Yes. |
| Gill (PS1VM) |
[153] at a glance there are two |
| Tom (PS1VN) |
[154] It's all, it's all |
| Gill (PS1VM) |
[155] groups of three aren't there? |
| Tom (PS1VN) |
[156] Yeah. |
| Gill (PS1VM) |
[157] So that's obviously going to be in compound time. [158] What though? |
| Tom (PS1VN) |
[159] Erm |
| Gill (PS1VM) |
[160] Fairly easy to put in a time signature. |
| Tom (PS1VN) |
[161] Six twelve. |
| Gill (PS1VM) |
[162] Six er ... now wait a minute. [163] What's ... four is for crotchets. [164] Eight is for quavers. [165] Double it again, sixteen. |
| Tom (PS1VN) |
[166] Six sixteen. |
| Gill (PS1VM) |
[167] It's gonna be sixteen. [168] So six sixteen. [169] And that actually means two dotted crotch two dotted quavers I mean, doesn't it? [170] ... Cos each group adds up to a dotted quaver. |
| Tom (PS1VN) |
[171] Mm. |
| Gill (PS1VM) |
[172] So it |
| Tom (PS1VN) |
[173] Yeah. [174] As you've got here. |
| Gill (PS1VM) |
[175] That's right. [176] In fact, if anything, which is the easiest way round of doing it? [177] To be, if you're asked to put in a time signature? [178] It's not always so easy to ... to group notes. [179] I think people find that more difficult than actually saying what a time signature is. |
| Tom (PS1VN) |
[180] Mhm. |
| Gill (PS1VM) |
[181] What about that one? |
| Tom (PS1VN) |
[182] Erm |
| Gill (PS1VM) |
[183] Take the simplest bar. [...] |
| Tom (PS1VN) |
[184] Three quavers. |
| Gill (PS1VM) |
[185] So the time signature is? |
| Tom (PS1VN) |
[186] Erm ... three eight. |
| Gill (PS1VM) |
[187] Three eight. [188] Now |
| Tom (PS1VN) |
[189] And it's grouped in a dotted crotchet. |
| Gill (PS1VM) |
[190] Yes it is. [191] Now is that compound or is that simple? |
| Tom (PS1VN) |
[192] Three eight is simple. |
| Gill (PS1VM) |
[193] It's simple because it's just got three at the top. |
| Tom (PS1VN) |
[194] Mm. |
| Gill (PS1VM) |
[195] It looks as if it ought to be with the compound ones but it's not. [196] It's just an ordinary simple one. [197] But it's quaver beats instead of crotchet beats, that's all. [198] So that was a simple one, that one was a compound one. [199] ... We'll do one more. [200] What about this one? [201] Is there an easy [...] ? [202] No they're, they're all, virtually all exactly the same |
| Tom (PS1VN) |
[203] Erm |
| Gill (PS1VM) |
[204] timing aren't they? [205] They're not quite the same. |
| Tom (PS1VN) |
[206] two three ... four five six |
| Gill (PS1VM) |
[207] Yeah. |
| Tom (PS1VN) |
[208] six erm ... six four. |
| Gill (PS1VM) |
[209] Yes. [210] Six four which is dotted? |
| Tom (PS1VN) |
[211] Minims. |
| Gill (PS1VM) |
[212] Two dotted minims. [213] Yes, yes. |
| Tom (PS1VN) | [...] |
| Gill (PS1VM) |
[214] Two dotted minims in a bar. [215] That's one of them. [216] And that, in fact that's probably the simplest bar isn't it? [217] Because |
| Tom (PS1VN) |
[218] Mm. |
| Gill (PS1VM) |
[219] that's a group of three. [220] ... Much the same as a dotted, dotted minim. [221] ... Erm simple or compound time then? |
| Tom (PS1VN) |
[222] It's |
| Gill (PS1VM) |
[223] Six |
| Tom (PS1VN) |
[224] six four |
| Gill (PS1VM) |
[225] four |
| Tom (PS1VN) |
[226] that's simple. [227] No, compound. |
| Gill (PS1VM) |
[228] Compound. [229] Two, three, four or five would be simple times. [230] Six, twelve ... They sound more complicated |
| Tom (PS1VN) |
[231] Mm. |
| Gill (PS1VM) |
[232] so think of them as being compound. [233] ... Right. [234] That way round then isn't so difficult. [235] That I think you ... I think most people find it more difficult having to group the notes in the right, in exactly the right way. [236] So ... I think. [237] This is actually a grade four one. [238] We'll lead up gradually [laughing] to grade five [] . |
| Tom (PS1VN) |
[239] Yeah. |
| Gill (PS1VM) |
[240] I'm not going to go all the way back through ... grades two and three. [241] You started on two I think. [242] Or you've got Book Two. [243] We'll go, we'll go from |
| Tom (PS1VN) |
[244] I think [...] . |
| Gill (PS1VM) |
[245] here. [246] ... And anything that you find you don't know then we can perhaps go back on just the bits that you don't know. [247] Because you're not going to have to go back on many of the things. [248] This book, these books are quite good because they do give you a little bit of explanation. [249] ... You've also got er other books or another book at home which you can refer to if you need any extra. [250] ... Erm it might be an idea to go back. [251] You won't find you're going to take much time doing some of these. [252] If you do exercise one ... for the time being don't worry about that one, exercise three. [253] Shall I write it down? [254] Yes, it would be a good idea, wouldn't it? |
| Tom (PS1VN) |
[255] Mm. [256] Do you want to write on the back of [...] |
| Gill (PS1VM) |
[257] It would be [...] because you've already got some in here haven't you? [258] I think I probably ... |
| Tom (PS1VN) |
[259] Yeah. |
| Gill (PS1VM) |
[260] Actually I'll carr I'll carry on on [...] |
| Tom (PS1VN) | [...] |
| Gill (PS1VM) |
[261] And the date today is ... the |
| Tom (PS1VN) |
[262] The twenty ... eighth I think. |
| Gill (PS1VM) |
[263] [whispering] Ah the twenty eighth. [264] It's the next thing on isn't it [] ? [265] So if you're looking in the grade four book ... put down page four, exercise one. [266] If you have a look at each one of those. [267] Rather than write them in the book, just put the answers down either on a ... on a piece of paper. [268] As long as you put clearly what it is you're putting in. [269] Then I can just use these books over and over again. [270] It's a bit pointless writing in them. [271] When it comes to exercise three ... that's on page five, exercise three. [272] When it says add bar lines it won it won't hurt you to actually write those out. [273] Because |
| Tom (PS1VN) |
[274] Okay. ... |
| Gill (PS1VM) |
[275] you really need to group the notes. [276] Well the notes are grouped but you're gonna add the [...] . [277] Write it out because it's all good practice for |
| Tom (PS1VN) | [...] |
| Gill (PS1VM) |
[278] for you actually. [279] At er writing out notes as well. [280] ... So ... you can do exercise three. [281] ... Not that one for now because that's doing something different. [282] Now which are the ones that you've got to ... to group? [283] ... So far [...] over here. [284] Right. [285] Page ... page eight starts ... exercise six. [286] In fact do ... all of those. [287] Do A through to F. [288] And that's grouping notes ... plus the bar lines. [289] ... The later ones are always quite hard. [290] ... And they've given you ... they've actually given you, not in this one, but they do give you the clefs here. [291] They've given you the clefs. [292] Did we look at those before? [293] ... Alto clefs and tenor clefs? |
| Tom (PS1VN) |
[294] Er ... don't think so. |
| Gill (PS1VM) |
[295] Have you come across those before? |
| Tom (PS1VN) |
[296] [...] come across these. |
| Gill (PS1VM) |
[297] You've come across the treble and the bass right? |
| Tom (PS1VN) |
[298] [...] and the bass, not these alto or whatever. |
| Gill (PS1VM) |
[299] Erm if ... just take ... just think of singers at the moment. [300] Soprano is the highest, then an alto |
| Tom (PS1VN) |
[301] Soprano, then an alto , tenor, bass |
| Gill (PS1VM) |
[302] tenor and bass. [303] Soprano is the highest voice. [304] Then comes the alto. [305] Then the tenor and then the bass at the [...] . |
| Tom (PS1VN) |
[306] Oh right. [307] So is |
| Gill (PS1VM) |
[308] So |
| Tom (PS1VN) |
[309] that's that's alto. [310] So is that ... one up from |
| Gill (PS1VM) |
[311] It's one down from |
| Tom (PS1VN) | [...] |
| Gill (PS1VM) |
[312] the treble. [313] ... Think of it as being the next lot down if you like. [314] Then there would be a tenor clef and then a bass clef. [315] The only reason that, that you're using a different clef is that it's actually putting middle C in a different place. [316] On the stave. [317] ... So that for example an alto doesn't need so many ... notes, high notes, but needs a few more lower notes. [318] So if you just kept your treble clef you'd have a lot of lines possibly that you weren't using at all. [319] And having to add a lot of low ledger line notes. [320] ... That saves doing that. [321] Because they position middle C. [322] Middle C's actually positioned between those bits there so the middle line there becomes middle C. [323] ... Which means that you're unlikely to have to have quite so many ledger line notes. [324] Although this has got one or two. [325] But not as many as you would have if you were using the treble clef because you'd probably end up with a lot of lower ... this is wha , that isn't a particularly good example really because ... it hasn't given a lot of lower notes but normally you'd expect to see more notes down on these ... lines. [326] Soprano wouldn't go down that far. [327] A soprano would only go down to about ... erm ... oh about what? [328] Middle C is probably a bit too low for, for most sopranos. [329] ... But an alto would go a lot lower, would go down probably to an F or a G. [330] ... So that these notes would be low. [331] If that's middle C you can te what would the bottom line actually be? |
| Tom (PS1VN) |
[332] Bottom line? |
| Gill (PS1VM) |
[333] That's C |
| Tom (PS1VN) |
[334] Er it would |
| Gill (PS1VM) |
[335] It's here. |
| Tom (PS1VN) |
[336] er G. |
| Gill (PS1VM) |
[337] C A F, you're right, yes. [338] ... Erm so that in fact ... a true alto would be using most of the notes there. [339] And just a few ledger lines above. [340] Unlikely to be using [...] whereas if they were using the treble clef for most of the time ... [...] |
| Tom (PS1VN) |
[341] [...] F G. |
| Gill (PS1VM) |
[342] Yes. [343] ... And then the other one, the tenor clef. [344] ... Have they given you a tenor clef? [345] No. [346] They'll give you a tenor clef a little bit further on. [347] They may not actually put the tenor clef in till grade ... grade five now I come to think about that. [348] But there's no point in |
| Tom (PS1VN) |
[349] Not learning it |
| Gill (PS1VM) |
[350] about it now because it's ... just as easy really. [351] Tenor clef looks exactly the same but middle C is now there. [352] Next line up in fact. [353] ... So ... because a tenor sings a little bit lower ... you've got more of the lower notes and fewer of the higher ... notes before you need to add ... start adding ledger line notes. [354] Sometimes of course you'll, they'll still need ledger line notes up there. [355] And perhaps one down there but [...] not very likely. [356] So it's just to make it much more comfortable to look at. [357] ... Just means you have to get used to thinking, right if that's ... if, if that's er er a tenor clef then that note won't be ... it would be, be an A in a bass clef and F in a treble clef. [358] What will it be for that clef? |
| Tom (PS1VN) |
[359] In this ... erm ... oh [...] |
| Gill (PS1VM) |
[360] [laughing] Going downwards going backwards is, is more difficult isn't it? [] |
| Tom (PS1VN) |
[361] Yeah. |
| Gill (PS1VM) |
[362] Much easier working upwards from C. [363] ... That line's C. [364] So that line |
| Tom (PS1VN) |
[365] C. |
| Gill (PS1VM) |
[366] would be? |
| Tom (PS1VN) |
[367] C A F D |
| Gill (PS1VM) |
[368] Er C A ... E ... You go one below it. |
| Tom (PS1VN) |
[369] Oh yeah. [...] |
| Gill (PS1VM) |
[370] You know F is next in fact C yes. [371] That's A, that's F, that would be D so it's between the two which, which is an E. [372] ... And if you were going above of course, that note would be? |
| Tom (PS1VN) |
[373] E. |
| Gill (PS1VM) |
[374] E and remember that it's the E just above middle C. [375] And that's the E |
| Tom (PS1VN) |
[376] Does the middle C |
| Gill (PS1VM) | [...] |
| Tom (PS1VN) |
[377] always come up on a line? |
| Gill (PS1VM) |
[378] Well it's ... yes it does in fact. [379] Mm. [380] I hadn't actually thought of that before. [381] But yes it does seem to. [382] I suppose theoret theoretically you could actually move middle C to wherever you wanted to have it. [383] But generally speaking they us they use just the four clefs. [384] Now ... certain instruments use the [phone rings] alto clef. [385] Just a minute. [386] ... [phonecall starts] Hello. [387] ... Oh hello. [388] ... Alright. [389] ... Right I'll fetch him, I'll fetch him. [390] Yes he's here. [391] ... Oh somewhere he is. [392] ... He's jus just upstai he's just upstairs so I shan't be a moment I'll go and call him [phonecall ends] . [393] [dog barks] ... [...] Gosh she's going to have fun with this tape. [394] Go on out you go. [395] [laugh] [dog barks] ... Right ... Yes. [396] So middle C then can be almost anywhere. |
| Tom (PS1VN) |
[397] Yeah. |
| Gill (PS1VM) |
[398] What instrument ... do you know about ... do you think ... that uses something other than the treble clef ... and a bass clef? [399] ... Or have you come across the one that |
| Tom (PS1VN) |
[400] Erm ... instrument that I know. |
| Gill (PS1VM) |
[401] Well that, that you might know. [402] ... It's not actually a percussion one but it's er ... in fact I don't, I think most of the percussion ones tend to use a ... a bass clef don't they? |
| Tom (PS1VN) |
[403] Yeah, yeah. |
| Gill (PS1VM) |
[404] If you see one at all. |
| Tom (PS1VN) |
[405] Yeah or [...] erm ... xylophones ... and glocks and those. [406] Except they use treble and bass |
| Gill (PS1VM) |
[407] They use the treble don't they? [408] Yes. [409] Er ... Bass or whatever. |
| Tom (PS1VN) |
[410] Yeah. |
| Gill (PS1VM) |
[411] Xylophone. [412] Yes, it's a treble. [413] And a vibraphone? [...] |
| Tom (PS1VN) |
[414] Just [...] ... I've got one of those nice little [...] |
| Gill (PS1VM) |
[415] Yes. [416] It's just like a, a small ... sort of piano. [417] Doesn't have a very long |
| Tom (PS1VN) | [...] |
| Gill (PS1VM) |
[418] key keyboard. [419] It doesn't I don't think. [420] Quite an |
| Tom (PS1VN) |
[421] It's a piano and it's |
| Gill (PS1VM) |
[422] odd range. [423] It's very high. [424] ... Because in fact although it's written from there all the way up to there, erm ... that is it starts at the C above middle C and goes up |
| Tom (PS1VN) |
[425] Yeah. |
| Gill (PS1VM) |
[426] to very high ... the unfortunate thing |
| Tom (PS1VN) |
[427] [...] snare drum. [428] I think that's played ... on the bass ... what would be on the piano an A. |
| Gill (PS1VM) |
[429] Yes. [430] It, it, they |
| Tom (PS1VN) | [...] |
| Gill (PS1VM) |
[431] use cert certain lines don't they? |
| Tom (PS1VN) |
[432] They use yeah erm [...] |
| Gill (PS1VM) |
[433] So that you, you get to know what is |
| Tom (PS1VN) |
[434] I think it's er |
| Gill (PS1VM) |
[435] what is what. |
| Tom (PS1VN) |
[436] A is the bass drum. |
| Gill (PS1VM) |
[437] Yeah. [438] [...] er |
| Tom (PS1VN) |
[439] I think it's G they use as the high-hat and there's all sorts of things. |
| Gill (PS1VM) |
[440] Yeah. [441] I don't thing they ... one thing they don't give in this book is a complete score |
| Tom (PS1VN) |
[442] Yeah. |
| Gill (PS1VM) |
[443] which ... oh do they? [444] No they don't. [445] No. [446] Which of course I'll ask yeah I've got plenty of those sort |
| Tom (PS1VN) |
[447] Mm. |
| Gill (PS1VM) |
[448] of things anyway. [449] You have to know an awful lot you know for grade five. [450] You, you've gotta have quite a wide knowledge. [451] You, you don't have to, need to know anything in, in depth but you've got to know |
| Tom (PS1VN) |
[452] But you've got to know shallow a wider range. |
| Gill (PS1VM) |
[453] Yes that's right which means in a way that you've got to know quite a lot. [454] There's ... erm an alto, no, yes an alto clef, isn't it? [455] For ... trombone, no, it's not, it's for, yes it's for one of the trombones, isn't it? [456] ... Tuba. |
| Tom (PS1VN) |
[457] Oh I erm found out what that ... brass instrument we couldn't think of. |
| Gill (PS1VM) |
[458] What was it? |
| Tom (PS1VN) |
[459] Euphonium. |
| Gill (PS1VM) |
[460] Euphon yes. [461] You're erm ... [laughing] isn't it silly |
| Tom (PS1VN) |
[462] Mm. [463] I've, I've |
| Gill (PS1VM) |
[464] because [] you see I could see wh exactly what you were talking about in my mind |
| Tom (PS1VN) |
[465] Mm. |
| Gill (PS1VM) |
[466] but I could not think of its name. |
| Tom (PS1VN) |
[467] Yeah. [468] I got into the car and I was still erm thinking all about this |
| Gill (PS1VM) |
[469] It's, it's, yeah. |
| Tom (PS1VN) |
[470] and my mother said straight away, oh you're thinking of a euphonium. |
| Gill (PS1VM) |
[471] Yeah. |
| Tom (PS1VN) |
[472] That's the one. |
| Gill (PS1VM) |
[473] Yes. [474] It's so silly isn't it when er ... you know that you knew it all the time. [475] Now then. [476] The one I'm looking for is what, have I got to the strings yet? [477] No I haven't got back to the strings. |
| Tom (PS1VN) | [...] |
| Gill (PS1VM) |
[478] These just use the bass or the treble clef. [479] ... And when you get back ... to the ... [...] ... There we are. [480] The strings. [481] It's the viola that we're actually looking for. |
| Tom (PS1VN) |
[482] Sort of bass violin. |
| Gill (PS1VM) |
[483] [laughing] Sort of bass violin, yes [] . [484] There we are. [485] That's the one that uses it. [486] So that you see even in a score it would be written like that. [487] ... So that's the only, only instrument that you generally see, actually see using it ... in most, most schools. [488] Unless you're going into some of the tenor ... erm ... and alto [...] |