BNC Text G3W

Music lesson: grade V music theory. Sample containing about 3361 words speech recorded in educational context

2 speakers recorded by respondent number C172

PS1VM Ag4 f (Gill, age 50, tutor) unspecified
PS1VN Ag0 m (Tom, age 14, student) unspecified

1 recordings

  1. Tape 088702 recorded on 1993-03-31. LocationNottinghamshire: Southwell ( home ) Activity: music lesson tutorial

Undivided text

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 [...]