The double-reed is an instrument built from two fugues. The course will introduce you to its unique sound and introduce you to the secrets of playing…. Very close to nature – wind, mists and mountain space. We discover the original meaning of music and where it originated. Shepherd music where it originated.
Author: Joszko Broda
Lesson 1 The biped, an introduction to the topic
What does a bipedal look and play like? Żywiec Beskid and Silesian Beskid and mists at sunrise. Construction of the instrument. A compilation of different types of fusion machines. What is the construction of a bipod?
Lesson 2 Where to buy a bipod?
Who builds these types of instruments? How to reach producers? What does a bipod look like? Different types of instruments. About inspiring places. We listen to the melody played on the quill and view the Beskydy landscape.
Lesson 3 Fog and wind – the space that plays
Does the space in which we play matter? That the sounds played relate to the place we are in.
Lesson 4 How to start blowing?
Skąd się bierze deszcz? About the circumstances of nature and where Poland is. What do you need to start playing? Getting the first sounds out. Important exercises for beginners.
Lesson 5 The space explorer
Song in its natural habitat. A bench on Ochodzita. A walk towards silence.
Lesson 6 Blowing exercises – first hole and echo
We practise making sounds that imitate birds. Sounds under control. How do we plug the holes in the split? Local cultural and historical highlights.
Lesson 7 Sheep and mists
A direct report from sheep grazing surrounded by fog on Ochodzita.
Lesson 8 Playing while walking
How do you play the walking doublet? Two options for making sounds. The spectrum of the instrument’s capabilities. Musical journeys on the mountain, Carpathian Gate and sunshine.
Lesson 9 Playing to the Mists
A mountain lake full of milk. How do you tell the circumstances of nature musically? We practise making simple sounds. Doubles as a single-hole pipe. What does space have to do with an ethnic music phrase? A musical dialogue with nature.
Lesson 10 Looking for your culture
Cultural highlights from the Silesian Beskids. Curiosities from the borderlands. Exploring our own roots.
Lesson 11 What can be played for?
On the search for music audiences in space and nature.
Lesson 12 Music by the sheep
Live coverage of sheep herding. Pastoral music in the natural environment. The bleating, ringing and marching of the herd – we learn to listen and respond.
Lesson 13 Working on three holes
About the central point on earth. Which fingers cover the next holes? We try to make sounds on successive holes.
Lesson 14 Breathwork – practice blowing techniques
Sound production exercises involving breathing and tongue work. We play with the openings closed.
Lesson 15 Playing with ornaments and Frederic Chopin
He who has the sheep has what he wants. A reminder of recent exercises and new, more advanced ones. The educational method of Frederic Chopin and the masters of highland music.trzów muzyki góralskiej. On playing for real.
Lesson 16 Play with sound
Exercises in making sounds. Mastering the instrument by playing with its possibilities.
Lesson 17 Cleaning the split – how to do it?
About how to look after a split and what to do if you find you need to clean it?
Lesson 18 Play a tune
Tree – material for instruments and a source of solace. How do we breathe? We sing the tune we want to play. The possibilities of the twang – playing an instrument.
Lesson 19 What is mine and what is yours: do you know where you are from?
The philosophy of fences in Istebna culture. Who owns the space?
Lesson 20 Think about what you want to play about: Chekhov will tell you.
A snail and a pinecone – all there for the taking.
Lesson 21 The beginning and end of sound
We use the pressure difference to make sounds. We play the sounds one by one on two ‘floors’. The beginning and end of sound. On the transmission of culture from generation to generation.
Lesson 22 How to store a bipod?
Homemade patents for storing instruments. Sounds and melodies. Closing holes and blowing into two channels – a repeat of the exercise. Air and water cleaning of the split. Why have two instruments? Playing ‘four channels’.
Lesson 23 Playing “There’s a kitten on a fence”
How to play the simplest melody in different ways? What can a few sounds do in a mountainous space? We practice patiently and persistently.
Lesson 24 Playing by the tree
The twang as a one-hole pipe – the possibilities of an instrument in a beautiful natural setting.
Lesson 25 Doubles – storage – continued
We pack the instruments.
