>>> HELLO AND WELCOME TO GPB'S LIVE EXPLORATION OF THE ATLANTA SYMPHONY ORCHESTRA.

I'M YOUR HOST SARAH HOPKINS.

NOW WHAT IS A LIVE EXPLORATION?

WELL, WE'RE COMING TO YOU LIVE FROM THE ATLANTA SYMPHONY HALL IN ATLANTA, GEORGIA.

AND TODAY WE'LL BE EXPLORING ONE OF THE NATION'S LEADING ORCHESTRAS, THUS, LIVE EXPLORATION.

DURING OUR SHOW, OUR FIELD REPORTER JOSH FU WILL BE TAKING YOU BEHIND THE SCENES AS WE LEARN ABOUT THE SCIENCE OF SOUND AND HOW MUSICIANS PREPARE FOR A CONCERT.

YOU'LL EVEN GET TO HEAR LIVE PERFORMANCES BY THE ORCHESTRA.

THROUGHOUT THE PROGRAM MUSICIANS AND STAFF WILL BE AVAILABLE TO ANSWER YOUR QUESTIONS LIVE.

SEND US YOUR QUESTIONS BY USING THE QUESTION BOX FEATURE ON GPB.ORG/SYMPHONY OR SEND US A TWEET USING #SYMPHONYLIVE.

WE'LL BE GIVING YOU QUIZZES.

MAKE SURE YOU HAVE DEVICES READY TO SUBMIT.

TO PREPARE FOR THE QUIZZES, IT'S REALLY EASY.

JUST GO TO GPB.ORG/SYMPHONY OR YOU CAN VOTE BY SENDING A TEXT TO 2015617140.

AND THAT NUMBER AGAIN, 201-561-7140.

ALL RIGHT.

TO HELP SET THE STAGE FOR THE EXPLORATION OF THE ATLANTA SYMPHONY, LET'S HEAR A PIECE THEY PERFORMED RECENTLY DURING THE CONCERT FOR YOUNG PEOPLE.

LISTEN CLOSELY BECAUSE IT MIGHT SOUND FAMILIAR.

♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ >>> THAT WAS AWESOME.

JOINING US NOW IS TIFFANY WHO ORCHESTRATES THE CONCERT FOR YOUNG PEOPLE.

SO GLAD TO HAVE YOU HERE.

TELL US ABOUT WHAT YOU DO AT THE ATLANTA SYMPHONY ORCHESTRA.

>> OKAY, I'M THE MANAGING PRODUCER OF EDUCATION CONCERTS FOR THE ORCHESTRA.

THE PERFORMANCES YOU HEAR TODAY CAME FROM A CONCERT WE PUT TOGETHER.

AND WHAT I DO IS I PRODUCE THAT CONCERT BY CHOOSING MUSICAL THEME, PICKING THE CONCERT REPERTOIRE AND HIRING THE ARTISTS.

SO HERE THE ORCHESTRA DEMONSTRATES THE BRAVERY, CHARACTER AND DETERMINATION OF HEROES OF ALL KINDS.

THAT LAST PIECE YOU HEARD SETS THE STAGE SO THAT AUDIENCE KNOWS THE DIFFERENCE BETWEEN A VILLIAN AND A HERO.

AND SO SOME OF OUR STAR WARS FANS MAY HAVE RECOGNIZED THAT PIECE AS DARTH VADER'S THEME, THE IMPERIAL MARCH.

IT GETS THE AUDIENCES ATTENTION AND HELPS THE AUDIENCE DIFFERENTIATE ON HOW WE PORTRAY A MUSICAL THEME FOR A VILLIAN VERSUS A HERO.

>> YOU CAN REALLY HEAR THE DARKNESS.

WHY IS IT SO SO IMPORTANT TO EXPOSE STUDENTS TO THE ARTS IN ATLANTA?

>> IT'S BEEN PROVEN THAT LISTENING TO CLASSICAL MUSIC HELPS STIMULATE YOUR COGNITIVE AND EMOTIONAL ABILITIES AND HELPS TO OPEN YOUR MIND TO THINK AND YOUR BRAIN TO THINK IN DIFFERENT WAYS.

WE KNOW THAT INTRODUCING STUDENTS AT AN EARLY AGE TO CLASSICAL MUSIC WILL HELP THEM ESTABLISH A LIFETIME THE MUSIC APPRECIATION AND ENJOYMENT.

>> ABSOLUTELY.

ABSOLUTELY.

AND FOR THOSE UNABLE TO ATTEND IN PERSON, THAT'S WHY WE'RE BRINGING THE ARTS STRAIGHT TO YOUR CLASSROOM.

AND WE HAVE A QUESTION FROM THE AUDIENCE.

GEORGIA FROM BEAVERBROOK, ELEMENTARY WANTS TO KNOW, IS THERE A DIFFERENCE BETWEEN A SYMPHONY AND ORCHESTRA?

>> YES.

A SYMPHONY IS THE MUSICAL COMPOSITION, THE MUSICAL WORK.

THE ORCHESTRA IS A GROUP OF MUSICIAN THAT'S PLAY A VARIETY OF INSTRUMENTS THAT WILL PLAY THAT COMPOSITION.

OKAY.

THAT'S INTERESTING.

I DIDN'T KNOW THAT EITHER.

AND WE HAVE ANOTHER QUESTION IT IS WHAT IS YOUR FAVORITE MUSICAL INSTRUMENT?

>> MY FAVORITE MUSICAL INSTRUMENT IS ACTUALLY A SAXOPHONE WHICH IS NOT AN ORCHESTRA INSTRUMENT BUT AFTER THAT, I REALLY LOVE THE OBOE.

>> VERY NICE.

THAT IS DEFINITELY ONE OF THE INSTRUMENTS CAN YOU LISTEN TO ALL BY ITSELF.

HEARING THEM ALL TOGETHER IS THE BEST.

SO WHAT IS YOUR FAVORITE PART ABOUT WORKING FOR THE ATLANTA SYMPHONY?

>> I WOULD SAY MY FAVORITE PART ABOUT WORKING HERE IS GETTING TO KNOW AND BUILDING RELATIONSHIPS WITH ALL THE AMAZING GEORGIA EDUCATORS AND THE LETTERS FROM STUDENTS TELLING US HOW MUCH THE CONCERTS FOR YOUNG PEOPLE IMPACTED THEM.

>> ABSOLUTELY.

IT SOUNDS LIKE IT'S NEVER A BORING DAY AT ASO.

THANK YOU SO MUCH, TIFFANY.

ALL RIGHT.

IT'S TIME FOR MY FAVORITE PART OF THE SHOW, IT'S OUR FIRST QUIZ QUESTION.

SO HAVE THOSE DEVICES READY.

ALL RIGHT.

THE FIRST QUESTION IS, WHICH INSTRUMENT SHARES ITS NAME WITH A PART OF THE EAR?

WHICH INSTRUMENT SHARES ITS NAME WITH A PART OF THE EAR?

IS IT ONE, SNARE DRUM, TWO, SKY LOW PHONE, THREE, TIFFANY, OR FOUR, BASS DRUM?

AGAIN, THE OPTIONS ARE, ONE, SNARE DISCRIMINATE, TWO, ZI LOW PHONE, TIFFANY OR FOUR, BASE DRUM SNP CHOOSE ONE OF THE FOLLOWING WAYS TO VOTE.

IT'S SUPER SIMPLE.

GO TO GPB.ORG/SYMPHONY TO SUBMIT YOUR NUMBER OR YOU CAN CALL US 201-561-7140.

ALL RIGHT.

NOW IT'S TIME TO CHECK IN WITH JOSH TO LEARN ABOUT HOW SCIENCE AND MUSIC LIVE IN PERFECT HARMONY.

>> HEY, EVERYONE.

I'M JOSH.

TODAY WE'RE GOING TO BE EXPLORING THE ATLANTA SYMPHONY ORCHESTRA.

♪ I'M HERE WITH JOE AND WE'RE GOING TO TAKE A LOOK AT THE SCIENCE BEHIND THE MUSIC.

AND TO DO THAT, WE NEED TO UNDERSTAND SOUND.

SIMPLY PUT, IT IS A FORM OF IT IS CAUSED BY VIBRATIONS OF PARTICLES.

SOUND WAVES ARE ALMOST ALWAYS INVISIBLE BUT YOU CAN SEE WHAT IT LOOKS LIKE USING A STRING.

IF YOU USE THAT SIDE AND I APPLY ENERGY, CAN YOU SEE THE ENERGY MOVE THROUGHOUT THE STRING.

THE NUMBER OF WAVES PRODUCED IN A CERTAIN TIME PERIOD IS CALLED A FREQUENCY AND FREQUENCY DETERMINES PITCH.

SO WE HAVE THIS DEVICE WHICH DISPLAYS SOUND WAVES.

AS YOU CAN SEE, LOW PITCHES PRODUCE LONGER WAVE LENGTHS.

AND HIGH PITCHES PRODUCE SHORTER WAVE LENGTHS.

THE LONGER THE STRING, THE LOWER THE PITCH WILL BE.

IF I CUT THE STRING SHORTER, THE PITCH GOES UP.

>> WHERE DOES THE SOUND COME FROM?

>> IT COMES FROM THE HOLES WHICH ARE THESE SPACES RIGHT HERE.

BASICALLY WHAT HAPPENS IS YOU BOW THE STRING AND THAT SOUND IS CARRIED FROM THE BRIDGE AND THERE IS A BEAM THAT GOES UNDER THE BRIDGE THAT CONNECTS TO THE BACK OF THE INSTRUMENT.

THAT VIBRATING THE TOP AND BACK OF THE INSTRUMENT.

ALL OF THOSE SOUND WAVES AND THE AIR MOVING INSIDE COMES OUT OF THE HOLES.

>> SO, JOE, WHAT ELSE IS IMPORTANT ABOUT FREQUENCY?

>> WELL, MUSIC, SOUND FREQUENCIES ARE GIVEN NAMES.

THEY'RE CALLED NOTES.

THE WAY THE NOTES ARE ORGANIZED TOGETHER IS HOW YOU GET MELODY AND HARMONY AND THINGS TO MAKE A SONG OR PIECE.

THE WAY THE FREQUENCIES ARE ORGANIZED IS WHAT MAKES IT SOUND GOOD OR NOT SOUND GOOD DEPENDING ON HOW YOU PUT THEM ALTOGETHER.

>> DO YOU THINK YOU COULD DEMONSTRATE TWO NOTES THAT SOUND GOOD TOGETHER AND TWO THAT DON'T SOUND GOOD TOGETHER?

>> SEE, THOSE SOUND GOOD TOGETHER.

TWO NOTES THAT DON'T SOUNT GOOD TOGETHER.

>> SO I PLAYED A LITTLE BIT OF CELLO.

I'VE ALWAYS BEEN INTIMIDATED BY THE BASS.

IS THE BASS THE HARDEST INSTRUMENT TO PLAY?

>> I THINK IT'S THE HARDEST INSTRUMENT TO PLAY.

I STARTED PLAYING BASS GUITAR WHEN I WAS 7 OR 8.

I STARTED PLAYING DOUBLE BASS WHEN I WAS 11.

ANYBODY THAT PLAYS IT FOR THE FIRST TIME, THEY HAVE A REALLY HARD TIME.

IT'S HOLDING THE STRING DOWN ON THE FINGER BOARD, IT IS THICK AND THEY VIBRATE HEAVILY.

THE INSTRUMENT IS DEFENSIVELY PLAY JUST BECAUSE OF THE SIZE.

MOST STRING INSTRUMENTS CAN RICH FURTHER AS FAR AS PITCHES THEY CAN REACH AND WE CAN ONLY DO A HALF STEP BETWEEN ONE HAND POSITION.

SO THAT MAKES IT DIFFICULT.

AND THE RESISTANCE ON THE INSTRUMENT BECAUSE THE STRING IS SO THICK AND SO MUCH TENSION ON IT, IT'S A VERY RESISTANT INSTRUMENT TO HAVE TO COPE WITH THEM TO DO AND DOING WHAT YOU WANT IT TO DO.

♪ >> I'M HERE WITH ANDREW WHO PLAYS ONE OF THE MOST UNIQUE LOOKING AND COOL LOOKING INSTRUMENTS IN THE ORCHESTRA.

ANDREW, HOW DID YOU CHOOSE TO PLAY THE BUFFOON?

>> I STARTED ON SAXOPHONE.

AND I WAS AT A BAND CLINIC AND I WAS SEATED BEHIND A BUFFOONIST AND I SAW SOME KEYS ON THE BACK OF THE INSTRUMENT WHICH YOU OPERATE BY YOUR THUMB.

AND I THOUGHT THEY LOOKED REALLY COOL.

I HAD NO IDEA HOW IT SOUNDED.

IT IS NOT A VERY LOUD INSTRUMENT.

I THOUGHT IT LOOKED COOL.

>> THAT'S THE BEST REASON TO CHOOSE.

IT LOOKS COOL.

LIKE YOU SAID, THERE ARE SO MANY ELEMENTS.

CAN YOU KIND OF GO THROUGH THE DIFFERENT PARTS AND WHAT THEY DO?

>> SURE.

SO THERE ARE SIX MAIN PARTS OF THE BUFFOON.

WE HAVE THIS WHICH IS THE DOUBLE REED.

THEN WE HAVE THIS SILVER PIPE CALLED THE VOCAL.

THEN WE HAVE THE WING JOINTS.

AND THE BASS JOINTS.

THE LONG JOINT BECAUSE IT'S LONG.

>> RIGHT.

>> AND THE BELL.

>> I KNOW THAT THE REED IS REALLY IMPORTANT TO MAKE EVERYTHING GO.

WHAT CAN YOU TELL US ABOUT THE REED?

>> AS I SAID, IT'S A DOUBLE REED.

BUFFOON AND OBOES ARE BOTH DOUBLE REEDED INSTRUMENTS.

THAT MEANS THAT THERE ARE TWO PIECES OF WOOD THAT VIBRATE AGAINST EACH OTHER AND THAT'S WHERE THE VIBRATION THAT COMES FROM THAT MAKES THE SOUND.

IF I WERE TO BLOW INTO THIS.

I GET THAT.

WE CALL IT THE CROW.

>> ALL RIGHT.

I UNDERSTAND.

>> AND THEN WHEN I PUT IT INTO THE INSTRUMENT, IT MAKES A MUCH MORE SWEET SOUND.

♪ >> YEAH, THAT SOUNDS GREAT.

I SAW YOU EARLIER.

YOU WERE DIPPING IT IN WATER.

WHAT WAS THE REASON FOR THAT?

>> RIGHT.

THE WOOD VIBRATING BETTER WHEN IT'S WET.

AND IF I SIT HERE AND LET IT DRY OUT, SOMETIMES THE NOTES WON'T START.

I HAVE TO CONSTANTLY MAKE SURE IT'S JUST THE RIGHT AMOUNT OF WETNESS.

>> THAT IS SO IMPORTANT.

I NOTICE IT IS MADE OUT OF WOOD.

ALSO IN THE WOOD FAMILY IS FLUTES WHICH ARE MADE OUT OF METAL.

HOW DOES THE MATERIAL AFFECT THE SOUND?

>> SO WOOD IS A SOFTER MATERIAL.

IT DOESN'T PROJECT AS WELL AS METAL WHERE THE VIBRATION IS GOING THROUGH THE HARDER SURFACE CAN PROJECT MORE.

SO FLUTES, THEY'RE IN THE ORCHESTRA MORE THAN THE BUFFOON DOES.

>> DOES THAT AFFECT WHERE YOU ARE POSITIONED IN THE ORCHESTRA?

>> IT DOES.

IT IS ARRANGED BY VOLUME.

SO WE HAVE THE STRINGS AT THE FRONT AND THE BRASS AT THE BACK BECAUSE THEY'RE THE LOUDEST.

BRASS AND PRECUSHION.

AND THEN THE WOOD WINDS GET TO SIT IN THE MIDDLE.

I HAVE A PRETTY GOOD VIEW OF EVERYTHING.

>> DO YOU THINK YOU CAN PLAY US A LITTLE BIT OF SOMETHING TO GIVE US AN IDEA OF WHAT THE BUFFOON SOUNDS LIKE?

>> SURE.

THIS ONE MIGHT BE A LITTLE BIT FAMILIAR.

>> ALL RIGHT.

♪ >> THAT SOUNDS AMAZING.

THAT SOUNDS SO COOL.

THANK YOU.

THANKS, ANDREW.

>> THANK YOU FOR HAVING ME.

>> THAT WAS AWESOME.

THANK YOU, JASH.

-- JOSH.

WITH ME IS STEWART STEPHENSON, THE PRINCIPAL TRUMPET PLAYER.

STEWART IS GOING TO HELP US ANSWER OUR FIRST QUIZ QUESTION.

WHICH WAS, WHICH INSTRUMENT SHARES THE NAME WITH A PART OF THE EAR?

STEWART, WHAT IS THE CORRECT ANSWER?

>> THE CORRECT ANSWER IS THE TYMPANY.

IT CONSISTS TWO OF DRUMS.

SOMETIMES SIX OR SEVEN AND OFFER REFERRED TO AS A KETTLE DRUM.

>> VERY COOL.

IT LOOKS LIKE 41% OF YOU PICKED THAT.

SO 41% OF YOU GOT IT RIGHT.

AND BECAUSE THE TYMPANY IS SO BIG, DOES THAT MEAN THEY'RE THE LOUDEST?

>> THEY'RE BIG BUT THEY'RE NOT THE LOUDEST.

THE LOUDEST IS THE TRUMPET AND TROMBONE.

WHAT CAN YOU DO IS DEMONSTRATE SOUND WAVES.

LET'S DO THAT.

WE HAVE PLASTIC WRAP SEALED OVER A BOWL.

AND WE HAVE CEREAL ON TOP.

WATCH WHAT HAPPENS WHEN STEWART PLAYS NOTES.

♪ VERY NICE.

JUMPING ALL OVER THE PLACE.

THAT IS GREAT.

SOUND WAVES AND VIBRATIONS CAUSED IT TO MOVE, RIGHT?

>> EXACTLY.

THAT EXPLAINS HOW BEETHOVEN WHO BECAME DEAF LATER IN LIFE COULD STILL COMPOSE MUSIC.

HE CUT THE LEGS OFF THE PIANO.

HE COULD FEEL THE VIBRATIONS THROUGH THE WOOD FLOOR.

>> THAT IS REALLY COOL.

WE HAVE A QUESTION FROM MIKE -- MICHAEL.

HOW CAN A TRUMPET MAKE DIFFERENT SOUNDS EVEN THOUGH IT'S ONLY ONE INSTRUMENT?

>> THAT'S A GREAT QUESTION.

YOU CAN TIGHTEN YOUR LIPS AND BUT UNLIKE A LOT OF OTHER INSTRUMENTS, WE DON'T JUST BLOW THROUGH THEM.

WE CAN CREATE THE SOUND.

>> THAT'S AWESOME.

AND THE WAY THAT WORKS IS WE BUZZ OUR LIPS AND THAT CREATES THE SOUND THAT TRAVELS THROUGH THE TRUMPET.

AND IT SOUND LIKE THIS.

>> VERY NICE.

IT SOUNDS COMPLETE DLIFRN.

>> THE REED ON A BUFFOON CAN BE REMOVED.

CAN YOU REMOVE A TRUMPET'S MOUTH PIECE AS WELL?

>> WE CAN BUT WE DON'T LIKE TO BECAUSE IT DOESN'T SOUND VERY GOOD.

THAT SOUNDS LIKE A DUCK CALL TO ME.

YEAH.

DEFINITELY SOUNDS MUCH BETTER THE OTHER WAY.

CAN YOU CONTROL THE LOUD LOUDNESS OF A TRUM SUNSET.

>> ABSOLUTELY.

CAN YOU PUSH HARDER, SOFTER OR USE A MUTE.

I HAVE A COUPLE FOR YOU.

THIS ONE IS SORT OF MADE OUT OF A BALSA WOOD AND CARDBOARD.

IT HAS A SOFTER SOUND.

AND THE OTHER ONE I HAVE HERE IS A HARMON MUTE.

IT IS USED IN A LOT OF JAZZY PIECES.

IT HAS SOMETHING INTERESTING ON THE END HERE.

>> THAT'S AWESOME.

>> I'M GOING JUST LIKE THE PLUNGER THAT I SEE IS USED SOMETIMES IN JAZZ MUSIC.

>> IT'S SIMILAR.

WE PUT OUR HAND OVER THE BELL W A PLUNGER WE HOLD IN THE HAND.

IT DOES THE SAME THING.

>> OKAY.

VERY NICE.

THANK YOU FOR THAT DEMONSTRATION.

IT WAS REALLY COOL.

>> WE HAVE A QUESTION BY THE AUDIENCE.

WHERE IS THE COOLEST PLACE YOU'VE EVER PLAYED?

>> THERE ARE TWO COOL PLACES I PLAYED.

FIRST WAS CARNEGIE HALL IN NEW YORK CITY.

IT IS WORLD RENOWNED.

FANTASTIC TO PLAY.

AND THE SECOND IS ON TOP OF A MOUNTAIN IN COLORADO.

WE WERE UP AT 11,000 OR 12,000 FEET.

THE BREATHING WAS A LITTLE BIT INTERESTING AND DIFFICULT BUT IT IS GORGEOUS.

THE THERE WERE MOUNT ABS ALL AROUND ME.

>> THAT HAD TO BE BEAUTIFUL.

I HOPE YOU GOT A GOOD PICTURE.

>> I DID.

>> GOOD.

WE HAVE MORE QUESTIONS ROLLING IN RIGHT HERE FROM THE iPAD.

SO QUESTION FROM HASTY ELEMENTARY, SECOND GRADER WANTS TO KNOW, HOW DO YOU BECOME A MEMBER OF THE ATLANTA SYMPHONY ORCHESTRA?

>> TO BEGIN WITH, WE SEND A RESUME IN.

AFTER WE FIND THROUGHOUT IS AN OPENING.

YOU CAN'T APPLY UNLESS THERE IS AN OPENING.

YOU HAVE TO WAIT FOR THAT TO HAPPEN.

AND THEN ONCE YOU SEND THE RESUME IN, THEY EITHER ACCEPT YOU OR REJECT YOU.

AND THEN ONCE YOU'RE ACCEPTED, YOU COME AND PLAY THREE TO FOUR ROUNDS.

THEY GIVE YOU AHEAD OF TIME.

THE SEMIFINAL ROUND ONCE YOU MADE THAT INITIAL CUT AND THE FINAL AND SOMETIMES THE SUPER FINAL.

>> SUPER FINAL.

THAT IS IN FRONT OF THE MUSIC DIRECTOR.

THERE IS AN ENTIRE ROUND THAT YOU COULDN'T HEAR PLAY AND YOU COULD GET CUT FROM THE RESUME U THAT'S INTERESTING.

THE NEXT QUESTION FROM ATLANTA, GEORGIA, THEY WANT TO KNOW HOW MANY YEARS HAVE YOU PLAYED YOUR INSTRUMENT?

>> WOW.

I PLAYED 18 YEARS NOW.

>> I STARTED WHEN I WAS 10 YEARS OLD, FIFTH GRADE.

AND I'VE BEEN JUST STEADILY GETTING BETTER.

>> WE MIGHT HAVE FIFTH GRADERS WATCHING RIGHT NOW.

YOU WANT TO START, YOU COULD BE LIKE THIS ONE DAY.

AND ONE MORE QUESTION COMING IN FROM TWITTER.

MISS PRICE'S FIRST GRADE CLASS, WHAT KIND OF MUSIC DO YOU USUALLY PLAY?

>> HERE AT THE SYMPHONY WE CLASSICAL MUSIC.

.

WE DO POP SHOWS AND YOUNG CHILDREN'S CONCERTS.

THERE'S A WIDE VARIETY OF MUSIC FROM THE 1700s UP TO MUSIC WRITTEN ACTUALLY THIS YEAR.

>> WOW.

OKAY.

VERY NICE.

THANK YOU SO MUCH.

LOOKS LIKE IT'S TIME FOR OUR NEXT QUIZ QUESTION.

SO HAVE YOUR DEVICES READY.

ALL RIGHT.

HERE IT COMES.

QUIZ QUESTION NUMBER TWO.

THE STRINGS ON A STRINGED INSTRUMENT WERE HISTORICALLY MADE OF BLANK WRAPPED IN WIRE.

THE STRINGS ON A STRINGED INSTRUMENT WERE HISTORICALLY MADE OF WHAT WRAPPED IN WIRE?

HAY, SHEEP INTESTINES, DEER ANLT LETTER OR HORSE HAIR?

LISTEN TO THE QUESTION REAL CAREFULLY.

ONE, HAY, TWO, SHEEP INTESTINE, DEER ANTLER OR HORSE HAIR?

REMEMBER, JUST TEXT ONE, TWO, THREE, OR FOUR.

OR SUBMIT YOUR ANSWERS ONLINE AT GPB.ORG/SYMPHONY.

AND WE'VE HEARD MUSICIANS TALK ABOUT THE SCIENCE AND SOUNDS.

WHAT ALL GOES INTO PUTTING ON A CONCERT?

LET'S CHECK BACK IN WITH JOSH FOR A BEHIND-THE-SCENES LOOK.

>> NEXT UP, WE'RE GOING TO BE TALKING TO THE PERSON WHO IS IN CHARGE OF ALL OF THESE COOL PRECUSHION INSTRUMENTS.

>> HI.

I'M THE PRINCIPAL PRECUSHIONIST WITH THE ATLANTA SYMPHONY.

I HAVE TWO MAJOR JOBS.

THE FIRST ONE IS I PLAY WHAT ARE THE MOST DIFFICULT OR EXPOSED PARTS.

SO THIS CONCERT WE'RE PLAYING RIGHT NOW, I PLAY THE PROMINENT SNARE DRUM PART ON JOHN WILLIAMS IMPERIAL MARCH FROM STAR WARS.

THE OTHER BIG CATEGORY IS SORT OF ADMINISTRATIVE ONE.

I HAVE TO MEET WITH THE LIBRARY STAFF AND MANAGEMENT WELL IN ADVANCE OF THE CONCERT AND FIGURE OUT HOW MANY PLAYERS WE NEED FOR EACH PIECE.

HIRE THE PLAYERS IF WE NEED EXTRA PLAYERS AND ASSIGN THE PARTS.

THAT MEANS I TELL THE PRECUSHIONIST WHAT TO PLAY AND WHEN.

>> NICE, WE'RE GOING TO CHECK OUT THE LIBRARY.

>> LIBRARIANS ARE RESPONSIBLE FOR PREPARING THE MUSIC THAT THE ORCHESTRA PLAYS.

WE'RE RESPONSIBLE FOR PUTTING IN ALL OF THE MARKINGS THAT THE ORCHESTRA MEMBERS NEED TO PLAY THEIR INSTRUMENTS PROPERLY OR FOR STRING PLAYERS TELLING THEIR ARM WHICH DIRECTION TO GO.

HOW THAT PROCESS NORMALLY WORKS IS WE PLAN CONCERTS ABOUT A YEAR OR TWO IN ADVANCE.

THEY TELL US WHAT THEY WOULD LIKE TO SEE ON CONCERT.

WE GO OKAY, WE'LL MAKE THAT HAPPEN FOR YOU.

WE PULL OUT THE MUSIC, PUT IN THE MARKINGS THAT THE MUSICIANS NEED TO PLAY THEIR INSTRUMENTS PROPERLY.

WE TELL THEM SOMETIMES HOW LOUD TO PLAY.

HOW SOFT TO PLAY, WE TELL THEM HOW TO ARTICULATE, MEANING THE STYLE IN WHICH THEY PLAY.

NORMALLY THAT WILL COME FROM THE CONDUCTOR.

ONCE WE FINISH ALL THAT, WE TAKE EACH PIECE OF MUSIC AND WE MAKE SURE THAT EACH PERSON HAS THE PROPER MUSIC.

WHATEVER INSTRUMENT THEY ARE PLAYING, WE PUT IT IN THEIR FOLDER AND THEN THEY COME AND PICK IT UP.

>> HEY, EVERYONE.

I'M HERE WITH STEPHEN.

HE IS A CONDUCTOR AT ATLANTA SYMPHONY ORCHESTRA.

I WANT TO ASK YOU A FEW QUESTIONS.

WHAT DOES IT MEAN TO BE A CONDUCTOR.

WHAT IS YOUR ROLE?

>> AS A CONDUCTOR, I'M THE LEADER OF THE ORCHESTRA.

AND SO I'M BASICALLY IN CHARGE OF OVERSEEING THE WHOLE CONCERT.

AND SO I PICK SOME OF THE PIECES AND RUN THE REHEARSAL AND I HELP TO DIRECT THE PERFORMANCE.

AND BY DIRECTING, SO THAT'S BASICALLY COMMUNICATING WHAT YOU WANT FROM THE ORCHESTRA?

SO WHAT ARE SOME WAYS YOU DO THAT?

>> OBVIOUSLY, YOU HAVE THE HAND MOTIONS.

IS THERE ANYTHING ELSE CAN YOU DO AND CAN YOU SHARE THAT WITH US?

>> SURE.

IN THE PIECE, IT STARTS WITH THE BRASS.

AND SO THE FRENCH HORNS ARE SITTING ALL THE WAY OVER THERE AND THE TROMBONES ARE ALL THE WAY OVER THERE AND THE BASSES PLAY AT THE BEGINNING TOO.

WE HAVE TO START AT THE SAME TIME.

SO THE VERY FIRST THING I DO IS BREATHE FOR EVERYBODY SO WE CAN ALL BEGIN TOGETHER.

>> SO YOU HAVE AN OVERLAY IN EVERYTHING THAT'S GOING ON.

SO DO YOU HAVE MUSIC IN FRONT OF YOU?

ARE YOU SEEING EVERYONE'S PARTS OR IS IT JUST KIND OF LIKE A SPECIAL CONDUCTOR'S MUSIC LAID OUT IN FRONT OF YOU?

>> CONDUCTORS HAVE A SCORE.

AND WE HAVE EVERYBODY'S PART LISTED ON THE PAGE.

AT THE TOP OF THE PAGE IS THE FLUTE PART, AND AT THE VERY BOTTOM IS THE BASS PART.

AND EVERYTHING IN BETWEEN THAT.

NOW WHEN THE PLAYERS ARE ONLY LOOKING AT THEIR PART, BUT THE CONDUCTOR LOOKS AT EVERYBODY'S PART AND HAS TO DECIDE HOW IT ALL FITS TOGETHER.

SO IT'S TRUE THAT AS A CONDUCTOR YOU HAVE TO BE ABLE TO READ ALL OF THE DIFFERENT INSTRUMENTAL PARTS AND WHEN YOU GO TO SCHOOL FOR CONDUCTING, THAT'S ONE OF THE FIRST THINGS YOU HAVE TO LEARN.

>> WHAT ARE SOME THINGS DO YOU TO PREPARE FOR A PERFORMANCE OR MAYBE FOR THE NEXT COUPLE WEEKS OF A PERFORMANCE?

>> SO AT THE VERY BEGINNING WE HAVE TO HAVE AN ARTISTIC PLAN FOR WHAT WE'RE LOOKING TO DO.

AND WHEN WE PLAY CONCERTS FOR YOUNG PEOPLE, I'M COLLABORATING WITH THE EDUCATION DEPARTMENT TO DECIDE WHAT MUSIC ARE WE GOING TO PLAY?

THE LIBRARIAN WILL GIVE OUT THE MUSIC SO WE CAN PRACTICE OUR PARTS AND I STUDY THE SCORE SO WHEN WE COME IN EVERYBODY KNOWS THE MUSIC AND WE SIMPLY HAVE TO COORDINATE IT.

AND WE REHEARSE THE TIMING TOGETHER.

>> SO WHAT IS YOUR FAVORITE THING ABOUT BEING A CONDUCTOR?

>> THERE ARE TWO THINGS.

THE MUSIC ITSELF HAS ALWAYS FELT SO CONNECTED TO THIS MUSIC.

AND I COULDN'T LIVE WITHOUT IT.

AND ALSO THERE IS SUCH A JOY IN WORKING WITH MUSICIANS.

I HAVE ALWAYS LOVED SPENDING TIME WITH GREAT MUSICIANS AND TO BE WITH THEM ON A DAILY BASIS.

IT'S AMAZING.

I COULDN'T IMAGINE NOT DOING IT.

>> IN SOME CONCERTS THERE COULD BE MORE THAN 20 DIFFERENT INSTRUMENTS IN THE SYMPHONY.

A CONSISTENT FAN FAVORITE AND MY FAVORITE IS THE VIOLIN.

JOINING US NOW IS A VIOLINIST AT THE ATLANTA SYMPHONY.

WELCOME.

>> HI.

>> SO GLAD TO HAVE YOU HERE.

>> GLAD TO BE HERE TOO.

>> AWESOME.

SO WE JUST LEARNED ABOUT WHAT A CONDUCTOR DOES.

AND SCARLET FROM A CLASS IN ELEMENTARY WANTS TO KNOW IS IT HARD TO READ MUSIC AND WATCH THE CONDUCTOR AT THE SAME TIME?

THAT'S A GOOD QUESTION.

>> YEAH, DEFINITELY.

THAT'S A REALLY GOOD QUESTION.

SOMETIMES I ACTUAL IT CAN BE CHALLENGING BECAUSE IF YOU'RE SITTING IN THE BACK OF THE SECTION, THEN YOU'RE ACTUALLY REALLY FAR AWAY FROM THE CONDUCTOR.

YOU CONSTANTLY HAVE TO LOOK UP AND DOWN.

BUT I WOULD SAY THAT IF YOU ACTUALLY DO PRACTICE MUSIC BEFORE AND THEN YOU'LL BE ABLE TO DO IT.

AND THEN YOU WILL KNOW WHEN TO LOOK UP AT THE CONDUCTOR.

YOU JUST LOOK UP WHEN IT'S COMPLICATED.

THEN YOU FOCUS ON THE MUSIC.

>> I NEVER EVEN REALLY THOUGHT ABOUT THAT AS AN AUDIENCE MEMBER.

I JUST ENJOY THE MUSIC.

IT'S LIKE MAGIC.

YOU'RE THE PERFECT PERSON TO ANSWER THE SECOND QUIZ QUESTION.

THE STRINGS ON A STRINGED INSTRUMENT WERE HISTORICALLY MADE OF BLANK WRAPPED IN WIRE.

WHAT IS THE CORRECT ANSWER?

>> THAT WOULD BE SHEEP INTESTINES.

>> SURPRISE.

>> YEAH.

SO IT WAS THE SHEEP INTESTINES WERE USED A LOT.

IN THE MODERN DAY, METAL IS THE MOST COMMONLY USED MATERIAL FOR STRINGS.

>> LIKE ALUMINUM, SILVER, GOLD?

>> YEAH.

THE E STRING, THE HIGHEST STRING OF THE VIOLIN SOMETIMES IS MADE OF GOLD.

>> VERY COOL.

>> TO MAKE IT MORE RINGING AND MORE BRIGHT.

>> FANCY.

>> AND I SEE THAT MOST OF YOU GUYS TAKE HORSE HAIR AND I TOTALLY UNDERSTAND THAT.

IT'S BATE OF A TRICK QUESTION.

HORSE HAIR IS USED FOR A DIFFERENT PART OF THE INSTRUMENT.

>> THAT'S CORRECT.

HORSE HAIR IS USED IN THE BOW AND IT'S MADE OF 150 TO 200 HORSE HAIRS.

BUT THE HORSE HAIR ACTUALLY DOESN'T MAKE A SOUND IF YOU JUST PUT IT ON A STRING.

WHEN YOU CHANGE IT TO NEW BOW HAIR, YOU PUT ROSIN, THAT'S PART OF THE BOW.

AND THIS WILL ADD GRIP TO THE STRING.

>> SO THERE WOULDN'T BE ANY MUSIC WITHOUT ROSIN ON THE VIOLIN.

>> CAN YOU SAY THAT.

>> THERE ARE A LOT OF DIFFERENT WAYS CAN YOU PRODUCE MUSIC.

CAN YOU DEMONSTRATE THE TECHNIQUES?

>> ABSOLUTELY.

SO THERE ARE LESS TECHNIQUES AND THERE ARE ALSO RIGHT HAND TECHNIQUES.

SO THE LEFT HAND TECHNIQUE, THERE IS ONE CALLED RIBATO.

YOU PUT THE FINGERS ON ITS STRING AND THEN SLIGHTLY MOVE YOUR FINGER TIPS OR YOUR WRIST OR YOUR ARMS AND IT WILL SOUND LIKE THIS.

SOMETHING LIKE THAT.

AND ALSO FOR RIGHT HAND TECHNIQUES, THERE ARE IF YOU BEND THE BOW LIGHTLY FAST ON THE STRING -- JUST LIKE WHEN YOU HEARD EARLIER IN THE HERO MARCH, THERE IS ALSO ANOTHER WAY, WHEN YOU USE THE FINGER TO PLUCK THE STRINGS.

AND THERE IS ALSO CALLED PICATO WHICH DO YOU THIS.

YEAH.

SO THESE ARE SOME BASIC TECHNIQUES OF THE VIOLIN.

>> THAT IS BEAUTIFUL.

THE LAST TECH SNEAK MY VERY FAVORITE.

>> THANK YOU.

>> YOU KNOW WHEN TO USE THE TECHNIQUES BECAUSE OF ARTICULATIONS THE LIBRARIANS MAKE, RIGHT?

>> PARTIALLY.

USUALLY THE LIBRARIAN WILL WILL PUT THE BOWINGS IN THE PARTS WHEN THE MUSIC DIRECTOR AND CONDUCTOR TELL THEM WHAT THEY WANT.

AND MOST OF THE TIME THE COMPOSER WILL PUT IN THE ARTICULATION OF BOEINGS OF THE PIECE THAT THEY WANT.

>> VERY COOL.

IT TAKES SO MANY DIFFERENT PIECES TO PUT IT ALL TOGETHER.

I KNOW STEWART TALKED ABOUT THE MUTES THE TRUMPET'S USE.

DOES A VIOLIN HAVE ANYTHING SIMILAR SNR DOES IT HAVE A MUTE AS WELL?

>> YEAH.

I HAVE ONE RIGHT HERE.

IT'S VIOLIN SHAPED MUTE.

I USE IT IN ORCHESTRA SETTINGS TO HAVE A MORE SOFTER AND COVERED TONE.

♪ AND I ALSO HAVE OTHER ONES.

THIS GIGANTIC ONE.

YOU PUT IT OVER THE BRIDGE.

I USE IT IN HOTEL ROOMS.

SO I CAN PRACTICE AT MIGHT.

AND THE THIRD ONE BUT NOT THE LEAST ONE, I GOT THIS ONE OVER THANKSGIVING.

IT'S A VERY CUTE -- >> THAT'S ABSOLUTELY ADORABLE.

♪ >> YES, I CAN KEEP MYSELF ENTERTAINED.

>> YOU CAN DEFINITELY HEAR A DIFFERENCE WITH THIS.

AND WE RECEIVED A TON OF QUESTIONS ABOUT THE VIOLIN.

SO LET'S ANSWER A COUPLE OF THEM.

OKAY.

FROM FULTON ACADEMY OF SCIENCE AND TECHNOLOGY, SAMANTHA WANTS TO KNOW, DOES IT HURT YOUR NECK WHEN YOU PLAY THE VIOLIN?

>> ACTUALLY, IT DOESN'T.

BUT SOMETIMES IF YOU PLAY FOR A LONG PERIOD OF TIME, YOU CAN DEFINITELY CAUSE SOME KIND OF BACK PAIN AND NECK PAIN.

BUT NOT VERY BAD.

>> OKAY.

AND THIS LAST ONE SAYS FROM HENDERSON HILL ELEMENTARY, HAS ANYBODY'S INSTRUMENT EVER BROKEN WHILE PLAYING IT AND WHAT DO DO YOU IF SOMETHING LIKE THAT HAPPENS DURING A SONG?

>> INTERESTING.

SO THE ONLY THING THAT I CAN THINK OF THAT BREAKS DURING A CONCERT IS THE E STRING USUALLY.

IT'S A STRING OF ALL.

AND USUALLY WHEN THAT HAPPENS, IF YOU'RE SITTING IN A CONCERT MASTER, THE GUY OR THE LADY WHO IS SITTING NEXT TO HIM, THE ASSOCIATE MASTER WOULD HAND OVER HIS OR HER VIOLIN TO THE CONCERT MASTER.

>> OKAY.

>> YEAH.

>> VERY COOL.

ALL RIGHT.

A FOURTH GRADE STUDENT ASKS YOU HAVE JOBS OTHER THAN BEING A MUSICIAN?

>> THAT'S A GOOD QUESTION.

THIS IS MY LIFE LONG COMMITTED JOB.

I HAVE OTHER HOBBIES OUTSIDE OF THE SYMPHONY.

>> YOU'RE A PROFESSIONAL?

THIS IS FOR REAL.

>> I WOULD SAY SO.

>> YES, SHE IS WORKING AT THE HIGHEST LEVEL.

THIS IS HER FULL TIME JOB.

AND WE HEARD HOW MUSICIANS PREPARE FOR A CONCERT PERFORMANCE.

BUT NOW IT'S TIME TO SEE HOW A TEACHER AND HER STUDENTS PREPARE TO ATTEND ONE.

WE SPOKE WITH BRIANNE, A MUSIC LEADER AT SPRING DALE PARK ELEMENTARY IN ATLANTA TO HEAR HOW THEY CONNECT WITH THE SYMPHONY.

>> PREPARING MY STUDENTS FOR THE SYMPHONY CONCERTS IS ONE OF MY FAVORITE TIMES OF THE YEAR.

SO WHEN A VIOLINIST IS PLAYING, THEIR ELBOW MOVES AND ALSO THE WRIST.

BUT IF THEIR SHOULDER IS MOVING AROUND A WHOLE LOT, THEN IT'S NOT GOOD TECHNIQUE.

I TAKE EVERY SINGLE ANGLE IF YOU ARE STUDYING A SCIENCE CONCEPT, YOU CAN STUDY SCIENCE THROUGH MUSIC.

IF YOU'RE STUDYING SOCIAL STUDIES, IF YOU'RE STUDYING LANGUAGE ARTS, POETRY IS BUILT IN TO LYRICS.

YOU CAN TEACH CHILDREN HOW TO TRACK LEFT TO RIGHT IF YOU'RE READING MUSIC OR LYRICS.

MUSIC IS CONNECTED TO MATH THROUGH NOTATIONS.

IF YOU LOOK AT A MUSICAL STAFF, IT IS LIKE A GRAPH.

THE PITCH AND THE DURATION IS GRAPHING ESSENTIALLY.

MUSIC NOTES ARE FRACTIONS.

BUT ALSO HUMANS CAN LEARN ABOUT EACH OTHER THROUGH MUSIC.

SO WE LEARN ABOUT DIFFERENT CULTURES, DIFFERENT ERAS IN HISTORY THROUGH MUSIC.

AND IT'S THE BIG CONNECTOR.

EVERYTHING ABOUT PREPARING FOR THE SYMPHONY, THE STUDENTS LEARN THEY LEARN TO CONDUCT.

THEY LEARN WHERE THE ORCHESTRA MEMBERS SIT AND WHY.

AND IT BECOMES A WAY FOR US TO BE ABLE TO CONNECT TO THE ATLANTA COMMUNITY AS WELL.

BECAUSE WE ARE GOING OUT INTO ONE OF THE BEST ORGANIZATIONS THAT NORTH AMERICA HAS TO OFFER WITH THE ATLANTA SYMPHONY.

MY FAVORITE PART OF WATCHING THE SYMPHONY IS ACTUALLY WATCHING MY STUDENTS WATCH THE SYMPHONY.

WHEN I SEE THEIR FACES LIGHT YOU WERE AND I HEAR STUDENTS SAY THIS IS WHEN THIS IS HAPPENING AND THEY GET SO EXCITED OR THEY SIT AND THEY CONDUCT FROM THEIR SEATS AND THEY BREATHE WITH THE ORCHESTRA AND ALL OF THE PHYSICAL EXPERIENCES AND THE MOTIONAL EXPERIENCES THAT THE KIDS HAVE, WATCHING THEM ENJOY MY FRIENDS ON THE STAGE IS THE GREATEST PART.

>> I'M REALLY LOOKING FORWARD TO LOOKING AT THE CONDUCTOR AND HOW HE MOVES.

WHEN I GROW UP, I WOULD LIKE TO DO THE SAME THING.

>> I'M LOOKING FORWARD TO MEETING EVERYONE AND SEEING WHAT THE PROCEDURES TO LEARNING A SONG.

>> MY FAVORITE INSTRUMENT IS THE VIOLIN.

BECAUSE I LOVE THE STRINGS.

AND THEY SOUND PRETTY.

>> I'M LOOKING FORWARD TO THE SONG I WANT TO ACTUALLY HEAR A SYMPHONY PLAY IT.

>> I'M ALSO LOOKING FORWARD TO THAT BECAUSE I KNOW HOW TO PLAY IT ON THE FLUTE.

>> WHAT A FUN FIELD TRIP.

JOINING US AGAIN IS TIFFANY.

TIFFANY, YOU DO MANAGE CONCERTS FOR YOUNG PEOPLE.

WE HAVE A LOT OF VIEWERS TUNING IN FROM OUTSIDE OF THE ATLANTA AREA.

SO WHAT ARE SOME WAYS THEY CAN STILL INTERACT WITH THE SYMPHONY?

>> WE PERFORM AT VARIOUS VENUES THROUGHOUT THE YEAR INCLUDING WE GO TO UNIVERSITY OF GEORGIA.

WE ARE AT MADISON AND WE ARE ALSO AT SAVANNAH.

AND WE'RE AT OTHER UNIVERSITIES.

WE ENCOURAGE YOU TO CATCH US THERE.

ALSO, YOU CAN LISTEN TO US ON GPB RADIO, THE DELTA CLASSICAL SERIES AS WELL AS ASO.ORG TO GET THE STUDY GUIDES FOR ALL THE YOUNG PEOPLE PROGRAMS.

AND WE HOPE THAT IF YOU ARE VISITING ATLANTA THAT YOU COME AND VISIT US HERE IN ATLANTA SYMPHONY HALL.

THERE IS NOTHING LIKE SEEING A LIVE CONCERT AND CHECK US OUT ON ALL OF OUR SOCIAL NETWORKS.

>> ABSOLUTELY.

OF COURSE, YOU CAN INTERACT WITH ASO BY SENDING QUESTIONS AND PARTICIPATING IN THIS FINAL QUIZ QUESTION.

ALL RIGHT.

HERE'S QUIZ QUESTION NUMBER THREE.

WHICH INSTRUMENT IS NOT A MEMBER OF THE PRECUSHION FAMILY?

IS IT NUMBER ONE, HANDBELL, TWO, PIANO, THREE, SYMBOLS OR FOUR, PIPE ORGAN?

HAND BELLS, TWO, PIANO, THREE, SYMBOLS OR PIPE ORGAN?

WHICH ONE IS NOT A MEMBER OF THE PRECUSHION FAMILY?

REMEMBER TO SUBMIT YOUR ANSWERS ON OUR WEBSITE.

AND WHILE YOU CHOOSE THE ANSWER, LET'S TAKE A LOOK AT ONE OF THE MOST POPULAR PIECES PERFORMED DURING THE CONCERT FOR YOUNG PEOPLE.

TIFFANY, CAN YOU GIVE US SOME BACKGROUND OR CONTEXT ON THIS AND WHAT IT MEANS?

>> DEFINITELY.

HE CREATED A PROTEST SONG AGAINST THE RUSSIAN EMPIRE.

IN THE 1800s, THE RUSSIAN EMPIRE FORCED CITIZENS TO JOIN THE RUSSIAN ARMY AND CENSORED THEIR PRESS.

SO WHAT HAPPENED IS IN 1890 THEY DECIDED TO FIGHT BACK.

AND HE CREATED THAT PIECE AS A WAY TO RAISE MONEY TO PROTEST AGAINST THE CENSORSHIP OF THE PRESS.

AND TODAY IS CONSIDERED FINLAND'S SECOND NATIONAL ANTHEM.

>> VERY NICE.

>> WE HEARD ABOUT IT.

NOW LET'S LISTEN TO IT.

HERE IT IS.

♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ >> I FEEL LIKE I CAN ENVISION THE STRUGGLE BETWEEN THE COUNTRIES.

LET'S HEAR WHAT YOUNG PEOPLE HAD HAD TO SAY.

HERE ARE SOME OF THEIR REACTIONS.

I LIKE THE VIOLIN BECAUSE LAST YEAR I USED TO PLAY THE VIOLIN AND WATCHING THE VIOLINISTS PLAY, THAT IS REALLY COOL.

THEY MAKE ME SEEM LIKE I CAN DO WHAT THEY CAN DO WHEN THEY DID WHEN I DID IT.

>> MY FAVORITE LIKE MUSIC WAS STAR WARS.

>> IT HAS A MEANING JUST LIKE BOOKS.

YOU KNOW, TO FIND THE MESSAGE IN THE STORY.

LIKE CAN YOU DO ANYTHING.

>> MY FAVORITE PART ABOUT THIS CONCERT WAS THE VIOLINS.

I LIKE THE SOUND OF IT AND HOW IT'S ALL TOGETHER.

>> MY FAVORITE PART IS THE STRINGS.

AND HOW SLOW AND EVERYTHING.

>> I WOULD DEFINITELY HAVE TO AGREE.

I REALLY LOVE THE STRINGS IN THAT PIECE.

AND FOR OUR VIEWERS, YOU CAN TELL US YOUR FAVORITE PART OF TODAY'S PERFORMANCES ON TWITTER OR LEAVING A COMMENT IN THE CHAT BOX.

>> BACK WITH US NOW, CICI AND STEWART.

CAN YOU HELP US ANSWER OUR FINAL QUESTION QUESTION.

WHICH INSTRUMENT IS NOT A MEMBER OF THE PERCUSSION FAMILY?

GO AHEAD.

SORRY.

>> WHAT ARE THE CHOICES?

I WOULD SAY THE PIPE ORGAN.

>> CORRECT.

THAT IS CORRECT.

AND THE PIPE ORGAN DOES NOT HAVE STRINGS.

AND IT DOESN'T HAVE ANYTHING HITTING IT.

SO TELLOUS THE PIPE ORGAN IS NOT A MEMBER OF THE PERCUSSION FAMILY?

>> I ACTUALLY -- MY FIRST GUESS IS THE PIANO.

PIANO IS ACTUALLY THE PERCUSSION INSTRUMENT BECAUSE IT HAS STRINGS AND THEN THE -- >> RIGHT.

IT IS A PERCUSSION INSTRUMENT.

IT IS A TRICKY QUESTION.

IT DOES HAVE STRINGS.

IT HAS SOMETHING HITTING IT SO IT IS A PERCUSSION INSTRUMENT.

AND NOW WE HAVE MORE QUESTIONS COMING IN FROM OUR AUDIENCE.

LET'S ANSWER ONE OF THOSE.

STEWART, THIS ONE IS FOR YOU.

WHAT ARE SOME TIPS YOU CAN GIVE YOUNG MUSICIANS TO HELP THEM BE SUCCESSFUL IN MUSIC/LIFE.

>> THAT'S A GREAT QUESTION.

I THINK THE BEST ADVICE IT DON'T BE AFRAID TO MESS UP.

THERE'S NOTHING WRONG WITH IT.

ESPECIALLY FOR, YOU KNOW, TRUMPET PLAYERS IF, WE MESS UP, EVERYBODY HEARS IT.

FIGURE OUT WHAT YOU WANT TO SOUND LIKE AND THAT'S IT.

DON'T BE AFRAID TO EXPLORE YOUR OPTIONS AND DON'T BE AFRAID.

>> ABSOLUTELY.

AND THANK YOU GUYS SO MUCH FOR LENDING US YOUR EXPERTISE AND ANSWERING ALL THE QUESTIONS.

OUR LAST PIECE IS FROM ASO'S HEROES OF THE ORCHESTRA CONCERT.

IT IS "LIFT EVERY VOICE."

ORIGINALLY IT WAS WRITTEN AS A POEM BY JAMES WALDON JOHNSON AND SET TO MUSIC BY HIS BROTHER JOHN.

THE SONG WAS FIRST PERFORMED IN 1900 BY 500 SCHOOLCHILDREN FOR ABRAHAM LINCOLN'S BIRTHDAY.

SOON AFTER IT WAS ADOPTED BY THE NAACP AS THE OFFICIAL SONG.

AND IT IS COMMONLY REFERRED TO AS THE BLACK NATIONAL ANTHEM.

"LIFT EVERY VOICE AND SING" IS WIDELY PERFORMED TODAY.

AS YOU LISTEN TO THE SONG, PLAY CLOSE ATTENTION TO THE LYRICS AND HEAR HOW THE INSTRUMENTS COMPLIMENT THE POWERFUL WORDS.

LET'S TAKE A LISTEN.

♪ RING WITH THE HARMONY OF LIBERTY ♪ ♪ LET OUR REJOICING RISE AS HIGH AS THE SKIES ♪ ♪ LET IT RESOUND ♪ ♪ SING OUR SONG ♪ SING OUR SONG FOR THE HOPE HAS THE PRESENT HAS BROUGHT US ♪ ♪ FACING THE RISING SONG ♪ OF A NEW DAY GUN LET US MARCH ON ♪ ♪ TO VICTORY IS WON ♪ ♪ ♪ ♪ >> WHAT A BEAUTIFUL AND POWERFUL NOTE TO END ON.

DO LOOK CLOSELY.

CAN YOU SEE CICI IN THE FOOTAGE THERE.

I SAW YOU POINTING YOURSELF OUT.

IT LOOKS LIKE THAT'S ALL THE BEFORE WE SAY GOOD-BYE, IS THERE ANY LAST FEW BITS OF ADVICE YOU WANT TO GIVE THE STUDENTS WATCHING?

>> NO.

JUST HAVE FUN WHEN YOU ARE PLAYING.

>> AND SMILE.

>> SMILE AND HAVE FUN.

ABSOLUTELY.

IT IS TRULY A PASSION.

THANK YOU GUYS SO MUCH FOR COMING AND WE'LL CONTINUE ANSWERING YOUR QUESTIONS ON THE CHAT BOX AND ON TWITTER.

KEEP THOSE COMING.

AND WE WOULD LIKE TO THANK OUR CREW AND ALL OF OUR GUESTS FROM THE ATLANTA SYMPHONY FOR TODAY'S PRODUCTION.

WE WOULD LIKE TO THANK YOU, THE STUDENTS, FOR BEING SUCH ACTIVE PARTICIPANTS IN THE SHOW.

IF YOU'D LIKE TO HEAR MORE FROM THE ATLANTA SYMPHONY ORCHESTRA GO, TO GPB.ORG/SYMPHONY AND EXPERIENCE PERFORMANCES IN A 360 VIEW AND ACCESS TEACHER RESOURCES.

WHAT IS AM COMING UP NEXT FOR YOU GUYS?

>> WE HAVE SOMETHING TONIGHT.

>> AWESOME.

>> ON THIS STAGE TONIGHT.

THEY HAVE A CONCERT.

SO HOW SOON DO YOU HAVE TO PREPARE FOR THAT?

>> WE'LL START SOON.

>> WHEN DO YOU START GEARING UP TO PERFORM?

>> WE HAVE BEEN REHEARSING ALL WEEK.

AND, YEAH.

>> OKAY.

SO YOU'RE READY TO GO RIGHT NOW.

>> YEAH.

ALWAYS READY.

>> I'M SITTING IN FRONT OF STEWART, ACTUALLY.

>> GOOD LUCK TO BOTH OF YOU TONIGHT.

>> THANK YOU SO MUCH FOR BEING HERE.

UNTIL NEXT TIME, THANK YOU GUYS FOR TUNING IN.

♪