Shadowing Practice: Lesson Eight: Placement of the Orchestra, Leonard Slatkin's Conducting School - Learn English Speaking with Video
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Now that we've learned about how to conduct with the right hand,
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the bead patterns, And the left hand, the salt and pepper.
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We need to understand Where's the orchestra?
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And I mean that literally.
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Not the fact that there's nobody on this stage at the moment, but when you do have an orchestra, Who sits where?
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You need to know that because much of what you do will depend on how the orchestra is situated on the stage.
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for purposes of bringing people in for entrances, for controlling dynamics, for balance.
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Thank you.
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There are no hard and fast rules for orchestral setup, but there's one constant.
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and only one The first violins are always to your left.
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Then things get complicated.
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But let's imagine for a moment that you were conducting an orchestra in 1900.
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Your first violins were over here.
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Your second violins were over here.
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The cello section was about there.
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the viola section, was about here.
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And the double bases were strewn along the wall there, and sometimes in the very back of the hall.
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I think with the advent of stereophonic recording in particular, people started experimenting in different ways.
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And one of the most important was to move the second violins from this side of the stage,
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to that stage, sitting next to the first.
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When the Detroit Symphony performs, the first violins are over here The second violins are over here.
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The cellos are over here.
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and the violas are on the outside, with the double basses along the wall to my right.
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The other variation of this with other orchestras are keeping the violin sections together,
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but the violas are over here and the cellos on the outside with the bass is still over there.
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For me personally, I do it in this hall for an acoustic reason.
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I find it more advantageous for the cello sound to be emanating more towards the members of the audience, rather than across the stage.
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And since the violas, like the violins, have the sound going up, they're heard very clearly.
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Woodwinds are also relatively consistent in most orchestras.
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They sit right behind the strings It's usually a flute section.
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Thank you.
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Vandenobo section.
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Behind the flutes is the clarinet section.
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Behind the oboes is the bassoon section.
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That is pretty much the way it works with almost every orchestra.
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The brass and percussion, however, are another matter altogether.
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Again, acoustics come into play.
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conductorial preference comes into play, and what a composer may or may not demand comes into play.
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they can be separated.
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In England, for instance, the French horns tend to occupy a space way over there,
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"separated from the trombone's trumpet and tuba who are on this side,
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In Detroit, we put the horns right behind the clarinets and bassoons, .
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Percussion, again, there are a myriad of options.
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It's also a little complicated because from the 20th century on, Percussion became an important part of the force.
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Where should they be?
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In Detroit, we place the timpani in the back in the center.
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and the percussion HARPS?
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Piano, go on that side.
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Different orchestras have different ways of doing it.
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Sometimes the harps will be over there.
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The piano will be over there.
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Sometimes the progression is split between the timpani,
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and sometimes the timpani itself is placed in the corner to play with the lower instruments of the orchestra.
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Max Rudolph.
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a fine conductor, And the man who really wrote the best textbook on conducting, called The Grammar of Conducting, probably said it best.
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In one chapter he started out by stating
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the first thing a conductor has to do upon arriving at the stage is to look around and see where everybody is. And that is important.
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If you travel around from one orchestra to the other, It is really important to know who is where.
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I always ask, for instance, when I look at the brass, if it's an orchestra I don't know, Where is the first trumpet?
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You don't know if it's the one who's on the left or the one who's on the right.
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Same with the horns, same with the trombones.
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Because you might be looking or pointing at them directly.
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These are important elements "in understanding the role of the conductor.
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"One false cue to the wrong section can actually disturb an entire performance.
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your assignment for this month, is to draw up different charts.
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Think of interesting ways you would like to configure your orchestra.
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And then as you're practicing your conducting technique,
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give the cues and the signals according to how you would like them to be. with your own philharmonic.
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Bu dersin kelimeleri ve konuşma notları
Bu B2 seviyesindeki konuşma dersi “Lesson Eight: Placement of the Orchestra, Leonard Slatkin's Conducting School” videosuna dayanıyor. En çok tekrarlanan kelimeler: orchestra, violin, section, stage, cello. Bu videoda gölgeleme çalışması için 68 cümle ve 780 kelime var. Konuşma bölümü 6:33 sürüyor. Konuşmacı dakikada yaklaşık 119 kelimelik dengeli bir hızla konuşuyor; gölgeleme için rahat bir tempo. Kelimelerin %82’i İngilizcede en sık kullanılan 3.000 kelime arasında; geri kalanına başlamadan önce bakmakta fayda var.
Bu videodaki önemli kelimeler
Videodaki en ileri düzey 15 kelime, telaffuzu ve anlamıyla:
| Kelime | Telaffuz | Anlam |
|---|---|---|
| orchestra isim | /ˈɔː.kɪs.tɹə/ | orkestra |
| cello isim | /ˈt͡ʃɛloʊ/ | viyolonsel, çello |
| viola isim | /vaɪˈoʊlə/ | viyola |
| conductor isim | /kənˈdʌktɚ/ | orkestra şefi, koro şefi |
| horn isim | /hɔɹn/ | boynuz |
| bassoon isim | /bəˈsun/ | fagot |
| clarinet isim | /ˌklæɹɪˈnɛt/ | klarnet |
| flute isim | /flu(ː)t/ | flüt |
| trumpet isim | /ˈtɹʌmpɪt/ | trompet |
| brass isim | /bɹæs/ | pirinç |
| configure fiil | /kənˈfɪɡə(ɹ)/ | yapılandırmak |
| emanate fiil | /ˈɛm.əˌneɪt/ | kaynaklanmak; meydana gelmek; oluşmak |
| myriad isim | /ˈmɪɹi.æd/ | çok büyük sayı, pek çok |
| trombone isim | /ˌtɹɑmˈboʊn/ | trombon |
| disturb fiil | /dɪˈstɜːb/ | rahatsız etmek |
Duyacağınız deyimsel fiiller
| Kelime | Anlam |
|---|---|
| draw up fiil | sıraya dizmek |
Dikkat edilecek telaffuzlar
Konuşmacı don't, they're, we've gibi kısaltılmış biçimleri 5 kez kullanıyor. Bunları duyduğunuz gibi kısa söyleyin.
- “sh” ve “zh” sesleri: percussion /pɚˈkʌʃən/, progression /pɹəˈɡɹɛʃən/, variation /ˌvɛəɹiˈeɪʃn̩/
- Uzun kelimeler — vurguyu doğru yere koyun: advantageous /ˌædvənˈteɪd͡ʒ(i)əs/, philharmonic /ˌfɪlərˈmɑnɪk/, stereophonic /ˌstɛɹi.əˈfɑnɪk/, altogether /ɔl.tuˈɡɛð.ɚ/
Türkçe konuşanların zorlandığı sesler:
- Kelime başındaki ünsüz kümesi — araya ünlü eklemeyin: clarinet /ˌklæɹɪˈnɛt/, flute /flu(ː)t/, trumpet /ˈtɹʌmpɪt/, brass /bɹæs/, stereophonic /ˌstɛɹi.əˈfɑnɪk/
- /æ/ — “e”den daha açık: clarinet /ˌklæɹɪˈnɛt/, brass /bɹæs/, advantageous /ˌædvənˈteɪd͡ʒ(i)əs/, myriad /ˈmɪɹi.æd/, advent /ˈæd.vɛnt/
Bu videoyla nasıl çalışılır
- Videonun tamamını konuşmadan bir kez dinleyin ve bilmediğiniz kelimeleri not edin.
- Normal hızda cümle cümle tekrar edin; ritminiz konuşmacıyla aynı olana kadar her cümleyi yineleyin.
- Kendinizi kaydedin ve orijinaliyle karşılaştırın; orchestra, cello, viola gibi kelimelere özellikle dikkat edin.
Gölgeleme Tekniği Nedir?
Gölgeleme, başlangıçta profesyonel tercüman eğitimi için geliştirilen ve çok dilli Dr. Alexander Arguelles tarafından popüler hale getirilen, bilim destekli bir dil öğrenme tekniğidir. Yöntem basit ama güçlüdür: ana dili İngilizce olan bir sesi dinler ve hemen yüksek sesle tekrar edersiniz — konuşmacıyı 1-2 saniye gecikmeyle takip eden bir gölge gibi. Pasif dinleme veya dilbilgisi alıştırmalarının aksine, gölgeleme beyninizi ve ağız kaslarınızı gerçek konuşma kalıplarını eşzamanlı olarak işlemeye ve yeniden üretmeye zorlar. Araştırmalar, telaffuz doğruluğu, tonlama, ritim, bağlı konuşma, dinleme anlama ve konuşma akıcılığını önemli ölçüde geliştirdiğini göstermektedir — bu da onu IELTS Konuşma hazırlığı ve gerçek dünya İngilizce iletişimi için en etkili yöntemlerden biri yapar.