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Unknown: Thank you. Thank you very much. Welcome to the Cabrillo Music Festival. It's my pleasure to see you all here today. My name is Marin and I'm the conductor of this incredible orchestra. And I'm going to have my musician stand up for you so

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you can get a good look at their outfits. Please give a good round of applause for the Cabrillo Music Festival orchestra. And these are the top musicians in the world. They practice

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every day, lots of hours and they've done it for years since they can't even remember when. But without somebody to write the music, there wouldn't be much for them to do certainly there'll be nothing for me to do. And so I asked my friend

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Greg Smith, who's an really great composer, if he would write a piece about what it's like to be a composer and how he decides what notes and what instruments to write for. So please welcome my friend Greg Smith, and we're gonna do his

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piece for you. One day, not too long ago, I decided to compose a piece of music, it would be for a symphony orchestra to play. And because there were no words to sing well, that made it a piece

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and not a song. But there might be a gong and there would definitely be chimes. Now, here's the sound you'll be hearing more from. It's my pencil sharpener, and it sounds like this. I use it to sharpen my favorite pencil the one with

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the extra large eraser that makes it easy to erase a lot of musical notes. This is what the eraser sounds like. Next, I thought about what kind of music I might compose maybe a waltz or a march

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maybe something fast and exciting. Slow and sad. I couldn't make up my mind. So I decided to write what I felt in my heart which was violas and cellos sawing away repeating

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notes. I started to think about what should happen next, and decided I decided to sharpen my pencil. The funny thing is, while I was sharpening my pencil, a melody came to me. Now moving quickly to write it down. I imagined violins playing the

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melody. That's a little too low, isn't it? I then tried the trumpets and trombone. Now that's a little bit too much. What if I solo flute?

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Now that's not enough. Well, I couldn't decide. So I chose what I felt in my heart, which was French horns. I liked my melody. In fact, I liked it so much. I decided to repeat it. But this time instead of the French horns, the violins

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flutes and oboes will play the melody and I'm thinking maybe my now the violas and cellos getting tired of playing the same notes over and over again. Hey, they're here. Let's ask him. So let's give them some company. Let's add the bassoon

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and the clarinets. Things were moving along quite nicely, but now It's time for a change was time for something to happen that was different than before. It was time for dinner.

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I thought about what I might eat, maybe Chinese or Mexican. Maybe something fast and fried like chicken. I couldn't make up my mind about what to eat. So I decided to have what I felt in my heart, which was pizza. Well, now that I finished my pizza and

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had in my stomach, what I felt in my heart. I went on with my composing. The truth is that even while I ate, I never stopped thinking about the piece I was writing. And the feel and tone of the next section was becoming clear to me as I sat

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down at my desk once again, taking hold of my favorite pencil, the one with the extra large eraser. Suddenly, it was clear brass playing loudly, followed by woodwinds playing softly. And then the brass again except higher than before. All

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of this followed by return to my original melody, but this time, played by someone new. Yeah. And in the interest of fairness, maybe somebody who doesn't always get a chance to play the melody, and maybe someone who plays really low volunteer.

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So I'll go with I'll go with gotta go with all the bass pedals. It's like shopping. Sorry, no violas. Something is still

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missing. Now, don't get me wrong. You all played patent very, very well. But I think the section needs something to play along with it. But the what? Let's try swirling strings and woodwind

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let's try trumpets and French horns playing it steadily as the ticking of a clock. I got it. How about the percussion section playing a military sounding cadence? Well, once again, I couldn't make up

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my mind. So I decided to write what I felt in my Did you hear that? You missed it. Here it is again. Those are plucked pizzicato strings. Not bowed arco strings that sound like this. hear the

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difference? Well, I thought that plucked pizzicato strings were perfect to punctuate and play along with the low melody. Add some heart, some woodwinds xylophone. Voila, pizza kado soup. So the first of three sections was complete, and I was

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so happy with what I can pose. I decided to give myself the rest of the night off. Besides, it was midnight. And as I slept, my dreams were filled with thoughts of music. At one point, a tremendous symphony orchestra was about to play a piece I

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composed. Now normally musicians, they count beats silently to themselves, but this orchestra was weird. They counted out loud. And not only that, there was also the sound of a metronome clicking out every beat just like a dripping

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faucet and then it got worse. The orchestra began to play. What was this wasn't my music scales exercises, just like the ones I used to practice when I was learning to play the piano. And who was this? It's Miss Hawk, my piano teacher. She's

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listening to every note I play. And whenever I make a mistake, she would say, unfortunately, I used to make a lot of mistakes. So my piano lessons were accrual kind of duet. Dream. And the exercises continued. The orchestra went on to thankfully,

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it was time to get up. I went to my desk to begin work on the second section of my composition. And this middle section would be different than what I'd compose the day before. And remembering the nightmare I decided it wouldn't sound at all

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like scales. So I began to think, and I thought, similan but nothing came to me. So I decided to write what I felt in my heart and nothing happened. So I sharpen my pencil. And

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nothing. I eat my breakfast, I read my newspaper, not one note came to me. You see, composing music is a very sensitive thing. You can't try too hard or too little. Well, I tried too hard,

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and then too little, and nothing happened. So setting aside the middle section until the next day, I moved on to the third and final section, which I was certain began with the chime, sounding a return to my melody. And then another chime in

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statement of My Melody. And then another you guessed it another. And when played straight through, it sort of reminded me of Row row row your boat, which had long been a favorite of mine.

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On through the afternoon, I happily composed trusting my heart to always make the right choice. And it was early evening when I reached the biggest, most exciting moment of the entire piece. Well, I wrote right away when I felt my heart trill and

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then another true and then another, another. Every one was trilling. When the trailing stop, all that was left

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was an oboe forgot to stop trilling and then in a burst the whole orchestra entered and played the final passage. You know, I thought about the last note, it could be loud. Soft,

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sad. Funny, short or long? Well, I thought it only proper and ceremonial that the

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final note be written last and since since the middle section was unfinished, last note would just have to wait. It was early the next morning when I stumbled to the kitchen. I was pouring milk on my cereal when I promised myself. I wouldn't try

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too hard or too little. And in a flash, actually, it was more like a splash. That's when it happened. You see my bowl fell to the floor. milk and cereal went everywhere. I reached down and that's when the idea for the middle section came to me. You

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see when I reached the More I saw my kitchen upside down. And even though it was very familiar place, it looked different from this new point of view. So I did what any composer would do in this situation. I stood on my head. And as I looked around, I

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remembered my melody. And then imagine what it would sound like upside down. I can also make it faster, slower, louder or softer, higher or lower. I could even make it sound like a waltz. Next, I thought about the melody, the brass at play, and

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then turn it upside down. things we're definitely looking up. So at this point, I did what any composer would do. First I got back on my feet. I ran quickly to my desk wrapped my pencil, the one with the extra large eraser. And I began to explore

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all that I compose the previous two days. And that's funny when I really listened to it. My pencil sharpener sounded different than what I remembered. Well onto the day I went happily composing a message from my heart told me that it

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was time to meet up with a third section, which of course was already finished, a sweep, crash and a resort to shame. And I had made it to the third and final section. My composition was finished, and I was very happy because I had written what I

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sincerely felt in my heart. So now, the Cabrillo Music Festival orchestra, conducted by my friend Marin Allsop will now play for you, Mr. Smith composition You know, this is really very embarrassing, especially in

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front of all of you this wonderful orchestra my family. I forgot to write the last note. I was backstage when I realized I'd forgotten to write the last note. And I quickly wrote three endings. Now, I like all three endings very much, but I have a

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little trouble making up my mind about things. So I need your help. Here's what we're gonna do. We're gonna play the three endings, and then we're going to have a vote. Now, why is voting funny? And all I ask is that you choose what you feel in your

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hearts. Here is ending number one. It's good. I know. But let's hear the other two. Anyway, ending number two. And finally, ending number three. Who votes for ending number one? Okay, it's Santa Cruz. And who wants ending number two. Now I'm

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in trouble. And who wants ending number three. Number three. So now that you know how to write music are you're all going to run home and try to compose a piece. I bet you'll go home and

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have dinner. Right. So next and next on our program. We're going to play a little bit of a piece that's a percussion concerto. I know I've seen everybody sort of trying to check out all the instruments here. And we have an expert percussion as a young

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friend of mine from Scotland, who's come all the way here to play this piece for you. And this is a piece written by a composer who's here in the audience. Maybe I'll have him stand up so you can be really nice to him if you're sitting

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next to him. Where is Chris Rouse? Where are you, Chris? somewhere? There he is. That's Christophe and he's written this piece that my friend Colin curry, who's come all the way from Scotland is gonna play for you and I'm gonna welcome call

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him right now come out. So, I asked Colin to say a few words not only because I love his accent, but also maybe to tell you a little bit about when he started playing the percussion instruments and And

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how old he was when he first got started and how that happened. Well, I was very young when I started playing. I think they my parents made a fatal mistake they bought from me when I was still crawling. A fire engine had a xylophone as a ladder. So

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any parents who have bought this toy don't throw away the receipt yet he might be able to take it back to the store. Yeah. I, I just assembled, big sort of maple leaf drum kits out of pots and pans after that.

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Too many ideas that might really so listen of the young people here. It's very easy. Just read the larder and I just moved from one thing to the other. And before I knew it, I had all this to play. So

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So column once you show them a little bit of what you're going to play for us and tell them then tell them the names. Can you do that? I can do both microphones. Oh, that was good. I was good. Good. See, in fact,

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that all morning, okay. It should be Marin who demonstrates the drum kit. Oh, no, I can't. I haven't. I have only practice 10 minutes so far. I think I

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need about 10 more years and then I'll show but why don't you show them that call? Sure. So here's here's the drum sets. I could have done that. Sure. So she can't

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as well. How about to this area Shirley? Sure. Well, I feel like the magician's assistant is. Although I won't be playing this this afternoon. You'll have to

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come this evening to hear this take notes. You will have to come this evening. You will have to come this evening. Unless you're an old coming already which I assume you all are. This is a special instruments, which I had made for this piece

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because I have to come on stage at the beginning of this percussion concerto and sound as though I'm breathing and dusting myself off. It's very characterful and it sounds like this. I need a certain stick. So listen very carefully. It's

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creepy. Creepy, huh? Yeah. So I'm worried about these things. And here I have a collection of drums which is made up of

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instruments that belong to the drum kit. So I have a bass drum which I play with my foot. You get in this and I have Oh man, what am I sticks? I have How do I do this? You're talking I have some tom toms which is similar to what are using the drum kit.

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The sound like this. Tim Balis which the the there was a Latin American band playing this morning. They were using tamales. And we have bongo drums on and a snare drum, which was also used

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in the Mr. Smith's competition, I believe. Yeah, sure. And then we have some wooden instruments, lock drums and woodblocks. So you ready? Is everybody ready now? So we do this good. Okay.