Excerpt from the BMI Ethnography of Bulacan’s Musikong Bumbong
“Mr. Rodrigo Anastacio and the Banda Santa Clara Musikong Bumbong of Obando, Bulacan”
By Daniel Ray C. Eramis
PRODUCING THE BAMBOO MUSICAL INSTRUMENTS
Based on the discussion with Sir Rod, the diagram will explain the analyzed systematic process of producing the bamboo musical instruments from selection of materials to the final form
of an instrument:
For Sir Rod, the best time to choose bamboo for an instrument is when it is fresh, so as it is easier to cut. He prefers to source his supply from Bulacan, usually from the areas of Plaridel, Pulilan, and Baliwag as it is available all year round within the province. He chooses buho (a hollow kind of bamboo) as small tube pieces for regular to small sized instruments and large bamboo species (size of saucer in diameter) for the bigger sized instruments like the bajo (tuba/bass).
– Mighty Bond
After selecting, the specific parts of the bamboo are cut to fit the need of an instrument. They are then prepared by sanding out unnecessary parts and treating the insides with varnish to avoid weevil infestation.
Soon after the treatment had dried up, the bamboo parts are structured together and undergo three layers of adhesives:
- Initially, the parts – inclusive of auxiliary parts – are joined with
- Once dried, the structure is reinforced with Mighty Bond. Sometimes small bamboo sheets or sticks are used to strengthen specific spots.
- The joints are covered with Epoxy to fully strengthen the
After the Epoxy has dried up, the excess is sanded off to provide aesthetic look for the finished instrument. Sometimes, if deemed necessary, certain areas are given another layer of adhesive. Once done, the whole instrument is protected with a layer of varnish.
For instrument making process and design patent concerns, the table below describes the innovative technique/s that Sir Rod had applied in his craft:
|General Bumbong Instruments
Obando – Banda Santa Clara
||Made of bamboo
Originally, all instruments were made of straight bamboo cuts, having varying sizes and lengths depending on the
|Took shape with the use of
carabao horn as reed, and tin can
The most unique methods that Sir Rod utilized in producing the instruments are as follows:
1) Use of varnish to protect instruments from infestation.
2) Use of the trilevel adhesion method (rugby, mighty bond, and epoxy).
3) Use of rattan for
the bells of specific
instruments using them.
||Instruments began taking shape similar to their brass band counterparts with use of kazoo as primary
producer of sound
||Like all instruments in the ensemble, took shape into their brass band counterparts with the spit type
Aside from the innovations presented in the table above, some notable features of the bamboo musical instruments of Banda Santa Clara are the keys attached in the instruments like those in French Horns which do not really have any function but as accessories for performative purposes. They are made of button-shaped plastic attached to spring mechanisms to make them realistically look like their counterparts.
THE INSTRUMENTS AND THEIR ROLES
The ensemble of Banda Santa Clara Musikong Bumbong can be categorized under three methods of sound production: 1) Pitched Instruments, 2) Spit-type (like in brass instruments), and 3) Kazoo-based or Buzz Membrane. Due to the limitations of majority of the instruments, they play songs that are usually in or are transposed to the key of C Major. The table below helps to explain the methods of sound production, range, and role of each instrument in the ensemble.
||Method of Sound Production
||Role in the Ensemble
– A kiss-flute method where a reed is fixed on the instrument
– Pitch is manipulated by covering holes
c1 to c3
(2 octaves) but can be higher if advanced
– Using the carabao horn as reed and tin can as resonator
– Pitch of the sound produced is manipulated by covering holes.
Range depends on
the performer. Instrument can make clear sound
from a to a2
|Flute & Transverse Flute
Lead / 2nd Voice
||Lead / 2nd Voice
||2nd / 3rd Voice
||2nd / 3rd Voice
Similar to brass instruments,
The pressure of air
affects resultant pitch
|Between G to A (Overtone Possible)
||Ostinato Response to Bass
||Between C to D (Overtone Possible)
||Down Beat Keeper
||For Emphasis Parts
||Membrane and Rim Striking
Time Keeper, Signals the Band
A. Content Standards
Recognize the musical symbols and demonstrates understanding of concepts pertaining to volume in music
B. Performance Standards
- Visually and aurally apply appropriate dynamics to a given musical selection
- Sing expressively, with appropriate dynamics, phrasing, and interpretation
C. Learning Competencies/Objectives
- Identify the different dynamic levels used in a song heard
- Apply appropriate musical terminology to indicate variations in dynamics in a performance of a song, specifically: piano (p), mezzo piano (mp), forte(f), mezzo forte (mf), crescendo (<), decrescendo (>)
- Write instances when the Dynamics of family life is experienced and valued
Musikong Bumbong of Bulacan
- Print Materials
a. BMI ethnography of Bulacan’s Musikong Bumbong
b. Pictures of Bulacan Musikong Bumbong from BMI documentation such as baritone and French horn
c. Pictures of a lone duck/swan swimming in the lake; children marching
d. Textbook pages
- Audio-Video Materials
a. BMI interview with Rodrigo Anastacio, Bulacan Bamboo Instrument Maker
b. BMI documentation of Marcelo H. Del Pilar students playing bumbong at Hiyas ng Bulacan 2020, Malolos, Bulacan
c. Music videos from YouTube:
-Video of Clara Pinung-pino – Fertility Ritual/Music & Dance of Bulacan – NAMCYA 2012 – CCP
-Video of Katrina Marzella on the Baritone: The Swan (Il Cigno)
-Video of Grade School French Horn Solo Ensemble
- Music Scores
“Sta. Clara Pinung-Pino,” folk song of Bulacan
B. Other Learning Materials
Available Bamboo Instruments i.e., tongatong (bamboo stamping tube), bungkaka (bamboo buzzers), triangles, and tambourines
A. Reviewing the previous lesson or presenting the new lesson
- Show video of “Sta. Clara Pinung-pino” – Fertility Ritual/Music & Dance of Bulacan – NAMCYA 2012 – CCP
a. Have you heard of this festival in Bulacan?
b. This is the Obando Dance, a festival in the province of Bulacan where childless couples request through prayer and music to give them a child and the opportunity to have a complete family. This festival is a manifestation of the Filipinos’ value for family.
c. Get experiences from students re value for family
d. Let’s check on this festival: What do you observe in the way the song is sung? (Expected answer: fervently)
e. What do you observe in the way the Refrain “Abaruray, abarinding, ang pangako’y tutuparin” is performed/danced? (Expected answer: festively, enjoyably)
B. Establishing the purpose of the lesson
This is what we will learn today:
- Singing and interpreting the song
- We will also see musical instruments from Bulacan that are made of bamboo
- Then we will write about family
C. Presenting examples/instances of the new lesson
- Matching pictures (a, b) with musical examples (c, d): picture (a) lone duck or swan swimming in a lake, and picture (b) children marching
- Listening to musical examples c and d: Katrina Marzella on the Baritone: The Swan (Il Cigno) and Grade School French Horn Solo Ensemble:
- Ask students why picture (a) with music (c) and picture (b) with music (d) are the correct answers.
D. Discussing new concepts and practicing new skills #1
- Mention Dynamics as the reason behind the answers to the previous activity
- Define and discuss Dynamics in Music
- Present and discuss music terminologies for Dynamics
- Present pictures of Bulacan bamboo musical instruments:
- Present the bamboo-made baritone and French horn that they just heard that used the Western baritone and French horn:
- Briefly discuss the tradition, value of producing, system/technique of playing the instruments of the musikong bumbong of Bulacan
- Ask how loud or soft can such instruments produce? (usually loud-forte). Continue to discuss that such instruments can produce any degree of loudness or softness depending on how expressive the performer would be just like the musical examples they just
E. Discussing new concepts and practicing new skills #2
- Present song “Sta. Clara Pinung-Pino” 1st verse with
- Learn song via Teaching a Song Method.
a. Listen to whole folk song
b. Brief discussion on some characteristics of folk songs:
-Talks on social issues
-Learned through oral tradition
-Intent of composer is obviously not for profit that is why composer is usually not known
c. Rhythmic reading/syllabication by phrase
d. Learning the melody by phrase
e. Sing the whole song
f. Practice song in groups employing expressive elements
- Recap from previous observations on video: how the 1st verse of song is sung (fervently as it is a prayer), and how the refrain is interpreted (festive as it is usually part of the dance/festivities).
- Allow students to choose from among the presented music terminologies for Dynamics that are most appropriate to apply when singing the 1st verse and the refrain.
F. Developing mastery (leads for formative assessment)
- Students perform the 1st verse of “Sta. Clara Pinung-Pino” using piano/ soft dynamics (fervent interpretation) and the Refrain using crescendo dynamics (swelling in more and more festive mood).
- For Group Performance Assessment on application of Dynamics, the students employ as much creativity and variations in applying the concept of Dynamics. For the refrain part, adding available instruments like bamboo instruments i.e., tongatong (bamboo stamping tube), bungkaka (bamboo buzzers), triangles, tambourines are
- Assessment with Teacher-made Rubrics
G. Finding practical applications of concepts and skills in daily living
Prompt: At home, one experiences the dynamics of family life. Write some instances/experiences when these happen i.e., praying together – piano; healthy misunderstandings with siblings – forte; eating together – crescendo decrescendo (talking while eating becomes intense then decreases depending on topics); etc.
H. Making generalization and abstraction about the lesson
On fun days when your family gets the opportunity to go to Jollibee, do you order/like Chicken Joy because it is delicious? Performing music is like eating chicken joy. We perform a song expressively, so we feel good just as eating the Chicken Joy slowly to taste its deliciousness makes us feel so good as well. If we sing or perform a song without expression, just as if we eat the Chicken Joy hastily, we do not enjoy it. That is why Dynamics in music is important because it helps us in the expressive element/aspect of the music.
I. Additional activities for application or remediation
- For reinforcement on Lesson, show BMI Interview with Rodrigo Anastacio at Hiyas ng Bulacan, Malolos, Bulacan
- Question: What are some values we can get from Anastacio’s advocacy of continuing on with the tradition of the Musikong Bumbong in Bulacan? (Some expected answers: keeping one’s tradition and culture, care for environment)
A. How many learners earned 80% in the evaluation? How many learners require additional activities for remediation?
B. Did the remedial lesson work? How many learners have caught up with the lesson? How many learners continue to require remediation?
C. Which of my teaching strategies worked well? Why did this work?
D. What difficulties can my principal or supervisor help me solve?
E. What innovation or localized materials did I use/discover that I wish to share with other teachers?