Excerpt from the BMI Ethnography of Angono’s Musikong Bumbong
“Musikong Bumbong: Musika Kawayan of Angono, Rizal” By Juliet R. Bien
DESCRIPTION OF THE INSTRUMENTS
A. French horn
Simulating a brass French horn, the musikong bumbong prototype has the following measurements: length 20 inches, width 17 inches, height 3 inches, diameter of biggest barrel 2 inches, and valve 5 inches. It has three valve levers interconnected side by side by a 7-inch bamboo dowel. The “fake” mechanism rests on a lead pipe which coils around the body of the instrument spanning 51 centimeters. From the valves, the coiled pipe passes through a 3-inch bamboo connector with an approximate diameter of 1 inch. The pipe is then attached to the bigger vertical pipe (17 inches length and 3 inches diameter) which is the opening of the instrument. The air column spans the length of the mouthpiece traversing towards the main vertical chamber. The sound mechanism does not include the valves and the coiled pipes. The tone is produced through the transverse pipe towards the vertical chamber. The end pipe is slashed with 7-inch incisions to produce a buzzing sound. The end pipe functions as the bell valve. Unlike the brass French horn and the musikong bumbong instruments in other towns like Bulacan, the bumbong version of Angono’s Musikang Kawayan does not have a bell.
The trombone prototype is a composite of the main body and its removable slide. Like the other bumbong instruments, the bamboo design is a simulation of a brass trombone. The air is blown through the mouthpiece channeled towards the tip of the instrument, with the slide as decoration. The buzzer takes the place of the bell and the bell valve. The measurements are as follows: length (with unstretched slide) 42 inches, length of removable slide 24 inches, mounting rod for the removable slide 13 inches, total length of removable slide curved pipe 51 inches, removable slide brace 4 inches, length of main body 55 inches, incised buzzer 4 inches, main air chamber 19 inches, and airpipe diameter 1.75 inches.
The sound is produced by blowing the air through a detachable funnel shaped mouthpiece carved from a piece of wood. The platform supports the main body of the instrument and holds the parallel rods from which the removable slide is mounted. The air column chamber traverses down to the left and curves toward the bell cylinder. The sound passes through a series of bamboo pipes with various lengths: a medium- sized vertical 7-inch chamber, a small U-shaped 8-inch pipe, 0.5 inch connected to a 2-inch medium sized joints, and a 28-inch barrel with a 2-inch diameter.
The removable slide consists of an elongated deep and narrow U-shaped bamboo pipe spanning 55 inches supported by two braces on both ends. The braces consist of a medium sized bamboo cylinder and a smaller pipe which are located closer to the mouthpiece and towards the end of the instrument, respectively. This mechanism is randomly slid and does not produce musical sounds. During performance, the slide is moved randomly as an imitation of how trombones are played in the brass band.
The trumpet is a singular piece of instrument with the following measurements: length 22 inches, width 7 inches, height approximately 5 inches, total length when uncoiled 56 inches, thickest diameter 1.25 inches. From the mouthpiece, the lead pipe loops into a curved body which consists of three interconnected bamboo pipes imitating the outline of a brass trumpet. The three parallel 7-inch valves strung together by a bamboo rod is mounted into the loop by two 5-inch braces on the left and right sides with a distance of two inches from the valves.
A narrow bamboo pipe is curved connecting the straight barrels towards the outlet. The largest pipe with a diameter of 1.25 inches takes the place of the bell. Like the other instruments of the set, the end pipe is a cylindrical piece of bamboo and incised towards the end to produce a buzzing sound. Air is simply blown into the mouthpiece and adjusted by the musician’s lips according to the repertoire. The valves are randomly played to imitate trumpet-playing in the Western brass band tradition.
The largest instrument in the collection, the euphonium consists of two vertical pipes supported by two horizontal braces. The three valves constructed parallel to each other are connected by narrow pipes looping its way towards the lead pipe simulating the design of a brass euphonium. The measurements are as follows: longer vertical pipe right side 29 inches, horizontal beams 13 inches, shorter vertical pipe 14 inches, width 12 inches, length of coiled frame 50 inches, valves 7 inches, finger stop diameter 0.25 inches, and end pipe diameter 3 inches. The euphonium is the only instrument with a finger stop bored through the lower corner of the larger vertical pipe at the opposite side from its player.
The simulation of its brass counterpart is done by constructing the coiled mechanism on top of the larger pipes functioning as the main frame supporting the valves and the coils. From the mouthpiece, the sound is produced passing through the horizontal beam, then through the curved pipe at its end as it connects to the end pipe. Like the rest of the instruments, the bell is replaced by the end pipe incised with 7-inch slits and produces a buzzing sound. The tones are refined by adjusting the finger stop. The rest of the coiled mechanism and the valves are not functional. Like the rest of the instruments, they are designed to imitate the brass euphonium but do not produce any sound.
The instrument’s “aesthetic look” consists of the valves and the coils mounted on the bigger pipes. Between the first and the second valve, a narrow bamboo pipe is curved to form a U-shaped pipe towards the body of the shorter vertical pipe. A bigger U-frame enclosing the valves is constructed approximately two inches on the left side of the first valve whose end is attached to a bigger vertical pipe attached to the smaller vertical supporting pipe frame. A curved enclosure is completed by a U-shaped narrow pipe connected to the lead pipe.
A. Content Standards
Demonstrate understanding of the musical characteristics of representative music from the lowlands of Luzon
B. Performance Standards
Perform music of the lowlands (Rizal) with appropriate pitch, rhythm, expression and style
C. Learning Competencies/Objectives
- Explain the distinguishing characteristics of representative Philippine musicselections from Luzon in relation to its culture and geography
- Singa song from the lowlands of Luzon
- Explore ways of producing sounds on a variety of sources that is similar tothe instruments being studied
Musikong Bumbong of Angono
- Print Materials
a. BMI ethnography of Angono’s Musikong Bumbong
b. Pictures of Angono Musikong Bumbong from BMI documentation
c. Textbook pages
d. Optional: PowerPoint on History and Geography of Angono, Rizal
e. Pictures of Higantes of Angono Fiesta
f. Clear map of Angono, Rizal
a. BMI interview with Prof. Jose Rommel “Jopat” Gragera, conductor ofAngono Wind Ensemble, and Angono Bamboo Instrument Maker http://tiny.cc/BMI-Gragera-Interview
b. BMI documentation of Marcelo H. Del Pilar students playing bumbong atHiyas ng Bulacan 2020, Malolos, Bulacan
c. Music videos from YouTube:
-Video of Angono Wind Ensemble
-Video of Magtanim Ay ‘Di Biro | Pinoy BK Channel
-Video of Magtanim Ay ‘Di Biro by The Dawn
-Video on How to Play the Rain stick
-Video of DIY Rain stick (Fun Kid’s Craft)
-Video of Italian making a rhythmic instrument out of bamboo
- Music Scores
“Magtanim Ay ‘Di Biro”, a folk song of Rizal
B. Other Learning Materials
Available bamboo instruments, i.e., bamboo sticks, rain sticks, triangles, tambourines
A. Reviewing the previous lesson or presenting the new lesson
- Review on Dynamics as an expressive element in music
- Show a picture of higantes
- Ask where they are popular and what they are associated with. (Higantes are popular during the fiesta in Angono, Rizal and are said to represent the artistry of Angono).
B. Establishing the purpose of the lesson
This is what we will learn about today:
- About some information on the music tradition of Angono, Rizal
- How the speed of a music or song is important in the way the music is performed
- Singing and interpreting a song composed by a National Artist born in Angono
C. Presenting examples/instances of the new lesson
- Today by taking a look at a tradition practiced by our fellow Filipinos in Angono, Rizal, we will recognize values that we Filipinos live by: being community-based, musicianship, and spontaneity.
- Sing a folksong from Rizal whose composer we do not know as it is a folk song.
- In groups, create an improvised Rain Stick that we can use when performing the song, together with other available instruments.
D. Discussing new concepts and practicing new skills # 1
- Discussion on the video on one of Angono’s bands performing in a parade during the town fiesta:
a. In Angono, the fiesta is called Feast of St. Clement, the Patron of Fishermen, celebrated on November 23; The feast is said to have been made more festive and prominent by the wives of fishermen who helped their husbands sell fish to the people of the community. It is said that they would assemble in the patio or church plaza and join the procession to thank God for the blessings and bounty of the sea. These women were called Parehadoras. Their assembly for the procession inspired the attendance of musical bands, higantes, and wet, muddy and dancing people.
b. The famous higantes or giants composed of a Father, Mother, and Son represents Angono as the Arts Capital of the Philippines, as the saying goes the people of Angono learns to draw and paint before they learn to walk and
c. Bands play a major role on this festive day where each school or barangay has a band that joins to help fill and keep the joyful mood and high spirit of occasion and for every fiesta occasion, at least 10 bands go marching and playing their music around the
d. The tradition of the famous bands of Angono is said to have started with a group of musicians who played musical instruments made of bamboo because they could not afford to buy those expensive brass These brass instruments were called Musikong Bumbong or Band instruments made of bamboo. With their strong musicianship, they created their own instruments out of the bamboo that was after all many in Angono. One of its makers was Lieutenant Lauriano Gragera. His instruments no longer exist, but there are a few displayed on the wall of a relative’s house and are covered with cling-wrap for protection and posterity. These instruments are now said to be about 60 years old.
- Using the photos and videos, compare the musikong bumbong instruments from Angono and Discussion:
a. The instruments seen in the photos and videos such as the bamboobaritone, French horn, and trombone are called Musikong Bumbong instruments which are famous in Bulacan and are in fact still existing and performed
b. Since we are talking about music from Angono, there are however no more Musikong Bumbong instruments that still exist save for very few that are displayed in the home of the maker’s family.
c. The difference between the Musikong Bumbong of Bulacan and the Musikong Bumbong of Angono is that those from Angono do not have the woven rattan bells but instead have buzzer endipipes.
- Present and discuss some excerpts from BMI ethnography of Angono’s Musikong Bumbong
- Creating an improvised rain stick:
a. Mention that a simple bamboo instrument that we can make is the popular rain stick;
b. Add that rain sticks are made of bamboo but that looking for a piece of bamboo is difficult, hence homemade materials are used instead for the project.
c. Watch the following videos:
-How to Play the Rain stick
-DIY Rain stick (Fun Kid’s Craft)
d. Present materials needed to make the improvised rain stick:
-empty thick cardboard roll beans, small nails
-crayons/ribbons for decoration
e. Make the improvised rain stick
f. Practice playing the improvised rain stick in that it produces sounds shown on the video
E. Discussing new concepts and practicing new skills # 2
- Present song “Magtanim Ay ‘Di Biro” via the videos:
-Magtanim Ay ‘Di Biro | Pinoy BK Channel
-Magtanim Ay ‘Di Biro by The Dawn
- 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. I earning the melody by phrase
e. sing the whole song
f. practice song in groups employing expressive elements
F. Developing mastery (leads to formative assessment)
In preparation for the assessment of a Creative Performance of “Magtanim Ay ‘Di Biro”, students will:
- Asa class, watch the video:
– Italian making a rhythmic instrument out of bamboo
- Ingroups, perform the song “Magtanim Ay ‘Di Biro” employing:
– Proficient rhythm and melody
-Expressive elements and movement
-Explore on texture with use of created improvised rain sticks and other available instruments, i.e., bamboo sticks, triangles, tambourines, and some form of application from the video
- Assessment with teacher-made rubrics
G. Finding practical applications of concept and skills in daily living
Prompt: Since we were able to make homemade rain sticks, what other improvised music instruments can we make out of unused household items to manifest respect for the environment?
H. Making generalization and abstraction about the lesson
Sustaining the Filipinos’ tradition of the fiesta is of value not only because it makes us a happier people but also because we become more sensitive and caring for one another as a community.
Filipinos’ sense of musicianship includes not only the discipline of learning the techniques of performing the instrument, but also the skill of creating instruments out of the rich environment. More so, Filipinos’ sense of musicianship includes the idealism of sharing the talent in fiestas with the community more than just performing on the pedestal of the stage to be revered by a few.
I. Additional activities for application or remediation
Create more improvised music instruments out of unused household items for addition to the texture as well as enjoyment to songs performed.
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 which I wish to share with other teachers?