Differences
This shows you the differences between two versions of the page.
Both sides previous revisionPrevious revisionNext revision | Previous revision | ||
garry_greenwood [2019/03/13 20:47] – mete | garry_greenwood [2020/01/07 09:54] (current) – [Garry Greenwood] mete | ||
---|---|---|---|
Line 1: | Line 1: | ||
=====Garry Greenwood===== | =====Garry Greenwood===== | ||
- | Garry Greenwood | + | Garry Greenwood |
====Bio==== | ====Bio==== | ||
((http:// | ((http:// | ||
====Instruments==== | ====Instruments==== | ||
- | ORIGINAL TEXT FROM Instruments of Desire- Works in Leather by Garry Greenwood | ||
- | The Grainger Museum- University of Melbourne, October 10th, 2002 | ||
- | Musical Instruments by Garry Greenwood | ||
- | 1/3 | ||
- | Garry Greenwood' | + | All of the quoted texts in this section is from Musical Instruments by Garry Greenwood, written by Brian Allison, Ros McMillan, and Garry Greenwood |
+ | ((ORIGINAL TEXT FROM Instruments of Desire- Works in Leather by Garry Greenwood | ||
+ | The Grainger Museum- University of Melbourne, October 10th, 2002 http:// | ||
+ | ===Intro=== | ||
+ | |||
+ | "Garry Greenwood' | ||
- | 2/3 | ||
From these non-sounding pieces the artist' | From these non-sounding pieces the artist' | ||
Interest in creating an instrument with a long slim body led Greenwood to design a bassoon which he titled Serpentine Bassoon because of its sinuous shape and the 'snake head' out of which the horn of the instrument emerges. Its successor the Dragon Bassoon, is displayed in the exhibition and described below. | Interest in creating an instrument with a long slim body led Greenwood to design a bassoon which he titled Serpentine Bassoon because of its sinuous shape and the 'snake head' out of which the horn of the instrument emerges. Its successor the Dragon Bassoon, is displayed in the exhibition and described below. | ||
+ | The artist' | ||
+ | Garry Greenwood' | ||
+ | ===Suspended Harmonic=== | ||
+ | "This is fundamentally a bowl within a bowl which is suspended by a guitar string attached to a peg which can be tuned to a note in the bass register. The note has a range of approximately a fifth, around the bottom E of a double bass. The peg is housed in an overarching frame made of aluminium enclosed in leather. The frame is attached on both sides to a base constructed of cowhide and particle board covered with a layer of merinoskin, the latter a surprisingly decorative medium displaying the intricate swirling patterns of the animal skin. The Suspended Harmonic can be bowed (a violin bow seems to produce the greatest range of sound), plucked or strummed. By depressing the arch of the frame the pitch falls, and conversely, when it is raised, the pitch rises. This pitch bend, in conjunction with the way in which the instrument is played, gives a player a huge range of percussive, bowed and plucked sounds. The Suspended Harmonic' | ||
+ | ===Bowhorn=== | ||
+ | "A meeting with the expatriate American now Tasmanian, musician, Karlin Love, gave Greenwood the idea for an instrument that could accommodate a mouthpiece using a single reed. This instrument, which is approximately a metre in length, was firstly fitted with a clarinet mouthpiece but Love later found that a tenor saxophone mouthpiece was more satisfactory because of the acoustic power and timbral qualities of the larger mouthpiece. The Bowhorn on display in the exhibition is typical of most of Greenwood' | ||
+ | ===Dragon Bassoon=== | ||
+ | "This instrument is the second in Greenwood' | ||
- | 3/3 | + | The mouthpiece can be that of a bassoon of a trumpet. With a bassoon mouthpiece the sound in the lowest register is similar to a trombone, while in the middle register it is a cross between a hoen and a bassoon. In the upper register the Dragon Bassoon can produce a variety of high pitched wails and sighs, and with all holes covered a large range of multiphonics and harmonics can be produced. A trumpet mouthpiece gives more of a barking sound." |
- | The artist' | + | A feature |
- | Garry Greenwood' | + | ===Mountain Harp=== |
- | + | "The prototype for this set of instruments was the African mbira, often (wrongly) titled thumb piano. The instrument consisted of a leather bowl enclosing a bridge made of a piece of dowel, the ' | |
- | + | ||
- | + | ||
- | Suspended Harmonic: | + | |
- | + | ||
- | This is fundamentally a bowl within a bowl which is suspended by a guitar string attached to a peg which can be tuned to a note in the bass register. The note has a range of approximately a fifth, around the bottom E of a double bass. The peg is housed in an overarching frame made of aluminium enclosed in leather. The frame is attached on both sides to a base constructed of cowhide and particle board covered with a layer of merinoskin, the latter a surprisingly decorative medium displaying the intricate swirling patterns of the animal skin. The Suspended Harmonic can be bowed (a violin bow seems to produce the greatest range of sound), plucked or strummed. By depressing the arch of the frame the pitch falls, and conversely, when it is raised, the pitch rises. This pitch bend, in conjunction with the way in which the instrument is played, gives a player a huge range of percussive, bowed and plucked sounds. The Suspended Harmonic' | + | |
- | + | ||
- | + | ||
- | Bowhorn: | + | |
- | + | ||
- | A meeting with the expatriate American now Tasmanian, musician, Karlin Love, gave Greenwood the idea for an instrument that could accommodate a mouthpiece using a single reed. This instrument, which is approximately a metre in length, was firstly fitted with a clarinet mouthpiece but Love later found that a tenor saxophone mouthpiece was more satisfactory because of the acoustic power and timbral qualities of the larger mouthpiece. The Bowhorn on display in the exhibition is typical of most of Greenwood' | + | |
- | + | ||
- | Dragon Bassoon: | + | |
- | 1/2 | + | |
- | + | ||
- | This instrument is the second in Greenwood' | + | |
- | 2/2 | + | |
- | + | ||
- | The mouthpiece can be that of a bassoon of a trumpet. With a bassoon mouthpiece the sound in the lowest register is similar to a trombone, while in the middle register it is a cross between a hoen and a bassoon. In the upper register the Dragon Bassoon can produce a variety of high pitched wails and sighs, and with all holes covered a large range of multiphonics and harmonics can be produced. A trumpet mouthpiece gives more of a barking sound. | + | |
- | + | ||
- | Mountain Harp: | + | |
- | 1/4 | + | |
- | + | ||
- | The prototype for this set of instruments was the African mbira, often (wrongly) titled thumb piano. The instrument consisted of a leather bowl enclosing a bridge made of a piece of dowel, the ' | + | |
Determined to find a variation of the mbira, Greenwood then turned the bowl upside down, threaded a string through the vellum and enclosed it in a cardboard tube, attaching the string to a peg at the top of the tube. His thinking was that when the bamboo ' | Determined to find a variation of the mbira, Greenwood then turned the bowl upside down, threaded a string through the vellum and enclosed it in a cardboard tube, attaching the string to a peg at the top of the tube. His thinking was that when the bamboo ' | ||
- | 2/4 | ||
The result of this thinking was an instrument known as the Little Mountain harp, on display in the exhibition. With a base of an inverted bowl on four legs, six strings were threaded through a PVC tube covered with leather and tied to wooden pegs (that Greenwood carved) at the top of the tube. It was thought that the instrument would be performed with a player holding it in two hands while plucking the strings, however, the piece was not user-friendly. The tube wobbled and the pegs had no real purchase with the tube. From this prototype, Greenwood learned two things. Firstly the pegs needed to be a better quality because if they were wound too tightly they simply unwound. Secondly, while the PVC provided strength, it was too thin to give the pegs any grip, thus it was decided to use a piece of solid dowel for the next instrument. | The result of this thinking was an instrument known as the Little Mountain harp, on display in the exhibition. With a base of an inverted bowl on four legs, six strings were threaded through a PVC tube covered with leather and tied to wooden pegs (that Greenwood carved) at the top of the tube. It was thought that the instrument would be performed with a player holding it in two hands while plucking the strings, however, the piece was not user-friendly. The tube wobbled and the pegs had no real purchase with the tube. From this prototype, Greenwood learned two things. Firstly the pegs needed to be a better quality because if they were wound too tightly they simply unwound. Secondly, while the PVC provided strength, it was too thin to give the pegs any grip, thus it was decided to use a piece of solid dowel for the next instrument. | ||
- | |||
- | 3/4 | ||
For this, Greenwood bough 12 viola pegs which were placed in holes bored into the top of the dowel. The holes were then enlarged with a reamer (a tool with a tapered blade) but during construction there was still a problem with the tension of the strings as well as the pegs. Greenwood completed this instrument, which is on display but he was already working on the technology for his much larger Mountain Harp, also exhibited in Instruments of Desire. With this piece the artist changed to pegs with gears, using 5th string banjo pegs. These were inserted on the side of the harp's neck in two spiral formations to which were attached ten guitar and two banjo strings, all extremely light so as not to put too much tension on the vellum on the base of the instrument. | For this, Greenwood bough 12 viola pegs which were placed in holes bored into the top of the dowel. The holes were then enlarged with a reamer (a tool with a tapered blade) but during construction there was still a problem with the tension of the strings as well as the pegs. Greenwood completed this instrument, which is on display but he was already working on the technology for his much larger Mountain Harp, also exhibited in Instruments of Desire. With this piece the artist changed to pegs with gears, using 5th string banjo pegs. These were inserted on the side of the harp's neck in two spiral formations to which were attached ten guitar and two banjo strings, all extremely light so as not to put too much tension on the vellum on the base of the instrument. | ||
Line 70: | Line 52: | ||
A major innovation is a ' | A major innovation is a ' | ||
- | 4/4 | + | The base of the Mountain Harp is an inverted leather bowl, with four claw-like legs made of aluminium encased in leather. The underneath is covered with vellum that has been soaked and stretched then pulled up around the lower edge of the bowl. This forms a one inch border where Greenwood has taken the opportunity to create an exquisite piece ofartistry. The border is secured with two rows of wooden shoemaker' |
- | The base of the Mountain Harp is an inverted leather bowl, with four claw-like legs made of aluminium encased in leather. The underneath is covered with vellum that has been soaked and stretched then pulled up around the lower edge of the bowl. This forms a one inch border where Greenwood has taken the opportunity to create an exquisite piece ofartistry. The border is secured with two rows of wooden shoemaker' | + | ===Poco pods=== |
- | Poco pods: | + | "Another invention of Greenwood' |
- | + | ||
- | Another invention of Greenwood' | + | |
These little instruments proved to be one of the most difficult projects Greenwood had undertaken with problems including the size of the finger holes, a lack of consistency in sound – in the prototype there seemed to be no relation between sound and finger – and controlling the tone. The last problem was caused by the large volume of air inside the pod which Greenwood found was greater then that of a bass recorder. | These little instruments proved to be one of the most difficult projects Greenwood had undertaken with problems including the size of the finger holes, a lack of consistency in sound – in the prototype there seemed to be no relation between sound and finger – and controlling the tone. The last problem was caused by the large volume of air inside the pod which Greenwood found was greater then that of a bass recorder. | ||
- | Greenwood' | + | Greenwood' |
+ | See [[Ocarina]] | ||
- | Heralds: | ||
+ | ===Heralds=== | ||
- | Text written by Brian Allison and Ros McMillan with contributions by Garry Greenwood. | + | ====Video==== |
- | + | ||
- | + | ||
- | + | ||
- | + | ||
- | + | ||
- | + | ||
- | See [[Ocarina]] | + | |
- | {{https:// | + | {{youtube>ygCKe-o5INU}} |
"The Chordwainers play their favorite Tango in Carmel Hall at the Cygnet Folk Festival. January 2009, Cygnet, Tasmania, Australia. The instruments we play were made by the leather sculptor, Garry Greenwood." | "The Chordwainers play their favorite Tango in Carmel Hall at the Cygnet Folk Festival. January 2009, Cygnet, Tasmania, Australia. The instruments we play were made by the leather sculptor, Garry Greenwood." | ||
Line 108: | Line 82: | ||
Karlin Love playing the Mountain Harp \\ | Karlin Love playing the Mountain Harp \\ | ||
- | {{https:// | + | {{youtube>95KTKRbAysg}} |
- | {{https:// | + | {{youtube>pT0EbpB0RjQ}} |