0:00:02 > 0:00:06ORCHESTRAL INSTRUMENTS BEING TUNED
0:00:18 > 0:00:20FRANTIC VIOLIN MUSIC PLAYING
0:00:25 > 0:00:28It's midnight...
0:00:28 > 0:00:29and something's out there...
0:00:31 > 0:00:32..but what...
0:00:33 > 0:00:35..or who?
0:00:36 > 0:00:39HORNS BLASTING
0:00:47 > 0:00:52Listen to those whirling strings. Sounds like a storm is on the way.
0:00:52 > 0:00:56For tonight's the night all things evil are coming out to play.
0:00:58 > 0:01:00WHOOSHING
0:01:05 > 0:01:09It's party time for witches, and demons, and little beasties...
0:01:09 > 0:01:11Whee!
0:01:12 > 0:01:15..and this music's tough, and hard -
0:01:15 > 0:01:18so I'm not just imagining wrinkly old ladies on broomsticks!
0:01:18 > 0:01:21Oh, no, the witches in my imagination
0:01:21 > 0:01:26are serious bruisers, ready to swoop down out of the sky and attack you.
0:01:28 > 0:01:30Can you hear that big stomping tune?
0:01:30 > 0:01:33I think that's the witches circling and diving,
0:01:33 > 0:01:35dancing around and around.
0:01:35 > 0:01:37And they are fighting too!
0:01:37 > 0:01:42Those cymbals crashing sound like swords smashing together.
0:01:46 > 0:01:48What do you think would make someone write a wild,
0:01:48 > 0:01:50scary piece of music like this?
0:01:51 > 0:01:56Well, this piece of music starts with a story.
0:01:57 > 0:02:02A story that the Russian composer Modest Mussorgsky once heard.
0:02:02 > 0:02:06There was a real mountain Mussorgsky knew, there were no trees on it
0:02:06 > 0:02:09so everyone called it the Bare Mountain.
0:02:09 > 0:02:13One night every year, so the story said,
0:02:13 > 0:02:20witches flew from all over the land to celebrate on the mountain.
0:02:20 > 0:02:24So, this piece of music is called A Night On The Bare Mountain.
0:02:25 > 0:02:27And guess what?
0:02:28 > 0:02:35Mussorgsky finished writing it in 1867, on the night of 23 June.
0:02:36 > 0:02:42The very same night the story said the witches came.
0:02:42 > 0:02:45CYMBALS CRASHING
0:02:46 > 0:02:48MUSIC STOPS
0:02:48 > 0:02:51OBOES PLAYING PRANCINGLY
0:03:05 > 0:03:08The quieter and the louder music sound to me
0:03:08 > 0:03:13like there's a battle going on between light and darkness.
0:03:14 > 0:03:15ROARING FLAMES
0:03:15 > 0:03:19As the witches are dancing the symbols are crashing,
0:03:19 > 0:03:22the brass instruments are getting louder
0:03:22 > 0:03:25and darkness seems, finally, to have won.
0:03:25 > 0:03:29It's as if a pot of black ink has been thrown over a page
0:03:29 > 0:03:34and I can see a spider drowning in paint, thrashing across the surface.
0:03:39 > 0:03:42But wait...suddenly...
0:03:42 > 0:03:45there's a church bell in the nearby village.
0:03:47 > 0:03:49Can you hear it ring six times?
0:03:54 > 0:03:57That's the sound of a new day beginning.
0:03:58 > 0:04:02Time for witches and beasties to vanish.
0:04:02 > 0:04:05HE GASPS
0:04:05 > 0:04:07HE SIGHS
0:04:12 > 0:04:16Well, the reason why I like classical music
0:04:16 > 0:04:18is because it's vast and it's epic.
0:04:18 > 0:04:20It reminds me of when I was very small,
0:04:20 > 0:04:23when I went to the cinema for the first time
0:04:23 > 0:04:25and sitting in the darkness, in the seats,
0:04:25 > 0:04:26and then all of a sudden,
0:04:26 > 0:04:28before even the pictures had come on the screen,
0:04:28 > 0:04:32this fast soundtrack, this huge wave of sound
0:04:32 > 0:04:34came towards me and already you could feel it
0:04:34 > 0:04:35in the pit of your stomach.
0:04:35 > 0:04:39The strings sliding in and it made you very excited about what
0:04:39 > 0:04:42was about to happen on screen but you don't need a film
0:04:42 > 0:04:45to appreciate a piece of classical music.
0:04:45 > 0:04:49If you close your eyes and listen to a piece of orchestral music
0:04:49 > 0:04:53you can see your own film inside your head because the music
0:04:53 > 0:04:57will take you to places that you didn't realise existed before.
0:04:58 > 0:05:02This piece, A Night On Bare Mountain, is amazingly dramatic
0:05:02 > 0:05:05and it really makes me, sort of, quite nervous and scared,
0:05:05 > 0:05:09to start off, but then it's like coming out of a nightmare.
0:05:09 > 0:05:12When you're lying in bed, in the dark,
0:05:12 > 0:05:14and terrifying things are happening all around you,
0:05:14 > 0:05:16and you're squeezing up your eyes very tight,
0:05:16 > 0:05:17and trying to block them out.
0:05:17 > 0:05:22And then, at the end, you can really hear the rays of sunshine
0:05:22 > 0:05:25coming through the window and waking you up, and making you realise that,
0:05:25 > 0:05:29actually, everything's OK and it was just a dream.
0:05:29 > 0:05:32FLUTES PLAYING SLOWLY
0:05:38 > 0:05:42Mussorgsky takes us from darkness to complete daylight.
0:05:42 > 0:05:45The witches have fled, the mountain is peaceful
0:05:45 > 0:05:48and I'm just realising quite how nervous I been up until now.
0:05:49 > 0:05:53It's like the calm you get after a crazy thunderstorm.
0:05:54 > 0:05:57The flute and harp sound, to me, like rays of sunshine...
0:05:59 > 0:06:04..but how do the wild night and the peaceful morning sound to you?
0:06:30 > 0:06:32Listen to this music.
0:06:33 > 0:06:36In your head, where are you right now?
0:06:37 > 0:06:40Are you on a rocket about to lift off?
0:06:41 > 0:06:44On a horse galloping across a field?
0:06:44 > 0:06:47On a roller-coaster climbing higher and higher?
0:06:50 > 0:06:52Or about to ride a superfast home-made car?
0:06:52 > 0:06:55TRUMPETS PLAYING RHYTHMICALLY
0:06:58 > 0:07:00What? You weren't really going to expect me to stay still
0:07:00 > 0:07:02with this kind of music playing, were you?
0:07:06 > 0:07:08ROCKETS WHOOSHING
0:07:10 > 0:07:12ENGINE REVVING
0:07:15 > 0:07:18Can you hear that pattern of sounds repeating over and over?
0:07:18 > 0:07:21Yeah, that's the rhythm. I like to think of it like an engine.
0:07:21 > 0:07:26You know, it keeps pushing me along. Faster! Faster!
0:07:26 > 0:07:30The musical notes become like real objects in the road,
0:07:30 > 0:07:32racing towards me and then "Whoosh! Bap!"
0:07:32 > 0:07:35It shoots straight past my ears.
0:07:35 > 0:07:36Wah-ha-ho!
0:07:43 > 0:07:45RATTLING
0:07:45 > 0:07:48Can you hear those big timpani drums? The cymbals?
0:07:48 > 0:07:51I know the roads getting bumpy when they arrive.
0:07:53 > 0:07:55ENGINE REVVING
0:07:55 > 0:07:58Ha-ha, the rhythms never stop!
0:08:01 > 0:08:03And now I'm picking up speed!
0:08:03 > 0:08:06ENGINE REVVING
0:08:10 > 0:08:13Swerving, ducking, dodging, racing!
0:08:13 > 0:08:15Faster! Faster!
0:08:21 > 0:08:23The orchestra are playing higher notes
0:08:23 > 0:08:25and they're playing them louder.
0:08:25 > 0:08:28It's like the wind's whistling through my wheels.
0:08:30 > 0:08:32Everything is shaking and shuddering.
0:08:32 > 0:08:37I can even hear horns, car horns. Go, get out of the way! Ha-ha-ha!
0:08:40 > 0:08:42This car is out of control!
0:08:46 > 0:08:49ENGINE SLOWING DOWN
0:08:55 > 0:08:57STEAM HISSING
0:08:57 > 0:08:59No wonder this piece of music is called
0:08:59 > 0:09:01A Short Ride In A Fast Machine.
0:09:01 > 0:09:03And no wonder the man who wrote it, John Adams,
0:09:03 > 0:09:04said that he got the idea
0:09:04 > 0:09:07when he took a ride in his friend's crazy sports car
0:09:07 > 0:09:08and wished he hadn't.
0:09:10 > 0:09:14You know, that's probably why Adams wanted to create that whole effect
0:09:14 > 0:09:17of being on a musical ride that you just can't stop.
0:09:17 > 0:09:20Hey, can you hear that simple woodblock beat
0:09:20 > 0:09:22that kicks the whole piece of music off?
0:09:24 > 0:09:27It's like a ticking clock that won't stop...
0:09:30 > 0:09:32..and not one of the other instruments
0:09:32 > 0:09:34are allowed to slow the music down.
0:09:34 > 0:09:39They've all got to join in with that beat on the woodblock.
0:09:39 > 0:09:42My ears are, kind of, telling me two different things at once.
0:09:42 > 0:09:45I mean, Adams seems to be using notes that sound all happy,
0:09:45 > 0:09:48so they get me nice and excited,
0:09:48 > 0:09:51whilst the brass and the drums are, kind of, spiky and jumpy.
0:09:51 > 0:09:54So, that makes me feel a bit nervous too.
0:09:54 > 0:09:56It's sort of like bombing down a hill with no brakes.
0:09:56 > 0:09:59It's great but it can't last for long.
0:09:59 > 0:10:03And then all the volume starts to get louder.
0:10:03 > 0:10:04DRILL WHIZZING
0:10:05 > 0:10:08And one thing that I just love is that woodblock.
0:10:08 > 0:10:09You can still hear it, right?
0:10:11 > 0:10:14It's like it's forcing everybody on.
0:10:20 > 0:10:22I like listening to A Short Ride In A Fast Machine
0:10:22 > 0:10:24because I like the way that the music
0:10:24 > 0:10:27actually takes you on a journey.
0:10:27 > 0:10:30In my generation, classical music is always stereotyped
0:10:30 > 0:10:33as the boring music that is for old people.
0:10:33 > 0:10:36But if you take the time to find good songs by good composers,
0:10:36 > 0:10:39classical music can be pretty, pretty amazing.
0:10:53 > 0:10:55ENGINE REVVING
0:10:55 > 0:10:58As you reach the end of this piece, it's like the brass instruments
0:10:58 > 0:11:01start playing longer, more stretched out notes.
0:11:01 > 0:11:04It's like you're leaving the ground behind or taking off.
0:11:06 > 0:11:10I'm a big fan of music that really makes you feel something, yeah?
0:11:10 > 0:11:11Whoa!
0:11:11 > 0:11:13Oh-ho-ho!
0:11:13 > 0:11:17You know, John Adams' music definitely has me feeling things.
0:11:18 > 0:11:20Like you're racing along or speeding out of control
0:11:20 > 0:11:22but you might feel something completely different
0:11:22 > 0:11:24when you listen to it.
0:11:27 > 0:11:30So, if you were coming up with your own title for this music,
0:11:30 > 0:11:31what would it be?
0:11:43 > 0:11:46MUSIC: "Dance Of The Knights" by Sergei Prokofiev
0:11:46 > 0:11:49This is dance music,
0:11:49 > 0:11:51music to move to.
0:11:52 > 0:11:55But what kind of dance would it make YOU do?
0:11:55 > 0:11:58Something happy?
0:11:58 > 0:12:00Something elegant?
0:12:00 > 0:12:03Or something just a little more frightening?
0:12:03 > 0:12:06Just listen to those brass instruments.
0:12:06 > 0:12:10I'm not hearing a dance party, more of a dance battle.
0:12:10 > 0:12:14And I start breathing in time to the rhythm of those deep
0:12:14 > 0:12:15double bass notes.
0:12:15 > 0:12:18I want to join in with big, strong, striding steps.
0:12:22 > 0:12:25I know I'm not alone.
0:12:26 > 0:12:28But am I dancing with a friend...
0:12:28 > 0:12:30or an enemy?
0:12:32 > 0:12:37STRIDENT DRAMATIC STRING MUSIC
0:12:50 > 0:12:52Can you hear that pulsating beat?
0:12:52 > 0:12:53It's back.
0:12:53 > 0:12:54I can't escape it.
0:13:07 > 0:13:11And one wrong step could mean disaster.
0:13:21 > 0:13:24You may have heard this exciting music on TV shows
0:13:24 > 0:13:25like The Apprentice.
0:13:25 > 0:13:27But did you know it was originally inspired
0:13:27 > 0:13:30by William Shakespeare's play, Romeo And Juliet?
0:13:31 > 0:13:34Romeo and Juliet are two teenagers who fall in love,
0:13:34 > 0:13:37but because their two families are bitter enemies,
0:13:37 > 0:13:42Romeo and Juliet's love story is soon full of rivalry, poison and death.
0:13:44 > 0:13:46In the 1930s,
0:13:46 > 0:13:48a Russian composer called Sergei Prokofiev
0:13:48 > 0:13:51decided that Shakespeare's play would make a great ballet.
0:13:59 > 0:14:02Ballets use dance to tell a story on stage,
0:14:02 > 0:14:06so Prokofiev composed very dramatic music to help the ballet dancers
0:14:06 > 0:14:09show emotions like love, anger, jealousy,
0:14:09 > 0:14:12all through their physical movements.
0:14:12 > 0:14:15PROKOFIEV SCORE CONTINUES
0:14:24 > 0:14:27This piece of music called Dance Of The Knights,
0:14:27 > 0:14:31plays as Juliet's family dance at a magnificent party.
0:14:49 > 0:14:50Listen to that double bass.
0:14:56 > 0:14:58Imagine you are Romeo, watching this dance.
0:14:58 > 0:15:02How does this music make you feel about Juliet's family?
0:15:09 > 0:15:10HAUNTING STRIDENT SCORE STOPS
0:15:13 > 0:15:14MUTED BRASS SECTION
0:15:14 > 0:15:17Can you hear the atmosphere suddenly change?
0:15:17 > 0:15:19Who do you think is dancing now?
0:15:19 > 0:15:21SINGLE HORN PLAYS
0:15:24 > 0:15:25It's Juliet.
0:15:26 > 0:15:29What kind of music does her dance make you think of?
0:15:32 > 0:15:35DREAMY ETHEREAL MUSIC PLAYS
0:15:41 > 0:15:44I love classical and dance music,
0:15:44 > 0:15:47the vast range of instruments really can explore
0:15:47 > 0:15:50so many different emotions without needing any lyrics.
0:15:50 > 0:15:54Music has played a massive role in my life, particularly classical music,
0:15:54 > 0:15:57as that's where I first found my love for dance.
0:15:59 > 0:16:03Music is a form of escapism, but also helps you relate to your true
0:16:03 > 0:16:05feelings, whether they be happy or sad.
0:16:24 > 0:16:28As the dance ends, Juliet's delicate and gentle music
0:16:28 > 0:16:33is playing, but wait, can you hear a familiar theme on the saxophone?
0:16:33 > 0:16:35It seems to be trying to take over.
0:16:38 > 0:16:41I think it's the sound of Juliet's family,
0:16:41 > 0:16:44sworn enemies of Romeo's family.
0:16:44 > 0:16:47It's the sound of danger.
0:16:52 > 0:16:56Because remember, I said this isn't just a ballet about love,
0:16:56 > 0:16:58but also about death.
0:17:05 > 0:17:07Listen to the music.
0:17:07 > 0:17:10How do you think Romeo and Juliet's story will end?
0:17:10 > 0:17:14STRINGS CRESCENDO
0:17:22 > 0:17:23It's dark.
0:17:23 > 0:17:25There's not a sound.
0:17:25 > 0:17:27And then you hear...
0:17:27 > 0:17:29music.
0:17:29 > 0:17:32MUSIC: "Zadok The Priest" by George Frederic Handel
0:17:32 > 0:17:35So, where are you?
0:17:40 > 0:17:42Me? I'm in a tunnel.
0:17:42 > 0:17:44And now colours are appearing.
0:17:44 > 0:17:48RHYTHMIC STRINGS BUILD
0:17:51 > 0:17:53And there's a light up ahead.
0:17:57 > 0:18:02Inside, I'm nervous. Those strings are putting me on edge.
0:18:08 > 0:18:11But I can feel something is going to happen
0:18:11 > 0:18:14and that light's getting nearer.
0:18:16 > 0:18:17What do you think it is?
0:18:21 > 0:18:26VIOLIN MUSIC
0:18:33 > 0:18:36Now everything changes.
0:18:36 > 0:18:38More colours rush in.
0:18:38 > 0:18:39I see where I am.
0:18:39 > 0:18:41And I feel great.
0:18:41 > 0:18:44Proud and full of energy.
0:18:49 > 0:18:52OK. Firstly I might be imagining basketball,
0:18:52 > 0:18:55but you could be imaging anything.
0:18:55 > 0:18:58And, if it is sport, it might be football
0:18:58 > 0:19:01because did you know a version of this music
0:19:01 > 0:19:04is used as the theme for the UEFA Champions League?
0:19:04 > 0:19:05And no wonder.
0:19:05 > 0:19:09This is the type of music that makes you feel like a champion,
0:19:09 > 0:19:11like a hero.
0:19:11 > 0:19:15Maybe that's because way back in 1727,
0:19:15 > 0:19:19it was written for the nation's top dog, the king.
0:19:19 > 0:19:23The composer, George Frideric Handel, was asked to write the music
0:19:23 > 0:19:24for the coronation,
0:19:24 > 0:19:28the ceremony in which George II would be crowned.
0:19:28 > 0:19:30Handel wasn't going to turn down a gig like that.
0:19:30 > 0:19:34He dreamt up music that made sure everyone watching
0:19:34 > 0:19:38knew that this event was very special and very important,
0:19:38 > 0:19:39just like His Majesty.
0:19:39 > 0:19:43So, it's not surprising, is it, that with music like this playing
0:19:43 > 0:19:45I feel like...
0:19:46 > 0:19:49..king of the basketball court.
0:19:49 > 0:19:54# Zadok the priest
0:19:54 > 0:20:00# And Nathan the prophet #
0:20:00 > 0:20:05This choir are singing about another coronation in the Bible
0:20:05 > 0:20:07where Zadok the priest and Nathan the prophet
0:20:07 > 0:20:10crowned Solomon as their new king.
0:20:11 > 0:20:15Why do you think Handel wants everyone to think about that?
0:20:15 > 0:20:21# Zadok the priest
0:20:21 > 0:20:28# And Nathan the prophet... #
0:20:28 > 0:20:34CHOIR CONTINUES
0:20:47 > 0:20:51Now the choir becomes the king's supporters, cheering on their hero.
0:20:51 > 0:20:52It's time to rejoice.
0:20:52 > 0:20:53# Rejoiced
0:20:53 > 0:20:59# And all the people rejoiced
0:20:59 > 0:21:02# Rejoiced... #
0:21:02 > 0:21:04But why do you think that Handel repeats the words
0:21:04 > 0:21:06over and over again?
0:21:10 > 0:21:14It sounds to me as if the voices are competing with one another
0:21:14 > 0:21:17to see who can get the most excited.
0:21:17 > 0:21:21And now the trumpets join in, too, celebrating with the choir.
0:21:21 > 0:21:27# Rejoiced and said... #
0:21:29 > 0:21:33And, of course, Handel wrote this to be sung in a huge cathedral.
0:21:33 > 0:21:37He wants all his words and music to climb higher and higher
0:21:37 > 0:21:39reaching the very top of the roof
0:21:39 > 0:21:42and then, as if the church is a giant radio,
0:21:42 > 0:21:45sent out across the whole country.
0:21:48 > 0:21:50When I was growing up, classical music and choirs
0:21:50 > 0:21:53were not something you admitted to you friends.
0:21:53 > 0:21:54You wouldn't say,
0:21:54 > 0:21:57"Oh, I was listening to George Frideric Handel today."
0:21:57 > 0:21:59But what really surprised me when I got into sport
0:21:59 > 0:22:03was the amount of top athletes that listened to classical music
0:22:03 > 0:22:06to get themselves focused for a big game.
0:22:06 > 0:22:09So, next time you're watching football with your mum and dad
0:22:09 > 0:22:11why don't you tell them
0:22:11 > 0:22:14it was George Frideric Handel that wrote the song in 1727.
0:22:14 > 0:22:16They'll be well impressed.
0:22:16 > 0:22:18# Long live the King!
0:22:18 > 0:22:20# God save the King... #
0:22:20 > 0:22:25This music, Zadok The Priest, was just what King George II wanted.
0:22:25 > 0:22:27Handel had a hit on his hands.
0:22:27 > 0:22:31And it's been performed at every coronation since.
0:22:33 > 0:22:36By the end of the piece, Handel wants to blow the roof off.
0:22:36 > 0:22:39It's like the roar of the crowd at a big sports game
0:22:39 > 0:22:42or a cheer when I come out on to the basketball court.
0:22:45 > 0:22:48The sound is so grand that I can't help but feel small,
0:22:48 > 0:22:50but at the same time important
0:22:50 > 0:22:53because I know something big is going to happen.
0:22:53 > 0:22:57That's why Handel makes me feel strong and ready.
0:22:57 > 0:22:59What about you?
0:22:59 > 0:23:02# Amen
0:23:02 > 0:23:08# Hallelujah, hallelujah #
0:23:15 > 0:23:18CLAPPING
0:23:18 > 0:23:20What's making that music?
0:23:22 > 0:23:24It's you and me.
0:23:26 > 0:23:29Because music is something we can all get stuck into.
0:23:29 > 0:23:31I mean, we are instruments.
0:23:33 > 0:23:34We can clap.
0:23:34 > 0:23:36We can click.
0:23:36 > 0:23:40We can pat and we can stamp.
0:23:40 > 0:23:43Anyone can have a go at making this body percussion.
0:23:43 > 0:23:45Have you ever tried beatboxing?
0:23:45 > 0:23:49It's a way of making percussion noises using your mouth and voice.
0:23:49 > 0:23:50- HE BEATBOXES:- Ba-da-da-duh
0:23:50 > 0:23:52Pft-pft-pft-pft
0:23:52 > 0:23:54Whoo-tt-tt-tt
0:23:54 > 0:23:56Bah-ba-bow-bow
0:23:56 > 0:24:00Bow ba-duh-duh
0:24:00 > 0:24:02WHISTLING NOISE
0:24:02 > 0:24:04Whoo-bow-bow
0:24:04 > 0:24:05Tt-tt
0:24:05 > 0:24:07Bow-ba-ba-ba-ba-ba
0:24:07 > 0:24:09Bow-bow.
0:24:09 > 0:24:12ALL SOUNDS COMBINE
0:24:12 > 0:24:16Who'd have thought you could make so much music just using your own body?
0:24:18 > 0:24:21Well, this lot for a start.
0:24:21 > 0:24:26GROUP CLAPPING
0:24:26 > 0:24:29The whole orchestra putting down their flutes, tubas,
0:24:29 > 0:24:32clarinets, drums, everything
0:24:32 > 0:24:36and using their body parts to create a world of sound.
0:24:38 > 0:24:40You're probably used to clapping at the end of music,
0:24:40 > 0:24:44but with this piece you can join in right from the start.
0:24:45 > 0:24:51CLAPPING
0:24:52 > 0:24:55That rhythm sounds to me like hundreds of teeth
0:24:55 > 0:24:57chomping down on crisps
0:24:57 > 0:25:02or giant buildings shooting up out of the ground brick by brick.
0:25:06 > 0:25:08This is Anna Merideth.
0:25:08 > 0:25:10She composed this amazing piece of music.
0:25:10 > 0:25:13Can you tell us how you came up with the idea?
0:25:13 > 0:25:16So, this piece is commissioned from the National Youth Orchestra,
0:25:16 > 0:25:20which is made up entirely of teenagers aged between 12 and 18.
0:25:20 > 0:25:23They wanted a piece of music that would explore all the other
0:25:23 > 0:25:25kinds musicianship they could do.
0:25:25 > 0:25:28Basically everything apart from the instruments.
0:25:28 > 0:25:30How did you come up with the name?
0:25:30 > 0:25:33I guess the words Handsfree implies that you've got your hands spare.
0:25:33 > 0:25:36They put down their instruments and do other stuff -
0:25:36 > 0:25:39movement, body percussion, which is all using their hands.
0:25:47 > 0:25:50If you think that orchestral music is just abut violins
0:25:50 > 0:25:53and trombones, then think again.
0:25:53 > 0:25:56The music that orchestras make is always changing
0:25:56 > 0:25:58and always full of surprises, like this.
0:25:58 > 0:26:01HUMMING
0:26:01 > 0:26:03Without the body percussion,
0:26:03 > 0:26:07suddenly I feel like I'm floating in the night.
0:26:07 > 0:26:11But our voices are incredible things. Suddenly it's all change.
0:26:13 > 0:26:18VOICES GET LOUDER
0:26:19 > 0:26:25VOICES FADE AND RISE
0:26:25 > 0:26:31NOTE IS HELD
0:26:31 > 0:26:33ALL: Boom-tss-pah-ch-ch!
0:26:33 > 0:26:35What does this remind you of?
0:26:35 > 0:26:39ALL: Boom-tss-pah-ch-ch!
0:26:39 > 0:26:45To me the whole orchestra sounds like an engine now.
0:26:45 > 0:26:49The orchestra even starts to look like a machine.
0:26:49 > 0:26:52Can you see the incredible shapes the music is making?
0:26:53 > 0:26:57So I can hear biting and breathing and tapping and all sorts.
0:26:57 > 0:26:59Was that the intention?
0:26:59 > 0:27:02The idea for this piece is that you can hear whatever you want in it.
0:27:02 > 0:27:07Your ears are your own and you can take your own journey through it.
0:27:07 > 0:27:10Why is it important to listen to classical music?
0:27:10 > 0:27:13There's something really special about the sounds of these instruments
0:27:13 > 0:27:15which have developed over hundreds of years.
0:27:15 > 0:27:18They make unique sounds when you watch them being played.
0:27:18 > 0:27:21Also, just to be able to have music that's been written today
0:27:21 > 0:27:23by real live composers is exciting,
0:27:23 > 0:27:26because it's this brand-new fresh music, written by people who
0:27:26 > 0:27:29are living in the same world as you. That's really exciting.
0:27:29 > 0:27:31How did you get into classical music?
0:27:31 > 0:27:34I didn't know composers existed.
0:27:34 > 0:27:37I knew that traditionally Beethoven and Mozart was composers
0:27:37 > 0:27:41but I didn't know it was something people did as a current job.
0:27:41 > 0:27:44I got into music by playing recorder and clarinet
0:27:44 > 0:27:47and drums while I was at school, and gradually
0:27:47 > 0:27:50I wanted to get more involved and started to make music
0:27:50 > 0:27:53as well as play other people's and it started from there.
0:27:53 > 0:27:59BODY PERCUSSION PIECE PLAYS
0:28:04 > 0:28:05Handsfree reminds me that,
0:28:05 > 0:28:08even though there's a lot of music out there
0:28:08 > 0:28:12with all sorts of names - dance, classical, pop -
0:28:12 > 0:28:15in the end, all music has one thing in common.
0:28:15 > 0:28:21It comes from inside us, which means nothing can stop you from making it.
0:28:21 > 0:28:24So, why not get started right now?
0:28:24 > 0:28:29ALL: YEAH, YEAH!
0:28:29 > 0:28:36CLAPPING AND CHANTING "YEAH"
0:28:41 > 0:28:44Subtitles by Red Bee Media Ltd