hi guys welcome to the tonalization uh exercise page six uh sorry um for uh oh come little children and may song it's in between those two and suzuki book one for jello now i'm going to do this one with and without a backing track i always insist on a backing track but actually learning to do to hear the ringing is a very important part of suzuki so we're going to do both now there are some questions that we need to ascertain if you're using the suzuki method and these are really useful um the sort of rules for progress so are you listening to the reference record at home every day now i do hope so you can um there are a few places actually if you go to uh youtube and you can add you can create a playlist of your own you can set up a little playlist where you give it a title you can make it private you don't have to share with anyone else and you can add all the versions that you want to have of the various suzuki songs okay now i don't recommend listening to one ever i recommend listening to about five everybody plays cello in a slightly different way and one of the problems with suzuki is that you can end up just copying exactly that's not such a good idea but you do need to know this piece you need to know all of the pieces you need to know the practice regimes you need to understand what you're trying to aim for listen just it's going to be so much harder if you don't is your tone improving well how are you going to know that you're going probably to have to record yourself at some point recording yourself on your phone is a really good way of hearing how rubbish you are and let me tell you you never really appreciate your mistakes while you're in the thick of them it's much better to look on at them as an onlooker after the fact and you will find that you make mistakes that you don't even realize when you're in in the thick of it so the um the sound that you the intonation is is the being hitting the right note the tone is the quality of the note and this is it's the almost the intonation i think sometimes a bit easier actually to to grasp than the tone you think oh i've hit that note that's good but you know it can sound awful even if it's correct it can sound awful because your tone is rubbish has the proper playing position been acquired well in most of my lessons when i remember or if we're short of time we don't go over it but i assume that you're sitting correctly and you're going to have to go around to one of my other podcasts to find out how to sit i'll pop one up today how to sit correctly with your cello okay is the bow being held correctly again where i'll be popping up today two more broadcasts probably later on this evening uk time about um the correct posture okay all the information you need to work through the suzuki books will be at telltale club podcast um telltale kids okay in between all the stories i put up lots of stories because i don't think it's fair to make you do too much work and not have stories in between and i put up some wonderful wonderful stories i really do so let's have a look at this first bit we've got pits bits pizza what does that mean it's short for pizzicato which means pluck let's have a look we've got a d

and an a

now i'm you might hear that i'm stopping the vibration of the string so that i can hear that rest so one two three four one two three four so a rest is very very important never assume that a rest means nothing's happening um when you're bowing it's a bit easier to appreciate that

rest with pizzicato it goes on forever you've given it a real vibration it's still going on now i can still hear it i can still hear it right now it's gone i mean how long was that this is the wonderful thing about being a cellist because we've got this massive body of instrument and our sound goes straight through those holes or it comes through the bridge as well but all the vibrations and the wonderful sounds into the holes and out of the holes and...

hi guys welcome to the tonalization uh exercise page six uh sorry um for uh oh come little children and may song it's in between those two and suzuki book one for jello now i'm going to do this one with and without a backing track i always insist on a backing track but actually learning to do to hear the ringing is a very important part of suzuki so we're going to do both now there are some questions that we need to ascertain if you're using the suzuki method and these are really useful um the sort of rules for progress so are you listening to the reference record at home every day now i do hope so you can um there are a few places actually if you go to uh youtube and you can add you can create a playlist of your own you can set up a little playlist where you give it a title you can make it private you don't have to share with anyone else and you can add all the versions that you want to have of the various suzuki songs okay now i don't recommend listening to one ever i recommend listening to about five everybody plays cello in a slightly different way and one of the problems with suzuki is that you can end up just copying exactly that's not such a good idea but you do need to know this piece you need to know all of the pieces you need to know the practice regimes you need to understand what you're trying to aim for listen just it's going to be so much harder if you don't is your tone improving well how are you going to know that you're going probably to have to record yourself at some point recording yourself on your phone is a really good way of hearing how rubbish you are and let me tell you you never really appreciate your mistakes while you're in the thick of them it's much better to look on at them as an onlooker after the fact and you will find that you make mistakes that you don't even realize when you're in in the thick of it so the um the sound that you the intonation is is the being hitting the right note the tone is the quality of the note and this is it's the almost the intonation i think sometimes a bit easier actually to to grasp than the tone you think oh i've hit that note that's good but you know it can sound awful even if it's correct it can sound awful because your tone is rubbish has the proper playing position been acquired well in most of my lessons when i remember or if we're short of time we don't go over it but i assume that you're sitting correctly and you're going to have to go around to one of my other podcasts to find out how to sit i'll pop one up today how to sit correctly with your cello okay is the bow being held correctly again where i'll be popping up today two more broadcasts probably later on this evening uk time about um the correct posture okay all the information you need to work through the suzuki books will be at telltale club podcast um telltale kids okay in between all the stories i put up lots of stories because i don't think it's fair to make you do too much work and not have stories in between and i put up some wonderful wonderful stories i really do so let's have a look at this first bit we've got pits bits pizza what does that mean it's short for pizzicato which means pluck let's have a look we've got a d

and an a

now i'm you might hear that i'm stopping the vibration of the string so that i can hear that rest so one two three four one two three four so a rest is very very important never assume that a rest means nothing's happening um when you're bowing it's a bit easier to appreciate that

rest with pizzicato it goes on forever you've given it a real vibration it's still going on now i can still hear it i can still hear it right now it's gone i mean how long was that this is the wonderful thing about being a cellist because we've got this massive body of instrument and our sound goes straight through those holes or it comes through the bridge as well but all the vibrations and the wonderful sounds into the holes and out of the holes and...

hi channel tellers and mini cellists or big jealous whoever you are welcome to telltale club and we're going to look at oh come little children today from the suzuki book one for cello method um it's in d major and you might be wondering when you look at that music what that's three and that long line is and then look it happens again what does it mean well what it means is keep your third finger down now look interestingly why would you have your third finger down when you're going to play an open a well it doesn't doesn't make any sense well what what we're doing we're giving us a shortcut to success so that we're going to know exactly where we're going when we do that string crossing in the next bar now what i want you to do is play me your d string and a little scale

and come back and stay on the three so open one three four back to three and hold it don't i hope you've got no you're not squeezing are you no squeezing please but just have those three fingers there holding them down you don't don't put them flat because then your open a won't play you can't even touch with a hair not that you should have hairs unless you're a werewolf for your werewolf hairs on the on the palms and the underside of your fingers that would be odd but even if you did have hair and you touched the hair on the a string it would sound funny it wouldn't resonate properly we've got our three fingers down uh nice curved curled fingers and i'm going to play an open a around about um quite near the middle but um to the left of center on our bow and we're going to play a quick a and then another a

okay now you'll notice that one note is longer than the other and what's next we're already there our third finger was there all along down uh sorry up down up down up down up four and only at this point do you lift the three up so that you can play the e you obviously you can't have your third finger down and stop at the wrong note now you've got that third down again a little rest

and up again okay and a little rest now the rest of the piece you don't need to hold that third down you will be playing again uh in bar seven at nine

where obviously you would hold it down because you're playing three of them three f sharps and now you have to lift it up because you're going to play the d and you it's awkward i mean you could hold it down actually

you could hold it down for the entire song but too much holding down is not going to necessarily help you articulate uh this pretty d and when you start to do vibratos it's very hard to do vibrato if not impossible when you're holding fingers down as always remember with shortcuts there's always a cost somewhere okay there's always a cost um i i don't recommend you start vibrato too early but i recommend that you hear them early you know when to expect them it's going to help you later on okay so freeing up your hand allows you to play this rather lovely d and you're going to need um to give it some expression and keeping all your fingers down is it won't allow you to do that so it's very important to know when to hold down and when to let go okay now guess what i think cuddles is going to do a version of this later um uh i'll pop it up um possibly late afternoon we've got school club soon um 3 30-ish uh is school club although you're probably different times all over the world depending on where you're listening so i'm not going to tell you a time but we do we now do school club which is a i tell a silly joke and then you get a tune so um perhaps cuddles will pop um oh come little children on at school club today and also we've got the lunchtime recitals of course that's if you're a grown-up you'll maybe prefer those remember to use your drone darlings i get very upset if you don't use your drone you're going to be a very advanced player when you no longer need a drone okay and even i use a drone when i practice um i can hear my mistakes when they're out of...

hi channel tellers and mini cellists or big jealous whoever you are welcome to telltale club and we're going to look at oh come little children today from the suzuki book one for cello method um it's in d major and you might be wondering when you look at that music what that's three and that long line is and then look it happens again what does it mean well what it means is keep your third finger down now look interestingly why would you have your third finger down when you're going to play an open a well it doesn't doesn't make any sense well what what we're doing we're giving us a shortcut to success so that we're going to know exactly where we're going when we do that string crossing in the next bar now what i want you to do is play me your d string and a little scale

and come back and stay on the three so open one three four back to three and hold it don't i hope you've got no you're not squeezing are you no squeezing please but just have those three fingers there holding them down you don't don't put them flat because then your open a won't play you can't even touch with a hair not that you should have hairs unless you're a werewolf for your werewolf hairs on the on the palms and the underside of your fingers that would be odd but even if you did have hair and you touched the hair on the a string it would sound funny it wouldn't resonate properly we've got our three fingers down uh nice curved curled fingers and i'm going to play an open a around about um quite near the middle but um to the left of center on our bow and we're going to play a quick a and then another a

okay now you'll notice that one note is longer than the other and what's next we're already there our third finger was there all along down uh sorry up down up down up down up four and only at this point do you lift the three up so that you can play the e you obviously you can't have your third finger down and stop at the wrong note now you've got that third down again a little rest

and up again okay and a little rest now the rest of the piece you don't need to hold that third down you will be playing again uh in bar seven at nine

where obviously you would hold it down because you're playing three of them three f sharps and now you have to lift it up because you're going to play the d and you it's awkward i mean you could hold it down actually

you could hold it down for the entire song but too much holding down is not going to necessarily help you articulate uh this pretty d and when you start to do vibratos it's very hard to do vibrato if not impossible when you're holding fingers down as always remember with shortcuts there's always a cost somewhere okay there's always a cost um i i don't recommend you start vibrato too early but i recommend that you hear them early you know when to expect them it's going to help you later on okay so freeing up your hand allows you to play this rather lovely d and you're going to need um to give it some expression and keeping all your fingers down is it won't allow you to do that so it's very important to know when to hold down and when to let go okay now guess what i think cuddles is going to do a version of this later um uh i'll pop it up um possibly late afternoon we've got school club soon um 3 30-ish uh is school club although you're probably different times all over the world depending on where you're listening so i'm not going to tell you a time but we do we now do school club which is a i tell a silly joke and then you get a tune so um perhaps cuddles will pop um oh come little children on at school club today and also we've got the lunchtime recitals of course that's if you're a grown-up you'll maybe prefer those remember to use your drone darlings i get very upset if you don't use your drone you're going to be a very advanced player when you no longer need a drone okay and even i use a drone when i practice um i can hear my mistakes when they're out of...

Centre of gravity for bow players strings masters Free Lessons Violoncello online.

hello tale tellers welcome to um a boeing class now what i'm going to talk about is um it's good this is really helpful for beginners and advanced performers learning to understand your bow is really something that i recommend from day one class one understanding the physics of the bow and how it's going to affect what you do to the strings is really really important and the sooner you understand the science of things or the ergonomics rather and the better now what i want you to do is look at your bow and with your right hand

find the center of gravity on your bow so if you pop your finger under between the strings and the wood don't touch the strings don't worry you're not going to die if you do but try and avoid generally touching the hair of your bow because there is an awful lot of oil in on your skin and detritus darlings always doesn't matter who you are it doesn't matter if you've got a clean a germ phobia and you've been washing constantly you're still going to have some sort of matter on your flesh that doesn't belong on our those strings now while i've been talking here i've got my finger

at the center of gravity on my bow i've balanced it it's neither going up nor down left nor right so my center of gravity the other way you can do this of course is to pinch with forefinger and thumb it's perhaps that's easier for you pinch the the wood part of your bow and see where the center is there is it should be the same place centers of gravity the center of gravity shouldn't change unless something markedly happens like you know for example your center of gravity with two arms is different than if you had uh an arm removed um when you're riding a bicycle if you if you have a pannier on the back and one side of it is filled up with um frozen food from the supermarket your center of gravity is going to alter our bodies are quite good when we're if we can cycle if we've uh learnt that skill quite good at adjusting very quickly and that's what a a really good um cellist does automatically all the time with the bow adjusts so why do we need to adjust well let's remember that point the center of our gravity and we'll use um i think we'll use the g string and just pop the bow there on the g string now if you remember feather fingers please and a curved thumb feather light as feathers your fingers should be on the bow what happens if you release

be careful don't uh i mean don't completely let it go it falls forward but it doesn't fall to either side it just falls straight down perpendicular to the string okay that's your center of gravity now what happens if we go up towards the frog and we do the same we let go

as i say don't completely let go we release tension it it falls forward but it also falls down towards um the left my left ear now that's interesting isn't it so i've i've come down to the right of my center of gravity i'm near the frog and yet it's falling to my left interesting now let's stay on uh i'm on the d string i think i swapped did i say g string there or was i on the well it doesn't matter which string you're on let's go back to the g string i think that's because i fell forward and go to the tip okay um you don't need to be right on the tip let's do two inches below and now let that fall forward happen well look at that it's falling to the right

that's incredible so when i'm on the left of my center of gravity the natural fall is to the right of my body and the cello and vice versa now why is this helpful for a cellist well it's helpful because understanding the passive effect of gravity on what we're doing with the bow will help you with positioning the bow correctly when you start a note and string crossings when you start to string cross on a legato motion you need to know where the energy is going to have to come from from your back from your arms from your...

Centre of gravity for bow players strings masters Free Lessons Violoncello online.

hello tale tellers welcome to um a boeing class now what i'm going to talk about is um it's good this is really helpful for beginners and advanced performers learning to understand your bow is really something that i recommend from day one class one understanding the physics of the bow and how it's going to affect what you do to the strings is really really important and the sooner you understand the science of things or the ergonomics rather and the better now what i want you to do is look at your bow and with your right hand

find the center of gravity on your bow so if you pop your finger under between the strings and the wood don't touch the strings don't worry you're not going to die if you do but try and avoid generally touching the hair of your bow because there is an awful lot of oil in on your skin and detritus darlings always doesn't matter who you are it doesn't matter if you've got a clean a germ phobia and you've been washing constantly you're still going to have some sort of matter on your flesh that doesn't belong on our those strings now while i've been talking here i've got my finger

at the center of gravity on my bow i've balanced it it's neither going up nor down left nor right so my center of gravity the other way you can do this of course is to pinch with forefinger and thumb it's perhaps that's easier for you pinch the the wood part of your bow and see where the center is there is it should be the same place centers of gravity the center of gravity shouldn't change unless something markedly happens like you know for example your center of gravity with two arms is different than if you had uh an arm removed um when you're riding a bicycle if you if you have a pannier on the back and one side of it is filled up with um frozen food from the supermarket your center of gravity is going to alter our bodies are quite good when we're if we can cycle if we've uh learnt that skill quite good at adjusting very quickly and that's what a a really good um cellist does automatically all the time with the bow adjusts so why do we need to adjust well let's remember that point the center of our gravity and we'll use um i think we'll use the g string and just pop the bow there on the g string now if you remember feather fingers please and a curved thumb feather light as feathers your fingers should be on the bow what happens if you release

be careful don't uh i mean don't completely let it go it falls forward but it doesn't fall to either side it just falls straight down perpendicular to the string okay that's your center of gravity now what happens if we go up towards the frog and we do the same we let go

as i say don't completely let go we release tension it it falls forward but it also falls down towards um the left my left ear now that's interesting isn't it so i've i've come down to the right of my center of gravity i'm near the frog and yet it's falling to my left interesting now let's stay on uh i'm on the d string i think i swapped did i say g string there or was i on the well it doesn't matter which string you're on let's go back to the g string i think that's because i fell forward and go to the tip okay um you don't need to be right on the tip let's do two inches below and now let that fall forward happen well look at that it's falling to the right

that's incredible so when i'm on the left of my center of gravity the natural fall is to the right of my body and the cello and vice versa now why is this helpful for a cellist well it's helpful because understanding the passive effect of gravity on what we're doing with the bow will help you with positioning the bow correctly when you start a note and string crossings when you start to string cross on a legato motion you need to know where the energy is going to have to come from from your back from your arms from your...

How to tune a cello with audio for open strings using the app or recording Sarnia Music School.

hi telltalers um welcome welcome to the sales hello club if you've just um popped by today i'm going to explain to you how to tune a cello it's the most basic necessity if you want to be a cellist it's actually something that can take a few years to um maybe six years maybe 10 years to get really really good at um now there's no such thing as perfect pitch really i mean i met i did meet one person who was actually a piano tuner who had pretty much perfect pitch but generally speaking it's a bit of a myth it's almost impossible if you don't have a starting point a reference point to name that note so if somebody just said out of the blue nobody was talking nobody was playing any music sing an a it would be quite hard to be absolutely spot on scientifically exact okay so don't beat yourself up too much most people are not they don't will never have this ability they need a starting point once you have a starting point say our a there tiny weeny bit sharp our a then you can perhaps sing the d

perhaps not depending now this let's let's first of all start with the note names of the cello so we're going to start with the big fat one i call this the deep sea now this is c2 and if you're using an app which i recommend any app download them for free if you can't if you don't have a phone a smartphone um or a laptop or an ipad or something that you can use download a recording perhaps get your teacher to record the notes so if your teacher or a friend another cellist recorded that c and just put it on a recording on your phone most phones do have some sort of recording facility then that would be really helpful or have it on your laptop okay but you need to hear it this isn't going to work if you don't hear it okay but the app is really the best way to tune up it's very reliable now if you pluck the deep c string and look at the app you'll see that it registers differently than if you bow it so the key is to bow it as it were or you really need to bow it now if you've never used a bow just try and keep it horizontal um well no perpendicular to the string so you've got a right angle between the bow hair and the string and just try and pull if put put the middle of the bow on it um for now i'd i always use the base but when you use the base you have to have a bit more control on this c but if you go halfway up you can just allow gravity to pull it down gravity can do all the work and you'll get a smoother sound okay and look on the app and you'll see it's registering and depending on your wrap a green zone or a white zone or and when you're in that middle zone i mean i'm particular i like to get it right bang on in the middle and you'll see that that says c2 now if it doesn't if it isn't bang smack in the middle of that c2 adjust it adjust your string and use the fine tuners if you can now if you're way out you're going to have to use the the tuning pegs at the top and that's quite a feat you're going to have to be really really gentle and you're going to have to be quite strong unless as i have you use geared strings sorry geared pegs geared pegs are a new invention and they're absolutely fantastic and i'm going to pick them up as much as possible um if you're spending money and money isn't an object i think they're about 130 pounds or something for the four and your the cello shop that you hire from or whatever we'll be able to tell you all about those and they make life so much easier i remember not having geared pegs and having to stand up and face my cello and concern myself with breaking strings every time i moved a peg it's such risky business but hopefully you're coping now the thing is don't ever turn too much on the pegs because the string if it is particular you would have bought a c string or a d string or whatever and it's particular to that um scientific uh vibration and if you stretch it you are really...

How to tune a cello with audio for open strings using the app or recording Sarnia Music School.

hi telltalers um welcome welcome to the sales hello club if you've just um popped by today i'm going to explain to you how to tune a cello it's the most basic necessity if you want to be a cellist it's actually something that can take a few years to um maybe six years maybe 10 years to get really really good at um now there's no such thing as perfect pitch really i mean i met i did meet one person who was actually a piano tuner who had pretty much perfect pitch but generally speaking it's a bit of a myth it's almost impossible if you don't have a starting point a reference point to name that note so if somebody just said out of the blue nobody was talking nobody was playing any music sing an a it would be quite hard to be absolutely spot on scientifically exact okay so don't beat yourself up too much most people are not they don't will never have this ability they need a starting point once you have a starting point say our a there tiny weeny bit sharp our a then you can perhaps sing the d

perhaps not depending now this let's let's first of all start with the note names of the cello so we're going to start with the big fat one i call this the deep sea now this is c2 and if you're using an app which i recommend any app download them for free if you can't if you don't have a phone a smartphone um or a laptop or an ipad or something that you can use download a recording perhaps get your teacher to record the notes so if your teacher or a friend another cellist recorded that c and just put it on a recording on your phone most phones do have some sort of recording facility then that would be really helpful or have it on your laptop okay but you need to hear it this isn't going to work if you don't hear it okay but the app is really the best way to tune up it's very reliable now if you pluck the deep c string and look at the app you'll see that it registers differently than if you bow it so the key is to bow it as it were or you really need to bow it now if you've never used a bow just try and keep it horizontal um well no perpendicular to the string so you've got a right angle between the bow hair and the string and just try and pull if put put the middle of the bow on it um for now i'd i always use the base but when you use the base you have to have a bit more control on this c but if you go halfway up you can just allow gravity to pull it down gravity can do all the work and you'll get a smoother sound okay and look on the app and you'll see it's registering and depending on your wrap a green zone or a white zone or and when you're in that middle zone i mean i'm particular i like to get it right bang on in the middle and you'll see that that says c2 now if it doesn't if it isn't bang smack in the middle of that c2 adjust it adjust your string and use the fine tuners if you can now if you're way out you're going to have to use the the tuning pegs at the top and that's quite a feat you're going to have to be really really gentle and you're going to have to be quite strong unless as i have you use geared strings sorry geared pegs geared pegs are a new invention and they're absolutely fantastic and i'm going to pick them up as much as possible um if you're spending money and money isn't an object i think they're about 130 pounds or something for the four and your the cello shop that you hire from or whatever we'll be able to tell you all about those and they make life so much easier i remember not having geared pegs and having to stand up and face my cello and concern myself with breaking strings every time i moved a peg it's such risky business but hopefully you're coping now the thing is don't ever turn too much on the pegs because the string if it is particular you would have bought a c string or a d string or whatever and it's particular to that um scientific uh vibration and if you stretch it you are really...

Raggedy Ann and Andy and the Camel with the Wrinkled Knees
by Johnny Gruelle.

chapter 5 of raggedy ann and andy and the camel with the wrinkled knees this is a librivox recording all librivox recordings are in the public domain for more information or to volunteer please visit librivox.org read by anna bailey raggedy ann and andy and the camel with the wrinkled knees by johnny gruelle chapter five a wonderful sight met their eyes when the tired old horse opened a door at the bottom of the stone steps and our friends walked out into the open again there in the distance upon a wonderful hill stood a beautiful castle with turrets and spires of red reaching up towards the sky and between our friends in the castle there was a large valley filled with strangely shaped little houses from where they stood raggedy ann and raggedy andy jenny the tired old horse and the camel with the wrinkled knees could see the loonies running about in the streets like mad first running one way and then running another what's the matter with them i wonder the tired old horse said of course neither jenny or any of her friends knew the reason so they could not answer but soon the loonies all came running towards them shouting and waving sticks i believe they see us said the camel who would remove the blindfold from his eyes this was true for the queer little loonies came swarming towards them looking for all the world like ants as they cross the valley where can we hide jenny asked as she looked about her we shan't hide raggedy andy cried we will wait and see what they intend doing the looney soon showed our friends what they intended doing for they all surrounded raggedy ann and jenny and raggedy andy and the tired old horse and the camel with the wrinkled knees and poking them with their sticks started marching our friends down into the valley towards the queer houses do you think it would be a good plan for me to start kicking the tired old horse whispered to raggedy ann i can knock them head over heels if i start kicking and thrashing about i do not believe i would do that raggedy ann replied for your heels are hard and you would hurt them very much should you kick any of the loonies all right the tired old horse agreed the loonies marched their prisoner into the largest house in the center of all the other queer houses and up before the king of the loonies aha the looney king cried when all the loonies had stopped their chattering what have we captured one of the loonies who had captured our friends spoke and said to the luna king oh most looniest of loonies we have captured those who came down through the great tree don't i know that the looney king held why don't you answer my question whom have we captured we have captured the prisoners the loony guard replied good the looney king cried as he clapped his hands now see if you can answer this one what will we do with them now that we have captured them put them in prison i guess the guard replied wrong shouted the luna king now try to think i can't seem to think of anything the guard answered good the loony king again clapped his hands together you guessed that i was thinking that i couldn't think of anything either now here is another and this is the hardest of all what is the name of that man with the funny hat and the looney king pointed his long finger at the horse the tired old horse looked around at his friends and winked one eye he called me a man he giggled please remain quiet when i am asking riddles the looney king shouted at the horse his name is spookledoogle the guard said good the loony king again cried as he clapped his hands that is right it is wrong the tired old horse said it is right the looney king cried whatever i say is right is right whether it is right or wrong all right the tired old horse replied i shall not argue with you but i know that i am not spoogle dougal for there isn't any such animal and with this the tired old horse walked over and laid down...

Raggedy Ann and Andy and the Camel with the Wrinkled Knees
by Johnny Gruelle.

chapter 5 of raggedy ann and andy and the camel with the wrinkled knees this is a librivox recording all librivox recordings are in the public domain for more information or to volunteer please visit librivox.org read by anna bailey raggedy ann and andy and the camel with the wrinkled knees by johnny gruelle chapter five a wonderful sight met their eyes when the tired old horse opened a door at the bottom of the stone steps and our friends walked out into the open again there in the distance upon a wonderful hill stood a beautiful castle with turrets and spires of red reaching up towards the sky and between our friends in the castle there was a large valley filled with strangely shaped little houses from where they stood raggedy ann and raggedy andy jenny the tired old horse and the camel with the wrinkled knees could see the loonies running about in the streets like mad first running one way and then running another what's the matter with them i wonder the tired old horse said of course neither jenny or any of her friends knew the reason so they could not answer but soon the loonies all came running towards them shouting and waving sticks i believe they see us said the camel who would remove the blindfold from his eyes this was true for the queer little loonies came swarming towards them looking for all the world like ants as they cross the valley where can we hide jenny asked as she looked about her we shan't hide raggedy andy cried we will wait and see what they intend doing the looney soon showed our friends what they intended doing for they all surrounded raggedy ann and jenny and raggedy andy and the tired old horse and the camel with the wrinkled knees and poking them with their sticks started marching our friends down into the valley towards the queer houses do you think it would be a good plan for me to start kicking the tired old horse whispered to raggedy ann i can knock them head over heels if i start kicking and thrashing about i do not believe i would do that raggedy ann replied for your heels are hard and you would hurt them very much should you kick any of the loonies all right the tired old horse agreed the loonies marched their prisoner into the largest house in the center of all the other queer houses and up before the king of the loonies aha the looney king cried when all the loonies had stopped their chattering what have we captured one of the loonies who had captured our friends spoke and said to the luna king oh most looniest of loonies we have captured those who came down through the great tree don't i know that the looney king held why don't you answer my question whom have we captured we have captured the prisoners the loony guard replied good the looney king cried as he clapped his hands now see if you can answer this one what will we do with them now that we have captured them put them in prison i guess the guard replied wrong shouted the luna king now try to think i can't seem to think of anything the guard answered good the loony king again clapped his hands together you guessed that i was thinking that i couldn't think of anything either now here is another and this is the hardest of all what is the name of that man with the funny hat and the looney king pointed his long finger at the horse the tired old horse looked around at his friends and winked one eye he called me a man he giggled please remain quiet when i am asking riddles the looney king shouted at the horse his name is spookledoogle the guard said good the loony king again cried as he clapped his hands that is right it is wrong the tired old horse said it is right the looney king cried whatever i say is right is right whether it is right or wrong all right the tired old horse replied i shall not argue with you but i know that i am not spoogle dougal for there isn't any such animal and with this the tired old horse walked over and laid down...