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Teacher Guide - Carnegie Hall
Weill Music Institute Link Up A Program of the Weill Music Institute at Carnegie Hall for Students in Grades Three Through Five e h T chestra r O R cks Teacher Guide Weill Music Institute Link Up A Program of the Weill Music Institute at Carnegie Hall for Students in Grades Three Through Five e h T chestra r O R cks Teacher Guide Authors Daniel Levy Richard Mannoia Contributing Editors Thomas Cabaniss Laura Costa Amy Kirkland Misty Tolle Additional Contributions Phil Bravo Stephanie Rodousakis Editor Jay Goodwin Design Kat Hargrave Evelyn Ochoa David Silva Illustration Sophie Hogarth Audio Production Scott Lehrer Daniel Levy Audrey Sherer Lorenzo Wolff Video Production RPP Productions Weill Music Institute at Carnegie Hall 881 Seventh Avenue, New York, NY 10019 Phone: 212-903-9670 | Fax: 212-903-0758 E-Mail: [email protected] carnegiehall.org/LinkUp Lead funding for Link Up is provided by the Robertson Foundation. Major support for Link Up has been provided by The Irene Diamond Fund, with additional funding from The Ambrose Monell Foundation, Wells Fargo, the Rose M. Badgeley Residuary Charitable Trust, and The Barker Welfare Foundation. Link Up in New York City schools is made possible, in part, by an endowment gift from The Irene Diamond Fund. The Weill Music Institute’s programs are made available to a nationwide audience by an endowment grant from the Citi Foundation. © 2012 The Carnegie Hall Corporation. All rights reserved. Weill Music Institute Table of Contents Foreword Icon Key Information and Options for Teachers Pathways for Teachers Curriculum Overview 4 5 6 8 9 Unit 1: Recorder Basics and Concert Repertoire “Come to Play” “Come to Play” Student Assessment Sample for Teachers “Come to Play” Student Assessment In C In C Student Assessment “O Fortuna” from Carmina Burana “O Fortuna” from Carmina Burana Student Assessment “Drumlines” “Drumlines” Student Assessment Unit 2: The Orchestra Rocks in Families Unit 3: The Orchestra Rocks with Steady Beat Unit 4: The Orchestra Rocks with Rhythmic Patterns Unit 5: The Orchestra Rocks with Layers Unit 6: The Orchestra Rocks with Us Unit 7: After the Orchestra Rocks 10 20 26 27 28 29 30 35 36 37 38 50 54 58 62 66 Glossary About the Composers CD and DVD Track Lists Learning Standards Chart Acknowledgments 68 70 71 72 73 Foreword About Link Up In Link Up, students learn about and join the orchestra in a culminating interactive musical experience. Students will sing and play the recorder or violin while learning basic musical concepts and composing music themselves. This program links your classroom to the concert hall. The Orchestra Rocks One universal element of music is rhythm. Composers and musicians play with elements of musical time, creating patterns of sound and silence that are expressive and exciting. A consistent groove can unite musicians, singers, and audiences in an experience of listening and performing together. Through the Link Up repertoire, hands-on activities, and a culminating interactive performance with a professional orchestra, we will discover how the orchestra rocks! Exploration How does an orchestra rock? Key Objectives With rhythm at the heart of the exploration, students • perform by singing and playing the recorder or a string instrument alone or as an ensemble • analyze and interpret the essential musical structures of rhythm and groove • connect with the orchestra and explore instruments, instrument families, and orchestration • compose and notate new music, using the concert music as a model • apply knowledge to observe and reimagine musical practice in the world around us 4 Icon Key The DVD Icon prompts you to watch your DVD and/or peruse materials on the Carnegie Hall website. Visit carnegiehall.org/LinkUp to access the online resources. The Link Up CD Icon guides you to tracks on the Link Up CD. The Listen, Clap, Say, Sing, Show, Play Icon prompts you to use any combination of our six techniques that you prefer, in any order, to teach a song. The Student Assessment Icon suggests useful moments to have students complete a quick performance self-assessment. You can use this to track students’ progress throughout the year. A blank template is included with select pieces of concert repertoire. If you would like to use the template more often, we encourage you to photocopy, distribute, and collect the completed templates as often as you would like. Performance icons indicate on which instrument(s) your students can prepare and perform each piece of Link Up repertoire. Some selections are for one instrument only, while others can be sung or played. For more information about which option to choose for each piece, see page 8. New New World World Recorder Recorder The Singing that students can sing the piece at the culminating concert. StarIcon Star Iconindicates Icon The Recorder and Violin Icon indicates that students can play the piece on soprano recorder or violin at the culminating concert. Optional bowings ( ) are shown on the applicable music. The Recorder Star Icon indicates that the piece is geared toward more experienced recorder players. Advanced violin players can also play these parts. Borders are used to indicate Creative Extensions. 5 Information and Options for Teachers • Recorder support: Basic recorder technique is outlined on SG2. Fingerings and notation for melodies to be played at the culminating concert are pictured on SG4–5. Music fundamentals are assumed to be prior knowledge but can be folded into the first recorder lessons as needed according to each teacher’s preferred method. If you need more information, please visit the Carnegie Hall website to access Link Up Beginnings at carnegiehall.org/LinkUp. • Link Up repertoire: The pieces your students will need to know in order to be successful at the Link Up concert are included in Unit 1 of the curriculum. Students will perform these pieces by singing or playing soprano recorder or violin during the concert. Look for the performance icons that indicate which paths are appropriate for each piece of repertoire. Once the model and options are clear, you may want to allow students to choose which technique they’d most like to try, or ritualize the sequence by always proceeding in the same order. See the Icon Key on page 5 and suggested teaching pathways on page 8 for more information. • Unit format: Each unit begins with an aim, a summary of educational goals, materials required, time required, music learning standards addressed, vocabulary, and an overview of the unit’s activities, including Creative Extensions. Please note that all units require the Link Up CD, Link Up DVD or online resources, and Link Up Student Guides. Directives are bulleted and verbal prompts appear in italics: • Watch the video again. • What should we remember? • What should we do next? • Ritual opening: Please begin each activity by singing “Come to Play,” SG10–15, Track 1. • Activity group size: Most activities will work equally well for individuals, pairs, or small groups of students. Teachers can decide which group size is best for each activity. • Activity durations: Most activities are designed to last 20 minutes. 6 • Creative Extensions: Most units include at least one optional Creative Extension, in which students experience the unit’s musical concepts and try out their own creative ideas. • Sharing student work: Share your students’ work with Carnegie Hall by e-mailing [email protected]. •S tudent Assessments: Performance and listening assessments follow some repertoire selections in the student guide so that you can assess student progress and calibrate your lesson planning accordingly. Please see the Icon Key on page 5 for details. • Planning which lessons to complete: See Pathways for Teachers on page 8 for suggested program sequences, depending on your goals, time with students, and student skill levels. Visit carnegiehall.org/LinkUp for in-depth support materials and additional resources. 7 Pathways for Teachers Basic Program Path (Minimum Requirements) Unit 1: Students learn to sing • “Come to Play” (Part 2) • In C • “O Fortuna” from Carmina Burana Unit 1: Students learn • “Drumlines” Unit 2: Complete • Students learn about the orchestra. Basic+ Program Path (More Sessions, Intermediate Recorder) Advanced Program Path (Many Sessions, Advanced Recorder) First, complete the Basic Program Path (see left). First, complete the Basic+ Program Path (see left). Unit 1: Students learn to sing • “Come to Play” (Parts 1 and 3) Unit 1: Students learn to play • “Come to Play” (all parts) Unit 3: Complete • Students create their own compositions in the style of In C. Unit 1: Students learn to play • “Come to Play” (Part 2) • In C • “O Fortuna” from Carmina Burana Unit 4: Complete • Students create their own lyrics to “O Fortuna” from Carmina Burana. Unit 5: Complete • Students explore rhythmic layers in “Mars” from The Planets. Unit 6: Complete • Students learn about the Brooklyn Steppers and “Drumlines.” Unit 7: Complete • Students reflect. • Complete all outstanding activities and Creative Extensions. 8 Curriculum Overview Unit 1 Recorder Basics and Concert Repertoire Focal Works: All Link Up concert melodies Aim: What do we need to know in order to participate in Link Up? Summary: We introduce recorder and music notation basics as well as learn the concert repertoire. Unit 2 The Orchestra Rocks in Families Focal Work: Britten’s The Young Person’s Guide to the Orchestra Aim: What is an orchestra? Summary: We become familiar with the instruments and sections of the orchestra. Unit 3 The Orchestra Rocks with Steady Beat Focal Work: Terry Riley’s In C Aim: How can we use steady beat to keep time and play with rhythms? Summary: We explore steady beat and repetition while learning to sing or play melodic phrases. Unit 4 The Orchestra Rocks with Rhythmic Patterns Focal Work: Orff’s “O Fortuna” from Carmina Burana Aim: How do composers rock with rhythmic patterns? Summary: We explore rhythmic patterns and repetition in Orff’s “O Fortuna.” Unit 5 The Orchestra Rocks with Layers Focal Work: Holst’s “Mars” from The Planets Aim: How do composers use musical layers to create excitement? Summary: We explore musical layers and expressive qualities in Holst’s “Mars.” Unit 6 The Orchestra Rocks with Us Focal Work: Thomas Cabaniss’s “Drumlines” Aim: How can we sing, play, and rock with the orchestra? Summary: We learn to perform “Drumlines” and review all other performance material in preparation for the Link Up concert. Unit 7 After the Orchestra Rocks Aim: How can we sing, play, and rock with the orchestra? Summary: We complete activities designed to follow your concert hall visit. Supplemental Resources • Glossary • About the Composers • CD and DVD Track Lists • Learning Standards Chart • Acknowledgments 9 IT UUNNIT 1 Recorder Basics and Concert Repertoire Focal Works: All Link Up concert melodies Aim: What do we need to know in order to participate in Link Up? Summary: We introduce recorder and music notation basics as well as learn the concert repertoire. Materials: staff paper Time Requirement: varies according to chosen program path Standards: US 1, 2, 4, 5, 6, 7; NYC 1, 2, 5 Vocabulary: melody, music notation, pattern, composer Unit 1 Overview Activity 1.1: Tom Introduces Link Up: The Orchestra Rocks Activity 1.2: Recorder Basics Creative Extension: Creating and Notating Musical Patterns Activity 1.1: Tom Introduces Link Up: The Orchestra Rocks • Read “Meet Thomas Cabaniss, Our Guide” (SG1) aloud. • Watch Introduction to Link Up. • Watch Repertoire Overview. • Discuss the ideas and vocabulary introduced by Tom. • Watch the video again. • What should we remember? • What should we do next? Activity 1.2: Recorder Basics • Use SG2–SG5 to help you prepare for the Link Up concert. • You can also view Link Up Beginnings on the Carnegie Hall website (carnegiehall.org/LinkUp) for more information. SG4–SG8 show the fingerings and notation for the Link Up music your students will be learning. It is important that students know and can sing or play the concert pieces. We encourage you to focus on these repertoire selections before delving into the content units. Review is built into the later units. Creative Extension: Creating and Notating Musical Patterns • Create, model, and notate short, simple patterns of notes and rests on SG6–9. • Play each other’s patterns. • Share and discuss work. • Which patterns did you enjoy the most? • How were the enjoyable patterns constructed? • Repeat the sequence, allowing for increasingly complex patterns. 10 SG 1 Meet Thomas Cabaniss, Our Guide I’m Tom, a composer and your host for Link Up: The Orchestra Rocks. One universal element of music is rhythm. Composers and musicians play with elements of musical time, creating patterns of sound and silence that are expressive and exciting. Your challenge is to find out what makes the orchestra rock. During your time with Link Up: The Orchestra Rocks, I hope you’ll begin each session by singing my song “Come to Play.” I wrote it with you in mind. 11 SG 2 Preparing to Play the Recorder When playing the recorder, there are two basic positions: rest position and playing position. Rest Position Place your recorder in your lap or let it hang from its lanyard. Playing Position Hold your recorder up and ready to play. The left hand is on top, and the right hand is below. Recorder Checklist Hands: left hand on top 12 Holes: finger hole(s) completely sealed Lips: lips covering teeth Breath: not too hard, not too soft 3 SG Unlocking Music Notation Notated music is made up of symbols. Music Decoder Time signature Note stem Rest } } Staff Measure Bar line Clef Note head Note Decoder middle C D E F G A B high C high D 13 SG 4 Preparing to Play the Recorder e Notation Examples pg 9 A B G e & œ page 93 note 5 & 10 D & 14 & 14 22 & œ page 94 note œ pg96 E #1 œ pg96 #2 18 & Notat œ pg96 #3 & #œ œ page 93 note 5 & 10 & 14 & œ page 94 note F œ pg96 #1 œ pg96 #2 18 & œ SG 5 Parts of the Recorder Mouthpiece high D F# middle C high C } Body middle C Bell 15 6 SG One-Note Songs 1. 2. 3. My One-Note Songs 5 16 Staff Staff SSG G 7 Two-Note Songs 1. 2. 3. My Two-Note Songs Staff Staff 5 17 SG 8 Three-Note Songs 1. 2. 3. 18 9 Staff SSG G My Three-Note Songs Staff 5 Staff My Patterns 5 95 13 5 13 9 9 Staff 19 SG 10 Tracks 1–6 Come to Play mf 20 Thomas Cabaniss SSG G 11 21 SG 12 mp mp 22 SG 13 mp 23 SG 14 mf mf mf 24 SG 15 f f f 25 U N IT 1 Sample for Teachers How Am I Doing? Date: Work Title: “Come to Play” Composer: Thomas Cabaniss Mark on the lines below how you feel about your progress on each goal. Goals Clapping the rhythm Hmm, difficult. Singing or playing the music Hmm, difficult. Singing or playing the music with different dynamics Hmm, difficult. X Ha, easy! X Ha, easy! X What is one goal above that you would like to improve on? Ha, easy! Clapping the “Come to Play” rhythm What are some things you can do to make the improvement? 1. Practice small sections 2. Practice singing the rhythm 3. Practice with a friend Listening Mark on the lines below how you feel the composer used each tool. Dynamics Steps No steps Leaps No leaps Tempo Slow Melodic direction Rhythm 26 No surprises X Lots of surprises X X Lots of leaps X Fast X Descending Not interesting Lots of steps X Ascending Interesting SSG G How Am I Doing? Date: 16 Work Title: “Come to Play” Composer: Thomas Cabaniss Mark on the lines below how you feel about your progress on each goal. Goals Clapping the rhythm Hmm, difficult. Ha, easy! Singing or playing the music Hmm, difficult. Ha, easy! Singing or playing the music with different dynamics Hmm, difficult. Ha, easy! What is one goal above that you would like to improve on? What are some things you can do to make the improvement? 1. 2. 3. Listening Mark on the lines below how you feel the composer used each tool. Dynamics No surprises Lots of surprises Steps No steps Lots of steps Leaps No leaps Lots of leaps Tempo Slow Melodic direction Rhythm Fast Descending Ascending Not interesting Interesting 27 17 SG In C Tracks 7–22 In C 1(See methods for teaching In C on page 51.)In C 2 .. j Ï ³ Ï j Ï Ba - rang, 1.² Ï *ba - rang, Ba - rang, In C 3 Ba - rang, .. ä 3. ² ³ ² j Ï .. ä 5. ² ³ 6. In C 5 Du - rang - a Du - rang - a .. Î Î Î .. In C 6 Rang - a - du .. In C 7 7. ³ ² ³ .. w See, Ba - da - doop ² w .. see See, ³ äÏ Ï Ï ä Î Î Î J Ba - da - doop 28 Ï ³ Ï .. Ï Ï Ï Rang - a - du 2. ² ³ Ï *Ba - rang - a - rang Ba-rang - a - rang, 4. ² ³ ² Gar - rang - a ³ ä Ï Ï Ï j Ï In C 4 Ga - rang - a .. .. .. *ba - rang Ba - rang, .. Ï Ï Ï ³ Ï Terry Riley see Î .. * String teachers can omit grace notes to avoid string crossing. Grace notes may also be omitted for students playing the recorder. SSG G How Am I Doing? Date: 18 Work Title: In C Composer: Terry Riley Mark on the lines below how you feel about your progress on each goal. Goals Clapping the rhythm Hmm, difficult. Ha, easy! Singing or playing the music Hmm, difficult. Ha, easy! Singing or playing the music with different dynamics Hmm, difficult. Ha, easy! What is one goal above that you would like to improve on? What are some things you can do to make the improvement? 1. 2. 3. Listening Mark on the lines below how you feel the composer used each tool. Dynamics No surprises Lots of surprises Steps No steps Lots of steps Leaps No leaps Lots of leaps Tempo Slow Melodic direction Rhythm Fast Descending Ascending Not interesting Interesting 29 SG 19 Tracks 23–27 O Fortuna (Time signature intentionally omitted. See methods for teaching “O Fortuna” on page 54.) 30 Carl Orff 20 SSG G mp 31 SSGG 32 211 221 SSS G GG Recorders play G. Singers sing B-flat. Students hold this note as orchestra plays to the end (m. 101). 33 SG 23 “O Fortuna” Translation LatinEnglish O Fortuna O Fortune, velut luna like the moon statu variabilis, you are changeable, semper crescis ever waxing aut decrescis; and waning; vita detestabilis hateful life nunc obdurat first oppresses et tunc curat and then soothes ludo mentis aciem, as fancy takes it; egestatem,poverty potestatemand power dissolvit ut glaciem. it melts them like ice. 34 SG SG 24 How Am I Doing? Work Title: “O Fortuna” Composer: Carl Orff Date: Mark on the lines below how you feel about your progress on each goal. Goals Clapping the rhythm Hmm, difficult. Ha, easy! Singing or playing the music Hmm, difficult. Ha, easy! Singing or playing the music with different dynamics Hmm, difficult. Ha, easy! What is one goal above that you would like to improve on? What are some things you can do to make the improvement? 1. 2. 3. Listening Mark on the lines below how you feel the composer used each tool. Dynamics No surprises Lots of surprises Steps No steps Lots of steps Leaps No leaps Lots of leaps Tempo Slow Melodic direction Rhythm Fast Descending Ascending Not interesting Interesting 35 SG 25 Tracks 28–30 Drumlines Thomas Cabaniss • The drumline percussionists will shout: “Yo! Challenge: We go, then you go!” • Students copy all snare drum rhythms by clapping and all bass drum rhythms by stomping. • The drummers will play a rhythm, and audience members should try their best to imitate. • Eventually, the rhythms may get too fast and complicated to imitate, but that will be half the fun! 36 26 SG SG How Am I Doing? Date: Work Title: “Drumlines” Composer: Thomas Cabaniss Mark on the lines below how you feel about your progress on each goal. Goals Clapping the rhythm Hmm, difficult. Ha, easy! Singing or playing the music Hmm, difficult. Ha, easy! Singing or playing the music with different dynamics Hmm, difficult. Ha, easy! What is one goal above that you would like to improve on? What are some things you can do to make the improvement? 1. 2. 3. Listening Mark on the lines below how you feel the composer used each tool. Dynamics No surprises Lots of surprises Steps No steps Lots of steps Leaps No leaps Lots of leaps Tempo Slow Melodic direction Rhythm Fast Descending Ascending Not interesting Interesting 37 U N IT 2 The Orchestra Rocks in Families Focal Work: Britten’s The Young Person’s Guide to the Orchestra Aim: What is an orchestra? Summary: We become familiar with the instruments and sections of the orchestra. Materials: blank paper, colored pencils or markers Time Requirement: four 30-minute sessions Standards: US 3, 4, 6, 7, 8; NYC 1, 2, 3, 4 Vocabulary: orchestra, instrument, appearance, mechanism, instrumentation Unit 2 Overview Activity 2.1: Tom Introduces the Orchestra Activity 2.2: Orchestra Exploration Activity 2.3: Families and Instruments Activity 2.4: My Own Orchestra Creative Extension: The Best Instruments of the Orchestra Awards Activity 2.1: Tom Introduces the Orchestra Families of the Orchestra. • Watch • Discuss the ideas and vocabulary introduced by Tom. • Watch the video again. • What should we remember? • What should we do next? Check out Carnegie Hall’s Listening Adventures interactive website. Join Violet as she goes on an instrument safari, guided by her uncle Ollie, collecting all the instruments of the orchestra to the accompaniment of Britten’s The Young Person’s Guide to the Orchestra. listeningadventures.carnegiehall.org Activity 2.2: Orchestra Exploration • On a separate piece of paper, have students list instruments they know. • In your Orchestra Organizer (SG27–28), study the instruments in their appropriate family boxes Tracks 31–45 (solo instruments and narration). while listening to • Choose three contrasting instruments and have students describe them in more detail. • Draw and label the parts of the instruments (as best you can) as you notice details. Examples • Appearance (colors, shapes, sizes) • Materials used (wooden tubes, metal tubes, reeds, double reeds, wooden boxes, strings, horse hair, metal or gut strings) • Mechanisms and structures (slides, valves, bells, f-holes, finger holes, mouthpieces, bridges, bows, keys, pads, separable sections, mutes) • How sound is produced (breath, buzzing lips, fingers, bow, striking, shaking, scraping) 38 U NIT 2 Literacy Link In how many different ways can you describe the sounds of the orchestra? The Remarkable Farkle McBride by John Lithgow (ISBN-13: 978-0689835414) paints a boy’s discovery of the orchestra and its sounds. Activity 2.3: Families and Instruments Part 1 (audio) • Play Track 47. • Complete Families and Instruments (SG34). • Compare and discuss answers. • Play CD again as needed. Part 2 (visual) • Complete Who Am I? (SG29–32). • Students form pairs and check one another’s work. Activity 2.4: My Own Orchestra • In your Orchestra Organizer (SG27–28) study the instruments in their appropriate family boxes while Tracks 31–45 (solo instruments and narration). listening to • Symphony orchestras are designed to play many kinds of music from various times and places. Orchestras from different cities all over the world include more or less the same instruments, sitting in more or less the same places. • What if you designed your own orchestra to play a single special kind of music? • Model and complete My Own Orchestra (SG33). • Share your work with Carnegie Hall ([email protected]). 39 U N IT 2 Examples: My Own Orchestra Name of orchestra: Bakugan Brawlers Type of music: battle and fight music Instruments included: percussion, trombone, tuba, cello, bass Reasons for instrumentation: We want super-loud drums and very low scary sounds for when we are playing an exciting game of Bakugan, so we chose low-pitch and percussive instruments. My Own Orchestra Name of orchestra: Sleepytime Symphony Type of music: music to make you go to sleep Instruments included: flute, clarinet, the whole string family Reasons for instrumentation: Flutes and clarinets have a smooth peaceful sound, and strings play long notes that feel like a soft pillow. Only soft volumes and medium-range notes are played. Stage set-up: Bakugan Brawlers Stage set-up: My Window My Bed 40 U NIT 2 Creative Extension: The Best Instruments of the Orchestra Awards • Movie stars have the Academy Awards. Television shows get the Emmy Awards. Olympic athletes receive medals. Today, it’s our job to create awards for the best instruments of the orchestra. Tracks 31–45 (solo instruments and narration). • Play • Play Track 46 (solo instruments without narration). • This time, as the instruments play, say their names. • Model creating categories of awards (Most Soulful, Funniest, Craziest Looking, Scariest Sounding, Loudest, Lowest, etc.). • Complete The Best Instruments of the Orchestra Awards (SG34). • Create a name for each award. • Draw a trophy or statue for the award. • Share work in an awards ceremony. 41 SG 27 Orchestra Organizer Piccolo Flute Clarinet Oboe Woodwinds (wooden tubes, blown) Bassoon Brass Trumpet (metal tubes, buzzed lips) French horn Trombone 42 Tuba SG Percussion (struck, shaken, or scraped) 28 Snare Drum Bass Drum Xylophone Timpani Viola Bass Cello Harp Triangle Strings (wooden box with strings, bowed or plucked) Violin 43 SG 29 Who Am I? 44 Instrument Name Family piccolo woodwind flute woodwind oboe woodwind clarinet woodwind SG 30 Instrument Name Family bassoon woodwind violin string viola string cello string 45 SG 31 Who Am I? 46 Instrument Name Family bass string harp string French horn brass trumpet brass SG 32 Instrument Name Family trombone brass tuba brass timpani percussion xylophone percussion 47 SG 33 My Own Orchestra Name of orchestra: Type of music: Instruments included: Reasons for instrumentation: Stage set-up (draw): 48 SG Track 47 1. 2. 3. 4. 5. 6. 7. 8. Family 34 Families and Instruments Instrument stringviolin stringbass woodwindclarinet woodwindoboe brass trumpet brass tuba percussion xylophone woodwindpiccolo The Best Instruments of the Orchestra Awards Name of Award Nominees Award-Winning Instrument My Trophy for the Winning Instrument 49 U N IT 3 The Orchestra Rocks with Steady Beat Focal Work: Terry Riley’s In C Aim: How can we use steady beat to keep time and play with rhythms? Summary: We explore steady beat and repetition while learning to sing or play melodic phrases. Materials: staff paper, pencils, notecards, markers Time Requirement: three 20-minutes sessions Standards: US 1, 2, 3, 4, 5, 6, 7, 8; NYC 1, 2, 3, 4, 5 Vocabulary: steady beat, phrase Unit 3 Overview Activity 3.1: Exploring Steady Beat Activity 3.2: Playing the Seven Phrases of In C Activity 3.3: Listening Challenge Creative Extension: Create In G Activity 3.1: Exploring Steady Beat • Ask students to find their pulse on pressure points on their bodies (such as the wrist or the neck). Explain how a pulse is connected to the heart and heartbeat. • Just like our heartbeat, music has a pulse. This steady beat is the repeating rhythm that helps us keep time. • Play “The Name Game”: Form a circle and establish a steady beat by snapping fingers, patting knees, or clapping Score hands. Once the steady beat is established, go around the circle and have each student speak their name to fit in with the beat. The class repeats that name before moving on to the next student in the circle. [Composer] • Try variations: Speak the names with longer or shorter breaks between syllables, or even elongating them or speeding them up, but always keeping with the steady beat. [Arranger] Exploring Steady Beat (In C) [Subtitle] Ï Ï Ï Ï Ï Ï Ï Ï Ï Î Î Î Î Ï î Lau - ra Sue Ï Ï Ï ä Ïj Î Tom Ï Ï Ï Ï Ï Ï Î Î ä Ï Ï ä Î Î A - my • Try other variations on this game, playing instruments or creating movements that represent each name. Be sure to keep the steady beat going with body percussion or instruments. • What was fun about this activity? • What was challenging or easy about this activity? • How did we all stay together? • Why is the steady beat important? 50 U NIT 3 Activity 3.2: Playing the Seven Phrases of In C • Terry Riley used small melodic fragments to create 53 numbered phrases for In C. You don’t have to learn all of them, just the first seven. In the concert, you will repeat the seven phrases in your own time as you sing or play along with the orchestra. • In C (SG17) • Play the seven In C phrases, Tracks 9–22. • Sing and play the phrases, with and without the CD. • Try to play or sing along with the pulse, Track 8, holding up homemade flash cards with large numerals 1–7 to indicate each shift. Activity 3.3: Listening Challenge • Sing and review each phrase of In C (SG17). • Create notecards with the numbers 1–7 written on the front of each card, and the corresponding musical phrase on the back. • Play In C, Track 7, twice. • As they listen, ask students to hold up the number of each phrase that they hear. • As students improve, ask them to share their strategies with other students. • Which phrases are most similar? • How can you tell them apart? 51 U N IT 3 Creative Extension: Create In G • Create In G, your own original music inspired by Terry Riley’s In C. • Use SG35 to help you compose and notate three short phrases, using the notes G, A, and B, and/or rests. • Add lyrics to your In G phrases using nonsense syllables. • Share In G compositions by playing or singing the three phrases in unison. You may help the students keep the steady beat by playing the steady beat on a G on the piano or recorder. •Try playing or singing the phrases in layers, at different speeds, or overlapping (each player starts at a different time, or plays or sings at a different speed). •Share your work with Carnegie Hall ([email protected]). 52 SG 35 In G By: 1. 2. 3. 53 U N IT 4 The Orchestra Rocks with Rhythmic Patterns Focal Work: Orff’s “O Fortuna” from Carmina Burana Aim: How do composers rock with rhythmic patterns? Summary: We explore rhythmic patterns and repetition in Orff’s “O Fortuna.” Materials: pencils or crayons Time Requirement: two 20-minute sessions Standards: US 1, 2, 4, 5, 6, 7, 8, 9; NYC 1, 2, 3, 5 Vocabulary: pattern, repetition, lyrics Unit 4 Overview Activity 4.1: Sing and Play “O Fortuna” Activity 4.2: Rhythmic Patterns in “O Fortuna” Creative Extension: Create New Lyrics for “O Fortuna” Activity 4.1: Sing and Play “O Fortuna” • Learn to sing or play “O Fortuna” using an Orff-style approach: • Play “O Fortuna,” Track 23. • Clap the rhythm along with the music (SG19–22). • Play “O Fortuna” (pronunciation), Track 27, and speak the lyrics in rhythm (SG19–22). • Using “O Fortuna” (recorder) or “O Fortuna” (vocal), Tracks 24–25, sing or play the melody for “O Fortuna” (SG19–22). • Listen again to “O Fortuna,” Track 23. Have students create movements to go along with the music to help them feel the rhythm. ConAtboouut the Orff Approach r Carl Orff w as a G e r man composer, conducto r, and music edu cator. The Orff approach to elemen tary mus ic learning includes performin g, creating, listening, and analyzing . He defin ed the ideal mus ical expe rience for children a s, “never music alone, but music co nnected with move ment, dan ce, and speech”. To learn mor e about the Orff A pproach, check out Disco vering Orff b y Jane F razee (IS BN-13: 9780-93044899-8). 54 U NIT 4 Activity 4.2: Rhythmic Patterns in “O Fortuna” • “ O Fortuna” has rhythmic patterns that repeat throughout the piece, getting louder and stronger with each repeat. •L ook at the music for ”O Fortuna,” SG19–22, and find the repeating patterns. • Circle all of the rhythmic patterns that are the same. • Draw a star above the rhythmic patterns that are different. • How many times does the rhythmic phrase repeat? • Where does each phrase begin and end? • Sing or play “O Fortuna” (SG19–22). Practice changing the dynamics with each repeat of the verse as indicated in the score. 55 U N IT 4 Creative Extension: Create New Lyrics for “O Fortuna” • The lyrics for “O Fortuna” are based on an ancient poem about luck and fortune. • What are some examples of good luck? Bad luck? • Complete My New Lyrics for “O Fortuna” (SG36). Track 26, using Orff’s melody on SG19–22 as a guide. • Sing your new verses with “O Fortuna” (play-along), •Share your work with Carnegie Hall ([email protected]). 56 SG 36 My New Lyrics for “O Fortuna” Step 1: Gather Words for Your Lyrics • List words that are connected with fortune, fate, or luck (e.g., rolling dice). • Find rhyming words for each word on your list (e.g., dice/mice). • Choose and list your favorite rhyming pairs. Words Connected with Fortune, Fate, or Luck Rhyming Words My Favorite Rhyming Pairs Step 2: Complete Your Lyrics Fill in the blanks with new lyrics that use one of your favorite rhyming words from Step 1 to end each line. A (4 syllables) A (4 syllables) B (7 syllables) C (4 syllables) C (4 syllables) B (7 syllables) 57 U N IT 5 The Orchestra Rocks with Layers Focal Work: Holst’s “Mars” from The Planets Aim: How do composers use musical layers to create excitement? Summary: We explore musical layers and expressive qualities in Holst’s “Mars.” Materials: colored pencils or markers Time Requirement: Two 20-minute sessions Standards: US 4, 5, 6, 7, 8, 9; NYC 2, 3, 4, 5 Vocabulary: rhythmic layers, dynamics, tempo Unit 5 Overview Activity 5.1: Listening for Layers in “Mars” Activity 5.2: Who is Mars? Creative Extension: New Music for the Planets Activity 5.1: Listening for Layers in “Mars” • Listen to the first 30 seconds of “Mars,” Track 48. • Listen for the first layer—the repeating rhythm. • Which instruments are playing the first layer? • Listen for the second layer—the melody. • Which instruments are playing the second layer? • What dynamics do you hear? What is the tempo? • What does this music remind you of ? • Based on what you hear, what kind of character is Mars? • Document your responses on SG37 using music vocabulary that you know or choose from the word wall. • Create a movement to accompany each of the layers. Activity 5.2: Who is Mars? • Gustav Holst wrote music inspired by the planets and the mythological gods for whom the planets were named. In Link Up, we listen to his music for “Mars,” the bringer of war. • Listen again to “Mars,” Track 48. • After learning about Holst’s inspiration for “Mars,” does the music sound different to you? • What scenes do you imagine for the music now? • How would you change your movements to the music? 58 U NIT 5 Creative Extension: New Music for the Planets • What are the other planets in the solar system? • What are some characteristics of those planets? • Locate My Music for the Planets (SG38). Choose a planet or invent a new one. Draw that planet, and list its qualities. • Create 1–3 repeating rhythms that you can sing or play, inspired by those qualities. •Perform each rhythm individually, then perform the rhythms as overlapping layers. • Describe how a full-orchestra version of your theme might be played, naming instruments, dynamics, and tempos. •Share your work with Carnegie Hall ([email protected]). 59 SG 37 “Mars” Listening Map Layer 1: Repeating Rhythm Layer 2: Melody Instruments Instruments Tempo Tempo Dynamics Dynamics Word Wall fast fandantestringsp woodwinds slow soft crescendo loud brass largo percussion What does this music remind you of? 60 decrescendo presto SG 38 My Music for the Planets Choose a planet: Describe your planet and draw a picture of it: Music Instrument(s) Tempo and Dynamics Layer 1: Layer 2: Layer 3: 61 U N IT 6 The Orchestra Rocks with Us Focal Work: Thomas Cabaniss’s “Drumlines” Aim: How can we sing, play, and rock with the orchestra? Summary: We learn to perform “Drumlines” and review all other performance material in preparation for the Link Up concert. Materials: blank paper, colored pencils or markers Time Requirement: Three 20-minute sessions Standards: US 1, 2, 3, 5, 6, 7, 9; NYC 1, 2, 3, 4, 5 Vocabulary: drumline, repertoire, audience Unit 6 Overview Activity 6.1: Tom Introduces the Brooklyn Steppers and “Drumlines” Activity 6.2: Repertoire Review Activity 6.3: Becoming an Expert Audience Activity 6.1: Tom Introduces the Brooklyn Steppers and “Drumlines” • Watch Learning the “Drumlines” Refrain. • Watch Brooklyn Steppers Introduction. • Discuss the ideas introduced by Tom and the Brooklyn Steppers. • What should we remember? • What should we do next? Activity 6.2: Repertoire Review Students should be prepared to sing or play the following pieces at the concert: Thomas Cabaniss Terry Riley Carl Orff Thomas Cabaniss 62 “Come to Play” In C “O Fortuna” from Carmina Burana “Drumlines” U NIT 6 Activity 6.3: Becoming an Expert Audience Using SG39, lead your students through a brainstorming session about audience behavior and participation. A list could include: 1. Be prepared with your recorder and best singing voice, and be ready to perform. 2. Be quiet and listen carefully during listening selections. 3. Be respectful of your neighbors and the performers on stage. 4. Be a good representative of the class and of the school. 5. Stay alert! Get a good night’s sleep. 6. Take your jacket, hat, and hood off when you arrive at your seat. 7. Get into the music and feel the beat in your body. Think about the feelings in the music, and imagine the melody. 8. Remember all the activities we did in the classroom and what we learned about the music. 9. Focus on the instruments. What do I hear? What do I see? Audience Challenge • Split the class into three groups: performers, audience, and observers. The performers can play, sing, or even read something that the class is studying. The observers watch and take notes “fishbowl” style. What can they observe about the relationship between the audience and the performers? • Draw out reactions from the performers. Begin to develop empathy for performers as an audience member. • How does it make you feel when people aren’t paying attention? • How does it feel when you don’t get the applause you deserve? • Use SG40 to evaluate students’ performance in the Audience Challenge. 63 SG 39 Becoming an Expert Audience ... Use the space below to record your thoughts on becoming an expert member of the audience. 64 40 UNIT SG Audience Challenge 1 Sitting Position and Posture Needs Work 2 Acceptable 3 Excellent Eye Contact Active Listening Quiet and Not Disruptive Appropriate Applause 65 U N IT 7 After the Orchestra Rocks Aim: How can we sing, play, and rock with the orchestra? Summary: We complete activities designed to follow your concert hall visit. Materials: baton, index cards, blank paper, paper bag, bookmarks, poster board Post-Concert Reflection You did it! You and your students performed with the Link Up orchestra! • What was it like to visit the concert hall? • How did it feel to perform by singing and/or playing an instrument? • What did you notice about the sound of everyone playing and singing together? • What did you enjoy most about the Link Up concert? Creative Extension 1: Post-Concert Activities • Play “Pass the Baton”: Students sit in a circle and pass a baton from person to person. You or a student volunteer plays tracks from the Link Up CD, periodically pausing the music. When the music stops, the person holding the baton gets to choose one of five cards from a paper bag. Each card will read one of the following: I saw … , I heard … , I thought … , I felt … , or I wonder … The student completes the sentence aloud in front of the class. Document students’ thoughts and reactions. • Have students draw an illustration of the concert and write a caption that explains the drawing. • Share how excited students were about going to the concert. Write a letter to the conductor or a musician, and send it to: Carnegie Hall Attention: Link Up 881 Seventh Avenue New York, NY 10019 • Have students take a “Book Walk”: Use the Link Up workbooks to spark memories and conversation. Distribute bookmarks to the students and have them bookmark their favorite pages. Then structure a group discussion. • Create a collage: At the end of the year, use your students’ completed Link Up books for artistic creations. Go back through the book and cut out your favorite images and the most important things that you learned. Make a poster and share with the class, or use the poster as inspiration for a written piece. • Play “Name that Tune”: Create a listening game or quiz to see if students can recognize the Link Up repertoire. The teacher or a student volunteer plays tracks from the Link Up CD, starting at various points in the song. Can students guess correctly even when the song isn’t heard from the beginning? How quickly can they recognize the piece? How do they know? What are they listening for? • Even though the Link Up concert is over, that doesn’t mean students have to stop making and listening to music. Put on your own concert! You can perform some of the pieces you learned for Link Up in front of your school, your parents, or your friends. Also be sure to include some of the music students created during the Creative Extensions. 66 U NIT 7 67 GLOSSARY appearance: the way something looks audience: a group of people attending an event climax: a high point in the music, often loud and very emotional composer: a person who writes music drumline: a group of percussionists from a marching band In C Examples dynamics: volume (loud or quiet) Terry Riley fragment: a small, incomplete musical idea grace note: a short sound that is played or sung to add musical decoration, usually to another main note and written in a smaller size compared to regular notes (see below) 2 3 4 groove: motion in music that swings and makes you want to dance 5 7 musical ideas that are not written down improvisation: making up and performing harmony: when more than one note is heard at a time, often creating a harmonious or pleasing sound instrument: something you play to make music instrumentation: the combination of musical instruments in a composition lyrics: words written for a song mechanism: a part or series of parts that fits together to make something happen melody: the main tune in a piece of music music notation: the method used to write down music so that it can be played or sung the same way again orchestra: a large group of instrumentalists (normally including woodwind, brass, percussion, and string families), usually led by a conductor pattern: a distinct arrangement of visual designs or sounds (often repeating) 68 phrase: a short musical segment that is part of a larger melody quarter note: a musical sound that lasts for one beat in 4/4 time refrain: a repeating section of a song, sometimes called the chorus rehearsal: a time for musicians to get together and practice repertoire: a French word referring to the collected set of musical pieces you learn over a period of time repetition: doing the same thing over and over rhythm: patterns of sound and silence rhythmic layers: different rhythmic parts that happen at the same time score: the “map” of music that tells you what, when, and how to sing or play steady beat: the pulse in music synchronization: when two parts begin together, continue together, and/or end together tempo: the speed of music unison: when more than one person plays or sings the same musical line at once verse : a section of a song that comes between refrains or choruses 69 About the Composers “Come to Play,” “Drumlines” Thomas Cabaniss (b. 1962) lives in New York City and composes music for opera, theater, dance, film, and concerts. He worked with choreographer Hilary Easton to create a series of dance-theater works, and his music for theater has appeared in shows on and off Broadway. He has written an opera based on E. T. A. Hoffmann’s The Sandman, and he scored an Oscar– winning short film, The Lunch Date. His choral works include Behold the Star, available on New World Records and published by Boosey & Hawkes. He is a member of the faculty of The Juilliard School. “Mars” from The Planets Gustav Holst (1874–1934) was an English composer. He is most well-known for The Planets, a suite for orchestra in which each movement musically describes one of the planets in our solar system. Holst’s music combined a range of influences, including spiritual aspects of Hinduism and English folk tunes, and classical composers Edvard Grieg, Richard Wagner, and his friend Ralph Vaughan Williams. In addition to composing, Holst was an educator, working in London at St. Paul’s Girls’ School as its music master and as the director of music at Morley College. “O Fortuna” from Carmina Burana Carl Orff (1895–1982) was a German composer most widely known for his work in music education, particularly in exploration of the connections between music and movement. His life’s work in music education was represented in “Musik für Kinder,” five eclectic collections of music to be performed by children, which eventually developed into a more extensive series known as Orff Schulwerk. Orff’s best known composition is Carmina Burana, a large scale piece for chorus and orchestra. The work has become even more familiar through its use in advertising and film. In C Terry Riley (b. 1935) is an American composer. He has been influenced by music and instruments from all over the world—especially Indian classical music—and has woven these influences into his own compositions. His innovative piece In C incorporates elements of minimalism (music made up of small phrases) and improvisation. It can be performed with any instruments or voices and by a group of any size. 70 CD Track List 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. “Come to Play” “Come to Play” (vocal part 1) “Come to Play” (vocal part 2) “Come to Play” (vocal part 3) “Come to Play” (recorder part 2) “Come to Play” (play-along) In C In C (pulse) In C (phrase 1, vocal) In C (phrase 1, recorder) In C (phrase 2, vocal) In C (phrase 2, recorder) In C (phrase 3, vocal) In C (phrase 3, recorder) In C (phrase 4, vocal) In C (phrase 4, recorder) In C (phrase 5, vocal) In C (phrase 5, recorder) In C (phrase 6, vocal) In C (phrase 6, recorder) In C (phrase 7, vocal) In C (phrase 7, recorder) “O Fortuna” “O Fortuna” (recorder) “O Fortuna” (vocal) 26. “O Fortuna” (play-along) 27. “O Fortuna” (pronunciation) 28.“Drumlines” 29.“Drumlines” (audience call and response, without piano) 30.“Drumlines” (audience call and response, with piano) 31.Piccolo 32.Flute 33.Oboe 34.Clarinet 35.Bassoon 36. French horn 37.Trumpet 38.Trombone 39.Tuba 40.Violin 41.Viola 42.Cello 43.Bass 44.Harp 45.Xylophone 46. Solo instruments 47. Instrument assessment 48. “Mars” from The Planets DVD Track List 1. 2. 3. 4. 5. Introduction to Link Up Repertoire Overview Learning the “Drumlines” Refrain Brooklyn Steppers Introduction Families of the Orchestra 6. 7. 8. 9. Recorder and Singing Basics Capturing and Uploading Student Work Performance Assessments “Come to Play” Music Video 71 Learning Standards Chart National Standards for Music Education Found in unit(s): Standard 1 1, 3, 4, 6 Singing, alone and with others, a varied repertoire of music. Standard 2 Performing on instruments, alone and with others, a varied 1, 3, 4, 6 repertoire of music. Standard 3 Improvising melodies, variations, and accompaniments. 2, 3, 6 Standard 4 Composing and arranging music within specified guidelines. 1, 2, 3, 4, 5 Standard 5 Reading and notating music. 1, 3, 4, 5, 6 Standard 6 Listening to, analyzing, and describing music. 1, 2, 3, 4, 5, 6, 7 Standard 7 Evaluating music and music performances. 1, 2, 3, 4, 5, 6, 7 Standard 8 Understanding relationships between music, the other arts, 2, 3, 4, 5 and disciplines outside the arts. Standard 9 Understanding music in relation to history and culture. 3, 4, 5, 6 New York City Department of Education Blueprint for Teaching and Learning in the Arts: Music Found in unit(s): Strand 1 Music Making: By exploring, creating, replicating, and observing music, students build their technical and expressive skills, develop their artistry and a unique personal voice in music, and experience the power of music to communicate. They understand music as a universal language and a legacy of expression in every culture. 1, 2, 3, 4, 6 Strand 2 Developing Music Literacy: Students develop a working knowledge of music language and aesthetics, and apply it to analyzing, evaluating, documenting, creating, and performing music. They recognize their roles as articulate, literate musicians when communicating with their families, schools, and communities through music. 1, 2, 3, 4, 5, 6 Strand 3 Making Connections: By investigating historical, social, and cultural contexts, and by exploring common themes and principles connecting music with other disciplines, students enrich their creative work and understand the significance of music in the evolution of human thought and expression. 1, 2, 3, 4, 5, 6 Strand 4 1, 2, 3, 5, 6, 7 Working With Community and Cultural Resources: Students broaden their perspective by working with professional artists and arts organizations that represent diverse cultural and personal approaches to music, and by seeing performances of widely varied music styles and genres. Active partnerships that combine school and local community resources with the full range of New York City’s music and cultural institutions create a fertile ground for students’ music learning and creativity. Strand 5 Exploring Careers and Lifelong Learning: Students consider the range of 1, 2, 3, 4, 5, 6 music and music-related professions as they think about their goals and aspirations, and understand how the various professions support and connect with each other. They carry physical, social, and cognitive skills learned in music, and an ability to appreciate and enjoy participating in music throughout their lives. 72 Acknowledgments Scores and Recordings “Come to Play” by Thomas Cabaniss. © by MusiCreate Publications. Performed by Thomas Cabaniss, Amy Justman, Lynelle Jonsson, Jonathon Hampton, and Marte Siebenhar. “Drumlines” music and instructions by Tom Cabaniss. © by MusiCreate Publications. Performed by Tom Cabaniss and Justin Hines. In C music by Terry Riley. Published by Associated Music Publishers, Inc. (BMI). Performed by Bang on a Can All-Stars. (p) 2000. Courtesy of Cantaloupe Music, under license from Naxos of America, Inc. Original lyrics by Tom Cabaniss, performed by Sue Landis and Thomas Cabaniss. “O Fortuna” from Carmina Burana by Carl Orff. Published by Schott Music GmbH & Co. Kg, Mainz, Germany. © 1937 (p) 1984. All Rights Reserved. Used by permission of European American Music Distributors Company, sole U.S. and Canadian agent for Schott Music GmbH & Co. KG, Mainz, Germany. Performed by the Bournemouth Symphony Orchestra, the Bournemouth Symphony Chorus, the Bournemouth Symphony Youth Chorus, the Highcliffe Junior Choir, Greg Beardsell, Mary Denniss, Markus Eiche, Andrew Knights, Thomas Randle, Claire Rutter, Marin Alsop, Conductor. Courtesy of Naxos of America, Inc. Play-along tracks performed by Shanna Lesniak, Amy Kirkland, and Shane Schag. “Mars” from The Planets, by Gustav Holst. Performed by the Royal Scottish National Orchestra, the Royal Scottish National Orchestra Chorus, Claire Rutter, Soprano, David Lloyd-Johnes, Conductor. Courtesy of Naxos of America, Inc. All scores reprinted with permission. All recordings © (p) 2012 The Carnegie Hall Corporation, except where noted. Photographs SG1: Stefan Cohen. SG2: student sitting by David Silva, recorder basics by Audrey Sherer, breath by Laura Costa. SG4–8: Audrey Sherer and Laura Costa. SG39: Link Up by Chris Lee, Stern Auditorium/Perelman Stage by Mark Crosby, string section by Steve J. Sherman, Link Up concert by Pete Checchia. SG40: sitting position and posture by Jennifer Taylor, eye contact by Chris Lee, active listening by Jennifer Taylor, quiet and not disruptive by Chris Lee, appropriate applause by Steve J. Sherman. Page 67: Pete Checchia. Page 70: Tom Cabaniss by David Silva. Steve Reich by Wonge Bergmann. Terry Riley image by Christopher Selver. Gustav Holst photo by Dover Publications, Inc. Carl Orff image by Jens Rusch, used by permission of GNU Free Documentation License. Special Thanks Special thanks to Maria Schwab and the students of PS 84Q, Katie Traxler and the students of PS 51M, and the Brooklyn Steppers for their participation in the creation of video resources for Link Up. 73 carnegiehall.org/LinkUp
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Student Guide - Carnegie Hall
Weill Music Institute at Carnegie Hall
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Phone: 212-903-9670 | Fax: 212-903-0758
E-Mail: [email protected]
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