unit 6 - CarnegieHall.org

unit 6
Preparation
How Can Music Help Us
to Communicate?
Warm-Up and Activities for SG67 and 68
From Brighton Beach to St. George (SG67)
Tell students that the Conductor will now take us from Brighton Beach to St. George,
Staten Island, to meet our next featured singer, Lynne. Have students turn to SG67
and help them:
•Find Vlada in Brighton Beach, Brooklyn.
•Find Lynne in St. George, Staten Island.
• Have students complete the maze that takes them from Brighton Beach to
St. George, Staten Island.
Meet Lynne! (SG68)
Read Lynne’s postcard on SG68 to your students. (Students will write their own
letters to Lynne later in this unit, on SG71).
25
SG67
From Brighton Beach to St. George
QUEENS
Now it’s time to meet our next singer, Lynne. Find Vlada in
Brighton Beach. Then find Lynne in St. George. Get your pencil
ready and see howCarnegie
quickly
Hall you can reach our next singer!
MANHATTAN
BROOKLYN
NEW JERSEY
St. George
Finish
STATEN
ISLAND
Lynne
26
Vlada
Brighton Beach
Start
SG68
Meet Lynne!
S t . G e o rg e
Dear Musical Explorers,
Greetings from St. George!
Music
is an important part of my
family’s
life: We sing, play instrume
nts, and
listen to music together all
the
time! Music helps us to st
ay
connected as a family. I enj
oy
all kinds of music—anythin
g from
classical to Broadway and
jazz.
What are some of your fri
ends’
favorite kinds of music? Wr
ite to
me and let me know!
Enjoy the concert!
Your friend,
Lynne
Musical Explorers
c/o Carnegie Hall
881 Seventh Avenue
New York, NY 10019
27
unit 6
Lesson 1
How Can Songs Help Us to Communicate?
AIM: To explore bedtime routines and the role music may play in these rituals.
MATERIALS: Musical Explorers Student Guide and CDs 1 and 2; CD player; pencils,
markers, and crayons; chart paper; Musical Word Wall
STANDARDS: US 1, 6, 8; NYC 1, 2, 3
SUMMARY: In this lesson, students will explore bedtime rituals and connect these
experiences to “Les Berceaux” (pronounced Lay Bear- SOH), a song by Gabriel Fauré
(For- AY). Students will learn to sing the opening of this song.
VOCABULARY: lullaby, mood, lyrics, cradle, rocking, baby, nighttime
Warm-Up and Activities for SG69–71
Warm up students’ singing voices with the Yawning Kittens, Bouncy Ball, or Sirens
exercises,
CD 1, Tracks 2–5, and the “Musical Explorers Song,”
CD 1, Track 1.
Sing a favorite song from last semester’s curriculum with students (see the list
on SG58). Practice singing “Birthdays Come Only Once a Year,”
CD 2, Track 25.
“Les Berceaux” (“The Cradles”), by Gabriel Fauré, is a French chanson that sounds
like a lullaby. This song communicates tenderness and could be used to soothe a baby.
In French, les berceaux are also cradle songs, or lullabies.
What Are Some Things We Do Each Night Before We Sleep? (SG69)
Exploring Lullabies (SG70)
My Letter to Lynne (SG71)
Exploring Lullabies
Explore bedtime routines with your class. Ask students:
• “Who might need help going to sleep at night?”
• “How can you help a baby fall asleep?”
• “What are some of your nighttime routines?”
• “What are some of the lullabies you know?”
Have students circle the pictures on SG69 that remind them of bedtime.
Sing some familiar lullabies with the class, such as “Rock-a-bye Baby,” Brahms’s
Lullaby, and “Hush Little Baby,”
CD 2, Tracks 29–31.
Students can pretend to rock a baby to sleep as they sing. Ask students:
• “What are the moods of these lullabies?”
28
unit 6
Lesson 1
Have students name some of their favorite bedtime stories and lullabies on SG70.
Have students tell Lynne about their favorite lullabies on SG71.
Explore Again!
•To help your students connect the concepts of sound and mood to the
next activities, review SG24 (Unit 2, Lesson 3).
•Add any new mood words to the Musical Word Wall.
LISTENING for Melody and Mood
CD 2, Track 32. Add movements to
Listen to “Les Berceaux” with your students,
the song, such as pretending to rock a baby to sleep, as students listen. Ask students:
• “What mood does the music create?”
• “How do you want to move your body when you hear this music?”
Add any new words to the Musical Word Wall.
Read the English summary of the lyrics below to the students. Ask students:
• “What pictures do you imagine?”
• “What do you feel when you hear the words to this song?”
Les Berceaux
French Lyrics
Le long du quai, les grands vaisseaux,
Que la houle incline en silence,
Ne prennent pas garde aux berceaux,
Que la main de femmes balance.
Mais viendra le jour des adieux,
Car il faut que les femmes pleurent,
Et que les hommes curieux,
Tentent les horizons qui leurrent! Et ce jour - là les grands vaisseaux,
Fuyant le port qui diminue,
Sentent leur masse retenue
Par l’âme des lointains berceaux.
The Cradles
English Summary*
There are big boats at the dock.
They pay no attention to the
cradles the mothers are rocking.
But soon, the mothers will have to
wave goodbye as the sailors leave.
When the ships sail away, they
feel the cradles pulling them back
to the shore.
* Note: The English version is not a literal
translation of the French lyrics.
29
unit 6
Lesson 1
LISTENING to and Singing the Melody
Teach students to sing the melody to “Les Berceaux” on the syllable “la” using
call and response (see below). Practice each track until students are comfortable
singing this melody. Encourage them to continue their movements (such as rocking)
as they sing the melody.
• Phrase 1, Part A (call and response) on “La,”
CD 2, Track 33.
• Phrase 1, Part B (call and response) on “La,”
CD 2, Track 34.
• Phrase 1, Parts A and B (call and response) on “La,”
CD 2, Track 35.
• Phrase 2, Part A (call and response) on “La,”
CD 2, Track 36.
• Phrase 2, Part B (call and response) on “La,”
CD 2, Track 37.
• Phrase 2, Parts A and B (call and response) on “La,”
• Phrases 1 and 2 on “La,”
CD 2, Track 38.
CD 2, Track 39.
If your students come up with more than one movement, create visual symbols to
match their movements for each mini-phrase or phrase. Then, create a mini-listening
map of the symbols on chart paper as you practice singing “Les Berceaux.”
LISTENING and Learning the Lyrics
Now teach your students the lyrics in French using the practice tracks on the CD.
• Phrase 1, Part A (call and response) (spoken),
CD 2, Track 40:
Luh long doo kay, lay grohn vay-soh
• Phrase 1, Part B (call and response) (spoken),
CD 2, Track 41:
Kuh la ool ehn-kleen on see-lawn-suh
• Phrase 1, Parts A and B (call and response) (spoken),
CD 2, Track 42:
Luh lohn doo kay, lay grohn vay-soh
Kuh la ool ehn-kleen on see-lawn-suh
• Phrase 2, Part A (call and response) (spoken),
CD 2, Track 43:
Nuh pren-nen paw guard oh bear-soh
• Phrase 2, Part B (call and response) (spoken),
Kuh la meh day fem-muh ba-lawn-suh
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CD 2, Track 44:
unit 6
• Phrase 2, Parts A and B (call and response) (spoken),
Lesson 1
CD 2, Track 45:
Nuh pren-nen paw guard oh bear-soh
Kuh la meh day fem-muh ba-lawn-suh
CD 2, Track 46:
• Phrases 1 and 2 (spoken),
Luh lohn doo kay, lay grohn vay-soh
Kuh la ool ehn-kleen on see-lawn-suh
Nuh pren-nen paw guard oh bear-soh
Kuh la meh day fem-muh ba-lawn-suh
Bringing Together Lyrics and Music
Repeat the call-and-response
phrases
as above, 1
this
time 2
with
the music,
Les
Berceaux
Phrase
and
with
words
CD 2, Tracks 47–53. (Track 53 includes all of the phrases.)
j
b b 12
œ
œ
j œ œj œ . œ j
.
b
œ
œ
œ
œ
œ
œ
.
.
.
&
8 œ
˙
œ
œ
œ ˙. œ. œ ‰ œ
J
J
Luh lohn doo kay,
b
& b b œ . œ Jœ
˙.
pren - nen paw guard
lay grohn
œ.
oh
vay - soh.
j
œ œ
Kuh la ool ehn - kleen on see - lawn - suh.
˙.
bear - soh,
j
j
œ œj œ œ œ .
œ œ ˙.
Nuh
˙.
kuh la meh day fem - muh ba - lawn - suh.
Practice singing this song regularly with students. They will be singing it with
Lynne &
during the concert!
Note: If singing the song in French is too challenging for students, you can sing the melody using
other syllables (such as “la” or “doo”).
&
Additional Listening
You can also listen to these additional lullabies:
& A Collection (Music for Little People, 1994. B000002M78)
• Lullaby:
• Dreamland: World Lullabies and Soothing Songs (Putumayo World Music, 2003;
B00008XESC)
31
SG69
What Are Some Things
We Do Each Night
Before We Sleep?
LOOKING
Circle the photos that remind you of bedtime.
32
SG70
Exploring Lullabies
Lullabies are songs we can sing before we go and sleep.
What are some of your favorite bedtime stories and lullabies?
33
SG71
My Letter to Lynne
CREATING
Write a letter or draw a picture for Lynne that tells her about
your favorite song or lullaby. You can also ask Lynne about the
songs her family sings.
Dear Lynne,
Sincerely,
34
unit 6
Lesson 2
How Can Music Be Used to Ask
for Something?
AIM: To introduce students to “O Mio Babbino Caro” (Oh MEE-oh Bab-BEE-noh
CAR-oh) by Giacomo Puccini (JA-co-moh Poo-CHEE-nee).
MATERIALS: Musical Explorers Student Guide and CDs 1 and 2; CD player; pencils,
markers, and crayons; chart paper; sticky pipe cleaners; Musical Word Wall
STANDARDS: US 1, 4, 6; NYC 1, 2, 3
SUMMARY: Students will explore the idea of pleading with their parents for
something, and they will connect this experience to “O Mio Babbino Caro.”
Students will also review the concept of musical contour and apply this concept
to their listening.
VOCABULARY: opera, aria, pleading, convincing, musical shapes
Warm-Up and Activities for SG72
Warm up students’ singing voices by singing the “Musical Explorers Song”
CD 1, Track 1.
as a class,
Practice singing “Birthdays Come Only Once a Year,”
CD 2, Track 53.
“Les Berceaux,”
CD 2, Track 25, or
“O Mio Babbino Caro” is a famous aria by Giacomo Puccini from the opera Gianni
Schicchi (JAHN-nee SKEE-kee). In the song, a young woman tries to talk her father
into letting her marry the man she loves.
35
unit 6
Lesson 2
LISTENING for Mood and Feeling
O Mio Babbino Caro
italian Lyrics
O mio babbino caro, mi piace è bello, bello
Vo’andare in Porta Rossa, a comperar l’anello!
Sì, sì, ci voglio andare! e se l’amassi indarno, andrei sul Ponte Vecchio,
ma per buttarmi in Arno!
Mi struggo e mi tormento! O Dio, vorrei morir!
Babbo, pietà, pietà! Babbo, pietà, pietà!
O My Dear Daddy
English Summary*
O my dear daddy, he pleases me, and is so handsome, handsome
We will go to Porta Rossa to buy the ring! Yes, yes, we’ll go there!
And if love does not work out, I will feel like I could never be happy again.
I am aching, I am struggling! Oh, I feel so hopeless!
Daddy, have pity, have pity! Daddy, have pity, have pity!
*Note: The English version is not a literal translation of the Italian lyrics.
Facilitate a conversation with students about something they have wanted to do
in the past, but were not allowed to do, and tried to convince their parents to let them
do. Ask students:
• “How did you try to convince your parents to let you do this?”
• “Did your parents change their minds?”
• “How did you feel when you were trying to convince your parents?”
CD 2, Track 54. Tell students that
With students, listen to “O Mio Babbino Caro,”
the singer is trying to talk her father into letting her do something. Ask students:
• “What do you imagine the singer is asking to do?”
•“
Is there anything about the music that makes it sound like she is pleading with
her father?”
•“
Does anything in the music remind you of how you sounded when you tried to
convince your parents of something?”
• “What do you think her father’s answer will be? Why?”
36
unit 6
Lesson 2
LOOKING at and Reviewing Musical Shapes
Explore Again!
•If your students need help remembering the difference between
volume and pitch, review SG38 (Unit 3, Lesson 3).
•To prepare for the musical shapes activity below, review SG13 and 14
(Unit 1, Lesson 4).
LISTENING to the Musical Shape of “O Mio Babbino Caro”
CD 2, Track 54.
With students, listen a second time to “O Mio Babbino Caro,”
Ask your students to listen for how Lynne’s voice rises and falls as she sings the song.
Listen again, and ask students to trace the shape of the melody with their arms.
More Musical Shapes (SG72)
Create some new musical shapes on the board, using chalk, or using sticky pipe
cleaners. Students can draw their new shapes in their books on SG72.
Additional Listening
You can also listen to these additional opera selections by Puccini:
• Puccini and Pasta: A Romantic Italian Feast for Your Ears (Philips, 1996; B0000041FP)
• Puccini: Great Opera Arias (Sony, 2002; B00005YQLA)
37
SG72
SG4
More Musical Shapes
CREATING
Let’s create more musical shapes. Start at the dot and make
your own shape on the staff. Here is one of my musical shapes,
or contours. Follow along with your finger and sing “la.”
As the shape goes up and down, make your voice change
pitch, moving between
highCreating
and low. Now
make your own
Pg. 10:
Contours
shapes and hum along!
[Composer]
38