outreach curriculum

& CONTRIBUTORS
STAFF LISTING
WRITERS
Dr. Melissa Baker
Shanna Lesniak
EDITORS
Joel Esher
Anne Damassa
Melissa Attebury
CREATIVE SERVICES
Rea Ackerman, Director
Joan Adelson, Graphic Designer
Robyn Eldridge, Copy Editor
Rita Lopez, Project Coordinator
Catherine Monson, Copywriter
Marc Tremitiere, Senior Graphic Designer
MUSIC & THE ARTS
Julian Wachner, Director
Melissa Attebury, Associate Director
Melissa Baker, Administrator
Avi Stein, Associate Organist
Anne Damassa, Music Education
Special Thanks to Anthony Indelicato and Christopher Trice for producing the
curriculum DVD and to the entire TV New Media staff for music’s stunning webcasts.
For more information go to: trinitywallstreet.org/music-arts/education
TABLE OF CONTENTS
Forward 2
Options for Teachers 3
Meet the Artists
4
Lesson Plans/Handouts 7
Concert Etiquette Lesson 18
Appendix (Standards) 19
1
FOREWORD
Welcome teachers to Trinity’s new outreach program!
Music and the Arts at Trinity Wall Street
is dedicated to promoting lifelong
engagement with music through a
comprehensive program of
educational opportunities, cultural
activities, and free access to Trinity’s
acclaimed performances. Trinity carries
out this vision through extensive
educational youth programs and
partnerships with underserved schools
and communities throughout New
York City. Through these efforts, Trinity
provides free opportunities for all to
experience music at the highest level
of excellence.
Music and the Arts outreach maintains
a student-centered philosophy of
education, catering to the individual
goals of each school, while addressing
core and educational standards. From
Trinity’s webcasts to classroom curricula
and live Concerts at One participation,
Trinity provides highly interactive
educational experiences to participating
students. Our engaging curricula is
designed for all teachers, regardless of
music background. In addition, Trinity
offers professional development and
educational opportunities for teachers
at partnering schools.
We appreciate you partnering with
us to supplement the well-rounded
education your students are already
receiving. Please do not hesitate to
contact me with any questions about
the lesson plans – you are the most
vital part of the students receiving this
education and I am happy to help in
any way. As this is our pilot year, we
greatly appreciate any feedback or
suggestions and we sincerely thank
you for being a part of our program.
Sincerely,
Dr. Melissa Baker
Administrator, Music and the Arts
Trinity Wall Street
646.430.1291
[email protected]
2
OPTIONS FOR TEACHERS
As this is our pilot year, we wanted to
make sure that the curricula are
user-friendly. The content of these
lesson plans can be taught at any age,
but the writing style is geared more
toward a middle school aged student.
Please feel free to adjust the content
and text so that the lesson ideas are
put into context for the age group you
are teaching.
Items that are in green are informative
and you can choose to read these or
present this information any way that
you feel is appropriate.
Items that are in red are a prompt and
are intended to be read to the class.
These prompts are designed to
encourage class and group discussion
while expanding the students’ ideas
and understanding. Follow-up
questions such as - Can you tell me
more about that? What do you hear
in the music? How does the music
make you feel? – will provide further
discussion for younger students as
they develop more confidence in their
vocabulary.
LISTENING
As you facilitate listening and reflection
discussion, consider the following ways
to develop listening skills:
• Play some examples more than
once so that the students can
become familiar with the music
•
Feel free to pause within the
longer tracks to discuss smaller
sections of the music
• Some prompts may work better
if asked while the video is
playing: music is harder to recall
in memory only
STANDARDS
Standards for each lesson are included
in the appendix. Please feel free to
include additional standards that would
appropriately fit each lesson plan.
MATERIALS
All materials are provided, except for
Lesson 6 creative extension. Please
note that there is one cut-out page that
will either need to be prepped or the
cutting can be done by the students.
The Trinity DVD is separated by tracks,
but will play continuously, so please
make sure to pause or stop the DVD at
the end of each track.
TIME REQUIRED
Please note that these are approximate
and are dependent on the length of
class discussions.
3
MEET
THE
ARTISTS
October 8: The Choir of Trinity Wall Street
The GRAMMY ®-nominated Choir of Trinity Wall
Street is the premier ensemble at Trinity Wall
Street. These peerless interpreters of early and
new music will present turn of the 20th century
works by Martin, Strauss and Mahler.
CONCERTS
AT ONE
FALL 2015
https://www.youtube.com/watch?v=t0yjZNbBTnY
October 15: NOVUS NY
Hailed by The New Yorker as “expert and versatile
musicians,” NOVUS NY is the contemporary music
orchestra of Trinity Wall Street. This Third Thursday
concert will present works by Brahms and the
NY Philharmonic’s newly named
composer-in-residence, Esa-Pekka Solonen
https://www.youtube.com/watch?v=BHHkEwL6Zn4
October 22: Jeremy Kittel Band
Jeremy Kittel has earned a reputation as one of
the most exceptional violinists and fiddlers of his
generation. His diverse styles range from jazz,
Scottish and Irish fiddle, bluegrass to classical
music and more. Committed to nurturing future
generations of musicians, he is a passionate
educator and clinician.
https://www.youtube.com/watch?v=Vm5Akm5w4zM
October 29: Founders
Drawing from their international successes as
classical soloists, and an exceptional knowledge
of composition, FOUNDERS has created a sound
that is unique, inspired, and completely original.
Whether it be a re-imagined Radiohead tune or
a new composition that draws from the American
folk-music tradition, the music FOUNDERS creates
will thrill audiences of all generations.
https://www.youtube.com/watch?v=bUBSCeFRWYE
November 5: Freedom Concert
Modeled after the “freedom concerts” presented
by the late Coretta Scott King throughout her
leadership in the civil rights movement, this
concert will present poetry and prose along with
a wide range of classical and contemporary music.
Great video that will be included in our curriculum!
https://www.youtube.com/watch?v=UH5GWZG4b3E
MEET
THE
ARTISTS
November 12: Thomas Bergeron Jazz Sextet
A trumpeter, composer, producer, and educator
known for excelling in both the jazz and classical
realms, Thomas Bergeron exemplifies a new
breed of 21st century artists. He is a member of
NOVUS NY and will perform with the jazz sextet
from his recent album “Sacred Feast.”
CONCERTS
AT ONE
FALL 2015
https://www.youtube.com/watch?v=zlCHlIXY7g0
November 19: NOVUS NY Percussion Quartet
The acclaimed percussion quartet from
NOVUS NY will perform Pulitzer Prize winning
John Luther Adams’ monumental work in nine
movements Strange and Sacred Noise.
(clip of the work)
https://www.youtube.com/watch?v=DajxfD2w2nQ
December 3: Chris Pattishall Quartet
Recently named by Wynton Marsalis as one of
the top five jazz musicians under 30 to watch,
Chris Pattishall is quickly generating a powerful
presence in the jazz world. Chris will return to
Trinity with a diverse program of standard jazz,
original, and holiday tunes.
https://www.youtube.com/watch?v=_fHDoJdtWwE
December 10: Project Trio
With infectous grooves and a beatboxing flutist,
PROJECT Trio is a passionate, high energy
chamber music ensemble comprised of three
virtuosic composer/performers from Brooklyn,
NY. Project is a rare chamber ensemble that uses
hip hop beats to make classical music relevant for
today’s younger generation.
https://www.youtube.com/watch?v=0Qg_y7lh5LY
December 17: Canadian Brass Holiday Concert
Know as the “gold standard of brass,” the world
renowned Canadian Brass are guaranteed to deliver
an entertaining, spontaneous, virtuosic, and most of
all, fun performance of holiday tunes.
https://youtu.be/_gM9uqc6LbA
5
LESSON 1: Welcome to Trinity!
AIM: What makes Trinity Wall Street special?
SUMMARY OF KEY ACTIVITIES:
• Guided discussion and exploration of Trinity and its place in NYC history
• Watch live music samples
• Reflection and discussion
STANDARDS: See Appendix
MATERIALS: Trinity DVD, lesson plan & student handouts (1, 2)
VOCABULARY: choir, orchestra, chamber ensembles
TIME REQUIRED: 20-40 minutes
SEQUENCE OF TEACHING AND
LEARNING EXPERIENCES
an ensemble of singers and an orchestra is an
ensemble of instrumentalists.
What ensembles did you see on the video?
1) G
uided Discussion:
What is Trinity Wall Street?
4) Exploring Trinity:
What makes Trinity so special?
Handout #2
Read through (or have students read aloud) the
Trinity History handout. Discuss the key points
of Trinity’s history and its impact on New York
City and the world.
Examples of questions (please feel free to come up
with your own):
How old is Trinity?
What do you think of when you think about
“Trinity Wall Street”?
Do you know where Trinity is?
Hand out Trinity map (handout #1)
What landmarks do you see in this map?
Is Trinity’s location important? If so, why?
Can you find where you are on this map? Let’s
find where we are on the map. Trace the route
from our school to Trinity. What boroughs do we
need to go through? How would we get there?
What important events happened at Trinity?
What do you find most interesting about Trinity’s
history?
What do you think happens at Trinity Wall Street?
Why do so many people visit Trinity Church and
St Paul’s Chapel?
2) What goes on at Trinity Wall Street?
Play track 1 on the Trinity DVD
Questions geared for older students:
Trinity received land from Queen Anne in 1705,
how does that effect Trinity?
3) R
eflective Discussion:
What goes on at Trinity Wall Street?
In what ways does Trinity help communities here
and throughout the world?
What did you notice in that video? Are you
surprised at what you watched?
When you attend a concert at Trinity Wall Street,
you will not only attend a world renowned
performance, you will get to be a part of New
York City history!
Did any of those performers spark your interest?
Did you recognize any of the instruments in the
video?
Trinity has several different ensembles that
perform. Explain that an ensemble is any group
of musicians that perform together. A choir is
Creative Extension
Have your students go on an internet scavenger
hunt to find fun facts about Trinity and its history.
7
LESSON 2: Welcome to The Choir of Trinity Wall Street
AIM: What is a choir?
SUMMARY OF KEY ACTIVITIES:
• Guided discussion and exploration of voice types
• Watch live music samples
• Reflection and discussion
STANDARDS: See Appendix
MATERIALS: Trinity DVD & lesson plan
VOCABULARY: choir, timbre, pitch, soprano, alto, tenor, bass
TIME REQUIRED: 30-40 minutes
SEQUENCE OF TEACHING AND
LEARNING EXPERIENCES
2) What are the different voice parts in a choir?
Video Samples
Soprano is the highest vocal range of all voice
types.
1) G
uided Discussion:
What makes up a choir?
Play track 2: soprano sample
Have students work in small groups and say the
phrase “this is my voice” in their normal speaking
volume. What did you notice about the different
sounds of your voices?
What did you notice about the timbre and pitch
of her voice?
Alto is the 2nd highest voice, and is also known as
the lower range of the female voice.
Each of us has a different timbre to our voices.
Timbre (pronounced tam-bur) is the character or
quality of sound that makes us all sound different
and unique. Timbre is different from pitch, which
is how high or low your voice sounds. Some ways
to describe timbre could be dark, warm, nasal,
airy, bright, mellow, rich, velvety, lush, etc.
Play track 3: alto sample
What did you notice that was different from the
soprano voice?
Do you think a boy could sing this part?
What are the differences in their timbres?
Some men have the ability to sing very high and
they can hit the same high notes as females. In
The Choir of Trinity Wall Street, most of the altos
are actually boys! When a boy sings a higher
(usually female) part he is called a countertenor.
Who had a higher pitched voice?
Play track 4: countertenor sample
A choir is made up of different voices that are put
into “voice parts” or sections based on the pitch of
their voices.
What did you think of the timbre and pitch of the
countertenor’s voice?
Have two students in the class say “this is the
timbre of my voice.”
Tenor is the highest of the ordinary adult male
range.
Play track 5: tenor sample
How did the tenor sound compare to the
countertenor?
8
LESSON 2: Welcome to The Choir of Trinity Wall Street continued
Bass is the lowest of the male range.
Play track 9: He shall purify (without text)
Play track 6: bass sample
Here is an example of the full choir singing
together. In this song, hear the voices enter from
low to high, bass then tenor then alto and finally
soprano.
What did you think of the pitch and timbre of his
voice?
What voice part do you think you would be in a
choir?
Play track 10: Jeremiah’s Fire
Here is an additional example with Trinity’s Youth
Chorus.
Is your voice high like a soprano, or low like a
bass?
Play track 11: Bobby McFerrin
3) H
ow do the different voice parts fit together?
Video sample
5) Reflection
Play track 7: all four solo voice parts singing
together
What was the most interesting thing you saw or
heard and why?
Could you hear all four voices?
Can you think of places or times that you may
have heard a choir?
Do you think it helps to hear all four voices that
their timbre and pitches are different?
Creative Extension
Which voices could you hear the most?
Brainstorm a list of emotions.
4) Video samples:
Exploring the full choir
Improvise timbre (airy, bright, nasal, mellow, rich,
velvety, lush), pitch (high, low), and dynamics
(volume) to embody one of the emotions on the list
while saying the words to the Happy Birthday Song.
Now we will listen to the full choir. See if you can
hear the different voice parts in the choir. Each
voice part will take a turn singing. When each
voice enters, you will see the words “soprano,”
“alto,” “tenor,” and “bass.”
Play track 8: He shall purify
Were you able to tell what the voices were?
Split the class into four groups and assign each
group to be soprano, alto, tenor, and bass. Have
them raise their hands when they hear their
section sing.
9
LESSON 3: Welcome to NOVUS NY, the orchestra
of Trinity Wall Street
AIM: What is an orchestra?
SUMMARY OF KEY ACTIVITIES:
• Guided discussion and exploration of the orchestra and its instrument families
• Watch live music samples
• Reflection and discussion
STANDARDS: See Appendix
MATERIALS: Trinity DVD, handouts 3-6 (instrument cutouts) & lesson plan
VOCABULARY: orchestra, strings, winds, brass, percussion, ensemble
TIME REQUIRED: 30-40 minutes
Pass out the woodwinds handout (handout #4)
SEQUENCE OF TEACHING AND
LEARNING EXPERIENCES
What do you see that these instruments have in
common?
1) G
uided Discussion:
What is an orchestra family?
What are these instruments made of?
Who are the members of your family?
Why do you think this family is called woodwinds
when some are metal?
What do they have in common and what makes
them unique?
Read or have students read aloud the
information on the page
When we talk about an orchestra, we often talk
about the instruments as being part of a family.
Just like in our families, instruments in a
particular family are related to each other. They
are often made of the same thing, like wood or
brass. They usually look similar to one another
and they make sound in similar ways. Some are
larger and smaller, just like parents and children.
Pass out the brass handout (handout #5)
What do you see that these instruments have in
common?
What are these instruments made of?
Why do you think this family is called brass when
some are silver?
2) What are the instruments in the different
orchestra families?
Read or have students read aloud the
information on the page
Each family in the orchestra is grouped by the way
they make sound.
Pass out the percussion handout (handout #6)
Pass out the strings handout (handout #3)
What do you see that these instruments have in
common?
What do you see that these instruments have in
common?
What are these instruments made of?
What are these instruments made of?
How do you think these instruments are played?
Why do you think this family is called strings,
even though they are made of wood?
Read or have students read aloud the
information on the page
Read or have students read aloud the
information on the page.
10
LESSON 3: Welcome to NOVUS NY continued
Here are a few examples of all of the families of
the orchestra playing together.
3) Find your orchestra family
Using the pictures from the “instrument cutouts,
provide cutouts of each individual instrument.
Give each student one instrument cutout or have
them pick randomly. Have students organize
themselves with the other instruments that they
think are in their orchestra family.
Have the students listen and watch and see if they
can identify which instruments are playing.
Play track 16
Creative Extension
Have the students listen to track 16 and raise
their hands when they hear either their family
or instrument from Exercise 3. Find your
orchestra family.
Why did you choose that family? What do you
think makes your family unique?
4) What does an orchestra sound like?
Here is an example of the string family.
Literacy suggestions
(grades K-5: listed in age order)
Moss. Lloyd. Illus. by Marjorie Priceman. Zin! Zin!
Zin! A Violin. Simon & Schuster Books for Young
Readers, 1995.
Lithgow, John. The Remarkable Farkle McBride.
Simon & Schuster Books for Young Readers, 2000.
Lach, William. Can You Hear It? Abrams Books for
Young Readers, 2006.
Ganeri, Anita. The Young Person’s Guide to the
Orchestra. Harcourt Brace & Company, 1996.
Play track 12
What instruments did you see or hear?
Could you hear the difference in their timbre?
Here is an example of the woodwind family.
Play track 13
What instruments did you see or hear?
Could you hear the difference in their timbre?
Here are two examples of the brass family.
Play track 14
What instruments did you see or hear?
Could you hear the difference in their timbre?
Here are examples of the percussion family.
Play track 15
What instruments did you see or hear?
Could you hear the difference in their timbre?
11
LESSON 4: Freedom Concert
AIM: What is the history of freedom songs?
SUMMARY OF KEY ACTIVITIES:
•Guided discussion and exploration of freedom songs and their importance in American
history
• Watch live music samples and /or prepare for live Trinity concert experience
• Learn the Freedom song “O Freedom!”
• Create original lyrics to “O Freedom!”
• Reflection and discussion
STANDARDS: See Appendix
MATERIALS: Trinity DVD, lesson plan & student handouts (?)
VOCABULARY: freedom song, civil rights, a cappella, lyrics
TIME REQUIRED: 20-40 minutes
for joy, the battle hymns and the anthems
of our movement. I have heard people
talk of their beat and rhythm, but we in
the movement are as inspired by their
words. ‘Woke Up This Morning with My
Mind Stayed on Freedom’ is a sentence
that needs no music to make its point.
We sing the freedom songs today for the
same reason the slaves sang them, because
we too are in bondage and the songs add
hope to our determination that ‘We shall
overcome, Black and white together, We
shall overcome someday.’”
— Dr. Martin Luther King, Jr.
SEQUENCE OF TEACHING AND
LEARNING EXPERIENCES
1) G
uided Discussion:
Reviewing the Civil Rights Movement.
Lead a class discussion about the Civil Rights
Movement. Be sure to include what the fight for
civil rights was about, Jim Crow laws, a few key
people, and the time period (1960–1965).
Introduce/Review Dr. Martin Luther
King, Jr.’s “I Have A Dream” speech
(http://www.teachertube.com/video/i-havea-dream-speech-20916) by looking at photos,
video, and websites, such as nypl.org or naacp.org.
Music and singing played a critical role in
inspiring, mobilizing, and giving voice to the
civil rights movement. The history of freedom
songs actually dates over a century prior to
the civil rights movement. With African roots,
spirituals were not only songs of faith and hymns
of endurance, but often had secret meanings to
help slaves find the underground railroad. It is
believed that through these spirituals, music was
crucial in helping thousands of slaves escape.
What are some of the issues that Dr. King
discusses in his speech?
Turn and talk to a classmate on this question: Are
we still faced with similar issues today?
Have students document answers.
2) What is a freedom song?
Read the following quote from Dr. King:
“In a sense the freedom songs are the soul
of the movement. They are more than just
incantations of clever phrases designed
to invigorate a campaign; they are as old
as the history of the Negro in America.
They are adaptations of the songs the
slaves sang—the sorrow songs, the shouts
Spirituals became used as Freedom Songs as
anthems for the civil rights movement. Music
was pivotal to the movement’s productivity,
communicating unspeakable feelings and a
nation-wide desire for radical change. Music
gave the movement strength and added variety to
freedom progression strategies. Freedom songs
were direct and repetitive, allowing the message
12
LESSON 4: Freedom Concert continued
to be clear. Melodies were simple and repetitive,
which allowed easy involvement within both black
and white communities. Freedom songs gave a
sense of great connection and were often used
politically to grab the attention of the nation to
address the severity of segregation.
Creative Extension
Students compose their own lyrics to O Freedom!
Have students use a worksheet to compose individual
lyrics to O Freedom! or have them write their own.
Refer to class and student notes that have been taken
throughout the lessons for help. Selected lyrics will
be printed in the program and sung during the
Freedom Concert at Trinity.
3) Listen and learn “O Freedom!”
Watch video clip of “O Freedom:”
Play track 17
Create your own lyrics to O Freedom!
(For an original 7-minute interview
and performance:
www.youtube.com/watch?v=UH5GWZG4b3E)
Oh freedom, oh freedom, oh freedom over me
And before I’d be a slave I’ll be buried in my grave
And go home to my Lord and be free
What type of ensemble did you see on the video?
Describe the timbre of the voices. The group
is singing a cappella, or without instrument
accompaniment. Most freedom songs were
performed a cappella in order to make them
accessible to all people and easy to perform in
any venue or situation.
No more ______________, no more
______________, no more ___________over me
And before I’d be a slave I’ll be buried in my grave
And go home to my Lord and be free
No more ____________, no more
_____________, no more ____________over me
And before I’d be a slave I’ll be buried in my grave
And go home to my Lord and be free
4) Exploring the lyrics of O Freedom!
Pass out and have the students read the lyrics of
O Freedom! (handout #7)
Oh freedom, oh freedom, oh freedom over me
And before I’d be a slave I’ll be buried in my grave
And go home to my Lord and be free
What are the lyrics saying?
What does freedom mean to you?
Have students sing along with the recording.
There’ll be ___________, there’ll be __________,
there’ll be ____________ over me
And before I’d be a slave I’ll be buried in my grave
And go home to my Lord and be free
5) Reflection and Discussion
What are some current events that could benefit
from hearing this freedom song?
There’ll be ____________, there’ll be
_____________, there’ll be ___________ over me
And before I’d be a slave I’ll be buried in my grave
And go home to my Lord and be free
Oh freedom, oh freedom, oh freedom over me
And before I’d be a slave I’ll be buried in my grave
And go home to my Lord and be free
13
LESSON 5: Project Trio
AIM: What is beatboxing?
SUMMARY OF KEY ACTIVITIES:
• Guided discussion and video explaining beatboxing and where it came from
• Explore the sounds of a drum set (kit)
• Explore body rhythms
• Learn beatbox basics through “boots cats”
STANDARDS: See Appendix
MATERIALS: Trinity DVD & lesson plan
VOCABULARY: drum kit, snare, kick drum, high hat, beatbox
TIME REQUIRED: 20-40 minutes
SEQUENCE OF TEACHING AND
LEARNING EXPERIENCES
Everyone say the word “boots.”
1) G
uided Discussion:
Where did beatboxing come from?
We will start with the bass drum. The “b” sound is
simulating the bass drum. Have the class practice
saying a non-voiced “b” and experiment with air
and lips to make a loud percussive sound. Have
them do eight together in a consistent time (use
the second hand of a clock if needed to keep them
steady).
Now say it a few times, exaggerating the “b” and
the “ts.”
Play track 18
Where did the term “human beatbox” come from?
Name the three basic parts of a drum set.
Next is the high hat cymbal. The “ts” sound
simulates hitting the high hat. Have them practice
a few non-voiced “ts” sounds. Have them do eight
together.
2) Body rhythms
What kinds of different sounds can you make
with your bodies?
Have the students experiment with clapping,
stomping, snapping fingers, slapping knees, etc.
Now let’s combine bass drum and high hat (by
saying unvoiced boots).
What kind of different sounds can you make with
your mouths?
Have the class keep a steady beat (use the second
hand of a clock if needed for the b’s).
“b” “ts” “b” “ts” “b” “ts” “b” “ts”
Have them explore a range of sounds: words,
yawns, coughs, air sounds, buzzing, clicks,
breathing in and out, shh, etc.
Everyone say the word “cats.”
Now say it a few times exaggerating the “c” (or
kuh) and the “ts.”
3) Turn your class into a human drum set
We will start with the snare drum. The “c” sound
is simulating the snare drum. Have the class
practice saying a non-voiced “c” and experiment
with pushing a good amount of air so that there
is a clear and loud consonant on the “kuh” sound.
Have them do eight together in a consistent time
(use the second hand of a clock if needed to keep
them steady).
Using the words “boots” and “cats,” you will be
teaching the class how to simulate the sounds
of a kick (bass) drum, snare drum, and high hat
cymbal.*
*Note that this part of the lesson plan will be explained
thoroughly during Trinity’s professional development seminar.
14
LESSON 5: Project Trio continued
Now let’s combine the snare drum and high hat
(by saying unvoiced “cats”).
Have the class keep a steady beat.
“kuh” “ts” “kuh” “ts” “kuh” “ts” etc.
Now let’s put together our human drum set.
Using repeated “b” “ts” “kuh” “ts” (boots cats),
have the class try to keep a steady beat together
and experiment with making these sounds as
percussive and drum-like as possible.
Have students volunteer freestyle and experiment
with various sounds while the class keeps steady
beats of “boots cats.”
Creative Extension
Play around with different consonants to see
what different drum-like sounds you can create.
Experiment with the following sentences to create
different rhythmic patterns (unvoiced).
Underlined parts are on the beats (you can have
the class clap a steady beat–use the second hand
if needed and make sure the underlined parts
line up with the claps).
Boots Cats Barbeque
Bent In Shenton
Bouncing pizza
Baboons and pigs
Baboons and pigs are beyond petite patterns
Soccer boot, soccer ball
(not too fast–like a samba!)
Sick(a) bag, Sick(a) dog
(like a shaker–exaggerate k)
15
LESSON 6: Canadian Brass
AIM: What is a brass quintet?
SUMMARY OF KEY ACTIVITIES:
• Guided discussion and exploration of the brass instruments in a quintet
• Watch live music samples
• Reflection and discussion
STANDARDS: See Appendix
MATERIALS: Trinity DVD, handout & lesson plan
VOCABULARY: trumpet, trombone, French horn, tuba, valve, slide, fugue, subject
TIME REQUIRED: 30-40 minutes
The mouthpiece connects to a length of brass
tubing that ends in a bell. The smaller instruments
have less tubing and produce a higher sound.
The bigger instruments have more tubing, which
produces a lower sound.
SEQUENCE OF TEACHING AND
LEARNING EXPERIENCES
1) G
uided Discussion:
Review of the brass family
Which instruments on the brass handout will
sound higher and which sound lower?
Who are the members of the brass family?
Pass out handout # 8
What do you think the flare-shaped bell does to
the sound?
What do they have in common and what makes
them unique?
Characteristics that are common to brass
instruments: they are made of brass, they all have
a cup-shaped mouthpiece, and they all have a
flare-shaped bell at the end. The trumpet, tuba,
and French horn all have keys, called valves,
which are pressed in various combinations to
produce different pitches. The trombone does
not have any valves, but instead has a slide, which
is used to produce different pitches.
By focusing the sound in a specific direction (like
a megaphone), the sound is made louder by the
shape of the bell.
Have the students amplify their voices by cupping
their hands around their mouths, simulating a
megaphone.
3) What does a brass quintet sound like?
To explore the sounds of the brass quintet, we will
listen to Bach’s “Little Fugue.” A fugue is when a
short melody called a subject is passed around
through the instruments.
2) How do brass players make a sound?
Have the students buzz their lips. You can either
have them buzz them like a motorcycle or horse,
or if they cannot produce a buzz, tell them to say
“mmmm” with their lips, blow air through the
mouthpiece (while still saying “mm”) and if there
is no buzz yet, firm the lips until a buzz sounds.
Here is the “subject” of the fugue, played by the
trumpet.
Play track 19
Play the track again (possibly a few times) and see
if the class can sing along with the first three notes
of the subject. This will help the students identify
the subject throughout the fugue.
This “buzzing” sound is the basic sound for all
brass instruments. Brass musicians buzz into their
mouthpiece, which projects the buzz as a pitch.
16
LESSON 6: Canadian Brass continued
Now we will listen to the entire fugue. Have the
students raise their hands when they hear the
subject and see if they can identify the instrument
playing the subject.
This next song is called “Flight of the Bumblebee.”
Play track 21
How do the instruments reflect the character
of the song?
Play track 20
See if you can identify the characters in “You’re
a Mean One Mr. Grinch.”
What instruments did you hear playing
the subject?
Play track 22
How did their pitches and timbres differ?
Have the students listen and watch carefully to see
how the musicians portrayed characters.
Have the students think of different characters or
animals that could represent the brass
instruments. Have them discuss why they chose
that character or animal and how they hear that
in the instrument.
What did you notice about the performance?
Were there any surprises?
Creative Extension: Experimental Trumpet
Allow students to practice buzzing, noting that with a little practice, higher and lower pitches can be
achieved by making their lips vibrate faster or slower.
Make a trumpet! (See the following activity, adapted from NYPhilkids.org)
YOU WILL NEED
Plastic soda bottle
Paper towel tube or
cardboard gift wrapping tube
Masking tape or duct tape
A sheet of construction paper
A sharp knife
PROCEDURE
1. Using a knife or scissors, ask a teacher to help you carefully
cut off the spout of the soda bottle. You want the cut part of
the bottle to match up to be slightly larger than the width of
the cardboard tube. This will be your mouthpiece.
2. Tape the mouthpiece to the cardboard tube.
3. Form the construction paper into a funnel shape. The smallest
part of the funnel should be able to fit over the non-mouthpiece
end of the cardboard tube. Tape the construction paper so that the
funnel keeps its shape.
4. Tape the funnel to the tube.
TRY IT OUT
1. Practice making your lips buzz.
2. Press your lips inside the tube and buzz away!
3. Try making your lips buzz faster and slower. You'll soon discover that if you buzz your lips just right,
you'll get the best sound from the horn. This is because of an effect of sound waves. When the length of
the sound wave you create matches up well with the length of the tube, the sound gets stronger.
You can change the sound of your trumpet by using tubes that are thicker and thinner. You can also change
the sound if you manage to find tubes that are conical—that is, they get bigger throughout the length of
the tube. Mix and match the tubes and experiment to discover your own experimental trumpet.
17
CONCERT ETIQUETTE LESSON PLAN
TEACHING OBJECTIVE
Students will demonstrate an
understanding of appropriate audience
behavior in a variety of settings.
instruments in an orchestra or a rock
band. Allow the students to perform
while the rest of the class
pretends to be in the audience.
PRE-ASSESSMENT
Ask students how they would behave
at a symphony concert.
4. Before and after each performance,
review with the class where they are
pretending to be and help the class
evaluate the appropriate audience
behavior for each location. Point out
that some behaviors that are fine in one
setting are considered inappropriate in
another. Ask performers if they felt that
the audience’s behavior was appropriate
for their performance and why.
TEACHING SEQUENCE
1. Ask students to describe places
where they were members of an
audience. Answers could include
attending a movie, a theater, a sports
arena, at home watching television, a
concert hall, etc.
2. Discuss the appropriate audience
behavior for each of the settings listed
above. For example, how would audience behavior at a golf tournament be
different from a football game? How
would the audience behave at a rock
concert compared with a classical
concert or a recital by a single person?
3. Choose students to act as performers
in at least three of the settings listed
above. For example, they may pretend
to be playing a sport like golf or tennis;
or they could pretend to be playing
CULMINATING ACTIVITY
Tell students that they will soon be going
to a concert where they will see a
professional ensemble. Help students
create a rubric for correct behavior at a
symphony concert. Have students use
this list to evaluate their behavior after
the concert.
EVALUATION
Did student responses indicate an
understanding of the appropriate
audience behavior as an audience
member in a variety of settings?
CONCERT ETIQUETTE SURVEY
Action Ideal Behavior Talking Talks softly before and after concert, but does not talk once the
performance begins
Body Keeps body quiet with little movement during the performance
Listening Actively listens during concert
Clapping Claps when the musicians enter and at the end of each piece of
music. Clapping can be enthusiastic; but yelling, shouting,
whistling and stomping are not appropriate.
18
Strand
History/ Social Studies: Reading History
Science: Reading Science and Technical Subjects
Science: Reading Science and Technical Subjects
6-8
6-8
6-8
6-8
Lesson 4
Lesson 6
Lesson 6
Lesson 6 ext
History/ Social Studies: Reading History
K-8
K-8
K-8
K-8
K-8
K-8
K-8
K-8
K-8
All (1-6)
All (1-6)
All (1-6)
All (1-6)
All (1-6)
All (1-6)
All (1-6)
All (1-6)
All (1-6)
K-8
K-8
All (1-6)
All (1-6)
K-8
K-8
All (1-6)
All (1-6)
New York State Learning Standards for the Arts
New York State Learning Standards for the Arts
New York State Learning Standards for the Arts
New York State Learning Standards for the Arts
NYC Blueprint for the arts: Careers and Lifelong
Learning
NYC Blueprint for the arts: Community and
Cultural Resources
NYC Blueprint for the arts: Making Connections
NYC Blueprinnt for the arts: Music Literacy
NYC Blueprint for the arts: Music Making
National Standards for Music Education
National Standards for Music Education
National Standards for Music Education
National Standards for Music Education
National and NYC Music and Arts Standards
Science: Reading Science and Technical Subjects
History/ Social Studies: Reading History
History/ Social Studies: Reading History
6-8
6-8
History/ Social Studies: Reading History
Lesson 4
6-8
Lesson 4
Language Arts: Writing
History/ Social Studies: Writing History
History/ Social Studies: Writing History
History/ Social Studies: Reading History
History/ Social Studies: Reading History
Lesson 4
6-8
K-8
Lesson 1 ext
Lesson 4
6-8
6-8
Lesson 1
6-8
6-8
Lesson 1
Lesson 1
Lesson 1 ext
History/ Social Studies: Reading History
6-8
Lesson 1
Language Arts: Language
Language Arts: Language
6-8
K-8
All (1-6)
Language Arts: Language
Language Arts: Speaking & Listening
Language Arts: Speaking & Listening
Language Arts: Reading Informational Text
Language Arts: Reading Informational Text
Language Arts: Reading Informational Text
All (1-6)
K-8
K-8
All (1-6)
All (1-6)
6-8
K-8
All (1-6)
K-8
All (1-6)
All (1-6)
K-8
All (1-6)
Lesson Plan Grades
Standard
Standard # 4
Standard # 3
Standard # 2
Standard # 1
Standard # 9
Standard # 8
Standard # 7
Standard # 6
RST.6.3 - 8.3
RST.6.4 - 8.4
RST.6.2 - 8.2
RH.6.7 - 8.7
RH.6.4 - 8.4
RH.6.2 - 8.2
RH.6.1 - 8.1
W.K.5 - 8.5
WHST.6 - 8.8
WHST.6 - 8.6
RH.6.7 - 8.7
RH.6.4 - 8.4
RH.6.2 - 8.2
RH.6.1 - 8.1
L.K.4 - 8.4
L.6.1 - 8.1
L.K.1 - 5.1
SL.K.2 - 8.2
SL.K.1 - 8.1
R.I.6.2 - 8.2
RI.K.4 - 8.4
RI.K.1 - 8.1
Understanding the Cultural Contributions of the Arts: Students will develop an understanding of the personal and cultural forces
that shape artistic communication and how the arts in turn shape the diverse cultures of past and present society
Responding to and Analyzing Works of Art: Students will respond critically to a variety of works in the arts, connecting the individual work to other works and to other aspects of human endeavor and thought.
Knowing and Using Arts Materials and Resources: Students will be knowledgeable about and make use of the materials and
resources available for participation in the arts in various roles
Creating, Performing, and Participating in the Arts Students will actively engage in the processes that constitute creation and
performance in the arts (dance, music, theatre, and visual arts) and participate in various roles in the arts.
Students consider the range of 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.
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.
By investigating historical, social, and cultural contexts, students enrich their creative work and understand the significance of
music in the evolution of human thought and expression.
Students deveop a working knowledge of music and apply it to analyzing and evaluating music
By exploring and observing music, students experienec the power of music to communicate
Understanding music in relation to history and culture
Understanding relationships between music, the other arts, and disciplines outside the arts
Evaluating music and music performances
Listening to, analyzing, and describing music
Follow the multistep procedure to carry out the creative extension project
Determine the meanings of the vocabulary words and disucss the science behind producing sound on a brass instrument
Determine the central ideas; provide an accurate summary of how brass instruments work
Integrate and evaluate the visual information from the video and photographs
Determine the meaning of new words and phrases that are included throughout the lesson plan (focusing on history)
Determine the central ideas within Civil Rights history and analyze its development with key supporting details.
Discuss and read Civil Rights Movement history; determine what the text says and make logical inferences from it
Rewrite lyrics to "O Freedom" to convey your feelings on freedom
Gather relevant information from multiple print and digital sources
Using the internet to produce writing and present additional facts about Trinity and relationships to lesson plan information
Integrate and evaluate the visual information from the video and photographs
Determine the meaning of new words and phrases that are included throughout the lesson plan (focusing on history)
Determine the central ideas within Trinity's History and analyze their development with key supporting details.
Read Trinity History closely to determine what the text says and make logical inferences from it
Determine or clarify the meaning of new vocabulary words in each lesson
Make logical inferences fromm the text; cite specific textual evidence during discussions
Demonstrate command of English grammar and conventions during reflective discussions
Determine the main ideas as presented in various formats (video, picture, maps, etc)
Engage in collaborative and reflective discussions about material presented
Determine the central idea of the lesson plan and provide a summary of key details
Determine the meaning of the vocabulary words introduced in each lesson plan
Demonstrate understanding of key details and concepts of the text in each lesson: ask and answer questions.
HANDOUT 1: Where We Are
Bronx
S
Ma
nha
t ta
n
H
G
U
RO
BO
C
Y
N
St. Paul’s Chapel
Que
ens
World Trad
e Center
ty
ni
Tri
ch
ur
Ch
Brooklyn
St
nd
a
l
Is
n
e
at
HANDOUT 2: Trinity History
T
rinity Wall Street is an Episcopal parish
that has been a part of New York City
since 1697. Located on Broadway at the
head of Wall Street, Trinity stands as a symbol of
spiritual values in the midst of downtown’s thriving
financial district and residential community. It is
deeply rooted in the city’s and nation’s history.
Established during the British occupation of New
York and recognized by royal charter, Trinity was
the first Anglican Church in Manhattan. After the
Revolutionary War, Trinity helped form the Episcopal
Church of America. The current building is the third
on the site and was consecrated in 1846.
A number of Episcopal churches in New York
were founded originally as Trinity chapels before becoming independent. St. Paul’s Chapel, at Broadway
and Fulton Street, remains part of the parish today.
Built in 1766, George Washington prayed
there after his inauguration as President in 1789. Located just across the
street from the World Trade Center,
St. Paul’s played an important role
in hosting recovery workers after the
attacks of September 11, 2001.
Trinity Church
through the ages
Trinity and St. Paul’s also have historic
churchyards that are the final resting
place of a number of notable people,
including Alexander Hamilton, Robert
Fulton, and a number of statesmen,
inventors, judges, printers, soldiers,
ministers, and others that had a hand in
shaping Trinity, New York City, and the
nation. Together, both churches average
about 3 million visitors a year.
Trinity has a strong tradition of music and
arts programming. The Choir of Trinity
Wall Street, a GRAMMY®-nominated
professional ensemble, helps lead Sunday
worship and performs concerts of early and
contemporary music throughout the fall and spring.
Many concerts are webcast on the internet and are
often heard on WQXR, New York’s classical music
station. The choir performs with the Trinity Baroque
Orchestra and NOVUS NY, the contemporary music
orchestra. Trinity has provided free weekly music
offerings since the 1920s and continues this
tradition through it various series including
Concerts at One and Bach at One.
Continued
HANDOUT 2: Trinity History
Trinity’s Faith in Action is the grant-making arm
of the organization, investing in local and global
organizations. In addition to providing assistance
for projects in metropolitan New York, Trinity has a
strong commitment to partnerships with Africa’s Anglican churches, as well as parishes and bishops in
Panama, New Orleans, and Haiti, among others. In
an effort to “raise the next generation of leaders,”
Trinity advocates for support of public schools in the
neighborhoods of church parishes.
Because of a land grant from Queen Anne in 1705,
Trinity is an important New York property owner.
Trinity Real Estate owns and operates more than six
million square feet of space in 18 commercial buildings, mostly located in the Hudson Square district
about a mile north of Trinity and St. Paul’s.
As the primary landlord in the area,
Trinity has played a leading role in
transforming the neighborhood from light
industrial to modern office use. The revenue
from Trinity’s real-estate holdings makes
much of the parish’s mission and ministry work
possible and provides for the upkeep of Trinity
and St. Paul’s. •
St. Paul’s Chapel: The oldest building in continuous use in New York City.
HANDOUT 3: Strings
T
he strings have been the main part of the
orchestra for over three hundred years.
They are the largest family of instruments in
the orchestra and they come in four sizes: the violin,
which is the smallest, viola, cello, and the biggest,
the double bass. The smaller instruments, the violin
and viola, make higher-pitched sounds, while the
larger cello and double bass produce low, rich
sounds. They are all similarly shaped, with curvy,
wooden, hollow bodies and wooden necks. The
strings stretch over the body and neck and attach to
small decorative heads, where they are tuned with
small tuning pegs. •
NOVUS bass section
Owen Dalby, NOVUS violinist
ist
NOVUS cell
t,
n
a
ry
B
e
Clair
Strings
viola
cello
bass
violin
HANDOUT 4: Woodwinds
Melissa Baker, flute, NOVUS NY
T
Trinity Baroque Orchestra oboe section
he woodwind family got its name because they
were originally all made of wood (the flute is now
made of metal) and air, or wind, is needed
to play
them. Woodwind instruments make sounds in three
different ways. The flute makes a sound by blowing air
through an opening in the top of the flute called the head
joint. The clarinet uses a single reed, made of one piece
of wood, to produce sound. When air is blown against
the reed, which is attached to a mouthpiece, it vibrates to
make sound. The oboe and bassoon use a double reed,
or two pieces of wood vibrating against each other,
to make a sound. •
Woodwinds
piccolo
flute
clarinet
oboe
bassoon
recorder
HANDOUT 5: Brass
B
rass family instruments produce their sound
when the player buzzes his/her lips while
blowing air through a metal, cup-shaped
mouthpiece. The mouthpiece connects to a length
of brass tubing that ends in a bell. The smaller
instruments have less tubing and produce a higher
sound. The bigger instruments have more tubing,
which produces a lower sound. Most of the brass
instruments have valves, which open up different
lengths of tubing, changing the pitch. The members
of the brass family are the loudest in the orchestra
and can trace their ancestry back to herald
trumpets, hunting horns, and military bugles. •
NOVUS brass section
John Thiessen, trumpet, Trinity Baroque Orchestra
Brass
trombone
tenor horn
euphonium
baritone
horn
bass trombone
tuba
French horn
trumpet
cornet
flugel horn
natural trumpet
HANDOUT 6: Percussion
T
he instruments in the percussion family are
played by being struck, shaken, or scraped.
There are two types of percussion instruments,
tuned and untuned. The tuned notes play specific
pitches, like the timpani or a xylophone.
The
untuned produce a sound with an indefinite pitch,
like the cymbals. Percussion instruments add much
color, variety, and excitement to the orchestra.
Drums are among the earliest instruments.
Their ancestors can be found in Africa, Asia,
the Americas, Europe, and the Middle East. •
Percussion
hi-hat
tom-tom
cymbal
glockenspiel
snare drum
congas
drumsticks
xylophone
bass drum
drum kit
harmonica
kettle drum
maracas
triangle
castanets
steel drum
tambourine
NOVUS percussionists
Drum Set
tension post
crash cymbal
ride cymbal
high-hat cymbals
snare drum
lug
rack toms
tripod stand
bass drum
percussion sticks
HANDOUT 7: O Freedom
Oh freedom, oh freedom, oh freedom over me
And before I’d be a slave I’ll be buried in my grave
And go home to my Lord and be free
No more moaning, no more moaning, no more moaning over me
And before I’d be a slave I’ll be buried in my grave
And go home to my Lord and be free
No more weeping, no more weeping, no more weeping over me
And before I’d be a slave I’ll be buried in my grave
And go home to my Lord and be free
Oh freedom, oh freedom, oh freedom over me
And before I’d be a slave I’ll be buried in my grave
And go home to my Lord and be free
There’ll be singin’, there’ll be singin’, there’ll be singin’ over me
And before I’d be a slave I’ll be buried in my grave
And go home to my Lord and be free
There’ll be glory, there’ll be glory, there’ll be glory over me
And before I’d be a slave I’ll be buried in my grave
And go home to my Lord and be free
Oh freedom, oh freedom, oh freedom over me
And before I’d be a slave I’ll be buried in my grave
And go home to my Lord and be free
HANDOUT 8: Canadian Brass
Members of Canadian Brass
Brass
trombone
tenor horn
euphonium
baritone
horn
bass trombone
tuba
French horn
trumpet
cornet
flugel horn
natural trumpet
HANDOUT: Instrument Cutouts
violin
viola
cello
HANDOUT: Instrument Cutouts
oboe
clarinet
flute
HANDOUT: Instrument Cutouts
trumpet
trombone
tuba
HANDOUT: Instrument Cutouts
bass drum
tambourene