Teacher Workbook - North Carolina Symphony

Transcription

Teacher Workbook
TABLE OF CONTENTS
Letter from Jessica Nalbone..................................................................................2
Director of Education, North Carolina Symphony
Information about the 2012/13 Education Concert Program.............................3
North Carolina Symphony Education Programs..................................................4
Author Biographies...............................................................................................6
Carl Nielsen (1865-1931)........................................................................................7
Oriental Festival March from Aladdin Suite, Op. 34
Wolfgang Amadeus Mozart (1756-1791)...........................................................15
Symphony No. 39 in E-flat Major, K.543, Mvt. I or III
(Movements will alternate throughout season)
Claude Debussy (1862-1918)...............................................................................28
“Golliwogg’s Cakewalk” from Children’s Corner, Suite for Orchestra
Piotr Ilyich Tchaikovsky (1840-1893)...................................................................33
Waltz from The Sleeping Beauty
Igor Stravinsky (1882-1971)................................................................................44
“Dance of the Young Girls” from The Rite of Spring
Loonis McGlohon (1921-2002) & Charles Kuralt (1924-1997)...........................52
“North Carolina Is My Home”
Richard Wagner (1813-1883)...............................................................................61
Overture to Rienzi
Concert Etiquette Student Contract...................................................................67
“Your Elephant, The Orchestra”.........................................................................68
A story to be read before your concert
North Carolina Symhony Seating Chart.............................................................69
Bibliography and Selected Sources....................................................................70
Selections are listed in program order.
AUTHORS
Amanda Watson Bailey, Barwell Road Renaissance Elementary School, Raleigh, NC
Linda Musten, Yates Mill Elementary School, Raleigh, NC
Jana Powell, Contentnea-Savannah K-8 School, Kinston, NC
Christine White, Banks Elementary School, Kinston, NC
2012/13 TEACHER WORKBOOK
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Information
ABOUT THE 2012/13 EDUCATION CONCERT PROGRAM
Education Concert Workshop
Dear Friends and Colleagues,
As we commemorate the 80th Anniversary Season of the North Carolina Symphony, we also honor more than
seventy years of unique education concert programs heard by millions of North Carolina students. The selections
for this year’s program aim to not only instill a love of classical music in young people, but also to represent our
orchestra’s venerable educational history.
We would like to thank this year’s authors: Christine White and Jana Powell of Lenoir County Schools and Linda
Musten and Amanda Watson Bailey of Wake County Public Schools. Each of these individuals contributed
countless hours of their time (and much of their summer vacations) to creating these curriculum guides and
preparing for our August Education Concert Workshop, for which we are truly thankful.
The best way to prepare for your concert is to attend the Education Concert Workshop each August. This six-hour
workshop features presentations by the authors of the student and teacher handbooks, including live demonstrations
of recommended activities and lesson plans For your registration fee of $30.00, you will receive a copy of both handbooks, a CD of the concert program and printouts of all PowerPoint presentations. You will be treated to lunch and
entered to win prizes from North Carolina Symphony sponsors. All who participate will also receive a certificate that
they can use to obtain 0.5 CEU credit from their district. This year’s workshop takes place on Wednesday, August 15,
2012, from 9:00 am – 3:00 pm at Meymandi Concert Hall in Raleigh, NC.
If you are unable to attend the workshop in August, you can view it online. The North Carolina Symphony Education Concert Workshop will be videotaped and made available on a private classroom site. To download these videos
you must register, after which you will be sent the same materials as all of the workshop participants and be given a
unique username and password to log in to the classroom site. Upon completion of your online workshop you will be
issued a certificate that can be used to obtain 0.5 CEU credit from your district. The cost of registration is just $30.00.
You can access these resources anytime throughout the school year.
These books are tools for preparing your students to attend their North Carolina Symphony Education Concert.
It is our intention that the Education Concert experience supports your goal of promoting music as a core subject that is essential to North Carolina’s curriculum. I encourage everyone involved with the Education Concerts
to take just five minutes to complete our surveys when they are sent to you. The information you provide on
that survey will help us evaluate the success of our programs and make changes for the following seasons. We
value your opinions and we put your ideas into action. Thank you for sharing your expertise with us!
We are grateful for all that you do to enrich the lives of students across North Carolina.
At your concert, the conductor will ask everyone to stand and sing “North Carolina Is My Home” with the orchestra.
He or she will cue the students after a brief introduction, when it is time to start singing. Although we encourage students to memorize the lyrics, we understand that this is not always possible. At your discretion, decide whether or not
to bring song sheets or books from which your students can read. If you do choose to bring the lyrics, please be sure
students take with them all materials they bring into the auditorium as a courtesy to our venues’ clean-up crews.
And remember, it’s a treat for our orchestra and conductors to hear your students singing. Encourage your students to
sing loudly so our musicians can hear them!
Please note that a recording of “North Carolina Is My Home” is not included on the Education Concert CD.
Jessica Nalbone
Director of Education, North Carolina Symphony
Playing on Recorders
At your concert, you may notice other groups playing the song on recorders. Playing the song “North Carolina Is My
Home” on recorders is an opportunity we extend to all schools groups that attend and is completely optional. However, if you are planning to have a student group perform on instruments, here are a few things to know:
CONTACT the North Carolina Symphony Education Department
Jessica Nalbone
Director of Education
North Carolina Symphony
3700 Glenwood Ave., Suite 130
Raleigh, NC 27612
919.789.5461 Office
919.781.6066 Fax
[email protected]
RECORDINGS of the Education Concert Program
Recordings of the pieces heard on the Education Concert Program will be available for CD purchase on the
North Carolina Symphony Education website: www.ncsymphony.org/educationprograms.
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NORTH CAROLINA SYMPHONY
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North Carolina Symphony Education staff members need to know that you plan to perform on recorders before
your concert. Please contact Jessica Nalbone, Director of Education, at [email protected] or 919.789.5461
or ask whoever is coordinating your concert trip to do so. Performing groups will be seated in a special section and
acknowledged from the stage, so it is critical that we know you are preparing to play.
• Schools will play on their own, unless you make arrangements with another school to perform together.
• We may have too many individual groups performing on instruments at one concert, in which case you may be
asked to perform with another school.
• Any groups performing on recorders will do so before the orchestra plays “North Carolina Is My Home.”
• This opportunity is open to other instruments such as violins, Orff instruments, boomwhackers, etc.
• Please remind your students, whether they are performing or not, to be courteous and respectful of other students’
performances at their concert.
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Competitions and Awards
EDUCATION PROGRAMS OVERVIEW
Programs For Elementary School Students and Teachers
EDUCATION CONCERTS: approximately 45 full-orchestra concerts given annually throughout the state to audiences of third through fifth graders. Teachers are given printed materials with a specifically designed curriculum
for the music education program at the start of each school year.
EDUCATION CONCERT WORKSHOP: offering an annual teacher training workshop in Raleigh and supplemental
classroom resources for teachers through the North Carolina Symphony website. The Symphony’s professional
development programs and resources aim to address North Carolina curriculum standards in education, offer best
practices in the classroom and discuss important issues facing music educators in our state. The workshop is also
available for video download on the North Carolina Symphony website.
ENSEMBLES IN THE SCHOOLS: an in-school program that brings North Carolina Symphony small ensembles
into classrooms for an intimate learning experience. A string quartet and brass quintet are available for booking.
Our musicians teach the elements of music and listening through this interactive program. Performances can be
adapted for grade levels K-12.
ONLINE RESOURCES: interactive website pages are dedicated to the North Carolina Symphony’s Education
programs. Here, teachers can reserve their education concert or open dress rehearsal experience, order resource
materials or even participate in professional development activities for credit.
MAXINE SWALIN AWARD FOR OUTSTANDING MUSIC EDUCATOR: an award and $1,000 cash prize is given
annually in honor of Maxine Swalin to an outstanding music teacher in North Carolina who makes a lasting difference in the lives of students of all backgrounds, positively affects his or her community in a lasting way and is a
role model among music educators. Individuals are nominated by their peers and colleagues, who write letters of
support on their behalf.
JOSEPH M. BRYAN AND KATHLEEN PRICE YOUTH CONCERTO COMPETITION: an annual competition open
to musicians between the ages of 10 and 21 in both junior and senior divisions with a cash prize awarded to the
first and second place winners in each division. The first place winner of the senior division is offered an opportunity to perform his or her concerto movement with the North Carolina Symphony in an upcoming season. Nearly
100 students audition annually.
YOUNG STRINGS OF THE TRIANGLE: provides free private string lessons for economically disadvantaged string
players. Students are partnered with North Carolina Symphony musicians and community teachers for private instruction and mentorship. Program participants have access to the breadth of educational activities of the orchestra, including free access to most Classical Series performances and special concerts.
OVATIONS: Thirty-minute recitals given by local young artists and chamber ensembles in advance of Classical
Series concerts in Raleigh, Chapel Hill and Southern Pines.
For more information about the education programs of the North Carolina Symphony,
please visit our website at www.ncsymphony.org/educationprograms
or contact Jessica Nalbone, Director of Education, at [email protected].
INSTRUMENT ZOOS: a hands-on activity where musicians demonstrate instruments and give children the opportunity to try them out. Instrument Zoos are held one hour prior to Young People’s Concerts and select Summerfest
concerts and can also be scheduled for private educational or community-based events.
Young People’s Concerts
Programs For Middle, High School and College Students and Teachers
FRIDAY FAVORITES CONCERTS: a Friday afternoon concert series perfect for young adult audiences. These
seventy-five-minute performances feature great classical music in a fun and informal setting. Discounted student
group rates are offered with pre-registration.
MASTER CLASSES: Visiting guest artists coach young instrumentalists in performance. Artists such as Leila Josefowicz, violin; Yo-Yo Ma, cello; Alexander Mickelthwate, conductor; Zuill Bailey, cello; Noriko Ogawa, piano; Catrin
Finch, harp; and Johannes Moser, cello, have recently given classes.
See all 3
for $39
OPEN DRESS REHEARSALS: middle school, high school and college students are invited to orchestra open dress
rehearsals where they will have the opportunity to observe the North Carolina Symphony at work. Conductors and
artists meet with students during the break for an interactive Q&A session.
Individual tickets are
$20 each. Save $21
over single ticket prices
with a series package.
YOUTH SINFONIETTA: an exclusive group of talented young musicians, selected by audition, to perform in a
chamber orchestra led by Grant Llewellyn and other North Carolina Symphony conductors. Members participate
in two weeks of activities during each concert season, including intensive coaching with North Carolina Symphony
musicians, rehearsals and public performances led by North Carolina Symphony conducting staff in partnership
with the Triangle’s Philharmonic Association and its music director, Hugh Partridge.
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Oct 17, 2012 | HALLOWEEN SPOOKTACULAR!
Jan 5, 2013 | TALES OF ENCHANTMENT
Mar 9, 2013 | RHYTHM IN YOUR RUBBISH
Meymandi Concert Hall, Raleigh | Two Series Available: 11am & 4pm
Designed for families and children ages 4-12, these concerts are a
perfect introduction to an essential art form, including the chance
to try out many of our instruments.
www.ncsymphony.org/kids | 919.733.2750
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AUTHOR BIOGRAPHIES
CARL
Amanda Watson Bailey
Oriental Festival March
from Aladdin Suite, Op. 34
Barwell Road Renaissance Elementary School, Wake County Public Schools, Raleigh, NC
Amanda Watson Bailey is the music specialist at Barwell Road Renaissance Elementary, where she teaches music to
students in pre-kindergarten through fifth grades. She received her bachelor of music degree from the University of
North Carolina at Chapel Hill, where she concentrated in vocal performance. During her year as Miss North Carolina
2008, Amanda visited hundreds of schools across the state, teaching kids to make good decisions through a healthy
lifestyle. During this year, Amanda found her passion for education. In 2011 she earned her master’s degree in the
art of teaching at the University of North Carolina at Chapel Hill. Since entering Barwell as a first-year teacher in July
2011, Amanda has enjoyed enriching her students’ lives every day through the power of the arts. She was chosen out
of thirteen first-year teachers to be Barwell’s Diane Kent Parker nominee for the 2011/12 school year. Amanda was
also honored at a Wake County School Board meeting with the “Employee Excellence Award” for her work with the
students of Barwell.
Linda Musten
Yates Mill Elementary School, Wake County Public Schools, Raleigh, NC
Linda Musten holds a bachelor of music degree in education from Meredith College. She is National Board Certified
and has achieved Orff Level I and II Certification. Linda is an active member in the Central Carolina Chapter of the
American Orff-Schulwerk Association and the National Association for Music Education. She enjoys teaching at Yates
Mill Elementary, where she will begin her thirteenth year this fall. Linda is a member of Hayes Barton Baptist Church
in Raleigh, where she sings in the Chancel Choir. She enjoys reading, cooking and taking long walks. She and her
husband live in Raleigh and have two adult daughters and one adult son.
Born: June 9, 1865, Sortelung, Denmark
Died: October 3, 1931, Copenhagen, Denmark
Biography (in Student Book)
Carl Nielsen was the seventh of twelve children in a family so poor, he had to work as a child to help everyone survive.
One day, when he was six years old and stuck at home, sick with the measles, his mother gave him his first violin. By the
end of the day he had taught himself a few short melodies, and soon enough, an assistant teacher at his school was encouraging him to learn to read and write music. Nielsen was sold. By the time he was a teenager, he had learned to play
trumpet and earned a position in the Sixteenth Battalion, a military band. That was just the beginning. Nielsen eventually
became Denmark’s greatest composer, as well as a famous violinist, teacher and writer and the conductor of the country’s Royal Theatre.
You will hear the orchestra perform the Oriental Festival March from Nielsen’s music for the play Aladdin. This is “incidental music,” meaning it would be played in the background of the play to create a particular atmosphere or feeling,
just like the music to your favorite movie today!
Jana Powell
Contentnea-Savannah K-8 School, Lenoir County Public Schools, Kinston, NC
Jana Powell earned a bachelor of music therapy degree in 2003 and a bachelor of music education degree in 2007
from East Carolina University. She is in her sixth year teaching at Contentnea-Savannah K-8 school in Kinston, NC. She
founded the CSS Chorus for fifth grade students in 2009. Students who participate in this chorus are given the opportunity to perform throughout the community. She teaches private piano lessons after school each day. Her husband
is also a musician who plays throughout the community. She has one son, Jaden, who is three years old, and a cat
(although no one has ever seen her because she’s so shy)! Jana is preparing to continue her education at East Carolina
University with a master’s degree in elementary education.
Christine White
Banks Elementary School, Lenoir County Public Schools, Kinston, NC
Christine White has been the music specialist at Banks Elementary School in Kinston, NC, for sixteen years. She graduated from East Carolina in 1995 with a bachelor’s degree in music education and music therapy and in 2006 with a
master’s in music education. In 2002 she achieved National Board Certification in early and middle childhood music
and was re-certified in 2011. She has been named “Teacher of the Year” at her school twice and was a Lenoir County
finalist in 2003. Christine assists in directing children’s music at Tanglewood Church of God, participates in the sanctuary choir, conducts an extracurricular chorus at Banks and teaches music classes at the Queen Street Academy, which
is an arts-based after school program at a local church. She has been blessed with a wonderful husband who works in
the technology department for Lenoir County Public Schools and two children who attend E.B. Frink Middle School.
Want to become an author for the North Carolina Symphony? Contact us!
Jessica Nalbone, Director of Education
919.789.5461
[email protected]
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Fun Facts about Nielsen (in Student Book)
• For many years, Nielsen’s picture was on the Danish Krone, which is the paper money used in Denmark.
Nielsen’s Life
• While he comes from a musical family, he did not
receive formal training until he went to school.
• He studied music at the Copenhagen Conservatory
from 1884-1886. From 1910-1919, he taught theory
and composition at the Conservatory.
• At age eight, Carl had a job looking after geese.
• Carl Nielsen liked to knit.
• Even though he travelled to many places to study
or perform, he considered Copenhagen his permanent .
home.
• Nielsen found it difficult to slow down his pace of
work. In 1922 he suffered his first heart attack.
• Nielsen married Anne Marie Brodersen, a sculptor, on
May 10, 1891, in Italy. They had three children: two
daughters and one son.
• In September 1931, he suffered a series of minor heart .
attacks after hoisting himself up to fix some ropes
during a dress rehearsal.
• Nielsen also had two children out-of-wedlock: Carl
August Nielsen and Rachel Siegmann.
• His condition did not improve and on October 1 he
was hospitalized. He remained there until his death
on October 3, 1931.
• As an adult, he played in the orchestra of Tivoli
Concert Hall, conducted the Royal Chapel Orchestra,
taught lessons and composed various works on
commission.
• His formal music education continued throughout his
life with the assistance of scholarships and encounters .
with other artists who influenced his music.
•
So many people wished to attend his funeral that it
had to be moved to Vor Frue Kirke (Our Lady’s
Church),the Copenhagen Cathedral. Nielsen had
written all of the music performed at his funeral.
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FEATURED WORK
Oriental Festival March from Aladdin Suite, Op. 34
Aladdin is a Middle Eastern folktale that has been adapted for new audiences across the world. Adam Oehlenschläger
wrote his verse drama Aladdin in 1805. This adaptation was used in a 1919 production, for which Carl Nielsen wrote the
incidental music.
2.
Have students introduce themselves to each other using the handshake activity.
• Shake, shake (shake hands) thumb, thumb (shake thumbs).
• Shake, shake (shake hands) finger, finger (grasp fingers and shake).
• Shake thumb, shake finger, slap backs of hands together three times, clap palms.
• Repeat and look for a new partner.
In 1917, the artistic director of the Royal Theatre approached Nielsen and asked him to compose music for a new
production of Adam Oehlenschläger’s drama, Aladdin. Nielsen reluctantly accepted this job, and later found out that
many changes had been made to his music without his permission. During the final rehearsals, the director had cut
a large part of the music and made alterations in Nielsen’s sequence of dances. After the dress rehearsal, Nielsen
demanded his name be removed from the poster and the program. Therefore, during the two evening performances,
there was no mention of the composer. Later, Nielsen wrote an orchestral suite based on his original score that is still
played.
3. Students share with each other the importance of an introduction. Ask them to buddy share: “Would you prefer to go somewhere and not talk to anyone because you did not know them or would you prefer to introduce your
self and have a new experience? Why?”
The first piece in this orchestral suite is the Oriental Festival March. The movement begins with a mighty, processionallike theme that repeats four times. During each repeat, a motif from the theme develops.
5. Share with the students that at the concert, the orchestra will play Oriental Festival March as an introduction to
the program. As they listen to this music they need to reflect on what the symphony is introducing to them.
Brief Plot Synopsis:
Aladdin is an idle fellow. His father, Mustapha, tries to teach him a trade, but Aladdin loves to play more than work so
he spends his days playing in the public streets with other boys. When Aladdin is 15, an African magician comes to the
village looking for a foolish boy to help him. The musician, pretending to be the now-deceased Mustapha’s brother,
convinces Aladdin and his mother of his goodwill and tricks Aladdin into retrieving a lamp from inside a mountain.
After Aladdin refuses to give the magician the lamp, the magician traps him in the mountain. Aladdin rubs his hands
in despair and inadvertently rubs a magic ring that the magician had given him. A genie appears and takes Aladdin, with the lamp, home to his mother. When his mother tries to clean the lamp, a genie appears and, bound to his
mother, grants her wishes. With the aid of the genie, Aladdin becomes wealthy and powerful. He marries Princess
Badroulbadour, the Sultan’s daughter, and the genie builds him a magnificent palace. The magician returns and tricks
Princess Badroulbadour into exchanging the old lamp for a new lamp. He then orders the genie to take the palace
and the princess to his home far away. Using the magic ring, Aladdin is able to recover the lamp, the palace and the
princess.
4. As a class, have students come up with a definition of “introduction.” Possible correct answers include:
• an instrumental passage played before singing that sets the mood, tempo, tonal center
• an opening passage in a movement or composition before the main material
CLASSROOM ACTIVITY 2: All about the Story
North Carolina Essential Standards:
4.ML.2.1 Interpret rhythm patterns, including whole, half, dotted half, quarter and eighth notes and rests in 2/4, 3/4, and 4/4 meter signatures.
4.ML.2.2 Interpret through voice and/or instruments simple pitch notation in the treble clef in major keys.
4.MR.1.1 Illustrate perceptual skills by moving to, answering questions about and describing aural examples of
music of various styles and cultures.
5.ML.1.1 Illustrate independence and accuracy while singing and playing instruments within a group or ensemble.
5.ML.1.3 Use instruments to perform rhythmic, melodic, and chordal patterns accurately and independently on classroom rhythmic, melodic, and harmonic instruments.
5.ML.2.3 Apply understanding of standard symbols and traditional terms for dynamics, tempo, articulation, rhythm, meter and pitch when reading and notating music.
STUDENT INTRODUCTION
to Nielsen’s Oriental Festival March from Aladdin Suite, Op. 34
CLASSROOM ACTIVITY 1: Introduction to Introductions
4.MR.1.1 Illustrate perceptual skills by moving to, answering questions about, and describing aural examples of music of various styles and cultures.
4.MR.1.2 Explain personal preferences for specific musical works and styles, using appropriate music terminology.
4.MR.1.3 Design a set of criteria for evaluating music performances and compositions.
5.CR.1.2
Understand the relationships between music and concepts from other areas.
Objective: Students will be able to identify and define the characteristics of an introduction in music as well as the
introduction role in Nielsen’s Aladdin Suite.
Materials: Teacher Book, Education Concert CD
Process:
1. Lead students in a discussion about introductions. Why do you need an introduction? What is the purpose of an introduction? Are introductions important?
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5.MR.1.3 Exemplify appropriate behaviors as a participant and observer of music in relation to the context and style of music performed.
Objective: Students will memorize the melody of the main theme in Oriental Festival March and remember facts
about Nielsen.
Materials: Teacher Book, Education Concert CD, piano, mallet instruments
Process:
1. Introduce the story of Aladdin. Explain when it was written. Tell the story briefly, introducing the main characters and the main ideas.
• Aladdin
• African Magician
• Genie of the lamp and ring
• Sultan
• Princess Badroulbadour
2. Introduce the term “incidental music,” meaning music written to be played during a play as a background to
create a particular atmosphere or feeling.
3. Display the notation of Theme A and play on the piano as students follow along.
4. Echo sing the melody, two measures at a time. Repeat until students can sing the entire theme.
5. Clap the rhythm. Read the notation and clap the rhythm.
6. Sing the note names.
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7. Transfer Theme A to a mallet instrument or alto recorder.
8. Students will listen to Oriental Festival March and identify how many times they hear Theme A.
9. Students will listen again as they face a partner and do the hand shake activity during Theme A (two times).
When other themes occur, students move throughout the room giving hi-fives, handshakes and introductions to students. They will stop in front of another partner to do the handshake activity when Theme A occurs.
Note: Theme A is provided at the end of this Classroom Activities manual.
CLASSROOM ACTIVITY 3: Movement with Props
c. A (16 beats x 2) Streamers:
• Overhead left and right (beats 1-4), circle around (beats 5-8), up and down (beats 9-12), fire swirl (small circles towards floor beats 13-16)
d. Motif C (16 beats x 3) Yarn Balls or basketballs: (one ball for each student)
• Up catch, up catch (or bounce catch, bounce catch) (beats 1-8) left to right to left hands (beats 9-14), throw to partner (beats 15-16)
e. A (16 beats x 2) Streamers:
4.ML.3.1 Use improvisation to create stylistically appropriate answers to given rhythmic and melodic phrases.
4.MR.1.1 Illustrate perceptual skills by moving to, answering questions about and describing aural examples of music of various styles and cultures.
f. Motif D (8 beats x 3, 16 beats (flutes), 8 beats x 2) Parachute panels (two per panel):
• Little ripples (24 beats), Up and Down (16 beats), Little ripples (16 beats)
g. A (16 beats x 2) Streamers:
5.MR.1.2 Use music terminology in explaining music, including notation, instruments, voices and performances.
1) A Theme, 2 times, wait 4 beats then down/up on chords and freeze
5.CR.1.2
2) B Theme, 4 times, wait 4 beats then throw and catch 2 times, then throw and catch on
body (whole note)
Objective: Students will demonstrate their understanding of the introduction of a story through movement with
props.
h. Coda: (8 beats x 5, Chord, chord, chord, chord. Chord (ritardando on chords))
• All props at the same time:
3) C Theme, 2 times, wait 4 beats then throw and catch 2 times; left, right, left, right then to partner and freeze (whole note)
Materials: Form chart, streamers, scarves, yarn balls or basketballs, parachute panels
4) D Theme, little ripples 36 beats, wait 4 beats then up (2 beats), down (2 beats) then up/down/up/down/
up and ripples with the whole note
Process:
1. Have students discuss the form of the song. They know Theme A. Does the same theme occur each time
after Theme A repeats?
Note: The Form Chart is provided at the end of this Classroom Activities section.
2. Imagine a parade with all the different participants and Aladdin, the playful boy, darting in and out amongst the vendors to watch.
• Theme A represents the entire festival march with all of the participants.
• A motif is a short rhythmic or melodic passage that is repeated or evoked in various parts of a composition. Each motif developed represents one character or participant in the march.
• Record their thinking on the board.
Nielsen’s Oriental Festival March from Aladdin Suite, Op. 34
Theme A
3. Display the Form Chart for students to check if they came up with the correct answer.
4. Discuss the theme and who each motif might represent in the play.
• Theme A: Processional-like theme which represents the Emperor at the beginning of the march
• Motif B: Princess appears
• Motif C: Aladdin darting in and out among the crowds to see the Princess
• Motif D: Genie helps Aladdin obtain all the wealth to win the Princess
• Coda: All characters appear
5. Demonstrate each movement with the prop for each section.
6. Divide the class into four groups; assign the props for each section and practice.
7. Perform with the music. Video tape and self assess.
8. Form is a rondo (Four different props for sections)
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a. A (16 beats x 2) Streamers:
b. Motif B (8 beats x 3) Scarves:
• Scarf down in front (beat 1), up above head (beat 2), back (beat 3), up above head (beat 4), circle above head (beats 5-8)
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Oriental Festival March
Form Chart
Nielsen’s Aladdin Word Scramble
Unscramble each of the clue words.
Use the letters that appear in the numbered boxes to create the final message.
DINLADA
16
5
LENSINE
8
RNCONOTDITIU
2
18
DENMAKR
14
DATLINCINE
3
GIICAANM
13
IENEG
10
ALNUTS
11
6
RIESSNCP
17
4
MIFOT
15
1
9
12
19
TEMHE
KAFLEOLT
7
V
1
12
•
2
3
4
5
6
7
8
9
10
11
12
13
L
14
15
16
17
18
19
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Nielsen’s Aladdin Word Search
WOLFGANG AMADEUS
Symphony No. 39 in
E-flat Major, K.543, Mvt. I or III
Born: January 27, 1756, Salzburg, Austria
Died: December 5, 1791, Vienna, Austria
Wolfgang Amadeus Mozart was an extraordinarily gifted musician from the very beginning. He was writing his own
music by the time he was five, and in just a few years, was performing in front of kings, queens, princesses, famous
composers and some of the most important people in Europe. By the time he was eight, he had written three full
Symphonies! Word traveled fast about this new, amazing prodigy, a name for a child who is better than almost everyone at a particular task, like writing music or playing the violin. Mozart held onto this fame for the rest of his life,
and he made the most of it, wearing expensive clothes and spending long nights at parties. Yet all the while, he wrote
some of the most beautiful music the world has ever known.
Mozart wrote in all of the musical styles popular in his day, from massive operas for many singers to concertos that
call out a single instrument to symphonies for a full orchestra, like the music you’ll hear in your concert. Unlike almost
any other composer you can name, Mozart was successful in whatever style he attempted. He is still remembered and
loved as one of music’s great geniuses.
Fun Facts about Mozart (in Student Book)
• Mozart had perfect pitch and could hear a note and identify it without having to play it on the keyboard.
• As an adult, Mozart enjoyed billiards and dancing.
He also had several pets including a canary, starling,
dog and horse for riding.
Mozart’s Life
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His parents were Leopold, the deputy kapellmeister for the court orchestra, composer, violin teacher and writer of a famous violin textbook, and Anna Maria Pertl. They had seven children, but only Wolfgang and his older sister Nannerl survived.
• On a trip to Rome (1769-1771) he heard Allegri’s Miserere one time in the Sistine Chapel and wrote it out in its entirety from memory.
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In the 1780s, he met Franz Joseph Haydn, who told Leopold, “I tell you before God and as an
honest man, your son is the greatest composer known to me by person and repute, he has taste and what is more, the greatest skill in composition.”
• Mozart’s first job was court musician to Prince-Arch-
bishop Colloredo of Salzburg in 1773. He was not 14
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Like many men in the 1700s, Mozart wore a
powdered wig. A wig was considered very
fashionable, but it also kept people from having
to wash their hair every day and reduced the
spread of lice.
happy working for the Prince due to the low salary of 150 florins per year. He resigned in 1777.
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He left Salzburg and went to Mannheim, where he met the Weber family. He fell in love with Aloysia
Weber, a singer and one of four sisters. He could not find a job and his father wanted him to come back home. Mozart went to see Aloysia instead, who broke up with him. He then reluctantly took a position in Salzburg in 1779.
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He later moved in with the Webers, who had moved from Mannheim to Vienna. By that time, Aloysia had married another man, so Mozart turned his attention to her sister, Constanze. Leopold did not approve of the marriage, but they were married on August 4, 1782, a day before his father’s consent came in the mail.
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• Wolfgang and Constanze had six children, but only two boys survived: Karl Thomas and Franz Xavier.
Neither of them married or had children.
• Wolfgang and Constanze lived lavishly, keeping servants, sending their children to private schools and renting expensive apartments. He became a Freema-
son in 1784, a period when he was struggling greatly. Mozart wrote letters to his Masonic friends asking to borrow money and went on trips to Germany to look for jobs. He suffered depression in his finances and his psyche.
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His final work, Requiem, was commissioned by a nobleman Mozart did not know. He wrote from his sickbed but left the work unfinished. One legend has it that Mozart thought he was writing it for himself.
• He became ill during the month of September, with symptoms intensifying on November 20, sending
Mozart to bed with pain, swelling and vomiting.
• Mozart died on December 5, 1791, at 35 years old. His death certificate lists “severe miliary fever” as the cause of death. Many theories abound as to what today’s diagnosis would be, such as trichinosis,
• By 1791, Mozart was in better financial shape and had mercury poisoning, rheumatic fever, influenza or
a great year in composition. He wrote The Magic Flute, kidney disease.
a piano concerto, a clarinet concerto, a string
• Mozart’s burial was in a common grave with few quintet and the choral piece Ave Verum Corpus. He mourners. Although sad for us today, this was the received money from wealthy patrons in Hungary and Viennese custom of the day. Memorial services in
Amsterdam and sold some dance music. He began Vienna and Prague were well attended and publishers paying back his debts and premiered La Clemenza de vied for the chance to produce editions of his works.
Tito on September 6. He conducted the premiere of • In 1809, Constanze married Georg Nikolauss von The Magic Flute on September 30.
Nissan, a Danish diplomat, who wrote a biography on • Mozart has been the subject of legends and myths, Mozart.
even seen in our time in the movie Amadeus.
Some of the stories surrounding his death have been exaggerated.
FEATURED WORK
Symphony No. 39 in E-flat Major, K.543, Mvt. I or III
CLASSROOM ACTIVITY 1: Introduction to Mozart
4.MR.1.1 Illustrate perceptual skills by moving to, answering questions and describing aural examples of music of various styles and cultures.
4.MR.1.2 Explain personal preferences for specified musical works and styles, using appropriate music terminology.
Objective: To introduce the students to the form of movements I and III.
Materials: Teacher Book, Student Book, Education Concert CD
Process:
1. Introduce Mozart to the students. Share date of birth, place of birth and some fun facts about the composer.
2. Introduce students to the featured work: Symphony No. 39, Movement I and/or Movement III.
• Mozart’s Symphony No. 39 was one of the last three symphonies he composed. He composed these
three symphonies within just six weeks during the summer of 1788. Symphony No. 39 is one of tender cheerfulness and grace.
• The symphony has four movements: Adagio-Allegro, Andante, Minuet and Allegro.
3. Movement I, Adagio, opens with a majestic introduction of fanfares in the brass section. The Allegro section that follows is in sonata form.
4. Movement III, Minuet, is based on the traditional minuet dance in 3/4 meter. The form is A-B-A. The A section is made up of phrases that start forte and end piano. The B section is lyrical and peaceful, using piano dynamics.
Note: A Sonata Form Chart is provided at the end of this Classroom Activities manual.
Fundamental of Music: Dynamics
Dynamics are the softness or loudness of a sound in music, also known as the volume. For example, forte means loud
and piano means soft.
4.ML.2.3 Interpret standard symbols and traditional terms for dynamics, tempo and articulation
while performing music.
In the Harvard Concise Dictionary of Music and Musicians, dynamics are defined as:
a. the various degrees of loudness called for in performance
b. directions and symbols used to indicate degrees of loudness
4.MR.1.1 Illustrate perceptual skills by moving to, answering questions about and describing aural examples
of music of various styles and cultures.
Italian Word
Abbreviation
Definition
pianissimopp
p
Very soft
Soft
mezzo piano
mp
Moderately soft
mezzo forte
mf
Moderately Loud
forte
f
fortissimo
ff
Very loud
sforzando
sfz
Strong, loud accent
crescendo
<
Gradually louder
decrescendo/diminuendo
>
Gradually softer
CLASSROOM ACTIVITY 2: Terminology of Dynamics
4.ML.2.4 Use standard Symbols to notate rhythm, meter, and dynamics in simple patterns.
Objective: Students can understand and recall correct terminology used in music to describe dynamics.
Table of Dynamic Markings
piano
•
to Mozart’s Symphony No. 39, Movement I and III
In today’s concert, you will hear either the first or third movement from Mozart’s Symphony No. 39 in E-flat Major. This
is the first of three symphonies composed in rapid succession in the summer of 1788, yet the date of its premiere is
unknown. Historians do not even know if Mozart had the opportunity to hear this composition during his lifetime. You
will notice that the beginning of the first movement opens with a majestic introduction heard in the brass section. This
grand opening contrasts with the sound you will hear throughout the rest of the movement. Listen carefully for the
dynamic differences.
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Loud
Materials: Table of Dynamic Markings and Dynamic Flash Cards
Process:
1. Read and review dynamic terms in Italian.
2.
Form a circle with students.
• Start in a crouch down position with knees and elbows touching the floor.
• Whisper: pianissimo.
• Sit on feet and speak quietly: piano.
• Go up on knees and speak a bit louder: mezzo piano.
• Stand and speak normally: mezzo forte.
• Raise arms out from chest and speak forcefully: forte.
• Jump, arms circle up and speak exuberantly: fortissimo.
• Repeat process backwards.
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3. Show dynamic flash cards and ask students to give the English meanings to the Italian words.
4. Display the Table of Dynamic Markings for students to check and read the English meanings.
Note: A set of Dynamics Flash Cards and Table of Dynamic Markings is provided at the end of this Classroom Activities manual.
Materials: Dynamics flash cards, dynamics listening chart, themes 1 and 2, Education Concert CD
Process:
1. Play theme 1 for students on the piano. Students will sing theme 1 using words. Using dynamic flash cards,
students will choose the dynamic level to sing. Repeat several times.
CLASSROOM ACTIVITY 3: Is it forte or piano?
2. Repeat process for Theme 2.
4. Students will listen to Movement I, Exposition, Development, Recapitulation, and record the dynamics they hear.
5. Students will discuss and compare with a partner what they recorded on their chart.
4.ML.2.3 Interpret standard symbols and traditional terms for dynamics, tempo and articulation while performing music.
Note: Themes 1 and 2 and the Listening for Dynamics Chart are provided at the end of this Classroom Activities Manual.
3. Hand out the Listening for Dynamics chart to students.
6. Allow several students to share their charts with the class.
5.ML.1.3 Use instruments to perform rhythmic, melodic and chordal patterns accurately and independently on classroom rhythmic, melodic, and harmonic instruments.
CLASSROOM ACTIVITY 5: Playing piano and forte with instruments
Objective: Teach students how to perform dynamic changes similar to those in Mozart’s Symphony No. 39.
Materials: Introduction rhythm score, drums with mallets, triangles, Education Concert CD
Process:
1. Review dynamic markings with the class.
2. Students will listen to the Introduction of Mozart’s Symphony No. 39, Mvt. I (00:00-01:45).
When the dynamic level is f, students will open their hands to show they hear forte.
When the dynamic level is p, students will close their hands to show they hear piano.
5.ML.1.3 Use instruments to perform rhythmic, melodic and chordal patterns accurately and independently on classroom rhythmic, melodic and harmonic instruments.
3. Display the Introduction Rhythm Score. Ask students to identify in the score where they would play forte and where they would play piano.
Objective: Students will learn to apply their knowledge of form and dynamics by playing with in an ensemble setting.
4. Students will read and speak the rhythms for the different instruments using loud and soft voices.
Materials: Drums with mallets, triangles, finger cymbals, maracas, rhythm cards, dynamic flash cards, sonata form cards.
5. Divide class into two groups and hand out instruments. Practice playing the rhythm patterns.
6. Divide each group into two groups.
7. Half of the students will play instruments along with the recording of the Introduction. The other half of the class will listen and peer assess the success of students playing.
8. Switch groups and repeat.
Note: The Introduction Rhythm Score is provided at the end of this Classroom Activities Manual.
CLASSROOM ACTIVITY 4:
Singing and Listening for Dynamics, Themes 1 and 2
4.ML.1.1
4.ML.2.1
Apply expressive qualities when singing or playing a varied repertoire of music representing genres and styles from diverse cultures.
Interpret rhythm patterns, including whole, half, dotted half, quarter and eighth notes and rests in 2/4, 3/4, and 4/4 meter signatures.
Objective: Students will apply their knowledge of dynamics while they listen to develop active listening skills.
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Process:
1. Review dynamic markings with the class.
2. Students will listen to Movement I as they follow the Listening Map to discover the dynamics
and the different sections of the sonata form.
3. Display the Rhythmic Patterns for the different sections of the sonata.
4. Students will identify the different note values, read and clap the rhythms.
5. Divide the class into 3 groups:
• Themes, Bridge and Development, with a student leader for each group.
• Each leader will be in charge of listening and cuing the groups regarding what dynamics to play by holding up the dynamic flash card.
• Themes 1 and 2 will play their assigned rhythm pattern on the triangles.
• Bridge Group will play their assigned rhythm pattern on drums; maracas if forte and triangles/finger
cymbals if piano. (You will need 2 sections within the Bridge Group)
• Development Group will play their assigned rhythm pattern on drums; maracas if forte and triangles/finger cymbals if piano. (You will need 2 sections within the Development Group.)
6. Students will listen to the exposition and development of the Mozart Symphony and play their pattern with the correct dynamic level as directed by their leader.
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7. Each group will discuss how successful they were in playing the correct dynamics, rhythms and following their leader. They will share with the class what they would change to be more successful.
Note: The Listening Map and the Rhythmic Patterns are provided at the end of this Classroom Activities manual.
CLASSROOM ACTIVITY 6: Dance and Movement
Dance steps:
Have students start in a large standing circle with feet apart and hands by their sides. Teach the dance by having the
students echo the text below (which accompanies the measure numbers) after the teacher, one phrase at a time, to
help them internalize the dance steps:
1. Ask students to identify how the text helps them feel the 3/4 beat in their bodies.
2. If necessary, prompt students to remember syllabic emphasis can help with the movement.
3. See below:
mm.1-4:
Bow to the inside then please stand back up, (students bend forward slowly and up slowly)
mm. 5-8:
Bow to the outside then please stand back up, (students turn around so that all backs are to the inside of the circle and bend forward slowly and back up slowly)
4.ML.2.4 Use standard symbols to notate rhythm, meter and dynamics in simple patterns.
Objective: To recognize and feel the pulse of a 3/4 time signature and learn fundamental dance movements and
traditions.
Materials: Education Concert CD, Teacher Book, CD player, drums, sticks, score to Mozart’s Symphony No. 39
Process:
1. Play this movement from Mozart’s Symphony No. 39, Mvt. I and ask the students to sway to the beat of the music.
mm. 9-12: Rock-2-3, Rock-2-3, Right-Left-Right-Left, (students are turned back to the center and rock back for three beats, forward for three beats and then “hop” on right foot, left, right, and left to the beat)
mm. 13-16:Grab two new hands and then start it again (students will move from large circle setting to grab
a partner’s hands)
(take the repeat)
mm. 1-4:
Bow to your partner then please stand back up, (students face each other and boys bow while
girls wait for the curtsy)
mm. 5-8:
Curtsy to your partner then please stand back up, (students face each other and girls curtsy while
boys wait)
mm. 9-12: Rock-2-3, Rock-2-3, Right-Left-Right-Left (students hold hands and face each other and one student rocks back while the other rocks forward first)
mm. 13-16:Circle your partner, move just like a clock (students lock arms with their partners in order to move around each other in a clockwise direction)
mm. 17-20:Turn with your partner, don’t let them go now, (students grab hands with their partners and lean slightly backwards in order to turn in a clockwise direction)
mm. 21-24:Move to the circle to start it again (students move away from pairs and move back to the large
circle setting)
2. Before displaying the score, ask students to guess what the time signature is of this piece.
Did they feel the beat in “2,” “3,” or “4,” in their bodies?
3. Before providing the answer, teacher will play the selection again and ask the students to perform the following pattern with them. (Pat, clap, clap).
Sonata Form
4. Next, have the students feel the movement of the song in their bodies by standing up and performing the pattern (step, clap, clap) with the teacher.
5. Lastly, before displaying the score, ask for student volunteers to demonstrate this beat “feeling” on the drums by playing the three beat pattern on drums while the rest of the class performs the body percussion (pat, clap, clap) with a partner.
• Perform this exercise as a call and response in order to prepare the students for the dance steps that will come next. Teacher will have the students use the drums as the call and the partners of students will be the response. Help the students with this by saying, “you, 2, 3…..me, 2, 3.”
Sonata Form Chart
Movement I
Exposition
Exposes Themes 1 and 2
Bridge passages between themes
Development
Development of thematic material
Fragmentation of melody
Rapid modulation to new keys
Recapitulation
Recaps Themes 1 and 2
Shorter than exposition
Bridge passages between themes
6. Once students have performed this body percussion and drumming exercise, see if the children can identify the time signature. Display the score for students to verify the 3/4 meter.
7. Facilitate discussion with students on the difference between tempo and meter.
8. Ask students what the tempo of this movement is and whether or not the tempo varies or stays constant.
Note: The score to Mozart’s Symphony No. 39 is part of public domain and can be found at:
http://imslp.org/wiki/Symphony_No.39_in_E-flat_major,_K.543_(Mozart,_Wolfgang_Amadeus)#Full_Scores
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Mozart Symphony No. 39, Mvt. 1
Table of Dynamic Markings
Italian Word
Abbreviation
Definition
pianissimopp
piano
p
Soft
mezzo piano
mp
Moderately soft
mezzo forte
mf
Moderately loud
forte
f
Introduction Rhythm Score
Very soft
Loud
fortissimo
ff
Very loud
sforzando
sfz
Strong, loud accent
crescendo
<
Gradually louder
decrescendo/diminuendo
>
Gradually softer
Mozart Symphony No. 39, Mvt. I
Themes 1 and 2
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Name: ___________________________________
Listening Map
Mozart’s Symphony No. 39, Mvt. I
Flutes, Clarinets, Bassoons, Horns, Trumpets, Timpani, Violins, Violas, Cellos, Basses
Listening for Dynamics:
Mozart Symphony No. 39, Mvt. I
Sonata Form
Dynamics
Introduction
Exposition: Theme 1
Bridge
Exposition: Theme 2
Bridge
Development
Recapitulation: Theme 1
Bridge
Recapitulation: Theme 2
Coda
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Rhythmic Patterns for Symphony No. 39, Mvt. I
Score for Introduction to read and play
Exposition
Theme 1 Pattern
Dynamic = piano
Triangles:
Bridge between Theme 1 and 2
Dynamic = forte
Drums with mallets:
Maracas added during the dotted half note pattern of the drum when the violins play the 16th notes run.
Maracas:
Bridge
Dynamic = piano
Triangles:
Exposition
Theme 2 rhythm pattern
Dynamic = piano
Triangles:
Development
Dynamic = forte
Drums with mallets:
Development
Dynamic = piano
Triangles and/or finger cymbals:
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pp p
mp mf
f ff
Dynamics Flash Cards
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Call Chart to the “Cakewalk”
CLAUDE
0:00Introduction
0:08
A (mostly faster, with rubato)
0:56B
2:14A
2:54Coda
“Golliwogg’s Cakewalk”
from Children's Corner,
Suite for Orchestra
Born: August 22, 1862, Saint-Germain-en-Laye, France
Died: March 25, 1918, Paris, France
At your concert you will hear “Golliwogg’s Cakewalk” from Debussy’s Children’s Corner, Suite for Orchestra. Written for
Debussy’s daughter, Claude-Emma, when she was three years old, the Suite was inspired by the toys in the girl’s closet.
When you hear the Cakewalk, listen for the dance-like pulse and how the orchestra stretches the speed of the music,
just like a dancer in motion.
Fun Facts about Debussy (in Student Book)
• Debussy’s daughter’s nickname was “Chou-Chou,” which is a term of endearment that means “favorite” in French.
• Debussy’s music represented a major transition from Romanticism to 20th-century music.
• Debussy suffered from cancer, so he rarely composed during WWI. He died in 1918.
• His objective was to liberate music from past
conventions and traditions.
• Rather than repeating and developing melodies as
previous composers did, Debussy fit together short, melodic fragments “like pieces of stained glass.”
FEATURED WORK
“Golliwogg’s Cakewalk” from Children’s Corner, Suite for Orchestra
Debussy dedicated his Children’s Corner to his then three-year-old daughter, Emma-Claude. The piece was published
in 1908, a time when ragtime and jazz were becoming very popular. Debussy experimented with these ragtime characteristics in this piece by using syncopations in the higher register against a steady march-like rhythm in the lower
register. The last movement of six in Children’s Corner, “Golliwogg’s Cakewalk,” is said to be the most comical and
entertaining. Although the “cakewalk” is indeed a type of dance, Debussy didn’t actually intend for anybody to dance
to his cakewalk.
•
Italian
English
Metronome Marking
Largo
Slow
40-50 bpm
Adagio
Leisurely
66-76 bpm
Andante
Walking Pace
76-100 bpm
Moderato
Moderately
106-116 bpm
Allegro
Quickly; Happily
120-146 bpm
Presto
Fast
168-200 bpm
to Debussy’s “Golliwogg’s Cakewalk” from Children’s Corner, Suite for Orchestra
CLASSROOM ACTIVITY 1: Tempo Cakewalk
3.ML.2.3 Recognize standard symbols and traditional terms for dynamics, tempo and articulation.
Debussy ’s Life
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Tempo Chart
Too poor to care for him, Claude Debussy’s parents sent their young son to live with an aunt, a decision that would
change not just his boyhood, but his entire life. Debussy’s aunt introduced the young boy to music through live concerts
and piano lessons, and immediately Debussy was hooked. He was just ten years old when he entered the Paris Conservatoire, the best music school in France. Debussy wanted to be a composer, but he disliked his teachers’ many rules for
music writing. Instead, as he grew up, he searched for a sound that, in his words, would “please his own ears.” Along
the way, he became friends with painters and poets like Claude Monet and Pierre-Auguste Renoir. They would all be
grouped together as Impressionists, a term for an artist who was part of a famous and popular artistic movement, Impressionism, that broke all of the rules that came before.
• Most of Debussy’s music was written for solo piano and later arranged for a full orchestra, including this Suite.
Fundamental of Music: Tempo
Tempo is the rate or speed at which music is played. In other words, it’s how fast or how slow the music goes.
Ragtime is a style of jazz characterized by elaborately syncopated rhythm in the melody and a steadily accented accompaniment.
5.CR.1.2
Objective: Students will show various tempo changes and knowledge of musical terms while moving to music.
Materials: Education Concert CD, paper plates or jumbo music spots, tempo definitions on cards
Process:
1.Write Largo, Adagio, Andante, Moderato, Allegro and Presto on the board. Explain that these are terms used to describe tempo (how fast or how slow the music goes). Allow students to create movements for each term.
For example:
• Largo = Crawl
• Adagio = Small Steps
• Andante = Walking
• Moderato = Skipping
• Allegro = Jogging
• Presto = Running
2. Allow students to listen to music and determine the tempo of the A theme, as well as the tempo of the B theme. Encourage your students to use the appropriate musical terms for each theme.
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3. Place paper plates or jumbo music spots in a circle on the floor with a tempo definition placed underneath.
4.
During the A theme of the song, allow students to perform a cakewalk, keeping the steady beat while
moving from each spot. Pause the music at any time and name a color. If a student is standing on that color, they
must look under their spot and accurately place their definition under the correct tempo term on the board.
Continue this throughout the B theme, assessing students’ change in pace as the tempo changes.
Assessment: Assess student as he/she demonstrates the correct movement to match the tempo of each section as
well as an understanding of each musical term.
CLASSROOM ACTIVITY 2: Moving to the Tempo
Objective: Students will add instruments to the A section of the music, choosing different instruments to match the
character of the different phrases.
Materials: Education Concert CD, classroom percussion instruments, scarves (or parachute)
Process:
1. Identify the phrases of the A section (there are eight phrases and each phrase is eight beats long). It may be
helpful to have the class work as a group to fill out a Phrase Chart for Debussy’s “Cakewalk,” identifying the
phrases and the characteristics of each phrase. Then work as a class to identify which classroom instruments would best match each individual phrase. Have students clearly explain why the particular instrument they suggest matches the phrase. (For example: I would play the sandblocks with this phrase because it is soft.)
2. Divide students into eight groups, with each group having the appropriate instruments for its phrase. Have the students play for eight beats along with their phrase while matching the rubato used.
3. During the B section have the students wave scarves or wave a parachute to match the more gentle and flowing mood of the music.
3.MR.1.2 Use musical terminology when describing music that is presented aurally.
Note: A Phrase Chart for Debussy’s “Cakewalk” is provided at the end of this Classroom Activities manual.
Objective: Students will show the contrasting tempos of the section by moving with different pieces of equipment.
Materials: Education Concert CD, rubber balls, scarves or stretchy bands
CLASSROOM ACTIVITY 4: You’re the Conductor
3.MR.1.1 Illustrate the corresponding response to conductor gestures for meter, tempo and dynamics.
Process:
1. Have students identify the A section as having a faster tempo in general (although rubato is used) and the
B section as having a slower tempo with a less well-defined strong beat. Define the term rubato.
• Rubato is the temporary disregarding of strict tempo to allow an expressive quickening or slackening.
2. Have students bounce a ball on the steady beat during the A section. Encourage students to feel the variations in the strong beat and how the tempo speeds up and slows down slightly throughout the section.
Objective: To provide students with the opportunity to develop an understanding of various conducting patterns.
3. Have students mirror each others’ movements to match the slower, less well defined beat of the B section.
You may want to have students hold scarves to connect their hands so that they do not have touch, but can feel the pull of the other person as they match the tempo. See following image:
Materials: Education Concert CD, classroom percussion instruments
5.MR.1.3 Exemplify appropriate behaviors as a participant and observer of music in relation to the context and
style of music performed.
Process:
1. Speak with students about the role of the conductor and how important it is for every musician in the orchestra
to watch for cues from the conductor. Inform students that the conductor’s hand movements indicate the tempo of the music and help the musicians play together.
2. Introduce the 2/4 conducting pattern to students. Draw the 2/4 conducting pattern on the board. Encourage students to practice this pattern with their right hand keeping the steady beat.
CLASSROOM ACTIVITY 3: Instrumental Accompaniment to “Cakewalk”
3.ML.1.1 Apply elemental changes, including changes to dynamics, tempo, timbre or texture, when singing
or playing music.
3.ML.3.2 Create soundscapes using a variety of sound sources.
3.MR.1.1 Illustrate the corresponding responses to conductor gestures for meter, tempo and dynamics.
4.ML.1.1 Apply expressive qualities when singing or playing a varied repertoire of music representing genres and styles from diverse cultures.
3. Play “Golliwogg’s Cakewalk” from Children’s Corner, Suite for Orchestra and allow students to conduct while
listening. After they have listened to the song, ask students to describe what happened to the tempo during the song? Did it get faster or slower? How does this affect your conducting patterns?
4. Allow one student to stand in front of the class, representing the conductor, and give other students rhythm sticks or some variation of classroom percussion instruments. Begin the music again and have all students follow the cues of the student “conductor.” Allow several students to gain the experience of being the conductor.
5. After listening to the music ask students to identify the form of this piece (Intro-A-B-A). Ask students to define the differences between to two themes. Which theme is faster? Which theme is slower?
Assessment: Assess student as he/she conducts in the 2/4 pattern while listening to “Golliwogg’s Cakewalk” from
Children’s Corner, Suite for Orchestra. Assess student as he/she performs on instruments while following the cues of
the conductor.
4.ML.3.2 Create compositions and arrangements using a variety of traditional and non-traditional sound sources.
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Phrase Chart for “Golliwogg’s Cakewalk” from Children’s Corner, Suite for Orchestra
Phrase Number
Characteristics
PIOTR ILYICH
Waltz from
The Sleeping Beauty
Instrument Choice
1
Born: May 7, 1840, Votkinsk, Russia
Died: November 6, 1893, Saint Petersburg, Russia
2
3
4
Piotr Ilyich Tchaikovsky didn’t start out as a great musician. Though he had played the piano since he was four years
old, he first studied law and got a job with the government. His love of music won out, however, and he was soon
back in school, this time at the famous Saint Petersburg Conservatory. His compositions shot him to stardom, especially for the way they combined classical music with Russian folk tunes. A rich widow, Nadezhda von Meck, took a liking
to Tchaikovsky’s music and offered to pay him a regular salary so that he could focus on composing. The pair wrote
more than 1,200 letters to each other but never met, remarkable for a relationship that produced some of the most
famous music of the past 200 years.
Tchaikovsky is most often remembered for his ballets, including one you always hear around the holidays,
The Nutcracker. At your Symphony concert, you’ll hear a piece from another famous ballet, The Sleeping Beauty.
The music is a waltz, played when Sleeping Beauty dances at her birthday party. You may remember it from Disney’s
movie Sleeping Beauty, as “Once Upon a Dream.” Listen closely to the swaying waltz rhythm and imagine how
Sleeping Beauty might have danced.
Fun Facts about Thaikovsky (in Student Book)
5
6
7
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• Tchaikovsky loved nature and one of his favorite
hobbies was searching for wild mushrooms
when out on long walks.
• His family was very wealthy. They lived in a large house with many servants.
• He was very orderly and kept to a rigid schedule.
Tchaikovsky ’s Life
•
Tchaikovsky’s musical training began at an early age. After attending a concert with his parents and
siblings, he complained about not being able to fall asleep because of the music stuck in his head.
• Tchaikovsky’s music is influenced by the Italian operas, French ballets and German symphonies.
•
Even though Tchaikovsky was considered a good musician, his piano teacher informed his parents that he would never be a great composer or performer. His parents forced him to study law instead of music. Even in law school, Tchaikovsky continued to study music.
• Swan Lake was considered Tchaikovsky’s most
successful ballet because of how well it supposedly appeals to a broad audience range.
• Tchaikovsky reportedly found consolation and rest in the music of Mozart.
•
• In 1877 Tchaikovsky married Antonina Miliukova, who was his student at the conservatory. They separated two months into their marriage, though never
divorced.
Just nine days after the first performance of his Sixth Symphony, “Pathétique,” in 1893, Tchaikovsky died. His death was possibly a suicide, although the manner and circumstances are uncertain.
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FEATURED WORK
Fundamental of Music: Form
Form is the way a piece of music is organized or structured. Students may view it as the order of same and different
sections. The form of the Waltz from The Sleeping Beauty is Intro-A-B-A-C-A-B-A Coda. This is a type of rondo.
• This ballet is Tchaikovsky’s longest and lasts nearly four hours.
• Tchaikovsky made ballet writing respectable for serious composers.
Call Chart
• None of Tchaikovsky’s three ballets were an immediate success, but they all became famous over time.
• The score for The Sleeping Beauty is more lighthearted than that of Swan Lake. This may be due to the three-year-
old daughter of a friend’s servant, who was living with them at the time.
0:00Introduction
0:37A
1:05B
1:40
A (with flutes underneath)
2:15C
2:47A
3:16B
3:50A
4:15Coda
• The Sleeping Beauty premiered at the Mariinsky Theatre in Saint Petersburg in 1890.
• The work was a collaboration among Tchaikovsky, the choreographer Marius Petipa and the ballet director
Ivan Vsevolozhy. Petipa gave Tchaikovsky very detailed instructions about the music that he needed, including length, style, time signature, etc.
• The music is very balanced and light, matching a story where good triumphs over evil. It is well suited to ballet due to strong melodic lines, theatrical sense and rich orchestration.
• The music critic Harold Schonberg states that Tchaikovsky’s ballets are like opera except that the “voice parts are scored for dancers instead of singers.”
• Tchaikovsky composed at a very fast pace. Experts think he finished the overture, prologue and most of the outline for Acts I and II in three weeks.
• It is based on the story La belle au bois dormant written in 1697 by Charles Perrault.
• The Waltz is the sixth piece in the ballet and the second in Act I. As the only large, formal dance movement in the score, it serves no plot function. It is just a celebration.
Fundamental of Music: Rhythm
Rhythm is the combination of long sounds, short sounds and rests. This usually makes a regular pattern.
A waltz is in 3/4 time with a strong emphasis on the downbeat of each measure. Additionally, this piece makes use of
accents in the B section and syncopation in the C section.
Prologue:
The king and queen have been anxiously waiting for the birth of their only child. After her birth the king calls for a
grand christening celebration. Everyone in the kingdom has been invited and six good fairies are asked to bestow their
blessings on the daughter, Aurora. Each of the fairies is dressed in a different color and has a different gift to present. As they are giving their blessings they are interrupted by the arrival of the wicked fairy, Carabosse. She is angry
and insulted that she was not invited to the ceremony. She curses Aurora, so that one day she will prick her finger
on a spindle and die. After Carabosse is finished the Lilac Fairy steps forward to bestow her gift and promises that,
although Aurora will prick her finger, she will not die but rather fall into a deep sleep until she is awoken by the kiss of
a prince.
3.CR.1.1
Exemplify how music is used by various groups for artistic expression within the local community.
Act One:
On Aurora’s 18th birthday, village girls perform the Waltz while holding garlands of flowers. Princess Aurora arrives
and dances the famous Rose Adagio. Many other dances follow. Then a strange old woman arrives. She gives Aurora
a spindle. Aurora has never seen such an object, as they have been forbidden in the kingdom, and it fascinates her.
She dances with the spindle, pricks her finger and falls to the ground as Carabosse disappears. The Lilac Fairy returns
to fulfill her promise. Aurora is carried inside the palace where she and everyone in the palace will sleep until the
arrival of the prince.
5.CR.1.2
Act Two:
One hundred years later the Prince is out hunting. The Lilac Fairy shows him a vision of Aurora dancing, and he instantly falls in love. He begs the Lilac Fairy to guide him to the castle, and she quickly agrees. When the Prince discovers the overgrown castle he must battle with Carabosse who tries to prevent him from entering. Once inside he finds
Aurora and wakens her with a kiss. He declares his love for Aurora, and the king and queen give their blessing to the
marriage.
Act Three:
The palace is prepared for the wedding. The fairies return for the celebration along with many different fairy tale characters, including Puss in Boots, Red Riding Hood, the Wolf and the Bluebird. Everyone joins in a dance of celebration.
The Prince and Princess are married and are given a blessing by the Lilac Fairy.
to Tchaikovsky’s Waltz from The Sleeping Beauty
CLASSROOM ACTIVITY 1: Tchaikovsky’s Theatre; The Sleeping Beauty
Common Core State Standards:
RL3.2
Recount stories, including fables, folktales and myths from diverse cultures; determine the central
message, lesson or moral and explain how it is conveyed through key details in the text.
RL4.3
Describe in depth a character, setting or event in a story or drama, drawing on specific details in the
text (e.g. a character’s thoughts, words or actions).
RL 5.5
Explain how a series of chapters, scenes or stanzas fit together to provide the overall structure of
a particular story, drama or poem.
Objective: Students will gain familiarity with the story of The Sleeping Beauty.
Materials: Education Concert CD, Teacher Book, Student Book
Process:
1. Introduce the story of The Sleeping Beauty to students.
2. Have students perform Tchaikovsky’s Theatre; The Sleeping Beauty.
Note: Tchaikovsky’s Theatre; The Sleeping Beauty is provided at the end of this Classroom Activities manual.
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CLASSROOM ACTIVITY 2: Waltzing Bear Rhythms
3.MR.1.1 Illustrate the corresponding response to conductor gestures for meter, tempo and dynamics.
Objective: Students will move to show the different sections of Rondo Form while emphasizing the rhythmic focus of
each section.
3.MR.1.4 Identify the sounds of a variety of instruments and voices, including many orchestral instruments,
instruments from various cultures, children’s voices and male and female adult voices.
Materials: Education Concert CD, cards labeled A, B and C
4.ML.2.1 Interpret rhythm patterns including whole, half, dotted half, quarter and eighth notes and rests in 2/4, 3/4, and 4/4 meter signatures.
Process:
1. Students will listen to and learn to identify the major features of each of the three sections to the Waltz.
4.MR.1.1 Illustrate perceptual skills by moving to, answering questions about and describing aural examples
of music of various styles and cultures.
2. Students will listen to music and indicate each section as they hear it by holding up a card or showing a sign
language letter with their hand.
4.MR.1.4 Classify instruments into Western orchestral categories of wind, string, percussion and brass.
3. Students will add movements to each section to indicate a clear understanding of when the sections change.
• Students will perform a pat-clap-clap pattern to match the 3/4 meter of the piece.
• Students will punch to front on four accented notes and then step side to side on the strong beat (almost like a modified waltz).
• Students float their hands out to the side on the syncopated pattern. Right hand out and back. Left hand out and back. Both hands out and back. Both hands up and down.
5.ML.2.1 Interpret rhythm patterns, including whole, half, dotted half, quarter, dotted quarter eighth and sixteenth notes and rests in 2/4, 3/4, 4/4 and 6/8 meter signatures.
5.MR.1.2 Use appropriate terminology in explaining music, including notation, instruments, voices and
performances.
Objective: Students will identify the waltz as a 3/4 meter and will practice the waltz step with both a familiar song
from the textbook and with the Waltz from The Sleeping Beauty.
Materials: Silver Burdett Making Music 3rd Grade Texts CD 6, Education Concert CD
Process:
1. Have students listen to the recording of “Waltzing with Bears” (CD 6-14) and pat the steady beat.
Have students look at the paw prints on pages 170-171 and explain that they represent the beats in the music.
Help them to identify the biggest paw as being the strongest beat, falling on beat one. Identify the meter of the piece as 3/4.
Assessment: Visually survey each child to see if he/she demonstrates the correct movements to match each section.
Students can be scored based on a 1-4 rubric.
1. Student does not attempt the activity.
2. Student is unable to match the correct movement with each section, even with teacher modeling.
3. Student matches the correct movement with each section teacher modeling.
4. Student independently matches the correct movement with each section without teacher modeling.
Note: Themes A, B and C are provided at the end of the Classroom Activities manual.
2. Have students add a 3/4 conducting pattern to “Waltzing with Bears.”
3. Help students to identify this style in 3/4 meter as the waltz. The waltz comes from a country dance in Germany and Austria. It is always in 3/4 meter, although the tempo may vary. Many famous waltzes were written in
Vienna, Austria.
CLASSROOM ACTIVITY 4: Rondo for Lunch
4. Have students practice dancing the waltz step. The pattern is STEP right, TOUCH left, TOUCH right then STEP left, TOUCH right, TOUCH left. Point out that students should feel the three beats as they move. Add the waltz step to the music.
5. Students will transfer the waltz step and the 3/4 conducting pattern from “Waltzing with Bears” to the Waltz from The Sleeping Beauty.
(Silver Burdett Making Music 2010 adoption, Grade 3, Unit 5, Lesson 4, pp 170-173, Waltzing Bear Rhythms)
CLASSROOM ACTIVITY 3: Moving to the Waltz from The Sleeping Beauty
3.ML.2.1 Interpret rhythm patterns, including notes and rests in 3/4 and 4/4 meter signatures.
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4.ML.2.1 Interpret rhythm patterns, including whole, half, dotted half, quarter and eighth notes and rests in 2/4, 3/4 and 4/4 meter signatures.
Objective: Students will identify a rondo as a repeated section alternating with contrasting sections (e.g. A-B-A-C-A).
Materials: Silver Burdett Making Music 3rd Grade Texts CD 7, Education Concert CD, classroom percussion instruments, notation of the main melodies in each section
Process:
1. Students will add body percussion to “A Rondo for Lunch” (CD 7-29).
• clap the rhythm
• finger snap the rhythm
• pat their knees
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2. Students will perform the entire rondo using classroom percussion instruments. Add a different instrument for each section.
CLASSROOM ACTIVITY 6: Putting It All Together
3. Students will transfer the concept of rondo from to the Waltz from The Sleeping Beauty.
4. Students will review the major features of the themes of The Sleeping Beauty, follow the call chart and determine why it is a rondo.
3.ML.1.1 Apply elemental changes including changes to dynamics, tempo, timbre or texture when singing
or playing music.
Note: A waltz pattern and a Call Chart for the Waltz is located at the end of this Clasroom Activities manual.
(Silver Burdett Making Music 2010 adoption, Grade 3, Unit 6, Lesson 5, Rondo-Rama)
CLASSROOM ACTIVITY 5: Instrumental Rondo
3.ML.2.1 Interpret rhythm patterns, including notes and rests in 3/4 and 4/4 meter signatures.
5.ML.1.3 Use instruments to perform rhythmic, melodic and chordal patterns and accurately and independently
on classroom rhythmic, melodic and harmonic instruments.
Objective: Students will add instrumental parts to each of the sections of the Waltz.
Objective: Students will perform a rondo using movement, various instruments and voice.
Materials: Education Concert CD, lyrics for The Sleeping Beauty (A), triangle (A), drums or cymbals (B) and barred Orff
instruments (C)
Process:
1. Students will listen to the Waltz from The Sleeping Beauty and follow the Listening Chart. Students should be
able to identify the form as Rondo form (Intro-A-B-A-C-A-B-A).
2. Review the melodic theme from the A section in Lesson 3 and practice singing it.
Materials: Call chart and recording of the Waltz from The Sleeping Beauty, Orff instruments, triangles, drums
3. Divide students into four groups: A theme Singers, (or A theme rhythm players (or dancers), B theme players
(or dancers), C theme players (or dancers). Allow each group to practice singing/playing/dancing during
their theme.
Process:
1. Review rondo form of the Waltz: Intro-A-B-A-C-A-B-A. Review the word “coda” with students and encourage them to listen for it during the recording.
4. Students will listen to the Waltz from The Sleeping Beauty and accurately perform a rondo. The final performances should include students singing the A theme while other students perform alternating skills during the B theme and C theme.
2. Students will listen to the Waltz from The Sleeping Beauty while following the Listening Map. Display the Listening Map and allow students to tap/clap each icon while following the rondo pattern.
3. Display the Waltz Rhythm chart and discuss patterns to be played. Practice each rhythm using body percussion before transferring to instruments.
A-Section = tap, snap, snap
B-Section = clapping hands on the strong beat
C-Section = patting rhythm on knees
4. Place instruments in groups of seven or eight and assign each student to an instrument. Practice playing rhythm pattern with each section without the music. Add the recording once the students are comfortable playing within their group.
Assessment: Observe student’s ability to accurately perform a rondo pattern.
Note: The Listening Map is located at the end of this Classroom Activities manual.
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Tchaikovsky’s Theatre; The Sleeping Beauty
Tchaikovsky’s Waltz from The Sleeping Beauty
Narrator: Once upon a time a King and Queen were sad because they did not have any children.
Queen: It would be lovely to have a daughter to shop with. The King never wants to go to the mall.
Narrator: As the Queen sat in the garden crying, a frog hopped up to her and said…
Frog: Don’t cry my dear Queen. Your wish will soon come true.
Narrator: And so, within a year, a beautiful little princess was born to the King and Queen. All of the good fairies
were invited to the christening. With them, they brought gifts of beauty, wisdom and charm.
Good Fairies <Fluttering throughout the room>: For you our beautiful princess!
Narrator: There was one fairy that was not invited to the celebration. She was not invited because she was a wicked
fairy. When she heard everyone laughing and having fun, she ran into the castle and yelled…
Wicked Fairy: When the princess is fifteen she will prick her finger with a spindle and die. <walks away laughing>
Narrator: On the princess’ fifteenth birthday she met an old woman who wanted to teach her how to sew. The
princess was very excited and decided that she would give it a try, but as soon as she did, she pricked her finger and
dropped the spindle. Everyone in the castle fell into a deep sleep (All Characters snoring loudly).
Narrator: Years and years passed and the princess still lay in the castle fast asleep. She had been asleep for so long
that roses were growing around her. One day a handsome prince was riding near the castle and an old man told him
the story of the sleeping beauty. The prince decided that he would rescue the princess.
Handsome Prince: I will rescue you my sweet princess!
Narrator: The handsome prince found the slumbering princess asleep in her tower and bent to wake her with a kiss.
The kiss from the prince not only broke the evil spell from the princess, but from everyone that was in the castle.
King, Queen and Princess <waking up from spell>: Oh my handsome prince, thank you for breaking that evil spell.
How can we ever thank you?
Handsome Prince: Oh King and Queen, you can thank me by allowing me to marry your daughter.
Narrator: The King and Queen agreed, and soon a wedding was planned for the handsome prince and princess.
All of the fairies were at the wedding, and once again they gave the princess beautiful gifts. The prince and princess
hopped into their new convertible and rode away. They lived happily ever after.
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Waltz Pattern
Listening Map
Tchaikovsky’s Waltz from The Sleeping Beauty
Call Chart
0:00Introduction
0:37A
1:05B
1:40
A (with flutes underneath)
2:15C
2:47A
3:16B
3:50A
4:15Coda
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IGOR
“Dance of theYoung Girls”
from The Rite of Spring
•
He continued to write a variety of music, from jazz to circus music to a concerto for swing band and an opera-oratorio. Several of his pieces incorporate American styles.
• Stravinsky continued to compose until his death
at age 89.
• He died in New York in 1971 and was buried in
Venice, Italy.
• In his 70s, Stravinsky’s compositions became
influenced by serialism and twelve-tone technique.
Born: June 17, 1882, Oranienbaum (Lomonosov), Russia
Died: April 6, 1971, New York City, New York
The son of an opera-singing father and piano-playing mother, Igor Stravinsky grew up surrounded by music. Strangely,
his parents didn’t want him to pursue a career in music. They encouraged him to become a lawyer, and though Igor
loved playing the piano, he at first honored their wishes. Then his father died, and Stravinsky changed his plans,
moved to Paris and became a composer. When he was 28 years old, Stravinsky wrote The Firebird, a ballet for the
famous Ballet Russes that was so popular, Stravinsky became a celebrity overnight. More ballets were demanded, and
one of them, The Rite of Spring, was so new and unusual, members of the first audience that heard it couldn’t decide
if they loved it or hated it. They argued with each other, and the argument turned into a riot. The debate about The
Rite of Spring made Stravinsky the world’s most famous living composer.
When you hear the “Dance of the Young Girls,” one of many dances from Stravinsky’s ballet The Rite of Spring, think
about how the music makes you feel. Is it rough? Is it smooth? Are many instruments playing, or only a few? In The
Rite of Spring, you’ll hear a variety of rhythms and dissonant sounds, or notes that do not sound like they are meant
to go together. Think, have you ever heard anything like it before?
Fun Facts about Stravinsky (in Student Book)
• Walt Disney’s Fantasia uses The Rite of Spring as the music depicting animated scenes of erupting
volcanoes, prehistoric forests and dinosaurs.
• Stravinsky once wrote a circus polka for fifty elephants
wearing ballet tutus.
• In 1962, President John F. Kennedy honored Igor Stravinsky at the White House on the composer’s
80th birthday.
Stravinsky’s Life
• He began piano lessons at age nine.
• Stravinsky wrote The Rite of Spring in 1913.
• While in college, he became friends with Vladimir Rimsky-Korsakov, the son of Nikolay Rimsky-Korsakov, one of Russia’s greatest composers.
•
• He studied piano and composition privately with
Nikolay Rimsky-Korsakov.
• In 1906, he married Catherine Nossenko. They had four children. She died from tuberculosis
• Sergei Diaghilev of the Ballets Russes commissioned Stravinsky to write the music for the ballet,
The Firebird.
• In 1911, he moved to Paris and wrote Petrushka. He remained in Paris after the Russian Revolution.
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By the time he was 30, the novelty, power and
elegance of his works won him worldwide admiration. It was not until much later that this piece was
considered to be one of the most important musical works of the 20th century.
• During WWI, he wrote several smaller works.
• He married Vera Sudeikin, a painter, after the death of his first wife.
• By 1939, with World War II looming, he left Europe and moved to the United States, where he became a United States citizen.
• Stravinsky eventually settled in Hollywood.
FEATURED WORK
Stravinsky’s “Dance of the Young Girls” from The Rite of Spring
The Rite of Spring, or Le Sacre du Printemps in French, is a ballet set in prehistoric Russia. It was composed between
1912-1913. The ballet shows a fertility ritual in which an adolescent girl is chosen to be sacrificed for the arrival of
spring. The musical episodes depict a wild pagan spring ritual that is observed by the elders. While the music describes
the actions and movements of what is happening on stage, today it is performed more in concerts without dancers
with great success. It premiered on May 29, 1913, at the Theatre des Champs-Elysees in Paris.
Occurring in Part I, Adoration of the Earth, “Dance of the Young Girls” is marked by primitivism with dissonant chords
and a driving pulse with unpredictable accents and ostinatos. Stravinsky created texture by layering strands of music
and ostinatos on top of each other. While the music does not have a lush melodic line, Stravinsky incorporated a
Russian folk tune and folk-like melodies in the middle of the work.
The Rite of Spring is divided into two parts:
Part I: Adoration of the Earth
• Introduction
• The Augurs of Spring (Dance of the Young Girls)
• Spring Rounds (Round Dance)
• Ritual of the Rival Tribes
• Procession of the Sage
• The Sage (Adoration of the Earth)
• Dance of the Earth
Part II: The Sacrifice
• Introduction
• Mystic Circles of the Young Girls
• The Glorification of the Chosen One
• Evocation of the Ancestors
• Sacrificial Dance (the Chosen One: L’Elue)
to Stravinsky’s “Dance of the Young Girls” from The Rite of Spring
CLASSROOM ACTIVITY 1: Experiencing Texture
4.ML.1.2 Execute the performance of vocal ostinatos, partner songs, counter-melodies and rounds in two
or more parts.
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CLASSROOM ACTIVITY 3: Listening for Texture
4.ML.3.2 Create compositions and arrangements using a variety of traditional and non-traditional sound sources.
5.ML.2.1 Interpret rhythm patterns, including whole, half, dotted half, quarter, dotted quarter, eighth and sixteenth notes and rests in 2/4, 3/4, 4/4 and 6/8 meter signatures.
4.ML.2.3 Interpret standard symbols and traditional terms for dynamics, tempo and articulation while
performing music.
5.CR.1.2
Objective: Students begin to show a relationship between instrumentation and the concept of texture.
Materials: Unpitched percussion instruments, eight beat rhythm patterns
5.CR.1.2
Process:
1. Lead a discussion with students about texture.
Objective: Students understand how ostinatos and other musical techniques combine to create texture.
2. Display several groups of unpitched classroom percussion instruments, including groups of one instrument, several instruments, woods, metals, skins, etc.
Materials: Fundamental of Music Texture Chart, Listening for Texture Chart, markers or crayons, Education Concert CD
3. Lead students in a discussion about how the different groups create new sounds, thick sounds and thin sounds.
Process:
1. Display the Fundamental of Music Texture Chart and discuss the ways Stravinsky used texture in his music.
Stravinsky used all elements of music to create the texture in “Dance of the Young Girls.”
4. Display several rhythm patterns, each at least eight beats. Students pick a pattern to read and play.
• One student picks an instrument and plays. How is this texture thin?
• Have several students read and play the pattern in several different instruments. How does this sound change the texture?
• Students now choose two rhythm patterns to read and play at the same time. Play both patterns at the same time on the same unpitched instrument. Describe the texture.
• Now play the patterns using different instruments. Describe the change in the sound and the texture.
2. Students listen to the “Dance of the Young Girls” and identify how many times they hear Ostinato 1.
3. Listen again to identify Ostinato 2.
4. Students identify how many times they hear Ostinato 2.
5. Lead students to discover that texture is the overall quality of sound. It’s how sounds are mixed together to make a whole new sound.
5. Students listen and identify if they hear a melody in the music as well as the canon.
• If students do recognize the melody, ask them to explain how they found this melody and what sounds they felt helped them find it.
6. Students complete the sentence “Texture is ____________.” and share with a partner.
6. Students will listen again to the music and color the texture chart to identify where the texture is thick/thin.
7. Students will compare chart with a partner and discuss the texture.
CLASSROOM ACTIVITY 2: Reading and Playing Ostinatos
from “Dance of the Young Girls”
5.ML.3.1 Use improvisation to create short songs and instrumental pieces, using a variety of sound sources,
including traditional and non-traditional sounds, body sounds and sounds produced by electronic means.
Objective: Students understand how an ostinato works.
Materials: Teacher Book, boomwhackers, unpitched percussion instruments, woods, metals, ostinato charts
Process:
1. Introduce Stravinsky and the featured work to students using information from the Teacher Book.
2. Display ostinato music.
3. Students will read and use body percussion to perform each ostinato.
4. Perform Ostinato 1 using all seven tones of boomwhackers.
5. Sing Ostinato 2 and perform Ostinato 3 on two different unpitched instruments.
8. Students will complete the following sentences to share with a buddy partner.
Note: The Fundamental of Music Texture Chart is provided at the end of this Classroom Activities manual.
Fundamental of Music Texture Chart
Fundamental of Music
Dance of the Young Girls
Rhythm
Pounding rhythms
Unexpected accents to create a sense of meter change
Augmentation of phrases
Patterns of threes layered over straight rhythms
Melody
Dissonance in chords and melody
Wide leaps in melodic line
Ostinatos in strings and bassoon that are constant
Canon between different instruments
Folk like melody
Layering of ostinatos and melody
Dynamics
mf, f, ff
Tempo
Guisto (in exact time)
Form
Ostinatos, canon, folk-like melody
6. Perform the Canon Ostinato using metals and woods.
Note: Ostinato 1, Ostinatos 2 and 3 and the Canon Ostinato are provided at the end of this Classroom Activities manual.
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Stravinsky’s “Dance of the Young Girls” from The Rite of Spring
Listening for Texture Chart
The instruments and rhythm created a new sound that made me think of ________________________.
Ostinato 1
The instruments played a melody that created a new sound that made me think of ________________________.
When I heard the ostinatos, the texture reminded me of ________________________.
Showing Texture with Color
The teacher will play Ostinato 1 – Color in all the families you hear.
The teacher will play Ostinato 2 – Color in all the families that you hear.
The teacher will play Twirling Section/Melody Section – Color in all the families you hear.
If texture in music means how much is happening at the same time, which section do you think has the thinnest texture?
Which section has the thickest texture?
Instruments
Ostinato 1
Ostinato 2
Twirling/Melody
Violin
Canon Ostinato
*color these orange
Bassoon
*color these purple
English Horn
Ostinatos 2 and 3
*color these red
Flute/Piccolo
*color these green
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Igor Stravinsky Word Search
Igor Stravinsky Word Scramble
Unscramble each of the clue words.
Use the letters that appear in the numbered boxes to create the final message.
TAISONTO
2
NANCO
5
YIDMNASC
7
LEMYDO
4
LEBTLA
3
SIRSUA
1
RIOG
11
8
ORFM
6
NDNACGI
9
10
P
1
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2
3
4
5
6
7
8
9
10
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LOONIS
McGlohon
Born: September 29, 1921, Ayden, North Carolina
Died: January 26, 2002, Charlotte, North Carolina
5.ML.2.2 Recognize pitches on the treble and bass staves, including ledger lines, in order to understand the
continuum of standard pitch notation.
Objective: Students practice reading music and learn to play in an ensemble setting with different instruments.
Materials: Hand drums, frame drum, mallet instruments, scores, soprano recorder
Process: Complete across two days. See below.
Process for Day One:
1. Teach the students the text that reiterates the rhythmic pattern. This text is as follows:
CHARLES
Kuralt
FEATURED WORK
Born: September 10, 1924, Wilmington, North Carolina
Died: July 4, 1997, New York City, New York
“North Carolina Is My Home” was written by two famous North Carolinians for the celebration of the State’s 400th
birthday in 1984. Loonis McGlohon, who lived in Charlotte, wrote the music and Charles Kuralt, a famous national
television reporter born in Wilmington, wrote the lyrics of the song. McGlohon and Kuralt performed this song
throughout the country and in Europe. “North Carolina Is My Home” is the theme song for a television special with
the same name produced by the North Carolina Center for Public Television.
• The students identify and recognize the notes’ rhythmic values.
• The students clap the rhythm using rhythmic syllables (ta, ti ti, tom, etc).
• Students clap this rhythm and speak it simultaneously using the text above.
• Call on a student volunteer to demonstrate the rhythm pattern on the drum.
• All students demonstrate this rhythm pattern on the drums.
2. Teacher will introduce the Orff bass metallophone part with the following text before introducing the
melodic pattern on the instrument:
The version of this song that you will hear at the North Carolina Symphony is arranged by Terry Mizesko. Terry Mizesko
is the bass trombonist in the North Carolina Symphony. A native of Morehead City, Mizesko studied composition and
trombone at East Carolina University. The North Carolina Symphony has performed compositions arranged by Mizesko
for the past several seasons.
to McGlohon’s “North Carolina Is My Home”
CLASSROOM ACTIVITY: “North Carolina Is My Home”
• Display the score and have students identify pitch names for each pitched part.
• After each individual part is notationally recognized, have students play the given notes on the
respective instruments.
3. Introduce the Orff alto xylophone part by introducing the following text and explain to the students that they only play on “my home” and “home”:
4.ML.2.1 Interpret rhythm patterns, including whole, half, dotted half, quarter and eighth notes and rests in 2/4, 3/4 and 4/4 meter signatures.
4.ML.2.4 Use standard symbols to notate rhythm, meter and dynamics in simple patterns.
4.CR.1.1
Understand how music has affected, and is reflected in, the culture, traditions and history
of North Carolina.
• Break students into two groups, one group to play the top line of the xylophone melody and one group to play the bottom line.
• Have the students switch parts in order to be knowledgeable on both parts.
• Combine the two Orff alto xylophone parts with the Orff bass metallophone parts to create a three-part harmony for all barred instrument parts.
• Once the barred instrument parts have been mastered, add the frame drums to accompany the barred instruments.
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Process for Day Two: Soprano Recorders
1. Have students learn the second recorder part first, as this part is much easier to learn.
• Have students finger the notes while saying the note names.
• Have students play the notes on the recorder with no other instruments.
• Once students have mastered this recorder part, have a few students play the recorder, a few play the barred instruments and a few play drums.
• Have students switch parts so that equal opportunity is provided for each different part.
For Two Soprano Recorders
composed by Loonis McGlohon
arranged by Linda Musten
Lesson Extension is to teach the first soprano recorder part on the end of day two for students who are prepared for
the melodic difficulty. The lesson can also be extended for students to sing the melody, which is the first recorder part,
in lieu of playing that part on the recorders.
Note: The score, percussion and recorder parts are provided at the end of this Classroom Activities manual.
B flat
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F
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55
Pitched Percussion and Drum
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For Two Soprano Recorders, Pitched Percussion and Drum
•
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For Two Soprano Recorders, Pitched Percussion and Drum
Singing with your North Carolina Symphony
At your concert, students will be asked to stand and sing “North Carolina Is My Home” with the orchestra. Although
we encourage students to memorize the lyrics, we understand that this is not always possible. At your discretion,
decide whether or not to bring song sheets or books from which your students can read. If you do choose to bring the
lyrics, please be sure students take with them all materials they bring into the auditorium as a courtesy to our venues’
clean-up crews.
music by Loonis McGlohon
lyrics by Charles Kuralt
Note: A recording of “North Carolina Is My Home” is not included on the Education Concert CD.
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Playing with Instruments at Your Concert
RICHARD
At your concert, you may notice other groups playing the song on recorders. Playing the song “North Carolina Is My
Home” on recorders is an opportunity we extend to all schools groups that attend and is completely optional. However, if you are planning to have a student group perform on instruments, here are a few things to know:
•
North Carolina Symphony Education staff members need to know that you plan to perform on recorders
before your concert. Please contact Jessica Nalbone, Director of Education, at [email protected] or
919.789.5461 or ask whoever is coordinating your concert trip to do so. Performing groups will be seated in a special section and acknowledged from the stage, so it is critical that we know you are preparing to play.
•
Schools will play on their own, unless you make arrangements with another school to perform together.
•
We may have too many individual groups performing on instruments at one concert, in which case you may be asked to perform with another school.
•
Any groups performing on recorders will do so after the orchestra plays “North Carolina Is My Home.”
•
This opportunity is open to other instruments such as violins, Orff instruments, boomwhackers, etc.
•
Please remind your students, whether they are performing or not, to be courteous and respectful of other
students’ performances at their concert.
Overture to Rienzi
Born: May 22, 1813, Leipzig, Germany
Died: February 13, 1883, Venice, Italy
Like many composers featured in your concert, Richard Wagner showed an interest in music at a very young age. He
studied piano as a boy and wrote variations on his favorite composers’ music. Yet it was opera with which he fell in
love, and Wagner, now considered one of the best opera composers of all time, perfected many of its most famous
musical techniques. For example, he loved the “leitmotif,” a melody that represents a specific character or idea in an
opera and is played whenever that subject appears. His works often build to a conclusion but rarely conclude until the
very end, so that tension grows throughout the entire work. And he also enjoyed length, as many of his operas take
several hours to perform! Altogether, these techniques showcase Wagner’s central belief, that all of the arts – music,
dance, visual arts and theater – could be brought together in one “total artwork.”
In today’s concert, you will hear the Overture, or the introduction, to one of Wagner’s first successful operas, Rienzi.
Notice how Wagner uses different dynamics, tempos, rhythms, textures and melodies to make this music more interesting. Every part of Wagner’s music means something. Let the melodies guide you as you try to imagine the opera’s
story just from its music.
Fun Facts about Wagner (in Student Book)
• Wagner composed the famous wedding song “Here Comes the Bride” for his 1850 opera Lohengrin.
• Wagner designed some new instruments such as the “Wagner Tuba” and an opera house especially for his own music.
Wagner’s Life
• He was a largely self-taught musician, although he took one course in music theory at the University of Leipzig.
• His ideal piece of music was Beethoven’s Symphony No. 9.
FEATURED WORK
•
Wagner’s Ring cycle is a gargantuan collection of four operas that are all performed separate from one an
other. You could almost think of the Ring cycle as
being similar to a movie series, such as Harry Potter or The Lord of the Rings, but with opera instead!
•
One of his first pieces was a concert overture. To keep the instrumentation straight, he wrote in different colors: red for strings, green for woodwinds and black for brass and percussion.
Overture to Rienzi
Wagner finished composing Rienzi on October 23, 1840, and its first performance was on October 20, 1842. The
piece was a great success for Wagner and helped launch him into many of his other operatic successes. Unlike his later
operatic masterpieces, Rienzi was intended to be the German version of the French grand opera. The opera is based
on the novel Rienzi, The Last of the Roman Tribunes. The plot is about a popular revolt by Roman citizens against
the nobility.
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List of Major Characters:
Cola Rienzi, Roman tribune
Irene, his sister
Steffo Colonna, a Roman patrician
Adriano, his son
Paolo Orsino, a Roman patrician
Process:
1. Introduce the concept of opera, which is a story told through music and drama. Every opera has a libretto, which is the story behind the opera.
The story is about the Roman tribune Cola Rienzi, who aspires to unify Italy. He is caught in the hostilities between two
patrician families. Paolo Orsino tries to kidnap Rienzi’s sister, Irene, but Adriano (from the opposing patrician family) is
in love with her and defends her. Rienzi is furious over the attempt and declares that he will overthrow the nobles and
win Rome and Italy for the common man. Adriano joins him in the cause due to his great love for Irene. Rienzi wins
the battle and makes plans to execute both Colonna and Orsino. Adriano intercedes on their behalf and Rienzi instead
arranges a ceremony in which they must swear allegiance to him. They plot to kill Rienzi at the ceremony but do not
succeed. Eventually the common people rise up and kill the two patricians.
3. Discuss how the story is about the conflict between the common man and the ruling class.
However, the people are fickle. They soon suspect Rienzi is in league with the German emperor and is going to return
the Roman pontiff to power. As Rienzi is on his way to church, Adriano attempts to kill him. Rienzi then finds a notice
of excommunication on the door of the church and must go into hiding. Adriano still loves Irene and warns her of
Rienzi’s danger. He wants Irene to flee with him. She instead returns to the capitol to join her brother. Rienzi appeals to
the people, but they will not listen. They set fire to the capitol and throw stones at Rienzi and Irene. Adriano sees them
and, recognizing their doom, rushes to their rescue. All three die when the building collapses.
2.
Show students the list of characters and define the terms below:
• Tribune: an official in ancient Rome chosen by the plebeians to protect their interests
• Patrician: an aristocrat or nobleman
• Plebian: a commoner
4. Share the summary of the story with the students.
5. Listen to the opening bars of the Overture. In what ways does it suggest a story about struggle and
dramatic conflict?
6. Compare and contrast the American Revolution with what happens in the opera (i.e. they both deal with
conflict between aristocracy and the common man).
7. List some different patriotic or Revolutionary War songs. How are they similar to the Overture? How are
they different?
CLASSROOM ACTIVITY 2: Themes in Rienzi
STUDENT INTRODUCTION to Wagner’s Overture to Rienzi
3.MR.1.1 Identify the sounds of a variety of instruments and voices, including many orchestral instruments,
instruments from various cultures, children’s voices and male and female adult voices.
CLASSROOM ACTIVITY 1: The Story of Rienzi
4.MR.1.1 Illustrate perceptual skills by moving to, answering questions about and describing aural example of music of various styles and cultures.
3.CR.1.1
Exemplify how music is used by various groups for artistic expression within the local community.
5.CR.1.1
Understand how music has affected, and is reflected in, the culture, traditions and history of the
United States.
RL3.2
Recount stories, including fables, folktales and myths from diverse cultures; determine the central
message, lesson or moral and explain how it is conveyed through key details in the text.
RL4.3
Describe in depth a character, setting or event in a story or drama, drawing on specific details in the text (e.g. a character’s thoughts, words or actions).
RL 5.5
Explain how a series of chapters, scenes or stanzas fit together to provide the overall structure of
a particular story, drama or poem.
Objective: Students will become familiar with the story of the opera Rienzi and be able to identify the
main characters.
Materials: Character list and summary of the story, found under the Brief Plot Synopsis in the Featured Work section.
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Objective: Students will be able to identify the main musical themes in the Overture to Rienzi and express how the
themes made them feel and why.
Materials: Education Concert CD, Call Chart to Wagner’s Overture to Rienzi, pencils
Process:
1. Show the students the call chart worksheet and identify the different themes in the music. Explain that each theme comes from a different part of the opera and represents a different part of the story.
2.
As you listen to the music as a class have each student write down the part of the story they think each theme
represents. Remind them that they need to clearly define the reasons why that music matches that part
of the story. Student theme choices do not have to match Wagner’s original operatic themes as long as the
students have clearly defined reasons for their choices.
3. Come together as a group to discuss the parts of the story that students matched each theme and have them share why they felt that way.
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Call Chart for Wagner’s Overture to Rienzi
TimeMusic
0:00
1:13
2:57
Introduction: long notes
Theme I: slow violin melody
(this will be cut in
the live concert)
Theme II: bold theme
in winds with string
accents underneath
Represents
CLASSROOM ACTIVITY 3: Creating an Opera
5.ML.3.2 Create compositions and arrangements within specified guidelines.
5.CR.1.2
4.TT.1.3
Use technology tools to present data and information (multimedia, audio and visual recording, online
collaboration tools, etc.).
W.6.3
Write narratives to develop real or imagined experiences or events using effective technique, descriptive details and clear event sequences.
Objective: Students will go through the process of creating a libretto and performing an opera of their own.
Materials: Creating Your Own Libretto worksheet, video camera, accompanying keyboard or piano
3:53Transition
4:28
Theme III: melody with
trombone counter-theme
5:41
Theme IV: dolce violin melody
6:06
Theme V: new livelier string
melody (this will be cut
in the live concert)
7:05Transition
7:30
Theme VI: conversation
between strings and winds,
a little frantic-sounding 8:20
Slower, calmer, similar
to introduction
8:40
Building section,
lots of half steps
9:28
Repeat of Theme V at a
faster tempo, new key
Process:
1. Every opera has a libretto, which is the story behind the music. Review the libretto of Rienzi. Explain that there are
many different types of operas including tragedy and comedy. Have students create their own libretto. You can create the libretto together as a class, or have students write their librettos individually and then vote as a class on which one to turn into an opera. Students may decide to change the number of scenes or choruses, or make other changes to the original opera form. Have fun with it!
2. The libretto should contain:
• An opening problem.
• Two situations that are related to the problem. (Students often enjoy writing a comic opera so that
their situations can be funny.)
• A resolution to the problem. Remind them that resolutions can be positive or negative.
An example is:
• Problem: Two girls like the same boy.
• Situation 1: The two girls start arguing in the hallway about who likes him more.
• Situation 2: The two girls are pulling on the arms of the boy and he looks like he’s about to be torn in half.
• Resolution: The next day both girls decide they don’t like the boy anymore and become best friends.
3.
As a group write a script based on the libretto. Explain that a script contains the literal words that the characters
will speak as well as directions for how they will move on stage. Have students focus on developing a series of events that bring the story from problem to solution. In a series of four scenes they should:
• Scene 1: Demonstrate the problem.
• Scene 2: Demonstrate situation 1.
• Scene 3: Demonstrate situation 2.
• Scene 4: Demonstrate the resolution.
4. Each scene should include a chorus for the group to perform and a few lines of dialogue for soloists. You may want to draw a parallel to aria and recitative.
5. Help students to create melodies to fit the script. You may want to notate the melodies, or just have the students improvise. You may also want to create accompaniment for the opera.
6. Using a video camera, first record the choruses using the whole class, and then record the dialogue. You can
either show the video to the students in order to view the opera or use a program like Windows MovieMaker or iMovie to edit the clips into a production.
10:19Coda
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Creating Your Own Libretto
o
A list of three or more characters (name and description)
Name of Character
Short Description
The following form is intended to be a tool for teachers to use with students
when discussing proper performance etiquette.
Completion of this form is not required to attend your
North Carolina Symphony Education Concert.
1.
2.
Concert Etiquette Student Contract
3.
I, _________________________________________________________, promise to abide by
these following guidelines during the North Carolina Symphony Concert:
o
A problem to be solved (use complete sentences)
I will:
• Sit and remain in my seat at all times.
• Be a good listener by staying silent when the conductor is speaking
and when the Symphony is playing.
• Show how much I enjoyed the music by clapping and not shouting!
• Only applaud when the music is completely over (when the conductor’s hands go down).
o
• Only play my instrument (if I have one) when it is my turn and
listen to the conductor’s careful instruction.
Two funny situations that have to do with the problem (complete sentences)
1.
• Only sing along to the music when I am invited to sing.
I will remember that I may have learned words to a musical theme
that I shouldn’t sing during the concert!
• Be respectful of the Symphony, the conductor, the concert hall, my fellow classmates,
audience members, all adults and all teachers at ALL TIMES.
2.
o
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A solution to the problem (complete sentences)
___________________________________________________
Student’s Name
•
67
“Your Elephant, The Orchestra”
A story to read before your North Carolina Symphony Education Concert
by Jackson Parkhurst
Three blind men were asked to describe an elephant. The
first felt the elephant’s trunk and said, “An elephant is
like a fire hose!” The second felt the elephant’s side and
said, “No, an elephant is like a wall!” The third felt the elephant’s tail and said, “You are both wrong. An elephant
is like a rope!”
Describing the North Carolina Symphony is somewhat like
trying to describe that elephant. It is a jumble of trunks
and tails, all of which come together to be what you will
hear and see when it comes to visit you.
Okay, what is the North Carolina Symphony? Well, for
sure it’s people. But that’s too simple. Well, how about
this, then? It is people who make music together. That’s
true, but there is more. Wait! I think I have it now. An
orchestra is a group of people who make music together,
but it’s also people who work at desks to help organize
the music makers, and others who help by doing jobs like
driving the buses and setting up the stage for concerts.
Well, there are the parts of our creature, but how do
these parts work? The North Carolina Symphony cannot perform without the people who work in the office. These people do an important job. They help raise
the money that pays for the orchestra. Also, when the
orchestra travels they make sure that the musicians get
to the right town and that everyone has a place to eat
and sleep. Since our elephant, the orchestra, travels more
than 12,000 miles a year (which is halfway around the
earth!), you can see why the office workers are so important. Like the tail of the elephant, the office staff is not
often noticed.
Now a trunk is a different matter entirely. Without one an
elephant couldn’t eat peanuts or wash his back very well.
Neither can our orchestra work well without the people
who help them when they travel. One of these people
is the stage manager who is responsible for setting up
the necessary equipment before each concert. The North
Carolina Symphony plays 175 concerts a year, and each
chair and music stand has to be in its own special place
every time. The stage manager has a crew of workers
who help him do this.
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There are other musicians in disguise who do extra jobs.
One of them is the librarian who puts the music on each
music stand. Every player must get the correct musical part, or the orchestra will sound crazy. Then there is
the personnel manager who gets to listen to everyone’s
problems, but also gets to give out the paychecks! There
are two more people who are the official bus drivers complete with uniforms and licenses. Without these two the
orchestra couldn’t go anywhere. Oh yes, there is another
musician who doesn’t have a musical instrument at all.
That person is the conductor, and his or her job is to start
and stop the music and help keep all the musicians playing together. The conductor is also the one who talks to
you during the concert.
seating chart
seating chart
percussion
percussion
horns
Now, what are we missing on our elephant? Oh yes, the
body. When we assemble all of our music makers, we
have the main body of the orchestra. This body is organized into smaller groups of instruments which we call
families, and these are arranged in a special way on the
stage so that you, the audience, get the most wonderful
sound possible. This is a chart showing how the orchestra
is arranged on the stage.
An orchestra can, of course, only sound beautiful if each
of these musicians works hard to play his or her best. The
musicians of the North Carolina Symphony have been
practicing and playing music since they were your age.
If you add up all the years of practice of all of them, you
will have a total of over 1,500 years! These individual
musicians are the heart of our orchestra. Trunks and tails
would be pretty useless without a heart, you know.
So now we have described with words our elephant, the
orchestra. Just as an elephant can best be understood
by seeing it, an orchestra can best be known by hearing
it – and you have one of your very own coming to play
for you. Remember, the North Carolina Symphony is your
elephant.
trumpets
trumpets
horns
clarinets
bassoons
clarinets
bassoons
flutes
flutes
first
violins
first
violins
timpani
second
violins
second
violins
timpani
trombones
trombones
tuba
tuba
oboes
oboes
basses
cellos
cellos
basses
violas
violas
conductor
conductor
Percussion
Brass
Percussion
Woodwind
Brass
String
Woodwind
String
•
69
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71
NOTES
72
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Teacher Workbook - North Carolina Symphony

Transcription

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