Circle Unbroken - Chamber Music Charleston

presents
Circle Unbroken
Words by Margot Theis Raven
Illustrations by E.B. Lewis
Music by William Grant Still
Adapted by Sandra Nikolajevs
Curriculum Guide developed by
Sandra Nikolajevs © 2008
CMC’s 2009 performances are funded by
Patrons of
Chamber Musi c
Charleston
The American Federation
of Musicians
Music
Performance
Trust
Fund
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Table of Contents
About This Curriculum Guide…………………………………….
4
About Chamber Music Charleston………………………..…….
5
Meet the Musicians………………………….……………………
6
Concert Program…………………………………………………..
10
How to Behave at a Concert…………………………………….
11
The String Quartet…………………………………………...…….
12
• Activity 1: String Instruments and Sound………….
12
• Activity 2: String Instruments and Sound ..……….
13
Swing Low, Sweet Chariot……………………………………….
14
• Activity 3: Call and Response……………………….
15
• Activity 4: The Meaning behind The Music….……
16
Antonin Dvorak “American” Quartet…….……………………….
17
• Activity 5: The Spiritual in Classical Music……….
19
• Activity 6: The Pentatonic Scale…………..….……
20
William Grant Still………..……………………………………….
21
• Activity 7: Characters in Music…………………….
23
• Activity 8: Classical Crossover……………….……
24
Circle Unbroken………….……………………………………….
25
• Activity 9: The Sweetgrass Basket.……………….
25
• Activity 10: The Sweetgrass Basket Maker….……
26
• Activity 11: Visual Art……………………….……….
27
• Activity 12: Research and Presentation…….……
28
Supplemental Worksheets………………………………..…….
29
• CD contents………………………….……………….
30
• String Instrument Worksheet……….……………….
31
• Swing Low, Sweet Chariot Lyrics………….….……
32
• Pentatonic Scale…….……………………….……….
33
• Panama Drums…………………………….…….……
34
•Text Samples………………………….……………….
35
• Student evaluation……………………………….……
39
• Parent/Teacher evaluation…..………..…….……….
40
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About This Curriculum Guide
Chamber Music Charleston has developed this comprehensive Curriculum Guide to
accompany both the Educational Program Circle Unbroken and the DVD Circle Unbroken
produced by ArtsMusic Productions featuring musicians of Chamber Music Charleston.
Included is information on the performing musicians, composers, stringed instruments, the
American Spiritual and themes discussed in Margot Raven’s book, Circle Unbroken. We are
pleased to include a number of lesson plans that address South Carolina Curriculum
Standards for music, language arts, math, science, social studies and visual arts in grades 3
through 5. A CD containing all of the music for the lessons is included. Ideally, musicians from
Chamber Music Charleston would visit with each school and class to introduce many of the
lessons, but the CD accompanied by the DVD Circle Unbroken should provide a suitable
replacement when it is not feasible for live musicians to visit with the class.
We would greatly appreciate your comments, suggestions and questions and would encourage
you to visit our website at http://www.chambermusiccharleston.org/Circle_Unbroken.html to fill
out a brief evaluation. You may also return the evaluation located at the back of this guide.
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About Chamber Music Charleston
Chamber Music Charleston (CMC) is a non-profit
performing arts organization dedicated to
developing the audience for classical music
through chamber music concerts, including the
signature Charleston House Concerts, and
educational performances of high artistic quality by
musicians of the Lowcountry. Building upon the
time honored tradition of presenting small scale
concerts in front of a gathering of friends, CMC
utilizes the talents of this city's finest professional
musicians to perform masterworks of the chamber
music repertoire in some of Charleston's most
beautiful and historic settings.
CMC was founded in May 2006 by Director and
Founder Sandra Nikolajevs, along with a fivemember Board of Advisors and four-member
Artistic Committee.
All programs presented by CMC - from educational
programs to formal classical concerts - are
developed to highlight the diversity, eclecticism and
excitement possible in chamber music.
CMC maintains the existing audience for
chamber music through exemplary concerts
presented in historic venues, using innovative
programming that combines proven
masterpieces with lesser known works.
CMC also introduces children to classical music
through engaging, interactive programs, instilling
a sense of importance in this art form and
ultimately building a future audience for classical
music. CMC strives to bridge the gap between
the performer and the audience by presenting
engaging concerts with educational narrative and
allowing the opportunity for audience members to
meet the musicians following the concerts.
Since 2006, CMC has presented over 100
performances in the greater Charleston area,
including House Concerts, large ticketed public
concerts at churches or art museums, Gala
concerts, educational performances and
additional special concerts. CMC has a set core
of 15 musicians used in a variety of
instrumentations and groupings to present these
marvelous programs.
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Meet our Musicians!
Megan J. Allison
Instrument: Violin built in 1893 by the American Luthier
Walter Colton
Place of Birth: Wellington, New Zealand
Hobbies: Camping, hiking, watching wildlife, cooking,
traveling
Pets: Cat named Mika, and 5 tropical fish
Age when you began playing your instrument: 4 1/2 for
Violin. 3 for Piano (also played flute, guitar, had vocal
lessons and sang in choir)
Occupation: Violinist in Charleston Symphony Orchestra,
Violinist for Chamber Music Charleston, Musician
Coordinator for CMC
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Meet our Musicians!
Alan Molina
Instrument: Violin built in 1802 by Johannes Gagliano
Place of Birth: Chicago, IL
Best childhood memory: Traveling Europe with a Suzuki
group.
Hobbies: playing guitar, composing electronic music
Pets: Cat named Mika, and 5 tropical fish
Age when you began playing your instrument: 31/2 for
Violin.
Occupation: Violinist in Charleston Symphony Orchestra,
Violinist for Chamber Music Charleston
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Meet our Musicians!
Gretchen Frazier
Instrument: Viola, made by Nicholas Frirsz in 1997
Place of Birth: Buffalo, NY
Most memorable childhood musical experience: Seeing
Henry Mancini conduct the Buffalo Philharmonic
Hobbies: running, reading, cooking, knitting
Pets: Jake (Boston terrier), Glinda (cat) John (husband)
Age when you began playing your instrument: 9
Occupation: Full-time violist with the Charleston Symphony
and violin teacher at the Ashley Hall School for Girls.
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Meet our Musicians!
Timothy O’Malley
Instrument: Cello made in 1994 by Gary Garavaglia in
Chicago
Place of Birth: New York City, NY
Most memorable childhood musical experience:
performing string quartets at the Executive Mansion in
Albany, NY for Governor Mario Cuomo and guests
Hobbies: canoeing, home repair projects and playing with
my son, Peter
Pets: a boxer/American bulldog mix named Akubemma
Age when you began playing your instrument: 9
Occupation: Core musician Chamber Music Charleston,
full-time cellist with the Charleston Symphony and teacher
of a large studio of private cello students
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Concert Program
Swing Low, Sweet Chariot. . . . . . . . . . . . . .
Harry Burleigh
Introduction to the musicians and instruments
8 minutes
selections from ”American”
10 minutes
String Quartet. . . . .
Circle Unbroken. . . . . . . . . . . . . . . . . . . . . . . . .
20 minutes
Antonin Dvorak
. . . . Music by William Grant Still
Words by Margot Theis Raven,
Illustrations by E.B. Lewis
Adaptation by S. Nikolajevs
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How to Behave at a Concert
Soon you will be attending a concert by Chamber Music Charleston. We hope you are as excited
as we are! We do have a couple of rules to keep in mind to make sure everyone is able to get the
most out of this special experience!
During the concert, it is important to sit quietly in your chair so that everyone can enjoy the show.
Please do not talk to your neighbor, your teacher, or your friend that you see sitting two rows in
front of you! That would be distracting to the other audience members and to the performing
musicians.
There are special times, though, when it would be great for you to make a lot of noise! You can do
this by clapping your hands together as loud as you can. That is what we call APPLAUSE.
For example….
when the musicians come on stage at the beginning of the performance … clap!
when the musicians have finished a piece of music … clap, clap, clap!
when the concert is over … clap, clap, clap, clap, clap!
Finally, please do not eat or drink during the performance….please use the restrooms before the
performance begins…and when the performance is over, please wait for your teacher to direct you
out of the performance space at the end of the concert.
One of the most important things to remember, though, is to enjoy the music!
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The String Quartet
Activity 1– String Instruments and Sound
Students will listen to two instrumental solos and one duo. Teacher will then lead
discussion on the different sounds each instrument makes. Because the cello is
the largest instrument it plays the lowest notes and has the deepest sound. The
violin is the smallest instrument and plays highest notes. The viola is slightly
South Carolina
State Standards
larger than the violin, so plays slightly lower than the violin.
General Music:
Listen to the solos and duo on the accompanying CD. Notice how each instrument
VI.B,C,D, E
plays with a different character, expressing a different emotion in each solo/duo.
VII.A
Ask the students to comment on each piece. Teacher may make a poster or use
a chalkboard/whiteboard that is divided into 3 sections (violin duo, viola solo, cello
Materials:
solo). Give each student 3 stickies and ask them to write on each note a phrase,
CD of music violin duet,
viola solo and cello solo
word or comment about one of the instruments. Invite students to the
poster/chalkboard and put each stickie under the appropriate instrument.
Violin Duo: calm sounding, higher notes. A duet is like two friends playing
CD track 1 (violins), 2
(viola) and 3 (cello)
together!
Colored stickie notes
Viola Solo: melancholy, slower
Cello Solo: happy, short notes, faster notes, lower notes
Vocabulary:
Solo: a musical piece for one instrument
Duo: a musical piece for two instruments
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The String Quartet
Activity 2 – String Instruments and Sound
A cellist and violinist of Chamber Music Charleston will visit with smaller classes
to introduce the students to the instruments in a more intimate, hands-on setting.
The musicians will lead students on a basic scientific inquiry as they introduce
their instruments. Students will be asked to classify the instruments and ask the
South Carolina State
Standards
musicians questions (“what if” and “how”) so that they can learn about the
General Music:
instruments. Students will listen to the different instruments, learn about parts of
VI.C,D,E
the instruments, and learn about the science (including vibration, pitch and
volume) behind various playing techniques including:
Arco – producing sound by bow hairs across string.
Pizzicatto – plucking the string with the finger
Col Legno – gently tapping the string with the wooden part of the bow
Harmonics – soft, clear, high-pitched sounds made by lightly touching a
string at a particular points rather than pressing down
Students will then direct musicians to perform a pre-selected piece of music
using some of the above techniques discussed (ex. Students will ask the cellist
Science:
3-1 and 3-5
Materials:
In-class demonstration by
violinist and cellist of
Chamber Music
Charleston
to play pizzicatto while the violinist plays harmonics, etc.)
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Swing Low, Sweet Chariot
The American Spiritual
History
Spirituals began in the early 19th century by African American slaves who, because they
were unable to practice their own African religions, adopted Christianity. As they were not
allowed to form congregations (due to fear that the slaves would plot rebellion if they were
allowed to have meetings), they did so under the cover of darkness, in the middle of the
night. The Spiritual developed at these meetings, blending African performance traditions
with hymns from white churches.
Spirituals allowed the slaves to sing about things they were unable to speak openly about:
their mourning, suffering, resistance and strong desire for freedom. The Spirituals had a
double meaning: while frequently singing about Christian salvation and the deliverance of
the chosen people in the Old Testament, the slaves were in fact singing about their own
freedom from the sufferings of slavery.
Over the years Spirituals became a standard folk song for all Americans, regardless of
their ethnic background.
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Swing Low, Sweet Chariot
Activity 3 – Call and Response
Spirituals frequently used the technique of Call and Response, in
which one person or group sings one phrase and then another person
or group responds as a direct commentary on the first phrase.
A familiar Spiritual using this technique is Swing Low, Sweet Chariot.
Use the Supplemental Worksheets to follow the lyrics to Swing Low,
Sweet Chariot. Teacher or musician will instruct the class to sing all
lines except those in italics to experience Call and Response.
South Carolina
State Standards
General Music:
VI.A,B,F
Materials:
On-site musicians or
teacher may lead this
lesson
Lyrics to Swing Low,
Sweet Chariot (see
Supplemental
Worksheets)
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Swing Low, Sweet Chariot
Activity 4 – The Meaning Behind the Music
The lyrics in Spirituals frequently had double meanings. Read the
lyrics to Swing Low, Sweet Chariot and discuss the words. Relate the
words to the desire to escape from slavery. How do the words show
hope and faith?
Spirituals were frequently used by fugitive slaves as a secret code. An
extended lesson may be used in studying the life of Harriet Tubman
(1820-1913). The 19th century biography of Harriet, the Moses of Her
People is based on interviews with Ms. Tubman and vividly describes
the use of Spirituals as secret code. This work is available in
electronic version at http://docsouth.unc.edu/neh/harriet/harriet.html.
A reading of selections followed by discussion is recommended.
South Carolina
State Standards
General Music:
VIII.A,B,C
IX.A,B,C,D,E
Social Studies:
3-4
Materials:
Download of Harriet, the
Moses of Her People
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Antonin Dvorak’s American Quartet
Antonin Dvorak (DVOR-zhahk)
Born – 1841– Czech Republic
Died – 1904 – Czech Republic
About the Composer
Dvorak always loved music – even as a young boy. When he was six he
began studying music and very soon he was able to play the violin and
viola quite well. He continued playing until he was 30, at which time he
decided to focus on teaching and composing.
He soon became well respected as a composer, writing chamber music,
orchestral music, vocal music and piano music. He loved the folk music of
his native Bohemia, and used the different rhythms and melodies of his
homeland in his music, giving it a very distinctive sound.
Between 1892 and 1895 Dvorak was the director of the National
Conservatory of Music in New York City. While in NYC, Dvorak met one
of the earliest African-American composers – Harry Burleigh (1866-1949)
– who introduced him to the American Spirituals. Dvorak loved these
American “folk songs” and used some of their characteristics in the works
he wrote in the America.
Dvorak returned to his homeland and was the director of the conservatory
in Prague until his death in 1904.
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Antonin Dvorak’s “American” Quartet
Spillville
Iowa
New York
City
What is the “American” Quartet?
The String Quartet in F, Op. 96, nicknamed the
“American,” is one of the most popular pieces of
chamber music by Dvorak.
In 1893, Dvorak decided to take a vacation from his
teaching position in New York City. He traveled to the
small town of Spillville, Iowa, where a number of
Czech immigrants lived. While relaxing in a
comfortable cabin, Dvorak wrote this famous string
quartet. He was inspired by his surroundings: the
birds, the wide open spaces, the trains and the
influences of the African American spiritual that he
was recently introduced to.
The string quartet is about 30 minutes long has four
movements:
•Allegro ma non troppo – a fast tempo, but not too fast
•Lento – a slow tempo
•Molto Vivace – a very fast tempo
What is a String Quartet?
A string quartet is a musical ensemble
of four string instruments – usually
two violins, a viola and a cello. This is
one of the most popular chamber
ensembles in classical music, with
nearly every major composer writing
for this grouping.
•Finale: vivace ma non troppo – very fast, but not too much!
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Antonin Dvorak’s “American” Quartet
Activity 5 – The Spiritual in Classical Music
A cellist and violinist from Chamber Music Charleston will visit with
smaller classes to discuss the importance of African American
composers and the Spiritual to American music of the 20th century.
Musicians will introduce students to African American composers
William Burleigh (and his relationship with Antonin Dvorak) and
William Grant Still. Musicians will perform selected spirituals, and
discuss how the spiritual was used in such standard classical music
forms as the string quartet. Influences of the Spiritual in Dvorak’s
“American” Quartet will be discussed.
South Carolina
State Standards
General Music:
VI.A,B,C,D,F
VIII.A,C
IX.A,B
Materials:
In-class demonstration
by violinist and cellist of
Chamber Music
Charleston
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Antonin Dvorak’s “American” Quartet
Activity 6 – The Pentatonic Scale
The Pentatonic Scale is a five note scale that was a building block of
the African American Spiritual. Redefine simpler.
Musicians will perform the spirituals Swing Low, Sweet Chariot and
Sometimes I Feel Like a Motherless Child, which are both written
using the pentatonic scale. If live musicians are not available, you
may play the following from the accompanying CD:
Track 4: pentatonic scale played by the cello
South Carolina
State Standards
General Music:
VI.G
Track 5: Swing Low, Sweet Chariot played on the cello
Track 6: Swing Low, Sweet Chariot singer
Materials:
Track 7: Sometimes I Feel Like a Motherless Child singer
In-class demonstration
by violinist and cellist of
Chamber Music
Charleston or
accompanying CD
tracks 4-11.
One way Dvorak captured the spirit of the Spiritual was to use this
scale frequently in the “American” Quartet.
Musicians of CMC will demonstrate this scale and how it is used in the
“American” Quartet. If Musicians are not present, you may use the
three examples on the accompanying CD (tracks 8, 9 and 10). Track
11 is a performance of the complete final movement of the Quartet.
Pentatonic Scale Sheet
(from Supplemental
Worksheets)
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William Grant Still
Born – 1895– Woodville, Mississippi
Died – 1978 – Los Angeles, California
William Grant Still was born in a small town in Mississippi. While
William’s father died when he was only a few months old, his mother
remarried and William had a stepfather who truly nurtured his appreciation
for music. Together they went to operettas and listened to records of
classical music, and William was eventually provided with the opportunity
to take violin lessons and gain a deeper understanding of music. William
first went to college to become a doctor, but after a short time decided to
focus on music. He studied at such major music schools as Oberlin and
the New England Conservatory. He wrote over 200 works, including
ballets, symphonies, operas, chamber music pieces and other works for
radio and television.
William Grant Still was a true pioneer in American music. He was the first
African-American to:
* write a major orchestral work which was performed by a major American
orchestra.
* conduct a major symphony orchestra in the United States.
* direct a major symphony orchestra in the Deep South.
* conduct a major American network radio orchestra.
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William Grant Still’s String Quartet Music
String Quartets featured in “Circle Unbroken”
Lyric Quartet
Lyric Quartet was written in 1960, and is considered one of the most
intricate and significant works for string quartet by William Grant Still. This
piece is subtitled “Music Portraits of Three Friends” is in three movements:
•The Sentimental One
•The Quite One
•The Jovial One
Danzas De Panama
The Panama Dances, written in 1948, were based on folk themes
collected by violinist and composer Elizabeth Waldo. Still made every
effort to approximate the sounds of the native instruments, and as such
the dances make great use of percussive effects on the instruments –
when musicians tap and strike the wooden parts of their instruments.
Danzas exists in four movements, with each title using the name of a
different Panama dance.
•Tamborito
• Mejorana
• Punto
•Cumbia
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William Grant Still’s String Quartet Music
Activity 7 – Characters in Music
South Carolina
State Standards
General Music:
William Grant Still’s Lyric Quartet is subtitled “Music Portraits of Three
Friends” with each movement using music to paint a picture of a
friend.
Without telling the students the movement titles, listen to tracks 12
(excerpt from the first movement - The Sentimental One) and 13 (the
complete third movement - The Jovial One). First see if the students
can determine which title fits which music, then discuss how the music
reflects the titles of each movement.
•The Sentimental One What does sentimental mean? How does the
music sound sentimental? Is it fast or slow music? Is it loud or soft?
•The Jovial One What does Jovial mean? How does the music sound
happy? Is it fast or slow?
VI.C,D
IX.A,B,D
Language Arts:
3-2
Materials:
In-class demonstration
by violinist and cellist of
Chamber Music
Charleston,
Accompanying CD
tracks: 13 and 14
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William Grant Still’s String Quartet Music
Activity 8 – Classical Crossover
Incorporating sounds of native instruments into the
classical string quartet
South Carolina
State Standards
General Music:
VI.C,D
IX.A,B,D
A cellist and violinist from Chamber Music Charleston will visit with
smaller classes to demonstrate techniques used to make their
classical instruments sound like drums and other native instruments
(techniques such as tapping). Musicians will also play a selection of
musical themes from Danzas de Panama that captures the spirit of
dancing.
The accompanying CD (tracks 15-17) may be used to demonstrate
native dances of Panama performed on original non-classical
instruments. Tracks 18 and 19 show two examples where William
Grant Still employed the tapping technique on the string instruments to
produce a percussive effect.
Language Arts:
3-2
Materials:
In-class demonstration
by violinist and cellist of
Chamber Music
Charleston, Panama
Drum printout (from
Supplemental
Worksheets),
Accompanying CD
tracks: 15-19
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Circle Unbroken
Activity 9 – The Sweetgrass Basket
Students will read the book Circle Unbroken to learn about the African
American tradition of sweetgrass basket making and learn how this
evolved from a craft to a highly respected and recognized art form.
The student will understand the chronology and historical perspective
of those who passed the art of the sweetgrass basket from generation
to generation.
South Carolina State
Standards
Language Arts:
3-1 and 3-2
Students are encouraged to read the back page of the book, which
provides additional information about the sweetgrass basket.
Social Studies:
3-4, 3-5
Visual Arts:
IV. A.B.C
Materials:
Circle Unbroken by
Margot Theis Raven
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Page 23
Circle Unbroken
Activity 10 – The Sweetgrass Basket Maker
Lynette D. Youson is a Sweetgrass Basket Maker. Each day she
travels from her home in Ladson down to the corner of Meeting Street
and Broad Street where she works on baskets and shares her art with
tourists and locals who stop by.
A native of Mt. Pleasant, SC, Ms. Youson learned basketweaving
nearly 40 years ago from her great grandmother. She fondly
remembers those day sitting alongside her, learning how to weave the
sweetgrass in and out, over and through.
South Carolina State
Standards
Lanugage Arts: 3-2
She now has the pleasure of sharing this art form with her daughters.
Share with your students the brief 3 minute bonus material on the
Circle Unbroken DVD of Ms. Youson discussing sweetgrass basket
making. Ask the students to reflect on different things that their
grandparents, parents or relatives taught them. See if anyone in class
has learned how to make sweetgrass baskets.
Social Studies: 3-5
Visual Arts: IV. A.B.C
Materials:
Sweetgrass Basket
Making video clip from
DVD
; 26
Circle Unbroken
Activity 11 – Visual Art
After reading the book Circle Unbroken the teacher is encouraged to
lead a discussion about the role of the illustrator and the use of
illustrations to enhance a story.
Ask the students to choose one of the four text samples provided in
Supplemental Worksheets. The students will then be asked to provide
an illustration for the text and to draw the illustration on the back of the
paper. After the illustrations are completed, the teacher will collect the
illustrations and share them with the class. See if the students can
determine which of the four text samples are illustrated (this can show
how well the illustration can capture the spirit of the text). You may
also have a side by side comparison of different illustrations created
for the same text. Finally, compare the illustrations the students
created with the illustrations by E.B. Lewis that appear in Circle
Unbroken.
South Carolina State
Standards
General Music:
VIII.B,C
IX.E
Visual Arts:
I.A, B, C
II.A
III.A, B
V. A, B
VI.B, C
Materials:
Circle Unbroken by
Margot Theis Raven
Text samples to create
illustrations for (see
Supplemental
Worksheets)
Crayons, markers or other
coloring materials.
; 27
Circle Unbroken
Activity 12 - Research and Presentation
The teacher will discuss what ancestry is and how families pass
information (such as traditions, crafts, etc) from generation to
generation. Using the example of the sweetgrass basket, the teacher
will encourage the students to think of something that has been
passed down in their family – either a tradition, an object or a craft.
Students will then interview their family – parents, grandparents,
and/or other relatives – to learn more and will then use online
resources, books and other such materials to further explore this
tradition. Using this information, students will take notes and then
create a poster to share information with the class.
South Carolina
State Standards
General Music:
VIII.B, C
Language Arts:
3-5th grade:2,3,4,5,6
Materials:
Poster board
Pencils, crayons, colored
pencils and/or markers
; 28
Supplemental Worksheets
On the following pages you will find the supplemental
worksheets to use with the previously mentioned lesson plans.
; 29
CD Contents
Track
Contents
1
Violin Duo Charles Auguste de Beriot Duet for 2 Violins, op. 87
2
Viola Solo Zoltan Kodaly “Harry Janos” Orchestral Suite - Song
3
Cello Solo J.S. Bach Cello Suite No. 1, Courante
4
Pentatonic Scale cello
5
Swing Low, Sweet Chariot cello performing first phrase
6
Swing Low, Sweet Chariot vocal excerpt
7
Sometimes I Feel Like a Motherless Child vocal excerpt
8
Sometimes I Feel Like a Motherless Child from Samuel Coleridge Taylor Piano Trio Op. 59, No. 1
9
Dvorak “American Quartet” opening of mvt. 1
10
Dvorak “American Quartet” mvt. cello solo
11
Dvorak “American Quartet” opening mvt. 4
12
Dvorak “American Quartet” mvt. 4 complete
13
Still The Sentimental One excerpt
14
Still The Jovial One complete
15
Arbolito
16
Majorana
17
Tamborito
18
Danzas de Panama percussive excerpt 1
19
Danzas de Panama percussive excerpt 2
; 30
The Violin
chinrest
F hole
The Cello
pegs
scroll
scroll
pegs
strings
tip
strings
frog
bow
tip
String Instrument Worksheet
Violin and Cello Duo
F hole
bow
frog
endpin
; 31
Swing Low, Sweet Chariot
Swing low, sweet chariot,
Coming for to carry me home.
Swing low, sweet chariot,
Coming for to carry me home.
I looked over Jordan, and what did I see,
Coming for to carry me home?
A band of angels coming after me,
Coming for to carry me home.
Swing low, sweet chariot,
Coming for to carry me home.
Swing low, sweet chariot,
Coming for to carry me home.
If you get there before I do,
Coming for to carry me home,
Tell all my friends I'm coming too,
Coming for to carry me home.
Swing low, sweet chariot,
Coming for to carry me home.
Swing low, sweet chariot,
Coming for to carry me home.
; 32
The Major Scale
The Pentatonic Scale
A
G
C
C
D
D
E
E
G A
; 33
Map of Panama
Panama Drums
The native drums of Panama, the “Caja”, the
“Pujas” and the “Repicador” are made of
hollow cylindrical wood from local tree trunks
covered with tanned and thoroughly sun dried
cowhide stretched tightly over one or both
circular ends of the wood, kept taut by chords
made of hide or rope. They are played by
beating the head or heads repetitiously in
rapid succession of strokes with the hands or
sticks to produce reverberating rhythmical
sounds.
; 34
Text 1: On the hills by the river grew pale stalks of rice to feed the village and the spirits of the
land. By the banks of the river grew tall, grassy reeds to weave into baskets to winnow the rice
; 35
Text 2: One day in the shadow of the Big House, your old-timey grandfather wed your old-timey
grandmother.
; 36
Text 3: he told children tales of Br’er Rabbit and Br’er Fox, till their laughing eyes danced like
sunlight on the water, stars above the creek.
; 37
Text 4: And the porch children watched as the bridges brought cars, and the cars brought people.
And the basket children lay looking up at the sky, not knowing the old ways were leaving as fast
as the cars passing by.
38
;
Text 1: On the hills by the river grew pale stalks of
rice to feed the village and the spirits of the land.
By the banks of the river grew tall, grassy reeds to
weave into baskets to winnow the rice
Text 3: he told children tales of Br’er Rabbit and
Br’er Fox, till their laughing eyes danced like
sunlight on the water, stars above the creek.
Text 2: One day in the shadow of the Big House,
your old-timey grandfather wed your old-timey
grandmother.
Text 4: And the porch children watched as the bridges
brought cars, and the cars brought people. And the
basket children lay looking up at the sky, not knowing
the old ways were leaving as fast as the cars passing
by.
; 39
What did You think of the Concert?
Think back to the performance you recently attended of Chamber Music Charleston’s Circle Unbroken
as you answer the following questions. We are asking for your OPINIONS and THOUGHTS on various
parts of the concert. There are really no wrong answers, but the more complete your answers are, the
better!
1.
What was your favorite instrument?
2.
Why was that your favorite instrument?
3.
What was your favorite part of Circle Unbroken – the music, the pictures, the story or all? Why?
Teachers and parents: please mail answers to Chamber Music Charleston, PO Box 80072, Charleston, SC 29416. This
will help us evaluate the program and use the information to develop an educational program for next year!
Chamber Music Charleston “Circle Unbroken”
PARENT/TEACHER EVALUATION
Teacher or Parent Name________________________________________________________________________________
Teacher /Parent email (optional)_______________________________________ School_____________________________
Subject(s) Taught__________________________________________
Did you use any of the lessons from the Curriculum Guide?______ If so, please list which one ________________________
____________________________________________________________________________________________________
Please rate the following on a scale of 1 to 5, with 1=strongly disagree 2=disagree 3=not sure 4=agree 5=strongly agree
Was the Curriculum Guide helpful in preparing your students for the program?
1 2 3 4 5
Were your students’ reactions to the performance positive?
1 2 3 4 5
Was this a worthwhile experience for your students?
1 2 3 4 5
Are you likely to have CMC return next year for another program?
1 2 3 4 5
Additional comments regarding your experience with using the Curriculum Guide and/or the performance ________________
____________________________________________________________________________________________________
____________________________________________________________________________________________________
Please mail this form to:
Sandra Nikolajevs. Chamber Music Charleston, PO Box 80072, Charleston, SC 29416.
An online version is also available online at www.ChamberMusicCharleston.Circle_Unbroken.org
(843)763-4941