The Listener - Wheeling Symphony

2016 Wheeling Symphony
Young People’s Concerts
Teacher’s Guide
The Listener
April 4, 5, 6, & 8
0
The Wheeling Symphony
&
Magic Circle Mime Company Present:
The Listener
2016 Young People’s Concerts
André Raphel, Conductor
2.
A Letter from the Maestro
3.
Meet the Wheeling Symphony Orchestra
4.
The Conductor
5.
The Concert Experience
6.
Concert Etiquette
7.
Introducing the Program
8 - 11.
Meet the Mimes
12.
Teaching Activity – Explore Mime
13.
Teaching Activity – Be a Conductor
14.
Glossary Terms
15 - 21.
Families of the Orchestra
22.
Orchestra Map
23 - 24.
Teaching Activity – Instrument Families
25 - 31.
Meet the Composers
32 - 35.
Teaching Activities
36.
Write a Letter to the Symphony
37.
Teacher Evaluation
38 - 45.
Instrument Photos for Teaching Activity on Page 23
(Instrument Families)
* CDs are available upon request. mp3 sound clips can be accessed by visiting:
http://www.wheelingsymphony.com/education-community/young-peoples-concerts/
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A Letter from the Maestro
Dear Friends,
The 2016 Young People's Concerts will be an
exhilarating experience with educational content
based on the concept of listening. For this year's
program, we welcome back the uniquely creative
Magic Circle Mime Company. The program
entitled "The Listener" will explore how the
orchestra plays a part in different art forms. From
theatre to film, dance and opera, students will
explore the role that orchestral music plays.
Students will hear music by composers such as
Benjamin Britten, Georges Bizet, Dmitri Shostakovich and even John Williams! In
this Guide, you will find more information about the program and composers. We
can't wait to play this fun program for the students! We look forward to seeing you
soon for the Young People's Concerts.
Best Regards,
André Raphel
Music Director, Wheeling Symphony Orchestra
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Meet the Wheeling Symphony Orchestra
The Wheeling Symphony was founded in 1929 by Mrs. Eleanor D. Caldwell. The
orchestra began as a group of local string musicians who rehearsed together in
Mrs. Caldwell’s home and were eventually "… prompted by a love of music and
because we believe a larger musical organization could undertake more
comprehensive programs for the entertainment of more people." The organization
continues to operate on the premise of its founders and carry out its mission to
entertain, educate and enhance the life of residents of its community.
Maestro André Raphel is the Wheeling Symphony’s eighth conductor. Maestro
Smith served as assistant conductor for the New York Philharmonic and the
Philadelphia Orchestra before coming to Wheeling.
This season, the Wheeling Symphony will perform four Masterworks concerts and
three Pops concerts. Free summer concerts draw thousands of tri-state area
residents for music and fireworks. A July Fourth celebration is held at Wheeling’s
Heritage Port Amphitheater, and a Labor Day weekend performance is given at the
Anne Kuchinka Amphitheatre, in Oglebay Park. The orchestra also performs in
various cities throughout West Virginia including Weirton and Canaan Valley.
In addition to performing its subscription concerts, the symphony places great
emphasis on education outreach. Annually, a Young People’s Concert Tour is
presented to thousands of West Virginia and eastern Ohio students and teachers.
An Artist in Education program, established in the fall of 2002, brings music to atrisk students in Wheeling so that they can experience the joy and discipline that
music can inspire. The tuition-free Wheeling Symphony Youth Orchestra and Junior
Symphony give young musicians the opportunities to further their musical
development.
For more information about the Wheeling Symphony or to learn more about
upcoming events and concerts, please visit www.wheelingsymphony.com.
3
The Conductor
What is a conductor?
The person who guides the musicians as the orchestra is playing so everyone will
play together perfectly.
What does the conductor do?
The conductor uses both hands, eyes, and entire body to express the music. He or
she shows the beat and speed of the music (tempo) with his or her right hand while
holding the baton. Conductors use their left hands to express the interpretation
(feeling and volume) and cue the entrances of specific musicians.
Why does the conductor walk on stage after everybody else?
After the musicians are tuned and ready to play, the entrance of the conductor
signals the beginning of the performance.
What is a baton?
A baton is the small white stick held in the conductor’s right hand used to keep
time. They come in different sizes and can be made from wood, carbon, or plastic.
Even left-handed conductors hold the baton in their right hands!
What is the difference between the music a conductor reads and the music the
musicians read?
The conductor uses a special piece of music called a score. The score contains all of
the musical parts of all the instruments in the orchestra. The conductor may be
reading as many as five to fifty lines of music at the same time! The music that the
individual musicians read includes only their specific parts.
4
The Concert Experience
Pre-Concert Preparation
Before the concert begins, many people are busy getting ready. The musicians
have to learn their parts alone at home, and then they get together as a group to
practice. The conductor tells them how to play each part: how fast, how loud, and
when to begin and end. Mainly, the conductor makes sure that all the separate
parts come together and make a beautiful piece of music, like the director of a
play makes sure all the actors know their lines, where to stand and what to do.
There are other people busy getting ready for the concert, too. Stagehands work
behind the scenes to put the right number of chairs and music stands in the right
places. They operate the lights and technical equipment for all the staging needs.
You might see them with headsets on during the concert and wearing dark clothes
so they don’t distract your attention.
The Orchestra Takes the Stage
You will notice that members of the orchestra come out on stage in no particular
order and start playing their instruments to warm up before the concert begins.
You might hear funny sounds like a brass player blowing into his mouthpiece or an
oboe player make a sound as he tries a new reed. You may also notice some
beautiful melodies coming from a violinist or the sounds of the timpani as
percussionists prepare for the concert.
The Lights Dim – It’s Time to Begin
When the lights come back on and the audience is quiet, the Concertmaster comes
out. Our Concertmaster is Rachel Stegeman. You can clap to welcome her. She is
an excellent violinist with several jobs. First, she tunes the orchestra so everyone is
in tune and sounds good together. She is also responsible for helping the
conductor keep the orchestra together. Finally, it is the Concertmaster’s job to play
all of the violin solos.
Now the conductor comes out. His name is André Raphel. You can applaud to
welcome him, too. Be very quiet during the concert so you can hear everything the
orchestra is playing.
5
Concert Etiquette
As at any public gathering, there are rules, manners and traditions that make the
event more enjoyable for everyone. This is true in the classroom, at a restaurant,
movie theater, church or park, and at a symphony concert. We ask that you please
review the following with your students before attending the concert.
Some Teaching Suggestions:
Ask students about some of the rules, manners and traditions they have experienced when
attending different events. Discuss what manners made the experience more and less enjoyable.
List some rules and manners that the students think would be suitable for the concert hall and
discuss the reasons for their choices.
Review some other rules and manners for the concert hall that the students did not mention. They
may include:
 Enter the concert hall quietly and in an orderly fashion – no shouting or running.
 Follow the usher and teacher in order to find your seats.
 Listen to the music without talking.
 Clap only when the conductor enters and at the end of each piece of music. We know
when a piece ends because the conductor will turn around and face the audience.
 In the concert hall, we show our approval by clapping only. At a concert, we never
shout, whistle, or stamp our feet.
 We sit in the chairs with our feet on the floor.
 While the orchestra plays, we remain very quiet so that everyone in the audience can
hear and enjoy the music. Any noise may distract the musicians.
 At the end of the concert, we leave quietly as a group. Be sure not to leave any
personal belongings on the seats or on the floor.
During the concert, may we suggest stationing chaperones/teachers among the class. This seating
will make you readily available to handle any problems. Your good conduct will be a shining
example for the children to follow.
6
Introducing the Program
The Listener
"Many emotions are experienced at a symphony concert but wonderment is
seldom one of them.... It was as if everyone in the audience had created the
magic himself." -Seattle Post Intelligencer
This program, which received the Washington State Arts Commission's
highest rating for quality, introduces new audiences to the workings of a
concert orchestra and explores the active relationship between the listening
audience and the musician. The art of listening requires talent and training.
"The Listener" establishes this important concept through fifty minutes of
humor, drama, and dance; leaving the audience appreciating their own
abilities as well as the orchestra's.
In the dramatic storyline, the conductor has prepared a program of music
from the various artistic disciplines but finds his efforts complicated by the
unexpected participation of two audience members. Musical challenges
between bugle and trumpet and tap dancing to ballet music are just part of
the action as these two characters and the audience learn about the
orchestra, its music, and the art of listening.
The Music
 A Young Person's Guide to the Orchestra (Themes B-F and Fugue) - Britten
 King Stephen Overture - Beethoven
 Polka from "The Age of Gold" - Shostakovich
 Raiders March (from the movie Raiders of the Lost Ark) - Williams
 "Dance of the Little Swans" - Swan Lake (Suite, Op. 20 - Dance #3) - Tchaikovsky
 "Entrance of the Toreadors" - Carmen (Suite No.1 - Les Toreadors - Bizet)
 Symphony No.39 - Finale – Mozart
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Meet the Mimes
Magic Circle Mime Company
MAGIC CIRCLE MIME Co. is regarded as one of today’s premier family attractions. Their
highly acclaimed performances, which unite the concert orchestra with visual theater, are
consistently praised for imaginative and innovative content.
Magic Circle Mime Co. performs with virtually every major orchestra in North America and
has performed on numerous occasions with the Symphony Orchestras of Atlanta, Detroit,
Chicago, Montreal, Saint Louis, Seattle and Toronto; Cleveland Orchestra, Minnesota
Orchestra and Philadelphia Orchestra; and on more than half a dozen occasions at The
Kennedy Center For The Performing Arts with the National Symphony Orchestra.
Magic Circle Mime Co. also has a growing reputation outside North America. In the Pacific
Rim and Far East they have performed at festivals and with major orchestras in Australia,
China, Japan, Hong Kong, Malaysia, New Zealand, Singapore and Taiwan. Appearances
include the Beijing Music Festival, Shanghai International Children’s Festival, Taiwan
International Children’s Festival, the Hong Kong Philharmonic (six times), the Tokyo
Philharmonic, the Taipei Symphony Orchestra, the West Australia Symphony Orchestra and
the Singapore Symphony Orchestra. They made their European debut with the Palau de la
Música de Valencia in April of 2007.
Magic Circle Mime Co. is the creative partnership of Maggie Petersen and Douglas
MacIntyre. Both artists have backgrounds in theatre and instrumental music, and have
utilized that training to create their highly regarded programs.
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Mark Douglas MacIntyre
Founding Partner
After completing his university studies in Theatre Arts, Mr.
MacIntyre began his professional acting career in 1974 working
variously as an actor, playwright and director in a number of
regional theatres in the West and Midwest. In 1977, following an
opera production in which he served as an assistant stage director,
Mr. MacIntyre was approached by the Music Director of the
Spokane Symphony and offered the opportunity to create and
perform a touring educational concert for symphony orchestra.
This program proved so singularly successful that it soon led to
invitations from other orchestras.
With his creative partner, Maggie Petersen, Mr. MacIntyre formed
the Magic Circle Mime Company in 1978 and since that time they
have created and performed concert programs with orchestras throughout the United States,
Canada, Asia and in Europe. Mr. MacIntyre’s North American appearances include Carnegie Hall,
Lincoln Center, The National Arts Centre of Canada and numerous appearances at The Kennedy
Center for Performing Arts. International appearances include the Beijing Music Festival, Shanghai
International Children's Festival, Taiwan International Children's Festival, Hong Kong Philharmonic
Orchestra, Tokyo Philharmonic, Taipei Symphony Orchestra, National Taiwan Symphony Orchestra,
West Australia Symphony Orchestra, Singapore Symphony Orchestra and the Palau de la Música
de Valencia.
In addition to performing Mr. MacIntyre has created and led workshops in theatre and music for
numerous public and private schools, youth orchestras, The Kennedy Center for the Performing
Arts and in 2010 for the U.S. Army School of Music.
9
Maggie Petersen
Founding Partner
Maggie Petersen began playing the piano at quite a young age,
mostly because her mother was a piano teacher. At Montana
State University she continued to study piano but also began to
pursue her interest in mime and movement theatre. After
graduating from MSU in 1977 Ms Petersen began her acting
career and with her partner Douglas MacIntyre started the Magic
Circle Mime Company in 1978.
With Magic Circle Mime Company, Maggie has created and
performed concert programs with orchestras throughout the United States, Canada, Asia and
Europe. She has performed at Carnegie Hall, at the Mostly Mozart Festival at Lincoln Center, and
The Kennedy Center for the Performing Arts. Internationally, she has appeared at the Beijing Music
Festival, Shanghai International Children’s Festival, Taiwan International Children’s Festival, Hong
Kong Philharmonic, Tokyo Philharmonic, Taipei Symphony, West Australia Symphony Orchestra,
Singapore Symphony, the National Arts
Center of Canada, and the Palau de la Musica de Valencia.
Maggie lives with her family in Walnut Creek, California. In addition to piano she now also plays the
accordion and the harp, and teaches music and movement in workshops throughout the San
Francisco Bay Area.
10
K. Brian Neel
K. Brian Neel comes to the Magic Circle Mime Company with more
than twenty years of experience in professional theatre. While a
student at the University of New Mexico Brian began working with
a physical improvisation company. This eventually led to his
moving to Seattle, Washington in 1989 where he completed his
studies at the University of Washington. Since then he has worked
in numerous Seattle area theatres and toured throughout the U.S.
for eight years with the Seattle Mime Theatre. Brian's eclectic
resume includes musical performances at the Edinburgh Festival
Fringe, stage directing Verdi's "Louisa Miller" for Puget Sound
Opera, clown work for Teatro Zinzanni and performing in the web based science fiction series, "The
Coffee Table." He has also created six solo theatre pieces, including a one man ukulele opera, with
which he has toured the US, Canada and Australia. His performances with orchestra include the
Seattle Symphony, Kansas City Symphony, Wheeling Symphony and Regina Symphony. Brian
resides in Seattle with his wife and two daughters in a house that he largely designed and built
himself - a holdover activity from his days as an architecture student in New Mexico.
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Teaching Activity:
Explore: Mime
Objective: Discover basic knowledge about mime. A teacher-led discussion will
enable students to become familiar with this performance style.
Teacher asks leading questions:
 What is a mime?
o A mime is a performer who tells a story or portrays a character, mood,
or idea using gestures and body movements without the use of words.
 Have you ever seen a mime? How did you know the performer was a mime?
 Where do you think you might see a mime (if you haven’t seen one before)?
o Street artists, silent film
 Mimes in the early days of movies were very important. There
wasn’t sound in movies then, except for music, so the actors had
to be very good at using their faces and bodies to tell a story.
 Street artists can be found in cities like New York City or Paris.
They perform for the crowds that pass by, often interacting with
the people who stop to see them.
 Have students mime emotions: happy, sad, excited, tired, etc.
 Using a well-known fairy tale or nursery rhyme (or classroom reading
content), have the students tell a story without words. Encourage them to
use their whole bodies to portray their characters and the action of the story.
 Later, when learning the families of the orchestra, students will have another
opportunity to use their mime skills.
Students: Answer questions, use mime to express emotions and tell a story.
[Pictured below (left to right): Charlie Chaplin, Blue Man Group, Buster Keaton]
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Be a Conductor
A conductor is much like a mime. Conductors communicate to the musicians with
their body movements and facial expressions. Using a baton and beat pattern, he
makes sure that every musician knows when to play and knows the speed, or
tempo, of the piece. Use the pictures and descriptions of the beat patterns below
to try conducting to your favorite songs. The next time you visit the Wheeling
Symphony, watch the conductor carefully and see if you can tell what kind of beat
pattern Maestro Raphel is using.
Use this pattern when
each measure has two
beats. Some songs that
you might know that use
this 2/4 pattern are Jingle
Bells and Old McDonald
Had a Farm
Use this pattern when
each measure has three
beats. Some songs that
you might know that use
this 3.4 pattern are Star
Splangled Banner, Silent
Night, and Amazing Grace
Use this pattern when
each measure has four
beats. Some songs that
you might know that use
this 4/4 pattern are
Twinkle, Twinkle Little Star,
Row, Row, Row Your Boat,
and America the Beautiful.
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Glossary Terms
Waltz: An extremely popular ballroom dance of the 19th century in triple meter.
Triple Meter: A metrical pattern having three beats to a measure.
Crescendo/Fortissimo/Pianissimo: These are musical terms that tell a musician how loud
or soft to play. Crescendo tells a musician to get louder; Fortissimo tells the musician to
play very loud; Pianissimo tells a musician to play very softly.
Allegro: This is a term that refers to the tempo or speed the music is to be played. Allegro
means fast!
Conductor: The Conductor is the leader of the orchestra
Orchestra: A group of musicians who perform together playing a variety of instruments.
Concert Hall: The place where most symphony orchestras perform.
Tempo: Speed of the music.
Movement: A separate section of a larger musical work.
Dynamics: The loudness or softness of music.
Texture: How many instruments are playing determines texture. Texture can be thick if
many instruments are playing and thin if only a few. It can be compared to fabric (wool or
silk).
Rhythm: Beats are put together to form rhythm. The length and accents of sounds form
the rhythm.
Melody: A group of sounds put together to form a pleasing phrase.
Harmony: Several sounds played together
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Families of the Orchestra
When we talk about musical instruments, we often talk about them as being part of
a family. That's because, just like in human families, the instruments are related to
one another. They are often made of the same types of materials, look similar to
one another, and produce sound in comparable ways. Each instrument of the
orchestra family has like characteristics, but they also have different qualities that
make them individuals.
The orchestra, made up of 4 families of instruments, acts as a team. This team must
play together by listening very carefully to each other and following signals from
their team leader, the conductor. In addition, the “teammates” must play only when
they are supposed to and sit in the correct seat.
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The String Family is made up of the violin, cello, bass and harp. Instruments in this
family produce sound by vibrating strings. The strings are vibrated in two ways:
using a bow (made out of horsehair stretched on a wood stick) to rub the strings or
plucking the strings, usually with the hand. The pitch is changed on string
instruments by adjusting the length of the string. This is typically accomplished by
putting fingers down at some point to shorten the length of the vibrating string.
String instruments have a very mellow, rich sound. There are many string players in
an orchestra because each instrument alone doesn’t have a very loud sound
compared to other instrument families.
The violin is the highest member of the string family. Like its other string family
members, it has four strings. The violin quite often has the melody and its tone is
sweet and quite expressive. There are two violin sections in an orchestra - First and
Second. First violins usually play the melody, while second violins alternate between
melody and harmony. A typical-sized violin is nearly 24 inches long with a slightly
longer bow. The violin is played by resting it between the chin and left shoulder. The
left hand holds the neck of the violin and presses down on the strings to change the
pitch, while the right hand moves the bow or plucks the strings.
The viola is the middle-voiced member of the string family. It is slightly larger, just
over two feet long, and its four strings are thicker than the violin’s, producing a
richer, warmer sound. They almost always play the harmony. The viola is played the
same way as the violin, by resting it between the chin and shoulder. The left hand
holds the neck of the viola and presses down on the strings to change the pitch,
while the right hand moves the bow or plucks the strings.
The cello differs from the violin and viola in that it is held between the knees in front
of the player. Standing approximately 4 feet high, the body of the cello rests on the
ground and is supported by a metal peg. The cello is played in a similar manner to
the violin and viola, using your left hand to press down on the strings, and your right
hand to move the bow or pluck the strings. Its bow is shorter than the violin’s and its
strings are thicker than both the violin and viola. It can make a wide variety of tones,
from warm low pitches to bright higher notes, playing both harmony and melody.
The bass is the largest member of the string family. Sometimes a bass, also called
the double bass, may have a fifth string. The instrument is so large that most
musicians stand to play it. The bass rests on a wooden or metal peg and is
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approximately six feet tall. Its tone is deep and very rich. The double bass almost
always plays the harmony. Sound is produced just like on a cello, using the left hand
to change pitch and the right to move the bow or pluck the strings.
The harp is one of the oldest instruments (dating back to the Greeks). It's tall –
almost six feet high –and has 47 strings of varying lengths which are tuned to the
notes of the white keys of the piano. The harp is played sitting down with the
musician’s legs on either side and the neck of the harp leaning against the right
shoulder. Each string sounds a different note (they come in different colors to help
tell one from another) and are played by plucking the strings with the fingertips and
thumb. Attached to the bottom of the harp are seven foot pedals, which change the
pitch of each string and allow them to sound the pitches of the black keys on the
piano.
__________________________________________________________________________________________________
The Woodwind Family includes the flute, clarinet, oboe and bassoon. This family
produces sound by blowing a vibrating column of air inside some form of tube. In
the past, woodwind instruments were all made of wood, but now some instruments,
such as the flute, are made out of metal. Woodwinds create the vibrating column of
air in different ways. Flutes blow across the top of an open hole. Clarinets blow
between a reed – usually a small piece of bamboo – against a mouthpiece. That is
why clarinets are called “single-reed” instruments. Bassoons and oboes blow
between two reeds that vibrate against each other. That is why bassoons and oboes
are called “double-reed” instruments. Woodwind instruments have a very beautiful
singing sound. They are often used to play solo parts during symphonies when their
unique tonal qualities can be heard even if the entire orchestra is playing.
The flute is the highest pitched instrument in the woodwind family. A standard flute
is a little over 2 feet long and is often featured playing the melody. It is held to the
right side of the face and the musician blows a column of air across a small opening
near the top of the instrument (much like blowing air over the top of a soda bottle).
The musician’s fingers open and close the keys, which changes the pitch. For many
years the flute was actually made of wood, but now most flutes are metallic: silver,
gold or platinum.
The oboe belongs to the “double reed” part of the woodwind family in that its reed
is actually made of two small pieces of cane held together by twine wound around
one end. The oboe is made of wood, perforated with many holes, and has a gently
tapering conical tube approximately 25 inches long. The oboes produce a wide
17
range of pitches, from haunting sounds to warm, velvety smooth notes, which make
for a very memorable sound.
The clarinet looks somewhat like the oboe, except for the mouthpiece, which uses
a single reed. Clarinets come in a number of different sizes, and the standard B-flat
clarinet is just over 2 feet long. Some musical works require the clarinetist to play
several types of clarinet in the same piece, such as the bass clarinet. They have a
dark rich sound in their lower notes, while the upper part of the clarinet's range is
bright and resonant. Its tone quality makes it well suited for rapid, fiery passages.
The clarinet is played like an oboe, by holding it upright, blowing through the reed,
and using one’s hands to change the pitches by opening and closing the keys with
your fingers.
The bassoon is the bass instrument of the woodwind family. The bassoon is played
by holding it upright and blowing through the double reed. The air travels down
the tube and then makes a u-turn and goes up and out the top. Just like the oboe,
you use both hands to press on the keys to open and close the holes and change
the pitch. It is a long pipe, doubled in half, made of wood, with many keys. The
bend in the pipe makes it possible for musicians to play it comfortably. If it were
straight, the bassoon would be around 9 feet long!
_________________________________________________________________________________________________
The Brass Family is one of the oldest families of the orchestra and includes the
trumpet, French horn, tuba and trombone, which are all made of brass! Sound is
produced when a brass player buzzes his or her lips into a cup-shaped mouthpiece
to produce vibrating air. The vibrating air then travels through a long metal tube
that modifies and amplifies the vibrations. Brass instruments have a very sweet and
round sound. They can also play very loudly and are often used in the most
exciting parts of a piece.
The French horn is one of the oldest instruments, dating back to the 17th century
French hunting horn, and produces a wide variety of sound ranging from very loud
to very soft, and from harsh and blaring to mellow and smooth. The French horn's
18 feet of tubing is rolled up into a circular shape, with a large bell at its end. To
play the French horn, a musician holds it with the bell curving downward and away
from the audience and buzzes into the mouthpiece. His left hand plays the three
valves and he can change the type of sound that is made by the way he places his
right hand in the bell.
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The trumpet is a heroic and festive sounding instrument. Throughout history it has
been used to sound alarms, gather people together, as a call to war, and to add
luster to parade music. Like the violin, the trumpet is the smallest member of its
family and plays the highest pitches with its bright and vibrant sound. Today's
modern trumpet is a slender brass pipe with three attached valves, which is curved
and bent into long loops. If you stretched out the trumpet to its full length, it would
be 6 ½ feet long! Play the trumpet by holding it horizontally, buzzing your lips into
the mouthpiece, and pressing down the three valves in various combinations to
change pitch.
The trombone is an instrument of power, solemnity and antiquity. Except for some
variations in the mouthpiece, the trombone has not changed in the last five
hundred years! The trombone is the only instrument in the brass family that uses a
slide instead of valves to change pitch. A standard trombone is made of long thin
brass pipes. Two U-shaped pipes are linked at opposite ends to form an "S." One
pipe slides into the other so the total length of the pipe can be extended or
shortened. You play the trombone by holding it horizontally, buzzing into the
mouthpiece, and using your right hand to change pitch by pushing or pulling the
slide to one of seven different positions. If you stretch the trombone out straight, it
is about 9 feet long.
The tuba is the largest and lowest brass instrument and anchors the harmony not
only of the brass family but the whole orchestra with its deep rich sound. Like the
other brasses, the tuba is a long metal tube, curved into an oblong shape, with a
huge bell at the end. Tubas range in size from 9 to 18 feet; the longer they are, the
lower they sound. Standard tubas have about 16 feet of tubing. There is generally
only one tuba in an orchestra. The tuba is played by sitting down with the
instrument in the lap and the bell facing up. Air is blown and buzzed into a very
large mouthpiece while the hand presses down on the valves to change the sound.
It takes a lot of breath to make sound with the tuba!
_________________________________________________________________________________________________
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The Percussion Family is probably the most varied family in the orchestra. Sound
on percussion instruments is created by hitting, rubbing or shaking either a solid
material, like a metal triangle, or a membrane, like the top of a snare drum. The
membranes used to be made out of animal skins, but today most drums use a
synthetic material. Only a few percussion instruments produce a specific pitch.
Pitched percussion instruments that use a solid material, like a xylophone, change
pitches when hit. Pitched percussion instruments that use a membrane, like a
timpani, change pitch when the tension of the membrane is changed. There are
many different kinds of percussion instruments used in an orchestra including the
snare drum and maracas. Percussion instruments produce many different types of
sounds, but they are usually used in an orchestra to provide rhythm for the music.
Often at the most exciting part of a piece there are many percussion instruments
being played.
The timpani, also called the kettledrums because of their shape, are the backbone of
the percussion section. They are big copper pots with drumheads made of calfskin
or plastic stretched over their tops. Timpani are tuned instruments, which mean they
can play different notes. The timpanist changes the pitch by stretching or loosening
the drumheads, which are attached to a foot pedal. Timpani are a central part of the
percussion family because they support rhythm, melody and harmony. Most
orchestras have four timpani of different sizes and tuned to different pitches, and
are usually played by one musician, who hits the drumheads with felt-tipped mallets
or wooden sticks. The timpani player must have a very good ear because he/she
usually needs to change the pitches of the drums during performances.
The cymbals are the biggest noisemakers of the orchestra! They are two large
metal discs, usually made of spun bronze. The cymbals are made in a convex shape
so that only the edges touch when struck. Cymbals, which are untuned, come in a
range of sizes, from quite small to very large. The larger the cymbal, the lower the
sound they make. Cymbals can be used for drama and excitement, to accent the
rhythm or create delicate sound effects. You can play the cymbals either by hitting
one cymbal against the other, or you can use sticks, mallets or brushes to hit one or
both cymbals. Cymbals may be struck together, lightly touched together, or tapped
singly with a variety of sticks and mallets.
The bass drum is the largest drum in the percussion family and is capable of
thunderous noise or soft, delicate sounds. The bass drum is an untuned instrument.
20
The bass drum is played by hitting either drumhead with sticks that have large soft
heads, often covered with sheepskin or felt. It can produce a lot of different sounds
from roaring thunder to the soft, delicate whispers, which are said to be felt rather
than heard. The bass drum is usually 30 inches in diameter and the musician plays
it with a soft mallet held in the right hand.
The snare drum marks rhythm and adds spice to the music. This smallish drum - 15
inches in diameter, about 6 inches deep – is made of wood or brass with drumheads
made of calfskin or plastic stretched over both ends of a hollow cylinder. It has a set
of wire-wrapped strings stretched across the bottom head (the snare), which give the
snare drum its unique "rattling" sound when the drum is hit. A small switch on the
side of the drum allows the player to turn the snare on or off depending on the
requirements of the piece. The snare drum is an untuned drum, so it doesn't make
distinct pitches. The snare drum is played with a pair of wooden sticks.
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Teaching Activity – Instrument Families
Teaching Objective:
Students will learn to identify and understand the instrument families and their place
in the orchestra.
Resources/Materials:
Orchestra Map from the Teacher’s Guide (page 22)
Instrument Families from the Teacher’s Guide (pages 15 - 21)
2016 YPC mp3 tracks or CD
Preparatory Activities:
Discuss with the class the meaning of “family.” Discuss different types of families;
their immediate and extended family, the “family” of the school or class, a “family” of
cars by a car manufacturer, etc. Discuss how families are defined and how certain
characteristics are shared and others are not shared within a family.
Teaching Sequence:
1. Pass out copies of the Four Families of the Orchestra page and the Instrument
Families page.
2. Review these pages and discuss the various characteristics of each instrument
family.
3. Divide the class into four groups, each representing one of the instrument
families. Hand out copies of the Orchestra Map and have the groups arrange
themselves in the same placement as they would be in the orchestra.
4. Play a recording of an orchestral piece from the 2016 YPC CD or mp3s.
Instruct the students to listen specifically to their instrument family. Have
them note when they heard their family, what kind of sounds they made, what
type of timbre they produce, how often they played, etc.
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5. Have the class sing a simple song, i.e. Twinkle, Twinkle, Little Star or Jingle
Bells. Instruct the class to sing the song again and try to have each group
sing the way they think their instrument family would sound.
6. Have the class sing the song again and act as conductor, showing different
groups when to sing and how loud or soft to sing.
7. Before attending the Young People’s Concert, remind the students of their
instrument families and instruct them to watch and listen especially closely to
their family.
Culminating Activity:
Discuss with the class the way their instrument family looked and sounded at the
concert. Discuss how it met or did not meet their expectations.
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Meet the Composers
Resources (classicsforkids.com & makingmusicfun.net)
Benjamin Britten
11/22/1913 - 12/4/1976
Born in Great Britain
Benjamin Britten was an expert in three different
musical fields -- conducting, composing and
playing the piano. Britten was born in Lowestoft,
a town on the English seacoast. (His birthday,
November 22nd, happens to be the saint day of
the patron saint of music, St. Cecilia.) Benjamin's
father was a dentist; his mother loved to sing, and regularly held
concerts in their home.
From the moment he started playing the piano, Britten knew he wanted
to earn his living as a composer. His first paying job was writing music
for films.
Britten was a pacifist -- he didn't believe in fighting wars. So when it
became obvious that England would go to war with Germany in 1939,
Britten left for America. But it was impossible to take the “Brit" out of
Britten. In the middle of World War II, he sailed back to his native
country.
When the war was over, the biggest opera company in England held a
gala reopening, and commissioned Britten to write a new opera for the
occasion. Britten was also asked to compose an opera when Elizabeth II
was crowned Queen of England.
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Ludwig van Beethoven
12/16/1770 - 3/26/1827
Born in Germany
Ludwig van Beethoven was born in Bonn,
Germany. His father, who was a singer, was his
first teacher. After a while, even though he was
still only a boy, Ludwig became a traveling
performer, and soon, he was supporting his
family.
In his early twenties, Beethoven moved to
Vienna, where he spent the rest of his life. Beethoven was one of the first
composers to make a living without being employed by the church or a
member of the nobility. At first, he was known as a brilliant pianist. But when
he was around 30 years old, Beethoven started going deaf. Even though he
could no longer hear well enough to play the piano, Beethoven composed
some of his best music after he was deaf!
Beethoven is considered one of the greatest musical geniuses who ever lived.
He may be most famous for his nine symphonies, but he also wrote many
other kinds of music: chamber and choral music, piano music and string
quartets, and an opera.
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Dmitri Shostakovich
9/25/1906 - 8/9/1975
Born in Russia
Dmitri Shostakovich started composing
early, completing his Symphony No. 1 when
he was only 19 years old. For some time, he
wrote traditional music that was well
received by Russian audiences. He ran into
trouble, however, with an opera called Lady
Macbeth of Mzensk.
In 1917, the Russian Revolution had taken place and the new leadership of the
country, under the direction of Joseph Stalin, had its own ideas as to what
appropriate music should sound like. It banned any sort of innovative works and
demanded that composers produce bland pieces that had a Socialist theme. The
Lady Macbeth opera incensed Stalin, who left the theatre after the first act in a
towering rage.
Fearing imprisonment, Shostakovich started composing “safe" music, including his
famous Symphony No. 5. However, in so doing he stifled his true creativity. Despite
these efforts to conform, the criticisms continued and in 1948 nearly every
important Soviet composer was attacked. Most apologized profusely, promising to
mend their ways! Russian music became dull, lifeless and boring.
While Shostakovich continued to compose, he became bitter, knowing what he
could have done if he had the freedom to write as he had wished. His later years
were most unhappy, and he died at the age of 69.
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John Williams
Born 2/8/1932
Born in New York
John Williams was born February 8, 1932 in
Floral Park, New York. In 1948, John moved
with his family to Los Angeles, California. He
later attended college nar his home in Los
Angeles where he began to study composition.
After college, he was drafted into the United
States Air Force where he had the opportunity
to arrange music for, and conduct the Air Force band.
In 1954, when his services ended, Williams moved to New York City and enrolled in
the Julliard School of Music. After completing his education at Juilliard, Williams
moved back to Los Angeles to begin working as a film studio orchestrator.
Eventually he was given the opportunity to compose the theme to the television
series Lost in Space. For Williams, this marked the beginning of a career that has
spanned six decades producing some of our best music for film.
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Piotr Ilyich Tchaikovsky
5/7/1840 - 11/6/1893
Born in Russia
Piotr (or Peter, as we would say in English) Ilyich
Tchaikovsky was born in Votkinsk, a town in
Russia's Ural Mountains. When he was 8 years old,
his family moved to the capital city of St.
Petersburg. Even though Tchaikovsky was a good
musician as a kid, that wasn't considered an
"acceptable" profession, so his parents made him
study law instead.
But even in law school, Tchaikovsky continued to study music. Eventually, he gave
up his legal job and went to the St. Petersburg Conservatory. After he graduated,
he moved to Moscow to teach at the new conservatory there. It's now named for
him.
For years, Tchaikovsky had a patroness named Nadezhda von Meck -- a wealthy
widow who was a big fan of Tchaikovsky's music. She regularly sent him money so
that he could concentrate on composing without having to worry about making a
living. But Nadezhda von Meck didn't want to meet Tchaikovsky. For 14 years, they
only communicated by writing letters to each other. Tchaikovsky dedicated his
Fourth Symphony to his patroness.
Tchaikovsky traveled all over Europe for performances of his music. In 1891, he even
came to America for the opening of Carnegie Hall, where he was invited to conduct
his music.
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Georges Bizet
10/25/1838 - 6/3/1875
Born in France
Georges Bizet was born in Paris, France. Both
his parents were musicians, and they actually
wanted their son to become a composer when
he grew up! Bizet loved music, but he also
loved to read books. His parents wound up
hiding his books so that he would spend more
time on his music.
When Georges was 10 years old, his father
enrolled him in the Paris Conservatory. While he was there, he wrote his only
symphony, but it wasn't performed until many years after he died. Bizet graduated
from the Conservatory with awards in both composition and piano.
Bizet also composed operas. His most famous opera is Carmen. When Carmen first
opened in Paris, the reviews were terrible. Many critics said there were no good
tunes in it, so audiences stayed away.
In the middle of the night during the first round of Carmen performances, Bizet
died. He was only 36. Four months later, Carmen opened in Vienna, Austria, and
was a smash hit. It is now one of the most popular operas ever written. Bizet never
knew that audiences would come to consider it his masterpiece.
Bizet was also very good at writing dramatic music. The music he wrote for the play
L'Arlesienne (The Girl from Arles) is still enjoyed today.
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Wolfgang
Amadeus Mozart
January 27, 1756 - December 5, 1791
Born in Austria
Wolfgang Amadeus Mozart was born in
Salzburg, Austria, where his father
Leopold was a violinist and composer.
Wolfgang (or Wolferl, as his family called
him) was a child prodigy. He composed
his first piece of music at age five; he had his first piece published when he was
seven; and he wrote his first opera when he was twelve. By the time Wolfgang was
6, he was an excellent pianist and violinist. He and his sister Maria Anna (known as
Nannerl) traveled all over Europe performing for royalty.
When he grew up, Mozart moved to Vienna, and tried to earn a living as a pianist
and composer. But he had a lot of trouble handling the fact that he was no longer a
child prodigy. Mozart was still a musical genius, but after he stopped being a cute
kid, people stopped making a big fuss over him. Back then, musicians were treated
like servants, but Mozart did not, and could not think of himself as a servant.
Mozart was only 35 when he died. During his short life, he composed in all different
musical forms, including operas, symphonies, concertos, masses, and chamber
music. Today, he is still considered a genius!
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Following are classroom activities to prepare your students for
The Listener. Please use them as they are, change them in any manner,
or extend them to help you discover additional methods for teaching your
students.
1.
2.
3.
4.
5.
Instrument Families
Create teams and give points for correct answers.
Construct 4 rings on the floor using string or hula-hoops. Label the
rings as follows: strings, woodwinds, brass, and percussion.
Cut out a picture of each instrument (pages 38-45) and place them
in a hat or bag.
Have each student reach into the hat and draw an instrument card.
The student should be able to identify each instrument and place
them in the appropriate ring’s instrument family.
Become an Active Listener
Sometimes we just listen to music for enjoyment. Sometimes we listen to the
music for detail. Listen to all of the works on the program:
 To identify each different instrument we hear
o At a concert, not only do we identify the instrument by hearing it, but
by seeing it as well
 To describe the texture
 To learn the rhythm
 To decide if the key is major or minor
 To hear the melodies
 To listen to harmonies
 To hear dynamics
 To compare tempi
 To discover the form
 To listen for changes in the key, texture, rhythm, tempo, dynamics, and form.
Of all the listening we do, listening for changes is one of the most intriguing and
when we hear changes, we may become better at discovering form.
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Become an Artist
Music is a story written by the composer with notes instead of words. If you listen
very closely, you will be able to tell if the story is happy or sad, exciting or scary. It
is important not to talk while listening to the music so you are able to hear the
entire story…you don’t want to miss the magic moments that the composer and
musicians are trying to create! Since music is a magic moment in sound, you do
not want to have other sounds competing to be heard.
1. Listen to one of the pieces from the accompanying CD or mp3 downloads.
The students should close their eyes while they listen so they can envision the
“story.”
2. Have each student draw a picture of what he or she envisioned.
3. Play the piece several times over while they draw.
Let the students’ imaginations run wild! Pictures can express emotions, colors,
sounds, and action. Be creative!!!
Creative Writing Assignment
Several days before the concert is to take place, ask your students to write a letter
to themselves. Following the concert, ask them to re-read their letters and write
another about how their experience may have been different from their
expectations to demonstrate their growth to themselves and also to help fix the
concert experience in their memories.
To begin, you may wish to explain the activity in this manner:
We’re about to share a concert experience. I know all of us have expectations and
questions about what the concert will be like. I’d like us to take a few minutes now
to write a letter to ourselves about what you think the concert will be like. (Think
about what will happen at the concert, how the music will make you feel, what it will
be like sitting in the auditorium with so many other people, etc.) Your letter will be
sealed.
When we return from the concert, we’ll re-read this letter and write another one to
ourselves about how our experience confirmed or was different from our
expectations. In the second letter, we will be able to recognize the performance’s
impact on the students’ lives. This activity has two effects: it allows students to
carefully think through the event ahead of time, and it impresses the experience
and its lessons on the students’ minds.
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Instrument Word Search
Names of instruments found in the orchestra can be found
in the letters below. They may appear forward, backward,
up or down!
E
N
O
B
M
O
R
T
B
R
A
S
S
R
K
O
K
I
Z
R
M
E
H
Y
T
K
Y
U
N
O
I
S
S
U
C
R
E
P
H
Y
I
O
Z
J
E
S
V
G
L
P
V
C
I
P
A
K
T
T
O
L
L
E
C
V
P
M
T
I
M
P
A
N
I
H
D
F
G
O
B
O
E
W
R
V
M
U
S
M
G
P
X
E
L
E
C
Bassoon
Brass
Cello
Chime
Clarinet
Cymbal
Double Bass
Drums
English Horn
V
U
D
E
P
M
Q
E
I
U
R
T
J
U
P
Y
N
W
Z
R
S
W
A
V
B
G
U
U
O
R
D
R
S
A
R
L
R
G
C
L
A
R
I
N
E
T
X
X
L
T
L
I
O
U
U
O
B
L
C
T
A
B
U
T
P
R
A
H
A
S
H
N
L
N
P
H
S
S
A
B
E
L
B
U
O
D
J
L
H
G
C
G
I
D
F
C
B
I
E
T
U
L
F
K
V
D
S
F
X
O
C
S
B
Y
Flute
French Horn
Gong
Harp
Oboe
Percussion
Piano
Piccolo
Strings
D
N
W
L
A
B
M
Y
C
O
I
K
Q
F
C
C
L
A
B
H
E
T
V
T
O
C
G
E
L
L
J
K
O
Q
H
N
S
L
Y
A
G
I
D
N
F
H
G
U
F
K
L
J
D
I
B
S
T
V
I
N
G
Z
A
R
N
K
U
M
O
D
X
V
M
K
O
I
G
U
O
Y
T
I
E
H
Y
V
R
E
C
Y
A
E
I
O
I
J
L
G
L
F
P
N
I
L
O
I
V
H
T
L
G
N
N
W
A
Z
B
X
W
L
H
F
R
E
N
C
H
H
O
R
N
C
H
H
Y
O
I
T
F
M
W
S
D
N
I
W
D
O
O
W
F
M
Timpani
Trombone
Trumpet
Tuba
Viola
Violin
Woodwinds
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Write a Letter to the Symphony!
The Wheeling Symphony would love to hear what your students thought of the
program. Have them write a letter to any performer – the conductor, the narrator,
a musician – telling about their concert experience, what they liked most, if they
liked a particular instrument or piece. Please mail the letters to:
Wheeling Symphony
Attn: Lauren Baker, Education Coordinator
1025 Main Street, Suite 811
Wheeling, WV 26003
or email them to [email protected].
Thank you to our generous sponsors of the 2016 Wheeling Symphony
Young People’s Concerts!
Helen J. Prince Foundation
Schenk Charitable Trust
Hess Family Foundation
W.E. Stone Foundation
American Electric Power
Robert L. and Helen E. Levenson Charitable Trust
Ohio River Border Initiative
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THANK YOU FOR YOUR SUPPORT!
2016 YPC Teacher Evaluation
Thank you for attending a WSO Young People’s Concert.
We hope that you and your students were entertained, educated, and enlightened!
Please take a few minutes to complete the following evaluation form.
Return this evaluation by fax: 304.232.6192 or by email:
[email protected]
Date: _______________ Time: _____________ Location: _________________________________
Your Name: ________________________________ Title: _________________________________
Email: _____________________________________________________________________________
School / County: _________________________________________________________________
I attended the concert with __________number of students in the _____________ grade.
Have you attended a WSO Young People’s Concet before? Yes / No
If yes, how many? ______________
Did your students listen to YPC CD before the concert? Yes / No / N/A
Did you feel the programming was age-appropriate? Yes / No
Please explain______________________________________________________________________
Please evaluate the MP3 tracks/CD and Teacher’s Guide. Please include suggestions for
improvement.
_______________________________________________________________________________________________
_______________________________________________________________________________________________
_______________________________________________________________________________________________
List suggestions for improving the concert itself, including future repertoire.
_____________________________________________________________________________________________
_____________________________________________________________________________________________
What did your students enjoy most about the concert? (Add any anecdotal story that
shows how the concert had an impact on your students).
_____________________________________________________________________________________________
_____________________________________________________________________________________________
Would you bring students to a future WSO Young People’s Concert? Please explain.
_____________________________________________________________________________________________
_____________________________________________________________________________________________
Additional comments:
_____________________________________________________________________________________________
_____________________________________________________________________________________________
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