Musical Explorers

Weill Music Institute
Musical Explorers
My City, My Song
A Program for Students in Grades K–2 Developed in
Partnership with Carnegie Hall’s Weill Music Institute
2014–2015
CURRICULUM
GUIDE
Weill Music Institute
Musical Explorers
My City, My Song
A Program for Students in Grades K–2 Developed in
Partnership with Carnegie Hall’s Weill Music Institute
2014–2015
CURRICULUM
GUIDE
THE BROAD STAGE
Mitchell Heskel, Director
Amy Kirkland, General Manager
Carolyn Palmer, Director of Programming and Education
Alisa De Los Santos, Manager of Education and Community Programs
Klarissa Leuterio, Education and Community Programs Associate
CONTRIBUTORS
Amy Kirkland, Daniel Levy , and Tanya Witek, Writers
Sophie Hogarth, Illustrator
Scott Lehrer, Audio Production
The Eli & Edythe Broad Stage at the Santa Monica College Performing Arts Center
1900 Pico Blvd | Santa Monica, CA 90405
Phone: 310-434-3560 | Fax: 310-434-3439
[email protected]
thebroadstage.com/education
carnegiehall.org/MusicalExplorers
Education and Community Programs at The Broad Stage are supported in part by Austin and Virginia Beutner, The Colburn Foundation, Eisner Foundation,
Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission, City of Santa Monica and the Santa Monica Arts Commission,
Herb Alpert Foundation, Leonard M. Lipman Charitable Fund, John W. Carson Foundation, The Rosalinde and Arthur Gilbert Foundation, The Green
Foundation, SMC Associates, Matthewson Charitable Trusts, The Roth Family Foundation, Bank of the West, the Ralph M. Parsons Foundation and the
Dwight Stuart Youth Fund.
© 2014 The Carnegie Hall Corporation. All rights reserved.
Table of Contents
Foreword
4
How to Use This Guide
Options for Teachers 5
6
Options for Teachers of Students with Special Needs
6
Pathways for Teachers
7
Meet the Artists 8
Introduction 9
Unit 1: Cuban Music with Gabriel 18
Unit 2: Jazz Music with Jesse
24
Unit 3: Indian Music with Varshini
32
Concert Preparation
40
Additional Information Glossary
45
46
National Standards for Music Education
California VAPA Standards
46
Acknowledgments
47
CD Track List
48
3
Foreword
Welcome to Musical Explorers!
This curriculum is designed to connect students in grades K–2 to the diverse musical community of
Los Angeles as they develop listening, singing, and composing skills. The curriculum culminates in
an interactive concert featuring vocalists from a wide variety of musical styles and from different Los
Angeles neighborhoods. The 2014–2015 curriculum also explores musical patterns found in each of
the artists’ music.
Musical Explorers combines skills-based and creative activities, and can be integrated into
academic and music classrooms. To facilitate planning, this Teacher Guide contains vocal
exercises, lesson plans, activity timings, background information about musical styles and artists,
and Student Guide pages. In addition, audio tracks provide concert repertoire selections and
learning tracks. Any scripted suggestions appear in italics.
Students will not only be listening to, but also performing songs with the artists during each
concert. Printed music and/or lyrics for these songs are included within the lessons, and audio
tracks are provided online and on the companion CD. Teachers are encouraged to practice these
songs regularly and complete the accompanying activities with their students so they can have the
fullest concert experience possible. In addition, the Introduction lessons contain tips for helping
students develop healthy, age-appropriate vocal technique.
We hope you enjoy the journey!
Exploration
How can music represent the spirit of a community?
Key Objectives
Musical Explorers are students and teachers who look for the answers to this question as they
• meet singers whose music represents different genres and cultural communities
• sing and move to the artists’ songs
• make connections between the artists’ music, their Los Angeles neighborhoods,
and their cultures of origin
• explore musical patterns that create the unique sound of each artist’s music
4
How to Use This Guide
With your guidance, Musical Explorers develop habits of active and engaged listening through a process
that includes using recurring prompts, follow-up questions, modeling, and short, repeated listenings.
rompts: As students encounter new songs throughout the curriculum, ask them questions about
P
the music. We have included some scripted suggestions, which appear in italics. These prompts are
purposefully very open to help familiarize students with the process of noticing and articulating
specific aspects of the music.
• What do you hear in this music?
• How would you move to this music?
• What words can you use to describe this music?
Follow-Up Questions: Here are some examples of questions that might be used in addition to the
above prompts to draw out your students’ ideas. Young students may need to be offered some choices
until they develop more confidence in their own vocabulary and abilities. Follow-up questions may
include:
• Can you tell me a little more about that?
• Can you show me that with your hands by clapping or tapping, or by moving your body?
• Can you sing it for me?
• What do you think the musicians are feeling? What makes you think that?
• What are the instrumentalists doing? What is the singer doing?
• Is the music busy or calm, loud or soft, high or low, smooth or bumpy?
Modeling: At the beginning of the year, it may be helpful to model responding to your own prompts.
Repeated Listening: As you facilitate listening and discussion, it will be helpful to remember these
tips for the “What did you hear in this music?” prompt:
• Play examples more than once and spread listenings across many lessons. Unfamiliar music
takes time to absorb, process, and respond to.
• Play back short excerpts of the music by pausing the audio track after each section.
• Offer the prompts while listening to a song, since it may be more difficult for students to recall
a musical detail or observation when the music exists only in memory.
Making the Invisible Visible: To help young students actively listen to and engage with music,
look for ways to make the invisible world of music visible, and whenever possible, kinesthetic.
In Musical Explorers, these methods include
• singing melodies
• clapping and tapping rhythms (body percussion)
• counting rhythms
• drawing sounds
• connecting narrative ideas with music
• dancing
• connecting cultural images with music
5
Options for Teachers
Creative Extensions: These extensions are designed to continue the exploration of repertoire
and concepts beyond the concert program. We encourage you to delve deeper into the music and
cultures explored through these activities and to share your experiences with other classes, parents,
members of the school community, and Broad Stage staff.
Musical Word Wall: We encourage you to keep a word wall and add each of the below vocabulary
words as they are introduced in the lessons, along with any other terms you might choose to add.
Musical Explorers Word Wall
Introduction
explorer
humming
pattern
vibrations
Unit 1
cha-cha
claves
congas
güiro
rhythmic layers
Unit 2
chorus
lyrics
melody
pitch
swing
Unit 3
adi talam
Carnatic music
scale
tala
Options for Teachers of Students with Special Needs
• Students can participate in Musical Explorers in a variety of ways and may learn the songs by singing,
moving, and/or clapping. You may also want to focus on smaller sections of the song. Since you know
your students best, allow them to participate in ways that will help them feel the most successful.
• Encourage students to engage with the music using tangible objects, such as handmade instruments
(e.g., cups with beans for shakers), rhythm sticks, and drums.
• Allow time for students to experience the music and repeat as often as necessary. The lessons outlined in
this curriculum may take additional time and span more than one class period. Use one-step directions
and visuals as often as possible to help students understand the concepts.
• Some visual aids are provided within the curriculum and at the Musical Explorers concerts, but you may
wish to provide additional resources to help your students engage with the material. If you have ideas for
elements we can include in future curricula, please send them to us at [email protected].
6
Pathways for Teachers
Basic Program Path
(Minimum requirements
for concert participation)
Basic+ Program Path
(If you have more time)
Advanced Program Path
(If you have a lot more time)
Complete the first song in
each unit.
Complete Lessons 1 and 2
and explore both songs in
each unit.
Complete both lessons, learn
both songs, and complete any
Creative Extensions included
in the units.
Unit 1
“Guantanamera”
Unit 2
“Blue Skies”
Unit 3
“Brahmamokate”
Unit 1
“Son de la Loma”
Unit 2
“It Don’t Mean a Thing”
Unit 3
“Kurai Ondrum Illai”
7
Meet the Artists
Gabriel, Cuban Music
Gabriel Garcia and his band, Changüí Majadero, perform authentic
music from the island of Cuba. Celebrating the traditional folk rhythms
and melodies from the Guantánamo region, Changüí Majadero
captures the essence of musica campesina of Cuba with its high
energy, lyricism, and soulful syncopated swing. Visit facebook.com/
ChanguiDelGuasoProductions to learn more about Gabriel.
Jesse, Jazz Music
Jesse Palter, originally from West Bloomfield, Michigan was performing
in talent shows and community theater before she was in kindergarten.
She grew up listening to her grandmother, a renowned opera singer in
New York City, and knew that she would pursue a career in music. She
now performs across the country with her ensemble, The Jesse Palter
Quartet. Visit palterego.com to learn more about Jesse.
Varshini, Indian Music
Varshini Muralikrishnan began singing and playing classical Indian
music at the age of two. Having grown up in a musical family and
traveling since a young age, Varshini brings to life a genre of music
incorporating diversity, vibrance, soul, and tradition. She seamlessly
integrates her classical Carnatic music roots with hip-hop, R&B, jazz,
and other global influences. Visit varshinimusic.com to learn more
about Varshini.
8
Introduction
Introduction
Lesson
Lesson1 1
Lesson 1: Becoming Musical Explorers
Aim: What can Musical Explorers do?
Summary: Students identify themselves as explorers of Los Angeles’ music.
Materials: Musical Explorers audio tracks, Musical Explorers Student Guide pages
Time Required: 30 minutes (three 10-minute activities)
Standards: US 1, 2, 6, 7, 8, 9; VAPA Music 2.1, 2.4, 4.2
Vocabulary: explorer, pattern
Learn the “Musical Explorers Song”
• Introduce the Tour Guide on SG1.
• Where is our school on this map?
• As we explore our city, what kinds of music do you think we might find?
• Introduce students to the Musical Explorers program by singing the “Musical Explorers Song,”
• Learn the “Musical Explorers Song” sign language, SG3.
Track 1.
Explore Patterns
• This year, students will explore musical patterns.
• What is a pattern? Where do we find patterns?
• Collect words and ideas that students associate with patterns, such as repeating, same, and different.
• Look at examples of patterns on SG4.
• How do you know that these pictures have a pattern?
• Invite students to look around the school and identify some of the patterns they observe.
• Have students draw the patterns they find on SG4. Students can also create their own patterns using shapes,
designs, colors, or blocks.
Introduce Musical Patterns
• Improvise a rhythmic pattern.
• Is this a pattern? How do you know?
Track 7. For each example, discuss.
• Play Rhythmic Patterns,
• What do you notice about this pattern? Are the notes short or long? Which rhythms repeat?
Musical Word Wall
Add the words explorer and pattern to the Musical Word Wall.
9
SG
1
2
Welcome to Our Musical Trip!
Welcome, Musical Explorers!
I’m your tour guide, and I’ll help
you explore our musical city.
Together, we’ll meet our singers
and hear their songs and stories.
Come along with me and make
your discoveries!
10
SG
2
3
Musical Explorers Song
11
SG
3
2
I can sing it!
I can say it!
I can dance it!
I can play it!
12
SG
SG
43
Exploring Patterns
What patterns do you see in these images? How do you know
it’s a pattern?
Draw other patterns you see in your school or classroom.
13
Introduction
Lesson 2
Lesson 2: Exploring Our Voices
Aim: What happens in our bodies when we breathe, hum, and sing?
Summary: Students explore their singing and talking voices. The exercises learned may be done as a
warm-up. It may take some time for students to know and feel that their singing and talking voices are
very different from each other.
Materials: Musical Explorers audio tracks, Musical Explorers Student Guide pages
Time Required: 50 minutes (five 10-minute activities)
Standards: US 1, 2, 6, 7, 8, 9; VAPA Music 2.4
Vocabulary: humming, vibrations
•
What Happens
When We Breathe?
Have students find a partner to explore what happens when taking a breath. Have one student take a few slow, deep
breaths into their bellies. Encourage students not to lift their shoulders as they take deep breaths. Have the other
student watch what happens.
• What is happening inside your bodies as you breathe?
• Is anything moving? What is moving?
• Can you describe what you feel?
• What happens when you raise both hands in the air, take a deep breath, and then lower your hands while you
exhale? Does that feel different? How so?
• What happens when you lean over, touch your toes, and take a deep breath? How does that feel different?
•
What Happens When We Hum?
Have students perform a few long sounds by singing or humming, which is singing without opening one’s lips.
While they hum or sing, tell them to touch their noses, cheeks, throats, necks, backs, and chests.
• What do you feel?
• Does anything change when you hum or sing instead of speak?
• What do you think is happening? Why?
Explain that all sounds are caused by vibrations, or movements, that go through the air. Without vibrations, music
and sounds would not exist. By touching our throats when we hum, speak, or sing, we can actually feel the wiggly
vibrations created by our vocal cords.
Have students alternate between blowing air (not making sound) and humming, while touching their throats, so that
they can feel the difference between vocal cords vibrating and at rest.
Have students use SG5 to document their experiences and sensations by circling the parts of the Tour Guide that
correspond to the parts of their bodies they feel vibrating.
Use any of these warm-up activities in Lesson 2 to begin each Musical Explorers lesson!
14
Introduction
Lesson 2
• “Warm-Up Rhyme”
Learn the
Teach the “Warm-Up Rhyme,”
Track 3, to your students. Practice this often as a warm-up before beginning to sing.
1
2
Touch your toes,
(bend over and touch toes)
Stretch to the sky,
(arms lifted over head,
taking deep breath)
Reach way up high.
You’re a seed that grows.
(rolling up)
Standing tall,
Feel the lift.
3
4
Arms releasing,
(arms drop downwards,
keeping chest lifted)
Breathing deep,
(deep belly breath,
hands on hips)
Down they drift.
5
6
Fill your lungs.
(stretching arms out and
down, like a ballet dancer)
Smoothly and slowly,
(arms come in and
release the breath)
Out it comes.
(breathe out slowly)
15
Introduction
Lesson 2
•
Vocal Exercises
Now that students have felt their own vocal cord vibrations, guide them in discovering what else their voices can do.
• There are four types of voices: talking, singing, whispering, and calling.
Have students explore their voices.
• How would you use your voice in the classroom? In music class? In the library? Outside on the playground?
By doing the following exercises often, students will become comfortable with using their singing voices, both high
and low. Feel free to mix and match the following warm-ups, or to create your own to add variety.
Track 4: Have students pretend they are police cars on a chase with their sirens on. To do this, start by
“Sirens”
singing “ooo” on a low pitch and slide up to a high pitch, and then slide back down to a low pitch.
• How can we use our arms to show the different shapes our voices are making?
Try out students’ ideas of how sirens can sound and look.
“Yawning Kittens”
Track 5: Have students pretend they are sleepy kittens by stretching, yawning, and sighing.
• Model the vocal contour of the yawn and sigh (going from a high to a low pitch).
• Model a swooping contour with your hands and arms.
• Have students mimic you so that they can begin to feel and understand the difference between high and low
sounds by using their bodies and voices.
“Floating Balloon”
Track 6: Have students imagine they are a balloon floating in the wind.
• Model the balloon’s path by moving your arm.
• Make your voice match the contour of the balloon’s path (voice starts low and finishes high). Repeat this
several times.
• Have students imitate your arm and vocal movements.
• Experiment with the size and contour of the balloon’s arc, matching the movement with your voice.
• x
Sing the “Musical Explorers Song”
• Warm up students’ voices by singing the “Musical Explorers Song,”
• Begin each class by listening to or performing this song.
Musical• Word Wall
Add the words humming and vibrations to the Musical Word Wall.
16
Track 1.
SG
3
5
Vibrations Feel Wiggly!
The wiggles are called vibrations, which cause sounds.
Show where you feel the vibrations by circling the areas
that would wiggle on the Tour Guide when she sings.
17
Unit 1
Preparation
Lesson 1
Unit 1: Cuban Music with Gabriel
• x
Find Our Neighborhood
The Tour Guide now takes us on a journey to Echo Park to meet our first singer, Gabriel.
Have students turn to SG6 and help them do the following as they learn about Gabriel:
• Locate your neighborhood.
• Locate Gabriel on the map in Echo Park.
• Complete the activity.
18
SGX
SG 6
2
Find Gabriel’s Neighborhood
It’s time for us to begin our musical trip! Find Echo Park, where ​
Gabriel lives, on the map below. Then complete the activity to start
our journey. Let’s go!
Echo Park
Gabriel
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GABRIEL CHA CHA CUBA GUIRO CONGAS
CLAVES
RHYTHM
LAYERS
19
Unit 1
Lesson 1
Lesson 1: Learning “Guantanamera”
Aim: What are the rhythmic patterns in “Guantanamera”?
Summary: Students learn to sing “Guantanamera” and perform a simple dance pattern.
Materials: Musical Explorers audio tracks, Musical Explorers Student Guide pages
Time Required: 40 minutes (two 20-minute activities)
Standards: US 1, 2, 4, 5, 6, 7, 8, 9; VAPA Music 2.1, 2.4, 3.2, 4.2
Vocabulary: cha-cha
Meet Gabriel
• Meet Gabriel on SG7.
Guantanamera
Sing “Guantanamera”
traditional Cuban
• Listen to “Guantanamera,”
Track 8.
44
b
!
!
!
!
&
• “Guantanamera” is one of the best known patriotic songs from Cuba. It is about a girl from the
countryside in the Guantánamo region of Cuba.
Track 11.
• Practice singing the chorus of the song
Soprano
S
&b œ œ œ œ œ Œ
Ó
‰œ œœ œ œ œ œ œŒ
Guan - ta - na - me - ra
S
&b œ
Œ
œ œ œ œ . œJ
!
Gua - ji - ra Guan - ta - na - me - ra
‰ œ œ œ
Gua - ji - ra
œ
Guan
-
œ œ œ.
ta - na - me
Guan - ta - na - me - ra
-
j
œ
ra
˙
Ó
..
Dance to “Guantanamera”
Track 8.
• Listen to the full version of “Guantanamera,”
• Learn to perform a simple cha-cha dance to “Guantanamera.” To see a video of this dance pattern, visit
The Broad Stage website at thebroadstage.com/MusicalExplorers.
Rhythm:
Move:
Slow-Slow
Right-Left
Fast-Fast-Slow
Right-Left-Right
Musical Word Wall
Add the word cha-cha to the Musical Word Wall.
20
Slow-Slow
Left-Right
Fast-Fast-Slow
Left-Right-Left
SG
72
Meet Gabriel!
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Dear M
usical
Explore
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21
Unit 1
Lesson 2
1
Lesson 2: Exploring “Son de la Loma”
Aim: How can we create layers with rhythmic patterns?
Summary: Students listen to and perform rhythmic layers in the song “Son de la Loma.”
Materials: Musical Explorers audio tracks, Musical Explorers Student Guide pages, percussion instruments
Time Required: 30 minutes (three 10-minute activities)
Standards: US 1, 2, 4, 5, 6, 7, 8, 9; VAPA Music 2.1, 2.4, 3.2, 4.3
Vocabulary: claves , congas, güiro, rhythmic layers
Listen to “Son de la Loma”
• Listen to “Son de la Loma,”
Track 12.
• What is the feeling or spirit of this music?
Explore Rhythmic Patterns in “Son de la Loma”
• Listen to the three different rhythmic patterns in “Son de la Loma” played on the güiro, congas, and the
Tracks 13, 14, and 15.
claves,
• Locate SG8 and have students imitate each instrument’s rhythmic patterns. They may choose to make
different sounds with their voices, clap the rhythm, add words to the sounds, or play them on classroom
instruments.
• “Son de la Loma” and “Guantanamera” both use rhythmic patterns. Sometimes those patterns are
combined to create rhythmic layers.
Perform Rhythmic Layers
• Divide the class into three groups. Establish a different pattern with each group. Select a student leader
for each group to help the patterns stay together.
Track 16,
• Once each group has successfully established its rhythm, listen to Cuban Rhythmic Layers,
and perform the layers together as a class.
Musical Word Wall
Add the words claves, congas, güiro, and rhythmic layers to the Musical Word Wall.
22
SG
2
8
Rhythmic Patterns in “Son de la Loma”
Güiro
____
ta
1
Congas
s t s
ta pa ta
1
2
Claves
1
• •____• •____• •
ti-ti
ta
ti-ti ta
ti-ti
2
3
4
1
2
t s t n n
pa ta pa go go
3
4
l
clap
2
l
clap
3
4
s
ta
1
t s
pa ta
2
l
clap
1
t
pa
2
____
ta
3
s
ta
3
l
clap ••
ti-ti
4
t n n
pa go go
4
3
l
clap
4
23
Unit 2
1
Preparation
Lesson 1
Unit 2: Jazz Music with Jesse
• x
Find Our Neighborhood
The Tour Guide now takes us on a journey to West Hollywood to meet our next singer, Jesse.
Have students turn to SG9 and help them do the following as they learn about Jesse:
• Locate Gabriel in Echo Park.
• Now locate Jesse on the map in West Hollywood.
• Complete the activity.
24
SGX
9
SG 6
2
Find Jesse’s Neighborhood
Find Gabriel in Echo Park. Next, find Jesse in West Hollywood.
Complete the activity to take us from Gabriel to Jesse. Let’s go!
Echo Park
West Hollywood
Gabriel
Jesse
1
2
3
4
ACROSS
1. The main tune in a piece of music
3. How high or low a song is
DOWN
2. The words in a song
4. A repeating section in a song
25
Unit32
Unit
Lesson
Lesson
11
Lesson 1: Learning “Blue Skies”
Aim: How can visual patterns help us hear musical patterns?
Summary: Students begin to understand melodic patterns by learning to sing Irving Berlin’s “Blue Skies.”
Materials: Musical Explorers audio tracks, Musical Explorers Student Guide pages
Time Required: 30 minutes (three 10-minute activities)
Standards: US 1, 2, 4, 5, 6, 8; VAPA Music 1.3, 2.1, 4.3
Vocabulary: chorus, lyrics, melody, pitch
•
Meet Jesse
• Meet Jesse on SG10.
• Melodic Patterns in “Blue Skies”
Listen for
• Look at the skylines on SG11.
• What do you notice about the buildings in the skyline?
• Have students trace the different heights of the building in the skyline.
• The contour of the skyline represents the high and low pitches of the song’s melody.
• What patterns do you notice in the skyline?
• What do you notice about the buildings that represent “blue” and “skies”?
Track 19, the chorus only, as students follow the second skyline on SG11. Play the
• Listen to “Blue Skies,”
track several times and have students follow the words and the contour of the melody as they listen.
Score
Sing
“Blue Skies”
Blue Skies
Track 19. Have students trace the shape of the melody as they sing.
• Practice singing the chorus of the song
b
& b b 44 ˙
˙
Blue
˙
skies
b
&bb ˙
5
˙
blue
b
&bb
skies
9
˙
Blue
b
&bb ˙
˙
˙
-
birds
-
˙
˙
26
birds
smi - ling at
sing - ing
˙
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all
day
Noth - ing
w
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3
me
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œ œ œ
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blue
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Noth - ing
w
long
but
w
but
Unit
Unit23
Lesson
Lesson11
Explore•Meaning in “Blue Skies”
• Explore the meaning of the word blue with students.
• What are some things that are blue in the world?
• What does it mean to feel blue?
• Read the lyrics of “Blue Skies”.
• What do you think these words mean?
“Blue Skies”
Music and lyrics by Irving Berlin
Blue skies smiling at me
Nothing but blue skies, do I see
Blue birds singing a song
Nothing by blue birds all day long
Never saw the sun shining so bright
Never saw things going so right
Noticing the days hurrying by
When you’re in love, my how they fly
Blue days, all of them gone
Nothing but blue skies from now on
• Ask students to consider a recent day in Los Angeles when they felt “blue skies smiling” at them.
• Invite students to share their responses with a partner and/or the entire class.
Track 19. Remind students to sing along with the chorus whenever it repeats
• Now listen the entire song
and to trace the melody as the pitch goes higher or lower.
Musical Word Wall
Add the words chorus, lyrics, melody, and pitch to the Musical Word Wall.
27
10
2
SG
SG
Meet Jesse!
W E S T HOL LY
rers,
ical Explo
Dear Mus
nd I was
a
,
e
s
s
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J
is
live in
My name
an. Now I ing all
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h
ic
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sing
born in
d. I love
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lly jazz. I
ia
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,
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was a
kinds of
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in
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lot
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learned a
d
n
a
l,
as
ir
lit tle g
her, who w he
t
o
m
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n
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r
g
ter t
from my
singer. Af
a
r
e
p
o
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u
your
a famo
me about
ce.
ll
e
t
,
t
r
e
performan
conc
e
h
t
f
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ar t
favorite p
d,
Your frien
Jesse
28
xplorers
Musical E
oad Stage
c/o The Br
treet
1310 11th S
01
ica, CA 904
Santa Mon
W OOD
Unit 2
Lesson 1
SG
11
2
Trace the Musical Shape of “Blue Skies”
What do you notice about this skyline?
What do you notice about this skyline?
skies
smilBlue
at
-ing
me
blue
Noth-ing
but
skies, do
I
see
29
Unit32
Unit
Lesson
Lesson
12
Lesson 2: Learning “It Don’t Mean a Thing”
Aim: What is a swing pattern?
Summary: Students learn about swing patterns and sing Duke Ellington’s “It Don’t Mean a Thing.”
Materials: Musical Explorers audio tracks, Musical Explorers Student Guide pages
Time Required: 20 minutes (two 10-minute activities)
Standards: US 1, 2, 4, 5, 6, 8; VAPA Music 2.1, 4.3
Vocabulary: swing
•
Listen to Swing Patterns
• Listen to a swing pattern vs. a straight pattern
Tracks 21 and 22.
• Jesse loves a style of jazz music called swing.
• What is swing?
• How can you tell when the rhythm is “straight” or swing?
Explore•Swing Patterns in “It Don’t Mean a Thing”
• Listen to “It Don’t Mean a Thing,”
Track 23.
• Swing is a style of music, but it’s also an energetic feeling that makes you tap your toes and want to dance.
• Why would a jazz musician say that music “don’t mean a thing if it ain’t got that swing”?
Track 23.
• Sing along with “It Don’t Mean a Thing”
“It Don’t Mean a Thing”
Music by Duke Ellington and Billy Strayhorn, lyrics by Irving Mills
It don’t mean a thing, if it ain’t got that swing
(doo-ah, doo-ah, doo-ah, doo-ah, doo-ah, doo-ah, doo-ah, doo-ah)
It don’t mean a thing, all you got to do is sing
(doo-ah, doo-ah, doo-ah, doo-ah, doo-ah, doo-ah, doo-ah, doo-ah)
30
Unit
Unit23
Lesson
Lesson21
Creative Extension: Learn the Jazz Musician’s Secret Language
• Create a class story about musicians we see in our school or neighborhood. Use the Jazz Musicians’ Secret
Language to substitute jazz terms for words in the story (e.g., This morning when I left my crib for school, I
saw my neighbor wearing some cool cans).
• Which jazz words are your favorites?
• Are there any jazz words that you already knew?
• Why would jazz musicians use a special language when they speak with each other?
Jazz Musicians’ Secret Language
The Apple: New York City
Axe: an instrument, especially a guitar or saxophone
Cans: headphones
Cats: folks who play jazz music
Crib: apartment or house
Gig: a paying job
Scat: nonsense syllables set to music
Take five: To take a five-minute break
Musical Word Wall
Add the word swing to the Musical Word Wall.
31
Unit 3
1
Preparation
Lesson 1
Unit 3: Indian Music with Varshini
• x
Find Our Neighborhood
The Tour Guide now takes us on a journey to Artesia, to meet our next singer, Varshini.
Have students turn to SG12 and help them do the following as they learn about Varshini:
• Locate Jesse in West Hollywood.
• Now locate Varshini on the map in Artesia.
• Complete the activity.
32
SGX
SG 6
2
SG
12
Find Varshini’s Neighborhood
Find Jesse in West Hollywood. Next, find Varshini in Artesia.
Complete the activity to take us from Jesse to Varshini. Let’s go!
West Hollywood
Jesse
Varshini sings music from
I_D__
S__LE
In India, a rhythmic pattern is called _AL_
Do, Re, Mi and Sa, Ri, Ga are notes in a
Varshini
Artesia
33
Unit 3
1
Lesson 11
Lesson
Lesson 1: Learning “Brahmamokate”
Musical Explorers Scales 2
Aim: How can we use note patterns to explore Indian music?
Summary: Students explore the Classical Indian scale and learn to sing “Brahmamokate”.
Materials: Musical Explorers audio tracks, Musical Explorers Student Guide pages, chart paper, markers
Time Required: 30 minutes (two 15-minute activities)
Standards: US 1, 2, 3, 4, 5, 6, 7, 8, 9; VAPA Music 1.3, 2.1, 3.2
Vocabulary: Carnatic music, scale
&4
4
Meet Varshini
•
• Meet Varshini on SG13.
&
œ
Do
∑
œ
Re
œ
œ
Mi
Fa
∑
œ
Sol
œ
La
b œ 25. œ
& SG14 -bDo,
œ Track
• Review and sing the C-Major scale onœ
œ Re, Mi,œ Fa, Sol,œ La, Ti, Do,
œ
œ
Ti
Do
Learn Scale Patterns
26. Ni
• Learn and sing the Indian scale on SG14
Ri, Ga, Ma,
Sa - Sa,Ri
Ga Pa, Dha,
Ma Ni, Sa,Pa Track
Dha
• Experiment with the notes of the scale using call and response patterns such as these:
Sa Ri Pa,
Track 27
Ga Ma Pa,
Track 28
Ga Ma Sa,
Track 29
bœ
∑
∑
Ri
Pa
œ
œ
∑
∑
∑
∑
& œ
Ma
& œ
œ
Ga
Ga
Sa
Ma
Pa
œ
Sa
©
• As a class, create an original melody by reorganizing the syllables. Notate the melody on chart paper.
• Practice singing your new class melody.
34
43
œ
& œ
Sa
œ
Unit
Unit
3 1
Lesson
1
Lesson
1
Sing “Brahmamokate”
•
• Introduce students to Indian Carnatic music.
Score
• Varshini sings a style of music from southern India called Carnatic music.
• Let’s learn to sing a Carnatic song called “Brahmamokate,” which means “The Spirit is one.”
Track 24.
• Practice singing the chorus of “Brahmamokate”
Brahmamokate
j œ œ3 # œ n œ œ œ
4
‰
&4 œ
˙.
Brah ma mo ka te
3
œ
œ
œ
#œ nœ œ œ
& œ
Brah ma mo ka te
œ œ #œ œ œ nœ ˙
pa ra
˙.
Brah ma mo ka
œ œ #œ œ œ nœ ˙
pa ra
Brah ma mo ka
te
w
te
w
..
Musical Word Wall
Add the words Carnatic music and scale to the Musical Word Wall.
35
SG
13SG 2
SGX
SG 6
Meet Varshini!
esia
t
r
A
m
o
r
f
s
g
in
t
e
e
r
G
l Explorers,
Dear Musica
c has
rtesia! Musi
A
y.
m
ro
f
s
g
in my famil
Greetin
e
f
li
f
o
y
a wa
are
always been
and father
r
e
h
sing
t
o
m
y
p, I would
Both m
u
g
in
w
ro
g
hile
t to
musicians. W ments for fun. I wen
ru
st
dicine. I
and play in
sic and me
u
m
y
d
u
st
Today
college to
my career.
c
si
u
m
e
k
a
m
geles.
decided to
over Los An
ll
a
c
si
u
m
I make
,
Your friend
xplorers
Musical E
oad Stage
c/o The Br
treet
1310 11th S
01
ica, CA 904
Santa Mon
Varshini
36
36
6
2
14
SGX
SG
SG
Scales
Let’s practice the C-Major scale below.
In India, musicians also use scales.
Let’s practice the one below.
37
Unit 3
1
Lesson
Lesson 21
Lesson 2: Exploring “Kurai Ondrum Illai”
Aim: How can we perform rhythmic movement patterns in Classical Indian music?
Summary: Students learn to perform a rhythmic movement pattern in “Kurai Ondrum Illai”.
Materials: Musical Explorers audio tracks, Musical Explorers Student Guide pages
Time Required: 20 minutes (two 10-minute activities)
Standards: US 1, 2, 3, 4, 5, 6, 7, 8, 9; VAPA Music 2.1, 3.2
Vocabulary: adi talam, tala
Learn Rhythmic
Movements
•
• Learn the rhythmic movement called adi talam on SG15.
• In Indian Classical music, repeating rhythmic patterns are called tala.
• Adi Talam is one of the most popular tala. It has eight beats and includes a movement pattern.
Explore Rhythmic Patterns in “Kurai Ondrum Illai”
• Learn the adi talam rhythmic pattern,
Tracks 31 and 32.
Track 30 and practice performing the adi talam rhythm.
• Listen to Varshini sing “Kurai Ondrum Illai,”
Musical Word Wall
Add the word adi talam and tala to the Musical Word Wall.
38
6
2
15
SGX
SG
Adi Talam
1
3
5
7
2
Clap
Ring Finger
Clap
Clap
4
6
8
Little Finger
Middle Finger
Palms Up
Palms Up
39
Concert Preparation
The Concert
• Review the diverse artists the students have encountered this year.
— Gabriel (Cuban music)
— Jesse (jazz music)
— Varshini (Indian music)
• Look at SG16 and have students find the countries represented on the map.
• What do you remember about the artists and their music? Brainstorm a list of responses with
the students.
• Listen to a brief excerpt by each of these artists on the Musical Explorers audio tracks.
• What musical patterns have we learned from these artists?
• As a class, brainstorm some questions the students could consider during the concert. Have the students
try to answer the questions for one another after attending the performance.
• Lead a discussion with students about the roles of performer and audience member (or listener)
during a concert. Brainstorm ideas about these roles and document them on chart paper. Have students
narrow down the list by voting on their favorite two ideas per role.
• Divide the class in half, with one half acting as performers and the other half acting as audience
members for a song from Musical Explorers. Facilitate a reflective discussion with students about
how each group did. Invite the groups to share one aspect of what they liked and one thing that could
be improved for themselves and the other group. Perform the song again, switching so that the students
take on the opposite role. Repeat the reflection.
• to The Broad Stage
Let’s Go
The Tour Guide now takes us from each of our artists’ neighborhoods to The Broad Stage in Santa Monica, where
we will meet and hear our singers, Gabriel, Jesse, and Varshini. Have students turn to SG17 and help them
do the following:
• Find Gabriel in Echo Park; Jesse in West Hollywood; and Varshini in Artesia.
• Find The Broad Stage in Santa Monica.
• Complete the maze that takes each of them from their neighborhoods to The Broad Stage.
40
216
SG
SG
Where Are the Countries that We Have
Learned About?
The artists came from different places but now live in
Los Angeles—just like you!
Gabriel
Rolando
Jesse
Varshini
4141
SG
SG 2
17
Find The Broad Stage
Find Gabriel in Echo Park; Jesse in West Hollywood; and
Varshini in Artesia. In the maze, draw the path from each of
them to The Broad Stage in Santa Monica. Let’s go!
Echo Park
West Hollywood
Jesse
Gabriel
Santa
Monica
The Broad Stage
Varshini
4242
Artesia
18
2
SG
SG
What Did You See and Hear at
The Broad Stage?
Draw pictures of your trip to The Broad Stage below.
43
192
SG
SG
Who Is Your Favorite Artist?
Write a letter to your favorite artist. Be sure to include your favorite part
of the concert and your favorite song from the concert.
Dear
,
Your friend,
44
44
Additional Information
Glossary
adi talam: a popular tala, or rhythmic pattern, used in
Carnatic music
Carnatic music: a system of Indian classical music that
is commonly associated with southern India
cha-cha: a rhythmic dance from Latin America that
involves small steps and swaying
rhythm: patterns of sound and silence
rhythmic layers: different rhythmic patterns that are
played at the same time
scale: a pattern of musical notes
scat: nonsense syllables set to music
chorus: a repeating musical section in a song
solo: one musician performing alone
claves: a pair of wooden sticks that are struck together
to accompany music and dancing
steady beat: the pulse in music
congas: Cuban drums played with the hands
tempo: the speed of music
contour: a musical shape
tala: a repeating rhythm in Indian classical music
duet: when two people are making music together
dynamics: volume (loud or quiet)
verse: the music that alternates with the chorus in
a song
emotions: feelings
vibrations: the movement of air
swing: a form of jazz music developed in the early 1930s
explorer: a person who uses his or her senses to learn
about something
güiro: a Latin American percussion instrument made
of a hollow gourd with a grooved surface that is scraped
with a stick
humming: singing without opening one’s lips
improvise: to make up something on the spot
lyrics: the words in a song
melody: the tune in a piece of music, made up of pitches
that go up and down
mood: the feeling of a piece of music
pattern: a distinct arrangement of visual designs or
sounds (often repeating)
pitch: how high or low a sound is
45
National Standards for Music Education and
Visual and Performing Arts Framework for California Public Schools (VAPA)
Unit
National Standards
California VAPA Music Standards
Introduction
1, 2, 6, 7, 8 , 9
2.1, 2.4, 4.2
Cuban Music with Gabriel
1, 2, 4, 5, 6, 7, 8, 9
2.1, 2.4, 3.2, 4.2, 4.3
Jazz Music with Jesse
1, 2, 4, 5, 6, 8
1.3, 2.1, 4.3
Indian Music with Varshini
1, 2, 3, 4, 5, 6, 7, 8, 9
1.3, 2.1, 3.2
National Standards for Music Education
Standard 1
Standard 2
Standard 3
Standard 4
Standard 5
Standard 6 Standard 7 Standard 8 Standard 9
Singing a varied repertoire of music alone and with others
Performing a varied repertoire of music alone and with others
Improvising melodies, variations, and accompaniments
Composing and arranging music within specified guidelines
Reading and notating music
Listening to, analyzing, and describing music
Evaluating music and music performances
Understanding relationships between music, the other arts, and disciplines outside the arts
Understanding music in relation to history and culture
Visual and Performing Arts Framework for California Public Schools (VAPA): Music
1.0 Artistic Perception
Processing, Analyzing, and Responding to Sensory Information Through the Language and Skills Unique to Music
Students read, notate, listen to, and describe music and other aural information, using the terminology of music.
1.3 Identify ascending/descending melody and even/uneven rhythm patterns in selected pieces of music.
2.0 Creative Expression
Creating, Performing, and Participating in Music
Students apply vocal and instrumental skills in performing a varied repertoire of music. They compose and arrange
music and improvise melodies, variations, and accompaniments, using digital technology when appropriate.
2.1 Sing with accuracy in a developmentally appropriate range.
2.4 Improvise simple rhythmic and melodic accompaniments, using the voice and a variety of instruments.
3.0 Historical and Cultural Context
Understanding the Historical Contributions and Cultural Dimensions of Music
Students analyze the role of music in the past and present cultures throughout the world, noting cultural diversity as it
relates to music, musicians, and composers.
3.2 Sing simple songs and play games from various cultures
4.0 Aesthetic Valuing
Responding to, Analyzing, and Making Judgments About Works of Music.
Students critically assess and derive meaning from works of music and performance of musicians according to the
elements of music, aesthetic qualities, and human responses
4.2 Create developmentally appropriate movements to express pitch, tempo, form, and dynamics in music
4.3 Identify how musical elements communicate ideas or moods.
Common Core Capacities
Through hands-on classroom activities and two culminating interactive performances, Musical Explorers helps to address
Common Core Capacities for College and Career Readiness, empowering students through learning activities in which they
• demonstrate independence
• build strong content knowledge
• respond to the varying demands of audience, task, purpose, and discipline
• comprehend, as well as critique
• value evidence
• come to understand other perspectives and cultures
The Musical Explorers curriculum focuses on building music performance skills, content knowledge, and creativity, while
developing core capacities in English language arts and mathematics. Through active listening, describing and analyzing
repertoire, writing activities, and a focus on the perspectives of other cultures and communities, Musical Explorers provides
students with the opportunity to put these core capacities to use in a musical domain.
46
Acknowledgments
“Musical Explorers Song,” by Daniel Eliot Levy. © 2007 Daniel Levy and ASCAP. Performed by Shanna Lesniak-Whitney and Shane Schag.
“Guantanamera,” traditional Cuban song. Performed by Son de Madre.
“Son de la Loma,” by Miguel Matamoros. Performed by Son de Madre.
“It Don’t Mean a Thing (If It Ain’t Got That Swing)” by Duke Ellington and Irving Mills. © 1932, renewed 1960 Sony / ATV Music
Publishing LLC, EMI Mills Music, Inc. All rights on behalf of Sony / ATV Music Publishing LLC administered by Sony / ATV Music
Publishing LLC, 8 Music Square West, Nashville, TN 37203. All rights reserved. International copyright secured. Used by permission.
Performed by Karlie Bruce, Jerome Jennings, Chris Parrello, and Kevin Thomas.
“Blue Skies,” music and lyrics by Irving Berlin. Performed by Karlie Bruce and Craig Hartley. Published by Irving Berlin Music Company.
“Brahmomokate,” traditional Indian song by Annamacharya. Performed by Varshini.
“Kurai Ondrum Illai,” traditional Indian song by Chakravarti Raajagopaalacaari (Rajaaji). Performed by Varshini.
All scores reprinted with permission. All recordings © 2014 The Carnegie Hall Corporation, except where noted.
Photos
Artist photos: Gabriel courtesy of Gabriel Garcia, Jesse courtesy of Jesse Palter, Varshini courtesy of Varshini Muralikrishnan. SG3: hand
motions by Chris Amos. SG4: bathroom tile by Gürkan Sengün, garden maze by Daytonarolexboston, Adolphus Hotel by Joe Mabel. SG7:
Echo Park by Sterling Davis. SG10: Troubadour by Gary Minnaert, Farmer’s Market by Prayitino and Amy Kirkland. SG11: skylines by
niallkennedy. SG13 and SG14: Indian fabrics and artifacts by Liv Brumfield and Falu. SG 4 The Broad Stage by Ben Gibbs.
Special Thanks
Special thanks to Dianne Berkun of the Brooklyn Youth Chorus for preparing the child singers.
47
Audio Track List
1.
“Musical Explorers Song”
2.
“Musical Explorers Song” (accompaniment)
3.
“Warm-Up Rhyme”
4.“Sirens”
5.
“Yawning Kittens”
6.
“Floating Balloon”
7.
Rhythmic Patterns
8.“Guantanamera”
9.
“Guantanamera” (spoken)
10. “Guantanamera” (call and response)
11. “Guantanamera” (chorus only)
12. “Son de la Loma”
13. Cuban Rhythm (güiro)
14. Cuban Rhythm (conga)
15. Cuban Rhythm (claves)
16. Cuban Rhythmic Layers
17. “Blue Skies”
18. “Blue Skies” (call and response)
19. “Blue Skies” (chorus only)
20. “Blue Skies” (scat version)
21. Straight vs. Swing Demo (bass and drums)
22. Straight vs. Swing Demo (“Twinkle, Twinkle Little Star”)
23. “It Don’t Mean a Thing”
24.“Brahmamokate”
25. C-Major Scale (ascending)
26. Indian Scale (ascending)
27. Indian Scale 1 (call and response)
28. Indian Scale 2 (call and response)
29. Indian Scale 3 (call and response)
30. “Kurai Ondrum Illai”
31. Adi Talam Rhythm Lesson
32. Adi Talam Rhythm Practice
48
49
thebroadstage.com/Education
carnegiehall.org/MusicalExplorers
50