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17 Primary 18 Study Guide

The Toronto ’s School are generously supported by Mrs. Gert Wharton and an anonymous donor. Table of Contents

Concert Overview Preparation Program Notes

3 4 - 6 7 - 10

Lesson Plans Artist Biographies Musical Terms Glossary 11 - 19 20 - 23 24 - 25

Instruments in Teacher & Student the Orchestra of the TSO Evaluation Forms 26 - 37 38 - 41 42 - 43

The Toronto Symphony Orchestra gratefully acknowledges Robin Malach for preparing the lesson plans included in this guide Concert Overview

The Animated Orchestra

Primary: Suitable for students in grades K–4

Dina Gilbert, conductor Greg Smith, narrator

Join the TSO on an adventure where students discover the magic of . Through storytelling and one-of-a-kind characters, students will be introduced to orchestral favourites that allow their imagination to soar. Meet a creative ferret named Ari who will tell the story of The Animated Orchestra with narrator Greg Smith. There will even be an audience sing-along where students get to perform alongside the TSO!

Program to include excerpts from*:

Georges Bizet Aragonaise from Carmen Suite No. 1 Traditional Mister Sun Audience Sing-Along Georges Bizet Les Toréadors from Carmen Suite No. 1 Greg Smith The Animated Orchestra

*Program subject to change

3 Concert Preparation

Let's Get Ready! Your class is coming to Roy Thomson Hall to see and hear the Toronto Symphony Orchestra! Here are some suggestions of what to do before, during, and after the performance. Whether it’s your first symphony concert or you’re a seasoned audience member, there’s always something new to learn and experience!

Before Listen and Read

Listen to the pieces of music • Have you heard any of these pieces before? • Which one is your favourite and why? • Do you hear anything new or interesting? • Try out one of our listening journals and record your observations.

Read the biographies and program notes • Were there any you had never heard of before? • Did you learn anything new or interesting about one of the pieces, composers, instruments or TSO musicians?

During Look and Listen Look around the orchestra and the hall • Have you been to Roy Thomson Hall before? • Are there any instruments you haven’t seen before? • Do you notice anything interesting about the orchestra?

Listen to the orchestra and conductor • Is it different listening to the live orchestra versus a recording? • Think about how the different pieces make you feel. • Is there a particular instrument or part of the piece that you like listening to the best? • What instruments are used to create different effects? 4 Concert Preparation

After Discuss and Reflect

Discuss and reflect with your classmates • Was there anything that surprised you during the concert? • What was your favourite/least favourite piece and why? • Was your experience different from your classmates? • Fill out our Student Feedback form and let us know what you think!

Review Rules and Reminders

Review these rules and reminders with your classmates • No outside food or drink allowed inside Roy Thomson Hall. • No flash photography or recordings. • Please visit the bathroom before the concert. Audience members walking in and out during the concert can be distracting. • We encourage you to applaud and show appreciation. The orchestra relies on your energy to perform. • If you’re unsure when the piece of music is over, look to the conductor and performers on stage. The conductor will turn and face the audience once the piece of music is over.

Have fun and enjoy your experience!

5 Concert Preparation

Listening Journals

Name: ______Date: ______

Name of the piece ______

Composer ______

1) What kind of do you hear? Does it sound like a big group of musicians or a small group?

2) What different dynamics do you hear? Is the music loud, soft, or in the middle? Does it slowly get louder or softer? (ex. pp, p, mp, mf, f, ff, crescendo, diminuendo, etc.)

3) How would you describe the tempo? Is it fast or slow or both?

4) How does listening to this piece of music make you feel? Does the music remind you of any- thing?

5) What two words would you use to describe this piece of music?

6) Did you like this piece of music? Would you recommend it to a friend? Why or why not?

6 Program Notes

Georges Bizet Biography

Born in Paris, Georges Bizet was a who came from a highly musical family. His mother tutored him in early in life and by his he was able to confidently identify chordal structures and sing complex melodies. His talent for music allowed him early entry to the Paris Conservatoire at the age of nine. While studying at the Paris Conservatoire, Bizet com- posed operas, , and .

In 1857, Bizet was the recipient of the Prix de Rome which was a prestigious scholarship award for students in the arts. As part of the scholar- ship he was sent to live, study, and compose in Rome and Paris. During this time Bizet had a few minor successes, but mostly went unnoticed by the larger musical world. When the outbreak of the Franco-Prussian war began Bizet’s career took a backseat so that he could train and fight in the war. After the war, Bizet began working on his most famous composition, the opera Quick Facts Carmen.

Born 25, 1838

Died June 3, 1875 Did you know?

Nationality The opera Carmen is comprised French of four acts and is usually three hours long! Full Name Alexandre-César-Léopold Bizet

7 Program Notes

Carmen Suite No. 1

Bizet’s opera Carmen is based on the popular novella of the same name written by Prosper Mérimée. It is set in Seville, in 1820 and follows the tragic love story between the two main characters, Carmen and Don José. Carmen is an example of opera-comique, a genre of French opera (not necessarily comical) but featuring both spoken dialogue and sung portions. Although Bizet never went to Spain, he spent a lot of time familiarizing himself with the musical sounds and forms of the region where Carmen takes place. He used elements of several popular Spanish songs in the score. Despite being panned by critics after its premiere in Paris in 1875, Bizet’s Carmen is now considered one of the most popular operas ever written. Tragically, Bizet died of heart attack before he could enjoy Carmen’s success. French Mezzo-Soprano, Célestine Galli-Marié was the original Carmen After Bizet’s death, his friend Ernest Giraud, arranged popular pieces from the opera into two suites for orchestra. These two suites remain very popular and are regularly performed today. You will hear two movements from Carmen Suite No. 1, the Aragonaise and Les Toréadors at the TSO School Concerts in April!

Did you know?

Bizet had never been to Seville, Spain where the opera is set.

Toréador on a vintage Carmen poster

8 Program Notes

Aragonaise

The Aragonaise is the second movement of the suite and depicts a lively Spanish dance. Bizet uses castanets and through this movement adding Spanish sounds and colour. Listen for their lively rhythms as the woodwinds play a melody based on an Andalusian folk dance. The strings accompany the melody with an energetic and soon join in on the melody. Castanets & (left to right)

Listening Link

Les Toréadors

Les Toréadors is the final movement of the suite and is one of the most recognized themes from the opera. It is a quick, upbeat march and signals the entrance of the toreador, a bull- fighter, in the opera. Listen for the crash and exciting rhythms throughout. In the opera, the toreador Escamillo sings Crash Cymbals the Toreador which describes a bullfighter’s adventures in the bullring!

Listening Link

9 Program Notes

The Animated Orchestra

The Animated Orchestra (Greg Smith, composer - see Artist Biography on page 23) was commissioned by the Cabrillo Festival of Contemporary Music to celebrate the festival’s 50th anniversary. It was premiered in August of 2012 with Marin Alsop the festival orchestra.

The Animated Orchestra’s storyline consists of a cartoon score being performed at a symphony concert. The film of the cartoon was sent to the wrong address and so is not available. To salvage the concert, the narrator describes the scenes and the orchestra plays the music as the audience imagines the missing cartoon.

The hero of the cartoon is a playful and curious ferret named Ari. The setting is an instrument repair shop owned and operated by a sleepy older gentleman who lives above the shop. Ari, who inadvertently sneaks into the shop late one night, discovers that the shop is a ferret paradise. The story moves beyond the shop as the audience, orchestra and conductor are called upon to act out the cartoon's climactic scene.

Ari the Ferret by Thomas Novotny

10 Lesson Plans

Lesson 1: Animals and Music

Ontario Curriculum Expectations (Overall, Grades 1-3): 1. Creating and Performing: apply the creative process… to create and perform music for a variety of purposes, using the elements and techniques of music

2. Reflecting, Responding, and Analysing: apply the critical analysis process… to communicate their feelings, ideas, and understandings in response to a variety of music and musical experiences

Elements of Music Focus: • Duration (specifically tempo) – fast or slow • Dynamics – loud or soft (quiet) • Pitch – high or low

Learning Goal: • Students will be able to identify the tempo, dynamics, and pitch of a short musical theme Prior Knowledge: Students should have a basic understanding of tempo (fast and slow), dynamics (loud and quiet), and pitch (high and low). familiar songs while varying these elements can help to distinguish these concepts.

Grouping Lesson Strategies Materials Whole Minds On – Animal Grooving Game Recordings of animal themes class/ Indi- Explain to students that you are going to play dif- can be accessed through vidual ferent pieces of music. With each different piece, YouTube links provided in Ap- students should move like the animal they imag- pendix A. ine. If space does not allow for movement, or you wish to tie in an art or writing activity, you may ask students to draw or write about the animal they imagine. - “Flight of the Bumblebee” - - Overture

Action – Review terms to describe music: Whole class Explain that tempo is the speed (fast or slow). Put Terms Labels the words ‘tempo,’ ‘fast,’ and ‘slow’ on the board. Dynamics is the volume (loud or soft – and Forte). Put the words ‘dynamics,’ ‘loud,’ and ‘soft’ on the board. Pitch means how high or low a note is (a mouse’s squeak is high pitch, for ex- ample).

11 Lesson Plans

Lesson 1: Animals and Music, continued

Replay “Flight of the Bumblebee”. Ask for student Chart paper/board or suggestions as to what animal they were. Brain- markers to brainstorm storm what about the music made them think of their animal, encouraging use of musical terms

Model how to fill out the “Animal Sounds” chart Large “Animal Sounds” after listening to “Flight of the Bumblebee”. Go chart (copy on the board through each section of the chart before revealing or enlarge) the title.

Explain that the composer used the Elements of Music to make the instrument sound how a bee moves and sounds. (“A bee moves fast, so the tempo of the music is fast”)

Distribute a copy of the “Animal Sounds” chart Copies of “Animal Sounds” Partner for students to complete in partners. chart

Replay Swan Lake and give students an oppor- tunity to fill in the chart according to what they hear. Take up and discuss if students need more assistance.

Individual Consolidation MUSIC Play students William Tell Overture and have stu- “Animal Sounds” Chart dents fill out the chart as an assessment (can stu- dents recognize fast or slow tempi, high or low pitch, loud or soft dynamics?)

12 Lesson Plans

Lesson 2: Animals and Music

Ontario Curriculum Expectations (Overall, Grades 1-3): 1. Creating and Performing: apply the creative process… to create and perform music for a variety of purposes, using the elements and techniques of music

2. Reflecting, Responding, and Analysing: apply the critical analysis process… to communi- cate their feelings, ideas, and understandings in response to a variety of music and mu- sical experiences Elements of Music Focus: • Duration (specifically tempo) – fast or slow • Dynamics – loud or soft (quiet) • Pitch – high or low

Learning Goals: • Students will create and perform their own musical theme, with attention to the tempo, dynamics, and pitch • Students will respond to musical excerpts

Prior Knowledge: Students should have a basic understanding of the differences between tempo, dynamics, and pitch. Singing familiar songs while varying these elements can help to distinguish these concepts.

Grouping Lesson Strategies Materials Whole class Minds On - Composing Large “Animal Theme Gather students and explain that you are going to Composition” chart create your own musical animal theme. As com- posers, you are going to use tempo, dynamics, and pitch to copy the animal’s sounds/ movement.

Write the word ‘Elephant’ on the chart, asking stu- dents to think about how an elephant moves/sounds. Take student suggestions and model the thinking pro- cess on how to translate these suggestions to music. (“We said an elephant moves slow, so I will make my theme slow” “We said an elephant stomps loudly, so my theme should be very loud”).

Once the chart is filled out, use either your voice/ body or instruments available to create an elephant theme (following your choices from the chart), Instruments for have students sing/play along. Elephant Theme

13 Lesson Plans

Lesson 2: Animals and Music, continued

Whole class Action CBC Vancouver Introduce the piece (a musical story Symphony about a young boy who lives with his grandfather in the Orchestra recording woods and the animals nearby). up to 2:20. (Link in Appendix A)

Introduce the cast of characters by playing the be- ginning of the piece. Read Character descriptions.

Model process to make theme for Peter. Describe Peter and his movements (see description), then choose a dynamic, tempo, and pitch to represent him, using the “Animal Theme Composition” Chart

Groups In groups, have students create their own themes for for each one of the characters, following the guidelines on the character chart.

Have each group perform their theme.

Individual Consolidation “Reflection Sheet” or partner Reflection - fill out Reflection Sheet You can have them re-perform their section after self-assessing. You could use this reflection for students to peer-assess as well.

14 Lesson Plans

KEY TERMS LABELS Cut out and display on your board as you introduce terms in Lesson 1 Tempo Fast Slow Forte (Loud) f Piano (Soft) p Pitch High Low

15 Lesson Plans ANIMAL SOUNDS Listen to the music and circle what you hear. Then fill in the last box.

TEMPO The music is:

FAST SLOW

DYNAMICS The music is:

FORTE (LOUD) PIANO (SOFT)

PITCH The music is:

HIGH LOW

ANIMAL Which animal does this piece of music remind you of?

TITLE OF PIECE OF MUSIC:

16 Lesson Plans

ANIMAL THEME COMPOSITION CHART Fill in the chart with your animal. Circle one choice for Tempo, Dynamics, and Pitch.

Animal:

TEMPO The animal moves:

FAST SLOW

So, that’s how the tempo should be

DYNAMICS The animal is:

FORTE (LOUD) PIANO (SOFT)

So, that’s how the dynamics should be

PITCH The animal’s voice is:

HIGH LOW

So, that’s how the pitch should be

17 Lesson Plans

CHARACTER DESCRIPTIONS

Peter: A smart, young boy who disobeys his grandfather’s warning and goes searching for the wolf. He is of the wolf.

Grandfather: Peter’s grandfather. Bird: a little bird who is Peter’s An old man who is angry at friend. She can fly but can’t swim. Peter.

Duck: a big duck with a loud Cat: a sneaky cat looking for a quack. He can swim but can’t fly. snack.

Wolf: the villain of the story. Hunters: strong hunters looking to Hungry and dangerous! catch a prize.

REFLECTION Describe the tempo, dynamics, and pitch of the theme:

What did you like about the theme?

What could be improved?

18 Lesson Plans

Appendix A

Listening Links

"Flight of the Bumblebee" https://www.youtube.com/watch?v=MW8asBxO4oI

Swan Lake https://www.youtube.com/watch?v=ZlKvv83qFhQ

William Tell Overture https://www.youtube.com/watch?v=YIbYCOiETx0

CBC Vancouver Symphony Orchestra Peter and the Wolf Recording (up until 2:20 mark) https://www.youtube.com/watch?v=MfM7Y9Pcdzw&t=3s

19 Artist Biographies

Toronto Symphony Orchestra

Every year, over 36,000 young students experience the TSO in performance. In consultation with Music Coordinators from the Boards of Education, TSO staff design School Concerts to help teachers deliver the Ontario Music Curriculum. The concerts are entertaining yet firmly based on educational concepts. Four different programs address the learning needs of Primary (Kindergarten to Grade 4), Junior/Intermediate (Grades 4 to 8), Intermediate/Senior (Grades 7 to 12), and French-language students (Kinder- garten to Grade 5). We’ve created free Study Guides and podcasts, available on our web- site, to help students prepare for the concert.

Founded in 1922, the Toronto Symphony Orchestra is one of Canada’s most important cultural institutions, recognized internationally. Peter Oundjian, now in his 14th season as the Peter Oundjian conducting Debussy's TSO’s Music Director, leads the Orchestra with a commitment to innovative programming and audience engagement through a broad range of performances that showcase the exceptional talents of the Orchestra, along with a roster of distinguished guest artists and conductors. The TSO also serves the larger community with TSOUNDCHECK, the original under-35 ticket program; the Toronto Symphony Youth Orchestra; and programs that reach tens of thousands of students each year.

20 Artist Biographies

Dina Gilbert Conductor

Recognized for her energy, precision and versatil- ity, Dina Gilbert brings great passion to the orches- tral repertoire, and is also dedicated to conducting new commissions and works by Canadian com- posers. A native of Beauce (Quebec), Dina Gilbert is Music Director and conductor of the Orchestre symphonique de l'Estuaire (Québec) and of the Kamloops Symphony (British-Colombia).

Dina Gilbert is also the founder and Artistic Direc- tor of the Ensemble Arkea, a Montreal-based pro- fessional chamber orchestra that presents innova- tive interpretation of orchestral music. With this ensemble, she has collaborated many times with young Canadian composers, premiering over thir- ty works and has also conducted studio record- ings for films and video games soundtracks.

From 2013 to 2016, Dina Gilbert was assistant conductor of the Orchestre symphonique de Montréal and Maestro Kent Nagano. In this position, she conducted several rehearsals and con- certs and she assisted Maestro Kent Nagano at all rehearsals, concerts, recordings and tours of the orchestra, as well as assisting guest conductors including Zubin Mehta, Sir Roger Norrington, Lawrence Foster and Giancarlo Guerrero. In April 2016, she received great acclaim for stepping in to replace Maestro Alain Altinoglu with the OSM in a program showcasing Gustav Holst's .

In July 2016, Dina Gilbert made her debut with the Orchestre Philharmonique de Radio France in a Hip Hop Symphonic program with the renowned artists MC Solaar, I AM, Youssoupha, Arsenik et Bigflo & Oli. Back in Québec, she conducted the world premiere of the film The Red , with orchestra and soloist Lara St. John at the Festival de Lanaudière.

Overseas she has conducted the China Youth Symphony Orchestra (China), le Mihail Jora Phil- Orchestra (Romania), l'Estonian National Youth Orchestra and the Pärnu City Orchestra (Estonia). In February 2014, she was invited to conduct the Frankfurt Radio Symphony Orches- tra (Germany) as one of the selected participants in the prestigious Sir Georg Solti International Conductor's Competition. Last season, she made her debut in the with the Eugene Symphony (Oregon) and the Fayetteville Symphony Orchestra (North Carolina). Dina Gilbert also made her debut in Japan, conducting a series of five concerts with the Varsovia in Niigita and Tokyo in April and May 2017.

21 Artist Biographies

Dina Gilbert Continued

In 2017-2018, Dina Gilbert will begin her new tenures as Music Director of the Orchestre sympho- nique de l’Estuaire (Quebec) and of the Kamloops Symphony (British-Colombia). Highlights of the upcoming season include debut with the the Orchestre National de Lyon, the Orchestre des Grands Ballets Canadiens de Montréal, the Regina Symphony Orchestra and the Nouvel Ensemble Moderne. She will also return to conduct the Orchestre Philharmonique de Radio-France, the Toronto Sym- phony Orchestra, the Orchestre symphonique de Montréal and the Orchestre métropolitain.

Dina Gilbert earned a doctorate from the Université de Montréal, where she studied with Jean-Fran- çois Rivest and Paolo Bellomia. She is also the holder of a Bachelor's degree in performance and a Master's in conducting. She polished her skills in masterclasses with Kenneth Kiesler, Leonid Grin, Peter Eötvös, Johannes Schlaefli, Pinchas Zukerman and Neeme Järvi. During her doctoral stud- ies she was awarded a grant from the Fonds de recherche du Québec – Société et culture. She has also received support from the Canada Arts Council, the Conseil des arts et des lettres du Québec and from the Père-Lindsay Foundation.

22 Artist Biographies

Greg Smith narrator

The music of composer Gregory Smith covers a wide range of the musical world entertaining thousands every day and night at Disney theme parks while reaching millions on television networks throughout the world.

His long association with the Walt Disney Company has yielded original themes, songs and arrangements for their animated features, movies and all of their worldwide theme parks. Wishes, his nighttime spectacular and perennial favorite, continues to draw record crowds at Disney World’s Magic Kingdom. More recently Smith has created an anniversary fireworks show for Tokyo DisneySea and is finishing up the castle show for the soon to open Shanghai Disneyland.

Smith’s broadcast credits range from major network themes including inauguration and election themes for CBS, the ubiqui- tous CBS logo, to underscores for the various Star Trek dramas, Warner Bros. cartoons, as well as sports themes for ESPN, TNT, ABC, Headline News, the NY Mets, the New Jersey Devils and the Tampa Bay Lightning. On the grandest of scale, Smith composed the music for the Salt Lake Paralympic opening ceremonies broadcast worldwide by ABC. He has written hundreds of com- mercial soundtracks for numerous companies that include Mattel, Disney, American Express, Kodak, Hasbro and Proctor and Gamble.

The family/educational concert works of Gregory Smith have enjoyed nearly 900 performances by more than 200 , often with Smith narrating. Orchestras such as the Atlanta, Baltimore, Bonn, Boston, Cincinnati, Minnesota and Toronto symphonies, as well as the Rochester and Hong Kong philharmonics, have embraced Greg’s unique approach to family/educational concerts. The international reach of these works continues to expand with numerous performances in the United Kingdom, China, South Korea, Germany, Greece, Australia, New Zealand and elsewhere. His newest work in this genre, The Animated Orchestra, was commissioned for the Cabrillo Festival of Con- temporary Music’s 50th Anniversary and premiered in August 2012 with long-time Smith champion Marin Alsop conducting.

As a conductor, Smith has recorded with orchestras in London, San Francisco, Prague, Salt Lake City and Seattle as well as numerous studio orchestras in New York, Los Angeles and Nashville.

23 Musical Term Glossary

A cappella: music sung without instrumental . In Italian, a cappella means “in the style of the chapel.” Accented Beats: these are the beats in a rhythm pattern that are stronger because they are emphasized or stressed. Accented notes are indicated using a “>” symbol which goes above or below the note to indicate that that note should be stressed or accented. Amplify: to make a sound stronger or louder. The hollow body of an instrument amplifies its sound. Arco: to play a stringed instrument using a bow. Bar: another name for a measure Bar line: a vertical line on a musical staff that divides the beats into small groups or bars. Baton: a small stick used by the conductor to beat time. A stick helps to make the motion more easily visible to the members of the orchestra. Beat: a beat is a regular pulsation. It is a basic unit of length in musical time. : a sign at the beginning of the staff to fix the position of one note. The most common are the treble and clefs. Chord: a series of notes, usually three or more, that are sung or played together to create harmony. : Italian for “hit with the wood”, this is a bowing technique where players strike the with the stick of the bow, rather than by drawing the hair of the bow across the strings. Concertmaster: the leader of the first violin section who tunes the orchestra and works closely with the conductor. Conductor: leader of the orchestra who makes decisions about how the music will be played with respect to tempo and dynamics, and keeps the musicians together during a performance. Crescendo: gradually increasing in loudness. Decrescendo: gradually decreasing in loudness Double-stop: a technique on string instruments in which two notes are played simulaneously. Triple stops and quadruple stops can also be played, in which three and four (respectively) notes are played simultaneously. Dynamics: the intensity, or loudness and softness, of music. : the way the mouth is held to play a woodwind or instrument. : the strips of wood on a stringed instrument’s neck over which the strings are stretched and fingered to change the pitch. Harmony: the sound created when two or more notes are played at the same time. Improvise: to make up music as you go, without using scores or musical notation that is written down. Many musicians incorporate improvisation into their performance. : notes played smoothly and in a connected manner, without any noticeable break or articulation between them. Lietmotif: a phrase or melodic cell that signifies a character, place, plot element, mood, idea, relationship or other specific part of an opera of symphonic work. Measure: the notes and rests between two bar lines. Metre: a regular pulse made up of strong and weak beats.

24 Musical Term Glossary

Melody: a sequence of musical notes that make up a tune. Movement: a section of music which contains certain musical ideas, much like a chapter in a book. Notes: representation of musical tones using written symbols. : the distance between one tone of a scale and the next higher or lower tone of the same pitch; for example, middle C and C above middle C are an octave apart. Pitch: the highness or lowness of a sound. Pizzicato: to play a stringed instrument by plucking the strings with the fingers. Pluck: to pull up or down on a string with your finger, thumb or a pick. Podium: the raised platform in front of the orchestra on which the conductor stands. : a thin piece of cane or other material, attached to an instrument at one end and free to vibrate at the other. Found on , , and . : the part of an instrument, usually the body, that amplifies the sound caused by vibrating strings or air column. Rests: a pause or interval of silence between two tones. Rhythm: patterns of sound and silence in a piece of music. Scale: music arranged in ascending or descending pitches. The C major scale consists of the notes c,d,e,f,g,a,b,c. Score: music in written form with all the parts set down in relation to each other. Sound Wave: when something vibrates, or moves quickly back and forth, it causes molecules in the air to move, creating sounds that move in waves in your ear. : a bowing technique that uses a semi-off-the-string style to produce a light “bouncing” sound. Watching the musicians it looks like the bow is bouncing up off the string the second it makes contact. Spiccato is usually performed at the balance portion of the bow. The balance portion of the bow refers to the area of the bow where weight is distributed evenly on both sides, allowing for maximum control. Staff: five parallel horizontal lines, on which notes are written in the spaces, on the lines, or above and below the staff using ledger lines. : to play long strokes across all the strings of a , one after another very quickly using your thumb, fingers or a pick. Symphony Orchestra: a large group of musicians, led by a conductor, who perform together on string, woodwind, brass and percussion instruments. Tempo: the speed at which a piece of music is played. Time Signature: appears at the beginning of the staff. The lower figure shows the kind of notes taken as the unit of measure, while the upper figure shows the number of these notes that can fit in a measure. Tone: the tone is the quality of musical sound, such as rich, mellow, harsh, brilliant, etc. : a rapidly repeated note. : two or more instruments sounding the same note. Valves: the mechanisms on some brass instruments that make it possible for the to change pitches and play all the notes of the scale.

25 Instruments of the Orchestra

The String Family

Jonathan Crow Teng Li Joseph Johnson Jeffrey Beecher Heidi Van Concertmaster Principal Principal Principal Hoesen Gorton Principal

The string family is the largest family of instruments in the orchestra. The violin, viola, cello, and bass are made of carefully carved wood and have a set of four strings stretched across them. The strings themselves are made of nylon, steel and sometimes gut. The bow is made of wood and the strings of the bow are either synthetic or horsehair from actual tails! The harp is very different from the other string instruments and has a set of 47 strings. It is one of the oldest string instruments and is often considered part of the string family.

Sound is produced by plucking the strings or drawing the bow across them causing the strings to vibrate. The bodies of string instruments are hollow inside to allow sound to vibrate within them. Players apply a substance called rosin to their bows to help the strings vibrate. Rosin is primarily made up of pine sap and helps the hairs on the bow grip the strings. The harp doesn't use a bow but sound is also produced by plucking or strumming the strings.

Players can tune the violin, viola, cello and bass strings using either tuning pegs or fine tuners. To change pitch, players use their left hand to press down their fingers on the fingerboard while their right hand moves the bow or plucks the strings. Players tune the harp using a tuning key to adjust the tuning pegs. The harp is played with both hands and feet! There are seven foot pedals that are used to add accidentals or sharps. The violin, viola, cello, double bass and the harp make up the large string family.

26 Instruments of the Orchestra

The String Family

Violin

The violin is the smallest member of the string family and has the highest voice. There are more in the orchestra than any other instrument (up to 30!). The four strings of the violin from the lowest to highest are G, D, A, and E. In an orchestra, the violins are divided into two groups: first violin and second violin. The first violins usually play the melody and the second violins support them by playing intricate harmonies and rhythms. They work together as a team to create complex inner voices and harmonies. The concertmaster is the leader of the first violins.

Viola

The viola looks like a slightly bigger violin. It has thicker strings and produces a lower and warmer sound. The four strings of the viola from the lowest to the highest are C, G, D, and A. The viola is a perfect fifth lower than the violin. Although the violin and viola share three strings (G, D, A), the tone and sound are very different. Music for viola is usually written in the alto clef (also known as the viola clef or C clef). In the alto clef, Middle C is on the third line of the staff. In an orchestra there are usually between ten and fourteen .

Cello

The cello looks like a very large violin or viola. It is around 4 feet long and has thicker strings than either the violin or viola. The four strings of the cello from the lowest to the highest are C, D, G and A—same as the viola! However the cello is tuned an octave below the viola. The cello is held between the knees instead of being held under the chin like the violin and viola. The cello rests on the ground and is supported by a peg called the end . The cello has the closest range to the —which is why people find it so calming to listen to. In an orchestra, there are usually between eight and twelve .

27 Instruments of the Orchestra

The String Family

Double Bass

The double bass is the largest and lowest voice of the string family. It is over 6 feet long and has the longest strings. The four strings of the double bass from lowest to the highest are E, A, D and G. To increase their range, will occassionally add a fifth string or install a mechanical extension to help lower their bottom string to C. The double bass is the only string instru- ment tuned in fourths (though some players will tuned in fifths). The double bass is so big that a player must stand or sit on a high stool in order to play it. Like the cello, the double bass also has a metal spike (or end pin) at the bottom, which allows it to rest on the floor. In an orchestra, there are usually between six and eight double basses.

Harp

The harp is one of the oldest instruments. The concert harp stands about two metres tall and covers a range of over 6 ½ . It has 47 strings and seven foot pedals, and is played by strumming or plucking the strings with both hands, and by pressing the pedals with your feet. The pedals are used to add accidentals (sharps and flats) so that the harp can play in different keys. The harp is usually considered part of the String Family because the strings create the sound. However, it is very different from all other stringed instruments and isn’t played with a bow, so it can sometimes be classified in a separate category all on its own.

28 Instruments of the Orchestra

The Woodwind Family

Julie Ranti Sarah Lewis Joaquin Valdepeñas Michael Sweeney Associate Principal Clarinet Principal Principal

Many of the earliest woodwind instruments were originally made of wood. Today’s modern woodwind instruments are made of a variety of different materials such as wood, metal, and plastic. All woodwinds are played with mouthpieces and share a similar shape (a nar- row cylinder or tube with holes). Sound is produced by blowing air through the instrument. The mouthpieces for some woodwinds, including the clarinet, oboe and bassoon, use a thin piece of wood called a reed, which vibrates when you blow across it. The clarinet uses a single reed made of one piece of wood, while the oboe and bassoon use a made of two pieces of wood joined together.

The pitch of woodwind instruments is changed by opening or closing the holes with your fingers. Metal caps called keys cover the holes of most woodwind instruments. Similarly to string instruments, the smaller sized woodwinds play higher pitches and the longer and larger instruments play lower pitches. The flute, oboe, clarinet and bassoon make up the woodwind family.

29 Instruments of the Orchestra

The Woodwind Family

Flute

The flute was originally made from wood, stone, clay or bamboo. Today’s modern are made of , or platinum. The flute is held sideways and to the right of the musician’s mouth. Sound is produced by blowing across a hole in the of the flute which causes the air inside to vibrate. The smaller version of the flute, called the , is half the size of the flute and is one of the highest sounding instruments in the orchestra. In an orchestra, there are usually between two and four flutes.

Oboe

The oboe is the first instrument you hear at an orchestra concert. It plays a single note (an “A”), and all other instruments tune their instruments to the oboe’s pitch. Sound is produced by blowing air through a double reed at the top of the instrument. This double reed is made up of two very thin pieces of wood that are tied together and vibrate when air passes through them. In an orches- tra, there are usually two to four oboes. It often plays important melodies because of its distinctive sound.

30 Instruments of the Orchestra

The Woodwind Family

Clarinet

The clarinet is very similar to the oboe in shape and size. Its mouth- piece however, uses a single reed instead of a double reed. The clarinet is made of wood or molded plastic and has a smooth, mellow tone. They can come in a variety of sizes from the small, e-flat clarinet to the large, . In an orchestra, there are usually between two and four clarinets.

Bassoon

Like the oboe, the bassoon is another that uses a double reed. The modern bassoon can be made from wood or plastic. The bassoon is the second largest woodwind instru- ment followed by the , which has the lowest voice in the orchestra. If you took apart the bassoon and laid the dif- ferent pieces from end to end, it would measure 2 ½ metres long and the contrabassoon would be 5 metres long! In an orchestra, there are usually between two and four bassoons and they have a similar range to the cello. Most woodwind instruments don’t require much use of the thumb; however, the bassoon is unique in that it has 13 keys which can be played by the thumb.

31 Instruments of the Orchestra

The Brass Family

Audrey Good Steven Woomert Gordon Wolfe Mark Tetreault French Associate Principal Principal Principal

Early ancestors of the brass family were made of materials such as animal horns, tusks, wood or even shells. Today’s modern brass instruments are made of brass, gold and silver. Brass instruments are made up of a very long which has been curved and coiled into different shapes. This makes them easier to hold and play. Did you know that if you stretched out a it would measure more than 6 metres in length?

To make a sound, players buzz their lips together into the mouthpiece. The trumpet, french horn, and tuba have valves attached to their long pipes. To change the pitch, players can press down different combinations of valves, or change the pressure and shape of their lips. Brass players sometimes use a combination of these techniques to change the pitch. Instead of valves, the trombone uses a slide to change pitch by pushing the slide in or out. The trumpet, french horn, trombone, and tuba are most the commonly used brass instruments in an orchestra.

32 Instruments of the Orchestra

The Brass Family

French Horn

The very first horns were made from the horns of animals and were used to send signals to people beyond calling distance. The hunting horn is the French Horn’s ancestor and was designed so that the tubing wrapped around in a circle, making it easier to carry over the hunter’s shoulder. Valves were added to the instrument in the 1800s, increasing the range of the instrument. In an orchestra, there can be anywhere between two and eight French Horns at a time. The player uses their left hand to press the valves, and inserts their right hand into the of the instrument to change the quality of the sound.

Trumpet

Famous for sounding alarms, calls to war, or hunting, the trumpet as a has had a long and rich history. Its ancestors were made of conch-shell, animal horn, wood or metal. The trumpet is the smallest and highest pitched member of the brass family. Today’s mod- ern trumpet has three attached valves which creates a wider range of notes than its ancestors. There are typically between two and to four in an orchestra.

33 Instruments of the Orchestra

Trombone

Invented in the 15th century, the trombone was first called a . It is the only instrument in the brass family to use a slide instead of valves to change pitch. Two U-shaped pipes are linked at opposite ends to form an “S”. One pipe slides into the other so you can extend or shorten the total length of the pipe. Players use their right hand to change pitch by pushing the slide in or out. In 1808, Beethoven helped popularize the trombone in orchestral music after writing a trombone part in the finale of his Fifth Symphony. The trombone family is made up of three trom- bones: alto, tenor and bass. In an orchestra, there are typically two tenor and one bass trombone.

Tuba

The tuba is the biggest and lowest pitched instrument of the brass family. Invented in 1835, the tuba is the youngest member of the brass family! It has a very rich, deep sound and if you stretched the tuba out into one long piece, it would measure about 5 ½ metres. Typically, there is only one tuba in an orchestra and it usually plays harmony, rarely the melody. The tuba is related to the (a small- er, high-pitched tuba) and the (an instrument invented by , and used a lot in marching bands).

34 Instruments of the Orchestra

The Percussion Family

John Rudolph David Kent Principal Percussion Principal

The percussion family traditionally includes any instrument that produces sound when struck, shaken or scraped. Percussion instruments can be classified into different categories: pitched or unpitched. Pitched instruments, such as the , timpani, or piano, play specific pitches just like the other instrument families. Unpitched instruments, such as the bass , tambourine, or cymbals, produce no definite pitch.

Percussionists will often play many different instruments in one piece of music. In the orchestra, the percussion section is one of the most versatile sections and provides a huge range of , rhythms, unique sound effects and textures. The , , , xylophone, triangle, tambourine, cymbals, timpani, and piano are the most commonly used percussion instruments in an orchestra.

35 Instruments of the Orchestra

The Percussion Family

Timpani

The timpani, sometimes called kettledrums, are made of a large bowl with a drumhead stretched across the top. These large, pitched are used frequently in orchestral music. The pitch of each timpani depends on the size of the bowl, as well as the tension of the drum head; the tighter the skin, the higher the note. The range of timpani is approximately two octaves. To change notes, players use a foot pedal located at the base of the timpani. Timpani were the first drums to be used in the orchestra, with most orchestras using three or four in their setup.

Snare Drum

The snare drum has a crisp, and bright sound. It has two heads stretched over a hollow metal or wood frame. The top head is struck with two wooden drum sticks. The bottom head has strings of or gut stretched across it called snares. The snare produces a rattling sound as it vibrates across the head. The snares are loosened for softer notes and tightened for a crisper or sharper tone.

Bass Drum

The bass drum is the largest drum in the orchestra and has a low, deep sound. It is constructed like the snare drum but without snares. The bass drum is played on its side so that both sides can be played. The bass drum is played with a bass drum beater which is a large wooden stick with sheep’s wool or felt covering one end. Both the snare and bass drums were originally used in the military before they became members of the orchestra’s percussion section.

Tambourine

A tambourine is a small frame drum with a calfskin or plastic head stretched across one side. Inside the frame, there are several small metal discs attached that jingle when moved. Sound is produced by shaking, rubbing, or striking the head.

36 Instruments of the Orchestra

The Percussion Family Triangle

A triangle is a piece of metal bent into a triangle shape. It is commonly made out of steel and is suspended on a nylon loop. It is played by striking it with a metal beater. The triangle produces a shimmering, tinkling sound similar to a bell.

Cymbals

Cymbals are two slightly curved brass plates, which are held with leather straps. When hit together they produce a resounding ring. Cymbals come in a variety of sizes and can produce a wide range of sound effects. A single can also be suspended from a stand and struck with drumstick or padded mallet. Piano

The piano is a pitched with 88 black and white keys. It has the largest range of any instrument in the orchestra. When a player presses the keys it causes a small hammer to strike the corresponding strings inside the instrument. The piano is classified as a because sound is produced by hammers striking the strings.

Xylophone

The xylophone is a pitched mallet instrument consisting of tuned wooden bars mounted on a metal frame. The wooden bars are usually made of rosewood but can also be made of synthetic materials. The bars are arranged in two rows similar to the keys of a piano. The xylophone produces a bright, sharp, short tone. Sound is produced by striking the bars with hard mallets. The xylophone sounds one octave higher than written. The origin of the xylophone is unclear, but similar instruments were known in Africa and Asia, dating back to the 14th century.

Glockenspiel

The glockenspiel is a pitched mallet instrument and is often called "". It is made of tuned steel bars that are arranged in two rows like the keys on a piano. The glockenspiel has a very bright and piercing tone. The range is generally two and half octaves and it sounds two octaves higher than written. Sound is produced by striking the steel plates with hard mallets. 37 Members of the Orchestra

STRINGS Diane Leung CLARINETS PERCUSSION Charmain Louis Joaquin Valdepeñas, VIOLINS Mary Carol Nugent PRINCIPAL TIMPANI Jonathan Crow, Christopher Redfield Joseph Orlowski David Kent, CONCERTMASTER Kent Teeple PRINCIPAL Mark Skazinetsky, BASS CLARINET ASSOCIATE CELLOS Miles Jaques PERCUSSION CONCERTMASTER Joseph Johnson, Charles Settle, Marc-André Savoie, PRINCIPAL BASSOONS PRINCIPAL ASSISTANT Emmanuelle Beaulieu Michael Sweeney, John Rudolph CONCERTMASTER Bergeron PRINCIPAL Etsuko Kimura, ASSOCIATE PRINCIPAL Samuel Banks HARP ASSISTANT Winona Zelenka, Fraser Jackson Heidi Van Hoesen Gorton, CONCERTMASTER ASSISTANT PRINCIPAL PRINCIPAL Paul Meyer, Alastair Eng CONTRABASSOON PRINCIPAL SECOND Igor Gefter Fraser Jackson LIBRARIANS VIOLINS Marie Gélinas Gary Corrin, Wendy Rose, Roberta Janzen BRASS PRINCIPAL ASSOCIATE PRINCIPAL Britton Riley Kim Gilmore SECOND VIOLINS Kirk Worthington HORNS Eri Kosaka Neil Deland, PERSONNEL ASSISTANT PRINCIPAL DOUBLE BASSES PRINCIPAL David Kent, SECOND VIOLINS Jeffrey Beecher, Christopher Gongos, PERSONNEL MANAGER Atis Bankas PRINCIPAL ASSOCIATE PRINCIPAL Sydney Chun Michael Chiarello Audrey Good Carol Lynn Fujino ASSOCIATE PRINCIPAL Gabriel Radford Amanda Goodburn Theodore Chan Nicholas Hartman Terry Holowach Timothy Dawson Bridget Hunt Charles Elliott TRUMPETS Amalia Joanou-Canzoneri David Longenecker Andrew McCandless, Mi Hyon Kim Paul Rogers PRINCIPAL Shane Kim Steven Woomert, Leslie Dawn Knowles WOODWINDS ASSOCIATE PRINCIPAL Douglas Kwon James Gardiner Sergei Nikonov FLUTES James Spragg Hyung-Sun Paik Kelly Zimba Young-Dae Park PRINCIPAL Semyon Pertsovsky Julie Ranti, TROMBONES Clare Semes ASSOCIATE PRINCIPAL Gordon Wolfe, Peter Seminovs Leonie Wall PRINCIPAL Jennifer Thompson Camille Watts Vanessa Fralick Angelique Toews ASSOCIATE PRINCIPAL James Wallenberg PICCOLO Virginia Chen Wells Camille Watts BASS TROMBONE Arkady Yanivker Jeffrey Hall OBOES VIOLAS Sarah Jeffrey, TUBA Teng Li, PRINCIPAL Mark Tetreault, PRINCIPAL Keith Atkinson, PRINCIPAL Theresa Rudolph ASSOCIATE PRINCIPAL ASSISTANT PRINCIPAL Cary Ebli Daniel Blackman Ivan Ivanovitch ENGLISH HORN Gary Labovitz Cary Ebli

38 Members of the Orchestra

39 Members of the Orchestra

40 Student Evaluation Form

Date you attended: ______Name of school (optional): ______

1. What was your favourite part of the concert and why?

2. What was your least favourite part of the concert and why?

3. Describe how you felt during one of the pieces on the program. Why do you think you felt that way?

4. Was there anything that surprised you during the concert?

5. If you were given the task of putting together a concert for the TSO, what two pieces would you recommend and why?

Other comments ...

PLEASE RETURN TO: MAIL: Toronto Symphony Orchestra, 500-145 Wellington St W, Toronto ON M5J 1H8 41 (Mail or Email) EMAIL: [email protected] Teacher Evaluation Form

Date you attended: ______Name of school (optional): ______

1. Please circle the appropriate rating:

Audience Response Excellent Very Good Good Fair Poor Educational Value Excellent Very Good Good Fair Poor Conductor’s Rapport with the Students Excellent Very Good Good Fair Poor Teachers’ Study Guide Excellent Very Good Good Fair Poor

2. Was this the first time you brought a group to the TSO School Concerts ? Yes No If not, how long have you been bringing students to the TSO School Concerts ?

3. What did your students like most?

4. Did you use the Teachers’ Study Guide? Yes No If so, which section did you find most useful?

5. Did you use the podcast? Yes No If so, did you find it useful?

6. Is there anything you’d like to share with the generous donors who support the TSO School Concerts?

Any additional comments? We greatly value teacher feedback and would love to hear from you!

PLEASE RETURN TO: MAIL: Toronto Symphony Orchestra, 500-145 Wellington St W, Toronto ON M5J 1H8 42 (Mail or Email) EMAIL: [email protected]