The Orchestra R CKS Student Guide
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Weill Music Institute Link Up A Program of the Weill Music Institute at Carnegie Hall for Students in Grades Three Through Five The Orchestra R CKS Student Guide Fourth Edition Weill Music Institute Link Up A Program of the Weill Music Institute at Carnegie Hall for Students in Grades Three Through Five The Orchestra R CKS Student Guide Fourth Edition WEILL MUSIC INSTITUTE Joanna Massey, Director, School Programs Jacqueline Stahlmann, Manager, Elementary School Programs Phil Bravo, Manager, Educational Partnerships Hillarie O’Toole, Associate, Educational Partnerships Marie Ortinau, Administrative Assistant, Elementary School Programs PUBLISHING AND CREATIVE SERVICES Jay Goodwin, Managing Editor, WMI Kat Hargrave, Senior Graphic Designer Evelyn Ochoa, Graphics Manager CONTRIBUTORS Thomas Cabaniss, Composer Daniel Levy, Writer Tanya Witek, Writer Amy Kirkland, Editor Sophie Hogarth, Illustrator Scott Lehrer, Audio Production RPP Productions, Inc., Video Production Carnegie Hall’s Weill Music Institute 881 Seventh Avenue, New York, NY 10019 Phone: 212-903-9670 | Fax: 212-903-0758 E-Mail: [email protected] carnegiehall.org/LinkUp Lead funding for Link Up is provided by the Robertson Foundation. Major support for Link Up has been provided by The Irene Diamond Fund and the Siegel Family Endowment, with additional funding from The Ambrose Monell Foundation, Wells Fargo, the Britten-Pears Foundation, the Rose M. Badgeley Residuary Charitable Trust, and The Barker Welfare Foundation. The Weill Music Institute’s programs are made available to a nationwide audience by an endowment grant from the Citi Foundation. © 2014 The Carnegie Hall Corporation. All rights reserved. Weill Music Institute This book belongs to: ICON KEY Performance icons indicate on which instrument(s) you can prepare and perform each piece of Link Up repertoire. Some selections are for one instrument only, while others can be sung Newor played.New World World RecorderRecorder The Singing Icon indicates that you can sing theDvorak pieceDvorak at the culminating concert. StarStar Icon Icon The Recorder and String Instrument Icon indicates that you can play the piece on soprano recorder or string instrument at the culminating concert. Optional bowings ( ) are shown on the applicable music. The Recorder Star Icon indicates that the piece is geared toward more experienced recorder players. Advanced string players can also play these parts. SG 1 Thomas Cabaniss, Our Guide I’m Tom, a composer and your host for The Orchestra Rocks. One universal element of music is rhythm. Composers and musicians play with elements of musical time, creating patterns of sound and silence that are expressive and exciting. Your challenge is to find out what makes the orchestra rock. During your time with The Orchestra Rocks, I hope you’ll begin each session by singing my song “Come to Play.” I wrote it with you in mind. SG 2 Preparing to Sing In order to sing well, we first have to establish good posture and deep breathing. Posture Sit or stand up straight with your shoulders down and relaxed. Make sure that your head is level and looking forward. Breath Take a deep breath and fill your lungs. Release your breath Place your hand on your belly when you breathe smoothly and slowly. in and allow it to expand like a balloon. SG 3 Preparing to Play the Recorder When playing the recorder, there are two basic positions: rest position and playing position. Rest Position Playing Position Place your recorder in your lap Hold your recorder up and ready or let it hang from its lanyard. to play. The left hand is on top, and the right hand is below. Recorder Checklist Hands: Holes: Lips: Breath: left hand on top finger hole(s) lips covering teeth not too hard, completely sealed not too soft SG 4 Come to Play Thomas Cabaniss Part 1 Part 2 Part 3 SG 5 SG 6 SG 7 SG 8 Orchestra interlude SG 9 SG 10 How Am I Doing? Work Title: “Come to Play” Date: Composer: Thomas Cabaniss Mark on the lines below how you feel about Goals your progress on each goal. Clapping the rhythm Hmm, difficult. .............................................................................. Ha, easy! Singing or playing the music in Hmm, difficult. .............................................................................. Ha, easy! unison with others Singing or playing the music in harmony Hmm, difficult. .............................................................................. Ha, easy! with others and/or the accompaniment Singing or playing the music with Hmm, difficult. .............................................................................. Ha, easy! different dynamics What is one goal above that you would like to improve on? What are some things you can do to make the improvement? 1. 2. 3. Mark on the lines below how you feel the composer used each element. Dynamics No surprises ................................................................................... Lots of surprises Steps No steps .................................................................................................... Lots of steps Leaps No leaps ................................................................................................... Lots of leaps Tempo Slow ......................................................................................................................... Fast Melodic Contour (Draw the shape of the melody.) Melodic Patterns No repetition ................................................................................. Lots of repetition SG 11 In C In C 1 In C 2 Terry Riley 1. 2. ³ ² ³ ³ ² ³ . j j j . j . Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ba - rang, ba - rang, ba - rang Ba-rang - a - rang Ba - rang,I n CBa -3 rang, Ba - rang, In C 4 Ba-rang - a - rang 3. 4. ² ³ ² ² ³ ² . ä . ä . Ï Ï Ï . Ï Ï Ï . Gar - rang - a Rang - a - du GaI n- rangC - a5 RangIn -C a - du6 5. 6. ³ ² ³ ≥ ≤ . ä . w w . Ï Ï Ï . Du - rang - a See, see Du - rang - a In C 7 See, see 7. ³ ² ³ . Î Î Î ä Ï Ï Ï ä Î Î Î Î . J . Ba - da - doop Ba - da - doop SG 12 How Am I Doing? Work Title: In C Date: Composer: Terry Riley Mark on the lines below how you feel about Goals your progress on each goal. Clapping the rhythm Hmm, difficult. ............................................................................. Ha, easy! Singing or playing the music in Hmm, difficult. ............................................................................. Ha, easy! unison with others Singing or playing the music with others Hmm, difficult. ............................................................................. Ha, easy! in my own time Singing or playing while keeping Hmm, difficult. ............................................................................. Ha, easy! a steady beat What is one goal above that you would like to improve on? What are some things you can do to make the improvement? 1. 2. 3. Mark on the lines below how you feel the composer used each element. Dynamics No surprises .................................................................................. Lots of surprises Steps No steps .................................................................................................... Lots of steps Leaps No leaps .................................................................................................. Lots of leaps Tempo Slow ........................................................................................................................ Fast Melodic Contour (Draw the shape of the melody.) Melodic Patterns No repetition ................................................................................ Lots of repetition SG 13 O Fortuna from CarminaO Fortu Buranana Carl Orff Carl Orff Largo f ≥ ≤ ≥ & b ” ” Ow F˙or - t˙u - n˙a, vwel - u˙t L˙u - n˙a oh fohr - too - nah, veh - loot loo - na 3 ≥ ≥ U & b ” w ˙ ˙ ˙ ˙ sta - tu va - ri - a - b˙i - lwis, w sta - too vah - ree - ah - bee - lees, 5 Andante p ≥ & b ” Œ ” ” Œ ” se˙m - p˙er cr˙es - cœis a˙ut d˙e - cr˙es - œcis; sehm - pehr kreh - skees ahoot deh - kreh - skees 9 ≥ ≤ ≥ ≤ ≥ & b ” w v˙i - t˙a d˙e - twe - - - sta - b˙i - lwis . vee - tah deh - teh - - stah - bee - lees 13 ≥ & b ” Œ ” ” Œ ” nu˙nc o˙b - d˙u - rœat e˙t tu˙nc c˙u - rœat noonk ohb - doo - raht eht toonk koo - raht 17 ≥ ≤ ≥ ≤ ≥ & b ” w l˙u - d˙o m˙en - twis a - - - c˙i - ewm,. loo - doh mehn - tees ah - tsee - ehm, 21 ≥ & b ” ˙ ˙ ˙ œ Œ ” ” ˙ ˙ ˙ œ Œ ” e - ge - sta - tem, po - te - sta - tem eh - gheh - stah - tehm, poh - teh - stah - tehm 25 ≥ ≤ ≥ ≤ ≥ & b ” ˙ ˙ ˙ ˙ dis - sol - vit uwt gla - cwi - - - ewm.. dee - sohl - veet oot glah - tsee - - ehm. SG 14 2 O Fortuna 29 P ≥ & b ” Œ ” ” Œ ” se˙m - p˙er cr˙es - cœis a˙ut d˙e - cr˙es - œcis; sehm - pehr kreh - skees ahoot deh - kreh - skees 33 ≥ ≤ ≥ ≤ ≥ & b ” w v˙i - t˙a d˙e - twe - - - sta - b˙i - lwis . vee - tah deh - teh - - stah - bee - lees 37 ≥ & b ” Œ ” ” Œ ” nu˙nc o˙b - d˙u - rœat e˙t tu˙nc c˙u - rœat noonk ohb - doo - raht eht toonk koo - raht 41 ≥ ≤ ≥ ≤ ≥ & b ” w l˙u - d˙o m˙en - twis a - - - c˙i - ewm,. loo - doh mehn - tees ah - tsee - ehm, 45 ≥ & b ” ˙ ˙ ˙ œ Œ ” ” ˙ ˙ ˙ œ Œ ” e - ge - sta - tem, po - te - sta - tem eh - gheh - stah - tehm, poh - teh - stah - tehm 49 ≥ ≤ ≥ ≤ ≥ & b ” ˙ ˙ ˙ w w. dis - sol - vit uwt gla - c˙i - em. dee - sohl - veet oot glah - tsee - ehm. 53 ≥ &