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Keep on Moving Teacher Guide

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Keep on Moving Teacher Guide Concert Introduction………………………………………………………………………………………………………...…….2 Artwork Submissions……………………………………………………………………………………………………………….3 Symphony Orchestra Instrument Families……………………………………………………………………………….4 Symphony Orchestra Template…………………………………………………………………………………………..…..6 Machine, by Higdon……………………………………………………………………………………………………………...…8 I. Preludium from the Holberg Suite by Grieg……………………………………………………..……………...…10 II. Ostinato from St. Paul’s Suite by Holst……………………………………………………………………………….12 I. Vivace from Symphony No. 7 by Beethoven……………………………………………………………………….14 “Warehouse Medicine” from The B-Sides, by Bates……………………………………………………………….16 “Largo al factotum” from The Barber of Seville, by Rossini…………………………………………………….18 IV. Allegro non troppo from Symphony No. 5 Op. 47, by Shostakovich………………………………….20 Star Wars: Main Title, by Williams…………………………………………………………………………………………22 Lesson Adaptation Ideas………………………………………………………………………………………………………..24 The Conductor’s Role…………………………………………………………………………………………………………….25 Review: Show What You Know & Post-Concert Reflection…………………………………………………….26 Concert Behavior: Setting Up Your Students for Success……………………………………………………….27 MI Standards and Benchmarks………………………………………………………………………………………………28 Instrument Index…………………………………………………………………………………………………………………..30 Kalamazoo Symphony Orchestra Stage Plot…………………………………………………………………………..31 Thank You to KSO Youth Concert Design Team……………………………………………………………………..34 Student and Teacher Guide cover design, composer pages, lesson formatting and graphic design by Cori Somers. Dear Teachers, Welcome to the Kalamazoo Symphony Youth Concert of 2016! We will explore a very exciting musical idea and discover how this idea teaches us to achieve success. In music, when a composer repeats a small musical idea over and over, we call it an ostinato. When we hear composers use ostinato, we are reminded to keep moving even when we fail. We will learn that many composers experienced significant obstacles during their lives. Some lost their hear- ing, others faced unfairness, others experienced failure, and some even survived threats to their lives. De- spite these challenges, these composers did not give up but kept on moving forward. With great perseverance, these composers impacted people’s lives and are remembered for their great success. At the Kalamazoo Symphony Orchestra, we value your participation. In this concert, we invite you to conduct from your seats, create patterns of your own, and submit artwork that may be shown on the stage. Most im- portantly, you will have fun as you explore the wonders of the symphony orchestra. We look forward to see- ing you at the KSO concert, enjoying the music that keeps you moving! - Maestro Daniel Brier CONCERT PROGRAM Higdon Machine Grieg I. Preludium from the Holberg Suite Holst II. Ostinato from St. Paul’s Suite Beethoven* I. Vivace from Symphony No. 7 Bates* “Warehouse Medicine” from The B-Sides Rossini* “Largo al factotum” from The Barber of Seville Shostakovich* IV. Allegro non troppo from Symphony No. 5 Op. 47 Williams Star Wars: Main Title * Indicates a student participation piece or guest artist! Youth Concerts are made possible in part by: The Burdick-Thorne Foundation, Education for the Arts, John E. Fetzer Institute Fund, Diane S. Robertson Foundation, Mignon Sherwood DeLano Foundation, Schupan And Sons, Tyler-Little Foundation, Youth Concert Luncheon supporters , Dorothy U. Dalton Foundation, Harold and Grace Upjohn Founda- tion, Irving S. Gilmore Foundation, Kalamazoo Symphony Orchestra League, Michigan Council for Arts and Cultural Affairs, National Endowment for the Arts, Pfizer Corporation, Upjohn Mason Grandchildren’s Chair in Music Education, Zoetis 2 We invite your students to submit artwork based on Dimitri Shostakovich’s Symphony No. 5, Movement IV, Allegro non troppo. Selected works chosen from each school will be displayed on our screen during the KSO’s performance of Shostakovich’s Symphony No. 5. We will have a special presentation for each day of the week to be sure that pieces chosen from your school will be shown when your students are at the concert. While all submissions are accepted, we encourage you to collaborate with your art teacher! It can be as easy as having your art teacher play the piece of music during art class to help inspire a project in progress. Two lesson suggestions for art submissions for this year are: 1. Line and Pattern Paper Relief Sculpture Created byJulie Jacobusse, Austin Road Elementary in Stockbridge, Georgia http://www.incredibleart.org/lessons/elem/Julie-design.html 2. Kandinsky Sound Interpretation Painting Created by Shawn Dean http://www.incredibleart.org/lessons/elem/kandinsky_dean.html Submission requirements: All artwork must be submitted electronically to: [email protected] Please send them as a .png or .jpg file type Any medium welcome Label the front right lower corner with your school’s name and grade of the student Submission Deadline: All artwork must be submitted by Friday February 19, 2016 Please email all submissions to: [email protected] You will receive an email confirmation that your artwork was submitted 3 When we talk about musical instruments, we often talk about them as being part of a family. That's because, just like in human families, the instruments in a particular family are related to each other. They are often made of the same types of materials, usually look similar to one another, and produce sound in similar ways. Some are larger and some are smaller, just as people come in different shapes and sizes. 1. Using the student guide pictures on pages 4-5, discuss the different instrument families. How do they produce sound? How are they played? How are they made? Where can you find them on stage? 2. Make copies of the instrument cut-outs and stage plots from the Teacher Guide on pages 6 and 7. Have students create their own Symphony Orchestra set up. Page 35 of the Teacher Guide shows how your stu- dents will see the Kalamazoo Symphony Orchestra on stage. Produce sound from vibrating strings. In most strings instruments, the vibrations are transmitted to the body of the instrument, which also vibrates, along with the air inside it. A vibrating string on its own makes only a very quiet sound, so string instruments are usually constructed in such a way that this sound is coupled to a hollow resonating chamber, a soundboard, or both. All string instruments have a bridge, which holds the string at the proper action height from the finger board. The bridge helps to transmit string energy into the "sound box" of the instrument to increase the sound volume. Makers of string instruments often seek very high quality woods, particularly spruce (chosen for its lightness, strength and flexibility) and maple (a very hard wood). Spruce is used for the sounding boards of instruments from the violin to the piano. String Instruments are played by plucking: pizzicato or bowing: arco Different pitches are created by varying the length of a string. A longer string results in a lower pitch, while a shorter string results in a higher pitch. By placing a finger down on the string , it shortens the distance between the finger placed and the bridge. The shorter the distance, the higher the pitch! A string with less tension (looser) results in a lower pitch, while a string with greater tension (tighter) results in a higher pitch. String instruments can be divided in three groups. Lutes - instruments in which the strings are supported by a neck and gourd, such as a violin. Harps - instruments in which the strings are contained within a frame. Zithers - instruments with the strings mounted on a body, such as a piano. Produce sound by sympathetic vibration of air in a tubular resonator in sympathy with the vibration of the player's lips. Brass instruments are also called labrosones, literally meaning "lip-vibrated instruments" There are several factors involved in producing different pitches on a brass instrument. Slides, valves, crooks, or keys are used to change vibratory length of tubing, thus changing the available harmonic series, while the player's embouchure (mouth shape), lip tension and air flow serve to select the specific harmonic produced from the available series. Modern brass instruments generally come in one of two families: 4 Valve - a set of valves are operated by the player's fingers that introduce additional tubing, or crooks, into the instrument, changing its overall length. Each valve pressed moves air through additional tubing, individually or with other valves. Slide - brass instruments use a slide to change the length of tubing. The main instruments in this category are the trombone family. Most brass instruments are fitted with a removable mouthpiece. Different shapes, sizes and styles of mouthpiece may be used to suit different embouchures. Trumpets, trombones, and tubas are characteristically fitted with a cupped mouthpiece, while horns are fitted with a conical mouthpiece. Traditionally the instruments are normally made of brass, polished and then lacquered to prevent corrosion. Some higher quality and higher cost instruments use gold or silver plating. There are two main types of woodwind instruments: flutes and reed instruments (otherwise called reed pipes). What differentiates these instruments from other wind instruments is the way in which they produce their sound Flutes Produce sound by directing a focused stream of air across the edge of a hole in a cylindrical tube. The flute family can be divided into
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