Pete and the Wof Januay 24th - 28th, 2020 TEACHER GUIDE Prepaing fo the Cocet

CONCERT POLICY

Here are a few policy details to share with you. Please review and reach out if you have any questions.

Please review all reservation information to verify that it is correct. Direct any corrections to: Mady Steffen, [email protected] | 616.454.9451 x145.

All persons attending the performance must be accounted for in your reservation numbers, including drivers, chaperones, and aides. Additional tickets are not available at the door.

Join me in letting the chaperones know that infants and toddlers are not permitted at the school performances.

There are no refunds or exchanges on extra or unused reservations, including cancellations due to weather and other circumstances preventing a school or groups from attending their reserved performance.

In cases of severe weather:

Please ensure that your young concert goers are dressed appropriately for the weather they will encounter. They may have to wait in the outdoors momentarily.

Unfortunately, changes in drop-off/pick-up procedures are not possible to accommodate inclement weather.

In rare instances, the GRS has canceled concerts due to weather. Cancellation information due to severe weather will be available on the GRS website on the day of the performance.

On the day of the performance, all Education Department staff will be at the concert venue. Therefore, they will be unavailable to answer e-mails or phone calls. Don’t hesitate to fnd last minute answers by visiting the GRS website, GRSymphony.org

All concerts, dates, times, locations, programs, and performers are subject to change without notice. Day of the Cocet

DATES: January 21st - 24th, 2020

TIMES: Tuesday 1/21/20 @ 9:30-10:15AM Tuesday 1/21/20 @ 10:45-11:30AM Wednesday 1/22/20 @ 9:30-10:15AM Wednesday 1/22/20 @ 10:45-11:30AM Thursday 1/23/20 @ 9:30-10:15AM Thursday 1/23/20 @ 10:45-11:30AM Friday 1/24/20 @ 9:30-10:15AM Friday 1/24/20 @ 10:45-11:30AM

Arrive no more than 20 minutes prior to the start time listed on your ticket.

LOCATION: Dan Heintzleman Fine Arts Center 2587 Boulevard Wyoming, MI 49519

ARRIVING BY BUS

- All buses must enter on Boulevard Dr. SW and pull in front of door 8 for drop-off.

- Then proceed to the football feld parking lot until end of performance. Volunteers will be on site to direct all traffc.

- All buses will depart via Shannon Ave. NW

ARRIVING BY CAR

- All cars can park in front of door 8. Enter building through door 8. Volunteers will be on site to direct you to your seats.

Day of the Cocet

DATES: January 28th, 2020

TIMES: Tuesday 1/28/20 @ 9:30-10:15AM Tuesday 1/28/20 @ 10:45-11:30AM

Arrive no more than 20 minutes prior to the start time listed on your ticket.

LOCATION: Hudsonville Fine Arts Auditorium 3370 Allen St. Hudsonville, MI 49426

ARRIVING BY BUS

- All buses use Allen St. entrance. Volunteers will direct buses to the loading lot.

- Volunteers will be on site to direct you to your seats.

- Walk to/from bus and enter/exit building though door D. Volunteers will be on site to direct all traffc.

ARRIVING BY CAR

- All cars use Allen St. entrance and park in lot in front of door A.

- Volunteers will be on site to direct you to your seats.

- Enter/exit building through door A.

How to Use this Guide

Included in this guide are a few suggested activities to help students prepare and refect on the Lollipop Concert they are attending. Please note that this is a general guide written for teachers with many different abilities and backgrounds. Also, since this concert is for students grades K-2, the suggested activities are intentionally conceptual to make them easily adaptable to specifc grade levels. We hope that you will fnd this information helpful in your preparations for your trip to the Symphony.

What to know when coming to the concert

• Prepare the students for what they will hear and see! Not only will your students be able to experience the Grand Rapids Symphony, but this year we are pleased to also feature members of 61Syx Teknique. 61Syx is a collective of dancers who believe in empowering the community through the different styles of Street Dance. 61Syx uses HipHop’s “In the now – movement” mentality to build character, confdence and individuality. The group believes in passing down the legacy of Breakin’(breakdance).

• The concert will be 45 minutes long.

• Please use restrooms before you leave your school. Restroom space at the concert venue is limited and we request that restrooms only be used in case of emergency.

• At the concert, adults should model appropriate concert behavior by listening quietly and not distracting other people by grading papers, talking, or coming and going from the concert area.

Content Standards and Activities

It is the purpose of the Lollipops Concert to reinforce music classroom learning by presenting a story involving music from the modern symphony orchestra for the students to see and hear, thereby strengthening student learning and understanding for the following Arts Content Standards and Benchmarks (Michigan Department of Education).

We have supplied multiple activities that include many content standards. These are found on the following pages.

Using the Listening Maps

We have provided a listening map that represents the melodic content for each character in the story. Recordings of the music will include the introduction, which demonstrates the music for each character. Invite students to have a discussion about how the music for each character helps create an aural picture of each character.

1. Once the students are familiar with the map for each character, invite students to create a story board using the maps. 2. In the story, not all melodies are used in their entirety. • Use the maps to talk about how the composer uses melodic fragments to tell the story. Music GLCEs Suggested Ac?vi?es

All students will analyze, describe, and evaluate works of ANALYZE—Standard 3: art. • ART.M.III.(K) (1) (2).3 Invite students to establish how “good” is qualified. • Describe the music performed and presented by Invite students to explore if all people share the same moving, drawing, or through other appropriate idea of “good”. responses. • Develop an method for evalua2ng the concert they will hear. ART.M.III.(K) (1) (2).4 Introduce music vocab- Use the evalua2on tool to asses the concert. Chart/graph ulary emphasizing opposites; i.e. fast and slow, their responses. Compare and contrast their results with oth- loud and soD (K); melody, harmony, rhythm, tone er classes that may have a;ended the performance. color/Imbre, form (1); Introduce music vocabulary to describe the qualiIes of music of various styles Ac?vity: Aaer the concert, invite the students to share if they (2). liked or disliked the performance, paying special a;en2on to why they have that opinions. ART.M.III.(K) (1) (2).6 Devise student-created criteria for objecIve valuaIon of performances Guiding Ques?ons: Can we graph any common opinions, and composiIons. characteris2cs, etc.? What does the graph show about our musical preferences? Who else can we interview for their ART.M.III.(K) (1) (2).7 IdenIfy and support preferences? (parents, office staff, siblings, other personal reacIons to a musical selecIon. classrooms) How do these graphs differ from our classroom graph? Understand, analyze, and describe the arts in their historical, ANALYZE IN CONTEXT—Standard 4: social and cultural context.

• Before listening to the musical selec2ons for each charac- ter in the story, invite students to first: describe what each character looks like using words; second: invite stu- dent to describe what they might expect the music for each character to sound like. ART.M.IV.(K) (1) (2).1 IdenIfy and describe disInguishing characterisIcs of starkly con- Ac?vity: Create a chart of the descrip2ve words that the stu- trasIng styles. dents chose for both the musical, and non-musical character- is2cs of each character in the story. One by one, listen to each musical selec2on and invite the students to graph how their expecta2ons were supported/unsupported by the com- poser’s music.

3 Using Melody Maps Just like we use maps to find our way around an unfamiliar city, musicians use their printed music as a map to create the music the audience hears. Young listeners can create their own map of the music to help direct their listening to elements of the music. Just remember a few guidelines: • The simpler the better • Your map doesn’t have to represent every note, or every phrase. If your class is familiar with a song that uses a verse-refrain form (like Jingle Bells), consider making the map for the refrain only, or even just one phrase of the refrain. • Reinforce shapes and symbols that your students know, or create all new shapes—whatever best represents the music to your students. • The shapes do not have to be placed on the map to mirror the melodic con- tour (such as putting symbols for high notes high on the page, and symbols for low notes low on the page, etc.).

Here’s how to do it:

1. Invite students to discuss how different sounds could be represented by a shape or sym- bol. For example, a series of short notes might look like this:

By making the dots start small and gradually get larger, students could also be representing music that starts quietly and gets louder, or starts with a few instruments and adds more and more.

2. Create a map (such as the one above) and invite students to use classroom instruments or found objects to “play” how the map might sound.

3. Create a map to share with the students using a small portion of a well-known and familiar song like Happy Birthday, or Mary Had a Little Lamb. Using an overhead projector, trace the symbols and shapes on the map with the music. Provide the students with their own copies of the map so that they can trace along, or encourage them to use their fingers and trace in the air.

4. Using the same or a different song, create a melody map as a class, with students contrib- uting what shapes should be used. Be sure to sing the song through a few times before you start creating, then break the song up into small portions to be mapped.

Other Ideas: • Use a keyboard that has different sounds pre-programmed and create sym- bols for those sounds. String the symbols (and therefore sounds) together to create a piece of music. • Play music that you will be mapping and have students move to the music first, so that their movements represent what they are hearing. Now create your map.

3 Activities for Use with Melody Maps and Stick Puppets

Melody Maps—Activity 1:

Separate the characters melody maps from one another. Distribute to the class for discus- sion of each character. • Invite the students to list adjectives to describe what each character might sound like. For example the bird is small, flies quickly, chirps short notes. The cat slinks, and rubs up against things, etc. • Play the musical excerpt for each of the characters. Invite students to evaluate whether their image of each character matches what Prokofiev’s image of each was. If it differs, invite students to list adjectives as to what Prokofiev’s image of the characters was. • Using the maps, invite students to follow along to the introductory music for each character. Repeat as necessary to familiarize the students with each character and their map.

Melody Maps—Activity 2:

Using the melody maps once more, invite students to arrange all the maps on their desk or table.

• Play the music through once with students just listening. • The second time through, invite students to follow the melody maps one more time. As appropriate, invite the students to follow the maps for each character throughout the story. The teacher may want to pause the recording to discuss where the mu- sic diverges from the original theme.

Melody Maps—Activity 3:

Either individually or in small groups with one group per character—invite students to create a new map. Maps can be drawn free-hand, created out of found objects, magazines, greeting cards, pictures from the internet, etc. • Invite the students to share their new maps. • Invite students to demonstrate their maps with the music.

Stick Puppet Listening Activity:

Using the stick puppet images included in the packet. Distribute one of each to students and have them assemble the image to a craft stick (or other).

• Play the music through once with students just listening. • The second time through, invite students to hold up the appropriate stick puppet for the music that is being played.

4 Melody Maps for Peter and the Wolf Following are examples of melody maps that can be used for Peter and the Wolf. There is a map for the musical material that represents each character in the story. Read the maps from left to right. Larger elements (like circles or rectangles) usually refer to longer notes. For the Bird’s music, the feet that are grouped together in a square represent one note. The feet out- side the square are two quick notes. In the music for the Cat, the pictures of the cats repre- sent the longer notes.

Peter (played by the violins)

The Bird (played by the flute)

The Duck (played by the oboe)

5 The Cat (played by the clarinet)

The Grandfather (played by the bassoon)

The Wolf (played by the French horns)

The Hunters (played by the timpani)

6 The Characters in Peter and the Wolf

Duck Cat

Bird

Peter Wolf

Hunter Grandfather

5 This is a .

It plays the music that we hear for

6 This is a .

It plays the music that we hear for

7 This is an .

It plays the music that we hear for

8 This is a .

It plays the music that we hear for

9 This is a .

It plays the music that we hear for

10 This is the .

It plays the music that we hear for

11 This is a Violin .

It plays the music that we hear for

8 This is a Flute .

It plays the music that we hear for

9 This is an Oboe .

It plays the music that we hear for

10 This is a Clarinet .

It plays the music that we hear for

11 This is a Bassoon .

It plays the music that we hear for

12 This is the Timpani .

It plays the music that we hear for

13 Pete and the Wof Matching Draw a line from each character to the instrument in the orchestra that plays their theme

CAT FLUTE

PETER OBOE

WOLF CLARINET

BIRD STRING SECTION

BASSOON

DUCK

FRENCH HORNS GRANDFATHER

HUNTERS TIMPANI DRUMS Pete and the Wof Matching - Answes Draw a line from each character to the instrument in the orchestra that plays their theme

CAT FLUTE

PETER OBOE

WOLF CLARINET

BIRD STRING SECTION

BASSOON

DUCK

FRENCH HORNS GRANDFATHER

HUNTERS TIMPANI DRUMS Abot the Orchesta

GRAND RAPIDS SYMPHONY

The Grand Rapids Symphony was founded in 1929 by a volunteer group of community musicians. In 1972, the Orchestra became fully professional, which means that everyone who rehearses and performs with the orchestra is paid. The Grand Rapids Symphony has 50 musicians whose only job is to play in the orchestra. The other 30+ musicians also teach private lessons, serve as professors at one of the many local colleges and universities in the Grand Rapids area and some teach band and orchestra students like yourselves in public and private schools in and around Grand Rapids.

The Grand Rapids Symphony is a source of pride for the community because it is nationally recognized as being a top-ranked orchestra. Each year, the Grand Rapids Symphony spends over $9 million giving concerts! We perform for more than 180,000 people each year and over 80,000 of them are students, just like you!

ORCHESTRA MEMBERS

Most orchestra members start their musical careers by playing in their elementary school bands or orchestras. Only a few musicians come from schools where there were no instrumental music programs.

The Grand Rapids Symphony consists of string instruments (violins, violas, cellos, basses), woodwind instruments (fute, oboe, clarinet, bassoon), brass instruments (French horn, trumpet, trombone, tuba) and percussion instruments (timpani, drums, gongs, xylophone, marimba, piano). Different pieces of music require different combinations of these instruments, so not all of the musicians are needed for each piece. While you’re watching the concert, you will often see musicians put their instruments down while they’re not playing. Some will even exit the stage when they are not needed.

The people who sit in the frst chair of each section are called Principals. They are in charge of leading their sections, just like the Principal at your school is in charge of leading your school. The person who is the Principal frst violinist has the additional title of Concertmaster. The Concertmaster is responsible for making sure that the orchestra tunes to a specifc note given by the Principal oboe at the beginning of each rehearsal and concert. He/she also makes sure that all the members of the string section move their bows in the same direction—frst violins all together, second violins all together, violas, cellos and basses, too. The Concertmaster has to hand write the bowing directions into the music, since it isn’t written in the music to begin with. Abot the Orchesta

THE MUSIC DIRECTOR

The Music Director is the artistic supervisor for all the orchestra’s activities. Imagine...a team without a coach...an army without a general...or a symphony orchestra without a Music Director! The name of the Grand Rapids Symphony’s Music Director is Marcelo Lehninger, and he is originally from Brazil. In addition to conducting the orchestra for most of its rehearsals and concerts, it’s his job to pick all of the music that the orchestra will be playing and selecting who the guest soloist will be. He also likes to go out into the community to tell people about the orchestra and all the wonderful concerts it gives each year.

THE CONDUCTOR

The Conductor for the Lollipop Concerts is John Varineau. He is the Associate Conductor of the Grand Rapids Symphony. Mr. Varineau has been the Associate Conductor since 1985 and also serves as Music Director of the Grand Rapids Youth Symphony. In addition to conducting most of the Symphony’s education performances, such as the Fifth Grade Concerts and Lollipop Concerts, Mr. Varineau also conducts Pops Concerts and performances with the Grand Rapids Ballet.

The conductor has a very important job. He/she gives the members of the orchestra many instructions, including when to start, when to slow down or speed up, when to play loud or soft and when to stop. The conductor is able to tell all of this to the orchestra through their hand movements. In their right hand, the conductor holds the baton and uses it to signal the beat. The beat is the pulse of the music. Every piece of music has a beat. You’ve probably clapped or tapped your toe to the beat of the music on the radio. The conductor is doing the same thing with their baton. The conductor uses a baton because it is easier for the orchestra to see than if they only used their hand. The conductor uses their left hand to give all the other signals such as dynamics (loud and soft) as well as cues (when to come in). Click on the speaker to next to each Instuments of the Orchesta instrument to listen to it! Instrument information from https://www.mydso.com/dso-kids/learn-and-listen/instruments

Violin: The violin is the soprano voice in the string family. It is held under the chin, resting on the shoulder. The violin has a lovely tone that can be soft and expressive or exciting and brilliant.

Viola: The viola is the alto voice in the string family. Like the violin, it is held under the chin, resting on the shoulder. Unlike the violin, the viola is slightly larger and is tuned fve notes lower. It has a darker and warmer tone quality than the violin, but is not as brilliant.

Cello: The violoncello or cello is the tenor voice in the string family. While shaped like a violin, the cello is much larger and is held between the player’s knees. Because it can produce beautiful sounds from its lowest to its highest notes, it is a popular instrument.

Bass: The double bass, or string bass, is the largest and lowest instrument of the string family. The double bass has sloping shoulders, instead of rounded shoulders like the other string instruments. This allows the player to have more room to move his or her arms, hands, and fngers in front of the instrument. Because of its size, the player stands or sits on a high stool to play the double bass.

Flute : Originally made of wood, the fute is now made from silver or gold and is about 2 feet in length. It looks like a narrow tube with a row of holes covered by keys along one side. The player blows air across the small hole in the mouthpiece to produce a sound that can be either soft and mellow or high and piercing. During the 5th grade concert, you will also hear the alto fute, which produces a slightly lower sound than the fute.

Piccolo: The piccolo is exactly like the fute except that it is much smaller and is usually made of silver or wood. The pitch of the piccolo is higher than that of a fute. Instuments of the Orchesta

Oboe: The oboe is similar to the clarinet in many ways. Both are made from wood and have metal keys that can produce many notes rapidly. Unlike the clarinet, the oboe does not have a mouthpiece, but has two reeds tied together. By placing them between one’s lips and blowing air through them, the reeds vibrate and produce a sound.

English Horn: The English horn is another double-reed instrument in the woodwind family. Although much like the oboe, it is larger than the oboe and its sound much lower.

Clarinet: Made from wood, the clarinet produces a fuid sound when air is blown between a single reed and the mouthpiece. By pressing metal keys with the fngers of both hands, the player has the ability to play many different notes very quickly.

Bass Clarinet: The bass clarinet is a larger and lower sounding relative of the clarinet. Like the clarinet, the bass clarinet is a single-reed instrument and is made of wood.

Saxophone : Conically shaped, the saxophone is the only woodwind instrument made of brass. Although it is found only occasionally in the symphony orchestra, it is considered a member of the woodwind family because it has a single reed like the clarinet.

Bassoon: The bassoon is a large double reed instrument with a lower sound than the other woodwind instruments. Its double reed is attached to a small curved tube called a bocal which fts into the bassoon. When the player blows air between the reeds, the vibrating column of air inside the instrument travels over nine feet to the bottom of the instrument, then up to the top where the sound comes out. Instuments of the Orchesta

Contrabassoon: The contrabassoon is another double-reed instrument in the woodwind family. Although much like the bassoon, it is larger and its sound is much lower.

French Horn: The horn or French horn consists of about 12 feet of narrow tubing wound into a circle. The player obtains different notes on the horn with a clear mellow sound by pressing valves with the left hand and by moving the right hand inside of the bell.

Trumpet: The trumpet is the highest sounding member of the brass family. The brilliant tone of the trumpet travels through about 6 - ½ feet of tubing bent into an oblong shape. The player presses the three valves in various combinations with the fngers of the right hand to obtain various pitches.

Trombone: The mouthpiece of the trombone is larger than that of a trumpet, and gives the instrument a more mellow sound. Instead of valves, the trombone has a slide which changes the length of its approximately 9 feet of tubing to reach different pitches.

Tuba: Made of about 16 feet of tubing, the tuba is the lowest sounding member of the brass family. The tuba has three to fve valves and is held upright in the player’s lap.

Harpsichord: The harpsichord is an early relative of the piano. Although it looks like a piano, it sounds much different. Small hooks called quills pluck the strings when the player’s hand presses a key on the keyboard.

Piano: Sound is produced on the piano when a player presses the keys, which causes small hammers to strike the strings inside the instrument. It is the vibrations of the piano’s strings which produces its musical sound. Instuments of the Orchesta

Organ: When an organist presses the keys of an organ, air is allowed to fow into corresponding pipes. The vibration of the air in the pipes creates the sound of the organ.

Bass Drum: The composer Mozart added the deep, booming, untuned sound of the bass drum to the orchestra in 1782. Constructed like a snare drum, but without snares, the bass drum is much larger and is played on its side, so that either head may be struck. The beater or mallet for a bass drum is large with a soft material such as sheep’s wool covering the end.

Cymbals: Made from two large, slightly concave brass plates, cymbals are ftted with leather hand straps and are shaped so that when they are crashed together, only the edges touch. Although cymbals are untuned instruments, different sized cymbals produce a wide range of sound effects. Some are so small that they are played with just the fngers. Cymbals are also played by being struck with drumsticks or mallets while suspended on a string or stand.

Snare Drum: The snare drum joined the orchestra nearly 200 years ago. It has two calfskin or plastic drumheads stretched tightly over a hollow metal frame. The top head is struck with wooden drumsticks, and is called the batter-head. The bottom head, or snare-head has catgut or metal wires, called snares, stretched tightly across it. When this untuned drum is struck on the top head, the snares produce a characteristic sharp rattling sound as they vibrate against the bottom head.

Tambourine: The tambourine is a shallow, handheld drum made of a circular wooden frame with a calfskin or plastic drumhead stretched across the top. The tambourine has small discs called jingles set into its circular frame which produce sound when the tambourine is shaken, rubbed, or struck on the drum head with the knuckles. Early tambourines were played by Turkish army musicians known as “Janissaries.” Mozart frst used the tambourine in his music in 1782. Instuments of the Orchesta

Timpani: Timpani, also called kettledrums, were the frst drums to be used in the orchestra over 300 years ago. They are constructed of a large copper bowl with a drumhead made of calfskin or plastic stretched across the top. When struck with felt-tipped wooden sticks, or mallets, timpani produce a specifc pitch that is determined by the drum’s size. That pitch is fne-tuned by tightening the drumhead with keys and foot pedals. Most orchestras use three or four timpani of varying sizes.

Triangle: The triangle is made from a small round steel tube, and is played by striking it with a steel beater. Its bright shimmering sound is untuned and resembles that of a bell. The triangle frst joined the orchestra in the late 1700s.

Xylophone: First used in the orchestra just over a century ago, the xylophone is a tuned instrument made of hardwood bars in graduated lengths set horizontally on a metal frame. With the larger, lower-sounding bars on the left, the notes of the xylophone are laid out much like a piano keyboard. Striking the bars with hard mallets produces a bright, sharp sound. The xylophone was originally modeled after an African instrument and its name is Greek, meaning “wood sound”.

Gong: Gongs (also known as Tam-tams) are large disc-shaped pieces of brass that are hit with a large soft mallet. In China, gongs were used to make announcements and send signals. In the orchestra, the gong’s untuned sound can be a loud crash or a low rumble. Their size can range from just a few inches to huge ones that are larger than a person. The gong always adds drama whenever it is played.

Glockenspiel: Also called orchestra bells, the glockenspiel resembles a small xylophone, but it is made of steel bars. The glockenspiel is typically played with wooden or plastic mallets, producing a high tuned sound that is bright and penetrating. The name glockenspiel comes from the German language and means “to play the bells.”