“I was very lucky growing up in New York to be surrounded by Introduction great music from the beginning. Every child deserves a rich experience in the arts, and the Philharmonic is here to provide that with the great music composed for .” , Music Director “With this engaging music Pathways to the Orchestra is a music curriculum developed by Teaching Artists and their partner teachers curriculum for schools, we in public schools. The lessons in this book form the continue our long-standing backbone of a student’s three years in the School Partnership Program (SPP), in grades three to five. Classroom-tested over a tradition of sharing the joy of number of years, Pathways lessons constitute a three-year curriculum music with young people. As based on , New York State, and New York City standards they discover the world of the in music. Like New York City’s Blueprint for Teaching and Learning in Music, which the Philharmonic played a lead role in developing, orchestra, we share in their Pathways is a repertory-based approach to music, developing students excitement, and it energizes as listeners, performers, and around an encounter with major works of musical art. Important additional components of the SPP our world as well as theirs.” include In-School Concerts of the Teaching Artists Ensemble, and the Zarin Mehta, President and annual School Day Concert by the full New York Philharmonic at Avery Executive Director Fisher Hall, with its own repertory and curriculum.

Pathways lessons are designed so that classroom teachers with limited musical background can carry them out and discover rich possibilities for integration into other areas of the curriculum — while Teaching Artists and music specialists can use them as springboards for creative musical extensions. With this second edition, we update favorite lessons and introduce several new ones. We also connect this print material with expanded resources online at nyphil.org/teachers, enabling teachers to extend units into additional repertory and activities.

Pathways to the Orchestra is a manifestation of a dynamic, ever- deepening learning process among students, teachers, and Teaching Artists. We welcome you into this world, whether as an SPP participant or an online user. Let us know how Pathways works for you, and what we should include online or in the next edition, by writing to [email protected]. PHOTO TK CREDIT: PHOTO: Chris Lee Theodore Wiprud Director of Education

Opposite page: Music Director Alan Gilbert

IFCB I For Teachers in A Typical Year in the School School Partnership Schools Partnership Program

Welcome to the School What to Expect in the School Partnership Program! Partnership Program Perform/ Teacher Begin Record The School Partnership Program was founded in 1994 to As a teacher in the School Partnership Program, you will Orientation In-school Begin Final Final address the decline of music education in New York City’s partner with a Teaching Artist who will visit your classroom & Workshop Concerts SDC Prep Projects Projects schools. From three initial partner schools, it has grown 17 times this year. At each visit, you will have an opportunity to more than 150 classrooms in 15 New York City schools, to plan with the Teaching Artist for the next visit, as well making music integral to the experience of over 3,000 as address any issues or changes that may arise during TA Visit TA Visit TA Visit TA Visit TA Visit TA Visit TA Visit TA Visit students each year. Our faculty of Teaching Artists share the course of your work in the classroom. To support your their work with colleagues around the world as part of the work in the classroom, you will be given resource materials New York Philharmonic’s global presence. that include recorders, instrument posters, percussion boxes, and journals. You will also enjoy two In-School September October November December January February March April May June The School Partnership Program (SPP) is the most Concerts performed at your school, one in the fall and one comprehensive program of its kind in the United States. in the spring, as well as attending the School Day Concert The New York Philharmonic devotes tremendous (SDC) at Avery Fisher Hall. You can also expect to make TA Visit TA Visit TA Visit TA Visit TA Visit TA Visit TA Visit TA Visit TA Visit resources to its partner schools and commits itself for connections to your curriculum through your work with your the long term. The Philharmonic partners with schools Teaching Artist, and as a part of projects in the classroom. that are able to make a similar level of commitment. Initial School Final The SPP is not simply a residency. It aims to integrate We hope that you enjoy the year, and enjoy working with Planning Day Concert In-school TA the orchestra into the life of a school. Workshops your Teaching Artist. Most of all, we hope that you are Session Ensemble are co-taught by Philharmonic Teaching Artists and both excited about bringing music into your classroom, and into Concerts classroom teachers and music teachers. All teachers the lives of your students. Thanks so much for being a part take part in professional development. Parents, teachers, of the Program! and administrators are invited to special events including New York Philharmonic concerts. The SPP outcomes 7. Scholarship support for select students for private for teaching and learning, not only in music, are spectacular Elements of the New York instrumental lessons where the program is fully realized. Philharmonic School 8. On-going evaluation and assessment work 9. Commitment of time from schools for: Toya A. Lillard Partnership Program include: a. Instructional time during the day (for teacher-led Director, In-School Programs and co-led sessions) 1. On-going presence of a Teaching Artist in the school

PHOTO: Michael DiVito DiVito Michael PHOTO: b. Release time for planning and after-school 2. Shared responsibility of instruction professional development 3. Multiple visits by individual musicians and ensembles c. A demonstrable plan for helping students take to the schools advantage of the scope-and-sequence nature of 4. Multiple visits by teachers, students, and parents to the partnership’s curriculum. (i.e., a typical student the New York Philharmonic at Avery Fisher Hall would have the opportunity to participate in the (School Day Concerts, Young People’s Concerts, partnership over three years) Teacher Workshops rehearsals, etc.) d. A plan for ensuring that the partnership will have 5. Resource materials provided to schools: student an impact on the school community as a whole journals, programs, CDs, posters, percussion instruments, recorders, teacher resources, and books 6. Basic recorder instruction for both teacher and students Teaching Artist Justin Hines in P.S. 108 classroom

II III Contents

Preface I Welcome to the School Partnership Program II

LEVEL 1 Discovering Orchestral Music 3 Unit 1: What Is an Orchestra? 4 Unit 2: Rhythm 8 Unit 3: Melody 10 Unit 4: Dynamics 14 Unit 5: Musical Layers 17 Unit 6: Final Project: Music & Stories 21

LEVEL 2 The ’s Process 25 Unit 1: Musical Inspiration 26 Unit 2: Harmony 30 Unit 3: Musical Form 36 Unit 4: Orchestration 41 Unit 5: Level Review 44 Unit 6: Creating a Final Project 46

LEVEL 3 Exploring Orchestral Masterworks 49 Unit 1: The Art of Musical Storytelling 50 Unit 2: A Musical Ghost Story 55 Unit 3: Jazzin’ It Up 55 Unit 4: A Jazzy Neighborhood Journey 61 Unit 5: Musical Portraits 64 Unit 6: Creating a Final Project 74 Courtesy of New York Philharmonic Archives, and Michael DiVito Archives, Yorkof New Philharmonic Courtesy Lee, Chris PHOTOS:

Glossary 77 Additional Units of Study Available from the New York Philharmonic 78 New York Philharmonic Roster 79 © 2009 New York Philharmonic Credits 80 Photocopying and reproduction permitted Track Listings 81 with proper crediting

Recordings courtesy of Sony Classical and Members of the New York Philharmonic ©1994-2009 by the New York Philharmonic Concertmaster and Principal Associate Concertmaster Sheryl Staples; with Leonard (Philharmonic Symphony Society of New York, Inc.) Bernstein; ; Students in the School Partnership Program

1 LEVEL 1 Discovering LEVEL Orchestral Music

In Level 1(usually the third grade year), students are introduced to the orchestra. They learn about what makes the orchestra a vibrant, creative community, and they explore basic musical concepts. An understanding of these central musical ideas — Rhythm, Melody, Dynamics, and Musical Layering — is the foundation upon which students’ continued progress in the Philharmonic’s Pathways to the Orchestra is built. At the same time, teachers are encouraged to seek ways to connect this work to the literacy and social studies curricula, especially in regard to the Final Project, which focuses on the adaptation of a story for performance with music. PHOTO TK CREDIT: PHOTO: Michael DiVIto 12 3 LEVEL LEVEL What Is an Orchestra? sure to mix up the cards so that all four families are well · On the left half of the paper, write the names of your UNIT 1 represented. instruments. · Ask students to stand in a circle with their instrument · On the right half, list observations about what your 1 pictures, facing out. After the students take a good look instruments have in common. Note any differences 1 at each other’s cards, with no further information, give as well. them thirty seconds to arrange themselves into groups Focal Work according to which instruments they think belong Once each group has thoroughly explored its cards, have The Young Person’s Guide to together. one member of each group share its findings with the class. · After they have arranged themselves in groups, have After each group shares, tell your class the “official” names the Orchestra them hold their cards out again. Which instruments did of its families: String, Brass, Woodwind, or Percussion. by they put together and why? Have the students write the family name in the title space of their papers. Create a wall display of these papers and the Activity 3: instrument cards that go with them. As you begin your partnership with your Teaching Exploring Families of the Orchestra Questions for further exploration: Artist, your first step is to introduce students to Check to be sure students have grouped themselves into · How do you think sound is created on these instruments? the orchestra and its instruments. First, acquaint the correct families of instruments and make any necessary · What do you think they are made of? changes. Then give each group a large sheet of paper and · Which instrument do you think makes the highest them with the families of the orchestra, and then hand out any remaining instrument cards to the appropriate sounds? The lowest sounds? help them become familiar with their sounds. groups. Give them the following assignment: · Divide your paper in half.

EXAMPLE 1

Timpani Crash Symbol

Snare Drum

Triangle Xylophone Piano

LESSON 1 · Can you think of other things besides people that are French Horns grouped in families? (e.g., birds, reptiles, dogs) Pick one Basses The Orchestral Families example and compare and contrast its members. In this lesson, students will: This year, we will be learning about a musical group · discuss “family” as a concept called the orchestra. An orchestra is a group of 15 to120 Harp · visually and aurally explore the families of the musicians who play a variety of instruments together. orchestra The instruments are grouped into four distinct families: String, Woodwind, Brass, and Percussion. The New York Philharmonic has 106 players; more specifically, it has: Materials: Piccolo · 67 Strings Violas · My Musical Journal 16 Woodwinds · · musical instrument cards · 15 Brass PHOTO: Courtesy of New York Philharmonic Archives · orchestral seating chart (Example 1) · 5 Percussion, , and Harp First · four large sheets of paper and markers · 3 Librarians Second Violins Activity 1: There are also a personnel manager, a stage manager, and What Is a Family? a recording engineer! Conductor Discuss the concept of family with your students: Activity 2: · Who are the members of your family? Categorizing Instruments of the Orchestra Brass · What do they have in common? Strings · What are some differences between them? · Distribute one instrument card to each student. Because Woodwinds · What makes each person special? your class has fewer members than an orchestra, be Percussion

4 5 LEVEL LEVEL LESSON 2 Activity 1: Listening Extensions: What Do the Orchestra Families Sound Like? Like Benjamin Britten, a number of composers have written The Sounds of the Orchestra pieces of music that introduce young listeners to the families 1 and instruments of the orchestra. Tubby the Tuba and Carnival 1 Play Tracks 1–6 of The Young Person’s Guide to the We will now explore the timbre, or the distinctive Orchestra. After listening to these tracks, play them once of the Animals have been children’s classics for decades. More recently, works have been contributed by Jon Deak, former quality of a sound, of each family and its individual again, and this time, pause the CD between each family as Associate Principal Double Bassist of the New York Philharmonic instruments. For this lesson we will focus on it is presented. Ask students for words to define the timbre and storyteller Bill Gordh; and Nathaniel Stookey, who created Benjamin Britten’s The Young Person’s Guide to of each family: an orchestral mystery with Lemony Snicket, author of A Series of Is the sound bright or dark? Unfortunate Events. the Orchestra. · · Heavy or light? Jon Deak, composer; text by Bill Gordh: Roaring Mountain · Sweet or powerful? In this lesson, students will: George Kleinsinger, composer; text by Paul Tripp: Tubby the Tuba Try to find two or three key words to describe the timbre of Camille Saint-Saëns: Carnival of the Animals · learn to distinguish the timbres of instrument each family. Write them on the instrument family sheets that Nathaniel Stookey, composer; text by Lemony Snicket: families and individual instruments are already displayed on your walls. The Composer Is Dead · experience and performing together as a group Activity 2: Sounding Like an Orchestra Reinforcement Through Read-Alouds: · study Benjamin Britten’s The Young Person’s To reinforce and strengthen your students’ knowledge and Guide to the Orchestra understanding of the instruments of the orchestra, share some · Divide your class into four groups and assign each a of these wonderful illustrated children’s books as a read- family of the orchestra. aloud. Many of these books come with accompanying CDs or Materials: · Let each group decide on a sound they will make CD-ROMs to reinforce the concepts. Karen LeFrak’s book was · Level 1 CD that imitates the timbre of their family. They may also inspired by the New York Philharmonic’s stage dog and includes illustrations based on actual orchestra members. · My Musical Journal pantomime playing the instruments. · Use hand signals to lead your students in a spontaneous Hayes, Ann; Carmen Thompson, illustrator. Meet the Orchestra! piece of music. You may have each group: San Diego: Harcourt Brace Jovanovich, 1991. · Begin and stop at different times Helsby, Genevieve; Those Amazing Musical Instruments! Naperville, IL: Sourcebooks, 2007. LeFrak, Karen; Marcin Baranski, illustrator. Jake the Philharmonic Dog. New York: Walker Publishing , 2006. The bassoons of the New York Philharmonic, part of the Moss, Lloyd; Marjorie Price, illustrator. Zin! Zin! Zin! A ! woodwind family New York: Aladdin Paperbacks, 2005. Snicket, Lemony; Carson Ellis, illustrator. The Composer Is Dead. · Make their sounds at different volumes New York: Harper Collins, 2009. · Overlap another group’s sounds Tripp, Paul; Henry Cole, illustrator. Tubby the Tuba. New York: · Repeat this activity a few times, and let students conduct. Dutton Juvenile, 2006. Give each group the opportunity to be each orchestral family. Activity 3: Learning More about the Instrument Families

Now play the entire The Young Person’s Guide to the Orchestra (Tracks 1–20). Have students take out their music journals and write observations about the timbre of PHOTO: Chris Lee PHOTO: Chris Lee each family. Supplement students’ knowledge with some of the following activities: · Visit the New York Philharmonic Kidzone’s instrument Storage Room, which has pictures, audio clips, and detailed information on every instrument, as well as the Instrument Laboratory with recipes for homemade instruments: nyphilkids.org

Principal timpanist Markus Rhoten; the timpani is part of the The trumpets of the New York Philharmonic, part of the brass family percussion family

6 7 LEVEL LEVEL UNIT 2 Rhythm EXAMPLE 2

1 March Rhythm from The Love For Three Oranges 1

Focal Work Prokofiev March from The Love for Three Oranges 4                          4 by snapping, patting knees, or clapping. Once the beat is Activity 5: established, speak your name to fit in with the beat and Listening for Different Kinds of Rhythm in Now that your students have learned about the have the class echo you. Students can then take a turn Prokofiev’s March orchestra, you can introduce them to the essential and go around the circle in this manner. · Play the following excerpt tracks, and have your students elements of orchestral music. We’ll begin with *Variation: students can add names in sequence: focus on the different kinds of rhythm Prokofiev uses. one of the most essential elements of all music: “ Mrs. Cruz … Mrs. Cruz, Kaylene … · Track 23: Now listen to the opening rhythm Mrs. Cruz, Kaylene, John …” (see Example 2). rhythm. like the old camp game “Concentration.” · Track 22: Listen to this example of the orchestra all playing the same rhythm at the same time. Repeat and Activity 3: lead students in clapping along. How do these beats and Defining Rhythm rhythms feel? Are they strong, weak, heavy, light? Etc. · Try chanting along with the rhythm, using these syllables: · Repeat the name game, but this time, instead of saying Tiki ta Tiki ta Tiki tiki tiki ta Tiki ta Tiki ta Tiki ta names, have people clap for each syllable of each How would you describe these rhythms? Are they calm, name. (e.g., Mrs. Cruz = 3 claps, Kaylene = 2 claps, smooth, agitated, energetic? John = 1 clap). · Track 24: Listen to the phrase. Listen to it · Define rhythm for your class: In music, patterns of repeatedly until students are able to sing the melody. sound are called rhythm. We just clapped the rhythms Without the CD, have half the class sing the melody while of our names. Could you feel how the rhythms fit into a the other half claps the beat. How are these rhythms steady beat? In this unit, students will: include clocks, wheels of the subway, the dripping of a different from the last excerpt? How does the rhythm feel Try exploring the beat and rhythms of a poem or nursery faucet, etc. · different when you clap it or sing it? study Sergei Prokofiev’s March from The Love for rhyme. Can you speak it to a steady beat? Can you clap · Listen to Track 21: Prokofiev’s March from The Love for · Finally, listen to the entire march and see which other Three Oranges to gain an understanding of the the rhythm of the syllables? Three Oranges, and ask students to tap the beat along rhythm patterns students can identify. following aspects of music: with the music. Does the beat feel very fast, very slow, or · How do the rhythms help create the feeling of a · beat somewhere in the middle? Activity 4: March? Creating Rhythmic Pieces · tempo · Tell your class that tempo is the word we use to describe · Does the tempo (speed) stay the same through the · rhythm the speed of the beat. whole piece? Brainstorm a favorite topic with your class and create · Listen again and ask: How does the music make you · · How can you imagine people moving to this music? a chart of related words. For example, “Soda Flavors”: want to move? What kind of tempo do most marches How would those movements change during Materials: Pepsi, Coca-Cola, Sprite, Dr. Pepper, Mountain Dew, have [e.g,. fast, slow, somewhere in the middle]? different sections? · Level 1 CD Fanta, etc. Practice all the words by speaking and · percussion instruments clapping with each syllable. PHOTO: Courtesy of New York Philharmonic Archives Listening Extensions: Listening Extensions: · In groups, have students arrange the words into their Listen to ’s “Magic Circle” from El Amor Brujo Here are some other pieces of music that provide interesting own pattern or sequence. Students should practice Activity 1: (Level 3 CD, Track 7) and Modest Mussorgsky’s “Ballet of the explorations of beat, rhythm, and tempo. Defining Beat Unhatched Chicks” from Pictures at an Exhibition (Level 2 CD, performing as a group and with a steady beat, if possible. Track 24). Can you tap the beat to these pieces? Is the tempo Distribute percussion instruments to add to or replace : Short Ride in a Fast Machine Hector Berlioz: Symphonie fantastique; Roman for IV. March to · Introduce the concept of beat to your class: Today we’re faster or slower than Prokofiev’s March? the clapping. After performing with the words, have the Scaffold going to learn about a musical word called beat. A beat students try omitting the words. Can they perform the Scott Joplin: Stoptime Rag is a steady pulse. Can you think of a place in your body rhythms just with percussion? Steve Reich: Clapping Music; Drumming where you have a beat? Where can you feel the steady, Activity 2: · Share and Reflect: How does each piece sound unique? John Philip Sousa: Roman for March (The Washington regular pulse of your heartbeat? What kinds of musical choices did groups make? What Post March) Finding Rhythm in Speech · Tap chests with a steady, even beat, and say the word questions do you have for the composers and how : Pulcinella Suite “beat” with each tap. Are there other things in the world they created their piece? What was it like working with · Along with a beat, music has patterns of sounds, that keep a steady beat like that? Responses may rhythms? How did your group decide on its ideas? or rhythm. Form a circle and keep a steady beat by

8 9 LEVEL LEVEL UNIT 3 Melody 1 Sample Shape for Melodic Improvisation 1

Focal Works “Simple Gifts” from Appalachian Spring by Aaron Copland

“” from Symphony No. 9 by

Now you can expand your students’ musical abilities by helping them learn about melody — Try using a simple recorder melody for this activity. Ask one Activity 1: the tune in a piece of music. or two students to play “Hot Cross Buns” while the other Identifying and Exploring our Melody students trace the shape of the tune. Also, if you look at the Building Blocks notation for “Hot Cross Buns” you can see how the notes on the staff mirror the shape of the tune (see Example 3). The “building blocks” which make up a melody are pitches They probably look similar to the maps your students made (or notes) and they can be arranged in many different ways. while listening to the Copland. · Draw a staircase on the board, with the notes of the scale written on them, as in Example 4. LESSON 2 · Ask your students to play the notes on the recorder as you point to them on the board. Can they hear Building a Melody the pitches go up as you “climb” the staircase? Down as you descend? In this lesson, students will: · Explain to your students that one way they will learn to In this unit, students will: in pitch, etc.) The sketch provides a structure for the · identify the building blocks (pitches) used to analyze melodies is by looking at the distance between · explore melody and melodic contour melody. It also serves as a map, or score. make melodies and explore their relationship to notes. Each note falls somewhere on the staircase of notes. We can analyze melodies by thinking about · compose their own melodies · Have several pairs of students improvise melodies. each other (steps and leaps) Once this is going well with students’ voices, see if they whether each note is a leap or a step away from the can improvise melodies using recorders, keyboards, · analyze the melodies from Lesson 1 using the preceding note. LESSON 1 xylophones, or other melody instruments. analytical tools learned in Lesson 2 · Using the staircase on the board, try out some steps and leaps, as well as some repeated notes. Have What Is a Melody? Note: many students confuse pitch and volume. Be sure to Materials: students play notes as you point to them. How does differentiate these two qualities by using the terms HIGH · Level 1 CD playing a “step” (G to A) feel and sound different from Materials: and LOW for pitch and LOUD and SOFT for volume. For · recorders playing a “leap” (G to B, C, or D)? The staircase will give you a tool for choosing notes as you construct your · Level 1 CD the activities in these lessons, focus on pitch. · My Musical Journal · recorders own melody. Activity 2: PHOTO: Courtesy of New York Philharmonic Archives · My Musical Journal EXAMPLE 3 Mapping Melodies Activity 1: Hot Cross Buns Listen to a melody from Appalachian Spring by Aaron Improvising Melodies from Shapes · Copland (Track 25; see Example 5, page 12). · Listen again, and this time ask the students to follow the · Ask a student to sketch a simple shape on the board. Traditional melody line with their hands, drawing an invisible line in (e.g., a curvy or angular line; see Sample Shape for the air. What does the shape of the melody feel like? Melodic Improvisation on page 11) Listen a third time, and ask your students to trace the · Have another student try to improvise a melody based · shape of the melody with a pencil on paper.  on the shape, using his or her voice. When the line moves 4           Have the students hold up their papers so that they can  4 B A G B A G G G G G A A A A B A  G up, the pitch should go up. (A level line would imply a · see each other’s drawings. Compare the melodic maps. sustained pitch; a squiggly line should imply changes

10 11 LEVEL LEVEL EXAMPLE 4 EXAMPLE 6 1 Ode to Joy 1 D Beethoven C  4          B  4 A A B C C B A A  F F G A A G G A Joy — ful, joy — ful, lift your voi — ces, high for all to hear our song G �           A A B C C B A A  F F G A A G G Hearts and hands cross sea and land in peace and love for ev’ — ry one. EXAMPLE 5 Simple Gifts Activity 2: · Now listen to the “Ode to Joy” from Beethoven’s Creating a Melody Symphony No. 9 (Track 26). Traditional Shaker melody · The “Ode to Joy” is from the final movement, when a · Have students create a melody, of 6 to 12 notes, that chorus joins the orchestra to sing this melody. Ask your uses a balance of steps, leaps, and repeated notes. students to listen for steps and leaps.  4 � �   They can notate the melodies using the letter names of · What do they notice? (This melody is made almost  4 C C F F G A F A B C C B A G F G G G F notes or in musical notation. If you wish, ask them entirely of steps.) · Can your students think of any reason why Beethoven ’Tis the gift to be sim—ple, ’tis the gift to be free ’tis the gift to come down to employ some math skills to see if they have a balance of the ingredients you have asked for. would choose to write a melody with all steps? (Maybe · Have the students enter their melody into their journals. he did this because it is easier to sing steps than leaps.) � Ask them to write the pitches and any other tempo or Try singing the melody with the words in Example 6.        rhythm indications on a blank journal entry page. They  G A G E C C F E F G A G G A B C C have composed their first melody! Let students play “Piccolo Pete, the Noterunner” at the   New York Philharmonic’s Kidzone, nyphilkids.org. where you ought to be And when we find our — selves in the place just right we’ll Activity 3: Listening Listening Extensions: � The following pieces are famous for their melodies, some of · Listen again to “Simple Gifts” from Appalachian Spring. which your students will recognize from cartoons. Try tracing the   Ask your students to listen to (and perhaps sing) this melodies or listening for steps, leaps, and repeated notes.  G G A G G G G F E F C A  G melody thinking about steps and leaps on the staircase of be in the val — ley of love and de — light When true sim — notes. Does it have both steps and leaps? Most melodies : Symphony No. 1, Andante sostenuto Antonín Dvorˇák: Symphony No. 9, From the New World, Largo have a balance of steps and leaps. : Symphony No. 94, Surprise, Andante : Symphony No. 5, Adagietto, Sehr langsam

�� PHOTO TK CREDIT: : Serenade for Strings in G major,     K. 525, Eine kleine Nachtmusik, Allegro  A B A G F  G A A B C A G G A G C Jacques Offenbach: Can-Can from Orpheus in the Underworld  : to Il Barbiere di Siviglia pli — ci — ty is gained to bow and to bend we shan’t be a — shamed To (The Barber of ) Johann Strauss, Jr.: An der schönen, blauen Donau (On the Beautiful Blue Danube) ��      F F  G A A B C B A G G A A G F F F turn, turn will be our de — light ’till by turn — ing, turn ing we come round right

12 13 LEVEL LEVEL UNIT 4 Dynamics · Rehearse each group with conducting signals: in (e.g., Distant Thunder + Light Wind; Soft Rain; Lightning addition to using start and stop signals, indicate loudness + Howling Wind; Hard Rain + Loud Thunder; Softer and softness with your palms (palms upward for louder; Rain; Gentle Wind; Silence). 1 palms downward for softer). · Add dynamic markings for each event. Below is a list of 1 · Conduct the class through a musical thunderstorm by symbols for the most commonly used dynamics: starting with one group, then adding another, etc. Vary Focal Work the dynamics. pp (pianissimo) = very soft Symphony No. 6, Pastoral p (piano) = soft Activity 3: mp (mezzo piano) = medium soft Fourth movement: Thunderstorm Orchestrating Your Thunderstorm mf (mezzo forte) = medium loud by Ludwig van Beethoven f (forte) = loud Next, take your thunderstorm into a more musical direction ff (fortissimo) = very loud by adding instruments: Ludwig van Beethoven is famous for his dramatic · Demonstrate a few instruments from a standard Activity 5: classroom percussion set and have students decide Performing and Refining Your Thunderstorm use of dynamics — the loudness or softness which element of the storm each instrument would best of musical sounds. His Symphony No. 6 uses express. Pass the instruments out to the appropriate Practice your musical thunderstorm and let a student groups. conduct, controlling the dynamics through hand signals dynamics as a tool to musically depict scenes · Allow students a minute or two to experiment with that can be developed in class. Experiment with different from nature. the different sound possibilities of the percussion combinations or variations in the order of storm events. instruments. Once you and your students are satisfied with a version of the thunderstorm, record it. In nature, a thunderstorm can sound soft and far away, getting louder as it comes closer. In music, this effect Activity 6: of gradually growing louder is called a crescendo. A Listening to Beethoven’s Thunderstorm diminuendo occurs when the sound gradually becomes softer. Ask students to experiment with crescendo and Now listen to the Thunderstorm movement of Beethoven’s diminuendo (see Example 7). How softly can they play? Symphony No. 6 (Level 1 CD, Track 27). · Listen first for pleasure. Activity 4: · Listen again, asking students to notice the following: Composing a Musical Thunderstorm What instruments are used to represent thunder? What instruments do you think represent rain or the In this unit, students will: SOFT RAIN: tap the palm of one hand with one finger wind? How does Beethoven use dynamics to express HARD RAIN: clap hands Ask students to imagine themselves in a pastoral setting · improvise and compose musical thunderstorms the sounds of his thunderstorm? POURING: slap hands on the knees over and over with green grass, a meadow, a rippling brook, and · learn about dynamics and how composers Listen again, and this time, have students take a pencil THUNDER: repeatedly stamp feet on floor, or pound fists surrounding animals. Then imagine that a thunderstorm · designate them or crayon and create a “dynamics seismograph.” In other on the desks begins to set in: · listen for dynamics in music · Decide on an order of events and list it on the board After you build the storm, gradually fade back to soft rain EXAMPLE 7 Materials: and wind. Reflect with your students: · Level 1 CD · What are the different sounds of a thunderstorm? · percussion instruments List them on the board. · recorders · Which elements of a thunderstorm did our different sounds suggest? · My Musical Journal · How can we make this activity sound more like PHOTO: Courtesy of New York Philharmonic Archives Activity 1: a thunderstorm? crescendo diminuendo The Rain Game Activity 2: Conducting a Thunderstorm with Dynamics Without speaking, lead your class in “The Rain Game”, a fun improvisation that simulates the sounds of a thunderstorm. Now, by following these simple steps, develop a more Nodding to indicate that the class should join you, gradually sophisticated classroom thunderstorm: crescendo = gradually growing louder diminuendo = gradually getting softer progress through the following sounds: · Divide your class into six groups and assign a different thunderstorm sound to each group. WIND: rub palms together quickly · Have students experiment with creating a sound for FIRST DROPS: snap fingers their element. They can use their voices or their bodies, or objects in the room.

14 15 LEVEL LEVEL EXAMPLE 8 UNIT 5 Musical Layers 1 Rain, Rain, Go Away 1

Focal Work Symphony No. 7       C A C C A C C A D C C A Second movement: Allegretto by Ludwig van Beethoven

words, have them register dynamics by drawing gentle or Listening Extensions: In music there is almost always more than one vigorous zigzags according to the volume they hear. Many composers have been inspired by storms. These works by Britten and Mendelssohn describe storms at sea; Druckman’s voice — or musical line — occurring at once. Imagine Activity 7: work takes a more subtle approach and creates an impression Adding Melody to the Classroom Thunderstorm of distant lightning. Vivaldi wrote a poem that describes all the a rainbow: colors build one on top of the other to different events in his thunderstorm. Berlioz and Rossini created storm scenes for operas. How does each composer use create a beautiful whole. Music is built in much A student once commented that the main difference dynamics and the instruments of the orchestra to create their between her class’s thunderstorm and Beethoven’s was musical storms? the same way. We call this layering. This unit will that Beethoven’s storm uses melody. Learn the melody explore the multilayered aspect of music and will above (Example 8) and find a way to add it to your class Hector Berlioz: Royal Hunt and Storm from Les Troyens thunderstorm, or create your own. Benjamin Britten: Four Sea-Interludes, Storm help your students to be aware of the musical : Summer Lightning Felix Mendelssohn: The Hebrides Overture layers that come together in the Allegretto from Gioachino Rossini: Overture to William Tell : in G minor, “Summer,” from Beethoven’s Symphony No. 7. The Four Seasons, Presto

LESSON 1 the paper — these represent the top and bottom layers of a sandwich. Looking for Layers in · In the three remaining sections, students should draw Everyday Life three interesting sandwich fillings of their own choice — let them be as creative as their imagination allows! In this lesson, students will: · Cut sandwiches, along the folds, into the five separate layers. In small groups, allow students a few minutes · discuss “layers” as a concept to trade and mix layers to come up with the tastiest or · explore layers in everyday life strangest flavor combinations.

Materials: Discuss with your students: · unlined paper for each student · What do the flavors you’ve picked taste like on their PHOTO: Michael DiVito PHOTO: Courtesy of New York Philharmonic Archives · large chart paper own? How would you imagine the taste would change · scissors when combined with the other layers of the sandwich? · What was their favorite combination of sandwich pens and pencils · layers? What was the strangest combination of layers they came up with? Why? Activity 1: · Was there one layer that was more important or Visualizing Layers necessary than the others? Is one stronger or weaker than the others? Distribute unlined paper to each student. · Now imagine eating the sandwich — how are the · Divide each piece of paper (short side up) into five equal textures of each layer different? (i.e., one may be sections. crunchy, one soft, etc.) · Draw a slice of bread in the top and bottom sections of · What other everyday things can you think of that have Teaching Artist Richard Mannoia with students at P.S. 165 different layers?

16 17 LEVEL LEVEL Activity 2: Reflect with your students: LESSON 2 Layer 1 Exploring Layers in Sound: Creating a Rain Forest · What was it like having all the different sounds Have the class select a one-syllable word (like “pear”) and “Sound Scene” combined into one scene? Listening for Layers in another which is two syllables long (like “apple”). 1 · How do you think we captured the effect of Beethoven · In the Beethoven you will hear a repeating rhythmic 1 · As a class, brainstorm and chart all the different sounds a rain forest? Were our choices more realistic pattern (see Example 9, below). Try repeating this over you might hear in a rain forest. Consider which sounds or imaginary? In this lesson, students will: and over as a class. · How did we create different layers of sound? · Now listen to Layer 1 by itself (Track 29). Can you hear are close to the ground and which sounds are higher up · listen for sound layers in the Allegretto from in the rain forest canopy. · Which sounds stood out most? Why? this repeated rhythm in this layer? What words would Beethoven’s Symphony No. 7 · Assign different students or groups particular sounds · When more than one sound layer was happening you use to describe this layer? Deep, heavy, plodding, from the list, and experiment creating the sounds using at the same time, could you still hear all of the serious, mournful? their voices, bodies, or objects in the room. Share sounds separate sounds? Materials: and reflect: Which sounds were soft/loud? Heavy/light? · Level 1 CD Layer 2 Low/high? Activity 3: · My Musical Journal In the next section, we hear a second layer enter, different · As a class, organize and layer your sounds into a rain Turning Your “Sound Scene” into Music · pens and pencils from the pattern heard in the music so far. This new layer forest “sound scene,” in which the image of a rain forest is slower and more melodic. Try playing it on recorder (see is conveyed through sounds. In imagining a rain forest · Ask your class “Which layers of our sound scene could Example 10, next page) we represent with recorders? Which could we represent Activity 1: scene, consider: First Impressions · which sounds you might hear as a constant with percussion rhythms? Are there any more layers you Listen to Track 30 and listen for the new layer. think we should add or leave out?” · Can you hear the new layer? How is it different from · which sounds you might hear individually, Listen to Beethoven’s Symphony No. 7 from the beginning · Choose at least three or four layers to replace with short Layer 1? or intermittently of Track 28 until 3:28. · which sounds would be paired with other sounds recorder melodies (2 to 6 notes). Select a few more · Can you still hear Layer 1? How has it changed? layers that can be replaced with repeating percussion Instruments, register (higher/lower), dynamics (louder/ (e.g., rain might be a constant sound, animal sounds Discuss with your students: rhythms. softer), etc. might be occasional). Which instruments did you hear? · Experiment and revise until you’ve turned your “sound · · What is it like trying to hear two layers at the same time? · Rehearse your rain forest “sound scene” as a class. What kind of layering was going on? scene” into a “rainforest composition.” Rehearse it · · Has the “flavor” of the piece changed with the addition of Thinking back to our rainforest “sound scene” and and perform. · the new layer? If so, how? composition, what similarities do you notice in the way the piece sounded or was created? What were the Activity 3 differences? Different Ways of Layering

Listen again and challenge your class to listen for all the · Taking a blank page to draw in journals, listen to Track 31, different sounds and try to figure out how many different a segment that has several different layers. layers there are in this piece. (You may find it helpful to · While listening, find a way to draw the different layers pause along the way and discuss.) you hear. This could be with symbols, pictures, lines, a graph, etc. Activity 2: · Share the drawings as a class. Reflect with your Separating the Layers students: · Looking at your drawings, did everyone hear a similar Just as you did in your rainforest scene, Beethoven uses number of layers or was there a big difference in layering as one of his composing tools. During these what people heard? activities, your class will work on recognizing individual · Can you describe any of the layers? layers and then hearing the layers as a whole. · How were layers used differently from the first section of the piece? · What feeling or flavor did this section have and how PHOTO: Michael DiVito did it differ from the feeling of the first section?

EXAMPLE 9 Layer 1 from Symphony No.7, Allegretto

2            4 Pear Ap — ple Pear Pear Pear Ap — ple Pear Pear

Classroom teachers can assist with small-group work

18 19 LEVEL LEVEL EXAMPLE 10 UNIT 6 Final Project: Music & Stories 1 Layer 2 from Symphony No.7, Allegretto 1 Beethoven Focal Work ( 2       4 C B B C D C B B C C by Sergei Prokofiev

In Sergei Prokofiev’s Peter and the Wolf, a narrator Activity 4: Leoš Janácˇek, after listening to brass bands, had been inspired tells a story while selected instruments from the Listen to the Entire Movement to write a fanfare of his own, and this first movement only features brass instruments and percussion in a short but dramatic fanfare. orchestra musically illustrate each character. You have now explored many different kinds of layers, Unusually orchestrated, this piece uses twelve trumpets and two bass trumpets, some of which are placed around the concert from visual and taste to sound and music. Listen to hall giving a ‘stereo effect’ in a live concert. The entire fanfare is the whole movement (Track 28). As the piece closes, composed from just a handful of short motifs or patterns, which Beethoven returns to the material from the opening, but loop, overlap and gradually modify in layers. with some notable differences. As you listen, pick one layer from the very opening to focus on and when starts with a soft, repeating rhythm, then presents a melody. He gradually keeps adding layer upon the piece begins to return to the opening material (from layer by having more instruments join in and the dynamics grow 5:11 onwards) see if you can pick up on that layer again, with each layer. and see how it is similar or transformed. You may wish to take notes in your journal or simply discuss as a class. John Adams: Shaker Loops, Shaking and trembling Edvard Grieg: Peer Gynt Suite No. 1, In the Hall of the Mountain King Listening Extensions: Leoš Janácˇek: Sinfonietta, I. Allegretto Here are some other pieces of music that use layers. Adams’s Maurice Ravel: work uses a technique called ‘minimalism’ where the music is made of repeating layers that change very slowly or minimally. It gives it a very modern feeling and an almost hypnotic quality! Prokofiev’sPeter and the Wolf Grieg’s work is taken from the fantasy play Peer Gynt. The In this unit, students will: sequence illustrated by the music of In the Hall of the Mountain · discover how music can depict character King finds Peer sneaking into the Mountain King’s castle. The · explore the music of Peter and the Wolf Early one morning, Peter opened the gate and walked piece then describes Peer’s attempts to escape from the King out into the big green meadow. On a branch of a big create a musical setting of a favorite classroom and his trolls. It begins very softly, and then gradually more and · tree sat a little bird, Peter’s friend. “All is quiet” chirped more layers of instruments and volume are added, ending in a story the bird happily. Just then a duck came waddling round. dramatic flourish. She decided to take a nice swim in the deep pond in Materials: the meadow. the duck, the little bird flew down · Level 1 CD upon on the grass, settled next to her and shrugged his · recorders shoulders. “What kind of bird are you if you can’t fly?” · percussion instruments said he. To this the duck replied “What kind of bird are you if you can’t swim?” and dived into the pond. They · My Musical Journal PHOTO: Courtesy of New York Philharmonic Archives argued and argued, until suddenly, something caught · a favorite story or poem (see below for Peter’s attention. He noticed a cat crawling through suggestions from teachers) the grass. The cat thought: “That little bird is busy · large sheets of paper arguing, I’ll just him.” The cat crept towards him on her velvet paws. “Look out!” shouted Peter and the Activity 1: bird immediately flew up into the tree, while the duck Depicting Characters with Themes quacked angrily at the cat, from the middle of the pond. The cat walked around the tree and thought, “Is it worth Read your students the story of Peter and the Wolf. With climbing up so high?” Just then grandfather came out. the help of the class, list the characters on the board, and He was upset because Peter had gone out into the write down a few descriptive words for each. meadow. “It’s a dangerous place. If a wolf should come out of the forest, then what would you do?” But Peter paid no attention to his grandfather’s words. Grandfather

20 21 LEVEL LEVEL Activity 2: Activity 4: 1 Exploring Peter and the Wolf Creating a Musical Adventure 1 Listen to the entire Peter and the Wolf (Track 40–63). Once all the themes are composed, revise them as After listening, review the characters and their themes. necessary. Then, create a musical story in the style of Peter Lead a discussion about why Prokofiev may have chosen and the Wolf by adding these themes to a reading of the each particular instrument to represent that character. For story or poem. You may need to create a chart that indicates instance, why did he choose the to represent the when each theme will occur. You may also want to choose a bird? Why the to represent Grandfather? Why conductor who will point to the chart or to different groups not the other way around? when it is their turn to play their theme. If the themes recur, you may want to vary them according to what is happening Can you imitate any of the themes with your voice? in the plot. Do they make you feel like moving in a particular way? Do some make you want to move quickly, and others make Record your performance and listen to it. Ask the class: you want to move slowly? In what ways do your musical themes enhance the mood of the story and bring the characters to life? Does the Throughout the piece, Prokofiev varies each character’s music give listeners a clear picture of the characters? theme according to the action of the story. For example, compare Peter’s first theme, at the beginning of Track 39, Listen again to Peter and the Wolf, using your own to the variation where everyone is having a parade, at the experience as composers to enhance your appreciation of beginning of Track 61. Prokofiev’s musical illustrations. Ask the class: · How has Peter’s theme changed? (It’s louder, Stories For Musical Adaptation: slower, like a military march; it now has brass and Here are some suggestions for books from teachers who have percussion added.) done this project in their own classrooms with success. Students presenting their work at P.S. 165 · Why do you think Prokofiev made these changes? Cherry, Lynne. The Great Kapok Tree. Orlando, FL: took Peter by the hand, led him home and locked the him the hunters leading the wolf; and winding up the Voyager Books, 2000. gate. After Peter had gone, a big grey wolf came out of procession, grandfather and the cat. Above them flew Follow and compare multiple variations of the duck’s theme Giff, Patricia Reilly. Next Stop, New York! New York: the forest. The cat raced up the tree. The duck quacked, Birdie chirping merrily: “My, what brave fellows we are, at the beginning of each: Bantam Books, 1997. and in her excitement jumped out of the pond, but she Peter and I! Look what we have caught!” And if one · The duck’s first theme (Track 42) Lionni, Leo. Alexander and the Wind-Up Mouse. New York: Alfred A. Knopf, 2006. couldn’t escape the wolf. He got her, and with one listened very carefully, he could hear the duck quacking · The duck hopping out of the pond to escape from the Lobel, Arnold. On the Day Peter Stuyvesant Sailed Into Town. gulp, swallowed her. This is how things stood: the cat inside the wolf; because the wolf in his hurry, had wolf (Track 48) New York: Harper Trophy, 1987. was sitting on one branch, the bird on another … not swallowed her alive. · When the duck is inside the wolf’s stomach (Track 49) Ringgold, Faith. Tar Beach. New York: Crown Publishers, 1991. too close to the cat. The wolf circled the tree, looking at Scieszka, Jon. The True Story of the Three Little Pigs. New York: them with greedy eyes. In the meantime, Peter stood In music, a composer will often use a musical theme to How does Prokofiev convey both feelings and action with Puffin Books, 1997. Swift, Hildegarde; Lynde Ward, illustrator. The Little Red behind the closed gate watching all that was going on. represent a character. If your students were to write a his music? Lighthouse and the Great Gray Bridge. San Diego: He ran home, got a strong rope, and climbed up the musical theme for each of the characters of Peter and the Harcourt, 2002. high stone wall. One of the branches of the tree, around Wolf, what kind of music would they compose? List their Activity 3: Van Allsburg, Chris. Jumanji. New York: Houghton Mifflin Co., which the wolf was walking, stretched out over the choices of: Creating Themes for Characters 1981. wall. Grabbing hold of the branch, Peter lightly climbed · ORCHESTRATION (choice of musical instrument) over on to the tree. Peter said to the bird: “Fly down · TEMPO (fast or slow) · Select a favorite story or poem from the class library and and circle over the wolf’s head. Only take care that he · DYNAMIC (loud or soft) make a list of the main characters. Next to each character, Listening Extensions: Although the following pieces have no narration, the composers doesn’t catch you.” The bird circled the wolf’s head while PITCH (high or low) list the adjectives that best describe him or her. · tell stories by creating characters with the instruments of the

the wolf snapped angrily at him, from this side and that. · TIMBRE (sound quality) PHOTO: Michael DiVito · Discuss what kind of music would best suit each orchestra. In Strauss’s , a solo portrays But the bird was clever, and the wolf simply couldn’t do character. Be sure to decide: the character Don Quixote and a solo viola portrays his sidekick, anything about it. Meanwhile, Peter made a lasso Play the beginning (Track 23), and let your students try · TEMPO (fast or slow) Sancho Panza, as they experience many adventures together. and by carefully letting it down, caught the wolf by the ’s “Peter and the Wolf Character · DYNAMIC (loud or soft) The rest of the orchestra gets to portray sheep, knights, monks, tail and pulled with all his might. Feeling himself caught, Quiz.” If students guessed themes correctly, what musical · PITCH (high or low) Dulcinea, and other characters. In , Stravinsky uses instruments to tell the stories of three puppets (a ballerina, a TIMBRE (sound quality) the wolf began to jump wildly trying to get loose. But clues helped them? If they guessed something else, what · Moorish soldier, and a clown) who magically come to life. Peter tied the other end of rope to the tree, and the wolf’s were some reasons they chose a different character? · ORCHESTRATION (choice of musical instruments) jumping only made the rope around his tail tighter. Just Listen to the themes once again, with attention to the · Divide students into small groups, and have each group : The Sorcerer’s Apprentice then, the hunters came out of the woods, following the musical qualities of each. compose an original melody or a rhythmic pattern that : Don Quixote wolf’s trail and shooting as they went. But Peter, sitting captures the personality of its assigned character. Igor Stravinsky: Petrushka in the tree, said: “Don’t shoot! Birdie and I have already caught the wolf. Now help us take him to the zoo.” There was a triumphant procession: Peter at the head; after

22 23 LEVEL The Composer’s Process 2 LEVEL

Because students need to learn to write as well as to read, the classroom has become an ideal place for the investigation of the process of a writer. In ways that are quite analogous, the Philharmonic’s work in classrooms focuses on the process of a composer, especially in Level 2 (usually the fourth grade year). Just as a writer needs to find the “seed” of an idea, the inspiration, so must a composer. Just as a writer must decide on a theme to develop, so must a composer. And just as a writer needs to find the appropriate form for expression, a composer must decide on what type of musical form best fits an original musical theme and its development. The Level 2 curriculum gives students the opportunity to explore a composer’s process from inception to performance. PHOTO TK CREDIT: PHOTO: Michael DiVito 224 25 LEVEL LEVEL UNIT 1 Musical Inspiration As a class, create your own definition of the word Activity 3: inspiration. Have your students write the definition in Composing River Journeys 2 their Journals. 2 · Show your students a map of New York State and ask Read the poem once more and when you finish, have your them to identify the mouth of the Hudson River where it Focal Work students individually journal their own sources of personal empties into the lower Bay, just south of Staten Island inspiration. Finally, create a word web, a poem, or your own and Brooklyn. Now have them trace it upstream as Vltava (The Moldau) from Má Vlast list of where “Inspiration Resides” in your own classroom. far as they can. Searching from the top to the bottom of by Bedrˇich Smetana the river, select several places on, in, or along the Hudson Activity 2: that are most interesting to your class. Some examples Drawing Inspiration from Rivers could include the Tappan Zee Bridge, Bear Mountain, the Palisades, the Statue of Liberty, etc. (see Example 11). Like most creative activities, composing usually · One of the inspirations Bruce Adolphe includes in his begins with an inspiration, whether it’s a picture, poem is a river. Ask your students how a river could be a · Split your class into small groups and assign each group a person, or a melodic theme. In this lesson, your source of inspiration for a composer. one of the places from your Hudson River list. Have each · List some qualities that all rivers share. From that list, pick group research their assigned area and come up with students will investigate how Czech composer a few words that could be easily represented with music three key descriptive words. Using those three key words Bedrˇich Smetana turned inspiration from nature or sound. With recorders, percussion instruments, or as their inspiration, have each compose a short recorder percussive body sounds, create either a short melody or melody to represent their place. into a musical masterpiece. a musical soundscape to represent those river qualities.

EXAMPLE 11 Catskill State Park Lower Hudson Valley and New York City Kingston

Hyde Park

Mohonk Mountain House

Lower Poughkeepsie In this unit, your students will: and an author. Before reading, remind your students that a Del Hudson aw a Valley H composer is someone who writes music, in the same way re u · define and explore the meaning of inspiration R d iver s

that an author is someone who writes books. o

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through poetry and music CONNECTICUT

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· compose pieces inspired by their own e r Where does inspiration reside? Cold Spring geographical source of inspiration Storm King State Park learn to play the main theme from Bedrˇich PENNSYLVANIA · A composer may be inspired by mathematical equations, Hudson Highlands State Park Smetana’s Vltava moonlight, a stranger’s glance, money, traffic patterns, · explore Bedrˇich Smetana’s inspiration of a birdsong, a death, an historical fact, a formula for Bear Mountain State Park Phillipsburg Manor musical journey down a river gambling, chaos, chocolate cake, an ancient song, a river, a garden, a story, a piece of music, a card trick, a NEW YORK Kykuit joke, or the wind. Materials: PHOTO: Courtesy of New York Philharmonic Archives Level 2 CD Nyack · The quality of inspiration resides in the composer. d oun Tappan Zee Bridge d S · recorders lan Is The Palisades ng · percussion instruments Bruce Adolphe, What to Listen for in the World (1996) Lo NEW JERSEY · My Musical Journal Discuss these thoughts with your students. What is the · a topographical map of New York State George Washington Bridge author telling us about his ideas of musical inspiration? Activity 1: Why do you think there are so many different sources of inspiration listed? Ask your students to take the last Defining Inspiration New York City line, “The quality of the inspiration resides in the composer” and put it into their own words. Statue of Liberty Read these thoughts on musical inspiration, by Bruce N Adolphe, to your class. Bruce Adolphe is both a composer

26 27 LEVEL LEVEL EXAMPLE 12 2 Theme from Vltava 2 Smetana

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· Have your students share their compositions with one on whose rocks the foaming waves are dashed in spray. another. Now go back and review the original river Again, the stream broadens towards Prague, where it is melody or soundscape you created as a class. What are welcomed by the old and venerable Vyšehrad. some ways you could musically connect the stops along your journey using your river music? Create one long Note: The Vyšehrad (pronounced Vee-sheh-hrad, with a classroom composition by tying together the original river lightly rolled r), is a castle in Prague that served as the seat music with the various stops down the Hudson. of Bohemia’s rulers and kings.

Activity 4: Questions to help focus students’ listening: Playing the Vltava Theme · What do you hear that makes the Vltava River come to life in Smetana’s music? On your own, or together with your Teaching Artist, teach · How many times do you hear the melody come back? your students to play or sing this melody from Bedrˇich Is it exactly the same, or does it change in any ways? Smetana’s Vltava (The Moldau). · How does the music change to show the different stops on his musical river journey? Note: This piece is more widely known as The Moldau, the An illustration of the Vyšehrad on a hill overlooking the Vltava River translated title used by the original German publishers of As you listen, use this guide to help deepen your Listening Extensions: Smetana’s piece. In recent years, and scholars conversation: Here are some other pieces of music that are inspired by rivers. have begun to use Smetana’s original Czech title. The Ives’s work is inspired by a calm, peaceful river in Connecticut Vltava is a tributary of the Elbe River — one of the major rivers Track 1 The two springs at the Vltava’s source: where he and his wife, Harmony, enjoyed strolling on the in Central Europe. represented by flutes and . The place where the riverbanks. strings begin to play the melody we learned represents The Hudson River Project works were commissioned in 2009 for This memorable melody repeats many times throughout the place where the two springs merge to form the Vltava. the quadricentennial celebration of Henry Hudson’s exploration the piece and will serve as a listening landmark as you of the Hudson River. O’Connor’s string quartet is inspired prepare to listen to the whole piece. Try repeating it two Track 2 A hunt in the forest surrounding the river: listen for by Appalachian musical traditions and the relationship his Dutch times in a row without stopping. the “hunting horn calls” of the French horns. and Mohawk ancestors had with the Hudson. Byron’s jazzy suite focuses on the Industrial Revolution’s impact on the Hudson Activity 5: Track 3 A country wedding: listen for a simple folkdance River, as well as specific places in the Hudson River Valley that have personal meaning to him. Roumain’s piece is a science- Listening to Vltava tune. fiction fantasy about a town that dreams of a submerged alien craft that rises out of the Hudson to attack; but the people of the Now your students are ready to listen to Vltava by Bedrˇich Track 4 Moonlight with nymphs gathering: listen for a town realize they are no longer dreaming … Smetana. Read to your class Smetana’s description, mysterious-sounding return of some of the opening themes below, of the journey down the Vltava that his tone poem in the flutes and woodwinds. : The Housatonic at Stockbridge from Three Places in represents. Just as the Hudson flows by New York City, the Vltava was a river that flowed near Smetana’s home Track 5 St. John’s Rapids: this part is exciting, fast, The Hudson River Project: in the current day Czech Republic. and loud! Mark O’Connor: String Quartet No. 3, Old Time Don Byron: Tide The Vltava River springs from two sources, splashing Track 6 Vltava streams broadly beyond the rapids: the Daniel Bernard Roumain: Soundtrack to a Shared Dream gaily over the rocks and glistening in the sunshine. music becomes more melodic and joyful. As it broadens, the banks re-echo with the sound of the hunting-horns and country dances — moonlight — the Track 7 The Vyšehrad: listen for the trumpets. gathering of the Nymphs. See now, the Rapids of St. John,

28 29 LEVEL LEVEL EXAMPLE 13 notes. Feel free to include notes that the students know UNIT 2 Harmony that are not on the staircase. (e.g., F#, low D, high E, etc.) What kind of “waiting mood” does each long, 2 sustained harmony create? (e.g., calm, tired, cheerful, 2 impatient, etc.) Focal Works D · Now choose two or three notes that can be alternated The Unanswered Question over and over, quickly and evenly, to represent someone C who is in a big hurry. Have one volunteer play these by Charles Ives faster repeating notes while a conductor makes up B another slow strolling melody. What is the impact of having a “hurried” or faster harmony part? Try a few more No. 5, Emperor A hurried harmonies. Second movement: Adagio un poco mosso G · Go back to your list of “ways people can move in a train by Ludwig van Beethoven station” and use your recorders to explore representing two or three additional ways of moving simultaneously. and wait. In music, notes played at the same time can Now you can expand your students’ musical behave in the same way: moving together, moving apart, Activity 3: abilities by helping them learn about harmony — or staying stationary. The way composers decide how One Composer’s Perspective on Harmony to combine more than one note with another and how those combining different notes simultaneously. notes move in relation to each other is called harmony. American composer Charles Ives was a bold experimenter with harmony. Have your class read Mordicai Gerstein’s What are some other things in the world that you can picture book, What Charlie Heard, as a read-aloud. What imagine moving together or apart? (Birds flying together, were some of the simultaneous sounds he heard in the trains coming in and out of the station, fish swimming world? Where did he get inspiration for his music? How did in schools, etc.) Let a few volunteers explore different ways other people react? of moving in relation to one another. Activity 4 Activity 2: Listening for Harmony in Charles Ives’s Exploring Harmony and Movement The Unanswered Question with Instruments In this unit, your students will: My Musical Journal · · Introduce Charles Ives’s The Unanswered Question to · think about and explore harmony in terms of · What Charlie Heard by Mordicai Gerstein · Write the pitch staircase (Example 13) on the board, your students: movement and simultaneous sound and have students review it. Let a volunteer make · read about how composer Charles Ives got Activity 1: up a melody by pointing at each step to show when to One of Charles Ives’s most famous pieces of music is inspiration for his harmonies Thinking about Harmony in Terms of Movement change notes. Ask this volunteer conductor/composer called The Unanswered Question. In this piece, Ives · improvise, compose, and perform different kinds to change notes slowly to represent someone strolling composes what he calls a “cosmic drama.” The strings Imagine a busy subway station, with many people coming through the subway. begin the piece with soft, slow harmonies that represent of harmony layers and going. Imagine all the people in that train station at the eternal silence. After about a minute, a solo trumpet · map harmonic layers in music same time and the different directions and speeds in which · Choose two different notes that volunteers can sustain plays a melody representing a question people have · listen for how instruments move in harmony in they are walking. Some are in groups, some are alone. together to represent “waiting” or “sitting” while the asked for ages: “Why are we here?” (Example 14). Charles Ives’s The Unanswered Question and As a class, list of all the ways that people might be moving conductor leads the rest of the class in a new “strolling” When the trumpet plays this “question melody”, four the slow movement of Ludwig van Beethoven’s in the station: melody. Try this a few times with different sustained flutes “fight” the question by trying to come up with · Walking in PHOTO: Courtesy of New York Philharmonic Archives Piano Concerto No. 5 · Walking out · Running in EXAMPLE 14 LESSON 1: · Running out · Walking up stairs Trumpet Melody from The Unanswered Question Harmony as Simultaneous · Walking down stairs · Going up elevators/escalators Ives Sound 3 3 · Going down elevators/escalators 3 · Waiting, sitting, or standing Materials:    · Level 2 CD 4     � � In a busy place, people can move together in large groups,  4 B  C E E C · recorders by themselves on their own paths, or they may just sit still   

30 31 LEVEL LEVEL an answer. Unsatisfied, the trumpet keeps asking the Activity 1: EXAMPLE 16 same question over and over. The flutes gradually Harmonizing “Hot Cross Buns” get louder and their harmonies get faster and more Hot Cross Buns (with sustained harmonies) 2 complicated, as if they’re mocking the trumpet melody or 2 Review the melody of “Hot Cross Buns” (Example 15). trying to drown it out. The trumpet asks the question one A last time, and the string harmonies fade into silence. Experiment with adding different kinds of harmony to “Hot Cross Buns”: Melody · Listen to The Unanswered Question (Track 8). · Have half of the class play the “Hot Cross Buns” melody,  Afterwards, have students discuss what they notice while the other half sustains a long low D. Try this again, 4        4 B A G B A G G G G G A A A A B A G about harmony: but substitute low E for the low D. How do these · Which instruments seem to be playing the slower long harmony notes affect the way the melody sounds? Harmony notes? Which instruments are in a hurry? What words Try some other sustained notes or note combinations.  would you use to describe the harmonies played by 4 · Now, try some harmonies where the notes change at the  4 the strings? same time as the melody (Example 17). D    · The flutes actually have the most variety in how their harmonies move; sometimes they play together, How do these “moving together” harmonies affect the way B sometimes one flute plays much faster or much the “Hot Cross Buns” melody sounds? Try playing both of Melody slower than the others. What character traits or these harmonies together with the melody.  feelings do the flute harmonies add to this piece? 4          · The trumpet melody always stays the same, but each Finally, have one volunteer quickly and evenly repeat low  4 B A G B A G G G G G A A A A B A G time, the harmonies created by the strings and the D and low E over and over while another volunteer plays Harmony flutes are a little different. Do the different harmonies “Hot Cross Buns” slowly (Example 18). What is the impact  change the feeling of the question? Why or why not? of having a rapid repeating harmony as a background for  4 · After discussing reactions, listen to The Unanswered a melody? What happens if you turn it into a trill? 4 E    Question one more time and have students take notes in their journals about what they notice about how the Activity 2: different instruments move in harmony. Changing the Mood of “Hot Cross Buns” through Harmony LESSON 2: · Divide your class into groups that have at least three or EXAMPLE 17 more members. Give each group a card that suggests Harmonizing a Melody in a certain mood or feeling (e.g., gentle, curious, sleepy, Hot Cross Buns (with harmonies moving together) Different Ways frightened, joyful, creepy). · Keeping the melody the same, ask students to quickly create a new version of “Hot Cross Buns” that uses at A Materials: least two different kinds of harmony (e.g., long, sustained · Recorders notes, a repeated background, notes changing at the Melody  · My Musical Journal same time as the melody) to try and achieve the assigned 4       · Manila paper or chart paper mood or feeling.  4 B A G B A G G G G G A A A A B A G · Markers · Have them write down their harmony parts in their Harmony · Level 2 CD journals, and let students perform their harmony  experiments for one another. As the students share, 4          ask them some focusing questions: Who played the  4 D C B D C B B B B B C C C C D C B

B EXAMPLE 15 Melody  Hot Cross Buns 4        4 B A G B A G G G G G A A A A B A G

Harmony  4  G F E G F E E E E E F F F F G F E  4    4               4 B A G B A G G G G G A A A A B A G

32 33 LEVEL LEVEL EXAMPLE 18 EXAMPLE 19 1 2 2 Hot Cross Buns (with a faster harmony part) Sample Harmonic Graph 2

Piano 3 4 Melody  Strings 4       Woodwinds  4 B A G B A G G G G G A A A A B A G Harmony   4 4 D E D E D E D E D E D E D E D E D E D E D E D E D E D E D E D E 5 6

melody in this group’s harmonization? What kinds of TRACK 11 [6:23–6:43] The flute plays the opening violin harmonies did they choose to use (sustained, fast, etc.)? melody with the rest of the woodwinds harmonizing and How did their harmony choices change the mood of changing notes at the same time. Strings pluck a pizzicato 7 8 “Hot Cross Buns”? background while the piano harmonizes with faster notes. Activity 3: Activity 4: Listening for Different Harmonized Versions Mapping Harmonic Layers of a Melody Give students a large sheet of manila paper or chart paper, Introduce the following excerpts from the second and have them divide it into eight equal, numbered squares. movement of Beethoven’s Piano Concerto No. 5 to Listen to the entire movement, and using three different TRACK 13 (Box 2) 1:41–3:05 The pianist’s right hand TRACK 18 (Box 7) 5:53–6:23 This piano solo begins with your students: colored markers (one color for woodwinds and horns, one takes over responsibility for playing melody while his left some minor harmonies, which change the mood. for piano, one for strings) have students graph the different hand plays a harmony pattern of repeated triplets. Composers often choose different ways to add harmony layers in the music for the eight sections identified in the The strings provide a sustained background. At 2:36, TRACK 19 (Box 8) 6:23–8:16 The flute plays the opening to the same melody, just as you did. We’re going to listening guide below. Aim to have different qualities of the right hand of the piano plays a melody by itself without violin melody with the rest of the woodwinds harmonizing hear three different choices Beethoven made for one lines according to what kinds of harmonies (or melodies) any added harmony. At 2:49, the strings respond with and changing notes at the same time. Strings pluck of his melodies. First, he lets violins introduce the soft, the instruments are playing. For instance, when the strings bowed chords. a pizzicato background while the piano harmonizes with slow melody. How would you describe the harmonies have soft pizzicato harmonies, their lines can be bumpy faster notes. the other strings are adding? How are the instruments and thin; or when two instrument groups play the melody TRACK 14 (Box 3) 3:06–3:53 Now, French horns and moving in relation to one another? together, their lines can move parallel to one another. Have oboes accompany the piano with sustained harmonies, Listening Extensions: students listen to each excerpt once before beginning to fill punctuated by short pizzicato harmonies in the basses and Revisit Smetana’s Vltava (The Moldau) and notice how he uses different harmonies and backgrounds to represent the different TRACK 9 [0:00–0:23] First violins play the melody. Violas in their harmony graph (see Example 19). cellos. Most of the time, the pianist is changing the melody places in his river journey. Listen for harmony in other works on and second violins add bowed harmony notes while cellos and harmony notes together, but sometimes the melody your Pathways CDs, or try listening to some of these other pieces and basses add pizzicato harmonies. The instruments *Variation: Instead of graphing the melody and harmony line moves faster or slower. where harmony is a very important ingredient: mostly change notes together. lines, have students write verbal descriptions of what they hear in each section, or have them draw pictures inspired TRACK 15 (Box 4) 3:53–4:12 In this solo passage, Béla Bartók: Music for Strings, Percussion, and Celesta Sofia Gubaidulina:Two Paths What instrument is playing the melody in this next by Beethoven’s harmonization choices. the pianist plays harmonies that move in rhythmic unison with the melody. Joseph Haydn: , Prelude — The Representation example? What else do you hear? How do these of Chaos choices affect the mood of the melody? Listening Guide: Olivier Messiaen: Éclairs sur l’Au-Delà, “Illuminations of TRACK 16 (Box 5) 4:12–4:52 In this passage, the pianist’s the Beyond” TRACK 10 [4:52–5:17] The pianist’s right hand plays TRACK 12 (Box 1) 0:00–1:41 The first violins introduce left hand trades chords with the strings in a back and forth Wolfgang Amadeus Mozart: String Quartet in C Major, K. 465, a decorated, harmonized version of the melody while a slow melody while the rest of the strings harmonize. echo pattern while the right hand colors these harmonies Dissonant, Adagio-Allegro with a rapid trill. Terry Riley: In C his left hand plays faster notes to provide a harmonic Violas and second violins play with their bows, while cellos Arnold Schoenberg: Five Pieces for Orchestra, accompaniment. All of the strings pluck a chord on and basses play pizzicato. Most of the time, the musicians Op. 16, III. Summer Morning by a Lake (Colors) every beat. are changing notes together, but careful listening may TRACK 17 (Box 6) 4:52–5:53 The pianist brings back the Franz Schubert: String Quartet in D minor, D. 810, Death and the reveal an instance or two where some musicians repeat opening violin melody, but adds some new harmony lines Maiden, Andante con moto What instrument is playing the melody now? How many the same notes or change notes a little faster than others. and decorative trills. The strings pluck their background Richard Strauss: Four Last Songs; Death and Transfiguration; harmonies this time, and the woodwinds eventually add Metamorphosen, A Study for 23 Solo Strings different harmony parts can you identify? How would Occasionally, flutes, clarinets, and bassoons double the : Liebestod from Tristan und Isolde another harmonic layer with sustained lines. you describe each one of them? violin melody to make it stronger. : ; Symphony No. 2

34 35 LEVEL LEVEL UNIT 3 Musical Form · Leaving the house (A), going to school (B), returning Activity 4: home (A) Listening to in Ternary Form · Taking a book from the library (A), reading the book (B), (A-B-A) 2 returning the book to the library (A) 2 · Picking up the phone (A), talking on the phone (B), When composers use ternary form in orchestral works, Focal Works returning the phone to where it was (A) the sections are generally much longer than they are in a song like Twinkle, but with a little practice students can Selections from Pictures at an Exhibition Give your students hands-on experiences of ternary form. still recognize them. Students can listen to two examples by Modest Mussorgsky Try some of the following: from Modest Mussorgsky’s Pictures at an Exhibition. · Sonic A-B-A Forms: Create some A-B-A forms using Multiple hearings will help students to recognize the form. sound (e.g., clapping — snapping — clapping; cymbal (Since both of these movements go right into the next ones, crash — recorder melody — cymbal crash). pay close attention to when the track finishes.) Symphony No. 40, Third movement: · Physical A-B-A Forms: Have three volunteers create an Menuetto & A-B-A form through body poses. The Hut on Chicken Feet (Track 39) by Wolfgang Amadeus Mozart · Literary A-B-A Forms: Write a 3-verse poem in A-B-A A: (0:00–1:03) This music is wild, loud, fast form. B: (1:04–2:18) The music switches to a soft, slower, · Visual A-B-A Forms: Look for A-B-A form in pictures creepy section or in architecture. Can you see A-B-A patterns in your A: (2:19–3:05) The wild music returns Once composers have an inspiration for a piece own classroom? of music, they need to find a way to organize and Ballet of the Unhatched Chicks (Track 34) Activity 3: A: (0:00–0:30) Fast, staccato, clucking music in the develop it. In other words, composers need to Ternary Form (A-B-A) in a Familiar Tune woodwinds (played twice) give their compositions form. In this unit, students B: (0:31–0:54) Music with high trills in the violins and · Sing or play Twinkle, Twinkle, Little Star. woodwinds will explore two favorite musical forms: ternary · Can students find the A-B-A pattern in this song? Try A: (0:54–1:10) Fast clucking music played only once and rondo form. Exploring form will empower your singing it again, but this time, omit the final A section. · What effect does this have on the listener? What other students to discover shape and structure within songs follow an A-B-A pattern? pieces of music.

EXAMPLE 20 LESSON 1: Activity 1: Discovering Ternary Form The Importance of Structure Twinkle, Twinkle, Little Star

(ABA form) Lead a discussion about activities that require structure Traditional and organization. (e.g., playing kickball, going to lunch, etc.) In this unit, your students will: Choose one activity and investigate its structure: · discuss the importance of structure · What are some of the rules and conventions that help       give structure to this activity?        · experience ternary form (ABA) through hands-on G G D D E E D C C B B A A G · What would it be like if those rules were removed  activities or changed? Twin – kle, twin – kle, lit — tle star, How I won — der what you are. · play recorders · Based on what we’ve discussed, why is structure · listen to ternary form in music important? PHOTO: Courtesy of New York Philharmonic Archives �  Materials: Just as games and everyday activities require structure             D D C C B B A D D C C B B A · Level 2 CD to maintain order, music requires structure to maintain  coherence. Composers often organize their compositions · recorders Up a — bove the world so high, Like a dia — mond in the sky, by creating specific musical patterns, or forms. · percussion instruments (optional) · My Musical Journal Activity 2: � Ternary Form (A-B-A)              G G D D E E D C C B B A A G One of the most common musical forms is ternary or Twin – kle, twin – kle, lit — tle star, How I won — der what you are. A-B-A form. Have students list some “A-B-A” patterns in their own lives, for example:

36 37 LEVEL LEVEL As students listen for form in these movements, they can Let students experience rondo form through some of the · discover form in the Menuetto from Mozart’s more lyrical than the minuet, and both sections contain analyze the form by writing a description of the A and B following activities: Symphony No. 40 repeated material. sections, or by drawing the different sections. · Create a rondo form with shapes (e.g., ▲●▲■▲+▲). · Listen to the Menuetto and Trio from Mozart’s Symphony · compose their own minuets in a matter of minutes 2 · Can you find the different sections? · Create a rondo in sound (e.g., clap-clap snap-snap No. 40 (Track 21), and point out the three main sections: 2 · What makes the sections different? How does the clap-clap whistle-whistle clap-clap etc.). composer create a musical contrast? (instruments, · Write a “rondo poem” that has a recurring refrain. Materials: Minuet: 0:00–1:49 rhythms, tempo, dynamics, mood, articulation, etc.) · Go on a “field trip” to other classrooms to find rondo · Level 2 CD Trio: 1:50–3:42 patterns in your school. · My Musical Journal Minuet: 3:43–end Have students write a journal entry about ternary form: · Create a “rondo dance” where one movement · Why do you think ternary form (A-B-A) is such a popular keeps returning. Activity 1: How are the minuet and trio similar? How are they musical form? Finding Form in Familiar Music different? Play the beginnings of each and compare. · In ternary form, the A section has to be both a good Activity 3: Can you hum the melodies? What else is going on in beginning and a good ending. What musical qualities Compose a Rondo Revisit some of the melodies or songs that you know the background? should a good A section have? (“Hot Cross Buns,” “Ode to Joy,” melodies students have As a class, choose or compose a short melody on the written, etc.). · Listen separately to each section of Mozart’s Minuet and recorder to serve as an A section. In groups, compose Trio and complete a Venn diagram comparing the two LESSON 2: additional melodies to serve as sections B, C, D, etc. These Play these melodies and study the written music to see if sections (see Example 21). Some specific musical ideas Rondo Form contrasting sections are called episodes. Assemble the you can find patterns: they can focus on comparing and contrasting include: sections into rondo form to perform as a piece. · Are any parts repeated? Do any parts recur? · Instrument Groups: what instruments are featured in In this lesson, your students will: · Experiment with different orders to determine the best · How would you divide this music into sections? each section? Are there any instruments that don’t order of episodes. play in a section that do play in the other? Are they the · discuss recurring patterns · What do you think the form of this piece is? · Is there enough contrast between sections? If not, what Does everyone agree? If not, why? Did you discover some same or different? experience rondo form (A-B-A-C-A-D-A … ) · can you do to make more contrast? Try changing tempos, new forms? You may discover that in repeats, melodies may · Dynamics through hands-on activities dynamics, or articulation; and adding rests, percussion, be changed slightly. · Articulation: how smooth or bumpy is the music in · compose a piece in rondo form or harmony on some notes. each section · How can the music be made more interesting? Activity 2: · Harmony Materials: Form in Mozart’s Minuet · Character Traits: what is the emotional feeling or · Level 2 CD Activity 4: character trait of each section? · recorders Listening to a Rondo The minuet was a very popular dance from the mid-17th · percussion instruments (optional) to the early 19th centuries, and composers wrote literally Your class is ready to listen to Rondo: Allegro from Mozart’s thousands of them. Minuets follow an overall form of · My Musical Journal Eine kleine Nachtmusik (Track 20). Minuet-Trio-Minuet (A-B-A). The trio tends to be softer and · Play the opening 7 seconds. This is how Mozart’s rondo Activity 1: theme begins. Listen to this opening violin melody a few EXAMPLE 21 Recurring Patterns times until students think they can remember this tune. It may help to sing along with the melody on the word “la” Lead a discussion about recurrent patterns in life. List or to try tracing the contour of the melody in the air. some events or activities that keep returning, but with · Now play the entire rondo. Every time students think they different things happening between each return. hear this rondo theme return, have them stand and play For instance, students eat several times a day, but they imaginary violins, and whenever they hear something Minuet Trio do different things between each meal or snack. different, have them sit. Be careful! Mozart composes a · What’s good about recurring activities? lot of “fake-outs” where it sounds like the rondo theme is · What’s good about having different things happen returning, but it isn’t! between them? Activity 2: LESSON 3: Experiencing Rondo Form Finding Form in Music Another popular form in music is called rondo form. Rondo sounds like the word “around,” and in rondo form, Now that students have an understanding of one section keeps “coming around” again and again. musical structure, they are ready to begin to We call this section the “rondo theme,” or the “A section.” discover form in music. For variety, contrasting music happens between every appearance of the rondo theme. Rondos follow the pattern: In this lesson, your students will: A-B-A-C-A-D-A … · analyze familiar pieces for patterns and form

38 39 LEVEL LEVEL 2 UNIT 4 What Is Orchestration? 2

Focal Work Pictures at an Exhibition by Modest Mussorgsky

When writing for more than one instrument, composers must make critical decisions about which instruments to use at any given moment. The choices composers make in their use of instruments is called orchestration. Modest Mussorgsky’s piano composition, Pictures at an Exhibition, has inspired many composers to create an orchestral version. In these activities, students will orchestrate melodies and gain a unique perspective on Maurice Ravel’s masterful orchestration of Mussorgsky’s work.

Activity 3: Compose a Minuet In this unit, your students will: · Experiment with having the melody played by a soloist or · orchestrate a melody a small group. Visit the Minuet Mixer in the Composition Workshop on · Add some percussion instruments to fortify the sound. the New York Philharmonic’s Kidzone (nyphilkids.org). · orchestrate the melody of Mussorgsky’s Promenade Within minutes, your students can compose their own Continue to experiment until the class is satisfied with their minuets based on the music of Mozart! How do you see · listen for Ravel’s choices of instruments orchestrated version. form represented in the sheet music on the screen? E-mail your minuets to a friend! Materials: Activity 2: · Level 2 CD Listening for Orchestration in · recorders Mussorgsky’s Promenade · My Musical Journal Listen to the piano version of Mussorgsky’s Promenade PHOTO: Courtesy of New York Philharmonic Archives Activity 1: (Track 22). This melody, which recurs throughout Pictures at an Exhibition, represents Mussorgsky as he walks Orchestrating a Melody through an exhibit of paintings and drawings by his late friend, Victor Hartmann. Teach the students to play or sing the Promenade melody Other than piano, which instruments of the orchestra from Pictures at an Exhibition. This melody is 13 notes long · would you select to play this music? Share some ideas, and is first stated by a solo trumpet (Track 26, 0:00–0:08; then listen to Ravel’s orchestration of this Promenade see Example 22). (Track 26). What instruments did Ravel choose? (See the Listening Guide on page 42 for assistance.) Once your students are familiar with the melody, have them decide which instruments will play it. They may: · Add any additional melodic instruments you have in your room, including voice.

40 41 LEVEL LEVEL EXAMPLE 22 2 Promenade from Pictures at an Exhibition 2 Mussorgsky

5   6     4 E D G A D B 4 A D B G A E D

The various appearances of the Promenade in Ravel’s Activity 3: orchestration bear descriptive titles such as “delicate,” Comparing Mussorgsky’s Piano Version to “heavy,” “tranquil and lamenting.” Ravel’s Orchestration · What orchestral families or instruments would best create each of these feelings? Listen to some of the other Listen to more of Mussorgsky’s piano movements, and Promenades (Tracks 28, 30, 33, 38). What instruments compare them to Ravel’s orchestrations. Before hearing did Ravel choose this time? How does his choice of Ravel’s solution, listen to each piano version and discuss instruments affect the feeling of the music? the following points: · Which orchestral family or families would best illustrate Listening Guide to the Promenades: this movement? · Which individual instruments might be featured? Track 26: Promenade 1 After a solo trumpet announces the initial melody, Bydlo: piano version (Track 23); orchestrated version other members of the brass family join. The strings and (Track 32) woodwinds soon join as well. Ballet of the Unhatched Chicks: piano version (Track 24); orchestrated version (Track 34) Track 28: Promenade 2 Limoges: The Marketplace: piano version (Track 25); Maurice Ravel at the piano By featuring four woodwinds and the , orchestrated version (Track 36) Track 34: Ballet of the Unhatched Chicks Ravel creates a serene and transparent version of the Activity 4: Ravel gets a high-pitched, clucking sound by writing Promenade. In the last phrase, the violins enter with a Orchestrating Online As students listen to Ravel’s orchestration, have them note for the high woodwinds (flute, oboe, clarinet). The violins high-pitched melody. the families and instruments that they hear in their journals. play high trills in the second section. Also listen for the Visit Orchestration Station in the Composition Workshop Discuss their responses. colorful percussion, which includes triangle, crash cymbals, Track 30: Promenade 3 on the New York Philharmonic’s Kidzone (nyphilkids.org) and side drum. and try the following: In this Promenade, Ravel creates a sense of heaviness Listening Guide for Ravel’s Orchestrations: by giving the main theme exclusively to brass instruments. · Have different solo instruments play Mussorgsky’s Track 36: Limoges: The Marketplace Promenade melody (measures 1–8). To make the sound heavier, Ravel supports the melody Track 32: Bydlo Each of the families of the orchestra participates in this · Combine two or more instruments to create a new color. by having the lowest instruments, such as cello, double A tuba plays the opening solo. Ravel assigns the busy movement by passing the melodies back and forth. Students may blend instruments from the same family, or bass, , bassoon, and play “walking” accompaniment to the other lowest instruments combine instruments from different families. in their lowest registers. The Promenade ends surprisingly in the orchestra: bassoon, contrabassoon, cello, double · Create an orchestration inspired by one of Ravel’s with three plucked notes in the viola, cello, and harp. bass, and the harp, which uses its lowest register. As the descriptions from the previous activity. music builds, the rest of the orchestra joins in again.

PHOTO TK CREDIT: · Share each orchestration with the full class and e-mail Track 33: Promenade 4 Listen to how the percussion intensifies the music as bass your orchestrations to other classes! This Promenade demonstrates the high and low extremes drum and a rapid side drum trill are added to the music of the orchestra. The celestial sounds of the flute and (1:23). The tuba melody returns again at the movement’s clarinet begin the movement. After the double reeds (oboe end. In contrast to the piano version, which starts very and bassoon) answer, the low strings join adding weight loudly, Ravel decided to begin very softly and crescendo. and density to the texture. In addition to making decisions about dynamics, orchestration is also about choosing how the selected Track 38: Promenade 5 instruments should play. The continuous string tremolo (a shimmering sound produced by shaking the bow rapidly) adds a sense of nervousness and wonder.

42 43 LEVEL LEVEL Finally, look through your journals or at music for all of the American people were affected. Why might Copland have UNIT 5 Level Review pieces you have created this year. Ask your students: been inspired to write his Fanfare for ordinary or common people, both men and women? 2 As composers, how have we thought about and used 2 inspiration, harmony, form, and orchestration? As we Activity 5: compose a Final Project, what kinds of inspiration might “Listening for ‘Everything!’” Applying What Focal Work we use? What ideas or goals do we have in terms of We Know Fanfare for the Common Man harmony, form, or orchestration? Listed below are discussion prompts for each major topic by Aaron Copland Gather their responses and make a list for your Teaching covered in Level 2. Using these prompts, the knowledge Artist to begin your conversation about Final Project topics. of Copland’s inspiration for this piece, and the ability to play This is your opportunity to tie it all together! or sing the main theme, challenge your students to listen Your students are now ready to combine their for Copland’s use of harmony, orchestration and form knowledge of inspiration, harmony, form, Activity 3: in Fanfare for the Common Man (Track 41). If you like, you Learning the Theme from Fanfare for the can divide your class into groups, and have each group and orchestration. We will listen for all of these Common Man listen for a different aspect below. elements in Aaron Copland’s Fanfare for the On your own, or together with your Teaching Artist, teach Harmony: The piece starts with the timpani, , Common Man and think about how to apply them your students how to play the opening theme of Aaron and tam-tam (a type of gong) playing a long-short-long to this year’s Final Project composition. Copland’s Fanfare for the Common Man on recorders. rhythmic pattern three times in a row, gradually getting Learning this melody will greatly enable your students softer. Then multiple trumpets in unison play the melody to listen more deeply for Copland’s inspiration and use of your students learned on recorders. At 0:51 the French harmony, form, and orchestration in the next activities. horns join the trumpets to create two-part harmony. The trumpets repeat almost the same melody as they play Activity 4: in the opening. This is punctuated by the long-short-long Preparing to Listen rhythmic pattern of the percussion. At 1:35, the tuba and trombones begin to play and are immediately joined Read the following information to your students regarding by the trumpets and horns to create 4-part harmony, which Aaron Copland’s Inspiration for this Fanfare. remains throughout the piece.

American composer Aaron Copland wrote Fanfare Form: The opening melody repeats throughout the for the Common Man in 1942. He wrote this piece in piece. The first three notes are the most important as they In this unit, your students will: · What other Philharmonic moments this year really stand response to a request by a colleague, the conductor are fragmented, developed, and repeated throughout. out in your memory? · review the main pieces and musical concepts Eugene Goosens. Goosens asked him to write a Can your students identify every time those first three covered in earlier units in this level Activity 2: musical tribute to honor the people engaged in World notes reappear? · apply these concepts toward hearing Fanfare for War II, specifically the soldiers, airmen, and sailors. Getting More Specific the Common Man by Aaron Copland Copland agreed, and many months later when he was Orchestration: This piece is composed for four French finished, much to Goosens’s surprise, Copland horns, three trumpets, three trombones, tuba, timpani, bass · take initial steps toward gathering ideas and Ask your students if they can identify any of the big concepts handed him a piece of music with the title, Fanfare for drum, and gong. Can your students identify the instruments creating a Final Project you studied with your Teaching Artist. They might include the Common Man. as they appear? Why do they think Copland didn’t use any some, but not necessarily all of the following: Inspiration, string instruments in this piece? Harmony, Form, and Orchestration. Be sure to include any Materials: Given his request, discuss with your students why concepts covered in the in-school Teaching Artist Ensemble · My Musical Journal Goosens might have been surprised by this title. Explain concerts and the School Day Concerts with the New York · Level 2 CD to them some of the major events of 1942 and how the Philharmonic at Avery Fisher Hall. PHOTOT: Courtesy of New York Philharmonic Archives Activity 1: EXAMPLE 23 Using their journals to help give the most detailed answers What Do We Remember? possible, ask your students what they can tell you about Theme from Fanfare for the Common Man inspiration, harmony, form, or orchestration. Can they name Ask your students to take out their musical journals and any of the pieces of music studied? Some possibilities go back to the very first page they wrote on and begin to Very deliberately Copland include Bedrˇich Smetana’s Vltava (The Moldau), Charles

carefully read through what they’ve covered so far this year. )

Ives’s The Unanswered Question, Ludwig van Beethoven’s ) As they read back through, ask them: Piano Concerto No. 5, Modest Mussorgsky’s Pictures at · Which pieces did we study this year that were your an Exhibition, and Wolfgang Amadeus Mozart’s Symphony    favorites? Why?   ) No. 40 and Eine kleine Nachtmusik.   · What activities did we do that were particularly fun?  D G D G D C E C G D

44 45 LEVEL LEVEL 2 UNIT 6 Creating a Final Project EXAMPLE 24 2

As students explore the various steps in a composer’s process, you can offer them the opportunity to synthesize their understanding through a piece of their own. This can occur throughout the year, following and in parallel to the progression of the units, or toward the end, after the preceding five units are complete. The following are projects that teachers have completed with success in their own classrooms. In all cases, you have the opportunity to help students document and reflect on their own work, especially through the creation of an audio recording for reproduction and distribution to all participating students and teachers.

Final Projects often include artwork, musical notation, descriptions, and stories their renditions of their Final Projects to the level Sample questions to be addressed include: Examples of Final Projects created in Vocal Technique: Students studied Luciano appropriate for the occasion. Helping students · Are students articulate about how they got their School Partnership Program schools: Berio’s Sequenza 3 (for solo voice), which document their process and their creative work will inspiration for the music they created? employs extended vocal techniques. Inspired by be helpful in assessing the musical learning that · Have they considered the kinds of harmony they Fanfare Project: Students composed ‘competing’ his creative and non-traditional use of the voice, has transpired. It will also be useful in the evaluation would like to use? Fanfares based on the revolutionary war: George students applied these techniques to reading and assessment of the curriculum as it is practiced · How did students apply understanding about vs. George (King George vs. George Washington) poems or text. They also used vocal techniques in the classroom. musical form to their pieces? or Patriots vs. Loyalists. to imitate percussion instruments and incorporate · How did they make choices of orchestration? those instruments into the final performance. Can they articulate why they made those Connecting to Poetry: Students explored the choices? many connections in form between poetry These are only a few of the many ideas that · Were they able to notate their compositions? and music, first writing then setting their own teachers have employed, but they are included poems to music. The final compositions were PHOTO: Michael DiVito here to start a conversation between music sung and played on recorder. specialists (such as Teaching Artists or music teachers) and classroom teachers to explore how Minuet Project: After a year-long exploration of you think you might best help students synthesize minuets, starting with the Mozart minuet in the their learning during the year. Form Unit, students composed their own minuets in A-B-A form, and included triple meter, harmony, These projects are the perfect opportunity to and traditional rhythmic notation of quarter notes, examine the rehearsal and performance process eighth notes, and sixteenth notes. of the orchestra. Teaching Artists or music teachers can assist in helping students perfect

46 47 LEVEL 3 Exploring LEVEL Orchestral Masterworks

Just as students are becoming skilled perceivers of the written word, they are also becoming skilled perceivers of music. Students who are excited by the prospect of reading their first chapter book may very well also be excited about hearing a whole piece of music and being able to follow its “story” from beginning to end. In Level 3 (fifth grade), students are able to focus on five works that are all of short to medium duration and accessible to younger listeners. These works — Scheherazade, El Amor Brujo, Rhapsody in Blue, A Tone Parallel to Harlem, and A — also have the advantage of being able to connect to the Americas unit in the social studies curriculum of the New York State and New York City frameworks. The New York Philharmonic also has a library of other “whole piece” units available for study, separate from this volume. PHOTO TK CREDIT: PHOTO: Chris Lee 348 49 LEVEL LEVEL UNIT 1 The Art of Musical Storytelling LESSON 1: Reinforcement Through Read-Alouds: Invite your students to participate in a storytelling festival. During What Makes a Good Story? five or ten minutes of each school day, feature a few student 3 storytellers. Encourage the students to maximize the effect of their 3 In this unit, students will: story by incorporating interesting vocal inflections. Try to keep this routine going for 101 days if you can! Focal Work · investigate the qualities of good stories and storytelling The Story of the Kalendar Prince · become acquainted with the Arabian Nights folk Activity 2: from Scheherazade tales and the character of Scheherazade Introducing Scheherazade · listen and respond to The Story of the Kalendar by Nikolai Rimsky-Korsakov Read the story of Scheherazade to your class. Use the Prince by Rimsky-Korsakov paraphrased version included below, or read one of the many published versions of the Arabian Nights tales Composers and listeners have long been attracted Materials: such as Tenggren’s Golden Tales from the Arabian to the storytelling properties of music. In this · Level 3 CD Nights (New York: A Golden Book, 1957) or Classic · stories Starts: Arabian Nights (New York/ : Sterling, 2008.) unit, your students will examine the properties of · a collection of Arabian Nights tales (if available) effective storytelling through music that depicts · My Musical Journal The Story of Scheherazade writing materials a great story-teller herself — Scheherazade. · There was once a powerful King who had two sons. · Internet access (if available) Shahriar was the older son and Shahzenan was the younger boy. After the King’s death, Shahriar took Activity 1: the throne, and Shahzenan was appointed ruler of the What Makes a Good Story and a Good Storyteller? Kingdom of Great Tartary.

Rimsky-Korsakov’s Scheherazade is inspired by the After a separation of many years, Shahzenan visited legendary storyteller from the Arabian Nights folktales, his brother, the King (or Sultan). They were very happy also known as The Thousand and One Nights. Centuries to be reunited, but Shahriar sensed that something was after they were first told, these stories remain very bothering his younger brother. Shahzenan revealed popular today. Why are certain stories and storytellers that his wife had plotted against him with his enemies. so captivating? He was left heartbroken and alone. Nikolai Rimsky-Korsakov (1844–1908) The Story of the Kalendar Prince, · As a class, brainstorm the qualities of a good story. They may include ideas such as interesting characters, from Scheherazade (1888) Shahriar was furious over the betrayal of his brother, surprises in the plot, a vivid setting, realistic problems, so he vowed to seek revenge against all women. Rimsky-Korsakov was the youngest member of and so on. Make sure to document the students’ ideas. He instructed his chief minister, the Vizier, to bring him the “Mighty Five” — a group of composers who “The Kalendar Prince” is a movement from · As a class, brainstorm the skills of a good storyteller. a new wife each day, who would be killed after one night aimed to create a truly Russian kind of music. The Scheherazade, a composition based on the Ask your students to consider the elements of a good of marriage. only one to have academic training in composition, Arabian Nights folktales. Scheherazade read-aloud voice (changes in inflection, pitch, speed, Rimsky-Korsakov often acted as a musical mentor is the newest wife of the Sultan Schahriar, volume, emotion, use of pauses, and so on). You may The Vizier himself had two daughters; the eldest was to other composers, like Modest Mussorgsky, who has married many times and sworn wish to speak in a monotone voice to demonstrate an named Scheherazade. Scheherazade was an educated, uninteresting vocal quality. Document the qualities the witty, beautiful girl who had read many interesting helping them to complete and orchestrate their to kill each of his wives after one night of marriage. students have brainstormed. stories. She had a plan to help the people of the Kingdom compositions. His interest in musical experiments Scheherazade saves her life by entertaining · Invite a volunteer to use the qualities of a good storyteller and cure the Sultan of his evil ways. and his love of folk and fairytale subjects fueled the Sultan with marvelous tales that she creates PHOTO TK CREDIT: to tell a story (factual or fictional) to the class. Emphasize his bold Russian sound, which was often tinged each night over 1,001 nights. Rimsky-Korsakov that they can use different inflections to heighten the One evening, the Vizier brought Scheherazade to the with an Eastern accent. Rimsky-Korsakov became uses a full palette of orchestral colors to illustrate impact of the words. Sultan and they were married. Before going to bed, a professor of harmony and orchestration at the these exotic tales from the Persian Empire. In · Reflect on the performances. Always focus the Scheherazade was crying, and requested to see her discussion positively on the successful elements of St. Petersburg Conservatory where he spent “The Story of the Kalendar Prince,” a royal prince sister one last time. the storytelling. It may be helpful to let students tell decades teaching the next generation of Russian disguises himself as a member of a tribe of their story more than once so that they can concentrate Her sister, Dinarzad, was summoned and as she had composers, including Glazunov, Prokofiev, and wandering holy men and has adventures that are on particular aspects of good storytelling. been instructed, said: “Sister, if you are not too Stravinsky. left up to our imagination. tired, please tell us one of your stories.” The Sultan gave his new wife his blessing, and so Scheherazade began her first story.

50 51 LEVEL LEVEL Night after night — and for one thousand and one and the oboe. What sort of setting do these instrumental opening four minutes of The Story of the Kalendar Prince Rimsky-Korsakov has created. Students can listen for nights — Scheherazade kept the Sultan in suspense with choices help to evoke? In what ways is the music similar and listen to how various instruments each interpret the the harmonies, the rhythmic patterns and the instruments her colorful tales. He reformed his wicked ways and or different to what the students may have envisioned melody differently: heard in the background music. 3 fell in love with the beautiful woman named Scheherazade. above? · The bassoon introduces the melody rather · The harp accompanies the violin solo with a few 3 · Ask students to create drawings of their envisioned plaintively. (0:32) rich chords. · Based on the story you have told your students about setting for Scheherazade. Invite students to select · The oboe repeats the melody lyrically, with harp · The cello and bass sustain long, low notes in a drone Scheherazade, what kind of woman was she? Which a specific mood to guide their drawing as well. The lines, accompaniment, which gives it an exotic, flowing as the bassoon introduces the melody. (0:32) characteristics helped to save her life? (intelligence, colors, lightness/darkness, and movement of the drawing quality. (1:12) · The harp, pizzicato cello, and smooth woodwind cunning, imagination, wit, etc.) may all be informed by the selected feeling. · The violins then play the theme with a detached chords accompany the oboe as it repeats the theme · Reflect back on the qualities of a good storyteller. articulation and a quicker tempo. Now the melody (1:12) Which ones would likely apply to Scheherazade? sounds more upbeat and lilting. (1:49) · The violins are accompanied by pizzicato strings, and Add any new qualities you discovered from the story. LESSON 2: · Next, the woodwinds play the theme with a sharper, a few sustained woodwinds. (1:49) Remember she intrigued her husband with her tales Telling a Musical Story crisper feeling. (2:20) · The woodwinds are supported by pizzicato string for one thousand and one nights! · The cello, oboe, and the French horn all restate chords and strong timpani pulses. (2:20) · Brainstorm a list of feelings that Scheherazade might In this unit, students will: small segments of the melody in a melancholy, sweet experience as she weaves her tales for the Sultan. manner. (2:35) The Storyteller Builds Suspense · learn an important melody from Scheherazade How might music sound to represent these feelings? · Discuss the student responses to the music. What (Consider musical elements such as tempo, dynamics, · listen and respond to the various interpretations are some of the musical differences the students notice · Clap a rhythm for your students that will grab their instrumentation, rhythm, and melody.) of this melody in The Story of the Kalendar Prince as the melody repeats? attention. What is it about the rhythm that grabs · Listen to the opening cadenza (Track 1, 0:00–0:32) · create contrasting musical backgrounds for the students’ attention? (For instance, it may be short from “The Story of the Kalendar Prince.” The solo violin the melody Creating Backgrounds and memorable.) represents the character of Scheherazade. Listen for · listen and respond to how Rimsky-Korsakov · A short, catchy rhythm is heard for the first time at 3:12 Now teach your students to play the melody with a on the recording. This jolting rhythm interrupts the lyrical how the musician incorporates his/her own inflection builds suspense in the movement · or interpretation into the music. Which moods are harmonic background. Divide the students into section which explores the first melody. As students projected in this opening solo? How does the solo · listen and respond to the entire movement three groups, asking one group to play a low E on the listen, ask them to play “freeze–conduct.” They should violinist create these moods through the interpretation? · create an original piece of music inspired by the recorder, while the second group plays B simultaneously. move their arms or hands when they hear the theme, character of Scheherazade Once these two notes are being played, ask the third but freeze suddenly when the instruments are sustaining Activity 3: group to play the melody. (Students playing the long the same pitches. Try this for a minute or two, from Imagining a Setting for Scheherazade Materials: notes, or drone, should breathe whenever necessary and 3:08–4:12 on the recording. · recorders then resume playing.) · How does the stop-and-go quality of the music affect Although Rimsky-Korsakov was a Russian composer, he · Level 3 CD · If desired, select two different long notes to play the feeling of the piece? What might be happening was influenced by an Arabic style in this piece. Because simultaneously with the melody. Which note in Sheherazade’s story as this new, catchy theme My Musical Journal there is no specific “Story of the Kalendar Prince,” much is · combinations does the class prefer? Why? is introduced? How does this section of the music build left to the imagination. Rimksy-Korsakov wrote: · writing and drawing materials · Now return to the many moods of Scheherazade which suspense? your class brainstormed in Lesson 1. Select one of “I meant these hints to direct but slightly the hearer’s fancy Activity 1: the moods and ask the class to imagine how a musical Activity 2: on the path which my own fancy had traveled. All I desired Learning a Melody from Scheherazade background or accompaniment could reflect this feeling. Scheherazade: A Final Listening was that the hearer, if he liked my piece as symphonic The background may consist of different textures, such music, should carry away the impression that it is beyond Teach your students to play this melody from “The Story of as long sustained notes, rapid repeated notes or trills. A Listening Review doubt an oriental narrative of some numerous and the Kalendar Prince.” · Create several versions of the melody with different varied fairy-tale wonders, and not merely four pieces accompaniments. · Review the concepts your students have learned during played one after the other and composed on the basis of Creating Original Interpretations · Listen to the first four minutes of the piece again, but their study of Scheherazade. They have learned about themes common to all four movements.” this time, ask your students NOT to focus on the melody. musical interpretation, setting, and mood during the unit. · Review the qualities of a good storyteller using the Instead, they should pay attention to the backgrounds · To introduce this colorful Persian world to your brainstorming list created earlier. As students practice students, invite students to look online to locate some playing the melody on their instrument, ask them EXAMPLE 25 lush Persian miniatures. to experiment with creating different interpretations. · Invite students to imagine the world of Scheherazade. Students may: Melody from Scheherazade What kinds of images do the students envision? What · vary the tempo kinds of colors and designs do they see? How might · vary the dynamics Rimsky-Korsakov the impressions be represented in music? · incorporate pauses · Listen to the first two minutes of the piece (0:00–1:50). · add ornamentation or decoration (e.g., add trills or Invite students to imagine a setting for the piece. extra notes to the tune)  · Share some of the student versions. 3   Ask them to listen especially for the instruments  4 B A B A G A G F G E G F G F A G F E Rimsky-Korsakov chooses. They may notice many exotic · This melody is one of the main themes that Scheherazade sounding instruments, such as the harp, the bassoon, uses to tell the story of the Kalendar Prince. Play the    

52 53 LEVEL LEVEL They have also learned the two main melodic themes on Listening Extensions: which the entire movement is based. UNIT 2 A Musical Ghost Story Listen to the other three movements of Scheherazade with · Listen to the entire piece, asking the students to select your students. Read them the Arabian Nights folktales in order 3 one musical element to focus on as they begin listening to inspire their imaginations as they listen to the remaining 3 to the piece. They should begin by focusing on that movements. one element, and this will lead them to notice something 1. The Sea and Sinbad’s new in the music. Encourage them to take notes in Focal Work What mood does the music project to the students from the their journal as they listen. Where does their listening very beginning of the movement? How is the setting for El Amor Brujo lead them? Sinbad the Sailor evoked in the music? What do the students · Discuss the class responses after listening to the hear in the music that makes them respond this way? by Manuel de Falla entire piece. 2. The Story of the Kalendar Prince Though originally composed for a ballet, Imagining Original Scenes 3. The Young Prince and the Young Princess What does the title bring to mind for the students? How Manuel de Falla’s El Amor Brujo has enjoyed · Now listen to the entire piece once again, inviting might the music evoke these moods or feelings? Listen for students to imagine their own scenes. We do not know the intimate melody, as well as the rhapsodic woodwind solos great success as symphonic concert music. the exact plot of the movement, but that does not matter. which are heard throughout the piece. There is a distinct change in the atmosphere during the dancing middle section. Without a doubt, de Falla’s vivid depiction Listen and see where the music and their imagination What might this change in texture represent? lead them! After listening to the entire work, share some of a ghost story through songs, dance music, of the students’ interpretations of the music. What did 4. Festival in Baghdad; The Sea; The Ship Goes to and brilliant orchestration contribute to they envision as they listened? Always encourage Pieces on a Rock Surmounted by a Bronze Warrior the students to connect their images to what they heard (Shipwreck); Conclusion the popularity of this compelling masterpiece. Listen for the instrumentation which Rimsky-Korsakov chose in the music. throughout this movement. Which instruments do the students notice and how do they evoke the exotic setting of Baghdad? Activity 3: Listen for many important melodies from the previous Creating an Original Composition movements, which are revisited in the finale. Scheherazade was challenged to constantly invent a story more exciting than the last one she told. How does Rimsky-Korsakov Create an original composition inspired by the mysterious make the fourth movement the most exciting and suspenseful character of Scheherazade following these steps: of all of the movements? · Compose a new class melody as the basis for the class compositions by writing a sentence about the character (e.g., Scheherazade tells the Sultan stories). Manuel de Falla (1876–1946) of civil war in Spain discouraged and disgusted · Repeat the sentence several times as a class until a clear rhythm has been established. him, and he refused honors from the new · Select a recorder note for each syllable of the sentence. Manuel de Falla was born in 1876 in the Spanish Franco government, moving to Argentina in Try several possibilities until the class is satisfied with the port of Cadíz. He studied piano with his mother, 1939. He continued to work on L’Atlantida, but resulting melody which will represent Scheherazade. and performed with her in public by age 11. it remained incomplete at his death in 1946. · Ask students to select several moods to guide the As a student at the Conservatory, he Falla is considered the most important Spanish composition. The ideas may be generated from the work began composing and had several of his pieces composer of the twentieth century, in Activity 2. · Decide how the melody could be varied to reflect performed. Upon graduating, he began writing the different moods. Vary musical elements such as zarzuelas, or popular Spanish folk operas. In 1905 El Amor Brujo (1914–15) tempo, dynamics, harmony, ornamentation, rhythm, Falla won a competition to create a “Spanish instrumentation, and so on. Create at least three lyrical drama” with his work La Vida Breve, though The title of this one-act ballet translates as PHOTO : Courtesy of New York Philharmonic Archives versions of the theme and connect them with transition it was not performed until 1914. (In Madrid it “Love, the Magician,” and Falla’s inspiration in material as the class composes an original musical was a huge success.) He moved to Paris, began creating El Amor Brujo was the life and work impression of Scheherazade and her spellbinding tales. teaching piano, and studied the works of French of a famous and beautiful Spanish Gypsy dancer · Create artwork and narrative text to accompany the music and share your pieces with the school community. and Spanish composers. When World War I named Pastora Imperio. Falla came from a region began, Falla returned to Spain and began a in Spain known as Andalusia, and his music decade of great creativity, producing works like evokes the music of the Andalusian Gypsies. In El Amor Brujo, The Three-Cornered Hat, and the story, a woman named Candelas cannot forget a piano concerto called Nights in the Gardens her dead Gypsy lover, who comes back to haunt of Spain. His later years were spent working her. Carmelo, who loves Candelas, persuades his on a gigantic oratorio, L’Atlantida, but the outbreak friend Lucia to flirt with the Gypsy ghost so that

54 55 LEVEL LEVEL he will stop bothering Candelas. The trick works, · recorders EXAMPLE 27 Carmelo and Candelas proclaim their love for each · percussion instruments Love Theme from El Amor Brujo 3 other, and the ghost disappears forever. · My Musical Journal 3 · writing materials

In this unit, students will: Andante tranquillo Manuel de Falla · investigate the nature of ghost stories Activity 1: ) · learn recorder melodies from El Amor Brujo Introducing El Amor Brujo     · explore components of songs and dance music 7 �  espress.     El Amor Brujo is a musical ghost story about two lovers  8   · compose a piece for an original ghost story A B C D A B C B A G F E and a Gypsy ghost. Introduce the topic through some of the  listen for musical details and plotlines in · following activities:  El Amor Brujo · Discuss the components of a good ghost story.

(e.g., magic, mystery, scary scenes, suspense, surprising � ( Materials:

twists, evil characters, etc.) ( ( · Level 3 CD · Have a student tell or read a ghost story. How do you        cresc.       · ghost stories tell a ghost story in an exciting way? If you did the unit on F  G F E D C D E F E D E F D Scheherazade, expand on the class’s discoveries.     EXAMPLE 26 � Ghost Theme from El Amor Brujo              E A B C D A B C B A G Manuel de Falla  �

( ) ) ( ) ) · Read The Gypsy Princess, by Phoebe Gilsman (Example 27). Please refer to the Listening Guide on pages 3     (Scholastic Press, 1995). Discuss the colorful lifestyle 58–60 for details and specific occurrences.  4  B A B A C A B A C A B A of the Gypsies and identify the musical instruments used ff by the Gypsies such as violin and tambourine. Or, do Activity 3:

a library or online research project on Gypsies. Focused Listening Activities

(

(

( )

) ) ) Some of the movements are songs and dances, while ( ( ) Share the story of El Amor Brujo. There are four main       characters — two female characters (Candelas and Lucia), other movements depict specific action in the plot.  and two male characters (Carmelo and the ghost of · Think of a dance song you know very well. B A C A B A C A B A B A B A Candelas’s Gypsy boyfriend): · What makes something a good dance song? (a good

beat, a repeating melody, a particular feeling, etc.)

( ( ( (

( ( Candelas is haunted by the ghost of her dead gypsy

( � boyfriend. Carmelo, who is in love with Candelas, wants Before listening to Song of Suffering Love (Track 4),    to get rid of the ghost, so he devises a plan: his friend teach your students the short, repeating rhythmic pattern  Lucia will flirt with the ghost so he will become distracted (Example 28), which accompanies this entire movement. C D C D C D C D C D and stop haunting Candelas. Fortunately, the trick

works! The ghost disappears forever, and Candelas and Now listen to the movement:

( ( ( ( ( ( Carmelo are free to proclaim their love for each other. · The rhythm is persistent, but it sometimes drops out dramatically at the ends of the verses, leaving the voice Now, have students retell this story in their own words. alone. What is the effect of having the rhythm drop out?  Have them create an atmosphere filled with suspense and · Note that this movement is called Song of Suffering Love.  drama by elaborating on the setting, characterizations, How does the singer project a feeling of “suffering”? C D C D C D C D C D C D C B A G F G A C

ff and mood. · Listen to Song of Suffering Love once again. This song ( segues immediately into the following movement The

( ( ( ( ( ( Activity 2: Apparition (Track 5). Listen carefully for the transition �� Learning Melodies from El Amor Brujo between the two movements. You will hear three chords    dim.   in the strings, signaling the change to the subsequent  Help students learn the following three melodies from movement. The Apparition lasts only 12 seconds, B A B A B A  B  El Amor Brujo. The “ghost theme” (Example 26) occurs but it is still very powerful. What makes this music ideal  several times during the piece, as does the “love theme” for representing the appearance of a ghost?

56 57 LEVEL LEVEL EXAMPLE 28 EXAMPLE 29 3 Rhythmic Pattern from Song of Suffering Love The Magic Circle from El Amor Brujo 3

1 2 3 4 5 6 1 2 3 4 5 6 Andante molto tranquillo Manuel de Falla

6             3   8 1 3 5  4 E F E F E F E F E F E G E D

Activity 4: Spanish words. Notice the word “Ay,” which is repeated, � Listening to El Amor Brujo elongated, and ornamented throughout the movement. Sometimes the orchestra stops playing the steady beat for    E F E F E F E F E G A C D  C Listen to El Amor Brujo to hear how the composer uses dramatic effect, allowing the singer more freedom for lines music to tell a story, and have the students take notes in like, “My blood burns, inflamed by jealousy …” (0:27–0:33). their journals as they listen. · How does Manuel de Falla create the many moods of ****After the final “Ay,” (1:16–1:22), listen for three chords. the story? (use of certain instruments, rhythms, sudden These chords, played by the strings, almost sound like Track 9: Ritual Fire Dance: To Chase Away Evil Spirits ****The movement concludes with 21 aggressive changes, etc.) bell tones, preparing the stage for what is about to happen (3:53) repetitions of the same chord.**** · Do you hear the melodies you learned? next!**** Trills in the viola and clarinet accentuate the rhythm of this · How do the melodies change at different moments during dance. Listen for the piano and pizzicato cello’s ostinato, Track 10: Scene (1:07) the piece? Track 5: The Apparition (0:12) which continue throughout the first section (0:00–0:57). This short movement is quite rhapsodic and characterized This, the shortest of all the movements, evokes the Notice how the pulse continues through the next section, by an exotic and improvisatory oboe solo. The strings and As you play the CD, follow the listening guide and watch appearance of the Gypsy ghost. even though there is a dramatic shift in mood. Contrasts trumpet play a reminiscence of the “ghost theme” from the the CD player carefully, so that you can tell the students in dynamics and color throughout the second section add first movement. when each new movement begins! ****Brilliant cascades of sound swirl down and up, directly intensity and excitement. The opening material returns, with into the next movement!**** more trilling throughout the orchestra. Section two also ****Expressive flute and oboe melodies conclude the Listening Guide for El Amor Brujo repeats, gradually increasing in tempo and dynamic. brief scene.**** (Transitions are marked with asterisks. Timings for each Track 6: Dance of Terror (1:55) movement are beside the titles.) In this dance, the muted trumpet accentuates the rhythm, as do the trills in the violin and flute (0:20). Once again the Track 2: Introduction (0:38) students may tap the beat to help them feel the interesting The trumpets, high woodwinds, and piano present the rhythmic groupings. The dance gradually becomes faster, “ghost theme,” which represents the ghost of Candelas’s louder, and more intense. Gypsy lover (see Example 27). The orchestra punctuates the theme with brilliant flourishes. ****The energy culminates in an upward piano glissando (1:47), and the dance melts away into nothing.**** Track 3: With the Gypsies: In the Evening (1:46) This movement opens with a mysterious mood created Track 7: The Magic Circle (3:03): (Example 29). by a low tremolo sound from the cello and . The quiet mood of this movement is in marked contrast to Gradually, the other strings join while wind and brass the rest of the piece. The melodies themselves create a soloists interject short melodies above the thickening mesmerizing, circular pattern. PHOTO: Stephanie Berger background. ****At 2:09, listen for the return of the movement’s serene **** Suddenly a sweet oboe solo is heard, as if the sun is opening theme, played by two flutes.**** now beginning to rise, providing the transition to the next movement.**** Track 8: Midnight: The Spells (0:27) The orchestra plays twelve chords to represent the clock Track 4: Song of Suffering Love (1:34) striking midnight. This sets the stage for Carmelo’s plan to The soprano’s song reflects Candelas’s anguish as she save Candelas from the Gypsy ghost, who is haunting her. is haunted by the Gypsy ghost. Strong accents permeate this movement; tap along and feel the different rhythmic ****The music suddenly becomes rapid and urgent, groupings. Listen to the way the singer accentuates the providing a transition to the next movement.**** dancer at a New York Philharmonic performance of Falla’s opera La Vida Breve.

58 59 LEVEL LEVEL Track 11: Song of the Will-o’-the-Wisp (1:51) Activity 5: UNIT 3 Jazzin’ It Up The pulse is constant throughout this song, in which the Creating a Ghost Theme singer likens love to a will-o’-the-wisp (an unattainable 3 goal). Don’t forget to listen for the rhythmic groupings of 3 Review the ghost melody from El Amor Brujo on the six! The movement ends clearly. recorder. What kind of character is Falla’s ghost? (The melody is very rhythmic, repetitive, and accented Focal Work Track 12: Pantomime (5:32) so perhaps the ghost is aggressive, persistent, etc.) In this movement, Carmelo’s plan to have his friend Lucia Rhapsody in Blue flirt with the Gypsy ghost is put into play. The persistent Discuss with students how they feel about the ghost who by “ghost theme” returns and Falla restates it with dramatic haunts Candelas. Have them compose a melody, using shifts in mood. At 0:26, the strings enter with a new the recorder, with the following title: “Ode to the Gypsy quality that implies that the ghost may be weakened by Ghost.” You may wish to limit their melodies to a particular In 1924 George Gershwin created a fervor with Lucia’s advances. Listen for the lilting “love theme” number of notes (8–12 or 16–24). Share and reflect (see Example 26) played first by the expressive cello (1:30) on students’ response to the character of the Gypsy ghost. his Rhapsody in Blue by combining his jazzy and later by the violins (2:35). The oboe also plays the “ghost theme” later in the movement (3:44), symbolizing Broadway melodies with the instruments of the Listening Extensions: the success of the plan as the ghost loses his strength. At Here are some examples of more works that make use of Spanish orchestra, along with a piano solo that sounds 4:35, listen for the romantic sound of a violin soloist playing or Latin American rhythms: the “love theme.” like an improvisatory brainstorm. The following Isaac Albéniz: Suite Española lessons will take your students to the heart ****At 5:15, a soft trumpet plays a fragment of the “ghost Leonard Bernstein: Symphonic Dances from Carlos Chávez: Sinfonía India theme” for the last time.**** of Gershwin’s rhapsodic spirit, and his inimitably Manuel de Falla: El Sombrero de Tres Picos Alberto Ginastera: Estáncia blues-tinged melodies. Track 13: Dance of the Game of Love (3:03) Tania León: Indigena Carmelo and Candelas are finally able to declare their love Astor Piazzola: Concierto para Bandoneón for one another, free of the Gypsy ghost’s control. Notice the way the flute weaves around the vocal line when the More orchestral masterpieces based on spooky or magical stories and poems: voice enters (0:27). Paul Dukas: The Sorcerer’s Apprentice ****The orchestra takes over the movement at 2:38 and Modest Mussorgsky: Night on Bare Mountain the aggressive momentum propels the dance into the Camille Saint-Saëns: Danse Macabre finale.**** George Gershwin (1898–1937) composition studies until the end of his short, Teacher Recommended Resources for Ghost Stories eventful life. Gershwin was a highly accomplished Track 14: Finale: The Bells of Dawn (1:28) and Spooky Poems: The orchestra evokes the sound of church bells pealing at Martin, Bill and John Archambault. The Ghost-Eye Tree. George Gershwin was born in Brooklyn of pianist with a confident understanding of blues dawn. As the orchestra depicts the glory of the sunrise, New York: Henry Holt & Co., 1988. Russian-Jewish parents in 1898. He attended harmony and rhythm. His songs, musical the soloist sings her final words: “Day is awakening! Sing, Schwarz, Gladys and Crume, Vic, ed. The Haunted House P.S. 25 and began piano studies at age 11. By comedy scores, and opera Porgy and Bess, form and Other Spooky Poems and Tales. New York: bells, sing! My joy is back!” The “love theme” is triumphant Scholastic Books, 1970. 15, he was a professional song plugger on Tin a great legacy and are a document of his time. (0:42) and daybreak arrives as the piece ends. Schwartz, Alvin. Scary Stories to Tell in the Dark. New York: Pan Alley. (In the days before radio broadcasts, Gershwin died, with shocking suddenness, of a Harper Collins Publishers, 1986. song pluggers were employed by music Stridh, Kicki and Eva Ericksson. The Horrible Spookhouse. brain tumor at the age of 38. Minneapolis: Carolrhoda Books, Inc., 1994 publishers to promote their songs by singing and Stephen, Nicholas. Enter If You Dare! New York: playing them for entertainers.) His next career Rhapsody in Blue (1924) Disney’s Press, 1995. move was to obtain employment as a rehearsal

Yolen, Jane. Here There Be Ghosts. San Diego: Harcourt PHOTO: Courtesy of New York Philharmonic Archives Brace & Company, 1998. accompanist on Broadway, where his talent as In the early 1920s, jazz was still fairly new and a song composer was soon noticed. When he was not considered quite “respectable.” Paul was 20, he was offered a composing contract Whiteman, leader of a popular New York show with the Harms publishing company, and soon band, was known as the “King of Jazz,” even was writing successful Broadway musicals. though his band rarely played anything resembling But it was a concert piece — “Rhapsody in Blue,” jazz. But Whiteman had clout, and when he which he described as a jazz concerto — that made commissioned George Gershwin to write a jazz him internationally famous at the age of 26. It concerto (with Gershwin himself as soloist) the also gave impetus to his desire to develop as a performance was heavily promoted. “I heard it as a classical composer, and he continued to pursue sort of musical kaleidoscope of America,” Gershwin

60 61 LEVEL LEVEL Activity 2: Gershwin frees up the rhythm of the piece and adds to its Activity 7: wrote, “of our vast melting pot, of our unduplicated Writing a Rhapsodic Short Story rhapsodic nature. Extending Your Work Into Your Curriculum national pep, of our blues, our metropolitan 3 2:23–2:53 3 madness.” Gershwin was a superb pianist and Students will now employ changing moods in creative To extend your work on Rhapsody in Blue into other The piano begins to pick up steam at about 3:07 and the piece created a sensation. His recording of writing. In partners, in groups, or as a whole class, have areas of the curriculum, try one or more of the following students create a short story in which: continues right up until the entrance of the orchestra again simple activities: Rhapsody in Blue, by the way, still exists. The press at 3:43. · Gershwin’s Rhapsody in Blue conveys a “blue” feeling. and the public viewed the piece as a marriage a. The characters are excited about something that they Discuss how colors impact on the way we feel. Which between jazz and “serious music” — the first such hope to do; 2:53–3:22 words or feelings come to mind when you see or think marriage in history — and Gershwin won worldwide b. Something unexpected takes place and prevents them The orchestra enters with a faster, brassy version of the of different colors? Hailstones and Halibut Bones is a opening clarinet melody. and lasting fame. We no longer view Rhapsody in from doing it; book of poetry about colors by Mary O’Neill (Bantam Blue the same way, partly because we no longer c. The characters must find a new solution to accomplish Doubleday Dell, 1989). Read the poems to the class. their goal, which they do, triumphantly! Activity 4: Discuss how these poems reflect the feelings colors can see jazz and “serious music” as opposing forces. It What Musical Elements Make Something transmit. Encourage the class to create original poems is enough to say that Rhapsody in Blue is a brilliant Share the stories aloud and discuss, emphasizing the Rhapsodic? about colors. and colorful work, bursting with Gershwin’s fertile, following questions: · Langston Hughes wrote “Bound No’th Blues,” “Po’ Boy explosive creativity and confident use of jazz- · How could you tell that the characters were excited? Brainstorm musical possibilities for portraying the three Blues,” “Homesick Blues,” “Wide River,” and “Night and parts of the student’s rhapsodic story from Activity 2. inspired harmony, melody, and rhythm. In music, · Were there any sudden shifts in the story? If so, how did Morn,” in the style of African-American folk songs known How can music show: a rhapsody is a piece with an irregular form that the writers convey these shifts? as “the blues.” The poetic pattern is one long line which · What kinds of things did the characters do to find their · excitement? is repeated, and a closing line to rhyme with the first two. has many shifts of mood and a highly charged, new solution? · something surprising or unexpected and possibly Sometimes the second line is slightly changed in its emotional character. These activities will give your frustrating? repeat. Share these poems with your class. Point out the students a hands-on experience of how changing These stories will serve as the basis for the students’ own · a resolution or triumph? poetic pattern and discuss the theme of being in trouble, moods relate to musical listening and performance. musical compositions. hungry, disappointed, or friendless. Encourage your Things to consider for each section: students to try their hands at writing blues poetry. In this unit, your students will: Activity 3: · What tempos should be used? · Play spirituals for your class. Compare and contrast · Which pitches should be used for each section? · sharpen their aural awareness of mood Listening for Shifts of Feeling in the Opening of the spirituals with the blues. Point out that spirituals are Rhapsody in Blue · How can rests (silences) be used for dramatic effect? group songs; the blues are usually sung by one person. create an original, rhapsodic story · · How could additional percussion enhance certain Emerging from the pain and despair of slavery, spirituals · compose an original rhapsody Listen to the opening of George Gershwin’s Rhapsody effects? are about escape, freedom, and going to heaven. The · listen to Gershwin’s Rhapsody in Blue for the in Blue (Level 3 CD, Track 1; 0:00–4:15). Have students blues, on the other hand, are usually about being in the keys to its rhapsodic and improvisatory nature listen for the sudden shifts in feeling, and have them take Make a chart with all of these ideas. midst of trouble. notes in their journals. They may need to listen a few times Materials: to take in all the details. Activity 5: Listening Extensions: Create a Short Rhapsodic Piece That Uses Elements · Level 3 CD Further your students’ knowledge of rhapsodies by listening to of Jazz Style some of these famous works. What kinds of shifts and changes · large sheets of paper Listening Guide for the Opening of Rhapsody in Blue do you hear?: · excerpt of a story with changing moods As a class or in small groups, have your students compose Emmanuel Chabrier: España, rhapsodie pour orchestre a rhapsody. Have them refer to the ideas listed in your chart, · writing materials 00:00–00:48 Claude Debussy: Première Rhapsody · My Musical Journal You will notice that the piece begins with its famous paying special attention to the sudden shifts of mood, to Georges Enescu: Romanian Rhapsody clarinet “yawn,” where a solo clarinet scoops up from a low help create melodic and rhythmic ideas with recorders and : Hungarian Rhapsody No. 2; Activity 1: note to a high note into a bluesy section that goes on percussion instruments. Have them assemble the ideas Queen: Bohemian Rhapsody : Rhapsody on a Theme of Paganini Exploring Changing Moods until the trumpet picks up the tune again at 0:48, still with for maximum contrast. Then have students rehearse their Maurice Ravel: Rapsodie espagnole the bluesy feel. rhapsodies and record them. · Can you think of a time when your mood suddenly Deepen your students’ understanding of Gershwin’s blues changed? Share personal experiences. Can you 1:00–1:08 Activity 6: influence with some of these compositions: demonstrate the mood change with your voice? The orchestra plays the tune in a much more forceful way. Listening to Rhapsody in Blue W.C. Handy: St. Louis Blues · Read your class an excerpt of a story such as Luba and This sudden shift in tone and mood epitomizes the piece’s After your students have created their pieces, they are Louis Armstrong and His Hot Five: West End Blues; Tiger Rag the Wren by Patricia Polacco (Penguin Putnam Books, irregular form. : Blue Rondo alla Turka 2002) that has sudden mood changes. Emphasize shifts ready to listen to the entire Rhapsody in Blue. As students Duke Ellington: Diminuendo in Blue and Crescendo in Blue from in mood with changes in volume and expression. 1:08–2:23 listen, have them take notes in their journals, with special the · What moods do the students hear? What clues do they No sooner have we encountered this louder set of emphasis on the changes in mood throughout. hear in your voice? orchestral forces than the piano goes solo at 1:08 and playfully seems to improvise with the first melody. Students may notice that the tempo is never constant; it switches from faster to slower to faster throughout — another way that

62 63 LEVEL LEVEL UNIT 4 A Jazzy Neighborhood Journey wrote to the President that the proceeds of Harlem Brainstorm each of these sections: would be used “to help fight for your civil rights · What do you see in this location? program — to stamp out segregation, discrimination, · What kinds of sounds or music might you hear? 3 · What activities are taking place? 3 bigotry, and a variety of other intolerances in our · What is the flavor, or mood, of the neighborhood? own American society.” Ellington’s composition · Record your observations on your sheet of paper. Focal Work paints a picture in sound of a stroll through A Tone Parallel to Harlem crowded, bustling Harlem. You may hear echoes The above example might yield a list like this: by Duke Ellington/Wynton Marsalis of the Spanish and West Indian neighborhoods; a church scene (Ellington wrote that “Harlem Park Slope 1. 7th Avenue Shops and Restaurants always had more churches than cabarets”); and a. the toy store In A Tone Parallel to Harlem, Duke Ellington weaves references to Harlem’s many heroes and civil b. the fruit and vegetable stand a complex tapestry of 20th-century American rights leaders. Like Gershwin’s Rhapsody in c. the Greek restaurant Blue, Harlem is cleanly organized, free-form, and music by using traditional symphonic procedures crowded with ideas and impulses. Also like the 2. Prospect Park as well as jazz devices, which include call and Gershwin work, it has been called a miniature a. dogs barking b. boxes masterpiece. response, chorus structure, improvised breaks, and c. soccer dance grooves. All of these techniques combine In this unit, your students will: 3. Brownstones and Trees to take the listener on a guided tour of Ellington’s · create a musical motive a. birds chirping beloved neighborhood, Harlem. In this unit, · listen to Ellington’s musical journey b. people talking on stoops · create a musical journey through their own c. the ice cream truck students will create their own “musical journey.” neighborhood Activity 2: Creating a Neighborhood Motive Materials: · Level 3 CD In A Tone Parallel to Harlem, Ellington makes use of a · large sheet of paper short musical theme called a motive, which he describes · recorders as “pronouncing the word ‘Harlem.’” This is the first sound you hear, played by a muted trumpet. Listen to this Duke Ellington (1899–1974) Ellington, who perfectly tailored his compositions · percussion instruments · My Musical Journal motive on the recording, and then play it on your recorders to suit their playing styles. He achieved a rare (see Example 30, next page). Edward Kennedy Ellington was born in 1899 in complexity and harmonic sophistication in works Activity 1: Washington, D.C., began studying piano at age 7, like “Sophisticated Lady” and “.” Later Creating a Neighborhood Journey Have students create their own neighborhood motive: and made his professional debut at 17. He moved he explored extended compositions and complex · Go back to the title you chose for your neighborhood. to New York in the 1920s and began playing forms in longer works like Creole Rhapsody and Discuss the neighborhood or community of your school: Say the title together, and clap on each syllable: with a ten-piece band called the Washingtonians. Harlem. He also wrote stage works, film scores, · List some names people use to refer to your / / Soon he was leading the band, showing great neighborhood. Agree upon a one or two-word name for and orchestral suites. He lived to the age of 75. PARK SLOPE ability at administration and organization. In 1927 your neighborhood, and write it down as a title on a large sheet of paper. the band took up residence at Harlem’s glamorous A Tone Parallel to Harlem (1951) · Close your eyes and take a moment to imagine yourself · How many syllables does the name have? Cotton Club. A major hit, “,” brought · When you say it, on which syllables does your voice rise PHOTO: Courtesy of New York Philharmonic Archives on a journey through your neighborhood. What are Elllington worldwide fame, and in 1932 the In 1950, fresh from a European tour with his band some of the different and interesting places in the or fall in pitch? band left the Cotton Club and began recording and inspired by triumphs abroad, Duke Ellington neighborhood? · Using a recorder or another melody instrument, choose one pitch or one note for each syllable (see Example 31, and touring widely. This was the beginning of wrote an ambitious 15-minute piece called Harlem. · From students’ observations, identify two or three main parts of your neighborhood, and give each section a next page). Ellington’s most creative period. Duke Ellington is The work was commissioned by descriptive title, such as: · Have groups speak the name of their neighborhood. considered the most important composer in jazz for the NBC Symphony Orchestra. Ellington was · Next, have students “play” the name on the recorder. history. Ellington was also a wonderful jazz pianist, honored in September of that year with an invitation Park Slope This pattern will become the theme for your piece, so but his real interest was his band, and he featured to the White House, where he presented President · 7th Avenue Shops and Restaurants experiment with note length and rhythm until you get the his sidemen much more than he did his own Truman with a manuscript copy of the new piece. · Prospect Park motive to sound just the way you want it. playing. The unique virtuosity of soloists like Johnny Harlem was set to premiere at an NAACP benefit · Brownstones and Trees Congratulations! You’ve just created your own Hodges and Bubber Miley was an inspiration to in 1951 at the house. Ellington neighborhood motive!

64 65 LEVEL LEVEL 3 EXAMPLE 30 3

     C A A F Har – lem, Har – lem

Activity 3: Activity 4: A Musical Tour of Harlem Creating Your Musical Journey

Listen to A Tone Parallel to Harlem (track 16), and give Divide into small groups, one for each of the major sections your students a “guided tour” by sharing some of of your neighborhood: Ellington’s evocative descriptions of the different sections · Go back and look at the ideas written about the sounds as the music plays. and music of your section of the neighborhood. · Compose melodies and rhythms that describe each of Some of Ellington’s Descriptions the sections on your list. Include your “neighborhood · Pronouncing the word “Harlem” motive” in at least one of these melodies. · 110th street, heading north · Share your compositions with the rest of the class. · Intersection further uptown Now, put all the group work together, and you will have · Upbeat parade a musical journey through your neighborhood! Practice, · Jazz spoken in a thousand languages rehearse, and record it. · Funeral · Counterpoint of tears Activity 5: · After church promenade Harlem Revisited · March onward and upward Listen to A Tone Parallel to Harlem once again. Compare New York Philharmonic Music Director Emeritus with Wynton Marsalis and the Jazz Orchestra As students listen, have them take notes in their journals and contrast your neighborhood journey with about tempo, dynamics, orchestration, and any other Ellington’s. What does his music tell us about his Further Work for Connecting to Your Curriculum: Listening Extensions: observations. neighborhood? ··Read Walter Dean Myers picture book, Harlem (Scholastic Further your students’ knowledge of jazz and blues in orchestral · How does Ellington’s music give us a sense of the Press, 1997). Discuss the vivid images of Harlem in this book. music by listening to some of the following examples. different places in his neighborhood? (e.g., He uses slow For additional activities exploring the jazz elements of ··Compare the reflections of other writers: James Baldwin’s Harlem — Then and Now, Rudolph Fisher’s This Mus’ Be Harlem, Duke Ellington: Three Black Kings; Black, Brown and Beige; music for a funeral, loud dynamics for the “March onward Ellington’s Harlem, see New York Philharmonic Special and Langston Hughes’s Harlem. Nutcracker Suite and upward”.) Editions for Teachers, Vol. 1. ··Since the final sections ofHarlem represent Ellington’s feelings George Gershwin: ; Piano Concerto; about the civil rights struggle in America, you may want to Rhapsody in Blue explore some stories relating to the Civil Rights Movement. Wynton Marsalis: Blood on the Fields ··Discuss the stories and other images of the Civil Rights struggle in America. Read The Other Side by Jacqueline Woodson, White Socks Only by Evelyn Coleman, and Freedom Summer by Deborah Wiles. Try to imagine what a “sound track” to PHOTO : Courtesy of New York Philharmonic Archives these stories might sound like. Experiment with improvisation EXAMPLE 31 by having someone from the class read the story aloud, while someone else from the class accompanies the storyteller using a melody or rhythm instrument. ··Use these Historical Fiction picture books to get a better sense of the Civil Rights struggle in America; choose a specific picture and discuss how music could capture the scene:

McWhorter, Diane. Dream of Freedom. New York:    Scholastic Nonfiction, 2004.  B G B G Shore, Diane Z. and Jessica Alexander. This Is the Dream. New York: Harper Collins Publishers, 2006. Park Slope, Park Slope Swain, Gwenyth. Riding to Washington. Chelsea, MI: Sleeping Bear Press, 2008.

66 67 LEVEL LEVEL UNIT 5 Musical Portraits occasions, with an array of narrators, ranging from James Earl Jones and Barack Obama to 3 Aaron Copland himself. 3

In this unit, your students will: Focal Work · reflect on A Lincoln Portrait · learn melodies from the period · study Aaron Copland’s musical portrait and his by Aaron Copland method · compose a musical portrait of a great American Abraham Lincoln has been a favorite subject for Materials: portraits, from the famous pictures on American · Level 3 CD currency to Walt Whitman’s stirring poem, · biography of Abraham Lincoln O Captain! My Captain! Aaron Copland’s A Lincoln · recorders Abraham Lincoln percussion instruments Portrait portrays Lincoln through an ingenious · If You Grew Up with Abraham Lincoln, Barbara Cary’s · My Musical Journal Meet Abraham Lincoln, or Judith St. George’s Stand Tall, three-part form: the first gives the listener a sense Abe Lincoln). Activity 1: of Abraham Lincoln the man, the second part Who Was Abraham Lincoln? Activity 2: evokes Lincoln’s times, and the third part “draws Lincoln’s Personality Use the following clues to play a game of “Who Am I?” a simple but impressive frame about the words of Have the students listen to all the clues before they guess In the first section ofA Lincoln Portrait, Copland portrays Lincoln himself.” who the famous person is: “something of the mysterious sense of fatality that · I am considered a great American. surrounds Lincoln’s personality [and also] something of · I was six feet four inches tall. his gentleness and simplicity of spirit.” Which instruments · I was born in Kentucky, raised in Indiana, and lived in and what kind of music would best portray these qualities? Illinois. To hear how Copland does it, listen to Track 17. · I was a quiet and melancholy man. Aaron Copland (1900–1990) A Lincoln Portrait (1942) · I was a champion of democracy, and I spoke out against Copland’s strong, dignified rhythms and his open, slavery. ascending melodies play important roles during this first · I was the sixteenth President of the United States of section. Have your students learn the melodies below One of America’s great artists, Brooklyn-born During World War II, Aaron Copland produced America. from A Lincoln Portrait (see Example 32). Listen to Aaron Copland earned the title “Dean of American four of the most emblematic works of American · You can own a portrait of me for only a penny or a five- the first three minutes again, and notice these melodies. Composers” for his influence on generations music: Rodeo, premiered in 1942; Fanfare for the dollar bill. of American composers and his ability to create Common Man, premiered in 1943; Appalachian Activity 3: sounds that evoke the beauty of the American Spring, premiered in 1944; and A Lincoln Portrait, At what point did students realize that you were talking Lincoln’s Times about Abraham Lincoln? What additional facts do students landscape. Copland skillfully combined American premiered in 1942. He composed this last work as know about Abraham Lincoln? If desired, supplement the In the second section of A Lincoln Portrait, Copland folk themes with modern composition techniques, part of a group commission, with other composers class’s knowledge with a biography or an informative book evokes Lincoln’s time period by quoting melodies from two such as polyrhythms (the simultaneous sounding providing portraits of New York Mayor Fiorello on Abraham Lincoln and his times (e.g., Ann McGovern’s popular songs of Lincoln’s day: “Camptown Races” and of two or more rhythms), percussive orchestration, LaGuardia and author Mark Twain. All three were PHOTO: Courtesy of New York Philharmonic Archives PHOTO TK CREDIT: and striking harmonies. In this way, he achieved premiered by the Cincinnati Symphony Orchestra. EXAMPLE 32 a distinct American style of composition. Copland The immediate popularity of Copland’s portrait was a close friend and mentor to Leonard made it clear that the words and character of the Tunes from A Lincoln Portrait Bernstein, who performed dozens of his works president who saw the nation through the Civil War with the New York Philharmonic, including music were a balm and an inspiration to the generation Aaron Copland commissioned for the opening of Philharmonic fighting World War II. Copland compiled the text (flute; mm. 1–2) (horn; mm. 51–53)

Hall, now Avery Fisher Hall, in 1962. himself, having realized that “no composer could ( (  possibly hope to match in purely musical terms the 6                 stature of so eminent a figure.” A Lincoln Portrait  �   B B A A A B G B A G D B A has been performed on countless important 

68 69 LEVEL LEVEL EXAMPLE 33 EXAMPLE 34 3 Camptown Races Springfield Mountain 3 Stephen Foster New England Folk Song

2  3   4 G G E G A G E E D  E D   4 D G B D D C B A D F A On Spring – field Moun — tain there did dwell A love — ly

� �   G G E G A G E D E D C  D D E F G D G D G B D D C B youth, I knowed him well. Too noo de noo, too noo de

� �   �  G G E G G A G E E D  E D  A D F A D D E F G D G nay, Too noo de noo, too noo de noo.

�� “Fellow citizens, we cannot escape history. We of this as an apology for enslaving another race, it is the same Congress and this administration will be remembered tyrannical principle!”  G G E G G A A G G E D E D C  in spite of ourselves. No personal significance or insignificance can spare one or another of us. The fiery Lincoln was a quiet man. trial through which we pass will light us down, in honor or Abe Lincoln was a quiet and a melancholy man. dishonor, to the latest generation. We — even we here — hold But when he spoke of democracy, �� the power and bear the responsibility.” This is what he said:     He said:  C C E G C A A C A G G He was born in Kentucky, raised in Indiana, and lived in Illinois. “As I would not be a slave, so I would not be a master. And this is what he said: This expresses my idea of democracy. Whatever differs This is what Abe Lincoln said: from this, to the extent of the difference, is no democracy.” �� He said: Abraham Lincoln, sixteenth President of these United  G G E E G G A G E D E F E D D C “The dogmas of the quiet past are inadequate to the stormy States, is everlasting in the memory of his countrymen. present. The occasion is piled high with difficulty, and For on the battleground at Gettysburg, this is what he said: we must rise with the occasion. As our case is new, so He said: we must think anew and act anew. We must disenthrall “Springfield Mountain.” Have your students sing or play Activity 4: ourselves, and then we shall save our country.” “… that from these honored dead we take increased these melodies (Examples 33 and 34). Lincoln’s Words devotion to that cause for which they gave the last When standing erect he was six feet four inches tall. full measure of devotion: that we here highly resolve that Listen to the second section of A Lincoln Portrait, Track 18. In the final section ofA Lincoln Portrait, Copland depicts And this is what he said: these dead shall not have died in vain; that this nation, Have students raise their hands whenever they recognize Abraham Lincoln by musically setting a text, which is He said: under God, shall have a new birth of freedom; and that parts of the melodies they have learned. One of the clearest spoken by a narrator. Read portions of the text to your government of the people, by the people, and for the examples occurs at 5:05, when the clarinet plays the students. “It is the eternal struggle between two principles right and people, shall not perish from the earth.” chorus of “Camptown Races.” wrong, throughout the world … It is the same spirit that “Fellow citizens, we cannot escape history.” says, ‘You toil and work and earn bread — and I’ll eat it.’ No What kinds of information does this verbal portrait matter in what shape it comes, whether from the mouth of include (physical descriptions, biographical information, That is what he said, a king who seeks to bestride the people of his own nation personality traits, quotes, Lincoln’s perspectives, etc.)? That is what Abraham Lincoln said: and live by the fruit of their labor, or from one race of men What instruments and what kind of music would best

70 71 LEVEL LEVEL EXAMPLE 35 3 Trumpet Melody from A Lincoln Portrait 3 Aaron Copland

 ( 3   (      � D G B D  D C G A D

� (  (    G B D  D  E F G 

highlight the meaning of various sections? Experiment by Americans from your regular curriculum. having students add melody or percussion instruments to a reading of the text. Choose one person from your list, and have students imagine the following scenario: you are a composer who Listen to the third part of A Lincoln Portrait (Track 19), has been commissioned to compose a musical portrait. and notice how Copland uses the orchestra to highlight Like Copland, you want to present: and punctuate the words. For example, he uses strong · aspects of your great American’s personality rhythms and low-pitched chords to accompany “It is the · his or her time period narratingA Lincoln Portrait with Leonard Bernstein conducting the New York Philharmonic eternal struggle between two principles, right and wrong, · his or her words throughout the world. . .” (2:34–3:11). At 3:12, Copland What instruments would best portray these three different The following books are effective resources for Listening Extensions: makes a dramatic dynamic shift from loudest to softest attributes of your great American? In what order would you researching your class portraits: The following orchestral masterworks are all examples of musical volume to set up the phrase “Lincoln was a quiet man.” put the three attributes? Burgan, Michael. George Washington. Minneapolis: portraiture of actual people: Compass Point Books, 2002. Ludwig van Beethoven: Overture to Egmont, Op. 84 At 5:16, an open-bell trumpet begins to play a melody as Davidson, Margaret. Helen Keller. New York: Edward Elgar: Enigma Variations the narrator quotes from the Gettysburg Address. Activity 6: Hastings House, 1971. Richard Strauss: (A Hero’s Life) Creating a Musical Portrait Farris, Christine King. My Brother Martin: A Sister Remembers What is Lincoln discussing at this moment? Why do you Growing Up with the Rev. Dr. Martin Luther King. Beethoven’s Egmont was inspired by Lamoral, Count of Egmont, think Copland decided to underscore these words with Research your great American’s life and times, personality, New York: Simon & Schuster Books for Young Children, Prince of Gavere, a 16th century nobleman and general who was 2003. condemned to death for standing against opression. In Enigma a solo trumpet? Discuss other ways Copland uses the and words. Discover what music was popular in your Giblin, James Cross. Thomas Jefferson. New York: Variations, Elgar wrote a theme and variations where each orchestra to highlight the text. How are his choices similar chosen subject’s time and what music he or she liked. Scholastic, 1994. variation was a depiction of a close friend of his, but because the to or different from your text-setting experiments? Grimes, Nikki. Barack Obama, Son of Promise, Child of Hope. titles were coded, people had to listen and try and figure out the Using quotes and contextual information, create a text for New York: Simon and Schuster Books for Young Readers, identity depicted in each portrait. Strauss’s Ein Heldenleben is Finally, listen to the entire A Lincoln Portrait. How do all your portrait. Break your class into groups and assign each 2008. a musical self-portrait in which he depicts his own heroic battles, Marzollo, Jean. Happy Birthday, Martin Luther King. New York: triumphs, relationships, and accomplishments. of the sections combine to paint a complete picture of group a different section of your text to set to music. Let Scholastic, Inc., 1993. Abraham Lincoln? the groups share their music with the class, then combine, Tufankjian, YES WE CAN. New York: PowerHouse Books, 2008. For more symphonic depictions of American life, folklore, history, revise, and refine the individual group work to create a PHOTO: Courtesy of New York Philharmonic Archives Longfellow, Henry Wadsworth; Ted Rand, illustrator. Paul and landscapes, listen to: Activity 5: unified portrait, which the entire class can perform. Revere’s Ride. New York: Dutton Children’s Books, 1996. John Adams: ; On the Transmigration Portraying a Great American Petry, Ann. Harriet Tubman, Conductor on the Underground of Souls Railroad. New York: Harper Trophy, 1996. : Knoxville, Summer of 1915 Ringgold, Faith. If a Bus Could Talk: The Story of Rosa Parks. : Skies of America Copland wrote A Lincoln Portrait after he had received New York: Simon & Schuster Books for Young People, 1999. Aaron Copland: Appalachian Spring Suite; Billy the Kid; Suite a commission to compose a musical portrait of a great Ryan, Pam Munoz. Amelia and Eleanor Go for a Ride. New York: from ; Rodeo American. What makes someone a great American? Scholastic Press, 1999. Antonín Dvorˇák: Symphony No. 9, From the New World Create a list of great Americans. Remember to distinguish Sawyer, Kem Knapp. Eleanor Roosevelt. New York: DK : Grand Canyon Suite greatness from celebrity, and remember that many great Publishing, 2006. Charles Ives: Three Places in New England Mark O’Connor: Americana Symphony Americans may not be famous at all. (Students will likely : New England Triptych recall some heroes from their study of Fanfare for the William Grant Still: Old California Common Man in Level 2, Unit 5.) Be sure to include great : Sequoia; Made in America

72 73 LEVEL LEVEL UNIT 6 Creating a Final Project 3 Obama’s Theme 3

As students are able to hear whole musical BCD______(Travel) A______pieces in their third year of the Pathways to the ABC______DD______DD GGAABBAA Orchestra curriculum, you can offer them the C______AB______GGAABBAA (repeat 5X) opportunity to synthesize their understanding Whistle Blows (Helping the U.S.) through composing a complex piece of their own. (Peace) This can occur throughout the year, or toward BAG BAG EA the end, after the preceding units are complete. EA______B______D (repeat) Cymbal Crash Blanca and Jeffrey Solo The following are projects that teachers have (Family) DGFG______(repeat 2X) completed with success in their own classrooms. GABG______(repeat 2X) In all cases, you have the opportunity to help E______FG B ______A (repeat) G______E______(repeat 2X) Percussion students document and reflect on their own C______DB A______G (repeat) (Final Obama Theme) work, especially through the creation of an audio BCD______recording for reproduction and distribution to all A______participating students and teachers. ABC______DD DD C______AB______Cymbal crash

Classroom compositions are often created in sections by small groups who focus on various aspects of the topic Greatest Hits: students were asked to name Class Melody: at the beginning of the year, years’ final projects are available upon request from has transpired. It will also be useful in the evaluation their favorite musical qualities or ingredients students decided to compose a melody the New York Philharmonic Education Department. and assessment of the curriculum as it is practiced from the works they studied throughout the year. that would be their theme throughout the year. in the classroom. Appropriate questions can be Based on these qualities, students composed a The theme began as a short, almost motivic idea, These projects are the perfect opportunity to developed by teachers and their musician partners, piece for recorders that “had it all.” These qualities and as the year progressed it was developed and explore the rehearsal and performance process perhaps including inquiries into how the study of (memorable theme, climax, sudden jumps, embellished. of the orchestra. Teaching Artists or music particular musical works impacted on students’ repetition, quiet ending) were placed in a sequence teachers can assist in helping students perfect compositions and the process they undertook to and edited. The final piece was notated, a piano Style Experiment: excited by the jazziness of their renditions of their Final Projects to the level reach their final goals. accompaniment was added, and the result was A Tone Parallel to Harlem, students composed appropriate for the occasion. Helping students recorded and performed. a jazzy piece of their own, employing several jazz document their process and their creative work will elements and adding percussion to their basic PHOTO: Michael DiVito be helpful in assessing the musical learning that Graduation Theme: students discussed their recorder melodies. feelings about leaving their elementary school settings and composed a piece based on those These are only a few of the many ideas that feelings. Students composed in small groups, each teachers have employed, but they are included group responsible for a small part of the melody. An here to start a conversation between music editing process ensued, a title was decided upon, specialists (such as Teaching Artists or music a piano accompaniment was added, and the result teachers) and classroom teachers about how you was performed at the school graduation. think you might best help students synthesize their learning during the year. Audio examples of past

74 75 Glossary

accent the stressing of particular notes or pizzicato the plucking of strings rather than sounds bowing arco use of the bow in playing a stringed pulse steady beats that appear in a very instrument regular, predictable way cadenza a virtuosic passage for the soloist in rhapsody a piece with an irregular form and a a concerto highly charged emotional character chord a combination of two or more notes rhythm patterns of sounds and silence in a that blend together to form one piece of music sound staccato short, disconnected, or choppy concerto a piece for one or more soloists manner of playing notes accompanied by orchestra symphonic in this context, the same as conductor leader of the orchestra “orchestral,” usually a large scale crescendo increasing in volume piece of orchestral music diminuendo decreasing in volume syncopation displacement of the regular metrical accent in music dissonance a clashing or discordant musical interval tango a ballroom dance of Latin American origin dynamics the loudness and softness of musical sounds tempo the fastness or slowness of a piece of music glissando a rapid sliding up or down on the musical scale texture the feeling or character of a passage of music determined by the harmony multiple musical sounds occurring combination of its sounds simultaneously theme the main idea in a piece of music imitation the repetition of a theme or phrase timbre the distinctive quality of a sound jazz American music developed from ragtime and blues, generally trill rapid alternation of two adjacent with syncopated rhythms and musical notes improvisation virtuoso a musician of exceptional skill legato smooth and connected manner of variation an alteration or new version of a playing notes theme melody the tune of a piece of music meter predictable pattern of strong and weak beats motive a recurrent phrase that is developed throughout a piece of music orchestra a group of musicians playing a variety of instruments orchestration the choices that a composer makes in the use of musical instruments in a piece philharmonic literally, “loving harmony” or “loving sound”

76 77 Additional Units of Study Available from the New York Philharmonic New York Philharmonic at nyphil.org/teachers 2009–2010 Season

Available in Special Editions for Teachers, Vol. 1: Alan Gilbert Marilyn Dubow Basses Bassoons Harp An American Celebration Music Director The Sue and Eugene Eugene Levinson Principal Judith LeClair Principal Principal Overture by Leonard Bernstein Daniel Boico Mercy, Jr. Chair The Redfield D. Beckwith The Pels Family Chair The Mr. and Mrs. Assistant Conductor Martin Eshelman Chair Kim Laskowski* William T. Knight III Chair A Tone Parallel to Harlem by Duke Ellington/ Leonard Bernstein Quan Ge Orin O’Brien Roger Nye Wynton Marsalis Laureate Conductor, Judith Ginsberg Acting Associate Principal Arlen Fast Keyboard Three Places in New England by Charles Ives 1943–1990 Myung-Hi Kim + The Herbert M. Citrin Chair In Memory of A Lincoln Portrait by Aaron Copland Kurt Masur Hanna Lachert Contrabassoon Fanfare for the Common Man by Aaron Copland Music Director Emeritus Hyunju Lee William Blossom Arlen Fast Stars and Stripes Forever by John Philip Sousa Daniel Reed The Ludmila S. and Lionel Party Violins Mark Schmoockler Carl B. Hess Chair Horns Concerto Grosso by Ernest Bloch Glenn Dicterow Na Sun Randall Butler Philip Myers Principal Piano Concertmaster Vladimir Tsypin David J. Grossman The Ruth F. and Alan J. The Karen and Available in Special Editions for Teachers, Vol. 2: The Charles E. Culpeper Satoshi Okamoto Broder Chair Richard S. LeFrak Chair Bernstein Live Chair Violas Jon Deak++ Outdoor Overture by Aaron Copland Sheryl Staples Principal Leonid Finkelshteyn++ Acting Associate Principal Harriet Wingreen Overture to the Magic Flute by Wolfgang Amadeus Mozart Principal Associate The Mr. and Mrs. Frederick R. Allen Spanjer Jonathan Feldman Concertmaster P. Rose Chair Flutes Howard Wall Brandenburg Concerto No. 5 by The Elizabeth G. Beinecke Rebecca Young* Robert Langevin Principal Organ Song of the Nightingale by Igor Stravinsky Chair Irene Breslaw** The Lila Acheson Wallace Trumpets Titan Symphony by Michelle Kim The Norma and Lloyd Chair Principal Assistant Concertmaster Chazen Chair Sandra Church* The Paula Levin Chair Librarians School Day Concert units can also be obtained as they are The William Petschek Dorian Rence Renée Siebert Matthew Muckey* Lawrence Tarlow Principal created and become available, each season. Family Mindy Kaufman Ethan Bensdorf Sandra Pearson** Chair Katherine Greene Thomas V. Smith Sara Griffin** Enrico Di Cecco The Mr. and Mrs. William J. Piccolo For questions or information about these and other Carol Webb McDonough Chair Mindy Kaufman Trombones Orchestra Personnel resources, please : Yoko Takebe Dawn Hannay Principal Manager [email protected] Vivek Kamath Oboes The Gurnee F. and Marjorie Carl R. Schiebler or Minyoung Chang Peter Kenote Principal L. Hart Chair (212) 875-5909 Hae-Young Ham Barry Lehr The Chair Amanda Stewart* Stage Representative Kenneth Mirkin or The Mr. and Mrs. Timothy Sherry Sylar* David Finlayson Louis J. Patalano M. George Chair Judith Nelson Robert Botti The Donna and New York Philharmonic Education Department Lisa GiHae Kim Robert Rinehart Benjamin M. Rosen Chair Audio Director 132 West 65th Street Kuan-Cheng Lu The Mr. and Mrs. G. Chris English Horn Lawrence Rock New York, NY 10023 Newton Mansfield Andersen Chair Thomas Stacy Bass Kerry McDermott The Joan and Joel Smilow James Markey * Associate Principal Anna Rabinova Cellos Chair ** Assistant Principal Charles Rex Principal Tuba + On Leave The Shirley Bacot Shamel The Fan Fox and Leslie R. Clarinets Alan Baer Principal ++ Replacement/Extra Chair Samuels Chair Mark Nuccio Acting Fiona Simon Principal Timpani The New York Philharmonic Sharon Yamada Eileen Moon* The Edna and W. Van Alan Markus Rhoten Principal uses the revolving seating Elizabeth Zeltser The Paul and Diane Clark Chair The Carlos Moseley Chair method for section string Yulia Ziskel Guenther Chair Pascual Martinez Forteza players who are listed Qiang Tu Acting Associate Principal Percussion alphabetically in the roster. Marc Ginsberg Principal The Shirley and Jon The Honey M. Kurtz Family Christopher S. Lamb Lisa Kim* Brodsky Foundation Chair Chair Principal Honorary Members In Memory of Laura Evangeline Benedetti Alucia Scalzo++ The Constance R. Hoguet of the Society Mitchell Eric Bartlett Amy Zoloto++ Friends of the Philharmonic Soohyun Kwon The Mr. and Mrs. James E. Chair The Joan and Joel I. Picket Buckman Chair E-Flat Clarinet Daniel Druckman* Chair Elizabeth Dyson Pascual Martinez Forteza The Mr. and Mrs. Duoming Ba Maria Kitsopoulos Ronald J. Ulrich Chair Carlos Moseley Sumire Kudo Bass Clarinet Ru-Pei Yeh Amy Zoloto++ Wei Yu

78 79 Credits CD 1 Discovering Orchestral Music?

Music Director: Alan Gilbert Justin Hines* 1–20 BRITTEN The Young Person’s Guide 25 COPLAND President and Executive Director: Zarin Mehta Jihea Hong-Park to the Orchestra, Op. 34 17:56 “Simple Gifts” from Elizabeth Janzen Appalachian Spring Suite 3:05 Project Editors: David Wallace, Richard Mannoia, Katharine Kresek 1 Theme. Allegro maestoso e largamente Amy Leffert, Toya Lillard, Theodore Wiprud Wendy Law Richard Mannoia [Full Orchestra] New York Philharmonic, Leonard Bernstein, conductor Teaching Artists contributing to this edition: Paul Murphy 2 Theme B [Woodwinds] Originally released in 1962. All rights reserved by Entertainment Chris Gross, Richard Mannoia, Rachel Shapiro, * 3 Theme C [Brass] Laura Vincent, David Wallace, Tanya Witek Andrew Roitstein 4 Theme D [Strings] 26 BEETHOVEN Rachel Shapiro 5 Theme E [Percussion] Symphony No. 9 in D minor, Op. 125 Teachers contributing to the edition: Laura Vincent 6 Theme F [Full Orchestra] Allegro assai: “Ode to Joy” 1:35 Elaine Shapiro (P.S. 199, ), Helen Hernandez David Wallace* 7 Variation A. Presto [Piccolo and Flutes] (P.S. 39, Brooklyn), Cheryl Taylor (P.S. 39, Brooklyn) Erin Wight New York Philharmonic, Leonard Bernstein, conductor Andrea Arce (Mt. Carmel Holy Rosary School), Ginetta Sean Rittenauer** 8 Variation B. Lento [Oboes] Originally released in 1969. All rights reserved by Sony Music Entertainment Sollecito (P.S. 49, Queens) Zara Lawler** 9 Variation C. Moderato [Clarinets] Andrea Lee** 10 Variation D. Allegro alla Marcia [Bassoons] 27 BEETHOVEN Education Policy and Planning Committee 11 Variation E. Brillante — all polacca [Violins] of the Board *Very Young Composers Teaching Artist Symphony No. 6 in F major, Op. 68, Pastoral 12 Variation F. Meno mosso [Violas] Dale M. Frehse, Co-Chair **Teaching Artist Apprentice Allego: Thunderstorm 3:56 13 Variation G. [Cellos] Sue B. Mercy, Co-Chair Paul B. Guenther Additional thanks to all of the teachers, Teaching Artists, 14 Variation H. Cominciando lento ma poco a poco New York Philharmonic, Leonard Bernstein, conducto Sung E. Han-Andersen and students who have contributed to this curriculum accelerando [Double Basses] Originally released in 1965. All rights reserved by Sony Music Entertainment Robert S. Hekemian, Jr. through their work, their writing, and participation in 15 Variation I. Maestoso [Harp] Karen T. LeFrak school partnerships with the New York Philharmonic from 16 Variation J. L’istesso tempo [French Horns] 28–31 BEETHOVEN Symphony No. 7 in A major, Phyllis J. Mills 1994 to 2009. 17 Variation K. Vivace [Trumpets] Gary W. Parr (ex-officio) Op. 92 18 Variation L. Allegro pomposo Frank Savage New York Philharmonic 28 Allegretto 9:46 [Trombones and Tuba] Stephen Stamas Avery Fisher Hall Musical Layers Excerpts Mrs. John W. Straus 10 Lincoln Center Plaza 19 Variation M. Moderato [Percussion] 29 Layer 1 Antoinette Messier (non-board) New York, NY 10023-6990 20 Fugue. Allegro molto [Full Orchestra] 30 Layer 2 (212) 875-5732 31 Different ways of layering Education Department Staff nyphil.org New York Philharmonic, Leonard Bernstein, conductor Theodore Wiprud, Director of Education Originally released in 1960. All rights reserved by Sony Music Entertainment Toya Lillard, Director of In-School Programs For online support, go to nyphil.org/education, New York Philharmonic, Leonard Bernstein, conductor Amy Leffert, Education Manager or email: [email protected]. Originally released in 1969. All rights reserved by Sony Music Entertainment 21 –24 PROKOFIEV Lynne Marie Mattos, Education Assistant March from The Love for Three Oranges 1:55 Elizabeth Mulhall, Administrative Assistant Design: Pure+Applied 32–63 PROKOFIEV Peter and the Wolf, Rhythm Example Excerpts Op. 67 26:53 Jon Deak, Young Composers Advocate 22 Final unison 23 Opening trumpet theme Teaching Artist Faculty 2009–10 New York Philharmonic, Leonard Bernstein, conductor 24 Oboe melody Meena Bhasin Originally released in 1960. All rights reserved by Sony Music Entertainment James Blachly* Richard Carrick New York Philharmonic, Leonard Bernstein, conductor Janey Choi © 1976 Sony Music Entertainment Stephen Dunn Daniel Felsenfeld* Arnold Greenwich All tracks under license from The Sony Music Custom Marketing Group, Christopher Gross a division of Sony Music Entertainment

80 81 CD 2 CD 3 The Composer’s Process Exploring Orchestral Masterworks

1–7 SMETANA Vltava (The Moldau) 21 MOZART Symphony No. 40 in G minor, K. 550 1 RIMSKY-KORSAKOV Scheherazade 16 ELLINGTON/Marsalis from Má Vlast 11:34 Menuetto: Allegretto 4:41 The Story of the Kalendar Prince 12:00* A Tone Parallel to Harlem 12:25 1 The two springs at the Vltava’a source 2 A hunt in the forest surrounding the river New York Philharmonic, Lorin Maazel, conductor New York Philharmonic, Kurt Masur, conductor New York Philharmonic, Kurt Masur, conductor 3 A country wedding Recorded in 2006 Recorded in 1997 Recorded in 1999 4 Moonlight with nymphs gathering 5 St. John’s Rapids 22–25 MUSSORGSKY Pictures at an Exhibition 2–14 FALLA El Amor Brujo 26:35 17–19 COPLAND A Lincoln Portrait 14:01 6 Vltava streams broadly beyond the rapids Piano version excerpts 2 Introduction 17 Part one 7 The Vyšehrad 22 Promenade 1:34 3 With the Gypsies: In the Evening 18 Part two 23 Bydlo (The Ox Cart) 2:55 4 Song of Suffering Love 19 Part three New York Philharmonic, Leonard Bernstein, conductor 24 Ballet of the Unhatched Chicks 1:12 5 The Apparition Originally released in 1964. All rights reserved by Sony Music Entertainment 25 Limoges: The Marketplace 1:34 6 Dance of Terror New York Philharmonic, Leonard Bernstein, conductor 7 The Magic Circle Recorded in 1976 8 IVES The Unanswered Question 5:21 , piano 8 Midnight: The Spells © 1991 Sony Music Entertainment 9 Ritual Fire Dance: To Chase Away Evil Spirits New York Philharmonic, Leonard Bernstein, conductor 10 Scene Peer International Corp. (BMI). Recorded in 1964 26–40 MUSSORGSKY/Ravel 11 Song of the Will-o’-the-Wisp Pictures at an Exhibition 33:25 12 Pantomime 9–19 BEETHOVEN Piano Concerto No. 5 in 26 Promenade 13 Dance of the Game of Love Eb major, Op. 73, Emperor 27 Gnome 14 Finale: The Bells of Dawn Melody Harmonization Excerpts 28 Promenade 9 Example one 29 The Old Castle New York Philharmonic, Leonard Bernstein, conductor 10 Example two 30 Promenade © 1978 Sony Music Entertainment 11 Example three 31 Tuileries 12–19 Adagio un poco mosso 8:29 32 Bydlo (The Ox Cart) 15 GERSHWIN Rhapsody in Blue 13:01 33 Promenade New York Philharmonic, Leonard Bernstein, conductor 34 Ballet of the Unhatched Chicks New York Philharmonic, Zubin Mehta, conductor Rudolph Serkin, piano 35 Samuel Goldenberg and Schmuyle , piano Originally released in 1962. All rights reserved by Sony Music Entertainment 36 Limoges: The Marketplace © 1979 Sony Music Entertainment 37 Catacombs 20 MOZART Serenade for Strings in G major, 38 With the Dead in a Dead Language K. 525, Eine kleine Nachtmusik 39 The Hut on Chicken Feet: Baba Yaga PHOTO TK CREDIT: 20 Rondo: Allegro 4:42 40 The Great Gate of Kiev

New York Philharmonic, Leonard Bernstein, conductor New York Philharmonic, Leonard Bernstein, conductor © 1978 Sony Music Entertainment Originally released in 1958. All rights reserved by Sony Music Entertainment

41 COPLAND Fanfare for the Common Man 3:19

New York Philharmonic, Kurt Masur, conductor Recorded in 1997

Tracks 2–15 under license from The Sony Music Custom Marketing Group, Tracks 1–7, 9–20, and 22–40 under license from The Sony Music Custom Marketing Group, a a division of Sony Music Entertainment division of Sony Music Entertainment

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