The Kalamazoo Symphony Orchestra Presents
Sight to Sound
Youth Concert 2014-2015 Teacher GUIDE
KSO Youth Concerts 2014-2015
“Sight to Sound”
Teacher Guide Pages Concert Introduction………………………………………………………………………………..………………..2 Artwork Submissions………………………………...……………………………………………………………...3 Symphony Orchestra Instrument Families………………………………..……………………………….4 Symphony Orchestra Template……………………………………………………………...………………...6 “Sunrise Ignites Daybreak’s Veil” from Chasing Light, by Shwantner….……………..….…...8 In the Steppes of Central Asia, by Borodin..……………………....………………………………...….10 Music Composition Templates………………………………………..……………………………………….12 “The Storm of Chenery Auditorium”………….…………………………………………………...…...... 14 “The Royal March of the Lion” from Carnival of the Animals, by Saint-Saens……….....16 Mosquito Dance, by White……...……….………………..……………………………………...….....…..18 “The Elephant” from Carnival of the Animals, by Saint-Saens…………..………………….…..20 “Flight of the Bumblebee” from The Tale of Tsar Saltan, by Korsakov….…...…………….20 “The Moldau” from Ma Vlast by Smetana……………….……………….……………………….……..22 “The Flying Theme” from E.T., by Williams………………....………...………………...…………….24 Flying Theme Pictures for Writing Activity……………………………………………………………..26 What a Wonderful World, by Thiele/Weiss…….………….…..……………………….…………….28 Special Needs Modifications……….……………………………………………………..……...………...30 The Conductor’s Role……………………………………………………………..………..……..……………31 Review: Show What You Know & Post-Concert Reflection…………………….……………..32 Concert Behavior: Setting Up Your Students for Success…………………..………………….33 MI Standards and Benchmarks…………………………………...………………………...…………….34 Instrument Index……………….…………………………………...………………………………..………...36 Kalamazoo Symphony Orchestra Stage Plot…………………………….…………….………..…..37
Student and Teacher Guide cover design, composer pages, lesson formatting and graphic design by Cori Somers.
Youth Concert 2014-2015: Sight to Sound
Dear Students,
Welcome to the Kalamazoo Symphony Youth Concerts 2015! This year’s program will take us on a musical journey with composers who have used the symphony orchestra to create images of our natural world through music. You will explore sunrises, thunderstorms, rivers, animals and more!
We have exciting participation pieces this year too! You will have the opportunity to sing with us, create a storm of your own, and submit artwork that will be shown during the concert!
We look forward to seeing you at the Kalamazoo Symphony concert, enjoying the music that sparks your imagination!
CONCERT PROGRAM
Schwantner “Sunrise Ignites Daybreaks’ Veil” from Chasing Light Borodin In the Steppes of Central Asia *Working “The Storm of Chenery Auditorium” Mystery Composer ????????????? Saint-Saëns “The Royal March of the Lion” from Carnival of the Animals White The Mosquito Dance Saint-Saëns “The Elephant” from Carnival of the Animals
Rimsky-Korsakov “Flight of the Bumblebee” from The Tale of the Tsar Saltan *Smetana “The Moldau” from Ma Vlast Williams “The Flying Theme” from E. T. *Thiele/Weiss What a Wonderful World
* Indicates a student participation piece!
Youth Concerts are made possible in part by: The Burdick-Thorne Foundation, Education for the Arts, John E. Fetzer Institute Fund, Diane S. Robertson, Mignon Sherwood DeLano Foundation, Stucki Family Foundation, Tyler-Little Family Foundation, Youth Concert Luncheon supporters , Dorothy U. Dalton Foundation, Harold and Grace Upjohn Foundation, Irving S. Gilmore Foundation, Kalamazoo Symphony Orchestra League, Michigan Council for Arts and Cultural Affairs, National Endowment for the Arts, Pfizer Corporation, Zoetis, Schupan And Sons, Upjohn Mason Grandchildren’s Chair in Music Education
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We invite your students to submit artwork based on Friedrich Smetana’s work “The Moldau” from Ma Vlast.
All artwork chosen will be displayed on our screen during the KSO’s performance of “Ma Vlast”! We will have a special presentation for each day of the week to be sure that pieces chosen from your school will be shown when your students are at the concert.
Submission requirements: You may submit original works of art or email photographs to [email protected] Work must be done in 2D, any medium welcome Work must be done on no larger than 11 x 17 paper Work must be matted on a solid color piece of construction paper
Place all artwork in one envelope and label the back of each piece with name and grade of student
Submission Deadline: All artwork must be postmarked by Thursday February 19, 2015 Please send all submissions to: Kalamazoo Symphony Orchestra All artwork will be C/O Cori Somers returned by April 1st 359 S. Kalamazoo Mall, Suite 100 Kalamazoo, MI 49007
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Instrument Families When we talk about musical instruments, we often talk about them as being part of a family. That's because, just like in human families, the instruments in a particular family are related to each other. They are often made of the same types of materials, usually look similar to one another, and produce sound in similar ways. Some are larger and some are smaller, just as people come in different shapes and sizes.
1. Using the student guide pictures of the instrument families discuss the different instrument families.
How do they produce sound?
How are they played?
How are they made?
Where can you find them on stage? 2. Make copies of the instrument cut-outs and stage plots from the Teacher Guide on pages 6 and 7. Have students create their own Symphony Orchestra set up. Page 35 of the Teacher Guide provides you with how your students will see the Kalamazoo Symphony Orchestra on stage.
The String Family : Violin, Viola, Cello, Bass Produce sound from vibrating strings. In most strings instruments, the vibrations are transmitted to the body of the instrument, which also vibrates, along with the air inside it. A vibrating string on its own makes only a very quiet sound, so string instruments are usually constructed in such a way that this sound is coupled to a hollow resonating chamber, a soundboard, or both. All string instruments have a bridge, which holds the string at the proper action height from the finger board. The bridge helps to transmit string energy into the "sound box" of the instrument to increase the sound volume. Makers of string instruments often seek very high quality woods, particularly spruce (chosen for its lightness, strength and flexibility) and maple (a very hard wood). Spruce is used for the sounding boards of instruments from the violin to the piano. String Instruments are played by Plucking: Pizzicato or Bowing: Arco Different pitches are created by varying the length of a string. A longer string results in a lower pitch, while a shorter string results in a higher pitch. By placing a finger down on the string , it shortens the distance between the finger placed and the bridge. The shorter the distance, the higher the pitch! A string with less tension (looser) results in a lower pitch, while a string with greater tension (tighter) results in a higher pitch.
String instruments can be divided in three groups. Lutes - instruments in which the strings are supported by a neck and gourd, such as a violin. Harps - instruments in which the strings are contained within a frame. Zithers - instruments with the strings mounted on a body, such as a piano.
The Brass Family: Trumpet, Trombone, Tuba, Horn Produce sound by sympathetic vibration of air in a tubular resonator in sympathy with the vibration of the player's lips. Brass instruments are also called labrosones, literally meaning "lip-vibrated instruments" There are several factors involved in producing different pitches on a brass instrument. Slides, valves, crooks, or keys are used to change vibratory length of tubing, thus changing the available harmonic series,
while the player's embouchure (mouth shape), lip tension and air flow serve to select the specific harmonic produced from the available series. 4
Modern brass instruments generally come in one of two families: Valve - a set of valves are operated by the player's fingers that introduce additional tubing, or crooks, into the instrument, changing its overall length. Each valve pressed moves air through additional tubing, individually or with other valves. Slide - brass instruments use a slide to change the length of tubing. The main instruments in this catergory are the trombone family. Most brass instruments are fitted with a removable mouthpiece. Different shapes, sizes and styles of mouthpiece may be used to suit different embouchures.Trumpets,trombones, and tubas are characteristically fitted with a cupped mouthpiece, while horns are fitted with a conical mouthpiece. Traditionally the instruments are normally made of brass, polished and then lacquered to prevent corrosion. Some higher quality and higher cost instruments use gold or silver plating. The Woodwind Family: Flute, Piccolo, Oboe, English Horn, Clarinet, Bassoon There are two main types of woodwind instruments: flutes and reed instruments (otherwise called reed pipes). What differentiates these instruments from other wind instruments is the way in which they produce their sound . Flutes Produce sound by directing a focused stream of air across the edge of a hole in a cylindrical tube. The flute family can be divided into two sub-families: open flutes, and closed flutes. Open Flutes - the player is required to blow a stream of air across a sharp edge that then splits the air stream . This split airstream then acts upon the air column contained within the flutes hollow causing it to vibrate and produce sound. Modern concert flutes are usually made of high-grade metal alloys, usually containing nickel, silver, copper, or gold. Closed Flute - the player is required to blow air into a duct. This duct acts as a channel bringing the air to a sharp edge. Like open flutes, the air is split which causes the column of air in the closed flute to vibrate and produce sound. Examples of this type of flute include the recorder (instrument), and organ pipes. Reed instruments Produce sound by focusing air into a mouthpiece which then causes a reed, or reeds, to vibrate. Similar to flutes, reed pipes are also further divided into two types: single reed and double reed Single-reed - produce sound by placing a reed onto the opening of a mouthpiece (using a ligature). When air is forced between the reed and the mouthpiece, the reed causes the air column in the instrument to vibrate and produce sound. Single reed instruments include the clarinet and saxophone. Double-reed - use two precisely cut, small pieces of cane bound together at the base. The bound reed is inserted into the instrument and vibrates as air is forced between the two pieces by the player’s lips. This family includes instruments such as the oboe, English horn, and bassoon.
The Percussion Family: Timpani, Snare Drum, Bass Drum, Cymbals, Triangle, Tambourine Produce sound by being struck or scraped by a beater (including attached or enclosed beaters or rattles); struck, scraped or rubbed by hand; or struck against another similar instrument. The percussion family is believed to include the oldest musical instruments, following the human voice. The percussion section can also contain non-percussive instruments, such as whistles and sirens, or a blown conch shell. Keyboard instruments, such as the celesta, are not normally part of the percussion section, but keyboard percussion instruments such as the glockenspiel and xylophone (which do not have piano keyboards) are included. Percussion instruments are most commonly divided into two classes: Pitched percussion instruments, which produce notes with an identifiable pitch, and unpitched percussion instruments, which produce notes without an identifiable pitch.
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“Sunrise Ignites Daybreak’s Veil” CD Track 3 From Chasing Light By Joseph Shwantner
Background: Chasing Light was composed in 2009 by Joseph Schwantner, an internationally acclaimed, Pulitzer Prize winning, American composer known for his unique style of drawing on French impressionism, African drumming, and minimalism. This piece was commissioned by 58 small orchestras and performed in all 50 states through Ford Made in America, an initiative that offered orchestras resources that enhanced their engagement with communities and promoted their mastery of the music of our time. In explaining his inspiration for the work, Schwantner comments: "One of the special pleasures of living in rural New Hampshire is experiencing the often brilliant and intense early morning sunrises…Chasing Light… draws its spirit, energy, and inspiration from the celebration of vibrant colors and light that penetrate the morning mist as it wafts through the trees in the high New England hills. Like a delicate dance, those images intersected with a brief original poem that helped fire my musical imagination.”
Beneath the sickle moon, sunrise ignites daybreak’s veil Calliope’s rainbowed song cradles heaven’s arc piercing shadowy pines, a kaleidoscope blooms morning’s embrace confronts the dawn
Chasing Light is a four movement work. Each movement’s subtitle is associated with a pair of lines from the poem. Movement 1 opens with an introduction that contains three forceful ideas presented by full orchestra: (1) a low, rhythmic, and percussive pedal point on “F” followed by (2) a three-note triplet figure in the brass overlaid by (3) a rapid swirling cascade of arch-like upper woodwind phrases. These primary elements form the melodic, harmonic and rhythmic materials developed in the work.
I. Essential Listening and Identifying Preparation: Before listening to Sunrise Ignites Daybreak’s Veil, encourage students to share a sunrise experience. Create a word bank from those experiences. Where did the sunrise occur? Would the experience be the same if the landscape was different? If they were to paint the experience, what colors would they choose? Take a moment to explore the poem and its unfamiliar words. How did Schwanter describe his sunrise experience? (ignites, pierces, rainbowed) What type of landscape inspired his work? (Shadowy Pines) PowerPoint slides available to aid in discussion.
First Listening: Introduction (00:00 - 00:22) I can identify, by name, instruments Schwantner used to “ignite daybreak’s veil.” 1. Play the introduction. Can students visualize Schwantner’s sunrise? 2. What instruments or instrument families did he use to ignite his musical sunrise? (percussion: timpani/bass drum, brass: horn, woodwinds: flute, clarinet)
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Second Listening: I can hear an explosive, rhythmic pattern in the low percussion throughout the piece. 1. Introduce the timpani/bass drum pattern below. This pattern is interjected 13 times throughout the piece, as well as provides thematic material for the melody played by strings at (00:23). 2. To teach the pattern, move an index finger like a match striking each finger of the opposite hand on the first syllable of tim-pan-i. On the word bass drum, the match turns into a fisted, bass drum mallet moving down then up on the eighth notes and ending with a strike to the opposite hand on the word BOOM!
Third Listening: I can hear a three-note, triplet motif in an arch-like movement played by the brass. I can hear the woodwinds swirling in arch-like movements. 1. Introduce the horn motif. These pitches are played in an arch-like movement using an ascending interval of a 7th to a descending 4th, sustaining the final pitch. Each triplet motif moves slowly up the scale giving one the impression that the sun is slowly rising. 2. Discover the cascading and arch-like movements in the upper woodwinds layered on top of the triplet motif. Use the Listening Map Guide.
Db Eb II. Exploration As part of the Ford Made in America initiative, the following series of videos were filmed with Schwantner: 1. Getting to Know the Composer - Schwantner describes his formative years as a music student, his teacher, and his early musical influences: https://www.youtube.com/watch? v=otL4D9DABg8&index=4&list=PLStKNwvYeCmvmABumgImmqfZ_RiEEL9D7 2. Poetry and Chasing Light - Schwantner recites his original poem upon which the orchestral composition is based. He discusses the relationship between words and music and the reference point for listeners.: https://www.youtube.com/watch?v=XpPgIlDSgzs&index=2&list=PLStKNwvYeCmvmABumgImmqfZ_RiEEL9D7 3. Movement 1 Musical Examples: https://www.youtube.com/watch? v=_AHZwtKLQTY&list=PLStKNwvYeCmvmABumgImmqfZ_RiEEL9D7&index=3 III. Extension Provide an opportunity for students to create a visual expression of their musical experience through movement. IV. Special Needs Modifications Please see page 30 for lesson adaptations and special needs modifications. References: Vermontsymphonyorchestra.blogspot.com/2008/10/program-notes-october-25.html
Special thanks to Kimberly Licavoli from North Ward and Dawson Elementary, Allegan Public Schools for creating this lesson.
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In the Steppes of Central Asia CD Track 5 By Alexander Borodin
Background: To be shared after you complete the Exploration lesson In the Steppes of Central Asia was written by Russian composer Alexander Borodin in 1880. The work was originally intended to celebrate the 25th anniversary of the reign of Alexander II of Russia, who had done much to expand the Russian Empire eastward. The intended production never occurred, but the work itself has become a favorite ever since its performance in St. Petersburg by the orchestra of the Russian Opera, who dedicated this work to Franz Liszt. The opening theme, representing the Russians, is heard first, then we hear the an ornamented eastern melody on English horn, representing the Asians. These two melodies eventually are combined. During these two ethnic melodies a "traveling" theme in pizzicato that represents the plodding hoofs of the horses and camels can be heard. At the end only the Russian theme is heard. The composer provided the following description in a note to the score: “In the silence of the monotonous steppes of Central Asia is heard the unfamiliar sound of a peaceful Russian song. From the distance we hear the approach of horses and camels and the bizarre and melancholy notes of an oriental melody. A caravan approaches, escorted by Russian soldiers, and continues safely on its way through the immense desert. It disappears slowly. The notes of the Russian and Asiatic melodies join in a common harmony, which dies away as the caravan disappears in the distance.”
I. Exploration Composing a Journey across the desert Materials needed: 1 Small folded sheet of paper per student, 3 hula hoops (labeled Theme A, Theme B, Trav- eling Theme) or designated circles of that size placed as far away as possible from each other in the class- room, music excerpts (provided) cut out and face down in each circle, pitched instruments (xylophones, boomwhackers, glockenspiels , etc…) for 2 circles of students (they can share xylophones), and enough non- pitched percussion instruments for the 3rd circle. 1. Label each sheet with either Theme A-Marvelous Voyagers, Theme B-Expedition Experts, or Traveling Theme. You will have 3 equal groups. 1.Explain that you are going to go on a journey through the mountains and across the desert in two groups. 3. Together, create a list of words that describe what a journey across the desert and through the mountains might feel like. Some examples might be: Hot, long, hilly, hard, slow, etc... 4.Together create a list of how you would travel through the desert: By foot, by animal ( have them name a few animals, etc… 5. Pass out the small folded piece of papers, one to each student. Have them open their papers. 6. Have them organize themselves into their 3 groups around their hoops or circles. 7. Once they are quietly seated around their circles, explain to them that they are going to go over a mountain and cross the desert as a team, and in order to successfully make it over the mountain and across the desert, they must work together to create a melody and ostinato using the cards that are placed face down in front of them and the instruments that are in their circle. 8. Give them 10-15 minutes to place their cards in order and practice their compositions. 9. Have each group (Theme A, Theme B, Traveling Theme) perform their composition for the rest of the class. 10. Have the “traveling theme” play along with each group. 11. Together as a class or you as the teacher, decide on a form for them and write it on the board. For Example: Voyagers - Experts - Horses - Voyagers - Experts - Voyagers Horses Horses 12. Perform the piece as a class
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First Listening: Listen to “In the Steppes of Central Asia” after you have completed your composition lesson.
II. Essential Listening and Identifying Second Listening: Identifying Themes and form 1. Share the background information of the piece. 2. Demonstrate on the piano the 3 different themes in the piece and tell them the names of themes.
3. Using the listening map, have the students draw lines and number them in order to the themes as they hear them. They will notice and make connections to their own composition and be able to identify the form based on their number sequence.
Third Listening: Identifying instruments 1. Using the listening map have students connect the theme to an instrument or instrument family as they hear them. They will begin to make connections with the conversations happening between instruments in the orchestra.
II. Exploration 1. Wonderful video of a virtual trip to the great Caucasus Mountains with Circassian music. Video of the mountains, wild- life, native flute, and ending with a sunset:https://www.youtube.com/watch?v=b20jzDcWGP8 2. Explore the Caucasus Mountains, which contains Europe’s highest mountains! http://en.wikipedia.org/wiki/Caucasus_Mountains
II. Extension: Tableau 1. Provide an opportunity for students to create a visual expression creating a tableau during a selection of the piece. Referring back to words that describe a journey through the mountains and desert, have one group create a tableau of their journey as the rest of the group watches. As the music starts have one after the other enter a line to form a tableau. 3. Have them remain frozen after the music ends and have the observation group reflect and describe what they see in the tableau. 2. Have the groups switch roles.
IV. Special Needs Modifications Please see page 30 for lesson adaptations and special needs modifications.
Special thanks to Cori Somers from the Kalamazoo Symphony Orchestra for designing this lesson.
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Theme A measures (Please label the back of them after you have printed and cut them)
G F E E
E D E D D
G A G C
G C G
Theme B measures (Please label the back of them after you have printed and cut them)
D D D E D
B C B A A 12
Theme B measures continued (Please label the back of them after you have printed and cut them)
C B C A B A
B B C D C
Traveling Theme measures (Please label the back of them after you have printed and cut them) Have students practice these 3 different ostinato patterns and decide which one they would like to use as a group. They need to be able to play through each rhythm 4 times for a total of 8 measures.
Option 1 4 x’s
Option 2 4 x’s
Option 3 4 x’s
This entire lesson can be modified by cutting the measures used in half to simplify for younger students.
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The Storm of Chenery Auditorium Exploring Your Mystery Composer
Background: The Pastoral Symphony was one of this composer’s few works containing programmatic content (music meant to paint a picture or tell a story). It shows the composer’s love of nature and is comprised of the sounds and sensations en- countered on frequent walks in the country . Symphony No. 6 was completed and first performed in 1808. The fourth movement, “Gewitter, Sturm" (The Tempest) depicts a violent thunderstorm, starting with just a few drops of rain building to the sheets of rain and the frequent peal of thunder. The storm eventually passes and the music becomes quieter and calmer, leading directly into the final movement "Hirtengesang – Frohe und dankbare Gefunhle nach dem Sturm" (Pastoral Song – Feelings of joy and gratitude after the Storm).
"How happy I am to be able to walk among the shrubs, the trees, the woods, the grass and the rocks! For the woods, the trees and the rocks give man the resonance he needs." (Written by the composer in a letter to a friend).
I. EXPLORATION FIRST! Creating a rain storm based on rhythm (Students will have a better understanding of the Essential lesson if you do the Exploration lesson first. However, if you are pressed for time, go directly to the Essential lesson as students will be involved in creating a storm at the concert.
1. Start by singing a familiar rain song such as Rain, Rain, Go Away. For older students, introduce the song w/solfege first, either sung or written, and have students identify the song. 2. Introduce the following ostinatos one at a time, starting with the half note pattern and working up. Students may instinctively add a crescendo with the last pattern. Cool!
CRASH
3. Divide the class into 4 groups and perform the piece. Each ostinato adds in as the previous ostinatos continue. 4. After all groups are in, gradually fade out each of the ostinatos in reverse order of their entrances. 5. If time, add body percussion and substitute the body percussion sounds for the text. Add in the Rain Song and create a final form for an in class performance. The song is in C major on the PPT slide, with note names shared. This can be played on soprano recorder or sung.
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II. ESSENTIAL Students will be involved in creating a storm at the concert! This lesson will be a guide to that process. If you taught the exploration lesson, explain that, as a class you created a Rain Song based on rhythm patterns. For this lesson, you’ll create a Storm using dynamics.
1. Discuss and define dynamics. Terms likely used in this lesson will be crescendo, decrescendo, forte, piano and varia- tions of forte and piano. 2. Discuss and list different elements of a storm—rain, snow, hail, wind, thunder, lightning, etc.
Starting with RAIN—have the class create ways of making rain sounds with body percussion. Ask them to: Make the rain sound as it was just starting to rain lightly. Sounds might start quiet and slow. What body percussion sounds would you use? How will this change as the rain starts to fall harder? Now have the rain go away. 3. Using the format above—have students create a rain storm that crescendos then decrescendos. Add a rain song such as Rain, Rain, Go Away. (If your students are working with recorders, you could have them play the song as the crescendo reaches its peak, then fade out with the decrescendo. See the PPT slide for the notated song.) 4. Have a conductor lead the crescendo/decrescendo by opening and closing their hands. When hands are together, it is silent. As hands and arms open crocodile style, the sounds get louder. 5. Show the “Rain Orchestra” video from YouTube. https://www.youtube.com/watch?v=e52LH-kVg-w Here is a link to the “safe share” view: http://safeshare.tv/w/SaexmDPVXB 6. Analyze the similarities and differences between the class storm and the video storm. Notice in the video, that the orchestra started with quite body percussion sounds. The performers were added in like doing a “WAVE” at a sporting event. With each new “wave” the body percussion sounds got louder and stronger. Have students list the order of the body percussion: 1. Palms rubbing together 2. Finger snaps 3. Leg pats 4. Stomping 7. Create a new storm using these techniques, along with your dynamics. Students may use the forms shown on the student page to perform their storm. It will be like reading a score in an orchestra. On the student sheet is a simple cre- scendo/decrescendo form as well as the form Beethoven used in his orchestral score.
FOR THE CONCERT: The Maestro will conduct the audience in creating the rain storm. The storm will include palms rubbing together, finger snaps and leg pats. The orchestra on stage will add the thunder!
III. EXTENSION Program performance ideas 1. Following the steps in the Exploration Lesson, transfer the ostinatos to pitched percussion set up in a pentatonic scale of your choice. The half note pattern works well on metallophones, the quarter note pattern transfers to xylo- phones, the eighth note pattern transfers to glockenspiels. The trill pattern works well with a bass drum and a cymbal crash. If that is not available, do a tremolo on the bass instruments, followed by a cymbal crash.
2. Create a “Rain Rondo.” Use a combination of Rain Songs and Storms to create your own Rain Rondo. Decide what your A section will be. Additional sections can be rain songs sung or performed on recorder, different types of storms, student writings about the weather. Let your imagination run wild and you’ll have a great piece to put on the stage come program time.
IV. Special Needs Modifications Please see page 30 for lesson adaptations and special needs modifications.
Special thanks to Marcia Working from Crescendo Academy of Music for designing this lesson. 15
“The Royal March of the Lion” CD Track 7 from Carnival of the Animals By Camille Saint-Saëns
Background: Saint-Saëns composed “The Carnival of the Animals” in Austria, in February 1886. It was scored for 11 instrumentalists: two pianos, two violins, viola, cello, bass, flute (and piccolo), clarinet (C and B flat), glass harmonica, and xylophone. From the beginning, Saint-Saëns considered the work to be a piece of fun. He wrote to his publisher in Paris that he was composing another work and he knew he should be working on his Third Symphony, but this work was “such fun.” There were private performances of the work, but Saint-Saëns insisted that the work would not be published in his lifetime. He thought that “Carnival” would detract from his serious composer image. The only part that was published during his lifetime was “The Swan,” in 1887, arranged by Saint-Saëns for cello and solo piano. Following Saint-Saëns’ death in December 1921, “Carnival of the Animals” was published in Paris in April 1922. It has become one of Saint-Saëns’ best known works. There are 14 movements, each representing a different animal or animals. The music is now performed either with the 11 instrumentalists, or most often with the full string section of the orchestra. The glass harmonica is now replaced with a glockenspiel.
I. ESSENTIAL Listening Activities 1. Before listening to the music, tell students to pay attention to what instruments they hear (piano and strings) and to see if any parts of the music repeat (yes, some of the music does repeat). You may also tell the students that while they listen, try to imagine what animal the music might represent and why. Do not show the listening map yet – just play the music. 2. Listen to students’ responses to your questions. You may want to list the animals that students name on the board. 3. Tell students the title of the piece and title of this movement. Show the listening map. Explain some of the features of the map first before you listen to the music form, similar rhythms, tremolo, glissando, lion, etc.). Play the music, and follow the map. 4. Discuss what happens in certain places in the music, such as the glissandos at the end of the introduction, where the strings play and where the piano plays, and what happens right before the end of the piece where two melodies are together. 5. Ask students if the music is fast or slow, high or low (it is slow and low). Why would the lion be represent- ed in this way? (think of 'royal march' and the sound of a lion's roar). Play the music again, and have students follow the map on their own, perhaps raising their hands each time a new section of the music begins.
II. EXPLORATION Composition Ogden Nash wrote poems to go along with “Carnival of the Animals.” Your students may enjoy creating their own ABA version of the March of the Royal Lion, including the poem by Ogden Nash as the “B” section.
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The Lion by Ogden Nash
The lion is the king of beasts, And husband of the lioness. Gazelles and things on which he feasts Address him as your highoness. There are those that admire that roar of his, In African jungles and velds, But, I think that wherever the lion is, I'd rather be somewhere else.
1. Set up xylophones and/or metallophones in C pentatonic. 2. The introduction could be a simple four note ostinato– c g g g – repeated a few times. 3. The “A” section of the piece could include some xylophone or metallophone tremolos, and an improvised melody that one or two students perform. 4. The “B” section could include students reciting the Ogden Nash poem, and adding non-pitched percussion sounds to the poem. 5. Then return to the “A” section once more, and be sure to end on C.
III. EXTENSION Technology These videos might be good for a substitute teacher to show classes after the concert, as there is one for each movement: 1. Roger Moore Carnival of the Animals: http://www.youtube.com/watch?v=_2l_-1Lachg 2. Clay animation Carnival of the Animals and choose Introduction and Royal March of the Lion.: http://www.youtube.com/watch?v=ruZtiY1ghWA&list=PL968DCC4A9DA9AD23 3. Google Ogden Nash Carnival of the Animals to see more of his poems
IV. Special Needs Modifications Please see page 30 for lesson adaptations and special needs modifications.
Special thanks to Norma-Jean Forshey from Kalamazoo Public Schools for designing this lesson.
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Mosquito Dance CD Track 9 By Paul White
Background: Paul White was a violinist, conductor and composer and spent most of his professional life as a faculty member at the Eastman School of Music in Rochester, New York. He composed more than a dozen works, one of them being “Five Miniatures for Orchestra.” The five miniature pieces are titled as follows: 1. By the Lake 2. Caravan Song 3. A Waltz for Teenie's Doll 4. Hippo Dance 5. Mosquito Dance
I. ESSENTIAL Listening and Identifying
First Listening: 1. Before listening to Mosquito Dance, tell students to listen for what instruments are playing in the piece (some are difficult to hear: piccolo, oboe, clarinet, bassoon, french horn, trumpet, cymbal, sandpaper blocks, slap stick, violins, bass), and whether any part of the music repeats (yes!). 2. Play “Mosquito Dance” without showing the listening map. 3. Listen to student responses to your questions. List instruments heard on the board.
Second Listening: 1. This time, ask students if the music is high or low, soft or loud. What animal could this music be suggesting? Listen to the music again. 2. Listen to student responses. If they don't guess the animal, guide them to the insect family. What happens at the end of the music? (It sounds like the mosquito gets slapped – by the slapstick sound at the end.)
Third Listening: 1. Tell students the title of the piece, and show them the listening map. 2. Explain certain features of the listening map, such as tremolo (the notes with the hash marks on the stems), repeat signs and final ending. 3. Ask what students think the mosquito is doing – both in the music and on the map. Play the music again and follow the map while listening. 4. Is the music high or low? Fast or slow? Loud or soft? What happens to the music when the note patterns change? (The music gets lower and lower in pitch.) What do you think the mosquito is doing at that time? What is the mosquito doing at the end? 5. Ask students to show when the music is high by wiggling their fingers close to their face. When the music changes and goes down, students should lower the wiggling fingers with the music, to eventually land their hands in their laps. Play the music again and try this. You may need to model for younger students.
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II. EXPLORATION Movement Students can create an interpretive dance to this music. If your class is large, you may want to divide the class in two parts: One half dancing while the other half is watching and listening. 1. Explain to students that you will hand out scarves (crepe paper streamers, ribbons, etc.) and that they are going to move like mosquitos. No, they may not land on anyone or bite anyone! Ask students how they could use their scarf to show the music is high. Ask students how they could use the scarf and their body to show how the music gets lower. Ask students how they may move their feet to match the music (fast), but remind them that there is no running. And what will they do at the end of the music? You could have a student demonstrate, or just let them think about it before you begin. 2. Students should be spaced apart on the floor. If you have boundaries in your room for movement, be sure to review those before you begin. Hand out scarves to half of the class, and have those students take their places. Instruct the other students who are not dancing to watch what others are doing while they listen to the music. Everyone is silent during the dancing! 3. 3. Play the music and the dancers begin. Switch dancers (I usually have the dancers hand their scarf to another student that is seated, that student gets up and the student that has already danced sits down). Students take their places, and you instruct the students who have already danced to watch the new dancers and listen to the music. Play the music and the 2nd set of dancers dance. 4. Have all dancers sit down. Ask students, “What did you notice?” and make a list on the board of all their responses. If you want more detail about something a student says, you can say, “Please tell me more about that.” 5. 5. If students are interested in trying the dance again, explain that students will have another chance to dance and improve what they did the first time. Ask the first set of students to stand up, with a scarf, and take their places on the floor. Play the music. Switch dancers and repeat. If time allows, you could have another discussion about the dancing – or what students did differently the second time.
III. EXTENSION Compare and Contrast 1. Do an entire lesson on comparing and contrasting Mosquito Dance with “Introduction and Royal March of the Lion.” Be sure to listen to both pieces first. Ideas to get you started would be: tempo, instruments, form, repeats, rhythms, dynamics and what the music is about.
IV. SPECIAL NEEDS MODIFICATIONS Please see page 30 for lesson adaptations and special needs modifications.
Special thanks to Norma-Jean Forshey from Kalamazoo Public Schools for designing this lesson.
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“The Elephant” “Flight of the Bumblebee” from Carnival of the Animals from The Tale of Tsar Saltan By Camille Saint-Saens By Rimsky -Korsakov CD Track 11 CD Track 13
Background: In 1886, French Romantic composer Camille Saint-Saëns (1835-1921) wrote the 14-movement suite, Carnival of the Animals, as a “musical joke” for his friends. The 5th movement, “The Elephant,” is scored for double-bass and piano and is performed allegro pomposo – a wonderful caricature for an elephant. Thematic material for this piece was taken from Mendelssohn's “Scherzo” from A Midsummer Night's Dream and Berlioz's "Dance of the Sylphs" from The Damnation of Faust, which were written for high-pitched instruments. The joke is in Saint-Saëns’ use of the lowest and heaviest-sounding instrument in the orchestra. Interestingly, Saint-Saëns did not allow performances or publication of the suite during his lifetime, because of his concern for his reputation as a serious composer. It was first publicly performed in 1922, and is now his best-known and most beloved work among audiences.
Russian composer Nikolai Rimsky-Korsakov (1844-1908) wrote several operas, including The Tale of Tsar Saltan, from which one of his best-known songs, "Flight of the Bumblebee" was derived. The opera, written in 1899-1900, was based on a Russian folk tale. In the story, Prince Gvidon has been abandoned and longs for his home, and is assisted by an enchanted swan that he had saved from a kite bird. In order to escape uncertain situations and travel homeward, he is transformed into a mosquito, a fly and finally a bumblebee, during which the “Flight of the Bumblebee” is performed.
Materials: KSO CD, CD player, Listening Map (overhead & student copies), dry erase marker, pencils, clipboards, pitched and unpitched classroom instruments, scarves/streamers/props, computer for YouTube videos, overhead/data projector or SmartBoard
I. ESSENTIAL First Listening: Musical elements: Tempo, Dynamics, Articulation, Pitch 1. Write “Piece #1” and “Piece #2” across the top of the board & write the names of 4 elements of music to the left: Tempo, Dynamics, Articulation and Pitch. Define these as: Tempo: speed – fast/slow, Dynamics: volume – loud/soft, Articulation: the way notes are joined together – connected/separated, Pitch: whether a note sounds high or low. 2. Have students focus on these elements as they listen to Piece #1 (“The Elephant”). 3. Ask the class to give a thumbs up or down when asked if the piece sounded mostly fast or slow, loud or soft, connected or separated, or high or low. Write class responses under “Piece #1,” next to the element. 4. Repeat this procedure with “Piece #2” (“Flight of the Bumblebee”). Second Listening: Creative Movement 1. Tell the students that “Piece #1” is based on a large mammal and ask them to guess what it might be. 2. Tell them it is called “The Elephant” and have students share ideas of ways they could move creatively to the music. (Note: This could be done with the whole body or in seats using just the upper body; allow students to be creative in their interpretations!) 3. Listen and use student ideas to move to the music.
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4. Have students discuss which of the 4 musical elements helped them come up with their ideas. 5. Tell students that Piece #2 is based on a flying insect and have them guess what it might be. 6. Tell them it is called “Flight of the Bumblebee” and have students share ideas of ways they could move creatively to the music, as above. 7. Listen and use student ideas to move to the music. 8. Have students discuss which of the 4 musical elements helped them come up with their ideas. Third Listening: Using the Listening Map 1. Using an interactive SmartBoard or data projector, project the listening maps onto a screen and ask the students what they notice. How many sections are there in “The Elephant?” 2. As a model, play the music and draw some images that depict what is happening in each section. These could be squiggles, shapes, lines, dots….that show tempo, dynamics, articulation and pitch. 3. Tell students that they will be creating their own images as they listen to each piece and pass out copies of the student maps, pencils and clipboards. 4. Play “The Elephant,” followed by “Flight of the Bumblebee” and have students create their images, guid- ing them to a new section when it occurs in the music. 5. Give students time to share and compare their creations with each other and talk about the differences between the drawings for different sections in each song and the songs themselves.
II. EXPLORATION Elephants live in sub-Saharan Africa and southern Asia, and can be found in grasslands, forest, deserts and marshes. They may live among gazelles, giraffes, hyenas, cheetahs, rhinoceroses, zebras, lions, tigers, ostrich, red pandas, snow leopards, and many kinds of monkeys, birds and snakes.
Bumblebees need nectar and pollen to survive, so living near colorful flowers in sunny gardens, meadows and prairies is necessary. Other creatures in their habitat might include rabbits, deer, fox, wolves, squirrels, mice, opposums, raccoons, snakes and a variety of insects and birds.
1. As a class or in small groups, have students brainstorm ideas for adding instrument sounds and visual effects to the two pieces. How could an African jungle or savannah scene be created using pitched and unpitched instruments, scarves or props? What instruments might create the sounds of a meadow? What colors might add to the effect? 2. Creative movements from the Essential section above, choreography and/or drama can be added to round out the scenes! III. EXTENSION YouTube Videos: Below are some videos that showcase each piece being performed in different ways.
1. “Flight of the Bumblebee” played by a child prodigy: https://www.youtube.com/watch?v=RnVNZ413yfE 2. “Flight of the Bumblebee” played by Canadian Brass: https://www.youtube.com/watch?v=xZO5KTJTwhE 3. Information about “The Elephant” and solo performance on string bass: https://www.youtube.com/watch?v=PGZOCrWVcTs 4. Schoolgirls in Japan playing “The Elephant” on string basses: https://www.youtube.com/watch?v=tqfNbA0wFf8
IV. SPECIAL NEEDS MODIFICATIONS Please see page 30 for lesson adaptations and special needs modifications.
Special thanks to Stephanie Measzros from Kalamazoo Public Schools for designing this lesson. 21
“The Moldau” ! CD Track 15 from Ma Vlast Be sure to have students submit artwork for the By Friedrich Smetana Student Participation concert! See Page 3 for
Background: instructions. Friedrich Smetana (1824-1884) is known as the father of Czech music. During his lifetime, the Czech people were struggling to become an independent nation. Smetana took part in revolutionary activities and much of his music is considered to be nationalistic, paying tribute to Bohemia and the Czech people. The Moldau was actually composed after Smetana became completely deaf near the end of 1874. It is one of six symphonic poems, each representing an aspect of the Bohemian countryside. All six together are known as My Homeland (Mein Vaterland). The Moldau (Vltava) describes the course of the river by the same name that flows through Bohemia, past Prague, and ends in Germany. The piece paints for us several scenes along the banks of the river as it makes its journey from beginning to end. The river begins as two small springs before coming together to form one. We pass hunters in the woods, a farmer’s wedding celebration, the round dance of mermaids in the moonlight, palaces and ruins on the rocks, and St. John’s Rapids. Then the river widens as it reaches Prague and travels past Vysehrad, the castle from where the earliest Czech kings ruled. In its original form, the piece is about twelve minutes long. It has been cut for our Youth Concert to about half of that time. There are four main themes performed during this piece.
1. Springs come together to form main river 2. Hunters in the woods 3. Farmer’s wedding celebration 4. River reaches Prague and passes Vysehrad, the High Castle I. ESSENTIAL Listening and Identifying Preparation: Before listening to Ma Vlast, ask students to list some different forms of transportation. You might need to ask them some leading questions to make sure you get a good variety and that a boat is on the list. First Listening: Introduction and Transportation Modes 1. Tell them that they are traveling on one of the forms of transportation they have listed. After the students listen to a short section, ask the students to share which vehicle the music makes it sound like they are in and why. Be prepared to talk about what they interpreted compared to what the composer intended, not everyone will agree on a boat on a river. Second Listening: Make your own listening map! 1. Ask the students to imagine they are on the deck of a boat and traveling along a river. Using the blank map in the student guide, have the class identify the scene that is being painted in each section of music represented by each blank square.
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2. Pause at the end of each section to give time for observations and discussion. 3. Have the students decide what they are seeing on the bank of the river for each shape. 4. Have them draw pictures or write a word or short phrase to describe the scene. You may need to play each section a few times. 5. Have students share their journeys with the class. 3. Third Listening: 1. Tell students the name of the piece and that it is an example of tone painting or making a picture with music. Smetana was painting pictures of things you might see as you travel along the Moldau River. II. EXPLORATION Let’s dramatize it! 1. Divide your class into five groups. 2. One group will be the people on the boat taking the journey. 3. Each of the other four groups represents one of the squares on the listening map. 4. Each group will create their scene using movements and props. For example, the group in the boat may choose to use rhythm sticks as oars and row their way from one scene to the next down the river. Scarves may be used for the flowing river or the wind. 5. Give the groups a pre-determined amount of time to choreograph their scene. 6. You could agree as a class on which of the students’ idea you will use for each scene or each group could decide for themselves which idea they liked the best. It may also be possible to combine several students’ ideas into one scene. III. EXTENSION 1. Explore the Moldau (or Vltava in German) River. Use maps, websites, or Google Earth to trace its path and find some of the scenes Smetana described in his piece. 2. 2. Explore the Czech Republic. Your students may be interested to know that the Czech Republic did not become an independent nation until 1993. Your school library most likely has a series or two of books about countries around the world. Two possibilities are the following: Czech Republic (Countries Around the World) by Charlotte Guillain. Published by NA-h (July 2, 2011). ISBN-10: 1432952250. ISBN-13: 978-1432952259. The Czech Republic (Blastoff! Readers: Exploring Countries) by Walter Simmons. Published by Bellwether Media (Jan. 1, 2012). ISBN-10: 1600147283. ISBN-13: 978-1600147289.
3. Collaborate with your art teacher to submit artwork for your performance day! Please refer back to page 3 for information on how to submit your student’s work of art! V. Special Needs Modifications Please see page 30 for lesson adaptations and special needs modifications.
Special thanks to Beth Stachura from Comstock Public Schools for designing this lesson.
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The Flying Theme CD Track 17 From E. T. (Extra Terrestrial) By John Williams
Background: John Williams is said to have composed one of Hollywood’s most recognizable movie themes, otherwise known as Steven Spielberg's 1982 fantasy film E.T. the Extra-Terrestrial. Williams often uses the neo-romantic concept of leitmotif or musical theme to assist in cinema character development, as used by the composers Tchaikovsky and Wagner. E.T.’s main melodic leitmotif theme is a spirited theme representing freedom and flight. He introduces the main theme and alters it throughout the movie, as if preparing the listener and movie viewer to build up to the culminating and emotional final chase and farewell sequence. Interestingly, the composition and film making process for E.T. is indeed a rare collaboration between Williams and Spielberg. It marks a rare instance in film history, in which the on-screen filming was re-edited to conform to the composer's musical interpretation. Williams found the recording process constricting in the final scene, not being able to get the musical interpretation paired with the action on the film. Once Spielberg realized this, he told Williams to conduct the music, without the film recording in the background as if it was a live concert. Spielberg made adjustments to make the film fit the music, rather than the traditional practice of the music serving the action. In this instance, the music becomes integral to the film making the development of the story more powerful and emotional. I. ESSENTIAL Listening and Identifying Preparation: Before listening to “The Flying Theme” or revealing the way flight was used in this particular film score, take time to have a discussion about what it feels like to fly. Has anyone experienced a dream about flying? How did you feel? Where were you? If you could fly, where would you fly to? What would you like to see on your journey? What would make you fly? Wings, a cape, magic, on or in something special?
First and Second Listening: Rhythmic Movement and Motif 1. Clap the melodic rhythm of the piece in Orff body percussion style: [Rt Stomp- Lt Stomp, patch-patch-patch-patch, Clap, Snap (Rest] to introduce the motif of the “Flying Theme”. Makes sure to call attention to the feeling of lift in the rhythmic triple meter(3/2) to aid in a sense of urgency, lift and adventure. 2. Inform the students that this pattern is the called a theme or “motif.” This is the main melody of the piece. 3. Ask students to listen quietly to the music, specifically paying attention to the theme and how many times they recognize it. 4. Some questions you might ask to assist in deeper listening: Does the theme change? Does the theme finish the same way every time? Are there any parts of the music that do not state the theme? How is it different? What instruments are used to highlight a theme or a section of the music? 5. Play the piece again giving the students a chance to think about these questions a second time and to discuss what they heard. 6. Third Listening: (Day Two) 1. Reveal to the students how this piece was used to convey flight in the movie E.T. 2. Hand out listening maps/ or project the map for the students to follow. 3. Before playing the track, demonstrate the direction of the map and go over the question prompts at the designated stopping points.
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4. Play the track and have students follow quietly along with the listening map. Stopping the CD and answer the prompts together as a class, at the designated stopping points.
II. EXPLORATION Writing In Music Connections: Four Genres and E.T. the Extra Terrestrial Objectives: The students will learn/ review the four writing conventions (Observation, Narrative, Persuasive, and Informative). The students will integrate writing with visual arts and music. Materials: 1 Sheet of paper per student. 4 pictures per group, provided: Astronaut, Hawk, Flying Human, and Hot Air Balloons, Pencils, Index Cards, Clipboards. Directions: 1. Divide the class into groups of four. 2. Pass out pencils and clipboards. 3. Pass out paper- one per person and ask them to fold the paper in half to make a book. 4. Instruct the students to write Observation on the 1st page (front), Narrative on the 2nd page (inside), Persuasive on the 3rd page (inside back) and Informative on the 4th page (back). 5. Have one student in the group pick one of the writing conventions to start with. Each person in the group must have a different convention to start. 6. Teacher presents the group with four pictures labeled Observation, (Astronaut), Narrative (Hawk), Persuasive (Flying Human) and Informative (Hot Air Balloons). Each person picks a picture and writes in their book using the writing conventions that they chose. They must create a small paragraph referencing the picture. 7. When finished, the group rotates their picture to the person sitting next to them in a clockwise direction. 8. The students then write the next writing convention in their book. 9. This process repeats until each person is finished with their book. 10. Students share their writing with someone in their group 11. Listen to the recording again and imagine how these images take flight with the music. III. EXTENSION YouTube links Excellent video of John Williams speaking about his score process for ET and the “Flying Theme”: http://www.youtube.com/watch?v=Nx7NiJHIlGs- Landscape theme : http://www.youtube.com/watch?v=oR1-UFrcZ0k- Across the Moon : http://www.youtube.com/watch?v=gTVoFCP1BLg-
IV. Special Needs Modifications Please see page 30 for lesson adaptations and special needs modifications.
Special thanks to Jeanna Cervantes-Hickman from Kalamazoo Public Schools for designing this lesson. 25
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What a Wonderful World Please use links provided for listening. By Bob Thiele and George David Weiss Sung by Louis Armstrong
Background: Coming to prominence in the 1920s as an "inventive" trumpet and cornet player, Armstrong was a founda- tional influence in jazz, shifting the focus of the music from collective improvisation to solo performance. With his instantly recognizable gravelly voice, Armstrong was also an influential singer, demonstrating great dexterity as an improviser, bending the lyrics and melody of a song for expressive purposes. He was also skilled at scat singing (vocalizing using sounds and syllables instead of actual lyrics).
In 1967, at the age of 66, Louis Armstrong recorded a song titled, What A Wonderful World. Armstrong’s very poignant, gravelly-voiced version of this song – brimming with his cheerful character and optimism – is re- garded as a classic, and is dearly loved by listeners and music critics alike. The song was written by Bob Thiele and George David Weiss. Thiele was a record producer and Weiss was a songwriter. In the summer of 1967, another producer, Artie Butler, suggested the song might be offered to Louis Armstrong, who was then working on material for a prospective album. Armstrong agreed to do the song and in mid-August 1967, Thiele, Weiss and Butler traveled to Las Vegas where they would meet Armstrong for a late-night recording session. Recordings in those days were done “live” – with vocalist, band or orchestra, and any background vocals all recorded at the same time. A recording session could run through dozens of takes to get everything just right. Artie Butler, the arranger and composer who was also at the session, wrote the arrangement for “A Wonderful World.”
Armstrong felt the song needed to be heard across the United States to promote a sense of hope and optimism. He loved the song and performed it everywhere, including numerous television appearances, and its popularity began to grow. At one performance, he reportedly introduced the song with this explanation:
“Some of you young folks been saying to me: ‘Hey, Pops – what do you mean, what a wonderful world? How about all them wars all over the place, you call them wonderful?’ …But how about listening to old Pops for a minute? Seems to me it ain’t the world that’s so bad but what we’re doing to it, and all I’m saying is: see what a wonderful world it would be if only we’d give it a chance. Love, baby, love. That’s the secret…” ! At the concert, students will be invited to sing What a Wonderful World. Teach your students the lyrics below to sing along with the KSO! Student Participation What a Wonderful World Lyrics and Music by Bob Thiele and George David Weiss
I see trees of green, I see skies of blue, The colors of the rainbow, I hear babies cry, red roses, too, And clouds of white. So pretty in the sky. I watch them grow, I see them bloom, The bright blessed day, Are also on the faces, They'll learn much more, for me and you The dark sacred night. Of people going by, Than I'll ever know. And I think to myself And I think to myself, I see friends shaking hands. And I think to myself, What a wonderful world. What a wonderful world. Saying, "How do you do?" What a wonderful world. They're really saying, Yes, I think to myself, "I love you". What a wonderful world.
Oh yeah. 28
I. ESSENTIAL Listening and Identifying First Listening: http://www.youtube.com/watch?v=A3yCcXgbKrE 1. Have the students sit quietly with their eyes closed and listen to the song. After they have listened one time through, ask them what images came to their minds as they listened? How do they feel after listening to this song? Happy, sad, hopeful, peaceful? 2. Ask the students what makes their world wonderful and why. 3. Talk about the instruments used in the piece and ask them if they can hear what families of the orchestra are most prominent? Do they think the accompaniment/orchestration makes them feel the way they do as much as the lyrics do?
Second Listening: http://www.youtube.com/watch?v=A3yCcXgbKrE 1. Before listening tell the students that they will have the opportunity to sing this entire song with the Kalamazoo Symphony Orchestra! Explain that we have experienced so many different aspects of our wonderful world through all of the pieces in preparation for the concert and now we have an opportunity to sing about our wonderful world together. 2. Discuss how this piece is different from all of the other pieces on the program (style, genre, lyrics) 3. Use the listening map to help prepare the students for the concert.
Third Listening and beyond: http://www.youtube.com/watch?v=A3yCcXgbKrE 1. Rehearse as needed with the recording and listening maps so the students are confident in singing it for the concert.
II. EXPLORATION Read the picture book What a Wonderful World, written by Bob Thiele and George David Weiss and illustrated beautifully by Ashley Bryan. A live performance of What a Wonderful World with Louis Armstrong’s quartet: http://www.youtube.com/watch?v=E2VCwBzGdPM
What a Wonderful World with spoken introduction by Louis Armstrong: http://www.youtube.com/watch?v=2nGKqH26xlg
III. EXTENSION Once the students are very familiar with the song try adding movement to each verse. 1. Divide the class into three groups, come up with different pantomimes for each verse 2. Create a unified movement amongst all three groups during “I think to myself, what a wonderful world” 3. You can try the above in different ways. Pantomiming in a more natural acted out way or creating movements that are repetitive and rhythmic that go specifically along with the beat and are more choreographed.
IV. Special Needs Modifications Please see page 30 for lesson adaptations and special needs modifications.
Special thanks to Cori Somers from the Kalamazoo Symphony Orchestra for designing this lesson. 29
Lesson Adaptation Ideas for Students with Special Needs 1. Simplify – teach to the most basic part of the concept. For example: instead of teaching a steady beat or a spe- cific rhythmic pattern, work on fast and slow or long and short; sing a song on a syllable instead of trying to teach all the words. 2. Allow time for processing– many students with special needs process ideas much more slowly than their gen ed peers. Give extra time for following directions and imitating activity or provide a task with fewer moving parts. For example: instead of teaching a dance with multiple movements, create two movements that correspond with the primary musical components of the piece you’re using and teach only those. 3. Don’t overlook the power of peers – much work is being done with students on the autism spectrum and peer part- ners. This can be applicable across special needs populations. Often it’s the student helpers that know best how to assist their peers. You may be able to complete more complicated tasks simply by turning over the instruction to your regular ed students. 4. Focus on all senses – especially if you have a student who is impaired in one area (movement, hearing, visual). Let the whole class experience both the loss or limit of one sense and the focus on a different one. 5. Don’t underestimate the power of simply listening to the music – many of the most severely impacted students may simply enjoy becoming familiar with the music. When they attend a performance it is that familiarity that al- lows them to enjoy the experience. Sunrise Ignites Daybreak’s Veil A. Break down to the simplest elements: contrast accented portions with lighter, faster moving parts B. Deep sound, foundational beat– use large frame drum or gathering drum; experiment with feeling and/or hearing the beat in different parts of the body (over the head, by the feet, next to an ear, resting on stomach…) C. Simple movements to depict musical elements – one movement for drums and one for brass, students can stand when hearing their part or move as you have directed (stomp feet for drums, conduct for accented brass, hold hands up and wiggle fingers for woodwinds/16th notes) In the Steps of Central Asia Use 3 sections of class or 3 classes to devote to each theme. A. Russian theme – use broad movements, perhaps conducting, assist students as need or have them imitate B. Traveling theme – use this theme to refocus attention. Select a quiet but distinct instrument (shakers, tambourine…) move and play in different areas of the room during this theme. Or use the instrument/theme to direct student focus from the activity of theme 1 to the activity of theme 2 C. Eastern theme – good opportunity for students to try a ‘wind’ instrument. Using recorders with some holes taped off students can practice a quiet, steady stream of air and ‘play’ the instrument during this section The Storm of Chenery Auditorium A. Teach body percussion and do sequentially as a group B. Find ways to adapt body percussion: switches, thunder tube, ocean drum, iPad instruments if available C. Have students try to make their own thunderstorm or direct their peers March of the Lion A. Read poem, visual of lion, contrast lion with kitten
Special thanks to Cindy Cross from Allegan ISD for designing special needs modifications for the 2014-2015 curriculum. 30
B. Practice processing around the room as different kinds of animals C. Allow students to play the procession as an improvisation on the piano Mosquito Dance A. High, low, soft, loud contrasts using instruments or voices B. Use kazoos to make mosquito sounds C. Move a small mallet instrument (paddle drum, triangle, cymbal…) around in space while students try to hit it with the mallet The Elephant/Flight of the Bumblebee A. Play drums on downbeat B. Waltz with students C. After waltzing as an elephant, waltz as a mosquito and a lion D. Bumblebee – see The Mosquito Ma Vlast A. Play chimes or hand bells in the key of music B. Assign instruments to each theme and either divide the class into instruments or use several class periods to highlight each theme C. “Row” according to the musical direction of each theme E.T. A. Adapted movements or assign one movement to each student so they only have one body percussion to complete B. use scarves to mimic flying – both individual and in groups, (or parachute) What a Wonderful World A. Practice song, emphasize repeated phrases, B. Teach some sign language for key words in the song
The Conductor’s Role A. The Conductor's Role 1. Discuss the role of the conductor. The conductor's job is to help the musicians play exactly together. The conductor uses his/her right hand to give the meter and the tempo of the music. The left hand is used to cue musicians when it's time to come in, show players when to stop, and to indicate dynamics and expression. B. Conducting Exercise 1. Using Student Guide p. 24, go over the conducting patterns for 2/4, 3/4 and 4/4. Students can use straws or pencils as batons. Try these conducting patterns in fast and slow tempos. 2. Some familiar songs are suggested for students to sing while they conduct. Feel free to use others. 3. Try conducting the pieces from the concert repertoire: Borodin: In the Steppes of Central Asia 2/4 White: The Mosquito Dance 2/4 Saint-Saëns: “The Royal March of the Lion” 4/4 Saint-Saëns: “The Elephant” 3/8 (in 3) from Carnival of the Animals from Carnival of the Animals Smetana: “Ma Vlast” from Moldau 6/8 (in 2) Thiele/Weiss: What a Wonderful World 4/4 Rimsky-Korsakov: “Flight of the Bumblebee” from The Tale of the Tsar Saltan 2/4 31
Review: Show What You Know A. Review Activities 1. Play a few minutes of each track while students follow the activities on pp. 26-27 of the Student Guide. 2. Reflect and discus the various themes in the program. 3. Modify review activities as needed for younger students.
B. Listening ID 1. Play the CD tracks in random order and see if your students can identify the piece and the composer. Ask them to raise their hands and tell you something interesting about each piece.
C. Review Concert Participation pieces! 1. The Storm of Chenery Auditorium: Prepare your students to be able to follow a conductor in performing a body percussion storm. This lesson is found on page 10 and 11 of the Teacher Guide. 2. “What a Wonderful World”: Students will be invited to sing the lyrics of What a Wonderful World in concert, found on page 28 of the Teacher Guide. 3. “Ma Vlast” from Moldau: Make sure your class art work is submitted by Thursday February 13th! Details are found on page 3 of the Teacher Guide.
Post-Concert Reflection (optional classroom lesson) Using the Post Concert Reflection Writing Web Worksheet on Student Guide p.28, help students reflect on and summarize their experience at the concert. Modify the activity as needed for younger students. 1. Review key vocabulary about music and orchestras. 2. The main idea is already filled in: students will write about the KSO Youth Concert 2015. 3. Some details are already filled in: the names of the concert pieces. Students will choose 4 pieces and then list three key words about those pieces in the boxes. 4. Students should then write one thing they noticed about the concert in each oval. (These may include projected images, lights, the conductor, the composer, or soloist, or other things that stand out in their minds.) 5. Students use their pre-writing web and their answers to the questions as the foundation for writing a short summary of the concert. (Provide additional guidelines as appropriate, i.e., number of paragraphs, etc.) 6. Students follow the writing process (i.e., rough draft, edited rough draft, final copy) to create their final KSO Youth Concert Reflection. 7. Please select a few of your students’ reflections to send to the KSO! This helps us gather student feedback on the concert, and supports our grant writing efforts.
This lesson is aligned with the Writing Process (W.PR) GLCE’s for grades 2 and up. For example: WPR 4.02 Apply a variety of pre-writing strategies for both narrative and informational writing (e.g., graphic organizers such as maps, webs, Venn diagrams ) in order to generate sequence, and structure ideas. WPR 4.03 Draft focused ideas using a variety of drafting techniques composing coherent and mechanically sound paragraphs when writing compositions.
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Music and Classroom Teachers
Concert Behavior: Setting Up Your Students for Success Positive guidance from all teachers and chaperones will help students develop good listening skills, practice appropriate concert behavior, and make the most out of this exciting event.
Lead a discussion about concert etiquette and “power listening.” The “Power Listening Checklist” on page 25 in the Student Guide might help to get a discussion going. Then have students complete the KSO Youth Con- cert Puzzle Page on Student Guide p. 25.
Don’t forget to share the “Let’s Go to the Symphony!” PowerPoint with your students! (Look for it as an email attachment)
A. Getting Ready to Watch and Listen Make yourself comfortable beforehand so you can enjoy the whole performance. 1. Take a moment before the concert to take off your coat and try out your seat. 2. Relax into your chair, and get ready to focus on the events onstage. 3. Don’t talk during the concert — you don’t want to miss anything!
B. Auditorium Rules for a Great Concert Experience 1. Walk (do not run) outdoors, in the lobby, and in the concert hall. 2. Quickly follow instructions given by teachers, ushers, bus/car drivers, and chaperones. 3. Stay seated during the concert. Don’t stand or use the restrooms during the music. 4. Do not do anything that makes people notice you instead of the performance (talking, moving a lot, etc.).
C. Power Listening When you Power Listen, you don’t just listen...you listen FOR something! 1. Power Listening is active, not passive. Encourage students to zoom in and out with their ears and eyes, focus on their favorite instruments for a while, or follow the melody as it moves from one section to another. 2. Watch the conductor to observe visual cues, tempos, and dynamics. 3. Think about the things you learned in music class as you listen.
D. Clapping, Applause, Appreciation Clapping enthusiastically—at the right time—is the best way to show your appreciation. 1. Talk about the role of the Concertmaster and why we clap when s/he comes on stage. The concertmaster is the leader of the orchestra (like the line-leader!) and has special responsibilities. The concertmaster also signals to the oboe player to sound an “A” so that all the players can tune their instruments. 2. Emphasize that some pieces are unpredictable. ~Students can be “tricked” into clapping when a piece gets very quiet, after the first big cadence, or during every pause in a solo. ~Encourage students to be “clever” listeners, and not be “fooled” by tricky places in the music. If they wait for the conductor to put his/her arms down and turn around, they will be right every time! 3. A quiet audience will help the musicians concentrate and perform their best. While they are playing, silence is the highest compliment! Discuss how attentive and quiet listening creates a powerful concert experience for everyone!
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Michigan Standards and Benchmarks This curriculum meets the following Michigan Content Standards and Benchmarks in Arts Education:
Content Standard 1: All students will apply skills and knowledge to perform in the arts. ART.I.M.EL.1 Sing and play independently, on pitch and in rhythm, with appropriate timbre, diction, posture, and tempo. ART.I.M.EL.3 Sing expressively, with appropriate dynamics, phrasing, and interpretations. ART.I.M.EL.6 Perform easy rhythmic, melodic, and chordal patterns accurately and independently on rhythmic, melodic and harmonic classroom instruments. ART.I.M.EL.8 Perform independent instrumental parts while other students sing or play contrasting parts. ART.I.M.EL.9 Read whole, half, dotted half, quarter, and eighth notes and rests in double and triple meter. ART.I.M.EL.10 Use a system to read simple pitch notation in the treble clef in major keys. ART.I.M.EL.12 Use standard symbols to notate meter, rhythm, pitch, and dynamics in simple patterns presented by the teacher. Content Standard 2: All students will apply skills and knowledge to create in the arts. ART.II.M.EL.2 Improvise “answers” in the same style to given rhythmic and melodic phrases. ART.II.M.EL.3 Improvise simple rhythmic variations and simple melodic embellishments on familiar melodies. ART.II.M.EL.4 Create and arrange short songs and instrumental pieces within specified guidelines. Content Standard 3: All students will analyze, describe and evaluate works of art. ART.III.M.EL.1 Identify simple music forms when presented aurally. ART.III.M.EL.3 Use appropriate terminology in explaining music, music notation, musical instruments and voices, and music performances. ART.III.M.EL.4 Identify the sounds of a variety of instruments, including many orchestra, band and electronic instruments, and instruments from various cultures, as well as children’s voices and male and female adult voices. ART.III.M.EL.5 Respond through purposeful movement to selected prominent music characteristics or to specific music events while listening to music. ART.III.M.EL.6 Devise criteria for evaluating performances and compositions. ART.III.M.EL.7 Explain, using appropriate music terminology, personal preferences for specific musical works, and styles. Content Standard 4: All students will understand, analyze, and describe the arts in their historical, social, and cultural contexts. ART.IV.M.EL.1 Identify by genre or style aural examples of music from various historical periods and cultures. ART.IV.M.EL.4 Identify and describe roles of musicians in various settings and cultures. ART.IV.M.EL.5 Demonstrate audience behavior appropriate for the context and style of music performed. Content Standard 5: All students will recognize, analyze, and describe connections among the arts; between the arts and other disciplines; between the arts and everyday life. ART.V.M.EL.2 Observe and identify ways in which the principles and subject matter of other disciplines taught in the school are interrelated with those of music.
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Cross Curricular Standards and Benchmarks
Cross curricular standards and benchmarks include but are not limited to the following:
English Language Arts
W.GN.(00-05).03 K-5th grade study of writing informational pieces
W.PR.(00-05).02 K-5th grade study of pre-writing strategies
S.DS.(00-05).01 K-5th grade ability to engage in interactive, extended discourse to socially construct meaning
*Writing Process, Personal Style, Grammar and Usage, Spelling, and Handwriting Standards could be applied throughout all grade levels to the Post Concert Review writing assignment.
Social Studies H1.1 All grades study chronology using composer timelines from all lessons
K1.3 5th grade study of the diversity of human beings and human cultures
K1.4 5th grade ability to analyze events and circumstances from the vantage point of others
K1.5 5th grade ability to understand social problems, social structures, institutions, class, groups, and interactions
Physical Education M.MC.(00-03).01
M.MC.(00-03).06 K-3rd grade study of movement concepts M.MC.(00-03).11 M.MC.(04,05).02
M.MC.(04,05).06 4th-5th grade study of movement concepts M.MC.(04,05).11
M.RA.(00-05).01 K-5th grade study of movement rhythmic activities
Visual Arts ART.II.VA.EL.3 Explore and understand prospective subject matter, ideas, and symbols for works of art ART.II.VA.EL.4 Select and use subject matter, symbols, and ideas to communicate meaning ART.V.VA.EL.4 Identify connections between the visual arts and other disciplines in the curriculum
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Instrument Index Looking for a good example of a specific instrument family, sound, or activity? Try these: Strings “Flight of the Bumblebee” from The Tale of the Tsar Saltan by Rimsky-Korsakov In the Steppes of Central Asia by Borodin “The Elephant” from Carnival of the Animals by Saint-Saëns “The Royal March of the Lion” from Carnival of the Animals by Saint-Saëns “Ma Vlast” from Moldau by Smetana “The Flying Theme” from E. T. by John Williams
Winds “Sunrise Ignites Daybreaks’ Veil” from Chasing Light by Schwantner “Flight of the Bumblebee” from The Tale of the Tsar Saltan by Rimsky-Korsakov The Mosquito Dance by Paul White In the Steppes of Central Asia by Borodin “The Flying Theme” from E. T. by John Williams
Brass “Sunrise Ignites Daybreaks’ Veil” from Chasing Light by Schwantner “The Flying Theme” from E. T. by John Williams
Percussion “Sunrise Ignites Daybreaks’ Veil” from Chasing Light by Schwantner The Mosquito Dance by Paul White “The Flying Theme” from E. T. by John Williams
Vocal What a Wonderful World by Thiele/Weiss
Movement “The Royal March of the Lion” from Carnival of the Animals by Saint-Saëns “The Elephant” from Carnival of the Animals by Saint-Saëns “Flight of the Bumblebee” from The Tale of the Tsar Saltan by Rimsky-Korsakov The Mosquito Dance by Paul White “The Flying Theme” from E. T. by John Williams
Student Participation “What a Wonderful World” by Thiele/Weiss “The Storm of Chenery Auditorium” “Ma Vlast” from Moldau by Smetana
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Basses
Tubas
Cellos
Bassoons
Trombones Oboe s
English Horn
Violas
Piccolo
Trumpets Flutes
Clarinets Conductor
*Harp
*Piano Horns
2nd
1st Violins Violins
Percussion
*Due to stage size, orchestral arrangement, and artistic decisions made by the conductor, the harp, piano, and other instruments may be placed differently on stage. Look for the differences at the concert!
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Youth Concert 2014-2015 Design Team Many thanks to the teachers who helped design this year’s materials. We appreciate your hard work and dedication!
Stephanie Measzros
El Sol Elementary Jeanna Cervantes - Hickman Winchell Elementary Kalamazoo Public Schools Kalamazoo Public Schools Kim Licavoli North Ward and Dawson Elementary Allegan Public Schools Mary Foster Norma-Jean Forshey Arcadia Elementary M.L. King-Westwood Elementary Kalamazoo Public Schools Kalamazoo Public Schools Marcia Working Orff Instructor Crescendo Academy of Music Beth Stachura
Green Meadow Elementary and Cindy Cross North Elementary Hillside Learning and Behavior Center Comstock Public Schools Allegan ISD
Recording Information
Courtesy of Naxos of America
8.553474 Beethoven: Symphony No. 6, IV. Thunder Storm 8.550931 Smetana: Ma Vlast; 2. Moldau
8.550499 Saint-Saens: Carnival of the Animals 8.557456 Borodin: In the Steppes of Central Asia
8.559678 Schwantner: Chasing Light; 1. Sunrise Ignites Daybreak’s Veil
8.55674 Rimsky-Korsakov: The Tale of the Tsar Saltan; Flight of the Bumblebee
Liz Youker, Vice-President of Education & Community Partnerships Cori Somers, Director of Educational Partnerships Kalamazoo Symphony Orchestra
Major funding provided by: Burdick-Thorne Foundation, Diane S. Robinson, Tyler-Little Foundation, and Schupan and Sons