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Home , Anna (Go to Him), A Day in the Life, Best Days in the Sun, Carnival of Light, Covers (The Smithereens), Do You Feel

Table of Contents

Paper – 3

Lessons Form – 16 – 20 Three Types of –phony – 24 Instrumentation – 26 Variety Shows – 29 Baroque – 32 Cultural Appropriation – 35 Lieder – 38 Recording Technologies – 41 Tapes – 44 Extended Techniques – 47 Minimalism – 49

Covers Project – 52

Handouts Three Types of –phony – 58 Variety Shows – 59 Baroque – 60 Cultural Appropriation – 61 Recording Technologies – 63

Bibliography – 64

This project outlines a curriculum created to teach high school students through the of . In creating this curriculum I sought to write lessons that follow the Colorado

State Standards for music education on the secondary level. The lessons adhere to the standards: teaching about the elements of music, music technology, and music history through The Beatles as a secondary focus for engagement. I chose The Beatles because of their popular appeal and their contributions to the advancement of recording techniques. Each lesson has two prongs: the

Colorado state standard and a corresponding selection from The Beatles. This strategy gives the student two lenses through which to absorb the material, and makes connections between different disciplines of music.

John and Paul McCartney began playing music together in their youths, as early as 1957. was quick to join the gang on February 6 1958, when he got the chance to show off his skills for at a show. Richard Starkey, commonly known as Ringo

Starr, was the last to join in 1962.1 They boys started out as a playing of by the likes of and Chuck Barry. Lennon and McCartney soon started penning their own music and lyrics, starting with “Please, Please Me” (1962). Within five years of being signed to EMI Records The Beatles had gained international fame, filmed movies, and toured around the world. After releasing the Revolver decided to quit touring due to the volume of their fans being larger than their live performances; plus, the music they were recording used techniques that could not be replicated live. At this point The Beatles retreated to the studios and spent hundreds of hours recording their next album: Sgt. Pepper's

Lonely Hearts Club Band. This album changed the course of recording forever by showcasing the possibilities of new placements, interesting instrumentations, and unconventional songwriting and in a setting.

1 Spitz, Bob. The Beatles: The Biography.

2 I use The Beatles because of their tremendous impact on , as well as popular culture. The Beatles' music is tonal and easy to follow, but also encompasses many musical traditions and instrumentations. Their unique timeline as a band, going from touring constantly from 1962-'66, to exclusively recording in the studio 1967-'70, was unheard of. After

1967 The Beatles were able to focus solely on , creating what is attributed as being the first concept album: Sgt. Pepper's Lonely Hearts Club Band. Abundant time in the studio led to great advancements in recording techniques. Today, students are able to create music with hundreds of thousands of effects at their fingertips in fantastic computer programs. The

Beatles exemplify the evolution of recording technology, by creating many layered and textured pieces of music before these effects were readily available. For these reasons, The Beatles stand out among bands of the 20th Century and exemplify the between art music and popular music.

The Beatles recorded within a short span of time, allowing the curriculum to focus on a microcosm of music history. This focuses the students within a decade: a span of time they can grasp as 15 to 18 year old students. This short span of time gives the students a reference point when referring back to other musical periods such as the baroque or romantic. The were also recent enough that the students can relate to the music and the culture surrounding it, while understanding the consequences of the loose behavior and irresponsible substance abuse. If a student asks about The Beatles alleged drug use I can then point to George Harrison’s lung cancer and ’s supposed fragile mental state as repercussions of their actions.

Writing Lessons

To write a cohesive curriculum I created a structure that would be flexible enough to

3 apply to each lesson. Each lesson follows four steps: introduction to new material, guided practice of the new material, individual practice, and then assessment. This outline allows the student to gather information and apply it in a group setting before having to use the material alone. Many of the lessons end with homework assignments that allow students to apply their knowledge outside the classroom. The homework assignments require students to write about music, and allow the teacher to check for understanding of the concepts covered in class.

Similarly, each lesson plan follows the same template outlining the classroom set up, materials necessary, background research to perform before class, and then the activity. By following the same steps for each lesson, the plans are cohesive and understandable. Using similar models encourages routines in the classroom. As they become used to the teaching style they will expect the lessons to flow a certain way. For instance, the students will expect to follow along with scores while listening to new pieces, so as to adequately answer my detailed questions.

Instead of teaching The Beatles chronologically, I decided to jump from album to album.

This was a decision of convenience, as certain songs use pastiche to implicate other musical traditions. For instance, “” uses baroque style, so I use it to teach about baroque aesthetics. Similarly, Paul McCartney wrote “” and “When I’m 64” with a vaudeville aesthetic in mind, even though they were released on later albums. These song’s functions are rooted in the listener’s understanding of each song’s pastiche.

Each lesson seeks to use The Beatles' music as supplementary material to art music or musical concepts. The lessons intentionally cover a wide variety of musical genres and eras so as to draw connections between all the types of music explored and demonstrate how art music and popular music are connected. Unlike much of the music taught in the lessons, The Beatles

4 wrote music and lyrics. The addition of lyrics will help engage students who are better with words than melody, retain the important points of the lessons.

The curriculum focuses heavily on The Beatles music after (1965). This focus happened naturally, owing to the saturation of musical innovation and texture used after

1965. The Beatles were the first major band to quit touring in order to exclusively record music.

This focus on recording led to major innovations and experimentation in the , as well as a broader range of instrumentation, as the band members were no longer expected to perform the pieces live. The earlier lessons cover the earlier albums, as these lessons rely on the western tonal system that The Beatles employed early in their career.

Creating a Classroom Culture

In creating a curriculum for a hypothetical classroom I had to address who the students would be and what I would expect of them. The first lesson reviews the circle of fifths, time signatures and key signatures, but the rest of the lessons assume a basic knowledge of western notation and elements of music. In this way the first lesson helps the teacher gage the musical knowledge of the class and revise lessons accordingly. Each class of students contains its own strengths and weaknesses, so the lessons need flexibility in order to be practically implemented.

The decorations and seating arrangement of the classroom can dictate whether students are productive or distracted learners. Everything on the walls must have purpose, or else the students will get lost in the wall decorations instead of the focus of the lesson. For instance, around the top of the classroom we will have a blank timeline the students will add to as we learn about different periods in music history. This will serve as a quick reference for dates when necessary, but will not detract from an everyday lesson. This “fill-in” method will help the students remember the material, give them a quick reference, but will not overwhelm them with

5 unnecessary information. Many visuals will be created as a class then posted as familiar references. For instance, the lesson on instrumentation asks the class to create lists of adjectives that describe the of different instrument types. This will act as a quick reference when listening to pieces and trying to identify instrumentation.

Establishing classroom routines is essential to keeping the class on task and moving forward. On the first day play music as the students enter. When I turn the music off I will grab everyone's attention and explain that class will start this way every day. I will ask students to answer a prompt about the entering music and use my eyes to direct their attention to the prompt on the board. The classroom will be set up with four tables or groups of desks and the students will have randomly assigned seating. In addition to group seating I will establish a choral sitting arrangement so that when we sing musical examples, students can sit in the section that caters most appropriately to their vocal range. On the first day they will simply split into male and female and choose the low or high part in that voice. Because they are high school students they may choose their voice part, and as the teacher I may suggest alterations as I see fit.

Discipline is different in every class and every school. This makes it difficult to establish discipline before setting foot in the classroom. Immediately I will establish a no tolerance policy for using cellphones in class. This policy will depend somewhat on the school's policy for cell phone use, but I will generally ask students to silence and stow all cellular devices previous to class, otherwise they will be subject to confiscation, as they are distracting while listening and learning. I will also try to establish a safe environment for performing and making mistakes.

Instead of creating a culture where students compliment each other and performers, I would like students to make non-judgmental observations about performances. In this way we can avoid bias and direct our attention towards the elements of music and performance. Rather than using

6 language such as “like/dislike” I will encourage active listening through phrases such as “I noticed” or “I heard”. Lastly, I will choose group members for group work until I decide if the students can handle choosing their own groups to work productively; this sets the precedent that

I am in charge and can take back control if necessary.

Short activities can fill time gaps that inevitably happen due to discrepancies in learning paces. These short activities are commonly referred to as “sponges” and can be inserted at the beginning or end of any lesson as a time-filler. For instance, I can put on a piece of music, refer to a certain melody line and ask students to talk in groups about the instrumentation they hear.

By picking a melody played by a familiar instrument or an element of the song that we have studied, the sponge easily connects back to the larger lessons, and checks for understanding.

Using the classroom as an instrument serves as another simple sponge. As the teacher I will prompt: we have five minutes left of class, use the room around you to find the best musical sound possible without using instruments or pens or pencils as drum sticks. Here the students are given the chance to move about the room, engaging kinesthetic learners. These simple activities keep the students engaged in music after a finished lesson, when students are inclined to lose interest and focus.

Lessons on Listening and Analysis

Developing students' listening skills is one of the most challenging obstacles a music teacher faces. Instead of asking the class to listen for certain elements of the music, I ask questions that prompt closer listening. There are two ways I do this: I give visual in addition to audio prompts, and ask questions that provoke higher attention to detail. Visual prompts help grab the attention of students who tend to zone out while listening to longer pieces of music.

7 Scores serve as visual aids to any piece of music. Reading scores allows the students to see the full instrumentation of a piece in western notation. Reading along with a score can keep students focused on the melody and how it shifts from one instrument to another. In the lessons with scores I try to ask simple questions about the melodies that make it necessary for the students to think critically. For instance, in the lesson on Lieder I ask the students to search the scores for examples of tone painting and lyrics painting. In this way I hold them accountable to follow along, while teaching them the complex skill of reading scores with multiple staves.

The other visuals I use consist mainly of YouTube videos. These are incredibly useful in showing how instruments work in addition to how they sound. In the lesson titled

“Instrumentation” (appendix 26) I use YouTube videos to go through all the sections of the orchestra in a matter of a few minutes, giving students both audio and visual representation of each instrument. In combination with the adjective-lists we create for each instrument group, the students can easily identify different timbres. Then, when listening to instrumental ensembles of any kind, they can pick out individual tone colors, think about range, and deduce what instrument is playing based on the videos shown, and the reference lists created. These videos are invaluable in teaching lessons about instruments that are not readily available for purchase anymore. In the lesson titled “Extended Techniques” (appendix 47) I play a short clip from

Chaos and Creation at Abbey Road (2005) where Paul McCartney shows his . This precursor to the modern is difficult to understand without visual and audio representation. McCartney shows the studio audience how the mellotron worked for The

Beatles, but also shows its intended use. The historical context of this instrument could not be conveyed to the class without Paul McCartney's short explanation.

Videos also help show techniques being used by instrumentalists. For instance, in the “Extended

8 Techniques” lesson, the video performance of “The Banshee” shows exactly what extended techniques Henry Cowell used. If these lessons were to be taught without a grand it would be incredibly difficult to explain how a performer would reach into a piano to play its inner strings without showing the students. Many students will not have much experience with a piano, and without proper knowledge of the inside of a piano, the concepts of extended technique

Cowell uses would be lost on the class. The video is a short and incredibly effective way to show extended technique.

Many lessons require projected images of instruments in order to expose the students to exotic or less accessible instruments. I pair visuals with recordings so the students can associate the sound of the instrument with its function. In the lesson titled “Instrumentation” I use visuals of a standard next to a in order to compare the instruments. Side by side it is easy to see the tiny size of the piccolo trumpet. I use the pictures in combination with a

YouTube video of the piccolo trumpet from “” in order to see and hear the instrument in action.

When trying to prompt focused listening I ask specific, detailed questions that a student can easily answer if listening accurately. For instance, in the lesson titled “Song Form” (appendix

15) I ask students to count measures and figure out their assigned song's design based on measure grouping. I point them directly toward creating a form, suggesting how sections may be divided by certain numbers of measures. Meanwhile they focus on differentiating verse and bridge based on aural skills. Using both aural skills and the introduced concepts of , verse, and bridge, the students must delineate the song form. In prompting the students, I ask questions directly related to one or more of the larger elements of music: , texture, melodic components, time (, meter), form and design.

9 These strategies aim to engage the students and force them to actively listen to each example.

Each question or visual is intended to probe the student into deeper thinking or a new way of listening. While doing the project on covers of Beatles songs (appendix 52) students will be asked to listen to their assigned songs multiple times, pushing them to listen for the differences between the two song . At this point, students are challenged to listen to the same song multiple times, hearing new elements in every listen. Through this method the listening skills taught in class are then transferred to listening outside of the classroom.

Lessons on Technology and Media

Since the 1960s music recording technology has vastly improved, and changed the music production process. Recording techniques have been expanded, using in specific ways to create different effects. Sound effects have also been greatly improved, as well as accessibility to music recording and mixing technologies. Music production technology has evolved from recording in studios to recording on a laptop. The recording process is still evolving and constantly changing, with new technology entering the market every day. I want to convey these changes to my students and help them understand the evolution of the recording process. They will learn how to use all different kinds of music media, including LPs, tapes, and

CDs. We will talk about the evolution of recording from 1, 2, 4, 8, to multitrack recordings. In the lesson titled “Tape Loops” (appendix 44) students will work directly with tape, learning to splice tape and create tape loops. We will interact with these antiquated technologies in an attempt to understand how labor intensive the recording process was for The Beatles. We explore experimental who worked with tape, understanding the intricacies and the labor these experimental compositions required.

10 The Beatles’ recording career exemplifies how music technologies change and develop along with musical style. Listening devices for recorded became popular in the late 19th and early 20th centuries. And only in the 1960s did the practice of using non-performable in recordings become popular, through The Beatles. The Beatles manipulated sounds using new recording techniques, such as close microphone placements and manipulation of tape speed.

They used and looped tapes to create chaotic sounds and repetition. The Beatles’ dreamed up these innovations, but they were made reality by EMI recording engineer, Geoff

Emerick. Emerick not only created sounds that were seemingly impossible, but also created new sound balances. By pushing the bass to the forefront without making a turntable's stylus jump, Emerick was able to make McCartney’s melodic base lines pop2.

I want to convey to the students the immense speed at which recording technology evolved.

From the first recordings in 18773 until now, recording engineers have figured out how to capture sounds ever more accurately. They started in analogue, developing to fully digitalized processes. After completing the curriculum, students should be familiar vinyl, tape, and compact disc mediums, and be able to use each one precisely without damage to the recordings or the equipment. Furthermore, students will obtain a basic understanding of how tapes work magnetically.

The first of the “Music Production and Media” lessons was a challenge to make engaging because it addresses a lot of listening devices. I did not want to rattle off names of devices and dates; instead I chose to create an interactive experience. To demonstrate how

2 Emerick, Geoff, Here, There, and Everywhere. 114.

3 Mumma, Gordon, et al. "Recording." The New Grove Dictionary of , 2nd ed. Ed. Barry Kernfeld.Grove Music Online.

11 Thomas Edison created a phonograph I introduce musical waves and the idea that a needle can etch sound waves into a material, such as tin. At that point we make a “fake etching” on the board by using smaller and larger movements with the “needle” which is the pen or piece of chalk. We can then talk about how a phonograph not only records music, but also has a needle on the other side that will read the recording through a . The goal of the short demonstration is to engage the students who get bored during a pure lecture. In this lesson, each music-playing device we discover has a short activity that explains how the machine functions, how to use the machine, or both. At the end of the class the students have either interacted with the playing device itself or else have learned how it works through creating visuals together. Each student will answer the questions written on the board: How have the mediums for listening to recordings catered to the music industry until the digital age? How have some of the technologies prevented the issue of theft and others have not? These questions tie the practical knowledge they learned with their perception of music consumption in the 21st century. This lesson uses physical tools as well as visual aids to help engage the students. The prompts on the board further engage the students and their experience of music to these older technologies.

After introducing the concept of recorded music, I wanted to go further into the recording process and show students how laborious recording with tape in the 1900s was. This led me to the ultimate interactive experience: teaching students to cut and splice tape. This activity requires scissors, rulers, scotch tape, and old tapes, and consists of students randomly cutting and splicing tape. This is the exact technique John Lennon used in the creation of “”

(1969). In the lesson the students learn how cutting and splicing was used not only for editing, but also as a compositional technique. After the activity, any successful spliced tapes can be

12 played. By listening to the finished tapes the students can hear how hard it would be to cut and splice accurately during the editing process. While this activity will be stressful for the students, who are striving for perfection in their splices, it will stress how analogue tapes worked. It also puts the technology in the hands of the student, allowing them to interact with the media, struggle with it, and learn through it.

Since the television became popular, it was inevitable that music would be an important part of that multimedia experience. The lesson titled “Variety Shows” explores how entertainment has evolved to integrate music seamlessly. In this lesson the students learn about the piecemeal variety show and its progression into television, with the example of . The lesson focuses on The Beatles’ performance on The Ed Sullivan Show. It examines the success of the variety show and questions why the entertainment form went out of fashion.

Over the past hundred years the music industry flourished through mass marketing of recordings.

This inspired an influx of technologies that are still being invented and updated today. Because this change occurred so quickly, it is important to understand what came before and the possibilities for future music making. While some of the technologies covered in these media and music production lessons seem dated, it teaches students how laborious the creation of recorded music has been in the past. It also teaches about digital versus analog music, so that students can knowledgeable speak about the advantages and disadvantages to both mediums.

Conclusion

Writing a curriculum around a central theme provided a jumping off point for each lesson. While incorporating different types of music the students and teacher always expect to come back to a familiar subject: The Beatles. The tonal quality of most of their music makes it

13 easily accessible to western ears. The lessons rely on the student’s exposure to western tonal music in order to learn about song form and instrumentation.

The Beatles’ later music experiments with different instrumentation, long form composition, and avant-garde compositional techniques. The lessons begin with familiar, tonal

Beatles works, and evolve to incorporate less familiar musical textures. But because the students are familiar , these new concepts are easier to accept. The Beatles continue to be relevant to music today, as in 2000 the rerelease of Beatles hits in the album 1 became the year’s biggest top seller.4 As evidenced in the lessons, The Beatles were influenced by many musical traditions and have, in turn, influenced music and popular culture.

4 Kimsey, John. “’An Abstraction, Like Christmas’:The and for keeps” The Cambridge Companion to The Beatles.

14

Song Form

Abstract: This lesson explores popular song form. It teaches about the structure of songs and how to properly identify verse, chorus, and bridge. It also quickly reviews the circle of fifths and time signatures.

Standards: 3. Theory of Music, Performance Pathway, 3. Evaluation of music using critical, informed analysis. a. Identify basic elements of written examples of music using appropriate musical vocabulary. b. Apply specific criteria from similar or exemplary models in evaluating music of compositions, arrangements, and improvisations. 3. Theory of Music, Generalist Pathway, 1. Discernment of Musical Elements. b. Identify basic elements of written examples of music using appropriate musical vocabulary.

Background Research: Read articles on Grove Music Online: Forms, 1. Structures, techniques, and procedures, (i) Structural models5

Vocabulary: New: Chorus, Verse, Bridge, Intro, and Outro Review: Measure, Key, , Clefs & Staves, Double Bar, Repeat Sign, Dynamics

Important Figures: John Lennon, Paul McCartney, George Harrison, John Lennon

Music Addressed/Media: Mp3 from “”: IVVBVVBVO Lead vocals: Paul McCartney “” (cover): I-V-mini C-V-B-V-B-V-mini C Lead vocals: John Lennon “Chains” (cover): Blues in Bb Major Lead vocals: George Harrison “Please Please Me”: IVVBVO Lead vocals: John Lennon “ Me Do”: IVVBVBO

5 Thomas Owens. "Forms." Grove Music Online.

15 Lead vocals: Paul McCartney

Classroom Set Up: Project the score of “I Saw Her Standing There”

Materials: ● Scanned score of “I Saw Her Standing There” with projection connector ● Guitar ● Copies of each score for each group of 5 students: “Anna”, “Chains”, “Please Please Me”, and “” from The Beatles: Complete Scores ● “Please Please Me” in format for listening via classroom stereo ● Pencils to mark up the scores

Entering Music: Please Please Me playing from the beginning (“I Saw Her Standing There”)

Activity: Introduction to The Beatles: (10 minutes) ● Shut off the music and establish that every day there will be music playing when the class comes in. When I shut off the music, class begins. ● That song was “I Saw Her Standing There” ● The Beatles were a 4-member band: John Lennon, Paul McCartney, George Harrison, and . ● The person lead vocals on “I Saw Her Standing There” was Paul McCartney ● From , England. Liverpool was a shipping port. Liverpudlians were rough compared to Londoners. ● John and Paul met in school and started playing music. Soon they were joined by the younger, but talented George Harrison. Ringo joined last, as he had been playing with a different Liverpool band, and the Hurricanes. ● They were the most popular band of the 1960s and were highly influential. ○ Political activism ○ Quit touring after 1966, caused recording innovations, more time in the studio. ○ Only recorded from 1962-1970 ● Project the score of “I Saw Her Standing There”. This is the song you heard as you entered the class. ○ As a class, sing the song, accompanying on guitar.

Key & Time (20 Minutes): CIRCLE OF 5ths ● We now need to figure out what the key and time signatures are for this song. ● Start by writing a C at the top of the black board and drawing two arrows away from it

16 (this is the beginning of your circle of 5ths). ● To the right, show how counting to 5 on your fingers and saying the letter names gets you to G, which is a perfect 5th away from C and is the key with 1 sharp. ● Keep going around the circle until the students have reached F# major. Now, go back to the top and look at how going the other way the keys are a perfect 4th away when going left in the circle, but a perfect fifth when going right. ● Show how this relationship is the same in the sharps. ● Create the rest of the circle. ● Demonstrate how the key signatures overlap with enharmonic equivalents at the bottom of the circle. SIMPLE TIME ● Define beat: the pulse of the music. The basic unit of time that makes up a measure. ● Write 4/4 on the board. ● Next to the top 4 write: beats per measure ● Next to the bottom write: value that gets the beat ● Show how one would conduct a measure of 4/4 ● Go over simple time signatures, writing signatures and asking the class to tell you what the top means and then what the bottom means and asking what a measure in this time signature might look like. COMPOUND TIME ● Write 6/8 on the board. ● While there are still 6 eighth notes per measure, we divide the top number in the signature by three to find where the beat lies. ● Thus, a measure of 6/8 is counted ta-ti-ti, ta-ti-ti. (Show conducting). ● A measure of ¾ has the same number of beats (3 quarter notes or 6 eighth notes), but it is split up differently. ● Show by drawing a measure of each time signature on the board how a dotted quarter gets the beat in the 6/8 while conducting, then how a quarter note gets the beat in ¾ while conducting.

Analyzing “I Saw Her Standing There” as a class (10 Minutes): ● Project the score of “I Saw Her Standing There” again ● Ask the students to identify the key and time signatures in their groups ● Define: ○ Verse: Where the story of the song is told, the music stays the same and the lyrics change. ○ Chorus/refrain: Uses the same music and lyrics, often containing the song title. Sometimes this is referred to as the “hook” and is often the musical idea that gets stuck in your head. ○ Bridge: This melody provides contrast to the verse and chorus. The name “bridge” comes from its ability to provide contrast but then glue the song together

17 by returning to the familiar melodic content of the verse or chorus to wrap up the song. ● Identify these elements of “I Saw Her Standing There” as a class

Analyzing songs from Please Please Me in groups (10 Minutes): ● Break the class into five person groups ● Each person will be responsible for identifying one element of the song: ○ key signature ○ time signature ○ verse ○ chorus ○ bridge ● Pass out the scores of the first song, “Anna” ● Have each group write their names and their roles at the top of the score ● Before playing the score tell the students who sang lead, so they can become familiar with the different timbres of the four Beatles’ voices ● Play the song ● Have the group members identify their respective role’s element of the score ● Walk around to make sure the students are grasping the vocabulary and properly assigning sections to the songs, stopping to help if necessary. ● After the first song, pass out the next score, and continue exercise with remaining scores until the bell rings.

Assessment: At the end of class collect all the marked up scores. Check to make sure each student properly identified components of the songs.

18 Blues and Improvisation

Goals/Abstract: This lesson teaches about improvisation. In it the students learn the basic 12 bar blues progression, listening to examples from Little Richard, Muddy Waters, and Howlin’ Wolf.

Standards: Standard 1. Expression of Music, Generalist Pathway, 2. Demonstrate informed participation in music making activities. a. Actively participate in music making by singing or playing instruments. Standard 2. Creation of Music, Generalist Pathway, 1. Extended improvisation over varied progressions. a. Improvise a rudimentary instrumental solo over harmonic progressions. b. Improvise a rudimentary vocal solo over harmonic progressions.

Background Research: Read articles from Grove Music Online: Blues6 Blues Progression7 credits American Blues artists with the future success of the British pop/rock movement of the 1960s.8 He sites the influence of artists such as Howlin' Wolf and Little Richard. Bob Spitz mentions the influence of Little Richard on Paul McCartney and John Lennon.9

Vocabulary: 12-bar blues, vamp, blue note, scat / improvise

Important Figures: Little Richard Muddy Waters Howlin’ Wolf The Beatles Eric Clapton

Music Addressed/Media: Mp3: Gypsy Woman – Muddy Waters – Little Richard

6 Oliver, Paul. "Blues." Grove Music Online. 7 Kernfeld, Barry and Allan F. Moore. "Blues progression." Grove Music Online. 8 Clapton, Eric. Clapton: the autobiography. New York: Broadway Books. 9 Spitz, Bob. The Beatles: the biography. New York: Little, Brown.

19 Red Rooster – Howlin’ Wolf – The Beatles Video: performing “” on The 's Rock 'n' Roll Circus (YouTube): http://www.youtube.com/watch?v=LHC0oPN6YGM

Classroom Set Up: Make sure that the poster of the 4 Audience As is posted at the front of the class, close to where the teacher stands Write 12 bar blues progression on the board before students enter: ||:I I I I IV IV I I V V I I:||

Materials: piano any available instruments, have students bring in instruments from home if possible guitar for playing 12 bar blues on

Entering Music: Mannish Boy – Muddy Waters

Activity: Introduction to Blues Progressions and 12-Bar Blues (10 Minutes): ● Introduce Muddy Waters: famous blues guitarist and singer. ● The blues tradition came out of “undocumented rural American origins” and “has been the most important single influence on the development of Western popular music”10. ○ Define 12 Bar Blues: 12 measure I, I, I, I, IV, IV, I, I, V, V, I, I ○ These numbers refer to chords within a specific key. In the key of C major, the I is C major, the IV is F major, and the G is also major. Go to the board and write: Major: I, ii, iii, IV, V, vi, viiº, Scale: C, D, E, F, G, A, B Minor: i, II, III, iv, V ● Whereas in a minor key, the i and iv chords are minor and the V stays dominant, respectively [play the minor 12-bar blues]. Now we can compare, the chords in C maj and C min 12 bar blues and notice that the chords that change are the i and iv. ● The 12 bar blues became an important tool for people to improvise over because if you knew the progression, you could improvise in any key.

10 Oliver, Paul. "Blues." Grove Music Online.

20

Guided Practice: Listening to the 12 Bar Blues (15 minutes): ● Get the students out of their seats and to listen to some examples of 12 bar blues. Follow the pattern written on the board. When you hear any chord other than the I move around like a jellyfish, then freeze when you hear the I again. Sometimes these artists have introductions or vamps (define): when the artist plays the I chord until he or she starts to sing, as an introduction, sometimes for longer than four bars. ● Play clips from Louisiana Blues Muddy Waters, Have You Ever Loved a Woman Derek and the Dominos, For You Blue The Beatles, and Tutti Frutti Little Richard. ● After this last one, mention that there are sometimes modifications, such as Little Richard’s modification of the last four bars from V, V, I, I to V, IV, I, I ● Have everyone sing along while you play the 12 bar blues, “one” on the C, “four” on the F, and “five” on the G.

Demo (7 minutes): ● Introduce neighboring tones and define blue notes: “blues and jazz singers, as well as instrumentalists, tend to present the 3rd and 7th, sometimes also the 5th degree in a diatonic framework by pitch values a lower, often with microtonal fluctuations”11. These notes are described as blue or worrying because of the melancholy sound of the scale. ● Before singing to the class, introduce the “4 Audience As” ○ Accept ○ Attend ○ Applaud ○ Appreciate ● Then, sing one verse of For You Blue, then show how we would improvise using the piano, playing any note, and moving a half step if that note sounds bad. Mention that this is a primitive way of soloing, and if you know the key and different scales it is easier. Use the pentatonic scale as an example. ● Create two groups: voice and piano. ● Then let students choose which instrument they would rather improvise on.

Individual Improvisation Over the For You Blue (until end of class time): ● Now, play For You Blue with the lyrics on the projector to follow along with. ● Ask the class to join in singing the verse. ● I will play the 12 bar blues twice for each student while he or she adheres to the following criteria: ● Each student must sing or play the I, IV, and V as the first note when the chord changes (demonstrate).

11 Kubik, Gerhard. "Blue note." Grove Music Online.

21 ● Each student must sing or play at least one black key and appropriately resolve it after each chord change. (demonstrate) ● Each student must end his or her solo on the tonic (I). (demonstrate). ● If there are few enough students that there is time for more, add criteria: ● You must play a three note pattern starting on the tonic every time the I occurs

22 Three Types of –phony

Goals/Abstract: This lesson teaches about melodic textures, including , homophony and . The students then practice singing in polyphony.

Standards: Standard 1. Expression of Music, Generalist Pathway, 2. Demonstrate informed participation in music making activities. a. Actively participate in music making by singing or playing instruments.

Background Research: Study chord patterns for The Beatles’ “”

Vocabulary: New: monophonic, homophonic, polyphonic, imitative polyphony Review: melody,

Important Figures: John, Paul, and George

Music Addressed/ Media: Mp3: The Beatles - “Eight Days a Week”, “Til There Was You”, “Hello Goodbye” and “”

Classroom Set Up: Move chairs aside so that students can stand to sing Projector

Materials: Guitar Projector and scanned scores of “Eight Days a Week” and “Hello Goodbye” from The Complete Scores

Entering Music: The Beatles “Eight Days a Week”

Activity: Introduction to homophony (15 minutes): ● Group students in three voice parts ● Sing “Row Row Row Your Boat” as a class

23 ● Define monophony: when we all sing one melody we sing in monophony. Mono means one, phony means sound. We make one sound. ● Sing “Row Row Row Your Boat” in a round as a class ● Define polyphony: when we sing melodies with different words and on top of each other it is called polyphony. Poly means many, phony still means sound. ○ Define imitative polyphony: when the same melody comes in staggered. We just sang in imitative polyphony because the second line imitated the first, but it was later so the rhythms and words were not lined up. ● Define homophony: when there are multiple lines that move together rhythmically, but in harmony. Homo meaning the same, as in they move in the same rhythm. ● Homo and Mono are close, but not quite the same because mono means one. One melody, one rhythm. Homo simply refers to the rhythm being the same. I remember it by thinking of how homophony and harmony both begin with the letter H.

Singing in homophony (30 minutes): ● Project the score of “Eight Days a Week” ● “Eight Days a Week” is from Beatles for Sale which came out in ● Sing the melody line as a class. Accompany on guitar ● Assign voice parts to the three voice sections ● Practice each section’s harmony part on the words “hold me, love me” and “eight days a week”. Have the section practicing stand and the other students sit on the floor. ● Have everyone stand. ● Sing the verse and have the students join in on the refrains of “hold me, love me” and “eight days a week” with their harmony.

Assessment: Before the students leave, pass out the homework handout. Instructions for homework: Look these (indicated on handout) songs up on YouTube. Listen to the three songs and circle whether they are strictly monophonic, or have homophony or polyphony. Then write down the lyrics of where the homo/polyphonic part begins.

24 Instrumentation

Abstract: This lesson teaches about listening to and identifying tone colors and timbres in order to deduce the instrumentation of a piece of music.

Standards: 4. Aesthetic Valuation of Music, Generalist Pathway, 3. Development of criteria-based aesthetic judgment of the artistic process and products in music a. Develop criteria for making informed aesthetic (personal) judgments about music. b. Make and defend informed aesthetic (personal) judgments based on the criteria developed. c. Discuss, with some basic understanding, the ideas of aesthetic qualities and aesthetic appreciation.

Background Research: Look up “Yesterday”, “The Long and Winding Road”, and “”12

Vocabulary: Review: Timbre, arrangement, instrumentation

Music Addressed/ Media: Mp3: The Beatles- “Yesterday”, “The Long and Winding Road”, “Lady Madonna” Video: Woodwinds (3:27): http://www.youtube.com/watch?v=7OjqeyOvC1c Brass (1:30): http://www.youtube.com/watch?v=2EvgkO_bwQA Strings (2:08): http://www.youtube.com/watch?v=RxFNHeXKmrY Percussion (1:06): http://www.youtube.com/watch?v=nrmCbsM6eyk “The Long and Winding Road” The Beatles from (the movie): https://www.youtube.com/watch?v=n9kG0hgIoxo

Classroom Set Up: Desks or tables in groups with about five students to a pod. Projections visible from all seats.

Materials: Projector with internet connection Entering Music: Earth, Wind, and Fire “Got To Get You Into My ”

12 Lewisohn, Mark. The complete Beatles recording sessions: the official story of the Abbey Road years. New York: Sterling.

25 Activity: Introducing the Instruments (20 minutes): ● You can play a piece of music with whatever instruments you see fit to use. ● As a you have this choice, and then future generations have the choice to rearrange your piece with the instruments they desire. ● For instance, what instruments do you think of when you think of jazz music? ● How about when I say the name “Mozart”? ● Often, different arrangements utilize popular musical idioms to revamp old melodies. ● For instance, Earth, Wind, and Fire did a soul- version of “Got To Get You Into My Life” in 1978 for a movie, but then released it as a single. It reached no. 9 on the top 100 and no. 1 on the soul charts because soul was popular and The Beatles were beloved. ● Play the four clips from YouTube that show woodwinds, brass, strings, and percussion. ○ After each clip make a separate list on the board of timbres and adjectives to describe that group of instruments. ○ At the end of class copy these lists down in order to make a bulletin board for the student’s reference.

The Beatles Instrumentation (20 minutes): ● Ask: what instruments did The Beatles play? Are those the only instruments used in their music? ● Play “Yesterday” from Help (1965) ○ Ask: What other instruments besides guitar, bass, and drums do you hear? ○ Do the strings sound full, like a full orchestra? Or solo instruments? ● Play YouTube video from Let it Be of “The Long and Winding Road” (1970) ○ Ask: What instruments were The Beatles playing in the video? ○ Were there other instruments not shown? ○ Do these strings sound like a full orchestra or solo strings? ○ Do you hear any voices besides those of The Beatles? ■ There’s a choir singing “oohs” behind “crying for the day” ○ Were they playing live? ● Ask: How do we listen to differentiate small ensembles from large ones? ● Play “Lady Madonna” (1968) through the saxophone solo, then pause ○ Ask: How can we describe the timbre of the instrument that just soloed? ■ Pick on a student who has not yet contributed to class today. ■ Pick another student who has not been very vocal. ○ Refer to the timbre lists created in the first activity to deduce the sound of saxophones.

Introduce Covers Project (10 minutes): ● Each student will be assigned a Beatles song and a cover of that song, or an original and a cover by The Beatles.

26 ● Each student is then responsible for answering all the questions on their handout ● You will then prepare your own cover, to be performed live or share a recording in class ● You must write a one page, double-spaced, 12 pt. Times New Roman font, and 1-inch margin page on your aesthetic choices for your cover. Do they relate to the aesthetic choices of The Beatles, the other recording, or are they completely divergent, and why? ● You must cite at least three sources. We have plenty of books on The Beatles around the classroom. ● You must look up the score of your piece in The Complete Scores as a reference for what the other artist omits, adds, or changes. Note these differences in your report.

27 Variety Shows

Goals/Abstract: This lesson teaches students about vaudeville and the variety show, explaining how the multi act format caters to many different consumers. It then talks about how the variety show The Ed Sullivan Show brought The Beatles to America, and how Paul McCartney utilized vaudeville aesthetics in some of his later works.

Standards: 4. Aesthetic Valuation of Music, Generalist Pathway, 3. Development of criteria based aesthetic judgment of the artistic process and products in music. a. Develop criteria for making informed aesthetic (personal) judgments about music. b. Make and defend informed aesthetic (personal) judgments based on the criteria developed. c. Discuss, with some basic understanding, the ideas of aesthetic qualities and aesthetic appreciation.

Background Research: Read articles on Grove Music Online: Vaudeville13

Vocabulary: Industrial Revolution, Vaudeville, Player Piano/ Piano Roll

Important Figures: Ed Sullivan

Music Addressed/ Media: Mp3: The Beatles “Honey Pie”, “When I’m Sixty Four” Video: “Cheek to Cheek” (YouTube): https://www.youtube.com/watch?v=NrCsyN-fZ94 DVD: The Ed Sullivan Show from February 9, 1964, Season 16, Episode 19

Classroom Set Up: Bring in a TV with a DVD player, or have the projector attached to a DVD playing device.

Materials: Computer Paper (8.5x11)

13 Clifford Barnes. "Vaudeville." Grove Music Online.

28 Pencils Coloring utensils (markers, crayons, colored pencils, whatever is on hand) DVD player

Entering Music: “” - The Beatles

Activity: Introduction to Vaudeville and the Player Piano (15 minutes): ● Before there were recordings people would only hear music if they went out to a performance or a church service where there were live musicians, or if they played instruments in the home. ● Define Industrial Revolution: the shift from hand made to machine made products, making rare products more readily available. For instance, during this time piano makers were able to go from only a few dozen a year to thousands14. ● One very common venue for entertainment was the vaudeville show. Define vaudeville: a style of show containing multiple types of act with no relation. These acts included singers, dancers, comedians, animals, acrobats, and other unrelated entertainment acts. ● Paul McCartney cites his love of Fred Astaire’s version of “Cheek to Cheek” as inspiration for vaudeville like songs in his official autobiography.15 ● Queue “Cheek to Cheek” via the YouTube video and before playing it, prompt students to jot down any instruments they hear. ● Play the song and then compile listening notes on the board

Paul McCartney’s Vaudeville influences (20 minutes): ● McCartney noted his and John’s influence from vaudeville: ○ “I did it in a rooty-tooty variety style... George helped me on a clarinet arrangement. I would specify the sound and I love clarinets so 'Could we have a clarinet ?' 'Absolutely.' I'd give him a fairly good idea of what I wanted and George would score it because I couldn't do that.” (Paul McCartney on “When I’m 64) & “Both John and I had a great love for , what the Americans call vaudeville… so ‘Honey Pie’ was me writing one of them to an imaginary woman, across the ocean, on the silver screen, who was called Honey Pie”16 (Paul McCartney on “Honey Pie” ○ They added the sound of a record crackling on a turntable, making even a brand new recording sound antiquated.

14 Edwin M. Ripin, et al. "Pianoforte." Grove Music Online. Oxford Music Online. Oxford University Press. Web. 26 Mar. 2014. . 15 Miles, Barry. "The White Album." Paul McCartney: many years from now. New York: H. Holt, 1997. 497. Print. 16 Miles, Barry. “The White Album”, Paul McCartney: many years from now.

29 ● Listen to the songs and have the students jot down instruments they hear ● Compile listening notes for each song in separate sections of the board so each song’s characteristics are easily distinguishable. ● Talk about how the instrumentation adds to the vaudevillian feel. ○ How can we define vaudeville from these characteristics? ○ Are these characteristics unique to vaudeville? ○ What makes “Honey Pie” and “When I’m Sixty Four” sound vaudevillian?

The Ed Sullivan Show and Creating Your Own Variety Show: Background: ● According to Geoff Emerick, Beatles shows were like mini vaudeville acts with the boys running around stage, dressing up in outfits, doing comedic bits, and singing. They would do anything to get a laugh, and anything to keep the rapt attention of their audiences.17 ● The Ed Sullivan Show was a television program that showcased a variety of different acts. The model was based off these variety shows that catered to as many audience types as possible by having many different skits. ● The Beatles made their first appearance in America on the Ed Sullivan show in 1964. America was prepared for it because their single “” had been pushed by radio stations in the preceding months. Movie: ● Pass out Ed Sullivan handout ● Ask students to fill in the handout as they watch. ● Watch The Beatles first performance on Ed Sullivan until the bell rings.

Assessment: Ask the students to take the handout home and answer the questions at the bottom of the page: How did The Beatles’ music function in the context of The Ed Sullivan Show? Did it seem like their fans would have liked to watch the other acts that performed on February 9, 1964? What makes you think that? Do you think “Honey Pie” would have been a better or worse fit for the show as a whole? Why or why not?

17 Emerick, Geoff. Here, There, and Everywhere.

30

Goals/Abstract: Introduce the baroque period in music, fortspinnung, and aesthetics of the baroque. Find connections between baroque and the Beatles and how baroque music has had lasting influence.

Standards: Standard 4. Aesthetic Valuation of Music, Generalist Pathway, 3. Development of criteria-based aesthetic judgment of the artistic process and products in music

Preparation (Background Research): Scan scores of “Penny Lane” and “Piggies” On Grove Encyclopedia look up: Baroque18 Clavichord19 Harpsichord20

Materials: Internet connected to a projector Jpegs of piccolo trumpet and standard trumpet for comparison

Vocabulary: New: Baroque, , Concerto (Concerto Grosso, Solo Concerto), Harpsichord, Clavichord, Sequences, BWV- (Bach-Werke-Verzeichnis) Review: Ornamentation, trills, turns, melismas

Music Addressed/ Media: Mp3: - Brandenburg Concerto no. 2 (BWV 1047) and 5 (BWV 1050) The Beatles- “Piggies” Video: Brandenburg no. 2: http://www.youtube.com/watch?v=UJbkvmwUMkw Bach 2 Part Invention no. 1 with harpsichord: http://www.youtube.com/watch?v=o0_YjyNTqWY Bach 2 Part Invention no. 1 with score: http://www.youtube.com/watch?v=jEVQ7yHgaSM Bach 2 Part Invention no. 1 on Harpsichord: http://www.youtube.com/watch?v=1VWYOo653k0 Brandenburg Concerto no. 2 mvmt 3 for the piccolo trumpet: http://www.youtube.com/watch?v=o1BEDBsSDJw

18 Claude V. Palisca. "Baroque." Grove Music Online. 19 Edwin M. Ripin, et al. "Clavichord." Grove Music Online. 20 Edwin M. Ripin, et al. "Harpsichord." Grove Music Online.

31 Penny Lane Piccolo Trumpet: http://www.youtube.com/watch?v=mQyBRS8Nby8

Important Figures: Johann Sebastian Bach

Entering Music: “Penny Lane” The Beatles

Lesson: Introduction to Johann Sebastian Bach: (10 Minutes): ● (5 minutes) Define Baroque ○ A musical period that started around 1600 ○ comes from the Portuguese word “barocco” meaning rough pearl ○ makes use of elaborate ornamentation ○ driven by fortspinnung: literally German for “forward spinning” because the music seems to constantly spin forward, pushing itself onward without any room for breath ○ creates a tonal western system by way of counterpoint ■ counterpoint when voices relate harmonically, yet are independent in rhythm, melody, and contour. i.e. each line has its own melody and rhythm that fit together to create a harmonic being. ● Bach was born in 1685 in Eisenach, Germany. Baroque “died” with him in 1750 ● He was an organist who worked all over Germany. He was known for his skills in his lifetime, but the memory of him was lost for many years until Felix Mendelssohn revived his music in the early 1800s. ● Wrote an obscene amount of music in his lifetime. These pieces are organized by BWV numbers, which catalogue his work first by genre, then roughly chronologically. ○ As choirmaster Bach was required to pump out music for each service

Brandenburg Concertos and Penny Lane (20 minutes): ● Gifted to Christian Ludwig, margrave (medieval title for a military commander) of Brandenburg-Schwedt in 1721. Originally titled “Six Concerts a plusieurs instruments”. ● Define concerto: a piece usually written in three movements where a solo instrument or a group of instruments are featured in light of the orchestra. After the baroque the concerto grosso, which contains the group of instruments in contrast to the orchestra, became less favored than the solo concerto. ● Paul McCartney heard Brandenburg Concerto no. 2 one night and was inspired by the tiny trumpet he saw. ● This is called a piccolo trumpet and produces a much higher sound than a regular trumpet in Bb. ○ The tubing in this trumpet is half the length of a standard trumpet, causing it to

32 still be in Bb, but an octave higher. ○ Show jpeg of piccolo trumpet in contrast with a standard trumpet ● Watch 3rd movement of the 2nd concerto on YouTube. ○ What did you notice about the trumpet’s part? ● Define sequences: the immediate restatement of the same melody starting on a higher or lower pitch. Use vocal warm-ups as an example. ● Watch the clip about the piccolo trumpet in Penny Lane. ● Project notation of the Penny Lane trumpet solo. ● After listening to the Penny Lane solo, do you notice similarities between the two pieces? ● Does the trumpet solo in Penny Lane use any sequences?

Comparing the Beatles to Bach (20 Minutes): ● Define harpsichord: a pre-piano keyboard instrument that plucked each string. This gives it a very tinny quality. ● Play Bach’s Invention BWV 772 harpsichord version. Then watch the video with the score to show how each hand has its own melody that work together to create counterpoint. ● Listen to “” while projecting the score. ● Queue the students to pay extra attention during the keyboard solo ● While this is list on the board: ornaments, instrumentation, repetition, sequencing, scales, fortspinnung. ● Ask: What elements of baroque style are used in both of these pieces? ● Listen to “Piggies” while projecting the score. ● Brainstorm adjectives to describe “Piggies” to the class.

Assessment: Pass out handout with the lyrics to “Piggies” and this prompt: Read the lyrics to “Piggies”, and then write a 150 word, typed response to the question: Why did The Beatles use baroque style on “Piggies” and what effect does it create? How are we supposed to judge baroque music based on The Beatles choice? How does the use of baroque styling in “Piggies” send a different message than that in “In My Life”?

33 Cultural Appropriation

Abstract: This lesson teaches about vinyl as a medium for listening to music. It employs listening techniques practiced in class to listen to a full album. The lesson investigates cultural appropriation and its effects.

Standards: Standard 3. Theory of Music, Generalist Pathway, 1. Discernment of Musical Elements Standard 3. Theory of Music, Generalist Pathway 2. Classification by genre, style, historical period, or culture.

Background Research: Read articles on Grove Music Online: India21, subheadings: ● The region: cultural context and musical categories ● Theory and practice of : ○ Tonal systems ○ Rāga ○ Rhythm & tāla

Vocabulary: Appropriation, Hindustani, rāga, tāla

Important Figures:

Music Addressed/ Media: Vinyl: Revolver (1966) The Beatles Mp3: “Norwegian Wood” The Beatles “ Bairagi Todi: Alap” Ravi Shankar

Classroom Set Up: Arrange seats so students can comfortably sit and listen but also see the board

Materials: Record Player

21 Regula Qureshi, et al. "." Grove Music Online.

34 Revolver by The Beatles on vinyl PowerPoint pictures of classical Indian instruments:

Entering Music: “” by

Activity: Introduction to Hindustani music (20 minutes): ● Introduce Ravi Shankar ○ Started studying classical music at age 18 through the classical gurukul system. ○ gurukula- traditional education system where the pupil lives with the teacher. The teacher does not require pay, but the pupil will help in everything from mundane housework to the actual field of study (in this case sitar). This study often takes years. It took Shankar six years (1938-1944) ○ Founded the Indian National Orchestra ○ Became a renowned composer ○ Define ■ raga: It derives from the root rañj, ‘to be coloured, to redden’, hence ‘to be affected, moved, charmed, delighted’22 Thus, it is the musical color, of the music, defined by the tones used. In western terms we can think of this as the scale that is used, yet in the Hindustani system there is no tonal center or tonic. ■ tala: the word for metered music in Sanskrit. It also means “clap” hand signals referred to as tala can implicate the rhythm and meter of a piece. ○ Toured the world ○ Met George Harrison and briefly taught him (six weeks in India in 1966) ● Introduce “Norwegian Wood” (1965) as the first Beatles song containing sitar or Indian instrumentation. ● Sitar doubles the melody: primitive usage. ● Listen to “Norwegian Wood” (1965) ● This album was the turning point in The Beatles career, when they started their period of innovation. “Norwegian Wood” uses the sitar with Western functionality. ● Define appropriate/appropriation: to take or make use of without authority or right ○ Ask: How is The Beatles’ use of sitar appropriation? How could their use benefit or hurt the classical Indian tradition? Listen to Revolver on vinyl (30 minutes): ● Introduce Revolver:

22 Richard Widdess. "Rāga." Grove Music Online.

35 ○ 1966 ○ First album with extended recording techniques ○ Couldn’t perform lots of the music live, also could not hear themselves in performance, so they retired to the studio after this album’s tour. ● Tell students: the album is about 35 minutes long, split on two sides. ○ Please try to stay for each whole side. We’ll take a short bathroom break between sides. ● Pass out the listening guide. Have students fill in the listening guide, answering questions for each song.

Assessment: Collect the listening guides and check for understanding.

36 Lieder

Goals/Abstract: This lesson teaches about Romantic Lieder. It investigates how Lieder express poetry the way the composer understands it. Then it teaches how The Beatles used musical idioms created by this movement to convey desired emotions.

Standards: 3. Theory of Music, Generalist Pathway, 2. Classification by genre, style, historical period, or culture.

Preparation (Background Research): Find and copy a translation of “Ich grolle nicht” Make a copy of the lyrics of “”

Media: Mp3: – Dietrich Fischer-Dieskau singing Robert Schumann’s “Ich grolle nicht” from Dichterliebe – Dietrich Fischer-Dieskau singing ’s “Die Erlkönig” – The Beatles: “”

Materials: Scores Scanned for PowerPoint: “Ich grolle nicht” Robert Schumann “I’m a Loser” The Beatles Beatles for Sale “Within You Without You” The Beatles Sergeant Pepper’s Lonely Hearts Club Band “Something” The Beatles Abbey Road

Vocabulary: New: romantic, Lied(er), tone painting Review: 3-part harmony

Music Addressed: “Ich Grolle Nicht” from Dichterliebe Robert Schumann “I’m a Loser” The Beatles Beatles for Sale

Important Figures: Ludwig von Beethoven Robert Schumann

Entering Music:

37 Fantaisie-Impromptu Op 66. Frederic Chopin

Activity: Introduction to Romanticism and Virtuosity (25 minutes): ● Beethoven served as the bridge between classical and romantic genres ○ 9th symphony: the last movement contains lyrics: ode to joy ○ Sing part of “Ode to Joy” for the class. Have them hum along as they recognize the tune: ■ “Freude, schöner Götterfunken, Tochter aus Elysium, Wir betreten feuertrunken, Himmlische, dein Heiligtum.” - Friedrich Schiller ● Define Romantic (music): a shift toward different types of composition that are less tied to forms. Also a shift in coloration and size of the orchestra. There was a fascination with the macabre. ○ Clarify: Romanticism in literature and art has similarities to Romantic music but cannot be equated. ● Define Lied(er): literally means song, but refers to a poem set to piano music that expresses how the composer felt about the text. ○ Franz Schubert ■ Wrote over 600 Lieder ■ Wrote this song in an afternoon at age 16 ■ Look at translation of “Die Erlkönig” ■ Listen to “Die Erlkönig” ● Ask: Can you hear the different voices? What is the effect of one person singing three characters? Did it work? What was the ? Did it change at all throughout the piece, and where? ○ Robert Schumann ■ Wrote many Lieder and cycles of Lieder, including Dichterliebe ● A cycle takes a series of poems and sets them to music ■ Look at “Ich grolle nicht” poem in translation ● Ask: Does the author really not care? What is your impression of this poem? ■ Listen to “Ich grolle nicht” ● Ask: Now, how do you think Schumann felt? ● Define tone painting: the melody mimics the words or feelings conveyed literally.

Emotive elements of The Beatles’ music (25 minutes): ● Listen to “I’m a Loser” with the score

38 ○ Ask: What musical conventions do The Beatles use? Do you think they are losers? Do you feel bad for them? How does the music make you feel about the singer? ○ Direct the students to the score and find musical conventions The Beatles use ● Read the lyrics of “Within You Without You” as poetry ○ Ask: What are these lyrics about? ○ Create a list ● Listen to “Within You Without You” with the score ○ Ask: What instruments do you hear? ○ How does the instrumentation add to the meaning? ■ Review appropriation ○ Where is there tone painting? ○ How does lack of sound often convey meaning (when the word “away” melds into the sound of sitar) ● Listen to “Something” with the score ○ Ask: How does Harrison paint the first line ○ Use the score to answer the question: How does Harrison express this “something” through music that he cannot put into words?

Assessment: Answer the following question in one page typed, 12 pt font, double spaced: Choose a Beatles song, look it up in The Complete Scores and explain how they used the music to reinforce the lyrics.

39 Recording Technologies

Goals/Abstract: This lesson teaches about the evolution of recording technologies. It explores the possibilities of recording and how the invention of recording created a highly profitable music industry.

Standards: Standard 3. Theory of Music, Generalist Pathway 1. Discernment of musical elements Standard 3. Theory of Music, Generalist Pathway 2. Classification by genre, style, historical period, or culture.

Preparation (Background Research): Read articles on Grove Music Online: Recording23

Materials: Chalk or whiteboard markers projector jpeg of a phonograph Turntable and vinyl

Vocabulary: Frequency related to pitch, Phonograph, Fidelity, Analog, Digital

Music Addressed/ Media: vinyl: Abbey Road B-side

Classroom Set Up: Students in four seated groups, facing the board On board, before students enter, write: How and where would you hear music if recordings and recording technology did not exist?

Important Figures: Thomas Edison

Entering Music: “I Want You (She’s So Heavy)” The Beatles

23 Gordon Mumma, et al. "Recording." The New Grove Dictionary of Jazz, 2nd ed. Ed. Barry Kernfeld.Grove Music Online.

40 Activity: Do not turn off “I Want You (She’s So Heavy)”, rather, let it play until the end of the side. Before Recordings (5 minutes): ● Have students talk in groups about the question on the board for five minutes ● Walk around the room and listen to conversations ● Put any good points on the board ● Stop the students and talk as a class, going over the list on the board and adding to it ● Be sure to include: church music, private concerts, public concerts, and private study of instruments in the home, singing

Introduction to recording: sound waves (5 minutes): ● Explain sound travels in waves, the size and width of the wave depends on the pitch and volume. ● Draw a vertical line and label it as pressure. ● Draw a horizontal line and label it as time. ● Define frequency: the speed the sound wave moves, and the length between one wave and another. ● Explain that when the frequency is faster and the length between one wave and another is shorter, the pitch is higher. Thus, when the frequency is slower, the pitch is lower. ● Draw two waves on the board and label them A and B. ● Check for understanding: Have the class look at the waves and decide which one would produce a higher pitch, then have the students put their heads down on their tables and raise their hands if they think A is a higher pitch than B.

The Phonograph (15 minutes) ● Introduce the phonograph: ○ Invented by Thomas Edison in 1877 ○ Show a picture of a phonograph on the projector ○ Explain how it uses a stylus to carve waves into a wax cylinder ● Have a student from each group go up to the board ○ Explain, I will sing three pitches and your stylus is the marker in your hand ■ depict my three pitches based on how high or low they are and draw the waves on the board as though you are a phonograph recording me ● Define fidelity: the accuracy with which the technology captures the original sound and reproduces it. ● Ask: How could wax cylinders be problematic? ○ wax melts, fidelity is lost over time.

Vinyl (20 minutes): ● Wax evolved into shellac which 78rpm discs were made of. ● Then, Polyvinyl chloride (known as vinyl) eventually replaced shellac, allowing for more

41 grooves within the material which allowed the recording to pick up more sonic details including more accurate timbre and dynamics. ● This allowed for the recordings to be more condensed and then the record companies could eventually get up to 25 minutes of recording on one side of a record. ● Records are two sided and are flipped in the middle. ○ This adds a factor for the record executives because the format effectively allows for two playlists with a mandatory pause between sides. ■ Ask: How would this affect the records being produced? ■ How would record companies release large orchestral works that are longer than 25 minutes? ● Introduce the “Abbey Road Medley” ○ Last record recorded by The Beatles, but released before The Beatles (1970) ○ Define B-Side: the second side of a record. ○ The medley is a string of songs with distinct differences, yet one leads straight into the other. ○ Remember what was playing when you entered the classroom? ■ “I Want You (She’s So Heavy)” is the end of the A side of Abbey Road ● the ending is “cut off” or sounds so. ● Listen to the very end of the A side before starting the B side ● Listen to the B-side of Abbey Road with the accompanying handout

Assessment: Collect handouts and grade.

42 Tape Loops

Goals/Abstract: This lesson teaches about tape technology, splicing tape, and creating tape loops. Students learn how tape loops have been applied both in popular music as well as music of esteemed composers such as .

Standards: Standard 2. Creation of Music, Generalist Pathway, 3. Create original music, or arrange the music of others, using appropriate technology.

Background Research: Read articles on Grove Music Online: Recording24 Avant-garde25

Materials: Rulers (to cut tape 23.5 cm) Assorted Tapes from a Salvation Army or Goodwill (make sure tapes have screws and can be disassembled and reassembled) Scissors Scotch Tape Phillips Head Screwdrivers for glasses (1 for every 4-6 students) Three Tape Players

Vocabulary: , Splice , , Phasing

Music Addressed/ Media: Mp3: “” “” “Being for the Benefit of Mister Kite”, “”, “Fool on the Hill”, “” The Beatles Video: “” The Beatles (YouTube): https://www.youtube.com/watch?v=A5p6z8QAVYU

24 Gordon Mumma, et al. "Recording." The New Grove Dictionary of Jazz, 2nd ed. Ed. Barry Kernfeld.Grove Music Online. 25 Jim Samson. "Avant garde." Grove Music Online.

43 Important Figures: Steve Reich Karlheinz Stockhausen Paul McCartney John Lennon

Classroom Preparation: Written on board or projected: “Avant-garde: from French meaning advance guard or vanguard” (Vanguard: the forefront in any movement) 1) What is phasing? 2) What is splicing? 3)How did the section of tape you cut determine your musical outcome? John Lennon and Karlheinz Stockhausen used the same technologies to create their pieces, but very different compositional processes. How do their processes differ, and how does it affect the final piece?

Entering Music: “Blue Jay Way” – The Beatles

Activity: Introduce Steve Reich and Karlheinz Stockhausen (15 minutes): ● Introduce Steve Reich: ○ experimental composer, worked heavily in minimalism and phasing ● Turn on “Come Out” (1966) and ask students to simply listen. ● Pause at 2:30 and ask the students to take out a pencil and piece of paper to make written observations about the piece. ● Resume “Come Out” and give the students a few more minutes. Because the piece is 13 minutes long, you needn't play the whole piece, rather make sure you have given enough of a sample that the students can easily hear the phasing (at least to minute 5). ● Pause the piece again and in groups of no more than four have the students discuss what they heard. ● Prompt with: How would the composer go about creating this effect? ○ Then ask: How could you do this without a computer but with two instruments, tape players, or record players? ● Walk around listening to how the students respond to the questions and prompting them further. ● Grab the class's attention and explain how the phasing was done using tape technology. Define phasing: very slowly speeding one tape up until we can hear it go out of sync with the original, or phase out. ● Introduce Karlheinz Stockhausen: ○ Define musique concrete: takes “concrete” sounds, ie sounds of nature, voice, recordings, and assembles them so they sound out of context.

44 ● Listen to “Hymnen” for at least two minutes

Intro to tapes (10 minutes): ● Pass out blank tapes (one to each group) and have your own. ● Use both the wheels to show the students how to wind the tape ● Wind some tape out and explain how people would cut and splice tapes together. ● Let the students have a few minutes to play around and get the hang of working with a tape.

The Beatles and Tape (10 Minutes): ● John and Paul were admittedly big fans of Karlheinz Stockhausen ● Explain how The Beatles created pieces from splicing tapes. ○ Being for the Benefit of Mr. Kite was written, then spliced. ○ Revolution no. 9 was simply random splices of tape from the EMI studios that John had fun piecing together

Creating Tape Loops (30 Minutes): ● Demonstrate how to create a tape loop: ○ First, show how to take the screws out of the plastic tape case and take the magnetic tape out. ○ Now, create the first splice, cutting the tape at an angle. ○ Show how to create a tape loop by cutting 23.5 cm of tape and using scotch tape to secure in a continuous loop. ○ Fit the loop back on the wheels of the plastic tape case and reinsert the screws. ● After demonstrating pass out the scotch tape and tell the students explicitly: put the tiny screws that hold the plastic tape case together on a piece of tape while working on your loop. ○ While this happens play “Revolution 9”, then “Carnival of Light” from YouTube ● Give students until the end of class to splice and put together their tapes. At the end of 15 minutes have them hand in their tapes.

Assessment: Focus their attention on the board and ask for them to take pictures of the question with their phones or write the question down. Ask them to type an answer to the question to be handed in next class. No length requirement, just adequately answer the questions.

45 Extended Techniques

Goals/Abstract: This activity teaches about the history of extended techniques as a tool for experimental composers. Students learn about extended techniques, then have the ability to use instruments in extended ways. They also learn about listening to “non music” sounds with their musical ears, and have the chance to use their surroundings as instruments.

Standards: 4. Aesthetic Valuation of Music, Generalist Pathway 3. Development of criteria-based aesthetic judgment of the artistic process and products in music. a. Develop criteria for making informed aesthetic (personal) judgments about music. b. Make and defend informed aesthetic (personal) judgments based on the criteria developed.

Preparation (Background Research): Read Grove Music Online articles: Henry Cowell26 Prepared Piano27

Materials: Copies of the score and notes for “The Banshee”

Vocabulary: extended technique, prepared piano

Music Addressed/ Media: Mp3: “Aeolian Harp” (1923) Henry Cowell “The Banshee” (1925) Henry Cowell “Strawberry Fields Forever” The Beatles Video: “The Banshee” Performance (Vimeo): http://vimeo.com/54930331 Paul McCartney Mellotron (YouTube): http://www.youtube.com/watch?v=TUcfB5Whp4I

Important Figures: Henry Cowell

Entering Music: “Strawberry Fields Forever” The Beatles

26 David Nicholls and Joel Sachs. "Cowell, Henry." Grove Music Online. 27 Edwin M. Ripin, et al. "Prepared piano." Grove Music Online.

46

Activity: Introduce Extended Techniques (15 Minutes): ● Ask: How do you play a piano? ○ How about a guitar? Can we only strum and pick the strings? ■ Define extended technique: using an instrument in a way other than its original intention ■ example: hitting the guitar to create resonance, or sliding up and down the strings without strumming ○ Is sitting at the bench and pressing the keys the only way to play? ■ Define prepared piano: when you add to an instrument to create a new effect. ■ example: putting bolts between strings to create higher tension with a tinny, yet muted sound. ● Are traditional instruments the only ones we use? ○ Take 5 minutes to create interesting noises with non-instruments in the room.

The Beatles and the Mellotron (15 minutes): ● The Beatles used instruments in weird ways. For instance, on the song “Strawberry Fields Forever” they used the mellotron ○ Watch video of Paul McCartney and the mellotron ● Ask: How might we consider McCartney’s use of the mellotron extended technique? ○ Is it a true extended technique? Why or why not? ■ Not the intended use of the mellotron, as McCartney shows, but it still plays the keys in a conventional way. Debate for five minutes.

Henry Cowell and the inside of the piano (20 minutes): ● Henry Cowell was one of the first people to look at the piano with new eyes and play it from the inside. ● Listen to “Aeolian Harp” ● Brainstorm how he made those noises on the board ● Pass out scores of “The Banshee” ● Read the notes for the score as a class. ○ Break down the notes to understand how to execute the performance ● Watch the video of “The Banshee” performance

Assessment: Choose an instrument (not the piano or guitar) and create a hypothetical extended technique for that instrument. To be typed, 12 point font, 1 inch margins, and handed in next class. No length requirement. Simply, adequately explain your technique.

47

Minimalism

Goals/Abstract: To show how is not only tape loops and extended techniques, but also working with orchestras, traditional notation, and traditional western instruments.

Standards: Standard 3. Theory of Music, Performance Pathway, 1. Interpretation of notated musical elements and ideas. Standard 4. Aesthetic Valuation of Music, Performance Pathway, 1. Practice of appropriate behavior in cultural activities

Preparation/Background Research: Have students bring in any portable instruments from home that they can play In C on. Gather any instruments in the department that students could play. Read articles on Grove Music Online: Terry Riley28 Minimalism29 Aleatory30

Materials: Copies of the score of “In C” Any instruments students bring from home Guitar Piano Xylophones (if available) Any available school instruments

Vocabulary: New: Minimalism, Serialism Old: instrumentation, avant-garde

Music Addressed/Media: “In C” Mp3: “” The Beatles

28 Edward Strickland. "Riley, Terry." Grove Music Online. 29 Keith Potter. "Minimalism." Grove Music Online. 30 Paul Griffiths. "Aleatory." Grove Music Online.

48 Important Figures: Terry Riley Steve Reich

Entering Music: “A Day in The Life” The Beatles

Activity: Introduce Terry Riley (5 minutes): ● Composer, b. 1935. Still alive today. ● Founding member of the San Francisco Tape Music Center- a center for tape education and experimentation in the 1960s. Very popular among experimental composers, Reich included. He experimented with tape, but also with instrumental music. ● Define aleatoric music: also known as chance music. “A term applied to music whose composition and/or performance is, to a greater or lesser extent, undetermined by the composer… the term is usually restricted to music in which the composer has made a deliberate withdrawal of control”31. Composition and Aleatory (til the end of class): ● Play “A Day In The Life” by The Beatles and prompt the students: ○ - How many singers do you hear? ○ - Can we write out this form? ○ - What instruments do you hear? ● Now, as a class, diagram the form of “A Day In The Life” on the board. ○ When you get to the grand orchestral sweep upwards ask the students to talk in groups and hypothesize how they created the sound. (3 minutes) ○ Get students attention and explain Paul McCartney’s idea to start on the lowest note of the instrument and have the entire orchestra upwards to their highest E. ■ Define glissando: glide from one pitch up or down to another. Demonstrate glissando on the voice, then the piano. ○ Ask: How is this technique aleatoric? ● Pass out copies of the score of “In C”. ● Read the performing directions from the score aloud as students follow along. ● Go through each figure individually, play it for the class and have everyone join in on their respective instruments. ● Walk around and make sure each student is playing each figure.

Assessment: When the students are familiar with each figure in the score, follow the directions and play “In

31 Griffiths. “Aleatory.”

49 C” until the bell rings.

50 Cover Projects: Print these instructions and assign one cover to each student. Introduce the project after

Chains as performed by (a) The Beatles (b) In paragraph format, answer these questions and comment on whether the cover is effective in your opinion. Support your ideas with evidence from the musics. Reference measure numbers from the complete scores book. You must include at least three measure references and talk about all the questions given below. Finally, you will perform your own cover, using any instruments you choose, including voice. Employ techniques that either the Beatles used or the cover artist used. Write a short paragraph on your cover, explaining your performance. You may use any instruments available to you. If you choose not to incorporate the lyrics, but to put the melody elsewhere you must comment on why you did not use the words and what effect this has on the song.  Look up the song's score in the complete scores of The Beatles  Who wrote this song? What is the song’s history?  Listen to both versions of the song with the score and note whether the cover artist takes any liberties in the scoring of the piece  Do the of the pieces differ?  Do the lyrics differ at all? How does this change the meaning of the piece?  Who is meant to be singing this song? Who is he/she singing to?  Is the instrumentation different?

Eleanor Rigby as performed by (a) The Beatles (b) Aretha Franklin In paragraph format, answer these questions and comment on whether the cover is effective in your opinion. Support your ideas with evidence from the musics. Reference measure numbers from the complete scores book. You must include at least three measure references and talk about all the questions given below. Finally, you will perform your own cover, using any instruments you choose, including voice. Employ techniques that either the Beatles used or the cover artist used. Write a short paragraph on your cover, explaining your performance. You may use any instruments available to you. If you choose not to incorporate the lyrics, but to put the melody elsewhere you must comment on why you did not use the words and what effect this has on the song.  Look up the song's score in the complete scores of The Beatles  Listen to both versions of the song with the score and note whether the cover artist takes any liberties in the scoring of the piece  Do the tempos of the pieces differ?  Do the lyrics differ at all? How does this change the meaning of the piece?  Who is meant to be singing this song? Who is he/she singing to?  Is the instrumentation different?

51

Yesterday as performed by (a) The Beatles (b) Boyz II Men In paragraph format, answer these questions and comment on whether the cover is effective in your opinion. Support your ideas with evidence from the musics. Reference measure numbers from the complete scores book. You must include at least three measure references and talk about all the questions given below. Finally, you will perform your own cover, using any instruments you choose, including voice. Employ techniques that either the Beatles used or the cover artist used. Write a short paragraph on your cover, explaining your performance. You may use any instruments available to you. If you choose not to incorporate the lyrics, but to put the melody elsewhere you must comment on why you did not use the words and what effect this has on the song.  Look up the song's score in the complete scores of The Beatles  Who wrote this song? What is the song’s history?  Listen to both versions of the song with the score and note whether the cover artist takes any liberties in the scoring of the piece  What instrumentation is used in each version and how does it differ?  How does Boyz II Men create a full sound?

I Want To Hold Your Hand as performed by (a) The Beatles (b) T.V. Carpio (from the motion picture ) In paragraph format, answer these questions and comment on whether the cover is effective in your opinion. Support your ideas with evidence from the musics. Reference measure numbers from the complete scores book. You must include at least three measure references and talk about all the questions given below. Finally, you will perform your own cover, using any instruments you choose, including voice. Employ techniques that either the Beatles used or the cover artist used. Write a short paragraph on your cover, explaining your performance. You may use any instruments available to you. If you choose not to incorporate the lyrics, but to put the melody elsewhere you must comment on why you did not use the words and what effect this has on the song.  Look up the song's score in the complete scores of The Beatles.  Who wrote this song? What is the song’s history?  Listen to both versions of the song with the score and note whether the cover artist takes any liberties in the scoring of the piece.  Who is singing? How does this affect the meaning of the song?  How is this song used in the movie Across the Universe? Do you think the use is appropriate/ fitting to the plot? Explain

Across the Universe as performed by

52 (a) The Beatles (b) In paragraph format, answer these questions and comment on whether the cover is effective in your opinion. Support your ideas with evidence from the musics. Reference measure numbers from the complete scores book. You must include at least three measure references and talk about all the questions given below. Finally, you will perform your own cover, using any instruments you choose, including voice. Employ techniques that either the Beatles used or the cover artist used. Write a short paragraph on your cover, explaining your performance. You may use any instruments available to you. If you choose not to incorporate the lyrics, but to put the melody elsewhere you must comment on why you did not use the words and what effect this has on the song.  Look up the song's score in the complete scores of The Beatles  Who wrote this song? What is the song’s history?  Listen to both versions of the song with the score and note whether the cover artist takes any liberties in the scoring of the piece  Comment on the of the piece  How does the arrangement differ? Comment on instrumentation. What instruments do you hear in Fiona Apple's version that you do not hear in the Beatles'?  Comment on the quality of voice that both John Lennon and Fiona Apple use

Blackbird as performed by (a) The Beatles (b) Zac Brown Band feat Matt Mangano In paragraph format, answer these questions and comment on whether the cover is effective in your opinion. Support your ideas with evidence from the musics. Reference measure numbers from the complete scores book. You must include at least three measure references and talk about all the questions given below. Finally, you will perform your own cover, using any instruments you choose, including voice. Employ techniques that either the Beatles used or the cover artist used. Write a short paragraph on your cover, explaining your performance. You may use any instruments available to you. If you choose not to incorporate the lyrics, but to put the melody elsewhere you must comment on why you did not use the words and what effect this has on the song.  Look up the song's score in the complete scores of The Beatles.  Who wrote this song? What is the song’s history?  Listen to both versions of the song with the score and note whether the cover artist takes any liberties in the scoring of the piece.  How does the instrumentation differ?  How do more instruments add or take away from the performance?  Comment on the tempo.  How many different voices do you hear in each version?

Two of Us as performed by (a) The Beatles

53 (b) & Michael Penn (from the motion picture ) In paragraph format, answer these questions and comment on whether the cover is effective in your opinion. Support your ideas with evidence from the musics. Reference measure numbers from the complete scores book. You must include at least three measure references and talk about all the questions given below. Finally, you will perform your own cover, using any instruments you choose, including voice. Employ techniques that either the Beatles used or the cover artist used. Write a short paragraph on your cover, explaining your performance. You may use any instruments available to you. If you choose not to incorporate the lyrics, but to put the melody elsewhere you must comment on why you did not use the words and what effect this has on the song.  Look up the song's score in the complete scores of The Beatles.  Who wrote this song? What is the song’s history?  Listen to both versions of the song with the score and note whether the cover artist takes any liberties in the scoring of the piece.  Who is singing? What are their genders?  Does the gender of the singers affect the meaning of the song?  Do we know who the “two of us” are in either case?  In your opinion, is the original version or the cover more sentimental? Explain  Does the instrumentation differ? If so, how? If not, how does the quality of the instruments change?  How is this song used in the movie I am Sam? Do you think this usage is appropriate/ fitting to the plot? Explain

Here, There, and Everywhere as performed by (a) The Beatles (b) Belarus In paragraph format, answer these questions and comment on whether the cover is effective in your opinion. Support your ideas with evidence from the musics. Reference measure numbers from the complete scores book. You must include at least three measure references and talk about all the questions given below. Finally, you will perform your own cover, using any instruments you choose, including voice. Employ techniques that either the Beatles used or the cover artist used. Write a short paragraph on your cover, explaining your performance. You may use any instruments available to you. If you choose not to incorporate the lyrics, but to put the melody elsewhere you must comment on why you did not use the words and what effect this has on the song.  Look up the song's score in the complete scores of The Beatles.  Who wrote this song? What is the song’s history?  Listen to both versions of the song with the score and note whether the cover artist takes any liberties in the scoring of the piece.  How does the instrumentation differ?  Does the melody stay true?  How does the lead singer of Belarus sing the end of phrases as compared to Paul McCartney? Does he consistently change the melody in a certain way? What affect does this have on the message of the song?  In your opinion, is the interlude interesting and necessary in the ?

54  How does Belarus wrap up the song as compared to the Beatles?

Wild Honey Pie as performed by (a) The Beatles (b) The Pixies In paragraph format, answer these questions and comment on whether the cover is effective in your opinion. Support your ideas with evidence from the musics. Reference measure numbers from the complete scores book. You must include at least three measure references and talk about all the questions given below. Finally, you will perform your own cover, using any instruments you choose, including voice. Employ techniques that either the Beatles used or the cover artist used. Write a short paragraph on your cover, explaining your performance. You may use any instruments available to you. If you choose not to incorporate the lyrics, but to put the melody elsewhere you must comment on why you did not use the words and what effect this has on the song.  Look up the song's score in the complete scores of The Beatles.  Who wrote this song? What is the song’s history?  Listen to both versions of the song with the score and note whether the cover artist takes any liberties in the scoring of the piece.  Does the instrumentation differ?  How does the sound of the guitar change?  What vocal qualities are used?  What instruments (or sounds) do the Beatles use that the Pixies do not?  Do the Pixies use all the same rhythms of the Beatles?  Do the Pixies “love you, Honey Pie”?

Maxwell's Silver Hammer as performed by (a) The Beatles (b) Steve Martin In paragraph format, answer these questions and comment on whether the cover is effective in your opinion. Support your ideas with evidence from the musics. Reference measure numbers from the complete scores book. You must include at least three measure references and talk about all the questions given below. Finally, you will perform your own cover, using any instruments you choose, including voice. Employ techniques that either the Beatles used or the cover artist used. Write a short paragraph on your cover, explaining your performance. You may use any instruments available to you. If you choose not to incorporate the lyrics, but to put the melody elsewhere you must comment on why you did not use the words and what effect this has on the song.  Look up the song's score in the complete scores of The Beatles.  Who wrote this song? What is the song’s history?  Listen to both versions of the song with the score and note whether the cover artist takes any liberties in the scoring of the piece.  Watch Steve Martin's “Maxwell's Silver Hammer” on YouTube

55  Does Martin articulate every word?  What vocal qualities does Martin employ? What is the affect of this?  Comment on the instrumentation  Instead of the vocal fills McCartney sings, what does Martin do? What dramatic effect does this have?  Who is Martin in this case? Who is McCartney? What dramatic function does each serve?

56 (Handout: Three Types of –phony) Name: ______Date: ______

Look these songs up on YouTube. Listen to the three songs and circle whether they are strictly monophonic, or have homophony or polyphony.

The Beatles- “Hello Goodbye” from Tour

Monophonic Homophonic Polyphonic

If there is homophony or polyphony write the homo/polyphonic lyrics:

The Beatles- “This Boy” from Meet the Beatles!

Monophonic Homophonic Polyphonic

If there is homophony or polyphony write the homo/polyphonic lyrics:

The Beatles- “Til There Was You” from Meet the Beatles!

Monophonic Homophonic Polyphonic

If there is homophony or polyphony write the homo/polyphonic lyrics:

57 (Handout: Variety Shows) Name:______Date:______

What advertisements are aired?

1:______

2:______

3:______

4:______

5:______

6:______

7:______

What songs do The Beatles play?

1:______

2:______

3:______

Who performs after The Beatles? What is his craft?

______

______

What Broadway musical are the next two acts promoting?

______

How did The Beatles’ music function in the context of The Ed Sullivan Show? Did it seem like their fans would have liked to watch the other acts that performed on February 9, 1964? What makes you think that? Do you think “Honey Pie” would have been a better or worse fit for the show as a whole? Why or why not?

58 (Handout: Baroque) Name:______Date:______

Read the lyrics to “Piggies”, then write a 150 word, typed response to the question: Why did The Beatles use baroque style on “Piggies” and what effect does it create? How are we supposed to judge baroque music based on The Beatles choice? How does the use of baroque styling in “Piggies” send a different message than that in “In My Life”?

Piggies (1970) The Beatles

Have you seen the little piggies Crawling in the dirt? And for all the little piggies Life is getting worse Always having dirt to play around in

Have you seen the bigger piggies In their starched white shirts? You will find the bigger piggies Stirring up the dirt Always have clean shirts to play around in

In their with all their backing They don't care what goes on around In their eyes there's something lacking What they need's a damn good whacking

Everywhere there's lots of piggies Living piggy lives You can see them out for dinner With their piggy wives Clutching forks and knives to eat their bacon

(One more time...)

59 (Handout: Cultural Appropriation)

Use this handout to take notes on each song. Be thorough: these notes will help you answer the homework question. For homework, answer the question on the back of the handout.

Revolver (1966) Side 1 1. “” Instrumentation:

Notes:

2. “Eleanor Rigby” Instrumentation:

Notes:

3. “” Instrumentation:

Notes:

4. “Here There and Everywhere” Instrumentation:

Notes:

5. “Yellow Submarine” Instrumentation:

Notes:

6. “” Instrumentation:

60

Notes:

Side 2 1. “” Instrumentation:

Notes:

2. “” Instrumentation:

Notes:

3. “” Instrumentation:

Notes:

4. “Got to Get you Into My Life” Instrumentation:

Notes:

5. “Tomorrow Never Knows” Instrumentation:

Notes:

Answer the following questions in 1 page double spaced, 12pt font, with 1-inch margins: Talk about instrumentation, tempo, and subject matter to speculate how the tracks of Revolver are arranged in an aesthetically pleasing way. Imagine you live in 1966 and get this album when it first comes out. How did The Beatles incorporate “Love You To” in a way that would not upset their fan base?

61 (Handout: Recording Technologies) Abbey Road Medley Describe the transitions from one song to the next. Finish the lyrics line provided for each song. “You Never Give Me Your Money” into “Sun King”

I never give you my ______I only give you my ______

Everybody’s ______. Everybody’s ______into “Mean Mister Mustard”

His sister ______works in a shop, she never ______she’s a ______

into “”

She’s so good looking but she looks like a ______

into “She Came In Through the Bathroom Window” protected by ______

into “”

into “” I never give you my ______I only send you my ______(what are these lyrics teasing?)

62 Bibliography

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Emerick, Geoff, and Howard Massey. Here, there, and everywhere: my life recording the music

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Frontani, Michael R.. The Beatles image and the media. Jackson: University Press of

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Julien, Olivier. Sgt. Pepper and the Beatles it was forty years ago today. Aldershot, Hampshire,

England: Ashgate, 2008. Print.

Lewisohn, Mark. The Beatles recording sessions. New York: Harmony Books, 1990. Print.

MacFarlane, Thomas. The Beatles' Abbey Road medley: extended forms in popular music.

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Martin, George, and William Pearson. With a little help from my friends: the making of Sgt.

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McKinney, Devin. Magic circles: the Beatles in dream and history. Cambridge, Mass.: Harvard

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Mellers, Wilfrid. Twilight of the gods: the music of the Beatles. New York: Viking Press,

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71600>.

63 Peel, Ian. The unknown Paul McCartney: McCartney and the avant-garde. Richmond: Reynolds

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Reising, Russell. Every sound there is: the Beatles' Revolver and the transformation of rock and

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Spitz, Bob. The Beatles: the biography. New York: Little, Brown, 2005. Print.

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64