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in s T et we p nty-One Trum A Brass Odyssey An Interdisciplinary Approach to the Fundamentals of Brass Playing Using the Natural Trumpet

Chris Hasselbring & Kirsty Montgomery

Program overview Navigating the Student Edition Introducing the Program Students are introduced to basic concepts they will use throughout the book.

Meet Ragnar

Timeline of What’s a Natural bell Introduces our time-travelling caveperson, who takes Trumpet? mouthpiece Lip-Blown U-bend What’s a KEY WORDS students on a tour through ancient history. THE TRUMPET is a lip-blown instrument. A 300 year-old natural trumpet HARMONIC SERIES or HARMONIC NOTES A lip-blown instrument is any kind of object Instruments All the notes a natural trumpet or horn that sounds when you vibrate, or buzz, your Since a natural trumpet doesn’t have any valves, or buttons can produce. Longer trumpets and horns lips into it. The kind of trumpet that you to push, most people would think that it could only play Natural Trumpet? can play more notes than shorter ones . see in bands and orchestras has valves and one note, but a skilled trumpeter can play more than 15 HORN usually looks like this: notes on it. We call these notes the Harmonic Series, or The word ‘horn’ has a number of mean- Harmonic Notes and they follow an interesting pattern. ings . It can be used as a term for animal valves The lower notes sound very far apart, but as you learn to Meet Ragnar, Illustrates all horns or shells that have been made into mouthpiece play higher up, you will discover that they start sounding lip-blown instruments These. are normally closer together. There are different ways to describe these Explains the evolution, LISTEN & PLAY ONLINE! used for signalling, because their sound can notes, but we will call them H1 (Harmonic Note 1), H2 Go to www.practicecave.com to visit the Your Tour Guide be heard a long way away .It can also mean (Harmonic Note 2), H3, etc. ‘Practice Cave’ for each chapter, where you will meet Did a ‘French horn’, a coiled brass instrument bell and learn from a different expert. Click on the sound file 21 trumpets you may have seen used in an orchestra . As you follow Ragnar’s adventures, discovering fascinating that goes with each exercise or music piece. Listen once You LIP-BLOWN INSTRUMENT A modern valve trumpet trumpets from around the world, you will need to search structure, and harmonic and then play along the second time, copying what you Know Any hollow object made of natural or man- for these notes along the way. Finding them is like MEET RAGNAR, a prehistoric man who discovered how hear. Repeat several times: the more you repeat, the better No one knows for made material that sounds when a specific You can see that it is a very complicated climbing a ladder into the clouds: you can’t see the next to make an amazing noise with a bison horn! you will get! This is how people have learned throughout pitch is vibrated (buzzed) into it. Animal sure when the first instrument which has been made with modern rung, but if you keep reaching you will hear and feel their history, by listening, copying, and repeating. encountered horns, bones, shells, and sticks as well as tools, but it wasn’t always like that. People strong vibrations. Climb on board and travel around the humans lived, but the His story begins around 25,000 years ago in France. modern brass instruments such as trum- made lip-blown instruments using animal world with Ragnar on a brass odyssey! Ragnar lived with a group of about 50 men, women, and Palaeolithic period or series of the natural pets, French horns, trombones, and tubas horns, bones, shells and sticks long before children. Depending on the time of year, the group moved LEARN MORE Old Stone Age, which are all examples of lip-blown instruments . anyone could make the instruments we know to different places to find food and shelter. We can never know exactly what life covers the first was like in the past, but the experts period of human NATURAL TRUMPET today. It wasn’t until about 200 years ago that in the book. A lip-blown instrument that has no valves Everyone in the group had an important job to do, and who study people (anthropologists), history, lasted valves were invented, but our ancestors were and is twice the length of a valve trumpet. Ragnar’s was to make tools. His father had shown him objects (archaeologists), and written for over two already making simple trumpets out of metal trumpet. It can also be called a ‘baroque’ trumpet . where to find the best stones for cutting, crushing, records (historians) can help us million years! over 4,000 years ago. chipping, and carving. Ragnar put everything he found to understand a lot about our distant NOTES During that time, people discovered something good use. While others collected water and firewood or ancestors. Learn what the experts The individual sounds that make up music. amazing and mysterious about trumpets: the searched for food, Ragnar spent long hours making tools know in ‘Reality Check!’, and for TRUMPET longer they are, the more notes they can play! A modern plastic natural trumpet and practising his bison horn and other trumpets he had extra fun, learn some fascinating A lip-blown instrument usually made So, about 600 years ago, when they worked made from bones and sticks. facts in “Did You Know?” Here’s a from a hollow metal tube which widens (This is the instrument that you will learn how out how to bend metal tubing into a ‘U’ shape sample: into a bell at one end. Some people to play when you use this book.) Life for Ragnar would have continuedTIMELINE this way, but OF LIP-BLOWN INSTRUMENTS (without breaking it!), theyA were BRASS able to make ODYSSEY think the bell got its name because it It’s all Greek to Me! A Greek writer named Homer wrote a long poem called the Odyssey. one day, while the group was on the move, something resembles a church bell or hand bell . VERY long trumpets, between 2 1/2 and 3 metres 10,000 BCE REALITY CHECK!3500 BCE 2500 BCE 1500 BCE 500 BCE CE 1 This told an exciting story about the adventures of a warrior called extraordinary happened. One moment he was there, Sometimes trumpets have valves, devices in length. We now call these instruments Odysseus. The word ‘odyssey’ is often used to describe a journey that the next he had gone. He had disappeared without a What the Experts Say About CLIMBINGCLIMBING THETHE LADDERLADDERwhich players pressOFOF down with their natural trumpets. Bronze Age is full of adventures. Learning to play a brass instrument can be quite trace, or so it seemed to his friends Pandalaeolithic family. Neolithic fingers to help them change notes . (Old Stone Age) PREHISTORIC(New Stone Age) TIMES c. 3500–500 BCE Iron Age an adventure, and is full of challenges! c. 1000 BCE–CE 50 THETHE HARMONICHARMONIC SERIES6SERIES 7 Ragnar had set out on an incredible c. 2,500,000 adventure, – 12,000 through BCE Just likec. 10,000 our make-believe – 2500 BCE character Ragnar, real time and across the globe, in search of amazing prehistoric people hunted animals and gathered food. Experts believe that the Greek philosopher Pythagoras used trumpets to play. This is his remarkable story. Stone, wood, animal bones, and animal skins were used mathematics to explain the harmonic series. He worked out that the to make tools, weapons, clothing, and houses. People RAGNAR WILL ENCOUNTER many different trumpets on distances between the harmonic notes could be explained using ratios usually stayed together in groups of up to about 100, and his journey. Below are some of them, along with their names and – a type of fraction. RAGNAR’S they moved around to find food sources such as plants, the ranges of harmonic notes that they can play. You can see that Australian longer trumpets can play more notes than shorter ones! Triton was a Greek god who was the messenger of the sea. He is always Bone, shell, Didjeridufish, and other animals. As they travelled, they made their Han Chinese AMAZING SOUNDS!wood, gourds, ?–Presenthomes in caves and rock shelters, or built their dwellings Irish Bronze Age Horn seen holding or blowing a conch shell trumpet, which he used to either 1000–300 BCE The Harmonic Series Go to www.hearragnar.com and click on the Long Horn On the ladder, each rung represents a harmonic note. Low and animal from wood, bones, and animal hides. People also learned H18 raise or calm the waves. sound hornsfile that goes with 206 BCE– CE 220 notes sound farther apart, and as the notes go higher, they how to make fire, which allowed them to cook their food H17 It each illustration. Get Jewish Shofar sound closer together. Hear and to see at night. This time is known as the Palaeolithic H16 ready for an adventure in ?–Present H15 Online period or Old Stone Age. www.hearragnar.com sound! Celtic Carnyx H14 Puruvian Pututus 200 BCE– CE 200 H13 1000–600 BCE Focuses on the evolution H12 Natural Trumpet H2–H18+ H11 Egyptian Šnb H10 4 Mesopotamian 1500–1300 BCE 5 Trumpet H9 3000–600 BCE Cone-Bell Salpinx H2–H9 H8 Cup-Bell of lip-blown instruments, Salpinx Celt-Iberian H7 750–300 BCE Trumpet 200–100 BCE Etruscan Lituus H2–H7 H6

H5 Oxus Trumpet Cup-Bell Salpinx H1–H5 and the nature of the 2200–1750 BCE H4

Roman Tuba Egyptian Šnb H1–H3 Etruscan Lituus 300 BCE– CE 450 H3 800–300 BCE harmonic series, using Hindu Sankh 2000 BCE–Present Stick Trumpet H1–H2 H2 Conch Shell H1 creative connections to Roman Cornu H1 Cone-Bell Salpinx 300 BCE– CE 450 Nordic Bronze Lur 750–300 BCE 1500–500 BCE ancient Greek history, c. “circa” or approximately BCE: Before the Common Era CE: Common Era All instrument dates are approximate Are You a See how the harmonic notes appear 10 11 Music Reader in music notation on page 74 . 8 9 literature and philosophy.

Guided Learning Book is divided into three units, each containing 3 or 4 chapters. Elements include:

Reality Check! Did You Know? Unit/Chapter Openers KEY WORD RESONATE Sorts the facts from UNIT I To ring or vibrate with THE FIRST TRUMPETER a full and deep sound. Provides students Leads with a story, which describes a Bronze Age Palaeolithic Neolithic c. 3500–500 BCE fiction, with what the (Old Stone Age) (New Stone Age) Iron Age c. 2,500,000 – 12,000 BCE c. 10,000 – 2500 BCE c. 1000 BCE–CE 50 with fascinating period of history (Palaeolithic, Neolithic, experts say about a given IT ALL STARTED with a strange, spine-chilling GROOOONG! facts about the One day, Ragnar was sifting through old animal bones that he Bronze Age, Iron Age) and the musical kept in the cave. Bones were great for making lots of things, topic in the narrative. including hooks to catch fish. He picked up a hollow leg bone that once belonged to a fierce bear. Ragnar blew some dust out of it, making a long whoooosh sound. With the bone still time period. up to his mouth, he blew again—whooooooooosh! He grunted adventures of the main character. through the bone, then he sang, and he yelled. Ragnar’s voice certainly sounded peculiar. Then he buzzed his lips into the bone. This time, it made a strange, ghostly noise: REALITY CHECK! It Chapter 2 apter Hear OOO What the Experts Say About Ch 2 Online GRO NGPRACTICE,! PRACTICE, PRACTICE! Did www.hearragnar.com PalAeolithic Caves tice C You c Caves which were once inhabited by Palaeolithic a av Know Practice Cave r e people have been discovered all over the world. P Many of them are located in France and Spain ? Exercises! and contain paintings from 10,000 to 35,000 On cave walls, Ragnar leapt backwards, dropping the bone in fright. Keeping years ago. The paintings include images of prehistoric Long Note exercises his distance, he looked at it carefully. His fingers were still horses, bison, and deer. We don’t know if people often How many seconds can you hold your sound? tingling from the vibration he’d felt. Was it breathing? Why did prehistoric people practised playing horns in made marks Can you keep your sound steady? it make such a strange noise? Ragnar watched the bone for a Facilitates the hands-on caves. But some experts who study the caves few minutes. It didn’t move. He picked it up cautiously, put it to • Hold a sound steady for 4 seconds think that prehistoric people used the paintings with their his mouth, and blew again. This time, nothing happened. The (called fluting) • Hold a sound steady for and musical sounds as part of a ritual, or hands and 6 seconds ghostly sound had disappeared. Where did it go? He picked up ceremony, to communicate with their gods or another bone and blew the dust out of it—whoooooosh! He blew Articulation exercises with the spirit world. discovered that in learning experience. The harder— It made a sound like the fingers. Experts Try to make your sound start clearly by using the tip of whoooooooooooooosh! many of these spots, wind blowing through the trees in winter, but it didn’t make the your tongue to say “T” or “D” each time you start a new ghostly noise he had heard earlier. pitch note. It should sound like a snap of the fingers. the caves resonate when a specific is sung or played. Although we a. a. prehistoric people marked the cave exercises in each chapter are 1 2 cannot say for sure that this is why 12b. b. 13 BECAUSE THE BISON HORN was so KEY WORDS loud, Ragnar could use it to communicate with friends far away from camp. He could also use walls, it is possible they recognised RememBer Make Music! ARTICULATION it to call everyone together, or to warn of danger. the special sound properties of these The use of the tongue to clarify and similar to a harmonic note on a lip- Get Ready, spots in the cave. These spots are designed to enable students Improvise shape sounds. The “T” or “D” at the After a successful hunt, he blew it to let people Get Set, • The sound of a galloping wild horse beginning of the blow gives a clear start know the good news. He also used it to announce the start of a celebration. blown instrument: to make it resonate, • The sound of a roaring lion to the sound, like a snap of the fingers. Play you have to buzz the right pitch into it. Key Words IMPROVISE To make the calls and signals easily recognisable Play Along To make or create something using your for his friends, Ragnar needed to practise them to play music related to own ideas and skills. • Make yourself sound big and scary! over and over until he could play them the same • Sound the alarm: a dangerous storm is coming! PITCH way every time. He also realised that he had to • Signal to people far away that it is time to come home How high or low a note sounds. work on other things, such as playing long notes and practising articulation to make his sounds Ragnar’s unfolding story. Focuses on terminology clear and steady. Ragnar liked to practise by himself in his cave, Hear It where he could concentrate on playing and not Online be distracted by what was going on outside. He Listen & Play Online that is musically or www.hearragnar.com liked to improvise, often imitating the sounds of Sound files for this page are available animals. These sounds echoed inside the walls of at www.practicecave.com the cave.

Are You a Follow along with music notation pedagogically significant. Music Reader for these exercises on page 75 . 20 21

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Back Page Resources Additional resources are available to support learning and to challenge students.

pharaoh: title given to Roman Empire: period H N the rulers of ancient of time when land under PRACTICE CAVE hieroglyphics: Neolithic: New Stone Practice Cave for Listen & Play Online Egypt, who were be- Roman control was picture-writing used Age; period of time lieved to be living gods . ruled by emperors, Sound files for this chapter are available Glossary GLOSSARY OF in ancient Egypt . when people began to at www.practicecave.com c . 27 BCE– CE 476 Chapter 5 change the way they The Pharaoh’s Trumpeters Picts: people who lived Hindu: of or relating to lived, from hunting and in northern Britain from S Music Readers HISTORICAL TERMS Hinduism, one of the gathering to growing approx . 300 to CE 850 salpinktes: salpinx player . world’s oldest religions, food, keeping animals, and who fought against More than one salpink- based on the cultures and living in fixed hous- the Romans . tes is called salpinktai. Exercises! Make Music! and practices of India . ing, c . 10,000–2500 BCE Defines all ‘Key philosophy: study of Silk Road: ancient net- Aristotle (384–322 BCE): Bronze Age: period cornicen: Roman cornu Homer (c . 850 BCE): O problems, such as the work of trade routes Long Note Exercises Improvise A Greek philosopher who of time when tin was player . More than one ancient Greek poet . odyssey: a journey full of nature of the universe that connected Asia Provides ‘Practice Cave’ • Hold a lower harmonic note for 10-12 seconds • Marching music for the Egyptian army aboriginal: first, or earli- was a student of Plato and mixed with copper cornicen is called His two most famous adventures . and the nature of ideas . and Europe . • Hold a middle harmonic note for est people, most often teacher of Alexander the to create bronze, cornicienes. Words’, as well as 10-12 seconds poems are the Iliad and Play Along referring to the first Great . c . 3500–500 BCE Famous Greek philoso- • Hold a higher harmonic note for 10-12 seconds people in Australia . the Odyssey. Old Testament: collection phers include Socrates, standard: flag of a • A fanfare for the pharaoh cuneiform: one of the B C first systems of writing, of sacred writings Plato, Aristotle, and military unit, such as AD: anno Domini (in the I describing the creation exercises and music in music Harmonic Note Exercises (Three harmonic notes!) barbarians: term used c.: abbreviation of first used in ancient Pythagoras . the Roman army . year of the Lord) or Iron Age: period of time of the universe, major 1 2 by Romans to de- Latin ‘circa’, meaning Mesopotamia, made by many other terms after year 1 .This abbre- scribe people who they ‘approximately’ . pressing wedge shapes when the metal known as figures in Jewish religion, Plato (427?–347? BCE): synagogue: building in shofar 10, 28-31, 32-33, 35, 40 viation is used for the thought were uncivilised into clay . iron replaced bronze in and the history of the ancient Greek philos- which Jewish people go K R Silk Road 31, 93 dating of time and is and lived outside the CE: Common Era, or after usage, c .1000 BCE–CE 50 Jewish people . opher, founder of the to meet, gather, and pray . • Ode to Osiris Index Key Word 10, 13, 23, 31, 35, 40, 63 Ragnar 2, 3, 4, 5, 7, 8, 13, 14, 16, 17, 19, šnb 8, 10, 35-37 often omitted when dis- Roman Empire . year 1 This. abbreviation, E Academy in Athens, and notation, for students who 20, 23, 24, 26, 27, 29, 30, 31, 32, 33, 35, 36, standard see Roman: Roman standard cussing modern history . L used for the dating of emperor:37, 39, 40, ruler41, 43, of48, an 49, 51, 52, 53, 54, J Olympic Games: athletic student of Socrates . T 3 4 See also CE synagogue 31, 47, 93 used throughout BC: before Christ, legion 65,time, 66, 93 is acceptable to a empire55, 58, 59, . 60, 61, 63, 64, 65, 68, 69, 72, 73, Judaism: religion of the festival started in an- trireme: fast Greek or before year 1 .Thislip-blown large instruments number 6, of7, 10,faiths 11, 15,and 82, 95 Jews . cient Greece in 776 prehistory: time before warship with three Alexander the Great T abbreviation is used 17, 44 religions .It is often omitted empire:ram’s horn system see shofar in which trireme 8, 53, 93 BCE .It was held every written records decks, powered by up (356–323 BCE): king of for the dating of timelituus . seewhen Etruscan discussing lituus modern aReality central Check! power 5, 15, has 17, 21,con 24,- 29, 31, LTriton 9, 41, 42, 93 four years at Olympia, (c . 3500 BCE) . to 170 oarsmen . are visual learners and/or • Challenge! Ode to Osiris Macedonia who creat- See also BCE lotus flowerhistory 36, 93 .See also AD trol33, 37, over 41, 56, many 61, 65, people 70 trombone 6 a valley near the Greek see Han Chinese long horn Greek philosophy legion: division in the ed one of the largest lur see Nordic Bronze lur acrossreed 39, a49, wide 93 area, often the book. trumpet 6, 7, 8, 10-11, 16, 17, 24, 26, 35, A civilisation 31, 41, 53, 92 Aristotle 55, 92 Roman army consisting city of Elis in honour pyramid: structure with a Triton: Greek god who empires of the ancient BCE: before the Com- Celts: groups of people includingresonate 14, many 21, 26 different 36, 40, 41-46, 48, 49, 51, 52, 56, 59-61, Articulation Exercises Aboriginal 46, 92 classical antiquity 53, 92 Plato 55, 92, 93 of 3,000 to 6,000 men . of the Greek god Zeus . rectangular base and four was the messenger of world, stretching across mon Era, or before Myear or tribes who lived in countriesrhythmic 23 . 63-66, 68-70 Alexander the Great 53-55, 92 Colosseum 63-67, 72 Pythagoras 9, 93 People from all over triangular sloping sides the sea . Egypt, Persia, and Asia . 1 .This abbreviation ismelodic 23areas north of the Eu- Roman Trumpet Olympics 58-61 1 2 ancient Egypt 33, 35-37, 39, 92 conch shell 8, 9, 10, 24, 43, 45, 49 Greek salpinx see salpinx lotus flower:water lily Greece came to watch that meet at the top, who already know how to • Egyptian battle call used for the dating Mesopotamiaof ropean 39, 40,mountain 43, 44, 93 range epinetron: Roman cornu device 11, 63-67,used 71, 72 see also Olympic Games see also Egypt conical 35, 36, 45 that was believed to be and take part . often used as a tomb for tubicen: Roman tuba ancient Egypt: period of time and is acceptableMesopotamian known trumpet as the 10, Alps, 36, 43, 44 by RomanGreek Empire women 65-66, to 92 tuba, modern 6 a. a. ancient Greece 58, 72, 92 cornu 11, 63-67, 71, 72 H sacred . Its shape was members of the Egyptian player . More than one time when Egypt was to a large number ofmouthpiece including 6, 7, 19, 35,present-day 45, 56, 70 prepare Roman woolstandard for 66, spin 93 - tuba, Roman see Roman tuba b. b. see also Greece Cuneiform 39, 92 Hadrian’s Wall 70 tubicen is called ruled by pharaohs, c . music notation 39, 75-91 Roman tuba 11, 63-67, 71, 72 oftenTutankhamen drawn 36, on 93 objects P royal family . ancient Mesopotamia 39, 40, 43, 44, 93 Han Chinese long horn 11, 43, 45 faiths and religions . Ireland, Wales, Scotland, ning, which sits on the 3000–30 BCE Rome 60, 61, 63, 65, 66 in the ancient world . Palaeolithic: or Old Stone tubicenes. ancient world 40-49 D harmonic notes 6, 7, 8, 9, 20, 24, 25, 32, See also BC England, and France . knee and is often highly 3 N V Age .The earliest period Pythagoras (sixth century read music. animal horns see horns Dead Sea Scrolls 31, 33 34, 35, 36, 38, 44, 45, 48, 55, 56, 57, 65, 66, decorated . ancient Greece: period natural trumpet 6-11 S Mvalves 6, 7 BCE): Greek philoso- Tutankhamen (c 1341–. Annika 27, 29, 40, 61, 73 didjeridu 10, 43, 46 70, 72, 74, 77, 79, 80, 84 Britannia: name given by civilisation: large group of of human history when RememBer of time from the early Neolithic 31, 93 salpinx 3, 8, 11, 51, 54, 55, 56, 57, 58, 72, vibrate 6, 13, 16, 18 pher and mathematician 1323 BCE): famous a. RememBer aperture 16, 18 Did You Know? 5,15, 21, 24, 31, 33, 36, see also harmonic series the Romans to what is people who live together F mandrel: wooden or people hunted and gath- b. Greek settlements to New Stone Age see Neolithic 84, 85 who used mathematics Egyptian ruler who Aristotle 55, 92 39, 46, 53, 55, 59, 66, 69 harmonic series 7-9, 74 now known as Britain . in communities, towns, or ferrules: metal bands metal core used to ered food, c . 2,500,0000– Get Ready, the Roman conquest of Nordic Bronze lur 10, 42, 45 Salpinx School 54-56 articulation 20, 58 Hebrews 31 cities and share common used to connect sec- form the shape of an 12,000 BCE to explain the harmonic became king (pharaoh) at Greece, c . 2500–30 BCE notes see harmonic notes sankh see Hindu sankh E Herodorus of Megara 54, 55, 58-61 bronze: strong metal elements, such as religious tions of the cone-bell instrument . series . the age of nine . A silver shell trumpets 8, 9, 10, 11, 41, 42, 45, 46 Get Set, B echo 20, 23, 64 Hindu sankh 10, 43, 45 made by combining beliefs, rulers, armies, ideas, salpinx. papyrus: water reed and copper trumpet ancient Rome: period of O see also conch shell barbarians 50, 92 Egypt 33, 35-37, 39, 92 history two other metals, ancient (papyrus plant) used to R were found in his tomb . odyssey 7,writing, 9, 53 and artistic activity . see also Hindu sankh Mesopotamia: Baroque trumpet 6 Egyptian šnb 8, 10, 35-37 lip-blowntime instruments from the 10-11 founding copper and tin . Odyssey, the 9, 53, 93 G see also Peruvian pututus region that covers the make paper-like scrolls, reed: tall, thin-leaved bell 6, 7, 8, 35, 36, 44, 45, 51, 56, 58, 59, 68 of Rome to the fall of Play embouchure 16, 17, 18, 19 Homer 9, 53, 93 Old Stoneclassical Age see Palaeolithicantiquity: period gladiator: trained fight- modern-day country of boats, etc . type of grass that grows bell flare 35, 36, 45 the Roman Empire, c . emperor 63, 65, 66, 67, 69, 70, 72, 92 horn Old Testamentof history 31, 33, that93 focuses er who competed in Iraq . in water or on marshy bison horn 3, 4, 10, 16-19, 20, 24, 26, 29 753 BCE–CE 476 empire 65, 66, 68, 92 bison horn 3, 4, 10, 16-19, 20, 24, 26, 29 Olympic onGames ancient 55, 56, Greek 61, 93 and contests with other ground . bore 35, 36 England 65, 69, 70, 92 Han Chinese long horn 11, 43, 45 orchestraRoman 6 civilisations . gladiators . 80 brass instruments 81 Epinetron 56, 92 Irish Bronze Age horn 11, 41, 42, 44, 53 Oxus trumpet 10, 43, 45, 49 French horn 6 Etruscan lituus 8, 11, 42, 44, 66 ram’s horn see shofar trombone 6 Europe 31, 93 92 hunting 23, 31 P 93 trumpet 6, 7, 8, 10-11, 16, 17, 24, 26, Palaeolithic 5, 15, 21, 24, 31, 93 35, 36, 40, 41-46, 48, 49, 51, 52, 56, F I papyrus 39, 40, 93 59-61, 63-66, 68-70 ferrules 92 India 45 Peruvian pututus 11, 42, 46 Index tuba 6 first music 39 inhale 16, 19 pharaoh 35-37, 93 breathing 13, 16-19, 46 first trumpeter 15 instruments philosophy 53, 93 Britannia 65, 68, 69, 70, 73, 92 first written music 3, 39 see brass instruments Picts 70, 93 bronze 10, 11, 31, 41-46, 49, 56, 92 see also musical notation see lip-blown instruments pitch 6, 21, 24 Bronze Age 11, 46, 92 flute 15 Irish Bronze Age horn 11, 41, 42, 44, 53 Plato 55, 92, 93 buzz 6, 14, 18, 21, 24 France 4, 21, 69, 70 Iron Age 46, 93 posture 16-18 Helps students quickly find names, French horn 6 Practice Cave 5, 18, 22, 25, 34, 38, 47, 57, C J 62, 67, 71 carnyx 11, 70, 71, 72, 91 G Jericho, walls of 30-32 for music readers 75-91 Celt-Iberian clay trumpet 11, 44 gladiator 65, 92 Jewish 10, 31, 33, 93 pututus see Peruvian pututus Celts 68-70, 92 Greece 33, 35, 36, 37, 39, 92 Judaism 31, 33, 93 pyramid 36, 93 China 43, 45 Greek civilisation 53, 65, 94 Pythagoras 9, 93 places, and topics in the book. Chinese long horn see also Greece

94 95 2 Navigating the Teaching Edition

The Teacher’s Edition contains a treasure trove of rich content and useful classroom strategies that keep teachers and their students engaged, making the learning experience meaningful and fun. Its easily navigable and user-friendly design helps teachers to make efficient and effective use of time. Additional in-book and online resources provides teachers with everything they need, not only to successfully teach the course, but also to fulfill expectations for meeting educational standards and assessments.

Integrated Student Pages Allows teachers to see what Key Points Summary the student sees without Identifies key teaching points and includes Provides an overview balancing two open books. additional background material to provide of the unit/chapter. a solid foundation for successful teaching.

Summary KEY WORD Key Points At the start of Unit 1, students will RESONATE 1 The fossil record suggests that learn how Ragnar first discovered that UNIT I To ring or vibrate with our ancestors had developed the a full and deep sound. he could make lip-blown sounds and THE FIRST TRUMPETER anatomy necessary for human speech comprehend the possible impact of by around 50,000 BCE. As experts Palaeolithic Neolithic Bronze Age these sounds on hearers. Students will (Old Stone Age) (New Stone Age) c. 3500–500 BCE Iron Age believe that lip vibration was probably c. 2,500,000 – 12,000 BCE c. 10,000 – 2500 BCE c. 1000 BCE–CE 50 consider other prehistoric sounds and one of the basic building blocks of objects that might have been used for speech, it is quite possible that our sound production, and produce lip- prehistoric ancestors stumbled by blown sounds of their own. They will also IT ALL STARTED with a strange, spine-chilling chance upon the capacity of objects explore the question, “who was the ‘first GROOOONG! such as bones, shells, and mammal trumpeter’?” One day, Ragnar was sifting through old animal bones that he horn to produce lip-vibrated sounds.4 kept in the cave. Bones were great for making lots of things, including hooks to catch fish. He picked up a hollow leg bone that once belonged to a fierce bear. Ragnar blew some dust 2 This sudden resonance—a sound very out of it, making a long whoooosh sound. With the bone still foreign to Palaeolithic ears—would up to his mouth, he blew again—whooooooooosh! He grunted 1 through the bone, then he sang, and he yelled. Ragnar’s voice probably have startled those (both certainly sounded peculiar. Then he buzzed his lips into the humans and animals) who heard it. Objectives bone. This time, it made a strange, ghostly noise: 3 If Ragnar blew on a short object, such Students will: Hear It as an animal bone, it would have prob- • Learn about possible methods and OOOON Online GR G! ably produced only a single note, so examples of sound production in pre- www.hearragnar.com unless he buzzed at exactly the right historic times pitch, it would not have resonated. • Identify naturally occurring objects Additionally, as the end he blew into which might have been used for sound was unlikely to have had a smooth and Ragnar leapt backwards, dropping the bone in fright. Keeping production 2 his distance, he looked at it carefully. His fingers were still even surface, he would have found it hard to seal it with his lips. These fac- • Produce sounds using a variety of tingling from the vibration he’d felt. Was it breathing? Why did it make such a strange noise? Ragnar watched the bone for a tors would have made it unlikely that lip-blown objects few minutes. It didn’t move. He picked it up cautiously, put it to he would have been able to make the • Contemplate the impact of lip-blown his mouth, and blew again. This time, nothing happened. The 3 ghostly sound had disappeared. Where did it go? He picked up bone resonate twice in a row without sounds on hearers (both animal and another bone and blew the dust out of it—whoooooosh! He blew some luck. human) in prehistoric times harder—whoooooooooooooosh! It made a sound like the • Consider other possible uses for lip- wind blowing through the trees in winter, but it didn’t make the ghostly noise he had heard earlier. blown instruments across the globe

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Learning Activities Teaching Tips Students should read, or listen online (www.hearragnar.com), to modern sounds such as bells, the hum of electricity, machines, Act out for the students Ragnar’s interaction with a bone A bone trumpet can be hard to find or make, and if not UNIT I: The First Trumpeter and answer the following ques- ring tones, televisions, cars and sirens. Ask students (if they trumpet or other simple trumpet (see Teaching Tips) using treated properly can be unsafe to play. If you do not have tion: have not already mentioned it), “what about talking, or human these sounds, eventually making the bone resonate with a bone trumpet, try a mammal horn or a conch shell with sounds?” Invite students to make sounds with their voice, lip-vibration. Point out that this sound would have been very a blowing end that can be sterilized between uses. BfB in- Q. What kinds of sounds did prehistoric people hear in daily tongue, and lips which they think prehistoric people may have different from the sounds prehistoric people heard in nature. struments designed for the classroom can be purchased at life? A. Sounds of nature such as birds and animals, wind, rain, used to communicate (see p.15, Reality Check!). Make sure www.brassforbeginners.com. thunder, insects, etc. Review the Key Word resonate and relate it to vocalisation. Invite that lip-vibration is one of them, pointing out that blowing students to sing different vowels to explore the resonant potential BfB Bones™ Now, ask students to imagine a place where they could only raspberries is one of the first sounds that babies make. of their voices: “HMMMMM, AHHHHH, OHHHHH, EEEEEEE” BfB Tubes™ hear the sounds of nature. Draw attention to the absence of BfB Horns™

4 ADDITIONAL RESOURCES Sample Lesson Plan p.119 Assessments: p.129 Online Resources: www.practicecave.com/resources Interdisciplinary Activities: practicecave.com/resources End Notes: p.147 5

End Notes Additional Resources Contains references on the Learning Activities Cross-links to additional resources for source of information or Brings the curriculum alive each unit introduction and chapter. words quoted in the book. by providing useful questions and teaching strategies. Teaching Tips Offers specific advice on how to Objectives teach elements of the curriculum. Lists educational objectives by defining how teachers teach and students learn.

3 Additional In-Book Resources (U.S. content shown) The back of the Teacher’s Edition contains a number of helpful resources to keep students and teachers on track. PDFs of these pages for use in both the U.S. and UK, as well as additional lesson plan templates, are available to download and print at www.bfbteachers.com.

Assignments WEEKLY PRACTICE CA Helps students create a MY VE

habit of daily practice. NAME: ______DATE: ______

This week’s Assignment:

Reading/Listening Long Notes Harmonic Notes Articulation MakE Music!

p ______p ______p ______p ______p ______Curriculm Maps Chapter I HOW TO PLAY A BISON HORN U.S. CURRICULUM MAP p ______p ______p ______p ______p ______Identifies core skills and CURRICULUM STANDARDS SUMMARY LEARNING ACTIVITIES Common Core Standards (K-5) p ______ASSESSMENTSp ______National Core Arts Standardsp &______National Curriculum Standards p ______Social and Emotionalp ______Learning & OBJECTIVES (selected) & Next Generation Science content taught, processes NAfME (PreK-8) for Social Studies (Early Grades) Competencies (SEL) Standards (K-5)

SUMMARY Askp students______to read, or listen FORMATIVEp ______MUSIC p ______TIME, CONTINUITY, ENGLISHp ______LANGUAGE Self-Awareness p ______employed, assessments online to Chapter 1: How to AND CHANGE #2 ARTS The ability to accurately Creating In Chapter 1, students will find Play a Bison Horn. Demon- Skills: Unit I Assessment Through the study of the past (grade 4) recognize one’s own emotions, Anchor Standard #1 out how Ragnar turns a broken stratep ______lip vibration into tubes Rubric p ______p ______and its legacy, learners examine Reading:p ______Literature & Infor- thoughts, and valuesp and ______how used, and educational Generate musical ideas for vari- bison horn into a lip-blown of different lengths, and discuss Posture the institutions, values, and mational Text they influence behavior. The instrument that amplifies sound ous purposes and contexts. why shorter ones sound higher Embouchure beliefs of people in the past, 4.1-3 – Key Ideas and Details; ability to accurately access one’s standards met. due to its shape. Students will than longer ones. Enduring Understanding acquire skills in historical inquiry 4.4-6 – Craft and Structure; strengths and limitations, with learn the role that posture, Breathing The creative ideas, concepts, and and interpretation, and gain an 4.7-9 – Integration of Knowledge a well grounded sense of confi- embouchure formation, and Now ask students why they Sound Production feelings that influence musicians’ understanding of how important and Ideas dence, optimism, and a “growth breathing play in sound pro- think the bison horn sound was work emerge from a variety of How longArticulation did I practice?historical events and develop- mindset.” duction. so much louder than the bone sources. ments have shaped the modern Reading: Foundational Skills Students will be able to... identify trumpet. Explain that the shape Harmonic Series world. 4.3a – Phonetics and Word Rec- Key Words: Essential Question ognition; 4.4 (a) (b) (c) – Fluency. their interests and strengths, and of the MONDAYhorn, gradually expanding PitchTUESDAY Accuracy WEDNESDAY THURSDAY FRIDAY SATURDAY SUNDAY • Aperture throughout its length, helps the How do musicians generate Questions for Exploration: build on those. Demonstrate ASSESSMENT RUBRIC UnitMusic MakingI THE FIRST TRUMPETER Language • Embouchure sound to travel more efficiently, creative ideas? What questions are important interest in trying new things. 4.3 - Knowledge of Language; 4.4 • Inhale making it sound louder than the See MU:Cr1.1.2a-5a to ask about the past? What - Vocabulary Acquisition and Use Responsible Decision-Mak- • Posture bone trumpet. happened in the past? How do ing Rehearse, Evaluate, Refine we know about the past? How Speaking & Listening Ask students to read Reality The ability to make constructive ______(min) ______(min) ______Anchor Standard (min) #5 ______was life in the past (min) similar to and______4.1 - Comprehension (min) and ______(min) ______(min) OBJECTIVES Check! and explainSTUDENT: that in or- ______choicesDATE: about personal ______behavior Evaluate and refine personal... different from life today? Collaboration; 4.4. - Presentation der to become good at playing, performances, individually or in and social interactions based Knowledge: of Knowledge and Ideas Students will: Unitthey will need to experimentI collaboration with others. on ethical standards, safety The learners will understand: concerns, and social norms. The • Understand how tubes of with things like posture, embou- 1 2 Writing MY3 PROGRESS!4 Enduring Understanding The study of the past is the sto- realistic evaluation of conse- different lengths create higher chure, and breathing to learn 4.3 - Text Types and Purposes Assessments THE FIRST TRUMPETER To express their musical ideas, ry of communities, nations, and quences of various actions, and and lower sounds what works best for them. Emerging Approaching Standards Proficient Exceeds Standards musicians analyze, evaluate,I and PRACTICED the world; Key concepts such as: ______MINUTESa consideration of the THIS well-being WEEK! • Learn how a conical shape Complete the Learning Activ- refine their performance over past, present, future, similarity, MATH of oneself and others. p amplifies sound ities associated with How to time through openness to new difference, and change; That his- N/A Student consistently and Provides teachers and p Student has difficulty sitting or p Student sits or stands with cor- p Student usuallyConsider sits or ethical stands standards, safety Make a Sound!, including: Get POSTURE ideas, persistence, and the appli- torical events occurred in times © 2019 Brassindependently for Beginners sits or LLC stands • Experience how correct Ready: Check Your Posture, standingcation with of appropriatecorrect posture. criterion. that differedrect posturefrom our own,when but reminded. with correct posture.concerns, and social norms as they NAME: ______SCIENCEDATE: ______posture facilitates efficient use Get Set: Check Your Em- often have lasting consequences impact decision-making. with correct posture. students with a way of (grades K-2) of the respiratory system bouchure, and Play! Count, I am just startingEssential Question for the present and future. Breathe, and Blow! How do musicians improve the Waves and Theirp Applica Student- forms the embouchure p Student consistently and inde- • Identify the characteristics of p Studentquality has ofdifficulty their performance? forming the Processes:p Student forms the embouchuretions in Technologies for documenting progress in EMBOUCHUREto learn this, and I am starting I can docorrectly it with only occasionalI am getting pendently really forms the embouchure embouchure Discuss Practice Tips!, espe- embouchureSee MU:Pr5.1.2b-5b correctly. Learnerscorrectly will be whenable to: reminded.Information Transfer cially the importance of finding a I don’t get it yet. to get it! PS4-1pretty - Plan and conduct well! inves- good at this! • Use a variety of sources to reminders. correctly. • Perform the sequence of “practice cave” to help reduce Connecting tigations to provide evidence each unit/chapter. events necessary for sound learn about the past; distractions. Anchor Standard #11 that vibrating materials can make p Student consistently and inde- production p StudentRelate has musical difficulty ideas...with taking varied a full, • Describep Student how peopletakes ain full, the rhythmicsound breath and that soundp Student can make generally takes a full, LONG NOTEBREATHING I can make a sound, but I can hold the sound steady materialsI can hold vibrate. the sound I can hold the soundpendently steady takes a full, rhythmic • Learn about safety & hygiene rhythmiccontext breath. to deepen understand- past lived,when and reminded. research their rhythmic breath. PS4-4 - Use tools and materials issues related to playing lip- can’t hold it steadying. yet. for a fewvalues seconds. and beliefs; steady for 8 seconds. for 12 seconds breath.or more. EXERCISES to design and build a device that blown instruments Enduring Understanding Products: uses light or sound to solve the Practice holding the sound SOUND p StudentUnderstanding has difficulty connections making to a Learnersp Student demonstrate can hold un- the soundproblem steady of communicatingp Student over can hold the sound steady p Student can hold the sound P varied contexts and daily life PderstandingP by: Constructing PPP PPPP U.S. LESSONsteady for PLAN: several 10seconds WEEKS sound. for a few seconds. a distance. for 8 seconds. steady for 12 seconds or more. PRODUCTION enhancesSummary musicians’ creating... timelines that indicate an under- standing of a sequence of events; EssentialStudents Question will learn how to navigate Around the World in I am having difficulty starting I can start Writingthe sound stories and with descriptions I usually startp the Student sound starts the soundI always with a startp the Student sound consistently starts the ARTICULATION p StudentHow has do...other difficulty contexts, articulating and aboutp life Student in the past.can start the sound with Week IARTICULATIONmy sound with a “T”daily or life “D”.Twenty-One inform creatinga “T” Trumpets and or “D”, and but be need introduced to be towith the book’sa “T” or “D”,“T orand “D”, can and can play withseveral “T” or “D”,sound and with “T or “D”, and can MEET RAGNAREXERCISES the soundperforming, withmain aand “T character responding or “D”. to Ragnar See also:anda “T “People,the or “D” Paleolithic Places, when and reminded. world in music? remindedEnvironments” sometimes. #3 and “Culture”play several notesconsecutive in a row. notes. can play 12 orplay more 12 or more notes in a row. See: MU:Cn11.0.2a-5a)which he lives. Students#1 will contemplate the origins of notes in a row. Practice starting the sound p Student has difficulty ascending or p Student can consistently and with a “T” and playing lip-blown instrumentsp and Student learn can how sometimes to make ascend lip-blown or p Student can ascend and descend HARMONIC SERIES descendingVISUAL between ARTS N/Atwo harmonic independently ascend, descend, and several notes in a row. P sounds of their own.P descend between two harmonics.P between two harmonics.P Time: 45 minutes notes. P PP PPalternate,P between two harmonics. p Student has difficulty matchng p Student can sometimes match p Student consistently and inde- HARMONICPITCH NOTE ACCURACY I am having difficulty Sometimes I can move I can movep up Student and can often matchI can specific move up and down, specific pitches or harmonic specific pitches and harmonics pendently matches specific pitches Lesson OverviewEXERCISES(voice, mouthpiece,moving trumpet) up or down between up and down between down betweenpitches two and harmonics.and back and forth between Lesson Plans two harmonicnotes. notes. two harmonicwith notes. assistance. harmonic notes. two harmonicand notes. harmonics. Practice moving up, down, p Student play the pieces accurately Learningand back Objectives and forth between p Student has difficulty playing the p Student can play the pieces with p Student can play the pieces with Provides a sample 10-week P P P P with decent sound quality while two harmonicMUSIC notes MAKING• Understandpieces the withnature rhythmic of simple accuracy and Psome accuracy and decent sound PPaccuracy and decent sound qualityPP P Students will: conveying musical meaning or lip-blown instruments—theirdecent sound quality. charac- quality with encouragement. consistently and independently. lesson plan to make the most • Find out how Ragnar’s story begins and expression. teristics and how they work Sometimes I can play I can play the assigned piec- how he first discovered that he could I am having difficulty playing I can play the assigned pieces the assigned pieces, but es, but sometimes out of limited class time. make a lip-blownMAKE sound MUSIC! • Producethe assigned sounds pieces. using a variety of by myself with no mistakes. it is still difficult. I make mistakes. Practice playingAssessment calls/alarms Rubrics utilizelip-blown language from objects the 2014 National Coalition for Core Arts Standards (NAfME) Core Music Standards (PreK-8) TOTAL POINTS: ______/32 • Understand the basics of daily life for P PPP hunter-gatherers, 25,000 years ago • Contemplate the impact of lip-blown PP PPP P • Learn how to navigate the features of sounds on hearers in prehistoric times Student Self Evaluation forms utilize language from the 2014 National Coalition for Core Arts Standards (NAfME) Core Music Standards (PreK-8) Around the World in Twenty-One Trumpets, • Consider other possible uses for lip- including online resources blown instruments across the globe I SCORED ______STARS!

Lesson Preparation Teaching Methods Assessments Key Words • Auditory Learning • Knowledge: Student Short-Answer • Resonate • Classroom Discussion Quiz • Hands-On Learning • Collaborative Learning

Teacher Background Cross-Curricular Elements Equipment & Materials Read Meet Ragnar, Your Tour • English Language Arts • Computer (wi-fi) & projector Guide (TE p. 4-5) and Unit I: The • Social Studies • Simple lip-blown instruments such First Trumpeter (TE p. 22-25) • Science as horns and/or shells • Visual Arts • Social and Emotional Learning

STANDARDS National Core Arts Common Core Standards National Curriculum (See UNIT I Curriculum Map on p. 106) Standards & NAfME (PreK-8) Standards for Social Studies (PreK-8) English Language Arts Time, Continuity, and Change #2 Music Reading: Literature & Informational Culture #1 Connecting: Anchor Standard #11 Text People, Places, and Environments #3 Language: Speaking & Listening Writing 4 Online Resources Engaging online resources enable teachers and students to practice either at home or in the classroom, while exploring the fascinating world of lip-blown instruments. Visit www.bfbresources.com

Hear It Hear Ragnar’s Online Amazing Sounds www.hearragnar.com Enables students to hear a dramatization of Ragnar’s amazing story, and to explore the sounds of various lip-blown instruments that Ragnar encounters throughout his adventures. Visit www.hearragnar.com

Listen & Play Online Practice Cave Online Enables students to listen and play along with the Exercises! and Make Music! pieces that correspond to Ragnar’s musical adventures. Students learn by listening and playing along with a different brass artist in each chapter. Visit www.practicecave.com

Meet the Artists Encourages students to get up close and personal with the artists in the ‘Practice Cave’, through written or video interviews, photos, and web links.

Meet the Experts Invites students to learn more about experts from different fields whose research and publications have made the Brass for Beginners® curriculum possible.

Trumpet Treasure Hunt Takes students on a journey with Brass for Beginners® authors Chris Hasselbring & Kirsty Montgomery, as they travel the world in their unending quest for trumpet treasure.

5 From Chapter 1: How to Play a Bison Horn The Teacher’s Edition offers in-depth strategies for teaching the fundamentals of brass playing, making it accessible for music teachers with varying levels of brass competency.

HOW TO MAKE A SOUND! Teaching Tips playit To make a sound on a bison horn, or any other lip-blown Review Get Ready, RememBer instrument, your lips must buzz into it. If the aperture is Get Set, Play! Get Ready, Safe(ly) the right size, the lips will vibrate easily when you blow the air. Your posture will affect how well you can breathe. Bad Lip-blown instruments during playing activities Get Set, posture pushes the rib cage inward, which stops the lungs can be very loud– throughout the book Play filling properly. Good posture lets you move your air easily, to help students build NEVER, EVER both when breathing in and blowing out, which makes your PLAY ONE INTO sound strong and resonant. healthy playing habits. Refer SOMEONE’S EAR! back to these pages regularly, and be sure You could cause them permanent damage. to remind students of Ragnar’s advice: GET READY ‘Practise every day that you eat’! CHECK YOUR POSTURE • Sit tall at the front of your chair, feet flat on the floor. • Don’t slouch! Keep a forward curve in your lower back. Learning Activities • Lift your arm(s) up and out. Don’t rest your arms against your side! After reading How to Make a Sound! and Get Ready: Check Your Posture, review the key word Posture on p.16. Ask students to slouch in their chair, take a breath, and talk about what they have done today until their air runs out. Then ask them the following questions: Q. How long could you keep talking? Q. Was talking easy or difficult? BAD! GOOD! Ask them to do the same thing again, this time with good posture and a full breath so that they can experience a more resonant and easily projecting sound. Demonstrate the same using a horn or a trumpet. After reading Get Set: Check Your Embouchure and reviewing key words Aperture and Embouchure on p.16, PracticeTips • Find your own ‘practice cave’, where you can concentrate on playing. demonstrate ‘Tuck’ and ‘Point’ and ask • Find a firm chair to sit on. Always check your posture and embouchure before you play. students to form their embouchures as • Practise every day that you eat! indicated. (If possible, pass out mirrors or allow students to use the the ‘selfie’ camera 18 function on their smartphones so they can see their own face.) Explain that tucking should lean against the lips (balanced with air alone (no mouthpiece) using a in the corners of the mouth makes them between the upper and lower teeth and well-formed embouchure: jaw) like your head lying on a pillow, and firm, which helps to hold the embouchure “One, Two, Three, OH (inhale), saying “yew” helps to bring the embouchure in place and keeps the cheeks from puffing Tah” (or “Tew”) out. Show how the pointed chin position forward, providing more cushion for the also helps to hold the embouchure in place, mouthpiece. (See Teaching Tip on TE pg. Check that students are maintaining the while keeping the aperture open, preventing 29). correct posture and embouchure, and repeat as necessary. Then ask students the lips from pushing together and cutting Read Play! Count, Breathe, and Blow! to put the mouthpiece to their lips and off the airflow. With these points in mind, and ask students to count to four while practise the sequence with airflow only ask students to form their embouchures tapping their chest to imagine a heartbeat. (no vibration). Can they still maintain again, this time putting the mouthpiece Ask students to practise this sequence to their lips. Explain that the mouthpiece good posture and embouchure? Repeat

28 ADDITIONAL RESOURCES Sample Lesson Plan p. 119 Assessments: p.129

6

Additional online support available at www.practicecave.com: ‘Chapter 1: How to Play a Bison Horn.’

GET SET Key Points CHECK YOUR EMBOUCHURE There are many schools of thought when it comes to teaching the ‘attack’ AND BRING THE HORN TO or ‘release’ of the sound on a brass YOUR LIPS instrument. Typically, brass players use • Tuck in the corners of your mouth, as though you the consonants “T” or “D” to start are saying “eee-yew.” the sound (as well as “K” and “G” • Point your chin forward and hold your lips very when multiple tonguing), but there are close together. Don’t actually push them together, but hold them gently and imagine you are about to other ideas that can have significant say WHOOO (like the hoot of an owl). pedagogical benefits. Some teachers • Place the mouthpiece on your lips, right in the middle: ask students to practise releasing the left to right, and top to bottom. CleanUP sound from closed lips, saying “Poo” or PLAY! “Pew” which can be a very effective YourAct way to align the embouchure and refine Ragnar discovered a its response. Others ask students to COUNT, BREATHE, AND BLOW! long time ago that to practise releasing the sound from open • Count: Imagine the sound of your heartbeat or a stay healthy, you need drumbeat and count along in groups of four beats: to keep your horn clean. lips, saying “Ha” or “Who” which can “one, two, three, four, one, two, three, four. . . .” Always remember to: be a good way to ensure that air is • Breathe: Inhale on the fourth beat (one beat before • Clean your mouthpiece flowing at the start of a note. For more you play). Imagine you are making the sound “AAAH” and wash your hands or “OH”. Keep the mouthpiece lightly touching your lips regularly to avoid pedagogical advice on issues covered in as you inhale. spreading germs. this chapter, ask your local brass expert, • Blow: Blow out on beat one, starting the vibration • Use warm water and or check the bibliography on p.151. with your tongue. Imagine you are going to say “Tah” antibacterial soap to or “Tew”. The tip of your tongue makes a “T” sound clean your mouthpiece. just behind your top teeth, which should start the note • Only share clearly. If the vibration doesn’t start, try: 1) moving mouthpieces after they your lips closer together, or 2) moving your lips further have been cleaned. apart, or 3) blowing the air a little faster. Teaching Tips Although many brass teachers warn against excessive mouthpiece pressure, AAAA it is our belief that if the embouchure AAA AA AA TRAA is formed correctly and air is flowing through the instrument, it is not typically problematic. When told Hear It that they should be careful to avoid Online pressing the mouthpiece against their t, Breate, Bl www.hearragnar.com lips, students sometimes compensate by pushing their lips together, which 19 causes compression of the airstream. If you feel that mouthpiece pressure the sequence, this time producing a Then demonstrate how a good airflow is a problem for your students, try vibration, starting the sound with “T” or and correct embouchure can make a explaining that the embouchure acts “D.”(see Key Points on TE p.29) beautiful ringing sound with little physical like a round rubber washer on a effort. It is important to make students Now demonstrate what happens when garden hose connector. The pressure aware of the sensation of air flowing the aperture is closed (with lips pushing of the mouthpiece against the lips through the instrument, as opposed to together) and ask students why the needs to be just enough to keep the the feeling of air compression, whether sound isn’t ringing. air from leaking out. Mouthpiece internally or against the embouchure. A. Because I am pushing my lips together! pressure should increase naturally Discuss Practice Tips! on p.18, especially When this happens, the air has to be forced along with the increase of airflow, and the importance of finding a ‘practice cave’ to through them which results in a thin and should decrease accordingly when the help reduce distractions. compressed sound. airflow slows/relaxes.

Online Resources: www.practicecave.com/resources Interdisciplinary Activities: practicecave.com/resources End Notes: p.147 29

7 Chapter 2: Practice, Practice, Practice! This is an example of a complete chapter, providing a comprehensive overview of the support available in the Teacher’s Edition.

Summary In Chapter 2, students will learn about Chapter 2 Ragnar’s newly found uses for his bison PRACTICE, PRACTICE, PRACTICE! horn and why it became necessary for him to practise the technical aspects of playing as well as the calls and signals themselves in order to provide a reliable form of communication. Students will also learn about the caves where Palaeolithic people lived and the role that art and sound probably played in them. This leads to the introduction of the ‘Practice Cave’ pages in each chapter, where students learn how to play, either by listening to their teacher or by using online resources.

1 BECAUSE THE BISON HORN was so KEY WORDS loud, Ragnar could use it to communicate with Objectives friends far away from camp. He could also use ARTICULATION it to call everyone together, or to warn of danger. Students will: The use of the tongue to clarify and After a successful hunt, he blew it to let people • Understand the importance of shape sounds. The “T” or “D” at the beginning of the blow gives a clear start know the good news. He also used it to announce regular practice with repetition to the sound, like a snap of the fingers. the start of a celebration. • Draw connections between making IMPROVISE 2 To make the calls and signals easily recognisable To make or create something using your a space resonate and making a horn for his friends, Ragnar needed to practise them own ideas and skills. over and over until he could play them the same resonate by buzzing their lips PITCH way every time. He also realised that he had to • Explore other ways that caves might How high or low a note sounds. work on other things, such as playing long notes and practising articulation to make his sounds have been used as a part of prehistoric clear and steady. sound production Ragnar liked to practise by himself in his cave, • Identify places suitable for their own Hear It where he could concentrate on playing and not practice Online be distracted by what was going on outside. He www.hearragnar.com liked to improvise, often imitating the sounds of • Practise long note and articulation animals. These sounds echoed inside the walls of exercises, improvisations, and assigned the cave. pieces

20

Teaching Tips Learning Activities student can repeat it in the same way, and Use the activities in the Improvise! Students will read, or listen online then ask another student to try and copy section of the Practice Cave to to Chapter 2: Practice, Practice, it. Use this exercise to explain why it was inspire pupils to create their own Practice! They will discuss key words important for Ragnar to practise signals music. Write down compelling articulation and improvise as they until he could play them the same way examples on TE p. 157-159 (noting relate to Ragnar practising in his cave. every time. names of contributors), for use Ask students to improvise a signal to warn Explain that it is also important to in subsequent classes and future people of danger. Allow them all to play practise basic skills such as long notes and performances. at the same time for a few minutes to try articulation in order to become proficient out their ideas, and then ask a volunteer at the trumpet in just the same way that to play their signal for the class. See if the basic skills in sports need to be practised.

30 ADDITIONAL RESOURCES Sample Lesson Plan p.119 Assessments: p.129

8 REALITY CHECK! Key Points What the Experts Say About 1 Ragnar has learned that the louder sound of the bison horn can be used to 3 Did PalAeolithic Caves You communicate more effectively because Caves which were once inhabited by Palaeolithic it can be heard across large distances. people have been discovered all over the world. Know The importance of making his signals Many of them are located in France and Spain ? 2 and contain paintings from 10,000 to 35,000 On cave walls, clearly recognisable made it necessary years ago. The paintings include images of prehistoric for Ragnar to practise for consistency, horses, bison, and deer. We don’t know if people often through repetition. prehistoric people practised playing horns in made marks caves. But some experts who study the caves 3 It is possible that man’s awareness think that prehistoric people used the paintings with their (called fluting) of sound led him to experiment and musical sounds as part of a ritual, or hands and ceremony, to communicate with their gods or with pitch and resonance in a range with the spirit world. discovered that in of spaces and settings. The acoustic fingers. Experts many of these spots, effects of echoes in the caves in which 3 Palaeolithic people lived are obvious pitch the caves resonate when a specific to anyone walking through them, and is sung or played. Although we prehistoric people marked the cave experts suggest that prehistoric people cannot say for sure that this is why used echolocation to navigate cave walls, it is possible they recognised systems, just as bats, some birds and the special sound properties of these similar to a harmonic note on a lip- even some baboons do. Significantly, spots in the cave. These spots are music archaeologists and palaeologists

blown instrument: to make it resonate, have discovered that the majority of you have to buzz the right pitch into it. paintings found in Palaeolithic caves are located where there are also strong acoustical phenomena. These include places that can be made to resonate at a certain pitch to produce standing waves or where strong echo effects are audible.10 Additionally, many experts think that Palaeolithic people may have made extraordinary sounds as part of shamanistic rituals and that cave art also played a part. To those inside the cave, such sounds may have appeared to be coming from another world, perhaps 21 signaling the transition between life and death. We don’t know for certain that Palaeolithic people took advantage of Ask students to suggest some of the (p.13 & 20) and then read Reality Check! the sound properties of their caves, things they need to practise in a range of and Did you Know? Ask your students but it is, as Jeremy Montagu has argued, sports. Next, play the soundscape (at www. if they have ever discovered a resonant “hard to imagine that they would not hearragnar.com) which accompanies the sound in a room that contains hard have been used”.11 If Palaeolithic people Chapter 2 illustration and ask the following: surfaces, such as a bathroom or a long, could in fact produce standing waves in tiled hallway. Encourage them to find such Q: Which basic skills is Ragnar practising caves, it could mean that they were able spaces in their own homes, or elsewhere in his cave? A: Long notes, moving to to sustain and control pitch with their and vocalise, moving the pitch of their different notes, articulation, and humming voices. While it is virtually impossible voice up and down until they hear a strong while playing. (this technique is used in the that they understood the properties of resonance or an echo. Relate this to the playing of the didjeridu- Chapter 6) sound, they may have had an awareness way in which they make a pitch resonate in of the possibilities of sound.12 Review key words resonate and pitch a simple tube, horn, or trumpet.

Online Resources: www.practicecave.com/resources Interdisciplinary Activities: practicecave.com/resources End Notes: p.149 31

9 This icon appears in every Practice Cave page to reinforce productive playing habits. Turn back to ‘How to Play a Bison Horn’ (p. 18–19) often to keep students moving in the right direction!

Introduction to apter the Practice Cave Ch 2 The Brass for Beginners® method makes actice Ca use of a ‘learn by ear’ approach, which r ve encourages the development of aural P Exercises! skills. This is one of the core components Long Note exercises of audiation, the name psychologists How many seconds can you hold your sound? use to describe the range of abilities Can you keep your sound steady? which musicians develop to remember, • Hold a sound steady for imagine and organize musical ideas in 4 seconds • Hold a sound steady for 6 seconds their heads.13 It can apply both to sounds percieved externally and those which are Articulation exercises a product of a musician’s imagination. In Try to make your sound start clearly by using the tip of the ‘Practice Cave’, students develop these your tongue to say “T” or “D” each time you start a new skills either by listening to and copying note. It should sound like a snap of the fingers. their teacher or by using online resources. 1 a. 2 a. Progress can be measured using either b. b. student-self evaluation forms and/or RememBer Make Music! teacher assessment forms. Instructions Get Ready, on how to use these assessments can be 1 Improvise found on p. 129-135. Get Set, • The sound of a galloping wild horse Play • The sound of a roaring lion Play Along • Make yourself sound big and scary! Practice Cave • Sound the alarm: a dangerous storm is coming! Long Note Exercises • Signal to people far away that it is time to come home Ask students to play a long note while you look at a clock and count out loud. Have them put their trumpets down and note their time once their breath runs out. Then pose the following question: 2 Listen & Play Online Sound files for this page are available Q. How do you hold a note for a long at www.practicecave.com time when playing? A. Take a big breath

and blow very slowly to make air last as 3 Are You a Follow along with music notation long as possible. Music Reader for these exercises on page 75

Repeat 3–4 times, each time striving to hold 22 the sound longer than before. If students are not improving their time, ask them to Articulation Exercises Explain how this relates to articulation: think about why and try again. Use windmills Demonstrate finger snapping and compare The air builds pressure behind the tongue, to illustrate how the speed of the air it to using the tongue to start the sound. and when the tongue releases the air determines the length of time they can keep (from behind the top teeth), a sudden Q. How is the sound created when you the wheel spinning, and relate this to playing burst of air makes the “T” sound, helping snap your fingers? A. The thumb and long notes. Windmills will come in handy the vibration to start suddenly, resulting middle finger press together, building up when discussing how to play softly or loudly, in a clear start to the note. Articulation energy, which is released when the finger and how to get softer or louder. can also be described using the example slips off the thumb, resulting in a sudden of plucking a string on a guitar or a harp: Harmonic Note Exercises burst of speed. This causes the middle the finger puts pressure on the string, ‘Harmonic Note Exercises’ and strategies finger to strike the palm of the hand, and when it slips off it, the string starts a for teaching them are introduced in which creates the snapping sound. Chapter 3. sudden vibration. Explain how to articulate

32 ADDITIONAL RESOURCES Sample Lesson Plan p.119 Assessments: p.129

10 Key Points pte Cha r 2 Content 1 Get Ready, Get Set, Play! Establishing good playing habits on any ctice C Chapters 2-10 include a Practice Cave page dedicated to playing activities. instrument requires regular attention a a Each ‘Practice Cave’ page is divided up into two parts: r ve to the fundamentals. As you move from P Exercises! chapter to chapter, refer back regularly 1. Exercises! 2. Make Music! to How to Make a Sound on p. 18- Long Note exercises 19 (TE p. 28–29). Review Get Ready How many seconds can you hold your sound? i. Long Note Exercises i. Improvise (Posture), Get Set, (Embouchure) and Can you keep your sound steady? ii. Harmonic Note Exercises ii. Play Along Play! (Count Breathe, and Blow!) in • Hold a sound steady for 4 seconds iii.Articulation Exercises every class. In a group setting, having • Hold a sound steady for 6 seconds students breathing together in rhythm Articulation exercises is an extremely effective way of building Exercises! are designed to help develop the skills required to play the Try to make your sound start clearly by using the tip of consistency in sound production Make Music! pieces. The Improvise and Play Along prompts under your tongue to say “T” or “D” each time you start a new while creating a sense of ensemble. To ‘Make Music!’ are directly related to Ragnar’s unfolding story (which can be note. It should sound like a snap of the fingers. reinforce this point, ask the students heard at www.hearragnar.com). a. a. to respond to following question, like a 1 b. 2 b. football chant: Note I: We will never know what music or sounds were played on the RememBer Make Music! instruments covered in ‘Around the World in Twenty-One Trumpets’, so the Teacher: ‘When do we breathe’?! Get Ready, Improvise ‘Make Music’ material incorporates many rhythmic figures and motifs Pupils: ‘One beat before we play’! Get Set, • The sound of a galloping wild horse idiomatic to brass playing in general. This helps pupils prepare for the 2 Listen & Play Online Play • The sound of a roaring lion kind of music they will encounter in a school band or an orchestra on a Show students how to access online modern brass instrument. resources at practicecave.com. Here Play Along they will have an opportunity to learn • Make yourself sound big and scary! Note II: As you look through ‘For Music Readers’ (found in back of student book by listening to professional musicians. • Sound the alarm: a dangerous storm is coming! or in within each chapter of Teacher’s Edition), you will notice that the Strategies for making the most of • Signal to people far away that it is time to come home material is significantly more advanced than music in a typical beginning band book. If pupils aren’t limited to playing only music that they can these resources will be discussed in read in notation, they can manage very sophisticated musical content, subsequent ‘Practice Cave’ chapters. building their capacity for learning a great deal of brass vocabulary from 3 Are You A Music Reader? the start. Show students how to find ‘For Music Listen & Play Online Note III: Additional samples of ‘Exercises!’ and ‘Make Music!’ pieces can be found Readers’ in the back of their book Sound files for this page are available pointing out that each ‘Practice Cave’ at www.practicecave.com in the ‘Practice Cave Addendum’ (p.137–146) for each chapter. Two- and three-part arrangements of ‘Make Music!’ pieces are included to page provides a specific page number reference. (In the Teacher’s Edition, these Are You a Follow along with music notation offer additional repertoire for performance. Music Reader for these exercises on page 75 pages are included within each chapter for quick access). Although the aim 22 is not to teach students how to read notation, some students will find it very consecutive notes using the analogy of a minutes, ask for volunteers to share their helpful to have a visual reference, and stone skimming on water: the air keeps ideas. by default, all students will gain some moving as the tongue bounces off it. Ask Play Along level of understanding. Simply explain students to make the sound with air alone Discuss the pieces as they relate to that each note-head represents an before playing: “Too, too, too, too..” The Ragnar’s story and play them for students individual sound, and challenge students feeling of blowing the air shouldn’t stop for to copy, or use the ‘Listen & Play’ audio to follow along while listening and each note. tracks at www.practicecave.com. playing. However, be sure to instruct Improvise Ask students to think about how they students to spend at least half of their Discuss the prompts as they relate to sound and whether their performance is time playing without looking at notation Ragnar’s story and give students some achieving the goal for each piece. If not, to encourage the development of aural time to improvise together. After a few how can they improve? skills.

Online Resources: www.practicecave.com/resources Interdisciplinary Activities: practicecave.com/resources End Notes: p.147 33

11 Practice Cave for Music Readers Provides all ‘Practice Cave’ exercises and music in notation for students who are visual learners and/or who already know how to read music.

Teaching Tips PRACTICE CAVE Practise to Perform! Listen & Play Online Creating opportunities for students to Sound files for this chapter are available at www.practicecave.com Chapter 2 perform for their peers, family, or the Practice, Practice, Practice public can be one of the most effective ways to inspire their development. It is never too soon to start working Exercises! towards a performance. As soon as Long Note Exercises students can play something reasonably How many seconds can you hold your sound? well, practise performing it at the end of Can you keep your sound steady? every class. Don’t forget to keep track • Hold a sound steady for 4 seconds of which improvisations and pieces • Hold a sound steady for 6 seconds they have learned so they can be added to their repertoire. When rehearsing Articulation Exercises pieces, ask students to both evaluate Try to make each note start clearly with a “T” or “D” their performances and suggest ways 1 2 to improve them. Use the following a. a. guidelines to help create a structured b. b. performance/rehearsal environment. Make Music! 1. Pupils should be encouraged to stand or sit with good posture. Improvise • The sound of a galloping wild horse 2. If possible, organise students so that • The sound of a roaring lion they are in a semi-circle to enable RememBer them to see and hear each other. Play Along • Make yourself sound big and scary! Get Ready, 3. Put instruments up together on cue and hold them in a consistent manner. Get Set, 4. Start and stop with precision, Play watching the leader/conductor • Sound the alarm: a dangerous storm is coming! carefully, from start to finish 5. Put instruments down together on cue. Explain that performing is a privilege, • Signal to people far away that it is time to come home not a right. We earn the opportunity to perform through practice and preparation. Show respect for people who are taking their time to listen by 75 giving your best effort. Explain how becoming distracted makes it very difficult to play well, and give students Learning Activities strategies to focus their attention in Progression and Assessment order to ensure the best outcome. Divide students into ‘Practice Cave Stations’ based on the checklist categories: Long The performance guidelines above are Tones, Articulation, Harmonic Series, (beginning in Chapter 3) and Make Music!. a good start! Have students practise together and listen to each other. Encourage them to help each other while you travel between stations to check their progress and offer guidance. To keep track of progress use the Unit 1: Teacher Assessment form (TE p. 129) or ask students to fill out Unit I: Student Self-Evaluation form (TE p. 130), discussing how they can improve their scores. Print out and distribute My Weekly Practice Cave forms (TE p. 136) to help students remember what to practise at home.

34 ADDITIONAL RESOURCES Sample Lesson Plan p.119 Assessments: p.129

12 Unit I THE FIRST TRUMPETER MY PROGRESS!

NAME: ______DATE: ______I am just starting to learn this, and I am starting I can do it I am getting really I don’t get it yet. to get it! pretty well! good at this!

LONG NOTE I can make a sound, but I can hold the sound steady I can hold the sound I can hold the sound steady EXERCISES can’t hold it steady yet. for a few seconds. steady for 8 seconds. for 12 seconds or more. Practice holding the sound steady for several seconds P PP PPP PPPP

ARTICULATION I am having difficulty starting I can start the sound with I usually start the sound I always start the sound my sound with a “T” or “D”. a “T” or “D”, but need to be with a “T” or “D”, and can with “T” or “D”, and EXERCISES reminded sometimes. play several notes in a row. can play 12 or more Practice starting the sound notes in a row. with a “T” and playing several notes in a row. P PP PPP PPPP

HARMONIC NOTE I am having difficulty Sometimes I can move I can move up and I can move up and down, EXERCISES moving up or down between up and down between down between two and back and forth between two harmonic notes. two harmonic notes. harmonic notes. two harmonic notes. Practice moving up, down, and back and forth between two harmonic notes P PP PPP PPPP

Sometimes I can play I can play the assigned piec- I am having difficulty playing I can play the assigned pieces the assigned pieces, but es, but sometimes MAKE MUSIC! the assigned pieces. by myself with no mistakes. it is still difficult. I make mistakes. Practice playing calls/alarms P PP PPP PPPP

Student Self Evaluation forms utilize language from the 2014 National Coalition for Core Arts Standards (NAfME) Core Music Standards (PreK-8) I SCORED ______STARS!

Unit I THE FIRST TRUMPETER ASSESSMENT RUBRIC

STUDENT: ______DATE: ______

1 2 3 4 Emerging Approaching Standards Proficient Exceeds Standards

p Student consistently and p Student has difficulty sitting or p Student sits or stands with cor- p Student usually sits or stands POSTURE independently sits or stands standing with correct posture. rect posture when reminded. with correct posture. with correct posture.

p Student forms the embouchure p Student consistently and inde- p Student has difficulty forming the p Student forms the embouchure EMBOUCHURE correctly with only occasional pendently forms the embouchure embouchure correctly. correctly when reminded. reminders. correctly.

p Student consistently and inde- p Student has difficulty taking a full, p Student takes a full, rhythmic breath p Student generally takes a full, BREATHING pendently takes a full, rhythmic rhythmic breath. when reminded. rhythmic breath. breath.

SOUND p Student has difficulty making a p Student can hold the sound steady p Student can hold the sound steady p Student can hold the sound PRODUCTION sound. for a few seconds. for 8 seconds. steady for 12 seconds or more.

p Student starts the sound with a p Student consistently starts the p Student has difficulty articulating p Student can start the sound with ARTICULATION “T or “D”, and can play several sound with “T or “D”, and can the sound with a “T or “D”. a “T or “D” when reminded. consecutive notes. play 12 or more notes in a row.

p Student has difficulty ascending or p Student can consistently and p Student can sometimes ascend or p Student can ascend and descend HARMONIC SERIES descending between two harmonic independently ascend, descend, and descend between two harmonics. between two harmonics. notes. alternate, between two harmonics.

p Student has difficulty matchng p Student can sometimes match p Student consistently and inde- PITCH ACCURACY p Student can often match specific specific pitches or harmonic specific pitches and harmonics pendently matches specific pitches (voice, mouthpiece, trumpet) pitches and harmonics. notes. with assistance. and harmonics.

p Student play the pieces accurately p Student has difficulty playing the p Student can play the pieces with p Student can play the pieces with with decent sound quality while MUSIC MAKING pieces with rhythmic accuracy and some accuracy and decent sound accuracy and decent sound quality conveying musical meaning or decent sound quality. quality with encouragement. consistently and independently. expression.

Assessment Rubrics utilize language from the 2014 National Coalition for Core Arts Standards (NAfME) Core Music Standards (PreK-8) TOTAL POINTS: ______/32

(U.S. content shown) 13 LY PRACT MY WEEK ICE CAVE

NAME: ______DATE: ______

This week’s Assignment:

Reading/Listening Long Notes Harmonic Notes Articulation MakE Music!

p ______p ______p ______p ______p ______

p ______p ______p ______p ______p ______

p ______p ______p ______p ______p ______

p ______p ______p ______p ______p ______

p ______p ______p ______p ______p ______

How long did I practice?

MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY SUNDAY

______(min) ______(min) ______(min) ______(min) ______(min) ______(min) ______(min)

I PRACTICED ______MINUTES THIS WEEK!

© 2019 Brass for Beginners LLC

Chapter I HOW TO PLAY A BISON HORN U.S. CURRICULUM MAP

CURRICULUM STANDARDS SUMMARY LEARNING ACTIVITIES Common Core Standards (K-5) ASSESSMENTS National Core Arts Standards & National Curriculum Standards Social and Emotional Learning & OBJECTIVES (selected) & Next Generation Science NAfME (PreK-8) for Social Studies (Early Grades) Competencies (SEL) Standards (K-5)

SUMMARY Ask students to read, or listen FORMATIVE MUSIC TIME, CONTINUITY, ENGLISH LANGUAGE Self-Awareness online to Chapter 1: How to AND CHANGE #2 ARTS The ability to accurately Creating In Chapter 1, students will find Play a Bison Horn. Demon- Skills: Unit I Assessment Through the study of the past (grade 4) recognize one’s own emotions, Anchor Standard #1 out how Ragnar turns a broken strate lip vibration into tubes Rubric and its legacy, learners examine Reading: Literature & Infor- thoughts, and values and how Generate musical ideas for vari- bison horn into a lip-blown of different lengths, and discuss Posture the institutions, values, and mational Text they influence behavior. The instrument that amplifies sound ous purposes and contexts. why shorter ones sound higher Embouchure beliefs of people in the past, 4.1-3 – Key Ideas and Details; ability to accurately access one’s due to its shape. Students will than longer ones. Enduring Understanding acquire skills in historical inquiry 4.4-6 – Craft and Structure; strengths and limitations, with learn the role that posture, Breathing The creative ideas, concepts, and and interpretation, and gain an 4.7-9 – Integration of Knowledge a well grounded sense of confi- embouchure formation, and Now ask students why they Sound Production feelings that influence musicians’ understanding of how important and Ideas dence, optimism, and a “growth breathing play in sound pro- think the bison horn sound was work emerge from a variety of Articulation historical events and develop- mindset.” duction. so much louder than the bone sources. ments have shaped the modern Reading: Foundational Skills Students will be able to... identify trumpet. Explain that the shape Harmonic Series world. 4.3a – Phonetics and Word Rec- Key Words: Essential Question ognition; 4.4 (a) (b) (c) – Fluency. their interests and strengths, and of the horn, gradually expanding Pitch Accuracy • Aperture throughout its length, helps the How do musicians generate Questions for Exploration: build on those. Demonstrate Music Making Language • Embouchure sound to travel more efficiently, creative ideas? What questions are important interest in trying new things. 4.3 - Knowledge of Language; 4.4 • Inhale making it sound louder than the See MU:Cr1.1.2a-5a to ask about the past? What - Vocabulary Acquisition and Use Responsible Decision-Mak- • Posture bone trumpet. happened in the past? How do ing Rehearse, Evaluate, Refine we know about the past? How Speaking & Listening Ask students to read Reality The ability to make constructive Anchor Standard #5 was life in the past similar to and 4.1 - Comprehension and OBJECTIVES Check! and explain that in or- choices about personal behavior Evaluate and refine personal... different from life today? Collaboration; 4.4. - Presentation der to become good at playing, performances, individually or in and social interactions based Knowledge: of Knowledge and Ideas Students will: they will need to experiment collaboration with others. on ethical standards, safety The learners will understand: concerns, and social norms. The • Understand how tubes of with things like posture, embou- Writing Enduring Understanding The study of the past is the sto- realistic evaluation of conse- different lengths create higher chure, and breathing to learn 4.3 - Text Types and Purposes To express their musical ideas, ry of communities, nations, and quences of various actions, and and lower sounds what works best for them. musicians analyze, evaluate, and the world; Key concepts such as: a consideration of the well-being • Learn how a conical shape Complete the Learning Activ- refine their performance over past, present, future, similarity, MATH of oneself and others. amplifies sound ities associated with How to time through openness to new difference, and change; That his- N/A Make a Sound!, including: Get ideas, persistence, and the appli- torical events occurred in times Consider ethical standards, safety • Experience how correct Ready: Check Your Posture, cation of appropriate criterion. that differed from our own, but concerns, and social norms as they SCIENCE posture facilitates efficient use Get Set: Check Your Em- often have lasting consequences impact decision-making. (grades K-2) of the respiratory system bouchure, and Play! Count, Essential Question for the present and future. Breathe, and Blow! How do musicians improve the Waves and Their Applica- • Identify the characteristics of quality of their performance? Processes: tions in Technologies for embouchure Discuss Practice Tips!, espe- See MU:Pr5.1.2b-5b Learners will be able to: Information Transfer cially the importance of finding a PS4-1 - Plan and conduct inves- • Use a variety of sources to • Perform the sequence of “practice cave” to help reduce tigations to provide evidence Connecting learn about the past; events necessary for sound distractions. Anchor Standard #11 that vibrating materials can make production Relate musical ideas...with varied • Describe how people in the sound and that sound can make materials vibrate. • Learn about safety & hygiene context to deepen understand- past lived, and research their PS4-4 - Use tools and materials issues related to playing lip- ing. values and beliefs; to design and build a device that blown instruments Enduring Understanding Products: uses light or sound to solve the Understanding connections to Learners demonstrate un- problem of communicating over varied contexts and daily life derstanding by: Constructing a distance. enhances musicians’ creating... timelines that indicate an under- standing of a sequence of events; Essential Question Writing stories and descriptions How do...other contexts, and about life in the past. daily life inform creating and performing, and responding to See also: “People, Places, and music? Environments” #3 and “Culture” See: MU:Cn11.0.2a-5a) #1

VISUAL ARTS N/A 14 (U.S. content shown) Lesson Plans (U.S. content shown) The Teacher’s Edition includes a 10-week lesson plan designed to help maximize the curriculum’s impact in the classroom. Since every educational environment/situation is unique, Around the World in Twenty-One Trum- pets provides enough varied content to support programs of up to 25 weeks. To allow maximum flexibility, templates and instructions for how to create individualized lesson plans are provided online.

U.S. LESSON PLAN: 10 WEEKS Summary Students will learn how to navigate Around the World in Week I Twenty-One Trumpets and be introduced to the book’s MEET RAGNAR main character Ragnar and the Paleolithic world in which he lives. Students will contemplate the origins of lip-blown instruments and learn how to make lip-blown sounds of their own. Time: 45 minutes Lesson Overview

Learning Objectives Students will: • Understand the nature of simple • Find out how Ragnar’s story begins and lip-blown instruments—their charac- how he first discovered that he could teristics and how they work make a lip-blown sound • Produce sounds using a variety of • Understand the basics of daily life for lip-blown objects hunter-gatherers, 25,000 years ago • Contemplate the impact of lip-blown • Learn how to navigate the features of sounds on hearers in prehistoric times Around the World in Twenty-One Trumpets, • Consider other possible uses for lip- including online resources blown instruments across the globe

Lesson Preparation Teaching Methods Assessments Key Words • Auditory Learning • Knowledge: Student Short-Answer • Resonate • Classroom Discussion Quiz • Hands-On Learning • Collaborative Learning

Teacher Background Cross-Curricular Elements Equipment & Materials Read Meet Ragnar, Your Tour • English Language Arts • Computer (wi-fi) & projector Guide (TE p. 4-5) and Unit I: The • Social Studies • Simple lip-blown instruments such First Trumpeter (TE p. 22-25) • Science as horns and/or shells • Visual Arts • Social and Emotional Learning

STANDARDS National Core Arts Common Core Standards National Curriculum (See UNIT I Curriculum Map on p. 106) Standards & NAfME (PreK-8) Standards for Social Studies (PreK-8) English Language Arts Time, Continuity, and Change #2 Music Reading: Literature & Informational Culture #1 Connecting: Anchor Standard #11 Text People, Places, and Environments #3 Language: Speaking & Listening Writing

15 Brass for Beginners® is the first brass programme geared specifically for the primary school classroom. It is a “learn by ear” method, utilizing a interdisciplinary curriculum and a natural trumpet designed for school-age children. The first volume of the curriculum,Around the World in Twenty-One Trumpets: A Brass Odyssey, creatively intertwines brass pedagogy with stories that capture significant moments in the history of the trumpet. Created by music and history educators, it brings human history and the history of lip-blown instruments to life through the adventures of Ragnar, a hypothetical prehistoric trumpeter. The curriculum puts the focus on the fundamentals of playing and the development of aural skills, while simultaneously preparing students to play any of the modern brass instru- ments. Students learn either by listening to their classroom teacher or by playing with online sound files, recorded by some of the world’s top brass players.

“Brass for Beginners is the ideal foundation not only for music but for a complete, all-round education - it’s such fun you don’t realize how much you are learning!’ –John Wallace, CBE, International Trumpet Soloist

“As an artist with a passion for the natural trumpet and early music, the idea of using it as a teaching tool for beginners is exciting indeed. Brass for Beginners authors have laid out an adventure through time and across the globe that promises not only to instill a life-long appreciation for brass instruments but also to inspire the next generation of brass players!” –Alison Balsom, OBE, International Trumpet Soloist

Applications Although the readability of Around the World in Twenty-One Trumpets is designed for late elementary students (3-5th grade), its content and resources provide enough intellectually engaging material to be used for older stu- dents and adults. The program can be used effectively in an wide range of educational environments:

• General music education • Montessori and parochial schools • After school programs • Community music schools • Lifelong learning programs/senior centers • Summer music camps • Therapeutic day schools/special educational needs & disabilities (SEND) • Private instruction

With the support of the Culture Programme of the European Union Proud Endorsee Brass for Beginners® Creative Learning through Interdisciplinary Education ©2017 Brass for Beginners, LLC All rights reserved.

Brass for Beginners LLC | 7650 Austin Ave., Skokie, IL 60077 [email protected] | Phone: 833-SALPINX (725-7469)