Young People’s Concerts 2016-2017 Teacher Guide Alabama Symphony Orchestra Education initiatives... empower our community to celebrate and advance our symphonic culture by actively supporting the endeavor for excellence in music education. We seek to become an indispensable partner in the education of our community’s children and to create sustainable, meaningful programs and partnerships that foster strong relationships with schools and families. As Alabama’s orchestra, we aspire to reach all citizens of the greater Birmingham area and the state of Alabama, truly diverse audiences reflective of our unique makeup, and to provide programming that is ever more relevant, imaginative, and exciting. Through a world-class orchestra that offers extraordinary performances, we strive to inspire in our community a life-long passion for music, learning, and creativity.
Education Concert Calendar
Explorer Concerts Alabama Symphony Youth Orchestra Pre-K - 2nd grade Under the direction of Dr. Blake Richardson, the Get ready for a musical adventure as the ASO ASYO is made up of some of the most musically presents a special program for our youngest talented youth from across our state! audience members. Casual, interactive, and lots of Sponsored by Brooke and Daniel Coleman fun! Sponsored by Vulcan Materials Fall Concert* | November 19, 2016 at 2 pm Tuesday, October 11, 2016 | 11:30 am Alys Stephens Center, Jemison Concert Hall Vestavia Hills United Methodist Church Holiday at the Galleria* | Dec. 4, 2016 at 2 & 4 pm Wednesday, October 12, 2016 | 9:30 am & 11 am Come hear the ASYO play Holiday favorites near Dawson Memorial Baptist Church the Carousel at the Riverchase Galleria. Proudly Thursday, October 13, 2016 | 9:30 am & 11 am presented by Riverchase Galleria. Northpark Baptist Church, Trussville Side by Side Concert with the Alabama Symphony Orchestra | March 19, 2017 at 3 pm Young People’s Concerts Alys Stephens Center, Jemison Concert Hall 3rd - 6th grade Spring Concert* | May 20, 2017 at 2 pm Superheroes of the Symphony Alys Stephens Center, Jemison Concert Hall Who are your biggest heroes? Did you know that the symphony orchestra has heroes too? Learn Greater Birmingham Music about all of the Superheroes of the Symphony including some of the Symphony’s most iconic Educator’s Alliance composers. Come join us for a day of interactive programming November 9, 2016 | 10 am and performances celebrating music education! Samford University’s Wright Center Learn about all the wonderful ensembles and Christopher Confessore, Conductor musical resources within the Greater Birmingham Community and learn how you can be a part of Marvels, Magic & Myths this diverse community. Discover the magic of musical storytelling! Presented as part of A Gloriumptious Jubilee, GBMEA Festival* | May 7, 2017 at 12:30-5 pm celebrating 100 years of Roald Dahl’s imaginative Alys Stephens Center world, hear the musical narratives of mythical and enchanted stories. This program presents iconic symphonic music inspired by magical storytelling! Thursday, February 23, 2017 | 10 am Samford University’s Wright Center Carlos Izcaray, Conductor In collaboration with Red Mountain Theatre Company *Free Event Thank You to Our 2016-2017 Education Partners
$50,000+ $10,000-$25,000 Up to $999 Alabama Power ACIPCO Kathryn Acree Alabama State Council BBVA Compass Vincent Cirulli on the Arts The Charles T. Campbell William & Joy Denton Daniel & Brooke Coleman Charitable Foundation Carlos Izcaray Community Foundation Comer Foundation & Yolanda Serafimov of Greater Birmingham General Growth Properties David & Rupa Kitchens The Daniel Foundation Joseph S. Bruno Vijay Kodali & Vineeta Kumar of Alabama Charitable Foundation Virupaksha Kothandapani The Mike and Gillian New Music USA Drs. Shaily & Geeta Lakhanpal Goodrich Foundation Susan Mott Webb Rohit & Geeta Malik William Randolph Hearst Charitable Trust Ranjit Prasad Foundation Shades Mountain Music Club $1,000-$9,999 Jeff & Susanne Thomas $26,000-$49,999 The Hess Foundation Hill Crest Foundation Independent Presbyterian Robert Meyer Foundation Foundation Shelby County Commission The Mockingbird Foundation Symphony 30 Robert Raiford & Zane Rhoades Vulcan Materials Company Sanjay & Dora Singh The Symphony Volunteer Council (SVC) Jim Wilson & Associates
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The ASO would like to thank Bonnie Herenu, Music Teacher at Thompson Intermediate School, for her contribution to this guide. 3 Table of Contents
Forward to Teachers and Parents...... 5
Programs...... 6
Meet the Artists...... 7
Meet the Musicians...... 10
Lessons Lesson 1: Let’s Visit the Orchestra!...... 11 Lesson 2: Meet the Families of the Orchestra!...... 15 Lesson 3: Meet the Composers!...... 19 Lesson 4: What Makes a Superhero?...... 23 Lesson 5: How to Write a Musical Story...... 26
Accompanying Materials Vibration Station...... 30 Orchestra Seating Chart...... 31 Conducting 101...... 32 Instrument Cards...... 33 Guided Listening Quilt...... 34 Glossary...... 35
How to Submit Student Work to the ASO...... 36
We Want to Hear from You!...... 37 (Concert Follow-up Writing Activity)
4 Dear Teachers and Parents,
We are delighted to bring you this Teacher Guide to accompany the 2016-2017 Alabama Symphony Orchestra Young People’s Concerts. This guide is designed to enhance your students’ experience at the Symphony. While the lessons enclosed are certainly not required, we think that your students will have fun doing these activities while learning something about the Symphony and the music they will hear at the concert.
How to use this guide: • Lessons: Lessons are designed to be customized to your classroom. Use as many as you would like; add and shorten them ad libitum! Whether you are a music teacher or an english teacher, we encourage you to peruse this guide and see what is useful in your classroom. Lessons 1-3 accompany each concert, while lessons 4 and 5 are designed to precede a specific concert. We hope you will find that most lessons can be adapted to different classroom situations and resources! • Pre and Post Quizzes: Showing growth through the arts is an important advocacy tool, and we hope you will use these to show student growth by comparing scores before and after the lesson and concert. Quizzes accompany the first two lessons and are completely optional. If you do choose to use them, however, send us your class average before and after the concert. We will send you a $1 off per ticket coupon for the 2017- 2018 Young People’s Concert series! • Submission Entries: Lessons 4 and 5 encourage you to submit student work. Accompanying artwork may be submitted to be displayed at the concert and writing samples may be submitted for our Essay Contest! Please see lessons for more information. • We’d love to see your student’s creations: Ever wonder how you can help advocate for music education in Alabama? Consider submitting your student work developed as part of the enclosed activities along with pre and post quiz scores to the ASO! Every submission will be used in our music education advocacy efforts. Feel free to send a short video of student choreography, artwork, or even just a photograph of your students working on these lessons. Please find the form for student submission on page 35.
By bringing your students to an ASO Young People’s Concert, you have shown your commitment to the arts as a vital part of a child’s education. On December 15, 2015 the Every Student Succeeds Act was signed, acknowledging the arts as a core subject. As congress and our state legislation works to determine how to allocate these funds, whatever your role in education, please consider writing to your representative, perhaps combined with a student’s success story, to help advocate for arts education funding. The ASO relies on our partnerships with you to provide great educational programming.
I look forward to seeing all of you for another great year of Young People’s Concerts!
Deanna Sirkot Education Manager Alabama Symphony Orchestra (205) 314- 6936 [email protected]
5 Programs
Superheroes of the Symphony November 9, 2016 10 AM Wright Center Chris Confessore, Conductor
Beethoven – Fidelio Overture Instrument Family Demos Silvestri/arr. Moore – The Avengers Theme Williams/arr. Lavender – Superman March Hefti/arr. Gay– Batman Theme James/arr. Murtha – Hooked on a Feeling Mozart – Eine kleine Nachtmusik – Mvt. 1 Brahms – Symphony No. 1 – Mvt. 3 Shostakovich – Excerpt from Symphony No. 5 – Mvt. 4 Daugherty – Oh, Lois! From Metropolis Symphony Giacchino/arr.Bocook – Music from The Incredibles Rossini – William Tell Overture – Finale
Concert will be performed without intermission Mobile phones and other electronic devices must be set to silent/vibrate during the performance.
Marvels, Magic and Myths February 23, 2017 10 AM Wright Center Carlos Izcaray, Music Director Rebecca Yaeger, Narrator Red Mountain Theatre Company Children’s Ensemble
Mozart – Magic Flute Overture Rimsky-Korsakov – Finale from The Snow Maiden Suite, “Dance of the Tumblers” Schwertsik – Goldilocks & the Three Bears Text Adapted by Donald Sturrock
Concert will be performed without intermission Mobile phones and other electronic devices must be set to silent/vibrate during the performance.
6 Meet the Artists
Carlos Izcaray A strong believer of supporting the younger MUSIC DIRECTOR generations, Carlos has worked extensively Carlos Izcaray is the newly with the world’s top talents and leading music appointed Music Director education institutions, including his country’s own of the Alabama Symphony El Sistema. In 2014 he led a tour of the Filarmónica Orchestra. Praised by the Joven de Colombia, and he has additionally international press, he won worked with the Fundación Batuta, Neojiba in top prizes at the 2007 Brazil, London Schools Symphony Orchestra, and Aspen Music Festival and Cambridge University Music Society, where he later at the 2008 Toscanini has also taught conducting workshops. Summer International Conducting 2015 marked his début at the Interlochen Center Competition. Since then for the Arts, where he led a performance with the he has appeared with World Youth Symphony Orchestra, and he also numerous ensembles across five continents and conducted the Orquestra Sinfónica do Porto Casa is now firmly established as one of the leading da Música in the final round of the International conductors of his generation. Throughout his Cello Competition Guilhermina Suggia. career Izcaray has shown special interest and A distinguished instrumentalist himself, prowess in tackling some of the most complex Izcaray has been featured as concert soloist scores in the symphonic repertoire, while also and chamber musician worldwide, and served championing the historically informed approach to as Principal Cello and Artistic President of the works from past eras. Venezuela Symphony Orchestra prior to dedicating On the symphonic platform he has led the his career fully to the podium. Increasingly active St. Louis and Kitchener-Waterloo Symphonies, as a composer, Izcaray’s most recent orchestral Chamber Orchestra of San Antonio, Orchester der piece, Cota Mil, was premiered by the Orquesta Komischen Oper Berlin, Malmö Symfoniorkester, Sinfónica Municipal de Caracas. Orquestra Sinfónica do Porto Casa da Música, Carlos was born into a family of several Filarmonica Arturo Toscanini, Orchestra Regionale artistic generations in Caracas. At the age of 3 dell’Emilia-Romagna, Orchestre de Chambre de he was enrolled in Venezuela’s public system of Lausanne, Macedonian Philharmonic, Bangkok youth orchestras, continuing at the Emil Friedman Symphony Orchestra, Kwazulu-Natal Philharmonic, Conservatory, where he was a boy chorister as well National Symphony Orchestra of Colombia, Bahia as an instrumentalist. He studied conducting with Symphony Orchestra, Salta Symphony Orchestra, his father since he was a teenager, and went on Venezuela Symphony Orchestra, Orquesta to become a distinguished fellow at the American Sinfónica Municipal de Caracas, and Orquesta Academy of Conducting at Aspen. Izcaray is an Filarmónica Nacional de Venezuela, among others. alumnus of the Interlochen Arts Academy, New Izcaray is equally at home with opera World School of the Arts, and Jacobs School of repertoire, receiving rave reviews for his Music at Indiana University. He is a dual citizen of performances at the Opera Theatre of Saint Louis, Spain and Venezuela, and divides his time between Utah Opera, International Opera Festival Alejandro Birmingham (AL) and Berlin. Granda in Peru, and in particular at the Wexford To learn more about Carlos’ activities please Festival Opera, where he has led many productions visit carlosizcaray.com. since the opening of Ireland’s National Opera House. His 2010 performances of Virginia by Mercadante won the Best Opera prize at the Irish Theatre Awards.
7 Meet the Artists
Christopher Confessore a full orchestra, 300-voice choir and celebrity CONDUCTOR narrators including Whoopi Goldberg, Neil Patrick Christopher Confessore Harris and Gary Sinise. serves as Resident Heralded as a sensitive accompanist and Conductor and Principal inspiring collaborator, Christopher Confessore has SuperPOPS! Conductor of accompanied a distinguished list of world-class the Alabama Symphony concert artists, including Itzhak Perlman, Joshua Orchestra and Music Bell and Lang Lang. As a Pops conductor, he Director and Principal has appeared with a diverse group of superstars, Conductor of the Brevard including Grammy Award winners Art Garfunkel, Symphony Orchestra in Roberta Flack, Judy Collins, Amy Grant, Marvin Melbourne, FL. Hamlisch, LeAnn Rimes, Indigo Girls, Chris Botti In recent seasons, and Charlie Daniels and Tony Award winner Idina Mr. Confessore’s schedule as a guest conductor Menzel. Music columnist Mary Colurso of The has included appearances with the Detroit Birmingham News remarked “Anyone who regards Symphony Orchestra, Jacksonville Symphony the symphony as stuffy and elitist hasn’t been to a Orchestra, New Mexico Philharmonic, Naples SuperPops show when Confessore’s in charge. He Philharmonic, Sarasota Orchestra and the Orlando exudes nice-guy appeal on stage, along with real Philharmonic Orchestra. He appears annually as warmth, a sense of humor and smarts to spare.” a conductor of Walt Disney World’s Candlelight For a complete concert calendar, visit www. Processional at EPCOT – a production featuring christopherconfessore.com
8 Meet the Artists
Rebecca Yeager Red Mountain NARRATOR Theatre Company Rebecca Yeager is an actor Red Mountain and teacher who specializes Theatre Company is in integrated movement an organization that and vocal technique for inspires audiences the actor, including yoga, through powerful stage combat, Lugering theatre experiences technique, and Commedia led by professionals who deliver engaging dell’Arte. She has a love for performances produced and presented with artistic classical texts, especially integrity. In addition to our theatre productions, Shakespeare, Moliere, and we offer educational programs that build positive Greek tragedy. Rebecca life skills for young people and provide growth received her Master of Fine Arts in Theatre opportunities for theatre professionals. Our Performance from the University of Southern Birmingham, Ala., based nonprofit organization Mississippi. During her time at USM, Rebecca has been inspiring audiences, changing lives presented her creative and academic research, was and creating conversations through theatre awarded grants for her classical and movement experiences since 1979. For more information, visit based educational outreach work, had her creative redmountaintheatre.org. project research published, and was both an Irene Ryan Nominee and Regional Semi-Finalist at the Kennedy Center American College Theatre Festival. Rebecca graduated Cum Laude from Birmingham-Southern College with a Bachelor of Arts in Musical Theatre. Rebecca is a working actor, adjunct professor of acting, voice, and movement at Birmingham-Southern College, and Resident Artist at Birmingham Children’s Theatre.
9 Meet the Musicians
FIRST VIOLIN VIOLA FLUTE TRUMPET Daniel Szasz Michael Fernandez Lisa Wienhold Ryan Beach CONCERTMASTER/THE BEVERLY PRINCIPAL PRINCIPAL PRINCIPAL HEAD AND HUGH KAUL CHAIR Zakaria Enikeev Hillary Tidman Nicholas Ciulla Jinsong Gao ASSISTANT PRINCIPAL ASSISTANT PRINCIPAL ASSISTANT PRINCIPAL ASSOCIATE CONCERTMASTER DJ Cheek Mayumi Masri Lucina Horner ASSISTANT CONCERTMASTER OBOE TROMBONE Rene Reder James Sullivan Jay Evans Yifan Zhou PRINCIPAL PRINCIPAL ASSISTANT CONCERTMASTER Meredith Treaster Machiko Ogawa Schlaffer Jason Robins Ai-Yi Bao ASSISTANT PRINCIPAL Sarah Nordlund Dennis CELLO TUBA Viktor Dulguerov Warren Samples PRINCIPAL CLARINET Andrew Miller Roger James Kathleen Costello PRINCIPAL Andrew Dunn PRINCIPAL/THE SYMPHONY Anne Pandolfi ASSISTANT PRINCIPAL VOLUNTEER COUNCIL CHAIR Pei-Ju Wu Mary Del Gobbo Brad Whitfield TIMPANI Peter Garrett ASSISTANT PRINCIPAL Jay Burnham PRINCIPAL SECOND VIOLIN Mara McClain Yuriko Yasuda Clayton Vaughn PRINCIPAL BASSOON Tariq Masri PERCUSSION David Handler PRINCIPAL Mark Libby ASSISTANT PRINCIPAL BASS PRINCIPAL * Alex Zdanis Karl Braaten Daniel Carson Bill Williams PRINCIPAL ASSISTANT PRINCIPAL Levon Margaryan Richard Cassarino Serghei Tanas PRINCIPAL, HORN HARP 2016-2017 SEASON David Pandolfi Judy Sullivan Hicks Justin Kujawski PRINCIPAL/THE SYMPHONY PRINCIPAL/ THE MRS. R. HUGH DANIEL CHAIR ASSISTANT PRINCIPAL, VOLUNTEER COUNCIL CHAIR 2016-2017 SEASON Kevin Kozak Michael Bradt Jeffrey Solomon Mark Wilson ASSISTANT PRINCIPAL *On leave of absence for Nina Adair the 2016-2017 Season
10 Lesson 1: Let’s Visit the Orchestra!
Objectives Academic Standards • Students will demonstrate and describe appropriate • COS Arts Education, Music Gr. 3 # 7; Gr. 5 #9 etiquette for an orchestra concert. • COS English Language Arts Gr. 3 #3, 24, 25, 39; Gr. 4 • Students will identify roles of the different orchestra #24, 25, 32, 39; Gr. 5 # 23, 24, 25, 32, 39; Gr. 6 #23, personnel in addition to standard concert procedure. 24, 31, 39
Duration • 30-40 minutes
Lesson 1 Vocabulary • Tuning process- Led by the principal oboist, the process • Conductor- A person who directs the performance of an in which all musicians of the orchestra match sound and orchestra pitch before the concert begins • Concert Master- the lead first violin player in an • Stage Manager- the person who is responsible for setting orchestra who is responsible for beginning the tuning up the chairs of the orchestra and directing when the process lights turn on and off • Usher- A person who helps audience members find their • Stage technician- The person off stage who assists the seats stage manager and turns the lights on and off • Section- A group of musicians who play the same • House lights- The lights that shine onto the audience instrument • Stage lights- The lights that shine onto the performers • Principal Musician- The first chair player of each on stage instrument section • Patron- another word for audience member or someone who has purchased a ticket to an event
Introduction 4. Discuss expected behavior of ticketed patrons. Arrange • Ask students to make predictions about what they will the desk and chairs in rows and assign students to the see and hear at the concert they will attend and record roles of usher, stage manager, and stage technician. responses on a board. Who and what will you see? Allow students to act out the beginning of a concert What will you do? What will you hear? by having the ushers show patrons to their seats and • Using a board in your classroom, create and post a list turning off the lights. Explain that when the lights go off, of questions that students have about the orchestra so patrons are expected to be quiet. that students can add the answers they discover at the 5. Discuss the preliminary events of an orchestra concert. end of the lesson. Which event marks the beginning of an orchestra concert? Choose a volunteer to act as the Concert Activities Master, conductor, and principal oboist. Direct the 1. Discuss with students that different events and concertmaster to walk to the front of the stage stage locations have different standards and expectations and to bow, while the rest of the class applauds. Ask of behavior. Ask the students to act out or describe the principal oboist to pantomime the tuning process. appropriate behavior for different locations such as Explain that tuning is important because it allows all of the playground, football stadium, their homes, place of the musicians to listen to each other to match sound worship, etc. and pitch, and that it is important for the audience 2. Check out one or both of the first two videos from the to be quiet and attentive during this time so that the Supplemental Videos list that accompanies this lesson. musicians can hear each other. 3. Using Lesson 1 Vocabulary, discuss with students the 6. Ask the conductor to enter the stage and bow while the events that occur before the concert begins and the audience claps. Remind students that it is appropriate personnel associated with each event. If you need to clap once the conductor lowers his or her arms. Try assistance with the pre-concert events, check out our challenging the orchestra not to be tricked into clapping list on page 12. too soon.
11 7. Follow-up with a more in depth discussion about the • Divide students into small groups and create short skits role of a conductor with students. Watch a brief excerpt about what not to do at an orchestral concert using the of an orchestra concert or one of the supplemental vocabulary learned in this lesson. Have the students videos that accompany this lesson about conductors. perform the skits for the class. Ask the students to describe what the conductor is • Display the ASO musician roster on the board. Ask doing. Explain to students that the conductor uses students the names of musicians in different roles. Ie. the language of arm movement and body language to What is the name of the ASO’s Conductor? What is the communicate the beat in addition to the loud and soft name of the ASO’s Principal Flute player? sections of the music so that all of the musicians can • Ask students to discuss the roles of other conductors play together without getting lost. Play a piece of music such as a train conductor, an electrical conductor, etc. from the concert repertoire and ask students to show Compare and contrast their descriptions with the role of the beat. How might hand gestures vary for louder an orchestral conductor. sections versus softer sections? • Encourage students to apply the behaviors they learned in this lesson to school assemblies and performances. Reflection • Ask students to list times in the concert when it is Supplemental Videos appropriate to clap and times when it is not appropriate “Class Notes: What to do at a Concert” to clap. Duration: 5:29 • Ask students to determine whether or not their https://www.youtube.com/watch?v=re_SypFujRk predictions from the beginning of class were accurate. • Return to the list of questions generated in the “A short guide to concert etiquette...learn how to attend beginning of class. Ask a student to read them aloud concerts like a pro!” and discuss what the students have discovered. Duration: 4:22 • Review standard concert procedure. What comes first https://www.youtube.com/watch?v=etKMvzjASFk and last in a concert? • Ask students to list important personnel members and “Class Notes: What does a Conductor do?” describe their role. Duration: 6:35 https://www.youtube.com/watch?v=x_6cTbyWP88 Extensions • Extension: Using the Conducting 101 activity found on “Sesame Street: People in Your Neighborhood – Conductor” page 32, have the students practice conducting. Duration: 4:03 • Ask students write a short story or create a comic strip https://www.youtube.com/watch?v=MJ4UGtDLLYc of the different events that take place at an orchestra concert. • Ask students write a “How to be a Good Audience Member” pamphlet using vocabulary from this lesson to inform students their age about appropriate behavior at an orchestral concert or event of their choice.
Pre-Concert Events: 1. Ushers show Patrons to their seats 2. The Stage Manager asks the Stage Technician to dim the house lights 3. The Concert Master walks on stage and bows while the audience claps 4. The Concert Master signals to the Principal Oboist to begin the tuning process while the audience is quiet 5. The Conductor walks on stage and bows while the audience claps 6. The concert begins
12 Name: ______Lesson 1: Let’s Visit the Orchestra! Pre and Post Quiz
Directions: Circle the correct answer for the questions below.
1. When is it appropriate to clap? a. During the tuning process b. When the Conductor walks on stage and bows c. During a piece of music d. When the Usher shows patrons to their seats
2. When is it NOT appropriate to clap? a. When the conductor lowers his or her hands b. After a piece of music ends c. During a piece of music
3. Which lights dim when the concert is about to begin? a. The stage lights b. The house lights c. The spot lights d. The flood lights
4. Which member of the orchestra plays the tuning note at the beginning of the concert? a. The Concert Master b. The Conductor c. The Principal Oboist d. The Principal Cellist
5. There are different behavior expectations depending on which event you attend. a. True b. False
6. Who flips the light switch at an orchestra concert? a. A Stage Technician b. The Stage Manager c. The Conductor (over)
13 Match each word with its correct definition:
______Conductor a. Someone who shows you to your seat
______Principal Musician b. The lead violin player
______Usher c. The person who directs the orchestra
______Concert Master d. Another name for an audience member
______Patron e. The lead player of an instrument section
Using numbers, put the following events in order:
______The orchestra tunes
______Ushers show patrons to their seats
______The lights dim
______The Conductor walks on stage
______The Concert Master walks on stage
14 Lesson 2: Meet the Families of the Orchestra
Objectives Duration • Students will identify the instrument families of the • Approx. 40 minutes orchestra by sight and sound. • Students will identify where the instruments sit within Academic Standards the orchestra. • COS Music Gr. 3 #11, Gr. 4 #12, Gr. 5 #12 • Students will understand that each family produces sounds in a unique way.
Lesson 2 Vocabulary • Sting instrument- An instrument made out of wood that • Brass Instrument- An instrument made out of metal such produces sound when the musician vibrates the string as brass that produces sound when the musician buzzes either by using their bow or plucking the string. his or her lips against a cup shaped mouth piece • Percussion instrument- An instrument made out of a • Woodwind instrument- An instrument generally made variety of materials that produces sound when it is out of wood that produces sound when the musician struck or hit. blows air against a reed or across a hole to vibrate it.
Introduction 6. Using the Instrument Cards hand out found on page 33 • Ask students what it means to be in a family. Does ask the students to cut out the cards. Play a few of the each family member have a different role? Do all family following examples. Ask the students to hold up the members look the same? card that corresponds to the instrument family that they are hearing. Activities Alternative Methods 1. Introduce the four families of the orchestra. Watch the • Using index cards, ask the students to draw their following video: own instrument family cards and proceed with the listening activity. “Families of Instruments” • Ask students to make different gestures when LESSON CREATED BY MEGAN WOLFE USING they hear different families (ie. to touch their VIDEO FROM Luis Francisco Martinez YouTube noses when they hear strings, etc.) Channel Duration: 7:22 Brass http://ed.ted.com/on/yUsNs0R8#watch Giovanni Gabrieli’s Canzon No. 8, for 8 parts https://www.youtube.com/watch?v=olIrf-uioD8 2. Discuss the different materials each instrument family is made out of. “First Call”/”Reveille” 3. Using the orchestra map, describe where each https://www.youtube.com/watch?v=SGnZxcS7VKA instrument family sits within the orchestra set up. 4. Describe the different ways each family produces Strings sound. Ask the students to buzz their lips like they are Mozart - Divertimento in D major, K. 136 (1772) playing a brass instrument, ask them to hit their desks https://www.youtube.com/watch?v=7FRYoBy7iT8 like a percussionist, etc. You may use the Vibration Station worksheet found on page 30. A. Vivaldi: RV 109 / Concerto for strings & b.c. in C major / 5. Play a few examples that follow #6. Ask the students to Budapest Strings describe the sounds of the different instrument families https://www.youtube.com/ in their own words. Creative descriptions welcome! watch?v=2O5Rx5DpTEg&list=PL674A2D5052E3287C Maintain a list of descriptions on the board as you proceed to #6.
15 Woodwinds: Listening Examples to Accompany Menuet and Finale in F Major D. 72 for Wind Octet: Pre & Post Quiz Menuett. Allegretto - Trio I & II https://www.youtube.com/watch?v=Tx9aaXGIfJI Example 1: “J.S.Bach Solo Suite no.1.for Bassoon Solo.” Mozart: Serenade “Gran Partita” / Members of the Berliner https://www.youtube.com/watch?v=cyDFhRk04dU Philharmoniker https://www.youtube.com/watch?v=OWv5wvZ3w7I Example 2: “Flight of the Bumblebee - Canadian Brass” https://www.youtube.com/watch?v=xZO5KTJTwhE Percussion: Eastman Percussion Ensemble: Fandango 13 https://www.youtube.com/watch?v=k7BerR_qbLw Example 3: “Jason Sutter RUDIMENTAL snare drum solo Hands of doom” Michigan Percussion Ensemble | Concert Highlights https://www.youtube.com/watch?v=drwep2DAKXQ https://www.youtube.com/watch?v=-jjkSVkxIMY Example 4: “Air on the G String (Suite No. 3, BWV 1068) J. S. Bach, Reflection original instruments” • Draw a blank orchestra map on the board. Ask students https://www.youtube.com/watch?v=pzlw6fUux4o to label where each instrument or instrument family sits. • Ask students to compare and contrast the families of Example 5: the orchestra. Are they made out of the same materials? “A. Vivaldi: RV 110 / Concerto for strings & b.c. in C major / Do they make sounds differently? Budapest Strings” • Ask students why they think the different instrument https://www.youtube.com/ sections within the orchestra are referred to as “families”. watch?v=LTJCRp7rnqk&list=PL674A2D5052E3287C • Peruse the supplemental videos.
Supplemental Videos “How brass instruments work - Al Cannon” Ted-Ed Duration: 4:11 https://www.youtube.com/watch?v=IYHfiQ4R7Bs
“How do woodwind instruments make a sound” Robert Reich-Storer Duration: 7:27 https://www.youtube.com/watch?v=S6gBYYxvizs
“Hits of 2014 - played with household items.” ANDREW HUANG Duration: 3:27 https://www.youtube.com/watch?v=Svg_fIoHij8
“Household Percussion Jam” Bringham Duration: 3:37 https://www.youtube.com/watch?v=S8Cqyi5WxSU
16 Name: ______Lesson 2: Meet the Families of the Orchestra Pre and Post Quiz
Directions: Circle the correct answer for the questions below.
1. An instrument made out of a variety of materials that produces sound when it is struck or hit is a(n): a. Brass instrument b. Woodwind Instrument c. String Instrument d. Percussion instrument
2. An instrument made out of metal that produces sound when the musician buzzes their lips against a cup shaped mouth piece is a(n): a. Brass instrument b. Woodwind Instrument c. String Instrument d. Percussion instrument
3. An instrument made out of wood that produces sound when the musician vibrates the string either by using their bow or plucking the string is a(n): a. Brass instrument b. Woodwind Instrument c. String Instrument d. Percussion instrument
4. An instrument generally made out of wood that produces sound when the musician blows air against a reed or across a hole to vibrate it is a(n): a. Brass instrument b. Woodwind Instrument c. String Instrument d. Percussion instrument
(over)
17 Listening
Listen to example 1. Which instrument family do you hear? ______
Listen to example 2. Which instrument family do you hear? ______
Listen to example 3. Which instrument family do you hear? ______
Listen to example 4. Which instrument family do you hear? ______
Listen to example 5. Which instrument family do you hear? ______
18 Lesson 3: Meet the Composers!
Objectives Duration • Students will recognize and compare characteristics of • 15-30 minutes per activity music by different composers and time periods • Students will use musical vocabulary to describe Academic Standards classical music • NAfME: MU:Re7.2.3a, MU:Re7.2.4a, MU:Re7.2.5a • Students will identify melodic themes in classical • MU:Re7.1.3a, MU:Re7.1.4a, MU:Re7.1.5a music • COS Gr. 3 #11, 12; Gr. 4 #10, 12; Gr. 5 # 12, 14; Gr. 6 #7
A brief note about lesson 3: Activities are designed to accompany each composer or compare and contrast them. You may additionally use the Guided Listening Quilt found on page 34 for each musical selection to guide listening preceding the discussion questions. Lesson 3 also reviews concepts from Lesson 2.
Lesson 3 Vocabulary • Orchestration-The act of assigning music to instruments • Dynamic- How loud or soft the music is of the orchestra and selecting which instruments play • Homophony- When all of the instruments play different specific parts notes, but change notes at the same time • Overture- Music that introduces an opera. It often • Melody- The notes that make up a tune or theme contains music that is heard later in the opera • Melody and accompaniment- When one instrument • Polyphony- When the instruments play different notes has the melody and the others support the melody by and change notes at different times playing background music • Tempo- How fast or slow the music is • Opera- A dramatic work that tells a story through • Unison- When multiple instruments play the same notes singing and orchestra at the same time
Wolfgang Amadeus Activity Mozart (1756-1791) Play the two themes from the exposition a few times. Era: Classical Alternatively, use the wordmelody instead of theme. Ask the students to list characteristics about each theme (i.e. Born in Austria, Wolfgang Theme 1 is Happy and energetic; Theme 2 is Gentle and Amadeus Mozart was a child graceful). Ask the students to sing theme 1 and theme 2. prodigy who began composing Listen to the whole movement. Ask the students to indicate and performing on the piano when they hear each theme (i.e. Ask the students to raise and violin when he was only six their left hands when they hear theme 1. Ask the students years old. One of the greatest to raise their right hands when they hear theme 2). Hint: the composers to ever live, Mozart themes come back towards the end! wrote over 600 pieces of music in his lifetime. “Mozart - Eine Kleine Nachtmusik, K 525 Allegro” Duration: 5:44 You will hear: Eine kleine Nachtmusik Mvt. 1 https://www.youtube.com/watch?v=FCi2u265wxQ Eine kleine Nachtmusik is German for “a little night music” (Eine= a; kleine= little; Nacht= night; Musik= music!). Theme 1- 0:00 (1:36, 3:47) Mozart’s music is characterized by clearly delineated themes Theme 2- 0:48 (2:24, 4:32) and sections and memorablemelodies , a characteristic of Bonus question: What happens at 3:12? the Classical Era.
19 Ludwig van Beethoven Activity (1770-1827) • Ask students to identify when they feel the mood Era: Classical/Romantic change. Listen to the first few bars of the Overture to Fidelio. Ask the students to raise their hands when they German composer Ludwig hear mood changes. van Beethoven was one of the • Ask your students the following post-listening greatest and most influential questions: composers of all time. Despite • The name Fidelio is derived from the Latin fides, losing his hearing and becoming meaning faith or faithfulness. Why do you think completely deaf, he composed, Leonora chose this name when she went conducted, and performed on undercover? the piano his entire life. He is • Listen to the ending of the overture and make a most well-known for his nine prediction. Based on how the overture ended, symphonies. do you think that Leonora will be Triumphant? Why do you think that? You will hear: Overture from Fidelio An overture is a piece that the orchestra plays, “Beethoven: Fidelio - Ouverture / Leonard Bernstein” without singers, before an opera begins. The overture Duration: 8:50 usually contains themes and melodies that will appear later https://www.youtube.com/watch?v=NA3bi_evCZk in the opera. Fidelio is an opera about a woman, Leonora, who goes undercover as a man to rescue her husband, Florestan, from being unfairly imprisoned by the Governor, Pizzaro, in Spain in the 1700s. Leonora uses the undercover name Fidelio. Beethoven’s music is characterized by being extremely dramatic. Dramatic music contains frequent changes in mood, tempo, and dynamics. Romantic Era music is often very dramatic.
Johannes Brahms the romantic period. Brahms’ music is often dramatic and reflects struggle and triumph. His music often evokes a (1770-1827) sense of heroism, but isn’t about a particular person. He also Era: Romantic writes a lot of introspective music about friendship. Johannes Brahms was a German composer who experienced great Activity success during his life time, and Students will draw connections between the Brahms is still highly regarded today! Example and both the Mozart and Beethoven Example Brahms’ biggest musical influence was Beethoven. Like Beethoven, Ask students to identify when theme 1 (or melody 1) Brahms put more importance returns by raising their hands (BONUS QUESTION: Which on his compositions than he did instrument plays the theme?). Explain that like Mozart, it his appearance. Sometimes, his is easy to hear when the theme comes back. Ask students pants would fall down when he what happens in between the first and second iteration of was conducting! Brahms was such a perfectionist, that he the theme. Does the mood change? How so? How do you often spent many years writing his symphonies. think Brahms was feeling when he wrote this music? Explain that like Beethoven, this music is highly dramatic. You will hear: Mvt. 3 from Brahms Symphony No. 1 Even though Brahms lived in the Romantic era, “Brahms Symphony No. 1 in C Minor - Brahms’ style can be marked by having elements from III. Un poco Allegretto e grazioso --- KARAJAN” Mozart’s time as well as Beethoven’s time. While the music Duration: 4:43 contains memorable and returning melodies, it is often https://www.youtube.com/watch?v=dekswN0JqCs difficult to tell if the music is felt in 2, 3, or 4, as some of the melodies end on unusual beats, a characteristic of Theme 1: 0:00, 3:17 20 Nikolay Activity Rimsky-Korsakov Ask the students to share what activity they think is (1844-1908) happening during this music. If they are having trouble, Era: Romantic/ ask if it makes them want to dance or celebrate! Do they Contemporary hear different instrument groups represented? Who or what might the different instrument groups represent? Nikolay Rimsky-Korsakov was Be creative! a Russian composer during the 19th Century. Rimsky-Korsakov “Rimsky-Korsakov: The Snow Maiden - Suite - 4. Dance of was a highly influential figure the Tumblers (Danse des bouffons)” when it came to orchestration, Duration: 3:36 and his methods influenced many https://www.youtube.com/watch?v=B9GK7qtVsJg composers for years to come. He was a great teacher and taught composition at the St. Petersburg Conservatory. His music is often influenced by traditional Russian music and folk music which is based on songs and dances.
You will hear: Rimsky-Korsakov: The Snow Maiden - Suite - 4. Dance of the Tumblers (Danse des bouffons) Rimsky Korsakov’s music is often based on stories. Many times, it makes you want to dance! Sometimes, he has one instrument represent a specific character, a great example of orchestration. The Snow Maiden is a Russian Fairy Tale that tells the story of a wedding between the beautiful Snow Maiden and Mazgir who wins her love in a contest.
Dmitri Shostakovich Activity (1906-1975) Ask students to compare and contrast the music of Mozart Era: Contemporary to the music of Shostakovich. Use a few of the following questions to guide your discussion: How did each example Dmitri Shostakovich was a make you feel? Did you feel differently? How do you think Russian composer of the 20th each composer was feeling when they wrote their music? century. He lived in Russia at a time when the government “D.Shostakovich. Symphony № 5. Movement 4” demanded that all music written Duration: 11:23 “celebrate the greatness of https://www.youtube.com/watch?v=7mI4WLAhjj0 Russia.” However, Shostakovich’s music was often sarcastic and went against this principle, Photo: Deutsche Fotothek causing the government to ban his music more than once.
You will hear: Symphony No. 5, Mvt. 4 Shostakovich wrote about his own internal struggles. Listen to the opening of Mvt 4 of his 5th Symphony. Shostakovich often uses large orchestrations that require many people to play in the orchestra. Much of his music is introspective and is very rhythmic. How do you think Shostakovich was feeling?
21 Lesson 3 Bonus Activities
#1: Students will compare and contrast #2: Students will recognize different the music of Shostakovich and Rimsky- textures in classical music. Korsakov. 1. Review Homophony, polyphony, unison, and melody and accompaniment. Draw a graph similar to the one Compare and contrast the mood created in Music by below on the board. Ask students to fill in yes or no. Russian Composers Rimsky-Korsakov and Shostakovich. 2. Compare and contrast the textures in Mozart’s Even though both composers were Russian, does the music Symphony No. 40 and Beethoven’s Symphony No. 3. feel different? How do the pieces make you feel? Using the videos below that show musical texture visually. Does one instrument family play the melody or “Shostakovich: Symphony No. 5 / Bernstein · New York is the melody shared among different families in each Philharmonic Orchestra” example? Which instruments do you hear playing the https://www.youtube.com/watch?v=0FF4HyB77hQ melody? Does the music feature the orchestra playing in unison or does it feature instruments playing by “Rimsky-Korsakov: The Snow Maiden - Suite - 4. Dance of themselves? the Tumblers (Danse des bouffons)” https://www.youtube.com/watch?v=B9GK7qtVsJg “Beethoven, Symphony 3 (“Eroica”), 1st movement” https://www.youtube.com/watch?v=G2tEVVeGCk0&index- =16&list=PL95BB6F023B0F2E78
“Mozart, Symphony 41, Jupiter, 4th mvt. (shapes)” https://www.youtube.com/watch?v=SiX3z_fOR5k
Discussion Question Is melody and accompaniment a type of unison, homophony, or polyphony?
Extension Arrange students in groups and ask them to write a mini report of fun facts about one of the composers they will hear at the concert. Ask them to listen to other works not listed in this guide by their composer, and to select a piece that they like. Ask them to explain why they like that piece. Be specific!
22 Lesson 4: What Makes a Superhero? To accompany Superheroes of the Symphony on November 9, 2016. Lesson 4 reviews concepts from Lesson 2.
Objectives Duration • Students will recognize and describe how heroism is • 30-40 minutes conveyed in music. • Students will use and learn musical vocabulary. Academic Standards • Students will reflect on their personal heroes. • NAfME MU:Cn10.0.3a; MU:Cn10.0.4a; • Students will create their own heroes. MU:Cn10.0.5a; MU:Cn10.0.6a
Lesson 4 Vocabulary • Andante- At a walking pace • Forte- Loud or strong • Allegro- At a fast pace • Piano- Soft or gentle • Vivace- Very fast and with life! • Mezzo forte- slightly loud • Finale- The final part of the music • Fortissimo- Very loud • Tutti- When all musicians play together • Pianissimo- Very soft • Solo- When one instrument plays by itself • Adagio- Slowly
Introduction Review 1. Ask the students to name and describe characteristics • Remind students that composers and artists make of superheroes that are familiar to them. Maintain a list choices based on what they would like to express. of superhero characteristics on the board. • Review Rossini’s musical choices and why he selected 2. Listen to the story of William Tell via the link provided them. or read the text aloud. Review important characters and • Submit your students’ drawings to be displayed at the plot points from the story. concert. Use the submission form found on page 36. 3. List characteristics of William Tell and compare them to the initial list of superhero characteristics. Circle them Extensions if they have already been listed or create a new list of • Listen to the first few minutes of Aaron Copland’s “William Tell Characteristics” Fanfare for the Common Man. Tell students that this piece is not about a particular person, but heroism in general. Activities Ask students to listen to the music and create their own 1. Review the musical terms vocabulary. heroes based on what they hear. Where does he or she 2. Ask the students to make predictions about what the live? What characteristics do they have? Do they have music will sound like using the musical terms. Will it be any special powers? What happens to him or her? forte or piano? What instruments do you think you will • Ask students to identify individuals in their lives who hear, etc.? Will the music be adagio or allegro? portray heroic characteristics. Ask them to write a short 3. Using the Prompted Listening Guide found on page story of their hero, identifying the heroic characteristics 25, listen to the William Tell Overture Finale. You may they portray and using anecdotes to illustrate those make copies for individuals and have them complete characteristics. Ask students to read their stories aloud their own guide as they listen by circling or pointing to to the class. what they hear. The guide will ask students to listen for • Ask the students to create their own superhero. What dynamics, tempo, and instrumentation choices. does he or she do? What special powers and heroic 4. Ask the students why Rossini would have made the characteristics does he or she possess? What is his or musical decisions that he did. Why did he make the her name? Draw a picture of him or her. music fast instead of slow? Why does the orchestra play tutti instead of featuring solo instruments?
23 Accompanying Videos “The Story of William Tell” Short-Story-Time.com Audio and text versions http://www.short-story-time.com/william-tell.html
“William Tell Overture Finale” Milwaukee Symphony Orchestra Duration: 2:05 https://www.youtube.com/watch?v=YIbYCOiETx0
“Copland- Fanfare for the Common Man” New York Philharmonic Duration: 4:16 https://www.youtube.com/watch?v=FLMVB0B1_Ts
24 Name: ______Lesson 4: What Makes a Superhero? Prompted Listening Guide Sample Questions
Directions: Circle the correct answer for the questions below.
1. What Dynamic do you hear at the beginning? a. Pianissimo b. Piano c. Forte
2. Does the music always stay at the same dynamic? a. Yes b. No
3. What instruments do you hear at the beginning? a. Brass b. Strings c. Percussion d. Woodwinds
4. Do you hear musicians playing tutti or solo? a. Tutti b. Solo
5. What dynamic do you hear at the end? a. Pianissimo b. Mezzo forte c. Fortissimo
6. What tempo is the music? a. Lento b. Adagio c. Andante d. Allegro vivace
25 Lesson 5: How to Tell a Musical Story To accompany Marvels, Magic & Myths on February 23, 2017. Lesson 5 reviews concepts from Lesson 2.
Objectives Duration • Students will recognize music’s ability to express • 40 minutes literary elements. • Students will create their own story inspired by a Academic Standards piece of music with or without prompts. • COS Language Arts Gr 3 #3, #24, Gr. 4 #24, 25, 39; Gr. 5 #24, 25, 39, Gr. 6 # 23, 2439 • MU:Re7.2.3-6a
Introduction • Setting: Music can tell about a particular time and place. • Discuss the different elements of a story: setting, Listen to Beethoven Pastoral Symphony. Which time of character, plot, mood. year does this music sound like? • Select a piece from the list below to which your students will write a story by the end of this lesson. “Beethoven Symphony 6 Pastoral 1st Movement Karajan” Play the selection for your students. Ask the students to https://www.youtube.com/watch?v=_zKiDXbwdR0 close their eyes while they are listening. Afterwards, ask they how the music made them feel or if it made them Contrast the Beethoven excerpt with “Winter” from think of any images. Vivaldi’s Four Seasons.
“D.Shostakovich. Symphony № 5. Movement 2” “Vivaldi Winter (Full HD) Classical music” https://www.youtube.com/watch?v=CeNmzcelwnM https://www.youtube.com/watch?v=HkM0U__wBxc
“Elgar - Enigma Variations, Op. 36 (6/-)” 2. Ask students to consider different story elements. Play https://www.youtube.com/watch?v=51BEXGUcjO8 your musical selection again. Ask students to consider different characters. Is there a main character? Is there a Activities supporting character? Do they hear different instrument 1. Discuss how music can express different story elements. families during the music? Does each family represent a Here are a few ideas below: different character? Using the Story Worksheet found on • Character: Instruments can represent different page 27, have students record their answers. characters. Watch this aria from the Opera the Magic 3. Ask students to consider different moods: Play your Flute as an example. Which instrument represents musical selection again and ask students if the mood the Character Papageno in his Aria about his love for changes or if it stays the same throughout. Record Papagena? responses on the Story Worksheet.
4. Plot: Play your musical example and ask students to “The Magic Flute: “Pa-pa-pa Papageno” - think about events that happen in the story. Record Nathan Gunn (Met Opera)” responses on the Story Worksheet. https://www.youtube.com/watch?v=qF0lidudY74 5. Using the Story Worksheet, ask the students to write a one-page story inspired by your musical selection. Here is another example where Rimsky Korsakov uses Submit stories to the ASO by February 1 to have them musical imagery to describe a bumble bee. Do you displayed at the concert and to be entered into the Essay hear the buzzing of the wings played by the fast notes Contest. Use the submission form found on page 29. in the orchestra?
“Flight of the Bumble Bee” https://www.youtube.com/watch?v=MW8asBxO4oI
26 Name: ______Lesson 5: Story Worksheet
Character
What does the character look like?______
What does he or she do?______
What is the character’s name?______
Are there other characters in the story? Who?______
Do you like the character? Why?______
______
Setting
What is the setting of the story?______
Mood
What is the mood of the story?______
Plot
Listen to the music. What are some events that happen?
Event 1:______
Event 2:______
Event 3:______
Is there a conflict in the story? How does it get resolved?
______
______
______
______
27 Write Your Story! Name: ______Grade: ______School: ______Teacher: ______
Title: ______
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28 Submit your stories to the Essay Contest! Submission Form To accompany Lesson 5
Instructions: • Entries must be received by 5pm on February 1, 2017 • One entry form may accompany one school or family • The ASO encourages teachers to prescreen entries if possible
Entries may be mailed to: Essay Contest Alabama Symphony Orchestra 3621 6th Avenue South Birmingham, AL 35222
School, Group, or Family name:______
Address:______
Contact name:______
Contact email:______
Phone:______
# of entries:______
29 Vibration Station
All musical instruments use vibration to make sound, but different instruments vibrate in different ways. You can use everyday objects to discover how each family of the orchestra makes its unique sound.
String instruments, like the violin, Woodwind instruments, like the flute and make sound when their strings clarinet, make sound when air vibrates vibrate. through them. You try it: You try it: Blow across the top of an empty water or Take the top off of an empty soda bottle and listen to the sound that the shoebox and place several vibrating air creates. Try filling the bottle different sized rubber bands with different amounts of water. Does more around it. Pluck the rubber water in the bottle make the sound higher bands, watch them vibrate and or lower? Also, try blowing across different listen to the sound they make. sized bottles. Do small bottles sound different Which rubber bands vibrate faster? Which ones than large bottles? Fill several bottles with vibrate slower? Do some rubber bands sound different amounts of water, and you can even higher or lower than others? play a song!
Brass instruments, like Percussion instruments, like drums, the trumpet, make sound cymbals, and maracas, make sound when you vibrate your when you hit them or shake them, lips together and put causing the instrument itself to them up to the mouthpiece. vibrate.
You try it: You try it: Purse your lips together like you are going Play several different percussion in to whistle. Now “buzz” your lips so that they your music classroom or find things vibrate. What does it feel like? Can you make at home that you can hit or shake. What is each the sound go higher or lower? Can you “buzz” instrument made of? What does each material a tune? Try buzzing into a paper towel tube. look like and sound like when it vibrates? Hit What happens to the sound? something metal, then grab it with your hand: why does the sound stop?
Did you know that your voice is a musical instrument too? It makes sound when air passes through your vocal cords and makes them vibrate.
You try it: Put your fingertips on your throat and make a sound with your voice. Can you feel the vibrations? How many different sounds can you make? How do the vibrations change? Can you make them go faster or slower?
30 Orchestra Seating Chart Seating Orchestra
31 ConductingConducting 101101 Conducting 101 You can see shapes, lines, and patternsConducting in the orchestra 101 just by watching the conductor. Depending on the You can see shapes, lines, and patterns in the orchestra just by watching the conductor. Depending on the meter of a piece of music, the conductor uses special patterns to show the orchestra where the beats are. You canYou seemeter can shapes, see of shapes, a lines,piece andlines,of music, patterns and thepatterns conductorin the in orchestra the uses orchestra special just justby patterns watchingby watching to theshow theconductor. the conductor. orchestra Depending Dependingwhere theon theonbeats the are. meter ofmeter a piece of a ofpiece music, of music, the conductor the conductor uses specialuses special patterns patterns to show to show the theorchestra orchestra where where the thebeats beats are. are.
When a piece of music is in groups of two beats, or duple meter, the con- 2 When a piece of music is in groups of two beats, or duple meter, the con- 2 When a pieceductor of beats music “ inis 2.”in groups Start with of two your beats, hand nearor duple the middlemeter, ofthe your body. ductor beats “in 2.” Start with your hand near the middle of your body. 2 conductorWhenMove beats a piece your “in 2.”handof musicStart straight with is in downgroupsyour hand for of Beat two near 1,beats, the then middle or straight duple of upmeter,your for Beat the con-2. Move your hand straight down for Beat 1, then straight up for Beat 2. body. Moveductor your beats hand “in 2.”straight Start downwith your for handBeat 1,near then the straight middle ofup your for body.
Beat 2.MoveWhat your kind hand of shape straight or downlines does for Beat this 1,look then like? straight up for Beat 2. What kind of shape or lines does this look like? START START What kindWhatConduct of kind shape of along shape or lines in or2: doeslines doesthis look this looklike? like? Conduct along in 2: START BEETHOVEN - Symphony No. 7 - Leonard Bernstein (2) BEETHOVEN - Symphony No. 7 - Leonard Bernstein (2) ConductConduct alonghttps://www.youtube.com/watch?v=J12zprD7V1k inalong 2: in 2: https://www.youtube.com/watch?v=J12zprD7V1k BEETHOVENBEETHOVEN - Symphony - Symphony No. 7No. - Leonard 7 - Leonard Bernstein Bernstein (2) (2)
https://www.youtube.com/watch?v=J12zprD7V1khttps://www.youtube.com/watch?v=J12zprD7V1kDo you know any songs that you can conduct in 2? Do you know any songs that you can conduct in 2? 1 Do youDo know you knowany songs any songs that youthat can you conduct can conduct in 2? in 2? 1 When a piece of music is in groups of three beats, or triple 1 When a piece of music is in groups of three beats, or triple meter, the conductor beats “in 3.” Start by moving your hand down for When a piecemeter, of musicthe conductor is in groups beats of “ threein 3.” beats,Start by or moving triple your hand down for 3 WhenBeat a 1piece like before. of music This is intime, groups move of threeyour beats,hand up or and triple to the right for Beat 3 meter, theBeat conductor 1 like before. beats “inThis 3.” time, Start bymove moving your handyour uphand and down to the right for Beat meter,2, then the up conductor and back beats to center “in 3.” for Start Beat by3. moving your hand down for for Beat 1 2,like then before. up and This back time, to center move foryour Beat hand 3. up and to the right 3 Beat 1 like before. This time, move your hand up and to the right for Beat for Beat 2, then up and back to center for Beat 3. 2, thenWhat up kind and of back shape to orcenter lines for does Beat this 3. look like? What kind of shape or lines does this look like? START START 2 What kind of shape or lines does this look like? WhatConduct kind of along shape in or3: lines does this look like? 2 Conduct along in 3: START La Peri: Fanfare — Dukas 2 Conduct alongLa Peri: in 3:Fanfare — Dukas Conducthttps://www.youtube.com/watch?v=ouK3viJ7E4o along in 3: La Peri: Fanfarehttps://www.youtube.com/watch?v=ouK3viJ7E4o — Dukas La Peri: Fanfare — Dukas https://www.youtube.com/watch?v=ouK3viJ7E4o https://www.youtube.com/watch?v=ouK3viJ7E4oDo you know any songs that you can conduct in 3? Do you know any songs that you can conduct in 3? Do you know any songs that you can conduct in 3? 1 Do you know any songs that you can conduct in 3? 1 Sometimes a piece of music with duple meter has longer phrases, so it Sometimes a piece of music with duple meter has longer phrases, so it 1 works better for the conductor to beat “in 4” instead of “in 2.” To conduct Sometimesworks a piece better of musicfor the with conductor duple meterto beat has “in longer 4” instead phrases, of “in 2.” To conduct 4 Sometimesin 4, move a yourpiece hand of musicdown withfor Beatduple 1, upmeter and has to longerthe left phrases, for Beat so2, it 4 so it worksin better 4, move for your the handconductor down forto Beatbeat “in1, up4” andinstead to the of left“in 2.”for Beat 2, worksstraight better across for tothe the conductor right for toBeat beat 3, “ andin 4” up instead and back of “toin center2.” To conductfor Beat 4. To conductstraight in 4, move across your to thehand right down for Beatfor Beat 3, and 1, up andand backto the to leftcenter for Beat 4. 4 in 4, move your hand down for Beat 1, up and to the left for Beat 2, for Beat 2, straight across to the right for Beat 3, and up and back to straightWhat across kind of to shape the right or lines for Beatdoes 3,this and look up like?and back to center for Beat 4. center for WhatBeat 4.kind of shape or lines does this look like? 2 3 2 3 What kindWhatConduct of kind shape of along shapeor lines in or4: does lines doesthis look this looklike? like? START Conduct along in 4: START Mozart, Eine Kleine Nachtmusik 2 3 Mozart, Eine Kleine Nachtmusik START ConductConduct alonghttps://www.youtube.com/watch?v=tSL5 inalong 4: in 4: -wxgvFY https://www.youtube.com/watch?v=tSL5-wxgvFY Mozart,Mozart, Eine Kleine Eine KleineNachtmusik Nachtmusik https://www.youtube.com/watch?v=tSL5-wxgvFYhttps://www.youtube.com/watch?v=tSL5Listen to the “William Tell Overture”. Would-wxgvFY you conduct it in 2 or 4? Try Listen to the “William Tell Overture”. Would you conduct it in 2 or 4? Try Both! Both! Listen toListen thehttps://www.youtube.com/watch?v=xoHECVnQC7A to“William the “William Tell Overture”. Tell Overture ”. Would you conduct it in 2 or 4? Try 1 Would Both!youhttps://www.youtube.com/watch?v=xoHECVnQC7A conduct it in 2 or 4? Try Both! 1 https://www.youtube.com/watch?v=xoHECVnQC7Ahttps://www.youtube.com/watch?v=xoHECVnQC7A 1
32 Instrument Cards
Percussion Strings
Woodwinds Brass Guided Listening Quilt
What is the texture? Which instruments do you hear?
Unison Strings
Melody and accompaniment Woodwinds
Polyphony Brass
Homophony Percussion
What is the tempo? What is the dynamic?
Fast Soft
Medium Medium
Slow Loud
34 Glossary
Adagio- Slowly Percussion instrument- An instrument made out of a variety of materials that produces sound when it Allegro- At a fast pace is struck or hit. Andante- At a walking pace Pianissimo- Very soft Brass Instrument- An instrument made out of Piano- Soft or gentle metal such as brass that produces sound when the musician buzzes their lips against a cup Polyphony- When the instruments play different shaped mouth piece notes and change notes at different times Concert Master- the lead first violin player in an Principal Musician- The first chair player of each orchestra who is responsible for beginning the instrument section tuning process Section- A group of musicians who play the same Conductor- A person who directs the performance instrument of an orchestra Solo- When one instrument plays by itself Dynamic- How loud or soft the music is Stage lights- The lights that shine onto the Finale- The final part of the music performers on stage Forte- Loud or strong Stage Manager- the person who is responsible for setting up the chairs of the orchestra and Fortissimo- Very loud directing when the lights turn on and off Homophony- When all of the instruments play Stage technician- The person off stage who assists different notes, but change notes at the same the stage manager and turns the lights on and off time String instrument- An instrument made out of House lights- The lights that shine onto the wood that produces sound when the musician audience vibrates the string either by using their bow or Melody- The notes that make up a tune or theme plucking the string. Melody and accompaniment- When one instrument Tempo- How fast or slow the music is has the melody and the others support the melody by playing background music Tutti- When all musicians play together Mezzo forte- slightly loud Tuning process- Led by the principal oboist, the process in which all musicians of the orchestra Opera- A dramatic work that tells a story through match sound and pitch before the concert begins singing and orchestra Unison- When multiple instruments play the same Orchestration- The act of assigning music to notes at the same time instruments of the orchestra and selecting which instruments play specific parts Usher- A person who helps audience members find their seats Overture- Music that introduces an opera. It often contains music that is heard later in the opera Vivace- Very fast and with life! Patron- another word for audience member or Woodwind instrument- An instrument generally someone who has purchased a ticket to an event made out of wood that produces sound when the musician blows air against a reed or across a hole to vibrate it.
35 Submit Student Work from these Lessons to the ASO! We’d love to see what your students have created! To accompany all lessons
Submission Form
Instructions: Complete the information below, enclose student work, and mail to:
Education Department Alabama Symphony Orchestra 3621 6th Avenue South Birmingham, AL 35222
School, Group, or Family name:______
Address:______
Contact name:______
Contact email:______
Phone:______
Any Comments?
36 We Want to Hear from You!
Now that you’ve seen an ASO Concert, write us a letter and tell us about your experience. You can write your own letter or use this sheet as a guide. Send your letters to:
Alabama Symphony Orchestra Attn: Education 3621 Sixth Avenue South Birmingham, AL 35222
Date ______
Dear Alabama Symphony Orchestra,
I just came to see a Young People’s Concert called______.
One thing I liked about the concert was______
______
______
______.
My favorite piece of music you played was______
______.
Something new that I learned was______
______
______
______.
If I could play an instrument in the orchestra, I would play the______.
Sincerely,
Name ______
Address ______
______
37 For more information about Education Concerts and to reserve seats, visit: alabamasymphony.org/educationconcerts.htm