Musical Explorers My City, My Song Developed in Partnership with Carnegie Hall’S Weill Music Institute Teacher Guide

Musical Explorers My City, My Song Developed in Partnership with Carnegie Hall’s Weill Music Institute Teacher Guide

2018 | 2019

Musical Explorers My City, My Song Developed in Partnership with Carnegie Hall’s Weill Music Institute Teacher Guide

2018 | 2019 WEILL MUSIC INSTITUTE

UNIVERSITY OF DENVER THE ROBERT AND JUDI NEWMAN CENTER FOR THE PERFORMING ARTS Kendra Whitlock Ingram, Executive Director Katerina Allmendinger, Education Assistant Vy Tran, Designer, Marketing and Communications Assistant Ramsey Walker, Program Coordinator

ADDITIONAL CONTRIBUTORS Alberto Pellicer, Translator for Mexican Unit, Cvlisto.com Mari McCarville, Ethnomusicologist Amy Martinson, Music Instructional Curriculum Specialist Shanna Lesniak-Whitney, Teaching Artist Amy Mereson, Weill Music Institute Anouska Swaray, Weill Music Institute

ILLUSTRATIONS Sophie Hogarth

AUDIO PRODUCTION Kyle Hughes, Audio Engineer, Lamont School of Music, University of Denver Jeff Cook, 2nd Story Sound

Weill Music Institute at Carnegie Hall 881 Seventh Avenue | New York, NY 10019 Phone: 212-903-9670 | Fax: 212-903-0758 [email protected] carnegiehall.org/MusicalExplorers

Musical Explorers is made possible nationally through Carnegie Hall’s Weill Music Institute and the generous support of its funders. Lead funding for Musical Explorers has been provided by Ralph W. and Leona Kern. Additional lead funding for Musical Explorers has been graciously provided by JJR Foundation and JMCMRJ Sorrell Foundation. Major funding for Musical Explorers has been provided by The Walt Disney Company. Additional support has been provided by The Edwin Caplin Foundation, the Ella Fitzgerald Charitable Foundation, and KPMG LLP. Musical Explorers is also made possible, in part, by an endowment gift from The Irene Diamond Fund.

2 Table of Contents

Foreword 4 Introduction to Musical Explorers 5 How to Use the Teacher Guide 5 Pathways for Teachers 6 Active Listening Tips 7 Meet the Artists 8 Becoming Musical Explorers—Student Activities 9 Create a Postcard 11 Explore the Sounds of Our City 12 Discover Music in Everyday Objects 13 Musical Explorers Around the World Map 14 Vocal and Body Warm-Ups 16 Carnegie Hall Musical Explorers Song 20 Bluegrass with Martin 23 Lesson 1 Learning “Uncle Pen” 26 Lesson 2 Learning “In the Pines” 29 Mexican Music with Juventino 33 Lesson 1 Learning “Lluvia de San Juan” 36 Lesson 2 Learning “Tilingo Lingo” 41 Sudanese Music with Tanya 47 Lesson 1 Learning “Umma Wo Beda” 50 Lesson 2 Learning “Ezzayakom” 54 Concert Experience 59 Additional Information 65 Glossary 65 Aims and Big Questions 66 Common Core Capacities 67 Acknowledgments 67 Track List 69

3 Foreword

Welcome to Musical Explorers!

Musical Explorers is designed to connect students in grades K-2 to Denver’s rich and diverse musical community as they build fundamental music skills through listening, singing, and moving to songs from all over the world. During the next year, you and your students will meet Denver– based artists who represent three different musical genres and cultural traditions; many have reinvented these deeply rooted traditions to make them their own. Together, you will learn songs and dances that you will perform along with the artists during the culminating interactive concert at the end of each year.

The Musical Explorers curriculum encompasses skills-based and creative activities that can be integrated into both general and music classrooms. This Teacher Guide includes lesson plans, background information about the artists and their featured musical styles, and additional resources in Denver and beyond. Digital resources include the songs from each unit performed by our artists, as well as supporting learning tracks, videos, and related books available from local libraries. Student Guide pages contain hands-on activities, photographs, and illustrations that will support active learning.

We thank you for joining our expedition and hope you enjoy the journey!

4 Introduction to Musical Explorers

How can music represent the spirit of a community? Musical Explorers are students and teachers who look for the answers to this question as they • meet artists representing diverse musical styles and cultures from around the world • sing and move to the artists’ songs • make connections among the artists’ music, their cultures, and Denver’s diverse communities • learn fundamental musical concepts

How to Use the Teacher Guide

This Teacher Guide (TG) contains three units, each devoted to one of our Musical Explorers artists. Every unit contains two lessons, each focusing on a song; the lessons guide you through the process of learning the songs, as well as teaching relevant musical concepts and exploring the cultural context.

Each lesson includes transcriptions in Western notation to assist in learning the music, but note that these are best approximations for diverse traditions that may use different tuning systems or emphasize improvisation. When learning the music, let your ears and the recordings be your guide and prepare for live variations.

There are multiple activities within each lesson; you can choose among them to best suit the needs of your classroom. The complementary Student Guide (SG) pages are incorporated within the Teacher Guide. Additional features that can be found within each lesson include:

• Audio Tracks: Audio tracks can be found online at newmancenterpresents.com/musicalexplorers • Videos: Introductory videos for the artists and their music can be found online at newmancenterpresents.com/musicalexplorers • Resources for Teachers: Each unit starts with a page of resources that provides background information about the musical genre and culture. Some of these resources are intended to be shared with students; others are for teachers who may want to explore further on their own. • Creative Extensions:  Creative extensions are designed to deepen the exploration of repertoire, culture, and musical concepts. • Literacy Extensions:  Each unit identifies picture books related to the artist’s music and culture that you can read with your students. • Musical Word Wall: We encourage you to build a word wall and add vocabulary words as they are introduced in the lessons. A glossary of terms can be found in the back of this Teacher Guide.

If you would like to see examples of other artists and units from Carnegie Hall, please visit carnegiehall.org/MusicalExplorers.

Music Educators Toolbox Carnegie Hall’s digital Music Educators Toolbox provides additional activities, worksheets, audio and video resources, and assessments to supplement your teaching. You can browse the Toolbox by grade level or concept, and all activities are tied to national music standards and the New York City Blueprint. These materials are free for use at  carnegiehall.org/toolbox.

5 Options for Teachers of Students with Special Needs • Students can participate in Musical Explorers in a variety of ways and may learn the songs by singing, moving, and/or clapping. You may also want to focus on smaller sections of the songs. Since you know your students best, allow them to participate in ways that will help them feel the most successful. • Encourage students to engage with the music using tangible objects, such as handmade instruments (e.g., cups with beans for shakers), rhythm sticks, and drums. • Allow time for students to experience the music and repeat as often as necessary. The lessons outlined in this curriculum may take additional time and span more than one class period. Use one-step directions and visuals as often as possible to help students understand the concepts. • Some visual aids are provided within the curriculum and at the Musical Explorers concerts, but you may wish to provide additional resources to help your students engage with the material. If you have accommodations that you would like to request for your students, please email [email protected].

Pathways for Teachers

There are three suggested pathways for teaching the Musical Explorers curriculum, depending on the age and level of your students and the amount of time you can dedicate to the program. Teachers may present the three units in any order that fits their curriculum.

Explore Enhance Discover (Minimum requirements (If you have more time) (If you have a lot more time) for concert participation)

Meet the artists by using Try out some of the Go deeper! If there is a your teacher and student additional activities genre that your students guides and the Meet the provided in each unit. There particularly love, listen to Artist videos found at are musical activities as some of the additional music newmancenterpresents. well as activities focused suggested by the artists or go com/musicalexplorers on visual art, social studies, on a related field trip; you’ll literacy, etc. Choose the find additional resources Listen to both songs of each activities that speak to you on the Introduction page artist. and fit your classroom needs. at the beginning of each unit. Dig into the activities Learn the parts of the songs highlighted in Becoming that the students will sing at Musical Explorers, TG9, and the concert along with any go on sound-discovery walks, movements that accompany or create an everything-but- the songs. the-kitchen-sink orchestra from everyday objects. Or put together your own Musical Explorers performance for your school or community.

6 Active Listening Tips

One of the goals of Musical Explorers is to develop habits of active and engaged listening. You can support your students on this journey by using the following strategies.

Make the Invisible Visible Look for ways to make the invisible world of music visible and, whenever possible, kinesthetic. These methods include • counting, clapping, and tapping rhythms (body percussion) • drawing or painting to music • connecting the music to narrative ideas • dancing and moving to music • connecting cultural ideas with music

Ask Open-Ended Questions Here are some general suggestions to inspire discussion as students encounter new songs and new sounds. We include additional scripted prompts in blue italics throughout the Teacher Guide as a starting point for further learning and exploration. • What do you hear in this music? • How would you move to this music? • What words can you use to describe this music? For example, is it busy or calm, loud or soft, high or low, smooth or bumpy? • How does this music make you feel? • What do you think the musicians are feeling? What makes you think that? • What are the instrumentalists doing? What is the singer doing?

7 Meet the Artists

Martin, Bluegrass

Martin was born in Nebraska and grew up playing bluegrass with his father. In 2005, he founded the bluegrass band Long Road Home. Since then, Martin has toured nationally and internationally with Long Road Home and as a solo artist. He has produced several albums and EPs with his bands and as a solo act. Martin is an instructor of music at Swallow Hill Music Association in Denver, Colorado as well as at The University of Northern Colorado in the newly formed folk and bluegrass music program.

Juventino, Mexican

Juventino Romero Rodríguez was born in Mexico City into a musical family. A lifetime musical artist, Juventino has been playing and sharing his love of mariachi music with the US, Mexico, Japan, and all over the world for more than 30 years. His musical talents include playing the trumpet, the guitar, the vihuela, the guittarón and the violin. You can find his renowned mariachi group, Mariachi Sol de Mi Tierra, performing in many cultural events and music festivals throughout Colorado and the Southwest.

Tanya, Sudanese

Tanya Salih was born in Wyoming to Nubian parents. She performs as Zanib, an Arabic name that represents a growing dreamer. Through her musical mindset, she creates sounds that spread messages of positivity, hope and love. She brings a new, upbeat sound combined with a classic sound when she brings her violin on stage, and an optimistic vibe through her lyrics. Tanya enjoys celebrating her Nubian heritage, and her passion for the world is portrayed through her sounds.

8 Becoming Musical Explorers—Student Activities

On SG 1-24, you will find activities that can be utilized throughout the year to engage students in discovering music in the world around them. These activities are designed to work individually—both inside the classroom and at home—and as classroom projects (e.g., a sound discovery walk or making a DIY orchestra out of found objects in your classroom)

• Create a Postcard, SG2, gives your students an opportunity to share what’s special about their neighborhoods as they are learning about the Denver neighborhoods associated with each of the genres.

• Explore the Sounds of Our City, SG3, gives your students an opportunity to act as musical detectives outside of the classroom, listening for sounds and music in their everyday lives and recording them in the “journal” provided.

• Discover Music in Everybody Objects, SG4, highlights common objects found at home or in the classroom that can be used to create DIY musical instruments. For example, a cardboard box can be strung with rubber bands of different sizes to cereate a string instrument; a set of drinking glasses filled with different amounts of water can be struck with a spoon or a chopstick to create a xylophone-like instrument; and two pot lids can be struck together like cymbals. Encourage your students to discover other objects that can yield interesting sounds.

Literacy Extension: The Listening Walk In Paul Showers’s The Listening Walk, get immersed in all the  sounds around you as you join a girl walking her dog throughout the neighborhood. You may even hear sounds you wouldn’t expect!

9 SG 1

Welcome to Our Musical Trip! Our bus driver, Melody, will take us to neighborhoods all over Denver, where we’ll discover the music and cultures that we will be studying.

10 SG 2

Create a Postcard Use the space below to draw or paste pictures of some of your favorite things about your neighborhood. Then write a message to one of our Musical Explorers artists describing your neighborhood.

Gr eetings f rom ...

Dear ______,

(Artist’s name)

c/o Newman Center 2344 E. Iliff Ave Denver, CO 80210 Your friend,

______

11 SG 3

Explore the Sounds of Our City Music is everywhere! Let’s go on a sound exploration. All you need are your ears. You can use this explorer’s journal to record what you hear, including car horns and sirens, people singing, birds, and even silence.

What did you hear? When and where?

12 SG 4

Discover Music in Everyday Objects Music is waiting to be found in everyday objects!

Experiment and see what kinds of sounds you can make with these objects.

What other objects can you find that make interesting musical sounds?

13 SG 5

United States BLUEGRASS Denver

Mexico Musical Explorers Around the World Map We can hear music from all around the world in Denver. Where do these types of music come from?

Bluegrass MEXICAN United States Mexican Mexico Sudanese Sudan

14 SG 6

Sudan

SUDANESE

15 Vocal and Body Warm-Ups

Teachers are encouraged to start each lesson with warm-ups in order to establish a routine that fosters healthy vocal technique, kinesthetic learning, and active listening. Each of the following warm-ups can stand alone or be combined at the discretion of the teacher to best meet the needs of each classroom.

Finding Your Breath

Smooth and Bouncy Breath Smooth Breath: Students will explore how to breathe smoothly and steadily. • Using both hands, have students create an “O” shape by touching index finger to index finger and thumb to thumb. • Instruct them to put the “O” around their bellybutton and take slow, silent, and deep breaths pushing the “O” out in a smooth motion while keeping their shoulders still. • Add a “sh” or “th” sound to the breath. Bouncy Breath: Students will learn to control the breath by bouncing it. • Taking the “O” from Smooth Breath, have students bounce the “O” in short motions. Add a “sh,” “th,” or “t” sound to the breath. • What is different or the same when you add different letter sounds while you exhale? • What is happening inside your body as you breathe? • Is anything moving? What is moving?

Vocal Warm-Ups

In the following exercises, students will practice healthy singing technique by exploring posture, diction, and the full range of their voices.

Sirens: Students will explore the full range of their voices by pretending they are police cars on a chase with their sirens on. • Model the vocal contour of the siren (going from a low pitch to a high pitch and back down again), while matching the vocal shape with your hand and arms. • Ask students to echo you so that they can begin to feel and understand the difference between high and low pitches by using their bodies and voices. • Once students are comfortable, choose a student leader to “conduct” the sirens with his or her body.

Tongue Twisters: Tongue twisters are a fun way to warm up the lips, teeth, and tongue—our articulation tools. This will help encourage proper diction, making words easier to understand when singing. • Here are some examples of tongue twisters: • Chester cheetah ate a chunk of cheap cheddar cheese. • Mommy made me mash my M&Ms. • Daddy made me dump them down the drain. • Ask the class to say a tongue twister slowly at first, and then try to speed up. • Once the students are comfortable, have them sing the tongue twister on one pitch, starting on middle C and ascending by half steps.

16 • Once they are comfortable singing the tongue twister try varying it. For example: • Have the class try and sound like one voice as the tongue twister speeds up. • Change the beginning consonant in the tongue twister. • Have students write their own tongue twisters.

A ScorePosture Song: Proper posture helps keepFeet, the feet breath flat on connected the floor to the voice when singing. When a body is hunched, the air gets stuck. • Students perform the movements described in the lyrics of “Feet, Feet Flat on the Floor” as they sing.

            Feet, feet flat on the floor back a- way fromthe  chair, Eyes up, shoul-- ders down al ways sing with care!

Hoot Owl: Students will warm up their head and chest voices while exploring vocal range and legato singing. Head voice often refers to the upper vocal register and can be described as light, floating, and open. Exploring chest voice can help students easily find their head voices. • Have students place a hand in the middle of their chest (between their sternum and collarbone) and say “huh” in a deep voice. This should produce vibrations in the chest. Explain that this is their chest voice. • Next, ask students to hoot like an owl. They should no longer feel the chest vibration. Explain that Scorethis is their head voice. Hoot owl • Using their owl (head) voice only, ask students to sing the exercise “Hoot Owl” starting on middle C and ascending by half step to F (or as high as your class can continue while maintaining healthy singing).

  Wal - kingthrough  thewoods   I hear  a hoot owl

Explore Different Voices • Lead a discussion with the class about the four different ways they can use their voices—whispering, talking, calling, and singing. • Where would we use our whispering voice? (e.g., library or movie theater) • Where would we use our talking voice? (e.g., classroom, telephone, or dinner table) • Where would we use our calling voice? (e.g., baseball game, playing sports, or leading a group) • Where would we use our singing voice? (e.g., Musical Explorers concert, car, or shower) • Have students explore each vocal quality by using the same sentence and pretending they are in some of the places identified above. (e.g., “Hi, my name is …”)

17 ©

Put Breath, Sound, and Imagination Together Using the following prompts, guide students through The Apple Tree.

The Apple Tree: Have students imagine they are picking apples. • Look up to the ceiling and imagine a big apple tree. • Stretch your right hand up and pick the most beautiful apple you can find. • Clean your apple on your shirt using your breath. Use short, low breaths with a “huh” sound. • Take a huge bite, and make biting and chewing sounds—the more obnoxious the better. • Tell me how delicious the apple is by making “mmm” sounds. The higher the sound, the more delicious the apple is! • Swallow the apple with a gulping sound. • Look at the apple and exclaim (on a vocal siren from high to low), “Ewww, there’s a worm!” • Throw the apple and shake your body out to rid yourself of the gross idea of eating a worm. • Repeat the warm-up with the left hand.

Explore Scales and Melodic Contour • Have students sing the notes of a major scale while touching the corresponding points on their bodies indicated below. This scale can be sung using scale degrees, solfège, or the names of the corresponding body part.

Scale Degree Solfège Body Part 1 do toes 2 re ankles 3 mi knees 4 fa hips 5 sol waist 6 la shoulders 7 ti head 8 do hands in the air

• Reverse the scale direction, starting from the top and going down the scale. • You can also try this out with different scales, including minor and pentatonic scales.

Explore Rhythm and Feel the Beat • Have students count to four in a repeated pattern. • As they count, have them step in place on beats 1 and 3, maintaining a steady beat. • As they keep the beat with their feet, have students repeat each phrase of “The Beat Is in My Feet” after you.

18 Score The Beat Is In My Feet The Beat Is in My Feet: Lead students through different rhythms.

Teacher CALL:                     The beat, the beat, the beat is in my feet The Student RESPONSE:                     The beat, the beat, the beat is in my feet

Teacher CALL:                 beat is like my heart beat The beat ne-- ver chan ges Student RESPONSE:                  3 The beat is like my heart beat The beat ne-- ver chan ges Teacher CALL:                  You can go fast or slow but the beat stays the same The Student RESPONSE:               3  You can go fast or slow but the beat stays thesame

Teacher CALL:            rhythm is in my hands, (here we go now ...) Student RESPONSE:    Begin rhythmic patterns for students to echo back, while everyone continues to keep the steady beat in their feet.

• While the students continue to keep the steady beat with their feet, create simple rhythmic patterns with your hands (e.g., chest patting, clapping, snapping, etc.). Ask the students to echo them back to you. • Continue to explore other kinds of body percussion (e.g., hissing, clucking, etc.). • As the students become comfortable with the warm-up, ask for volunteers to act as the leader, creating their own rhythms for the class to echo back. ©

19 Sing the “Carnegie Hall Musical Explorers Song”

• Teach students the“Carnegie Hall Musical Explorers Song,” as well as the accompaniment found at newmancenterpresents.com/musicalexplorers. • This song can become a staple in your warm-up routine.

Musical Word Wall

Add the words explorer, melodic contour, scale, solfège, and steady beat to the Musical Word Wall.

20 Carnegie Hall Musical Explorers Song Music and lyrics by Daniel Levy

G A m7 Ev' - ry song Ç tells a sto - ry. Ev' - ry tune 4 D 7sus4 G G/F E m Ç tells a tale. Ç Ev'-- ry rhy thm has a rea -

7 A m7 F D 7sus4 D 7 A m7 » ± G K Ç - son. Ç Don't you want to know? Don't you want to know what

11 B m7 A m7 D 7sus4 D 7 G G ± ± makes the mu - sic go? Come a- long and see. Make your dis-- co ver - y. I can

14 G G/F C/E E@ G sing it. I can say it.K I can dance it. I can play it.@ I can sing it. I can

19 G/F C/E E@ C add9 G O K » ± say it. I can dance it. I can play it.@ K I cango explore the

23 C add9 G C add9 G G ± world of music at my door. My ci -- ty and my neigh- bor hood,

25 C add9 G F K K sing -- in' songs and feel in' good. I can know what makes the mu - sic grow.

27 D 7sus4 D 7 A m7 A m7/D G Ç ± Ç » I can know what makes the mu - sic go!

21 SG 7

Carnegie Hall Musical Explorers Song Every song tells a story, every tune tells a tale. Every rhythm has a reason, don’t you want to know? Don’t you want to know what makes the music go? Come along and see, make your discovery.

(x2)

I can go explore the world of music at my door. My city and my neighborhood, singing songs and feeling good. I can know what makes the music grow. I can know what makes the music go!

22 Bluegrass with Martin Introduction

Genre and Artist Overview

Bluegrass is a style of American roots music that dates back to the 1700s, when English, Scottish, and Welsh immigrants settled in Appalachia, and brought with them ballads (unaccompanied narrative songs) and reels (dance tunes accompanied by a fiddle). These came together with African American traditions—first the banjo, which came from West Africa, then elements of blues, and later jazz and gospel.

Bluegrass is an acoustic country style rather than an urban one. Bluegrass pioneer Bill Monroe described it as: “Scottish bagpipes and ole-time fiddlin’. It’s Methodist and Holiness and Baptist. It’s blues and jazz, and it has a high, lonesome sound.” The classic bluegrass band includes banjo, fiddle (violin), guitar, mandolin, and bass. As in jazz, the instrumentalists take turns playing the melody and improvising around it as the rest of the band accompanies them.

Martin was born in Nebraska and grew up in Wyoming. He grew up playing guitar with his dad. He is excited to bring the campfire Appalachian tradition of jamming, picking, and singing together.

Resources for Teachers

Listening: • Visit martingilmore.com to hear more of Martin’s music. • “I’m On My Way Back To The Old Home” by Bill Monroe • “Old Train” by Tony Rice • “Down the Road” by Flatt and Scruggs Readings: • Bluegrass: A History by Neil V. Rosenberg • Can’t You Hear Me Callin’: The Life of Bill Monroe, Father of Bluegrass by Richard Smith • Hidden in the Mix: The African American Presence in Country Music (edited by Diane Pecknold) • African Banjo Echoes in Appalachia: A Study of Folk Traditions by Cecelia Conway • Homegrown Music: Discovering Bluegrass by Stephanie P. Ledgin Documentaries: • Béla Fleck: Throw Down Your Heart (directed by Sascha Palladino) • High Lonesome: The Story of Bluegrass Music (directed by Rachel Liebling) • Bill Monroe: Father of Bluegrass Music (directed by Steve Gebhardt) Denver Resources: • Swallow Hill Music Association • Rockygrass Bluegrass Festival Lyons, Colorado — last weekend in July • Midwinter Bluegrass Festival Northglenn, Colorado — President’s Day weekend in February • Direct links to these resources can be found at newmancenterpresents.com/musicalexplorers.

23 SG 8

Meet Martin!

Greetings from Swallow Hill Music!

Howdy,

My name is Martin, and I play bluegrass. Bluegrass is American music originally from the Appalachian Mountains in Kentucky. I remember being on stage with my dad’s band when I was three! I also like to sing and write songs. I play guitar and Musical Explorers my band includes upright bass and c/o Newman Center mandolin. Other bluegrass bands also 2344 E. Iliff Ave include a fiddle and a banjo. I’m excited to play music with you. Denver, CO 80210

Martin

24 SG 9

We asked Martin …

What instruments do you know how to play? I mainly play guitar and sing, but I can also play the mandolin, banjo, bass, fiddle, piano, and trombone.

What is your favorite thing about bluegrass? My favorite thing about performing bluegrass is that it brings people together. Bluegrass musicians like to get together and “jam”. A jam is like a party where friends come together to play music. Some people jam in backyards, parks, or on front porches. It’s a lot of fun!

What inspires you? I like to hear people’s stories and read about history. Bluegrass songs are often stories about the past or people’s experiences.

What is the earliest musical experience you can recall? My cousin and I used to make up funny songs together when we were little kids.

25 Bluegrass with Martin Lesson 1

Lesson 1: Learning “Uncle Pen”

Aim: What is the form of a bluegrass song? Summary: Students learn to sing “Uncle Pen” and use movement to identify the different parts of bluegrass song form. Materials: Musical Explorers Teacher Guide, online audio Standards: National 1, 3, 4, 6, 7, 8, 10, 11; Colorado State 2.1.1, 2.1.2, 2.1.3, 2.3.3, 2.4.1, 2.4.2 Vocabulary: banjo, bluegrass, break, chorus, fiddle, mandolin, verse

“Uncle Pen” is a famous bluegrass song written by mandolinist Bill Monroe, who is known as the “Father of Bluegrass.” Bill Monroe wrote this song as a tribute to his uncle, Pendelton “Pen” Vandiver, who was a fiddler and raised Monroe after his parents died.

Sing “Uncle Pen” • Listen to“Uncle Pen.” Uncle Pen • Sing along with the chorus,“Uncle Pen Chorus.”

# # # 4 j j & 4 œ œ œ œ œ œ œ œ ˙ œ œ œ Late in the eve - ning a - bout sun-down High on the hœill aœn' œa - boœve tœhe toœwn Uœnc-lœe

# # # j j j & j . œ œ Pœen plaœyed tœhe fœid- dœle oœh hoœw itœ'd riœng Yœou coœuld hear it œtalk œ yœou coœuld heœar iœt . si˙ng

“Uncle Pen”

Oh, the people would come from far away Well, he played an old tune he called the “Soldier’s Joy” To dance all night ’til the break of day And he played the one he called the “Boston Boy” When the caller hollered, “Do-Si-Do” Greatest of all was the “Jennie Lynn” They knew Uncle Pen was ready to go To me, that’s where the fiddlin’ begins

Chorus (Chorus) Late in the evening, about sundown High on the hill, an’ above the town I’ll never forget that mournful day Uncle Pen played the fiddle, oh, how it’d ring When old Uncle Pen was called away You could hear it talk, you could hear it sing He hung up his fiddle and he hung up his bow And he knew it was time for him to go

(Chorus)

26 Bluegrass with Martin Lesson 1 Bluegrass with Martin Lesson 1

Explore Form in “Uncle Pen” and Learn About Bluegrass Instruments

• Discuss with the students the four elements of the standard bluegrass song: • The introduction is played just by the instruments. • The verses tell the story. • The chorus is repeated after each verse; it gives you the main idea of the song. • The break is the part of the song when the instrumentalists play while the singer takes a break. • Listen again to“Uncle Pen” and identify each of the four elements. Then ask the students to raise their hands when they hear the chorus; they can also sing along. • Listen to the demonstrations for each of the bluegrass instruments. Then ask the students to identify the instrument soloing during each break in“Uncle Pen.” You also then can ask the students to identify the different instruments as they take their solos during“Bluegrass Jam.” • At the end of the lesson, students can make their own bluegrass band, using SG10.

Move to• the Form of “Uncle Pen”

• Ask students to stand in a circle. Choose different movements for each section of the song (e.g., raise your hands during the introduction, walk during each verse, skip during the chorus, and do-si-do with a partner during the instrumental break). • Ask for a student volunteer to stand in the center of the circle and be the “caller,” the person who calls out each section of the song. At the break, the caller also can call out a new movement (e.g., hop, twirl, clap, flap your arms, etc.), or the caller can improvise a dance.

Creative Extension: Write Lyrics About How Bluegrass Got Its Name  • Bluegrass musicians often write songs that tell stories about people they know or something memorable that happened. • As a class, write lyrics to a song that tells a story about the day that bluegrass music got its name. Have each student contribute a line; if your students are ready, you can include the A-A-B-B rhyme scheme found in “Uncle Pen.” • After you finish your story, share the real story of how bluegrass got its name (not nearly as interesting as your students’ story will be): Bluegrass wasn’t officially named until the 1950s; it refers to a kind of grass that grows in Appalachia called Kentucky bluegrass. The grass is not blue!

Musical Word Wall

Add the words banjo, bluegrass, break, chorus, fiddle, mandolin, and verse to the Musical Word Wall.

27 27 Bluegrass with Martin Lesson 2 SG 10

Make Your Own Bluegrass Band Here are all the instruments you need to make your very own bluegrass band. Draw a picture of your band!

FIDDLE

BANJO GUITAR MANDOLIN

BASS

My bluegrass band’s name is .

28 Bluegrass with Martin Lesson 2 Bluegrass with Martin Lesson 2

Lesson 2: Learning “In the Pines”

Aim: What gives music its expressive qualities? Summary: Students learn “In the Pines” and explore expressive qualities in music. Materials: Musical Explorers Teacher Guide, online audio Standards: National 6, 7, 8, 10, 11; Colorado State 2.1.1, 2.1.2, 2.1.3, 2.3.3, 2.4.1, 2.4.2 Vocabulary: emotions, mood, opposites, strong beat, waltz, weak beat

Sing “In the Pines”

• Listen to“In the Pines.” • Sing along with the chorus,“In the Pines Chorus.” # # ™ # # 3 Ó œ ˙ œ œ ˙ œ œ œ œ œ & 4 œ œ ˙ œ ˙ J œ œ œ In the pines in the pines Where the sun ne-ver shines And you shi - ver when the # ™ ™ # # ™ & # œ œ œ Ó œ ˙ ˙ œ œœ ˙ œ ˙ œ œ ˙ ˙ ˙ ˙ œ ˙ cold wind blows _ Ooh-ooh ooh ooh ooh ooh ooh ooh ooh ooh ooh

“In the Pines”

The longest train I ever saw Little girl, little girl, what have I done Was nineteen coaches long That makes you treat me so? The only girl I ever loved You caused me to weep, you caused me to mourn Is on that train and gone You caused me to leave my home

Chorus (Chorus) In the pines, in the pines I asked my captain for the time of day Where the sun never shines He said he throwed his watch away And you shiver when the cold wind blows A long steel rail and a short cross tie I’m on my way back home

(Chorus )

29 Bluegrass with Martin Lesson 2

Explore Emotions and Opposites Through “In the Pines”

• Read the lyrics of “In the Pines” with the students. Discuss the story and how they might feel when someone in their lives goes away. • What feelings or emotions would you have if someone important to you left for a long time? • Write down these emotions on chart paper or on the board (this will be the beginning of the “Emotional Opposites” list). Brainstorm opposites for each word (e.g., sad/happy, gloomy/funny, serious/silly, etc.). • Have students demonstrate facial expressions to go with each emotion. They can then draw these facial expressions, SG11.

Explore Expressive• Qualities in “Uncle Pen” and “In the Pines”

• Listen to “In the Pines.” • What is the mood of this song? • How does the music tell us what the mood is? Is it fast or slow? Loud or soft? Bouncy or smooth? • Listen to “Uncle Pen.” • What is the mood of this song? Is it the same or different than “In the Pines”? • How does the music tell us what the mood is? Is it fast or slow? Loud or soft? Bouncy or smooth? • Have students choose a different mood for “In the Pines” or “Uncle Pen” and sing the chorus in a way that reflects this mood. • What did you do to create the new mood? • Was it faster or slower? Louder or softer? • What else did you change?

Waltz to •“In the Pines”

• Explain that “In the Pines” is a waltz, a style of music and dance that is counted in three: Beat 1 is strong, and beats 2 and 3 are weak. In this simplified version of the waltz, the students step down on the strong beat and up on the weak beats (DOWN-up-up). • Ask students to line up in single file in a circle: • Beat 1 (down): Step forward on your right foot and bend your knee as you plant your foot down. • Beat 2 (up): Bring your left foot to meet your right, stepping on your tiptoes. • Beat 3 (up): Step on tiptoes in place on your right foot. • Repeat the three steps, beginning on your left foot. • Once students are comfortable with the movement and can do it up to speed, play “In the Pines” again and have them waltz in a circle to the music. • If they master the waltz moving in a circle, try it in partners.

30 Bluegrass with Martin Lesson 2 Bluegrass with Martin Lesson 2

Literacy Extension: Barn Dance! and Passing the Music Down In Barn Dance! by Bill Martin, Jr. and John Archambault, a boy  hears a voice outside his bedroom window, sneaks outside, and follows the voice to the barn. There he finds a barn dance in session! And who do you think is dancing?

In Passing the Music Down by Sara Sullivan, a boy goes to Appalachia to meet an old-time fiddler whose music he loves. There he becomes a fiddler himself and carries on the tradition.

Musical Word Wall

Add the words emotions, mood, opposites, strong beat, waltz, and weak beat to the Musical Word Wall.

31 SG 11

Explore Emotions and Opposites Through “In the Pines” We can feel many emotions when we sing. Draw some emotions and their opposites on the faces below. Be sure to write what each emotion is!

32 Mexican Music with Juventino Introduction

Genre and Artist Overview

Mexico has 31 states, and each state has its own rich cultural heritage that contributes to Mexican music. In the 1800s, the son genre began to form, which is considered Mexican folk music. Each region in Mexico has its own son or folk music. Son blends indigenous peoples’ music with the Spanish seguidilla, fandango, zapateado, and tonadilla. Mariachi music was originally known as son jalisciense or the Jalisco sound. The mariachi band originally included two violins, a vihuela, and a harp, and has grown to add more instruments in two sections: melodía, or melody, with two trumpets and three or more violins, and armonía, or harmony, with a vihuela, guitar, guitarrón, and sometimes a harp. Son jalisciense, from the state of Jalisco, is the type of son most often heard being played by mariachis. Son jarocho began in Veracruz, Mexico. Many sones jarochos have repeating rhythmic patterns and a call-and-response form, musical qualities that have origins in West African music.

Juventino was born into a musical family in Mexico City, and grew up in Puerto Vallarta, Jalisco, and León, Guanajuato, where his passion and love of music began to flourish. When he was 12, he started studying at La Orquesta Infantil Fonapas Guanajato, where he learned to read and write music and to play trumpet. He has been sharing his love of mariachi music with the world for more than 30 years.

Resources for Teachers

Listening: • Visit facebook.com/mariachidenver to hear more of Juventino’s music. • “La Bamba” is a Mexican folk song from Veracruz, Mexico made popular by Ritchie Valens in 1958 • “Llegando a Ti” is composed by Jose Alfredo Jimenez and sung by Javier Solis Readings: • Historias con Huella: Honor a Quien Honor Merece by German Gonzales Flores features Juventino and his family • More about Son Jarocho music: “A Musical Style That Unites Mexican-Americans” • Mexican Cultural Center • Direct links to these resources can be found at newmancenterpresents.com/musicalexplorers.

33 SG 12

Meet Juventino!

Greetings from North Denver!

!Hola! Soy Juventino,

I am from an immigrant Mexican family, and we have lived for many years now in North Denver. When I was younger, we lived in Mexico. I first knew that I wanted to play music because my father played the trumpet. Instead of hanging out after school, I took music lessons every day. I set a goal to play the traditional Musical Explorers songs better and better each time. My mariachi band, Mariachi Sol de mi Tierra, c/o Newman Center can’t wait to share the music with you! 2344 E. Iliff Ave

Adios, Denver, CO 80210 Juventino

34 SG 13

We asked Juventino …

What is the earliest musical experience you remember? In elementary school, I played in a children’s orchestra. The first time our orchestra performed, the President’s wife in Mexico, Carmen Romano López Portillo was there!

What language do you speak? I speak mostly in Spanish and I practice my English every day. It is hard to learn two languages, but I am proud to be bilingual.

What special clothing do mariachi musicians wear? We now wear a uniform called the traje de charro which means a “cowboy suit.” In the past, mariachi musicians wore a simple outfit with a shawl and sandals.

Juventino wearing the

traje de charro

35 Mexican Music with Juventino Lesson 1

Lesson 1: Learning “Lluvia de San Juan”

Aim: How can lyrics tell a story? Summary: Students sing “Lluvia de San Juan” and create rhythmic patterns and new lyrics for the song. Materials: Musical Explorers Teacher Guide, online audio, chart paper and markers or SMART board Standards: National 1, 2, 4, 6, 7, 9; Colorado State 2.1.1, 2.1.2, 2.1.3, 2.3.3, 2.4.1, 2.4.2 Vocabulary: güiro, guitarrón, lyrics, melody, son, vihuela

Sing “Lluvia de San Juan”

• Listen to “Lluvia de San Juan.” • Learn the lyrics to the chorus using “Lluvia de San Juan Pronunciation.” • Listen and learn the melody to “Lluvia de San Juan Chorus.” • Listen to “Lluvia de San Juan” again and sing along during the chorus.

Llu - via de San Juan Llu - via de San Juan

y to - dos gri - tan - do Llu - via de San Juan

36 Mexican Music with Juventino Lesson 1 Mexican Music with Juventino Lesson 1

“Lluvia de San Juan” “Rain Falls in San Juan” Chorus Chorus Lluvia de San Juan Rain falls in San Juan Lluvia de San Juan Rain falls in San Juan Y todos gritando And everyone shouts Lluvia de San Juan (x2) Rain falls in San Juan (x2)

El roble bonito The pretty oak tree Que ayer floreció(x2) That blossomed yesterday (x2) Como no ha llovido As it has not rained Ya se marchitó Has already dried up

Se secó el naranjo The orange tree dried Se secó limón (x2) The lemon tree also did (x2) Y tu amor bendito And your blessed love También se secó It has also dried up

(Chorus) (Chorus)

Arroyito baja The low river Llu - via de San Juan Llu - via de San Juan De aquella región (x2) From that land (x2) Donde la montaña Where the mountain Peina tu ilusión [Takes] your illusion Y el cántaro de agua And the water pitcher A tu corazón To your heart Arroyito baja The low river De aquella región From that land

(Chorus) (Chorus)

Las piedras deliran The stones will [rave] En el acahual In the sunflowers Mirando, mirando Looking, looking Las nubes pasar The clouds pass Rodando, rodando Rolling, rolling Vienen y se van They come and go Y todas gritando And everyone shouts Lluvia de San Juan Rain falls in San Juan

(Chorus) (Chorus)

37 Mexican Music with Juventino Lesson 1

Explore Rhythms in “Lluvia de San Juan” • Sing the chorus to “Lluvia de San Juan” while keeping the steady beat by clapping or patting. • Perform the chorus again, adding a motion for the rests. For example, put your hands up on the fourth beat instead of clapping. • Now add different hand or body percussion rhythms to fill in the rests at the end of the first, second, and fourth measures with different rhythms. Demonstrate for your students first, then have them add their own. For example: • On the last beat of the first, second, and fourth measures, we don’t sing. • This is called a rest. A rest is a moment of silence in music. • What movement can we do to symbolize the rest in the different measures?

bb 4 œ œ œ œ œ œ œ œ œ œ j & 4 ¿ J ¿ ¿ Llu - via de San Juan (clap) Llu - via de San Juan (clap clap) ™ bb œ œ œ œ œ œ œ œ œ œ j r r & J œ ¿ ¿ ¿ y to - dos gri - tan - do Llu - via de San Juan (c - c - clap)

• As a class, perform the chorus with the new rhythm patterns using the “Lluvia de San Juan Instrumental.”

38 Mexican Music with Juventino Lesson 1 Mexican Music with Juventino Lesson 1

Create New Lyrics for “Lluvia de San Juan”

• Discuss the lyrics to “Lluvia de San Juan,” which directly translates to “rain of San Juan,” and use the questions below to explore Denver weather using the rhythms and melody of “Lluvia de San Juan.” • In the song, the rainy weather is connected to the feeling of happiness. In San Juan, it does not rain very much, so people shout for joy when it does. • What other connections can we make between weather and feelings? Examples: wind-worried, snow- playful, storm-scary. • What do people do during these types of weather? • What is the weather like in Denver? It can certainly change from day to day and sometimes even minutes. • With the list that you have created as a class, create new lyrics for “Lluvia de San Juan” using the melody and rhythm from the song. For example:

Snow falls in Den - ver, snow falls in Den - ver,

eve - ry - one is sledd - ing. Snow falls in Den - ver! • Have your students perform their new lyrics with “Lluvia de San Juan Instrumental.” They can also include the rhythmic patterns that they created.

Creative Extension: Explore Instruments in Mariachi Music • The mariachi includes two main sections of pitched instruments. One section, the  melodía, plays the melody, and the armonía the harmony. Along with those instruments, percussion instruments play the rhythms. These are some of the mariachi instruments: • The trumpet is a brass instrument that is played in mariachi as part of the melodía, playing the melody in unison with the other melodía instruments. A lead trumpet player also plays high notes of embellished runs. • The vihuela is a guitar-like instrument with five strings. It is typically used in Mexican music and part of the armonía. • The güiro is a hollow gourd-shaped percussion instrument, played by rubbing a stick over the notches on one side. It is played throughout Latin America, and part of the percussion section. • The guitarrón is a large bass instrument with six strings, playing rhythmic harmonies as part of the armonía. Have students turn to SG14 and match the instruments described above.

Musical Word Wall

Add the words güiro, guitarrón, lyrics, melody, son, and vihuela to the Musical Word Wall.

39 SG 14

Match the Mariachi Instruments Below are all the instruments found in a mariachi band. Listen to the descriptions and then match each instrument with its correct name!

TRUMPET

VIHUELA

GUITARRÓN

GÜIRO

40 Mexican Music with Juventino Lesson 2 Mexican Music with Juventino Lesson 2

Lesson 2: Learning “Tilingo Lingo”

Aim: How do you dance the zapateado in son jarocho music? Summary: Students sing “Tilingo Lingo”, while clapping and dancing a traditional Son Jarocho zapateado. Materials: Musical Explorers Teacher Guide, online audio Standards: National 1, 2, 4, 6, 7, 9; Colorado State 2.1.1, 2.1.2, 2.1.3, 2.3.3, 2.4.1, 2.4.2 Vocabulary: call and response, rhythm, son jarocho, zapateado

Son jarocho is from Veracruz, and its musical qualities have origins in West African music. The music is characterized by repeating rhythmic patterns and call-and-response form.

Sing “Tilingo Lingo”

• Listen to “Tilingo Lingo.” • Learn the lyrics to the chorus using “Tilingo Lingo Pronunciation.” • Using “Tilingo Lingo Chorus,” listen for Juventino to sing the call and response of the chorus. Have one half of the class sing the call, and the other half the response.

CALL

Ay re - pic - a pic - a pic - a re - pi - ca y re-pique - te -

an - do Que bon - i - tas que bon-i - tas To-dos las que es - tán bai - lan-do

RESPONSE

Ay ti - lín ti - lín ti - lín Ay to - lón to - lón to -

lón Que bon - i - tas que bon-i - tas las hi - jas de Don Si - mon

41 Mexican Music with Juventino Lesson 2

“Tilingo Lingo”* Ay que bonito es bailar Oh how nice it is to dance El son del tilingo lingo To the sound of Tilingo Lingo Que lo saben zapatear Where they can tap their feet tanto el grande como el chico The adults as well as the kids

Chorus Chorus Ay repica pica pica Oh ring ding ding Repica y repiqueteando Ring and ringing out Que bonitas que bonitas So pretty, so pretty Todas las que están bailando Everyone who is dancing

Ay tilín tilín tilín Oh tilín tilín tilín Ay tolón tolón tolón Oh tolón tolón tolón Que bonitas que bonitas So pretty, so pretty Las hijas de Don Simón The daughters of Don Simón

El son del Tilingo Lingo The sound of Tilingo Lingo Es un ritmo singular It’s such a special rhythm Ay que ponerse muy chango You have to be very funny Pa poderlo zapatear To be able to zapatear

El son del Tilingo Lingo The sound of Tilingo Lingo Es un bailar singular It’s such a special dance Ay que ponerse muy chango You have to be very funny Pa poderlo zapatear To be able to zapatear

(Chorus) (Chorus)

El son del Tilingo Lingo The sound of Tilingo Lingo Es un ritmo sabrosón It’s such a spicy rhythm Que se baila con estilo That’s danced in the style De la bamba y el danzón Of la Bamba and the danzón

(Chorus) (Chorus)

*Tilingo Lingo is the name of the song, therefore it is not translated.

42 Mexican Music with Juventino Lesson 2 Mexican Music with Juventino Lesson 2

Dance Zapateado in “Tilingo Lingo”

• The zapateado is a Mexican dance style in which the dancer’s feet punctuate the rhythm, similar to tap dance • The name comes from zapato, the Spanish word for shoe; zapatear means to strike with a shoe. • First learn to find the pulse in “Tilingo Lingo” by stomping and clapping to the rhythm, listening to “Tilingo Lingo Rhythm 1.”

3 4 ™ ¿ ¿ ¿ ¿ ¿ ¿ ™ stomp clap clap stomp clap clap

• Feel the way your body wants to move with the music. This is the pulse or the steady beat of the song. • Next, have your students put the pulse in their feet, listening to “Tilingo Lingo Rhythm 1.”

3 4 ™ ¿ ¿ ¿ ¿ ¿ ¿ ™ left right left right left right

• Next, learn the zapateado rhythm for “Tilingo Lingo,” first by saying the rhythm “café con pan”. Have your students do this while continuing to keep the pulse in their feet. • Then, clap along with “Tilingo Lingo Rhythm 2.”

pan ca - fe con pan ca - fe con left right left right left right

43 Mexican Music with Juventino Lesson 2

• Add the dance movements while saying “café con pan.” • Brush your right heel forward on the word “pan.” • Step, alternating “right-left-right” on the other beats of the rhythm, “café con.” • Brush your left heel forward on the word “pan.” • Step, alternating “left-right-left” on the other beats of the rhythm, “café con.” • Continue to alternate the combination between the left and right foot.

pan ca - fe con pan ca - fe con brush right left right brush left right left

• Now, put it all together with “Tilingo Lingo.” It’s fast! You can split your class into different groups, performing either the pulse, speaking the rhythm, or dancing the zapateado.

Creative Extension: Homes in Guanajuato • Juventino’s family is from Guanajuato, a city in Mexico built in 1679—over 300 years ago! The  people in Guanajuato take a lot of pride in making their houses look unique and beautiful, so they started to paint their houses different bright colors, so they would know which one was theirs. • How are these houses different from the house or apartment you live in? How are they the same? • Have your students use the space on SG15 to recreate their own neighborhood, using bright colors to distinguish the different buildings from one another.

Literacy Extension: Los Mariachis Rita Rosa Ruesga’s Los Mariachis is a classic take on “Ten Little Monkeys”  set to rhyme and music. Follow a group of young mariachi musicians from weddings to birthday parties as they cause trouble, the trumpeter gets sick, and they go on other adventures. This counting book has great repetitive language that explores each instrument in a mariachi band.

Musical Word Wall

Add the words call and response, rhythm, son jarocho, and zapateado to the Musical Word Wall.

44 SG 15 My Colorful Neighborhood Here is Guanajuato, Mexico. Draw your street or neighborhood using bright colors for each building.

45 46 Sudanese Music with Tanya Introduction

Genre and Artist Overview

Sudan is the largest country in Africa. There are nearly 200 different cultures and ethnic groups in Sudan. Each group has a unique style of music. In Nubia, which is a region that stretches from Sudan to Egypt, music often uses stringed instruments tuned to pentatonic scales. Arabic melodies have influenced Nubian music. Music and poetry are closely linked, and song lyrics are often poetry about love, history, or the present day. Some singers improvise poetry to a familiar melody, and that improvisational style carries through to written songs, which may have exclamations such as “O people!” or “O my mother!” that are woven throughout the lyrics.

Tanya Salih expresses her Nubian heritage through her style, sounds, and creations. Tanya’s chosen stage name, Zanib, is an Arabic name that represents a growing dreamer. Through her musical mindset, she creates sounds that spread messages of positivity, hope and love. She brings a new, upbeat sound along with her violin on stage. Tanya’s diverse background and her passion for the world and travel are portrayed through her music.

Resources for Teachers

Listening: • You can hear more of Tanya’s music at zanibmusic.com. • Sayed Khalifa “Ezzayakom” and “Ya Watani” (“My Homeland”) Readings: • My Name is Sangoel by Khadra Mohammed and Karen Lynn Williams • My Great Grandmother’s Gourd by Cristina Kessler and Walter Lyon Krudop • Learn more about Nubian culture and identity • Learn about Nubians and Egypt Videos: • Tanya singing at the Marquis Theatre in Denver • Nancy Agag and Joss Stone sing “I Love You” • Direct links to these resources can be found at newmancenterpresents.com/musicalexplorers.

47 SG 16

Meet Tanya!

Greetings from the

University of Denver!

Salam, Musical Explorers! I am Tanya, a local musician, graduate student, and dreamer. I was born and raised in the small town of Cheyenne, Wyoming by immigrant parents. My parents are Nubian, which is a region that stretches Musical Explorers from Sudan to Egypt. They come from the Dongolawi and Shaigiya tribes. I like c/o Newman Center performing Sudanese music because it is 2344 E. Iliff Ave upbeat and uplifitng. I hope to be able to tell the stories of my home country through Denver, CO 80210 our music and I am excited for you to sing with your own passion and talent!

Tanya

48 SG 17

We asked Tanya …

Are there special kinds of food people eat in Nubia? Baklava is everyone’s favorite! Chai (pronounced “shy”) and baskaweet is like tea and cookies. People eat this sometimes for breakfast and lunch, and definitely for dessert.

What languages do you speak? I speak Arabic, English, and Spanish. I don’t speak Nubi, although my mom helped me learn some for the song “Umma Wo Beda”.

When did you start playing music? I’ve been singing since I could talk and I started playing the violin in 4th grade. I can play the violin, ukulele, and percussion.

What inspires you? I love to travel! Anytime we travel to a foreign country, there are a lot of barriers, except for music. You can be part of music, you don’t need to be part of the culture to listen and move to it!

Is there any traditional attire found in your culture? Women wear toubs and men wear jalabiyas.

toub

jalabiya

Here’s how you write the word music in Arabic. Try writing it yourself by tracing over the lines.

4949 Sudanese Music with Tanya Lesson 1

Lesson 1: Learning “Umma Wo Beda”

Aim: How can instruments and the voice engage in a musical conversation? Summary: Students learn “Umma Wo Beda,” learning how to improvise melodic and rhythmic responses to a melody. Materials: Musical Explorers Teacher Guide, online audio Standards: National 1, 2, 3, 4, 6, 9, 10, 11; Colorado State 2.1.1, 2.1.2, 2.1.3, 2.3.3, 2.4.1, 2.4.2 Vocabulary: accompaniment, accordion, flute, vocal line

“Umma Wo Beda” is sung in Sudan in Nubi. The Nubi language (also called Ki-Nubi) is a Sudanese Arabic- based creole language spoken in Uganda around Bombo, and in Kenya around Kibera, by the descendants of Emin Pasha’s Sudanese soldiers who were settled there by the British colonial administration. The Nubi language shared 90% of its roots with Arabic, but there is simplified grammar.

Sing “Umma Wo Beda” • Listen to “Umma Wo Beda.” • Learn the lyrics to the chorus in Nubi using “Umma Wo Beda Pronunciation.” • Sing along with the chorus using “Umma Wo Beda Chorus.”

4 ™ j ™ j ™ j &4 œ œ œ œ œ ‰ Œ œ œ œ œ œ ‰ Œ œ œ œ œ œ ‰ Œ Um - ma wo be-da Min - de wo bur-ru Um-ma wo be-da ™ j ™ j & œ œ œ œ œ ‰ Œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ Œ Min-de wo bu-ru dun-yar mer bi - da - ka wer we - dol ku-ru

50 Sudanese Music with Tanya Lesson 1 Sudanese Music with Tanya Lesson 1

“Umma Wo Beda” “This is the Beginning of My Story” Chorus Chorus Umma wo beda This is the beginning of my story Minde wo burru (x2) What has happened, my girl? (x2) Dunyar mer bidaka What happens with the world Wer wedol kuru When you love each other?

Dol el malle wo zoli All love, oh people Henaga nallana Is happiness, they see it Aigir malle wo zoli I am full of love, oh people Henagi nalmissa (x2) they see the happiness (x2) Kenissi sarkiga budigo they fear the thorns Warretki awerrana but they want to pick the rose

(Chorus) (Chorus)

Fedjirki masila tona Is the sunset in the east? Irnal mekiri Have you ever seen that? Na nomissi ratana Does sleep come to open eyes? Baj mekiri (x2) Impossible (x2) Urti ingiri ingiri Love is so sweet, so sweet Dana shekeri Love is always Pishmana anda ninga Why is all this coming to me? Wo soli nadire Oh my people, this bitterness

(Chorus) (Chorus)

Wille nogurre wej Or did you go away Um - ma wo be-da Min - de wo bur-ru Um-ma wo be-da Wejtu katira (x4) and I came? (x4) Walla bahtinaj gili Or because I am a bit lucky Gurra kisdire joy shines

(Chorus) (Chorus)

51 Sudanese Music with Tanya Lesson 1

Explore the Accompaniment in “Umma Wo Beda” • Play “Umma Wo Beda.” • Now that you have listened to “Umma Wo Beda,” heard the lyrics, and sung along with the chorus, listen again, bringing attention to the instruments being played in “Umma Wo Beda.”

Vocal

4 j j j j &4 œ œ œ™ œ œ ‰ Œ œ œ œ™ œ œ ‰ Œ œ œ œ™ œ œ ‰ Œ œ œ œ™ œ œ ‰ Œ Um-ma wo be-da Min-de wo bur-ru Um-ma wo be-da Min-de wo bu-ru Flute and Accordion

4 &4 Œ Œ ‰ œ™ œ œ Œ Œ ‰ œ™ œ œ Œ Œ ‰ œ™ œ œ Œ Œ ‰ œ™ œ œ

• Have your students mimic the rhythm of the accordion and flute by creating a movement of their own. For example, they can move their shoulders up and down three times, move their head three times, or clap three times. • What do you hear each time after Tanya sings? • How could you move your body to mimic this? • Your class can also experiment with the accompaniment further by using Orff instruments to play the responses to what Tanya is singing.

Creative Extension: “Umma Wo Beda” • The lyrics “Umma Wo Beda” mean “This is the beginning of my story.”  • What is the beginning of your story? • Where were you born? • What is your first memory? • What were your first words? • Then have the students write a story about their life and illustrate it.

Musical Word Wall

Add the words accompaniment, accordion, flute,and vocal line to the Musical Word Wall.

52 Sudanese Music with Tanya Lesson 1 SG 18 This is the beginning of my story... Write a story about something that happened to you at school today and draw a picture of it.

53 Sudanese Music with Tanya Lesson 2

Lesson 2: Learning “Ezzayakom”

Aim: How does a scale provide the building blocks for a song? Summary: Students explore the five-note, Nubian pentatonic scale and learn to sing “Ezzayakom.” Materials: Musical Explorers Teacher Guide, online audio Standards: National 1, 6, 10, 11; Colorado State 2.1.1, 2.1.2, 2.1.3, 2.3.3, 2.4.1, 2.4.2 Vocabulary: major scale, off-beat, pentatonic scale, pitch, skip, step

Sing “Ezzayakom” • Listen to “Ezzayakom.” • Learn the lyrics to the chorus using “Ezzayakom Pronunciation.” • Sing along with the chorus using “Ezzayakom Chorus.”

4 j j j j &4 Œ Œ ‰ œ œ bœ ˙ ‰ œ œ bœ ˙ ‰ œ œ bœ ˙ ‰ œ œ bœ Ez - za - ya - kom Ki - fe na - kom Ez - za-ya - kom Ki - fe-na ™ œ œ ™ ™ œ œ œ œ œ œ œ œ œ œ & ˙ ‰ J J œ J œ œbœ œ J ˙ Ó kom Ez - za-ya - kom Ki - fe - na - kom A - na li - y za - man Ma shuf-ta - kom

54 Sudanese Music with Tanya Lesson 2 Sudanese Music with Tanya Lesson 2

“Ezzayakom” “How Are You” Chorus Chorus Ezzayakom? How are you? Kifenakom? (x3) How do you do? (x3)

Ana liy zaman ma shuftakom It’s been a while since I last saw you

(Chorus) (Chorus)

Meshtag kateer kateer kateer (x5) I miss your neighborhood a lot, a lot! (x5) li-hayyakom

(Chorus) (Chorus)

Ya nas haram Have mercy on me! Haram haram (x3) Oh people, have mercy on me! (x3)

Ya nas haram Have mercy on me! Haram haram (x3) Oh people, have mercy on me! (x3) Reddou ‘alay Talk back to me Ez - za - ya - kom Ki - fe na - kom Ez - za-ya - kom Ki - fe-na Ana ma ghareeb, ana mennakom I’m no stranger to you, I’m one of you!

(Chorus) (x2) (Chorus) (x2)

55 Sudanese Music with Tanya Lesson 2

Explore the Pentatonic Scale • Scales are the building blocks of music. “Ezzayakom” uses a Nubian pentatonic scale to build the melody. It is made up of five different pitches. • Explain to students that pentatonic scales are used in many different musical traditions, and there are many different pentatonic scales. • Listen to “Nubian Pentatonic Scale” to hear the pentatonic scale that builds the melody of “Ezzayakom” • Now listen to “Major Pentatonic Scale.” Ask the students if they have heard this scale in other songs before.

Nubian Pentatonic Scale skip step step skip (w) œ & œ ( w ) bœ œ œ

Major Pentatonic Scale step skip step step

( ) œ & œ œ œ w œ

Explore the Concept of Skips and Steps in Pentatonic Scales

• Create a musical staff on the floor using five horizontal lines of tape. • Have students identify the lines and spaces on the floor staff by placing their feet on either the lines or the spaces. Have students walk in steps on the floor staff (i.e., line to space, space to line, line to space, etc.), demonstrating the major scale. • Now do the same exercise, this time directing students to either step on OR skip a space or a line. Explain that the major scale uses every line and space, while pentatonic scales skip different lines or spaces. • Using a keyboard or other pitched instrument, demonstrate what skips and steps sound like.

• Compare and contrast the “Major Pentatonic Scale” with the scale used in “Ezzayakom.” • Listen to “Nubian Pentatonic Scale” once more and compare it to “Major Pentatonic Scale” to hear the difference. • Use the floor staff and the instruments to explore the similarities and differences.

56 Sudanese Music with Tanya Lesson 2 Sudanese Music with Tanya Lesson 2

Creative Extension: Explore Nubia • Learn about the ancient civilization of Nubia, one of many civilizations that are part  of present-day Sudan. Nubia is more than 8,000 years old, making it one of the oldest civilizations in North Africa, but it was only recently that people began to uncover its rich past. Nubians are one of the many ethnic groups in present-day Sudan.

Literacy Extension: Brothers in Hope: the Story of the Lost Boys of Sudan  Brothers in Hope is based on the true story of the Lost Boys of Sudan, who had to walk thousands of miles through Sudan, Ethiopa, and Kenya to seek refuge. Told through the point of view of Garang, an eight-year-old boy. This book is written for students grades 1 and older, so parents and guardians may want to read along with their children.

Musical Word Wall

Add the words major scale, off-beat, pentatonic scale, pitch, skip, and step to the Musical Word Wall.

57 SG 19

SW 1 Explore Nubia For thousands of years, some of the land that is now part of Sudan was in a civilization called Nubia. Nubia stretched all along the Nile River from Sudan into Egypt. It was one of the oldest civilizations in northern Africa— more than 8,000 years old!

Nubians were known to be excellent archers. These are ancient statues of Nubian archers Here are Nubian pyramids. with their bows and arrows.

These are Nubian hieroglyphs, an early form of writing based on pictures. What do you think they mean?

Create your own hieroglyphs that say “musical explorer” in the box below.

58 Concert Experience

Before the Concert

• Review the three artists and their music. • Look at The Musical Explorers Around the World Map, SG5-6, and have students find the countries represented on the map. • What do you remember about the artists and their music? • Listen to each song. • Brainstorm with students about how to be active listeners, enthusiastic performers, and successful audience members during the concert. We expect the audience to interact and have fun, so it will be appropriately noisy. • Prepare for the surprise songs. • At the concert, each of the artists will sing a surprise song that the students have not heard or studied. These songs are selected to complement the two songs in the curriculum and to provide students with an active listening experience as they encounter new music for the first time in a concert setting. • Explain to students that they are in for some exciting surprises during the concert because there will be three songs that they have never heard before. You can ask them to raise their hands or say, “Surprise!” when they hear a surprise song at the concert. • Ask students to guess what the surprise songs by each artist will be like. • Will they be fast or slow? Quiet or loud? • Will there be movement or dancing? • Explain that you will be seeing how much they remember about the surprise songs after the concert. • Prepare your students for their visit to the Newman Center using the It’s Concert Time! activity, SG 22.

After the Concert

• Discuss the overall concert experience. • Discuss the surprise songs. • What surprise songs do you remember? • What do you remember about these songs? Were they slow or fast, long or short? Was there movement to do? Was there any part that you sang along with? • Which was your favorite surprise song and why? • Reflect on your concert experience by completing the activities on SG23-24. • Share your students’ reflections by emailing them to [email protected]. • Please make sure you complete the program evaluations that will be sent to you in a timely manner.

59 SG 20

Welcome to The Robert and Judi Newman Center for the Performing Arts!

Meet Shanna!

Hi! I’m Shanna, and I’m thrilled to be your host for Musical Explorers! Getting to spend time at The Robert and Judi Newman Center for the Performing Arts is my favorite part of the year, and I can’t wait to hear lots of great music from all over Denver and the world with you. I hope you’re all ready to be Musical Explorers. See you soon!

This is the University of Denver.

60 SG 21

This is The Robert and Judi Newman Center for the Performing Arts.

Meet the ushers.

This is June Swaner Gates concert hall where you will participate in the concert.

61 SG 22

It’s Concert Time!

Circle things you WILL do at the Newman Center. Put an “X” through things you WON’T do at the Newman Center. Use all four kinds of voices: Dance whispering, talking, calling, and singing

Have fun!

Get bored Talk during the music Cheer! Open your ears Laugh

Move

Follow directions Sing!

Listen to the Watch how the performers musicians play and sing

Eat popcorn Clap

62 SG 23

What Did You See and Hear at the Newman Center?

Draw pictures of your trip to the Newman Center below.

63 SG 24

Who Is Your Favorite Artist?

Write a letter to your favorite artist. Be sure to include your favorite part of the concert and your favorite song from the concert.

Dear ,

Your friend,

64 Additional Information

Glossary accompaniment: the supporting instruments and/ off-beat: rhythm that emphasizes the “weak beats”, or voices that accompany the lead performing the also called syncopation melody opposites: things that are very different from each accordion: an instrument played by pressing piano- other like keys while opening or closing the bellows pentatonic scale: a scale made up of five notes banjo: a string instrument originally from West Africa used in American folk music, including pitch: how high or low a note is bluegrass rhythm: the durations of notes and rests that give bluegrass: a style of American roots music played on music its pulse acoustic string instruments scale: a pattern of musical notes break: the part of a song when the instrumentalists play while the singer takes a break skip: melodic movement that skips notes in the scale as it ascends or descends call and response: a musical form in which one person sings a musical phrase (call), and the group solfège: the use of sol-fa- syllables to name each note responds (response) with either an echo or another in a musical scale complementary phrase son: a genre of music from Mexico that blends chorus: a musical section in a song with the same Indigenous peoples’ music with Spanish fandango, lyrics and melody that repeats after each verse zapateado, and tonadilla styles. Each region in Mexico has its own style of son. emotions: feelings son jarocho: the style of son from Veracruz, Mexico explorer: a person who uses his or her senses to steady beat: the pulse in music learn something step: melodic movement that descends or ascends fiddle: the name used by bluegrass musicians for the violin from one space or line to the next flute: a high pitched woodwind instrument used in strong beat: a beat that is emphasized or accented music all over the world verse: a musical section in a song where the melody güiro: a percussion instrument played by scraping stays the same but the lyrics change a stick over notches grooved in it. Used throughout Latin America and the Caribbean, including in the vihuela: a Mexican string instrument with five rhythm section when performing son genres strings that has similar intonation to the guitar guitarrón: a bass stringed instrument, similar to the vocal line: the part the vocalist sings, usually the guitar, used in the rhythm section of Mariachis melody waltz: a dance step in triple meter, with a strong- lyrics: the words in a song weak-weak pattern major scale: a set of pitches following a specific weak beat: a beat that is not emphasized or accented pattern of skips and steps zapateado: a Mexican dance style in which the mandolin: a plucked string instrument in the lute dancer’s feet punctuate the rhythm similar to tap family used in bluegrass dance, coming from the word zapato, shoe melodic contour: the direction of the melody melody: the main tune of a piece of music mood: emotional feeling

65 Aims and Big Questions

• Big Idea # 1 Music is a means of expression that allows students to communicate personal and cultural perspectives. • Big Idea # 2 Critically listening and aesthetically responding to music allows students the opportunity to make connections between music and music’s roles and influences in society.

Colorado Academic Standards 2.1.1, 2.1.2, 2.1.3, 2.3.3, 2.4.1, 2.4.2 Denver Public Schools Music objectives for each unit: Bluegrass Lesson 1 (p.26) • Students will be able to perform a bluegrass song and physically demonstrate and explain key characteristics of bluegrass songs including origin and form. • SLO: 2nd Gr. SLO/PBT Music has Purpose Bluegrass Lesson 2 (p.29) • Students will be able to perform and aurally analyze bluegrass songs and explain how different elements of music contribute to the musical expression of different moods. • SLO: 2nd Gr. SLO/PBT Music Literacy Mexican Lesson 1 (p.36) • Students will be able to sing a Mexican folk song and verbally explain how lyrics in a song can tell a story. Mexican Lesson 2 (p.41) • Students will be able to sing and dance to a Mexican song and explain how dance movement can reflect the rhythms in the song. Sudanese Lesson 1 (p.50) • Students will understand how accompaniment is often used in response to the vocal line and how that makes a musical conversation. • SLO: 2nd Gr. SLO/PBT Music Literacy Sudanese Lesson 2 (p.54) • Students will be able to demonstrate and verbally compare and contrast the Major pentatonic scale with the Nubian pentatonic scale so they can better understand the similarities and differences of music from different cultures.

66 Common Core Capacities Through hands-on classroom activities and two culminating interactive performances, Musical Explorers helps to address Common Core Capacities for College and Career Readiness, empowering students through learning activities in which they • demonstrate independence • build strong content knowledge • respond to the varying demands of audience, task, purpose, and discipline • comprehend, as well as critique • value evidence • come to understand other perspectives and cultures The Musical Explorers curriculum focuses on building music performance skills, content knowledge, and creativity, while developing core capacities in English language arts and mathematics. Through active listening, describing and analyzing repertoire, writing activities, and a focus on the perspectives of other cultures and communities, Musical Explorers provides students with the opportunity to put these core capacities to use in a musical domain. Visit carnegiehall.org/MusicalExplorers for more information.

“Uncle Pen,” written by Bill Monroe. Published by Bill Monroe Music, Inc. All rights administered by BMG US. Performed by Martin Gilmore, Nick Amodeo, Ian Haegele, Chris Elliott, and Bridger Dunnagen.

“In the Pines,” words and music by Thomas Bryant, Jimmie Davis, and Clayton McMichen. ©1939 by Peer International Corporation. Copyright renewed. This arrangement ©2016 by Peer International Corporation. International Copyright secured. All rights reserved. Reprinted by permission of Hal Leonard Corporation. Performed by Martin Gilmore, Nick Amodeo, Ian Haegele, Chris Elliott, and Bridger Dunnagen.

“Lluvia de San Juan,” by Patricio Hidalgo, arranged by Juventino Romero Rodríguez. Performed by Juventino Romero Rodríguez, Juan Ramirez, Juan Ramirez Jr., and Ivan Nava.

“Tilingo Lingo,” by Lino Carrillo, arranged by Juventino Romero Rodríguez. Performed by Juventino Romero Rodríguez, Juan Ramirez, Juan Ramirez Jr., and Ivan Nava.

“Umma Wo Beda,” traditional Nubian song, arranged by Tanya Salih. Performed by Tanya Salih, Rachael Baker, Quentin LaPorte, and Zay Alejandro Rios.

“Ezzayakom,” by Sayed Khalifa, arranged by Tanya Salih. Performed by Tanya Salih, Rachael Baker, Quentin LaPorte, and Zay Alejandro Rios.

67 Photos Artist photos: Martin Gilmore childhood photo courtesy of Martin Gilmore; Juventino Romero Rodríguez childhood photo courtesy of Juventino Romero Rodríguez; Tanya Salih childhood photo courtesy of Tanya Salih. SG4: Children playing tube trumpets by Stephanie Berger. Bucket drummer by Nan Palmero. Boy playing straw oboe by Stephanie Berger. SG7: Hand motions by Anouska Swaray. TG25: Bluegrass by oldcrowgirl. Bill Monroe by bunky pickle. TG35: Mariache. Fuente: INAH by El Museo de Arte Popular Asociación de Amigos. SG19: Nubian pyramids by Mark Khogaly. Nubian archers with arrows and bows by kairoinfo4u.

Illustrations Page 9: The Listening Walk by ALIKI. Page 32: Barn Dance! by Ted Rand; Passing the Music Down by Barry Root. Page 44: Los Mariachis by Euliser Polanco. Page 57: Brothers in Hope by R. Gregory Christie.

All other illustrations by Sophie Hogarth.

Special Thanks Special thanks to the Denver Arts and Venues Music Advancement Fund, the Newman Center Community Advisory Board, the Newman Endowed Fund for Experiential and Cultural Learning, and all donors who took part in the 2018 One Day for DU Campaign. Very special thanks to Lauren Dennis, former Assistant Director for Learning and Community Engagement, for coordinating the pilot year of Musical Explorers in Denver.

68 Track List soundcloud.com/user-280287732 or newmancenterpresents.com/musicalexplorers Carnegie Hall Musical Explorers Song Lluvia de San Juan Chorus

Musical Explorers Song - Accompaniment Lluvia de San Juan Instrumental

Uncle Pen Tilingo Lingo

Uncle Pen Chorus Tilingo Lingo Pronunciation

Bluegrass instrument demo - guitar Tilingo Lingo Chorus

Bluegrass instrument demo - mandolin Tilingo Lingo Rhythm Layer 1

Bluegrass instrument demo - banjo Tilingo Lingo Rhythm Layer 2

Bluegrass instrument demo - fiddle Umma Wo Beda

Bluegrass instrument demo - bass Umma Wo Beda Pronunciation

Bluegrass Jam Umma Wo Beda Chorus

In The Pines Ezzayakom

In The Pines Chorus Ezzayakom Pronunciation

Lluvia de San Juan Ezzayakom Chorus

Lluvia de San Juan Pronunciation Nubian Pentatonic Scale

Major Pentatonic Scale

newmancenterpresents.com/musicalexplorers