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Music in Motion ORLANDO PHILHARMONIC ORCHESTRA | 2015 YOUNG PEOPLE’S CONCERTS
“The Orlando Philharmonic Orchestra is sup-ported by United Arts of Central Florida, host of power2give.org/centralflorida and the collaborative Campaign for the Arts.”
Guidebook Order Welcome Letter 3 Meet the Contributors 4 Using This Resource Packet 5 Remember the Classroom Teachers 5 Saying “Thank You” 5 How to Be the Best Audience You Can Be! 6 Star Spangled Banner Procedure 6 Star Spangled Banner 7 Hungarian Dance No. 5 (Johannes Brahms) 8 Adele’s Laughing Song (Johannes Strauss II) 11 Molly on the Shore (Percy Grainger) 14 Le Tombeau de Couperin “Menuet” (Maurice Ravel) 17 Sabre Dance from Gayane (Aram Khachaturian) 20 3 Nigerian Dances (Samuel Ekpe Akpabot) 23 Hoedown from Rodeo (Aaron Copland) 26 Mambo from West Side Story Overture 29 (Leonard Bernstein) Variations on a Shaker Melody (Aaron Copland) 32 Simple Gifts (Joseph Brackett) 33 Libertango (Astor Piazzolla) 35 Chinese Folk Dance Suite (Chen Yi) 39 NGSSS Lesson standards 41 Extra Resources 42
Table of Contents
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By Continent Africa 3 Nigerian Dances, Movement 1 (Nigeria) Asia Sabre Dance from Gayane (Soviet Armenia) Chinese Folk Dance Suite (China) Australia Molly on the Shore (Australia/United States) Europe Hungarian Dance No. 5 (Hungary) Adele’s Laughing Song (Austria) Le Tombeau de Couperin, Menuet (France) North America Hoedown from Rodeo (United States) Simple Gifts (United States) Variations on a Shaker Melody (United States) Mambo from West Side Story Overture (United States) South America Libertango (Argentina)
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Dear Philharmonic Friend, We are so excited to share the 2015 Young People’s Concert, Music in Motion, with you! For many kids, the Young People’s Concerts are the first time they get to see a live symphony orchestra. For all of us, however, the YPCs are more than a simple concert. We get to collaborate with our friends from the Orlando Ballet, interweaving live music with outstanding ballet by Khachaturian and Ravel. Your heart will leap with Orlando Ballet as they present the thrilling Sabre Dance. Your students will be enchanted by the delicate Le Tombeau de Couperin, an homage to Francois Couperin that harkens to a simpler dance style, the Minuet. We will accompany Sarah Stead, performing the uproarious Mein Herr Marquis (better known as Adele’s Laughing Song) in which the maid Adele is trying to convince her boss that she’s a noblewoman, laughing through music at every argument he makes. Our own concertmaster, Rimma Bergeron-Langlois, will perform an excerpt from the Chinese Folk Dance Suite, a rousing work that reflects the Silk Road influence on traditional Chinese melodies. If that weren’t enough, every musician gets to play their part, presenting music from around the globe, including inspired works by Bernstein, Piazzolla, Copland, and Brahms. Get ready to tap your toes, snap your fingers, and dance in your seats to some of the most exciting dance music from around the world!
Gratefully,
Dr. Leia Barrett Director of Education Orlando Philharmonic Email Address 407.896.6700 x 232 Lisa Hewitt Guidebook Contributor Westbrooke Elementary Email Address Brahms (8) Chen Yi (39)
Sarah Overton Guidebook Editor Philharmonic Intern Stetson University Student
Contributors
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Rebecca Brown Guidebook Editor Little River Elementary Cynthia Krulick Guidebook Contributor Dommerich Elementary Email Address Akpabot (23) Khachaturian (20)
Rachel Robertson Guidebook Contributor Kissimmee Elementary Email Address Strauss (11)
Mary Crisman Guidebook Contributor Lake Silver Elementary Email Address Piazolla (35) Simple Gifts (33)
Katherine Miller Guidebook Contributor Three Points Elementary Email Address Copland (26) Grainger (14)
Jennifer Sullivan Guidebook Contributor Audubon Elementary Email Address Bernstein (29) Ravel (17)
USING THIS RESOURCE PACKET The Philharmonic is providing both physical and interactive materials. The guidebook and a Prezi can be found at www.orlandophil.org/ypc In addition:
All materials (recordings, interactive PowerPoints, etc.) can be accessed at http://1drv.ms/1Warwb6 All materials in this packet can be used in a variety of ways: e.g.,
copied for students, made into transparencies, projected onto a screen, made into packets to be used as manipulatives For questions regarding this teacher resource guide contact the
teacher listed on the individual work. For general inquiries contact [email protected].
CONCERT FEEDBACK Please go to the following survey and complete after you’ve attended the concert: Orange Packet: https://www.surveymonkey.com/r/GWVWD25
Osceola Packet: https://www.surveymonkey.com/r/GWBY5YC
REMEMBER THE CLASSROOM TEACHERS Taking the time to make sure the classroom teachers are informed about concert etiquette will pay off during the field trip. Don’t assume that just because they’re adults they know how to behave at an orchestra concert! Provide classroom teachers with ways to integrate the information into their classroom curriculum. Consider playing short excerpts of the pieces during morning announcements or making CDs available to the teachers to play in their classrooms during quiet study times.
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SAYING “THANK YOU!” The Orlando Philharmonic (and the Orlando Ballet) love to get thank-you cards from students! Consider writing a short note to ex-press your thanks. You might share what your favorite song was and why; draw a picture of your favorite part of the ballet or opera selections. Send all thank you notes either address listed below.
The Young People’s Concert series is only possible with the support of many different groups of people. You can show how much you value this experience by sending thank-you notes to your school/district administration, school board members, and United Arts of Central Florida.
Orlando Philharmonic Offices: Orlando Philharmonic Orchestra Attn: Young People’s Concerts
425 N. Bumby Avenue Orlando, FL 32803
Orlando Ballet Offices:
Orlando Ballet 415 E. Princeton Street
Orlando, FL 32803-1453
United Arts of Central Florida 2450 Maitland Center Parkway #201
Maitland, FL 32751
HOW TO BE THE BEST AUDIENCE YOU CAN BE! In addition to introducing your students to music, attending the Young People’s Concert teaches students how to be a receptive cultural audience. Take time to tell your students that appreciation is shown in a different way when attending a symphony concert. Teach your students that the best way to show appreciation is by clapping because it leaves their ears free to enjoy the music. The Philharmonic provides all coordinators with MP3s of the excerpts your students will hear. We encourage you to listen to those samples a few times before attending for following reasons:
Your students will learn more at the concert. Classical music is often complex; most musicians can listen to the same piece several times and hear something different!
Your students will be amazed at the difference between hearing a recording and attending a live performance. For many professional musicians, the power of live music inspired them to make music a part of their life.
We want your students to feel comfortable at the concert. By listening to the music beforehand, they often have a better idea when it ends and therefore less likely to clap early.
Listen carefully, and wait until the end of each piece to clap (or make other noises), unless the conductor or narrator instructs you to do so during the music.
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STAR-SPANGLED BANNER Each school gets to choose two students (one boy and one girl) to sing the Star-Spangled Banner on stage. (Some teachers have found this is a good incentive for their most well-behaved students.) As soon as you arrive, a chaperone needs to escort your singers backstage (the backstage door is on the left as you look at the stage). It is a good idea to make sure the students know where their class is sitting prior to going backstage. Administration members from the Orlando Philharmonic will give the accompanying adults the student certificates before the concert begins to ensure they arrive safely.* Star-Spangled Banner singers will file onto the stage and the audience should stand up and sing along. Watch the conductor to know when to start singing and when to stop. After the SSB, the singers will exit to the left side of the stage and a chaperone should escort the singers back to their seats. *Teachers- please e-mail the names of your two students to [email protected] at least 2 business days prior to the performance. We want every child to receive their certificate and want them to be able to have it the day they arrive. If a child is unable to perform for any reason, talk to the Philharmonic representative the day of to make arrangements..
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Star Spangled Banner Lyrics by Francis Scott Key (1779-1843) Music by John Stafford Smith (1750-1836)
History of the Star Spangled Banner The Star Spangled Banner was written as a poem by Francis Scott Key, a lawyer from the state of Maryland. During the War of 1812, Key had accompanied British Prisoner Exchange Colonel John Stuart Skinner onto a British ship, the HMS Torrent. While negotiating the release of American prisoners, Key and Skinner were not allowed to leave the ship because they had seen the position of British ships who were about to attack. Key and Skinner were forced to watch the bombing of Ft. McHenry all night during the Battle of Baltimore. In the morn-ing, Key was amazed to see that the American flag was still waving and was inspired to write “Defence of Fort M’Henry.” Key eventually set the lyrics to the song “To Anacreon in Heaven” and it became better known as “The Star Spangled Banner.” The Star Spangled Banner was made the official national an-them of the United States of America in 1916 by President Woodrow Wilson.
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Hungarian Dance No. 5 Johannes Brahms (1833-1897)
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About Johannes Brahms Born in 1833 in Hamburg, Germany Started composing at age 11 Romantic Period composer Composed symphonies, concerti, cham-ber music, piano works and choral com-positions One of the Three Bs of Music: Bach, Beethoven and Brahms Compositions were greatly influenced by Hugarian Folk and gypsy music
About Hungarian Dance No. 5 Hungarian Dance No. 5 is the most famous of the 21 Hungarian Dances composed by Brahms. He was inspired to write the dances after hearing the music of Hungarian gypsy bands. Gypsy music is energetic, with quick pulsing tempos and dramatic string melodies. Hungarian Dance No. 5 is based on a violin tune and a folk dance called a czardas /ˈzɑrdəs/, popularized by gypsy musicians. One notable characteristic is the variations in tempi. The form of this piece is: AABBCDAB Coda Brahms originally composed Hungarian Dance No. 5 for piano, but the piece has been arranged for many different instruments and ensembles, including full orchestra. The Hungarian Dances were extremely popular during Brahms’ lifetime, and are commonly performed today.
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Hungarian Dance No. 5 Classroom Activities
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Activity No. 1: Dance In Circle Formation Partners will be next to each other with scarves in hand The form of the piece is: AABBCDAB Coda
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Links of interest: http://www.classicfm.com/composers/brahms/guides/brahms-facts-great-composer
https://www.sfcv.org/learn/composer-gallery/brahms-johannes http://makingmusicfun.net/htm/f_mmf_music_library/hey-kids-meet-johannes-brahms.htm http://listeninglessonsunlimited.com/Brahms_Hungarian_Dance_5_-_Lesson_Plan.html
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Hungarian Dance No. 5 Classroom Activities
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Additional Listening Activities: Hungarian Dance No. 5 is a wonderful piece to discuss the tempo and tonality/mood changes.
Create a listening page or use the OWL Observations While Listening) page provided in the “extra resources” section.
Have tempo cards or tempo pointing page for students to demonstrate understanding of tempi. Discuss student choices and how the changes create interest and excitement. Ask if composers select tempi with intent.
Let the class choose a song to sing while a student leader changes tempo using tempo cards. Discuss how it worked and if it was done randomly or with intent.
Extra Resources: http://www.classicfm.com/composers/brahms/guides/brahms-facts-great-composer https://www.sfcv.org/learn/composer-gallery/brahms-johannes http://makingmusicfun.net/htm/f_mmf_music_library/hey-kids-meet-johannes-brahms.htm http://listeninglessonsunlimited.com/Brahms_Hungarian_Dance_5_-_Lesson_Plan.html
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Adele’s Laughing Song Johann Strauss II (1825-1899)
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About Johann Strauss II Born 1825 in St. Ulrich, Austria Strauss was a violinist, composer, and conductor Romantic Period composer Known as “The Waltz King” - composing over 500 waltzes, polkas, and quadrilles in 1863, Johann Strauss II became the Music Director of the Royal Court Balls in Vienna
About Die Fledermaus Die Fledermaus is a comic opera. Gabriel von Eisenstein, a noble, has been sentenced to spend time in jail for insulting an official. Meanwhile, his maid Adele has been invited to a ball and pretends she has a sick aunt, asking to take time from her position to care for the aunt. Arriving at the ball in disguise due to her status, Adele discovers that Eisenstein is at the ball and she needs to hide her identity. Mein Herr Marquis begins when Eisenstein suggests that Adele is one of his servants. She denies it and makes fun of Eisenstein through song. Mein Herr Marquis is also known as Adele’s Laughing Song because it features a repeated laughing section. The aria will be sung in the original German in its entirety. The translation is provided in the “Extra Resources” section.
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Adele’s Laughing Song Classroom Activities
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Activity No. 1: Vocal Acrobatics 1) Play the song Mein Herr Marquis for the students. Explain that the song is sung in a foreign
language, but their task is to identify the mood of the piece. What evidence do they have to back up their hypothesis?
2) Give the background information about this piece of music. How does the composer’s intent compare/contrast from their hypothesis?
3) Define and discuss the term melisma. In opera music, singers use various techniques to set the mood and demonstrate their vocal ability. One of the techniques featured in Mein Herr Marquis is the melisma – singing a group of notes on one syllable; a melodic embellishment or “run”.
4) Play the melisma at the end of the song (~2:50 to the end). Lead a brief class discussion about the features of this vocal technique, directing your students to observe that the singer stays on the same syllable but glides her voice up, down, and all around. Melismas are often used in songs that have multiple verses as a way to add interest to the melody. The melisma technique is not only used in opera, but in many genres of vocal music. Pop music icons like Whitney Houston, Mariah Carey, and Christina Aguilera are famous for their ability to sing melismas.
5) Practice! Using the Vocal Acrobatics Cards found in the “Extra Resources” section, have the
students perform the contours on a single syllable such as “oh”, “oo”, or “ah”. Notice the vocal control that is required to perform melismas. Singers must have good breath control to sing such a long phrase on one breath, and must have strong core muscles in order to have such flexible vocals.
6) Create and Perform! Using a familiar song such as Happy Birthday, insert one or two melis-
mas into the song. Choose a few words that will feature the melisma and select a Vocal Acrobatics Card to perform on that syllable.
7) Listening Challenge! Play Mein Herr Marquis once more and have the students raise their
hands each time they hear a melisma.
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Adele’s Laughing Song Classroom Activities
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Articulation 1. Before listening to the song Mein Herr Marquis, introduce/review the terms staccato and legato
and define each for your students. 2. As you listen to the song, ask the students to identify where in the song they hear staccato
phrases. Listen to the “laughing” phrases once more to confirm what the students hear. 3. Display the Articulation Cards, directing attention to the notation for staccato and legato
articulation. Explain that musicians use these markings throughout music to add contrast to the notes they play or sing.
4. Practice! As a class, have the students sing the Articulation Cards on the syllable “Ha”. Create
simple hand gestures that will help demonstrate staccato and legato as they sing. 5. Drama! Divide the class into two groups to have a conversation using the Articulation Cards. Display 4-8 cards on the board. Group 1 will read the odd measures, Group 2 will read the even measures, then switch. Invite the students to perform in character, (ex. Cow and Chicken or Parent and Child) with a complimentary syllable (ex. “moo” and “bok” or “Sh!” and “Wah!”) 6. Movement! Next, invite students to find their own personal space. Distribute scarves or ribbon
streamers to students. The Teacher will lead the class in performing simple scarf/ribbon move-ments with the staccato and legato phrases in the song Mein Herr Marquis (Teacher will need to be familiar with this piece). Encourage students to really emphasize the articulation of the phrases.
7. Create and Perform! Instruct the students to find a partner. Using the Articulation Cards (or
improvisation) and their scarves/ribbons, the students will have their own conversation with their partner with voice and movement. Suggest that students may use the character pairs that were previously practiced, but encourage the students to create their own characters!
Molly on the Shore Percy Grainger (1882-1961)
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About Percy Grainger Born in Australia to an English father and Australian mother Grainger showed a talent for painting and music, eventually learning the piano. Grainger eventually left Australia to study music in Germany After graduating, Grainger moved to England where he was a part of high society, regularly performing for royalty At the start of WWI, Grainger relocated to the United States Grainger often presented classes and recitals about music from other cultures, a passion reflected in the worldly sources of much of his music.
About Molly on the Shore Molly on the Shore combines two Irish Reels; “Temple Hill” and “Molly on the Shore.” It is likely that the work was called Molly on the Shore because that melody is used most often. It was originally written in 1907 for strings and in 1920 was arranged for wind band. Today there are many different arrangements for small ensembles and full orchestra. The original string version was composed by Grainger for his mother as a birthday gift.
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Molly on the Shore Classroom Activities
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Temple Hill 1. 1st 8 – The couple on the end of the row promenades down the aisle for 4 counts and
then promenades back to their spot for the last 4 counts. 2. 2nd 8 – The couple on the opposite end of the row promenades down the aisle the
same way as the other pair. 3. The other two times that Temple Hill comes up, the next pairs in the rows on opposite
ends will go. You are moving inward so that other groups have a turn to promenade down.)
(See “Form Guide” in the “Extra Resources” section for the full form of the work)
Activity No. 1: Folk Dance for Reel Tunes
Dance in Sets of Eights – Students in Pairs in one long line. Molly on the Shore 1. 1st 8 – Step back 4 counts, step forward 3 counts and double high five on count 8. 2. 2nd 8 – Keep palms up and turn for 8 counts ending up back in your original spot
(360 degree turn) 3. 3rd 8 – Opposite palms with your partner for an 8 count turn 4. 4th 8 – Switch palms with your partner and turn the opposite direction for an 8 count turn On the 4th time you hear Molly on the Shore there is only 17 measures so you will only do the first two dance sets and on the final chord students can decide what to do there (collapse, double high five again, fist bump, etc.)
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Molly on the Shore Classroom Activities
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It is not necessary to play the entire clip; a minute will be enough to begin a discussion for critique.
Some good topics for discussion include:
Musical interpretation (timbre, tempo, rhythm, dynamics) How are the arrangements the same/different? Which arrangement do you prefer and why? Do any of the arrangements sound easier or more difficult to play than the others? Why/why not?
(See the “Extra Resources” section for a thinking map to use with this activity)
Activity No. 2: Instrument Family Performance Critique Molly on the Shore, originally a string quartet, has been arranged into several different instrumentations, most commonly with woodwinds and strings. After your students have listened to the original work, have them listen to the following arrangements, comparing and contrasting the work. Clarinet Family https://www.youtube.com/watch?v=kEXMod_dqyE (Live Performance) String Family https://www.youtube.com/watch?v=xx9sUVwoZ7I (Live Performance) Saxophone Family https://www.youtube.com/watch?v=FFYvWoyS1OA (Arrangement in which the creator recorded all parts and then spliced on top of the other. Includes still images.) We recommend watching the clarinet and string family performances with your students.
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Le Tombeau de Couperin “Menuet” Maurice Ravel (1875-1937)
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About Le Tombeau de Couperin Le Tombeau de Couperin (“The memorial piece for Couperin”) was intended as a lighthearted homage to the Baroque French keyboardist and composer Francois Couperin (1668-1733). Paying respects to Baroque ornamentation and Couperin’s melodies, Ravel incorporates both into his own unique setting of modal harmonies and chro-matic voicings.
About Maurice Ravel Born in 1875 in Ciboure, France Ravel was a conductor, composer, and pianist Ravel was a student of the Paris Conservatoire Ralph Vaughn Williams was among Ravel’s few students In the 1920’s and 30’s, Maurice Ravel was considered “France’s greatest living composer”
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Le Tombeau de Couperin “Menuet” Classroom Activities
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Activity 1 Variation: There is a YouTube version of “Journey” by Aaron Becker https://www.youtube.com/watch?v=sSYVGnZ5kI8
1) Adjust the playback speed to 1.5 (click on settings button) and mute the volume
2) Start the video and then immediately start the recording of Le Tombeau de Couperin.
3) Pause the video at 5:59 and allow the recording to finish.
4) Have a discussion with the students about the musical elements such as timbre, dynamics, tempo,
and melody that they experienced.
Activity No. 1: Music in the background “Menuet” from Le Tombeau de Couperin by Maurice Ravel is a beautiful example of Ravel’s “neoclassical” composition style. A nice first presentation of this piece is to accompany it with a picture book. “Journey” by Aaron Becker is a 2014 Caldecott Honor Book in which a lonely girl draws a magic door on her bedroom wall and escapes into a world of beauty and adventure. The book works perfectly with “Menuet” and because it has no words, the music really shines through the pages. Simply start the recording and turn the pages. It is best to practice a few times before presenting to help students link the page turns with the musical elements the book illuminates.
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Le Tombeau de Couperin “Menuet” Classroom Activities
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Activity No. 2: Focus on the Woodwind Family “Menuet” features the oboe, a double reed instrument in the woodwind family. Share this video link with the students Instruments in Depth: Oboe. http://www.bsmny.org/exploring-music/features/iid/oboe/ Other instruments that are clearly heard include the Harp (2’00”) the Flute: (Beginning to 0:25) , and the Strings (0:23” – 0:43). Students can hold up instrument cards (See Extra Resources) to demonstrate they rec-ognize the timbres of the oboe, flute, strings and harp as they listen to the recording of Le Tombeau de Couperin: “Menuet”. Ask the students which card (family) they did not hear in this recording.
FRANCE
Extension: Recorder Activity The opening theme of “Menuet” from Le Tombeau de Couperin is a beautiful melody for your more experi-enced recorder players to learn. There are five levels to extend the students range and empower their musicianship. (See Extra Resources Section for Accompanying Materials) 1. The basic part with the optional B is a nice way to introduce F# to players who know BAGED’C’.
2. Once the students are comfortable with this simplified version, challenge them to add high E (these are notes needed for the All-State Orff Ensemble audition).
3. The intermediate part fills in the spaces between the notes to bring the students closer to the theme. The theme is just like the part in the score but without two grace notes.
4. Once your shining stars can play the theme, have them add grace notes to the D on beat one of measure one and the G on beat two of measure 3 and they will be playing just what the oboe plays.
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Sabre Dance from Gayane Aram Khachaturian (1903-1978)
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Born in Tbilisi, Georgia to an Armenian family Growing up, he was exposed to folk music from different cultures, as well as the Russian Music Society and the Italian Opera Theatre. As a young man Khachaturian debated between becoming a doctor or engineer. At age 19, he moved to Moscow and studied cello while he earned a degree in biology. He did not learn to read music until he was 19! He composed music for orchestra, ballet, plays and films. In 1944, he wrote the National Hymn of Armenia.
About Sabre Dance The ballet Gayane is set on a farm in Armenia. Gayane is a hard working woman married to a lazy man named Giko. Giko plans to steal public money, and when Gayane tries to stop him, he locks her up. Giko’s illegal plot is thwarted with the help of Kazakov, a Soviet frontier guard, who arrests Giko and brings him to justice. The Sabre Dance, which occurs near the end of the ballet, is a wedding celebration for Gayane and Kazakov. It is based on a traditional ethnic folk dance where men display their skill with sabres (swords). The plot of the ballet changed over the years, reflecting the political movement of the Soviet Union of the time, including Joseph Stalin’s mandate that composers only write music for the “masses.” At a time when Stalin’s “Department for Agitation and Propaganda” renounced Soviet composers such as Shostakovich, Prokofiev and Khachaturian, many tried to stay true to their artistic instincts while satisfying political whims. The music for Sabre Dance is well–loved around the world and found in everything from movies to commercials. Khachaturian integrated folk melodies and dance music when writing the score for Gayne. The choreography featured both classic ballet and folk dance traditions, which was very unusual for the time.
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Sabre Dance from Gayane Aram Khachaturian (1903-1978)
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Lesson A: Focus on melody, composer, ballet
Review/define melody: it contains notes that go up, go down, or stay the same (repeat). T (teacher) plays melodic phrases on recorder or other instrument. S (students) make mo-tions with hands to show whether melody goes up, down, or repeats. Let’s make a prediction: Do think a melody with mostly repeated notes would be boring? Why or why not? Listen to beginning of Sabre Dance. Identify that melody in A section is mostly repeated notes. What makes this music exciting? (tempo, dynamics, instruments) Do you think the composer would use only repeated notes for the entire piece? Listen to whole piece and discuss the melody. Give biographical information on Aram Khachaturian. Include that his city was a vibrant culture center with many different types of folk music. Give brief synopsis of the story of the ballet. Discuss ways ballet tells a story (dance, cos-tumes, music, scenery, but no talking.)
Suggested Online Resources: Traditional performance by Berlin Philharmonic. Includes close ups of featured instruments. https://www.youtube.com/watch?v=mUQHGpxrz-8&feature=youtu.be Ballet performance including impressive performance by men with sabres. Ballerina enters on B section with flowing dance that complements legato melody. https://www.youtube.com/watch?v=rDnJ8JlPieU&feature=youtu.be Boomwhacker Orchestra! https://www.youtube.com/watch?v=rM1b37BU8E8&feature=youtu.be&list=RDrM1b37BU8E8 Contemporary performance with David Garrett. https://www.youtube.com/watch?v=99gCRAzUEWU&feature=youtu.be NOTE: A listening map is available as an extra download (See “Extra Resources” folder)
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Sabre Dance from Gayane Aram Khachaturian (1903-1978)
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Lesson B: Focus on form, staccato and legato. Movement and parachute activity VOCABULARY: melody, composer, sabre, ballet DQ4#22. Engaging students in cognitively complex task involving hypothesis generation Preparation: Movement exploration 1. Stand in own your space. 2. Glue your feet to the ground. 3. Move to show what you hear. 4. (T plays piano or other instrument with music that is clearly only staccato, then only legato). 5. Pause music. 6. Ask students to tell you what they heard (use vocabulary words staccato and legato and other words
to describe the music). Suggested variations to encourage creative movement: 1. Don’t move your arms 2. Use different levels of movement (reach up high, in the middle, bend down low) 3. You may move your feet Complement students on their creative ideas, and then direct the class to perform the same movements: small tip toe steps (locomotion) for staccato, swaying arm movements for legato. Review/label form. Listen to Sabre Dance with listening map (included in “Extra Resources”) while seated. Use small hand motions to show the contrasting melody in the A and B sections. (A is staccato, B
Parachute/scarf activity: Divide class into two groups, parachute (staccato) and scarves (legato). 1. Practice basic movements without parachute and scarves. (Tip toe in circle for A melodic phrases, legato hand motion on trombone
rainbow, changing levels in the Coda.) 2. Perform with parachute and scarves as follows: Parachute team holds the parachute with left hand. Scarf team stands in circle outside
of parachute and strikes a pose. INTRODUCTION: Stand in one place. Make small bounces bending knees. A: Parachute group moves counterclockwise, with small tip toe steps, on staccato melody. On trombone rainbow stop moving, make small poof with parachute, then change hands on the scarf to switch directions. Scarf (legato) team moves only on trombone rainbow. B: Parachute is held high (standing still). Scarf team moves under the parachute in flowing motion to show legato melody. (You might need to devise a system where only two people go at a time, depending on how many people you have.) BRIDGE: both groups stand in one place with small bouncing pulse. A: Movement same as first A. (There is a slight variation in the melody, but just keep going!) CODA: standing in one place: hold parachute high, gradually bring down on descending melody, pulse on ground, then gradually bring up on ascending melody, On final chord, let go and throw parachute in air. Scarf group tip toes around outside of circle, changing level with body, to match the melody. Throw scarf in air on final chord.
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3 Nigerian Dances, Movement 1 Samuel Ekpe Akpabot (1932-2000)
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About Samuel Ekpe Akpabot Born in Uyo, Akwa Ibom State, Nigeria. Akpabot learned about European music in his church and at King’s College at the age of 11. Akpabot left Africa to study organ and trumpet in London at the Royal College of Music. After graduating he returned to Nigeria, working as a composer, broadcaster, and a college music professor. He is known as an expert on African musical traditions. His compositions include influences from both African and Euro-pean musical traditions.
About the 3 Nigerian Dances Akpabot wrote Three Nigerian Dances to introduce the rest of the world to vibrant African dances. He called them “jolly good fun.” Akpabot was inspired by Dvorak’s Slavonic Dances to take traditional melodies and rhythms from African folk music, such as call and response and strong rhythmic motives, and write music for or-chestra. Since music on African instruments does not traditionally modulate, the Nigerian Dances do not use traditional classical sonata form. For more information about Akpabot and his life, visit: http://chevalierdesaintgeorges.homestead.com/Akpabot.html
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3 Nigerian Dances, Movement 1 Classroom Activities
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3 Nigerian Dances, Movement 1 Classroom Activities
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Lesson D: Compare compositional characteristics Compare compositional characteristics to Molly on the Shore. Both pieces feature rhythm as a primary characteristic. In Nigerian Dances, there is one main rhythmic motif, while Molly on the Shore features themes from two different folk songs. Learning Extension: https://youtu.be/oPp3FiJpg0k Sammy Akpabot and his All Stars Band https://youtu.be/zOToY4p7APE Pastorale Scenes from Nigeria by Samuel Akpabot for clarinet and piano. Beautiful scenes
from Nigeria with Akpabot’s music playing.
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Hoedown from Rodeo Aaron Copland (1900-1990)
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About Aaron Copland Born in Brooklyn, New York Parents were Russian-Jewish immigrants Sister was his first music teacher His music included elements of American folksongs Wrote a variety of musical works, including music for ballets Copland is considered to be the “Dean of American Music.”
About Hoedown from Rodeo
Aaron Copland write the ballet Rodeo for choreographer, Agnes de Mille. She sought out Copland after she heard his work with the ballet, Billy the Kid. She was very interested in creating choreography that was “outside” the classical realm of ballet. The ballet and music premiered on October 16, 1942. Agnes de Mille played the lead herself and the premiere performance received 22 curtain calls!! Arguably, the most famous piece from the ballet, Rodeo is Hoe-down. This piece became famous when America’s Beef Producers launched a campaign with excerpts from this piece for their nationwide marketing campaign. Aaron Copland used 2 different folk tunes to create the themes and counter themes. Bonaparte’s Retreat and McLeod’s Reel are arranged to create one tune that showcases the main character Cowgirl winning over the heart of not only the Cowboy Wrangler, but everyone else in the room!
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“Hoedown” from Rodeo Classroom Activities
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Hoe-down – Ribbon Streamer Lassos: The form of Hoedown is up for discussion, but for these activities this is the form used . . . Introduction – 0:00 – 0:39 A – 0:40 – 1:37 B – 1:38 – 2:03 C – 2:04 – 2:22 Grand Pause – 2:23 Interlude – 2:25 – 2:48 A – 2:49 – 3:15 Coda – 3:16-End Introduction – Improvise Lasso Tricks. Remind students that you should not hear a whipping noise. You are a cowboy, not Indiana Jones. ☺ A section B section Whip Up – 4 counts Fire (small circles) – whip up – 4 counts (3X) Wipers – 4 counts Big Figure 8 – 6 counts Whip Up – 4 counts Little Figure 8 – 16 counts Wipers – 4 counts Fire (small circles) – whipe up – 4 counts (3X) Left circle – 8 counts Big Figure 8 – 6 counts Right circle – 8 counts (Then repeat this part) Lasso up over head – 4 counts (Full orchestra comes in) C section Throw lasso – 4 counts (Then repeat Lasso move) Big Lassos (giant circles) – 16 counts Whip up/Wiper Combo – 3X Squiggles Across – 16 counts Continue wipers until the B section 2 Big X’s – 4 counts HAND TO EAR – for the grand pause to know that it’s NOT OVER! Interlude Improvise lasso tricks and as the tempo slows the cowboys get tired! A section Same as the first time except for these two changes… Right Circle will not happen Whip up/Wiper Combo – only once Coda Flourish Ribbons – 20 counts Shout BEEF Zorro move on the last 3 counts
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“Hoedown” from Rodeo Classroom Activities
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Hoedown Rhythm Exercise You could use a variety of timbres with this rhythm. Since most of the rhythms are supposed to emulate a galloping horse we recommend drumsticks and beat board.
FORM: INTRO, A | B | C Interlude | A | Coda
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EXTRA ACTIVITY: Hoe-down – Vimeo Stop Motion Video: https://vimeo.com/5020134 This is a very cool video that a student made as a final art project! They use sheet music and create different western scenes by folding the paper and then make them move my stop motion. And Hoedown is the background music. It is fascinating!
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“Mambo” from West Side Story Leonard Bernstein (1918-1990)
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About Leonard Bernstein Born in Lawrence, Massachusetts He attended Harvard University, and the Curtis Institute of Music In 1957, Bernstein became the conductor of the New York Philharmonic Leading advocate of new American music, particularly Aaron Copland Accomplished conductor, pianist, and composer Recorded 14 seasons of Young People’s Concerts with the New York Philharmonic
About West Side Story West Side Story is a modern adaptation of William Shakespeare’s Romeo and Juliet that explores the social tensions between two opposing street gangs: the “Sharks” and the “Jets.” Tony, a former member of the Jets falls madly in love with Maria, the sister of the Shark’s leader Bernardo. The two star-crossed lovers meet for the first time at a neighborhood dance, where the song Mambo is first heard. Leonard Bernstein’s Mambo is a sampling of the diverse melodies that Bernstein wrote for this musical. The piece incorporates the iconic syncopated rhythms of traditional Latin music with a jazz orchestra.
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“Mambo” from West Side Story Classroom Activities
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Activity 1: Music Reflects Culture “Mambo” from West Side Story by Leonard Bernstein is a splendid example of Latin influence in American popular culture and music. Listen to this clip from the film adaptation of the musical theatre sensation “West Side Story” http://www.youtube.com/watch?v=kokbJvSEMUY (start at 0:55). The cowbell, timbales and bongos along with energetic, syncopated rhythms and exciting brass licks give Bernstein's “Mambo” from West Side Story its signature Latin sound. Latin influences in popular music were very popular when West Side Story debuted. Check out this video: The Mambo Craze: Tito Puente and Tito Rodriguez http://www.pbs.org/wgbh/latinmusicusa/index.html
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Activity 2: Sevens (a secret study in syncopation) Here is a fun and popular hand clapping game for your students to explore and create with. The ultimate goal is to get students fluent with the patterns at the tempo of “Mambo” from West Side Story. 1) Students work in groups of 4-6, practicing collaboratively at their own tempo and gradually increasing their tempo to around 108 bpm in cut time. A Pat knees seven times (two sets) B Pat-clap-pat-clap-pat-clap-pat (two sets) C Pat-clap-snap-pat-clap-snap-pat (two sets) D Pat-cross-pat-clap-snap-clap-pat (two sets) Have students decide a form by choosing 8 phrases (require them to use all 4 at least once) Have students design their own 7-pattern and incorporate that into a form of 8. Have the students perform their creations with the recording of “Mambo.”
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“Mambo” from West Side Story Classroom Activities
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Teacher directions (Overview) 1) Have students walk through shared space on quarter note pulse. Add clapping on eighth note
pulse with students counting to 8. Ask students to accent beat 3. 2) Next, have them accent 3 and 6. Have students select another number in addition to 3 and 6.
Continue to have the students select numbers 18 to create syncopations. 3) Divide class into 5 groups. Each group is responsible for 8 microbeats performed on 2 levels of
body percussion. 4) Students can notate their rhythm using the onebeat cards (see p. 10 of packet) All groups select
correct part from the score. Groups 2 and 3, and 4 and 5 are responsible for teaching each other their pattern and then combining them. Group 1 is responsible for the Mambo pattern. Group 1 is responsible for teaching Groups 2/3 and 4/5 the Mambo pattern.
5) Layer all three parts and perform 4 times followed by Mambo in unison. 6) Transfer to bongos, 2 sizes of tubanos with sticks (2 sets), and 2 agogo bells (gankogui or
cowbell work, too).
Activity 3: Latin Rhythm Study for "Mambo" Teacher overview packet (Available for download; see “Latin Rhythm Study for “Mambo”) Groups 1 5 Assignment Sheets (With Teacher Overview Pages) Rhythms for notating patterns (p. 10)
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Appalachian Springs Aaron Copland (1900-1990)
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About Appalachian Springs The ballet Appalachian Spring was written by Copland in 1944. It tells the story of the life of a newlywed couple living in Pennsylvania during the 1800s on a pioneer settlement. It was originally scored for a 13- piece chamber ensemble but has since become popular as an orchestral work. The Shakers are a religious group, originally an offshoot of the Pilgrims. The movement your students will hear, Variations on a Shaker Melody, is based on a shaker hymn call “Simple Gifts.” Variations on a Shaker Melody is in theme and variation form, which means that after the tune or theme is first stated then followed by a series of five variations. In the variations the musical material is explored by the composer using techniques such as changing the instrumentation and the rhythm, adding additional layers of accompaniment and countermelody, and changing the character of the tune.
About the Shakers and Simple Gifts Simple Gifts is a Shaker dance song composed by Joseph Brackett; the word “turning” at the end of the song indicates a dance move. Simple Gifts was largely unknown by non-Shakers until Aaron Copland used it in Appalachian Spring. The name Shakers refers to movement by the congregation during religious services. In the 1850s there were over 6,000 Shakers in North America; now there is only one Shaker community left in Maine. Shakers are pacifists who believe in the equality of men and women. Shakers are forbidden to have children; they often adopt orphans or take in children. Shakers had an advanced educational system; because of the high level of quality, many non-Shaker families sent their children to Shaker schools.
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Simple Gifts Classroom Activities
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Simple Gifts Simple Dance The dance begins in an alley formation. ‘Tis the gift to be simple, ‘tis the gift to be free ‘Tis the gift to come down where we ought to be Line A steps forward 4 steps, towards line B, and then back 4 steps to its starting position. And when we find ourselves in the place just right ‘Twill be in the valley of love and delight Line B steps forward 4 steps, towards line A, and then back 4 steps to its starting position. When true simplicity is gained Partners (facing each other across) execute a half Allemande Right (switching places). To bow and to bend Everyone bows or curtsies Students can also choose to do a sweeping bow: one foot steps backwards, with a bend knee; the front foot keeps a straight leg; one arm sweeps out to the side We shan’t be ashamed Straighten and step in place twice If using the sweeping bow these two beats can be used to step the feet back together To turn, turn, will be our delight Partners execute another half Allemande Right (returning back to their original places) ‘Til by turning, turning we come ‘round right
Stately option 1: Students take 4 slow steps to turn in place, ending facing their partner Speedy option 2: Students cross one foot over the other, spinning in place for two counts (ending
facing the partner) and then march/hop in place either two slow beats (“come” and “right” or the rhythm of “come round right”, which would be three steps/hops)
Body percussion option 3: Students cross one foot over the other, spinning in place for two counts (ending facing their partner) and on “come round right” hands pat/clap/snap NO
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Simple Gifts Classroom Activities Practice the Sing Along!
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Libertango Astor Piazzola (1921-1992)
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About Astor Piazzola Argentine composer and arranger who was also a virtuoso on the bandoneon (an instrument in the same family as the accordion). Born in Mar de Plata, Argentina, but his family moved to New York City in 1925 Started playing the bandoneon at 8 years old. Moved to Argentina in 1936, performing on bandoneon with various tango orchestras. Considered the most influential composer of Tango Nuevo (new tango); in the 1950s he broke from traditional instrumentation, adding instruments such as the saxophone and the electric guitar. In 1953 his classical composition – Buenos Aires Symphony – was performed in Buenos Aires, Argentina. Some people were so offended by two bandoneons being added to the traditional symphony orchestra that fights broke out in the audience. He traveled the world, working as a composer and a performer in a number of different ensembles. He also composed music for over 50 films. He died in Buenos Aires in 1992 after being in a coma for two years (caused by a cerebral hemorrhage in 1990).
About the Tango and Libertango: A tango is a partner dance that originated in the 1890s along the border between Argentina and Uruguay (both countries are in the southern part of South America). There are many different styles of tango, but it is characterized by gliding steps punctuated by short staccato movements. Tango is often seen as a very dramatic and intense dance. In the 1980s a musical style called Tango Nuevo (new tango) started to gain in popularity. Tango Nuevo took elements of the original Argentine tango and added in other influences, such as jazz and classical music. Many fans of Argentine tango found the mixing of styles to be offensive. The song “Libertango” was a blending of the words “Libertad” (Liberty) and “Tango.” It was Piazzola’s official breaking with the old tango style in favor of composing in Tango Nuevo. To date, over 500 separate CD releases of the Libertango have been recorded, with most artists using the original melody but adding personal touches. The version performed by the Philharmonic will not include Bandoneon, but will feature the cajón, a hollow box played with the hands that usually has snares inside and is commonly used in Latin music.
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Libertango Classroom Activities
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Activity 1: “Libertango – Part Rhythms” visual
Teach the basic three rhythms. For the percussion:
Part A: the pattern of the drum set on claps/pats/etc. One body percussion.
Part B: the pattern can be broken up into levels of body percussion, if desired. The first eighth note (an eighth rest in Part A is used to illustrate a possible bass drum part. The suggestion body percussion is: stamp / 3 snaps / 2 chest pats / 2 pats
St sn sn sn ch ch p p St sn sn sn ch ch p p
For added difficulty (whether you’re planning to transfer this part on to multiple un-pitched percussion instruments, or not) you can divide the class into four groups and assign each a different body percussion pattern. (e.g. Group 1 would only do the stomp, group 2 only the three snaps, etc.)
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Libertango Classroom Activities
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Activity 2: Libertango Performances (Recorder and Orff) “Libertango – Orff Chart” Visuals Explanation NOTE: Libertango parts are both provided in a separate file entitled “Libertango Orff_Combined.” The provided charts include traditional and non-traditional notation for ease of learning. A short explanation is provided for each. In addition to arrangements suitable for Orff instruments, recorder and piano parts are also provided. Using the accompaniment tracks:
The track provided is ONLY the eighth note line, played on piano. The 16 measure pattern is repeated three times on each track. There are four tracks. They are identical except for tempo. They are at 85, 100, 115, and 130 bpm. Use the slower track as an introduction, or for lower level students; the faster tracks will up the difficulty/fun!
Performance suggestions for three times through the pattern (using accompaniment track):
Body percussion/unpitched percussion (with/without chant), add AX/BX, add SX.
Percussion, switch to AX/BX, all parts last time through Additional options are to NOT use the accompaniment tracks and either you,
or an advanced student, play the 8th note pattern on piano or recorder (the num-ber of accidentals make playing it on xylophone a challenge).
Additional pizazz can be added by bringing in additional unpitched percussion. Add a steady beat with a shaker, create a drum ostinato with your students, etc.
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Libertango Classroom Activities
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Activity 3: Bandoneon versus Accordion Although the Orlando Philharmonic’s performance will not include bandoneon, it is a crucial instrument to learn about when studying the Argentinean Tango. Many students may confuse it with the accordion— use the following videos and the accompanying worksheet (found in the “Extra Resources” section) to compare the two instruments
Extension to Activity 3: Astor Piazzolla talking about the bandoneon
https://www.youtube.com/watch?v=7z40MBS5gFk
The first 2:25 minutes of the video feature Piazzolla talking about the origination of the instru-ment, the differences between it and the accordion and how difficult it is to play the bandoneon. One of the reasons that the bandoneon is difficult is because the notes are in a random order, making it very difficult to even play a scale.
Before watching this video you may want to show your students a bit from videos 2 and 3 and take a minute to discuss similarities and differences between the accordion and the ban-doneon. IMPORTANT NOTE: From minute 0:25-0:30 Piazzolla mentions a bandoneon fact that is NOT appropriate for the classroom. If you use this video be prepared for some quick fast-forwarding. PLEASE PREVIEW THIS VIDEO BEFORE USING IT! **“The Bandoneon” worksheet can be used for review.
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Chinese Folk Dance Suite Chen Yi (B. 1953)
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About Chen Yi Born in 1953 in Guangzhou, China She was the first Chinese woman to receive her Master of Arts at the Central Conservatory of Music in Beijing At age seventeen she performed as the concertmaster of the Beijing Op-era Troupe in Guangzhou Chen Yi is a composer of contemporary classical music
About Chinese Folk Dance Suite Written for solo violin and orchestra, the Chinese Folk Dance Suite mixes the traditional western orchestra with Chinese folk tunes and instruments. The suite features three movements: The Lion Dance, YangKo, and Muqam. The Muqam is a large scale dance from the Uygur nationality in Xinjiang province of China, originated in the 15th century. Dr. Chen Yi was kind enough to provide us information about the Muqam from the Chinese Folk Dance Suite in her own words: It’s my great honor and inspiration to share my music with your musicians and audience in Orlando … The fiery dancing cumulates the sustained climax section at the end of the work, after a colorful violin cadenza. Muqam is warm, vivid and cheerful.
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Chinese Folk Dance Suite
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Activity 1: Improvisation and Movement One of the movements in the Chinese Folk Dance Suite is entitled Lion Dance. After talking about the lion dance or even watching one, divide class into small groups of 4-6. Groups should have a lion mask, large swatch of material or scarf canopy, various unpitched such as finger cymbals, tambourine, woodblock, hand drum. In each group, 2 students will be lion and others will be percussionists. As the lion moves, the percussionists improvise based on the movements. Switch jobs as time allows. Groups may share or class may discuss what they did. (lion mask provided) This could also be done with whole class improvising on unpitched while 2 students are lion as in the YouTube link below. After listening to Chen Yi’s piece, discuss if percussion is improvised. Why do you think that? Activity 2: Creative Movement After listening to the piece, students may move to different tone colors. Ribbons could be used to move to the solo violin and scarves or other props for the percussion parts. These parts contrast so the movements should as well. This could be done in small groups of students working together or half the class taking one part. Activity 3: OWL page- as included Links of interest: Expanded Biography of Dr. Chen Yi http://library.newmusicusa.org/ChenYi Scrapbook Bio of Dr. Chen Yi http://issuu.com/theodorepresser/docs/scrapbook_chenyi Article on the Chinese Lion Dance https://en.wikipedia.org/wiki/Lion_dance Freestyle Lion Dance https://www.youtube.com/watch?v=1h7k-8njwvs Lion Dance: https://www.youtube.com/watch?v=uibmReSS9xo
Third Grade MU.3.C.1.1 Describe listening skills and how they support appreciation of musical works. MU.3.C.1.2 Respond to a musical work in a variety of ways and compare individual interpretations. MU.3.C.1.3 Identify families of orchestral and band instruments. MU.3.C.2.1 Evaluate performances of familiar music using teacher-established criteria. MU.3.C.3.1 Identify musical characteristics and elements within a piece of music when discussing the value of the work. MU.3.F.3.1 Collaborate with others to create a musical presentation and acknowledge individual contributions as an integral part of the whole. are MU.3.H.1.1 Compare indigenous instruments of specified cultures. MU.3.H.1.3 Identify timbre(s) in music from a variety of cultures. MU.3.H.2.1 Discuss how music in America was influenced by people and events in its history. MU.3.O.2.1 Rearrange melodic or rhythmic patterns to generate new phrases. MU.3.S.1.2 Create an alternate ending to a familiar song. DA.3.H.1.1 Practice and perform social, cultural, or folk dances, using associated traditional music, to identify commonalities and differences. DA.3.H.2.1 Discuss the roles that dance has played in various social, cultural, and folk traditions. DA.3.S.1.2 Respond to improvisation prompts, as an individual or in a group, to explore new ways to move. DA.3.S.2.2 Learn and repeat movement using observation and listening skills. DA.3.S.2.3 Practice simple dance movements on both sides and facing in different directions. Fourth Grade MU.4.C.1.1 Develop effective listening strategies and describe how they can support appreciation of musical works. MU.4.C.1.2 Describe, using correct music vocabulary, what is heard in a specific musical work. MU.4.C.1.3 Classify orchestral and band instruments as strings, woodwinds, brass, percussion, or keyboard. MU.4.C.2.2 Critique specific techniques in one's own and others perform-ances using teacher-established criteria. MU.4.C.3.1 Describe characteristics that make various musical works appealing. MU.4.F.1.1 Create new interpretations of melodic or rhythmic pieces by varying or adding dynamics, timbre, tempo, lyrics, and/or movement. MU.4.H.1.1 Examine and describe a cultural tradition, other than one's own, learned through its musical style and/or use of authentic instruments. MU.4.H.1.2 Describe the influence of selected composers on the musical works and practices or traditions of their time.
MU.4.H.1.3 Identify pieces of music that originated from cultures other than one's own. MU.4.O.1.1 Compare musical elements in different types of music, using correct music vocabulary, as a foundation for understanding the structural conventions of specific styles. MU.4.O.2.1 Create variations for selected melodies. MU.4.S.1.1 Improvise phrases, using familiar songs. MU.4.S.3.3 Perform extended pentatonic melodies at sight. DA.4.C.1.2 Learn and produce short movement sequences, assisted by the teacher, using observation, imitation, and musical cues. DA.4.H.1.1 Perform dances from different cultures, emulating the essential movement characteristics and traditions. DA.4.H.3.3 Describe how dance and music can each be used to interpret and support the other. DA.4.S.2.3 Replicate movement sequences on opposite sides of the body or in the opposite direction. Fifth Grade MU.5.C.1.1 Discuss and apply listening strategies to support appreciation of musical works. MU.5.C.1.2 Hypothesize and discuss, using correct music vocabulary, the composer's intent for a specific musical work Describe listening skills and MU.5.C.1.3 Identify, aurally, selected instruments of the band and orchestra. MU.5.C.2.1 Define criteria, using correct music vocabulary, to critique one's own and others performance MU.5.C.3.1 Develop criteria to evaluate an exemplary musical work from a specific period or genre MU.5.F.3.1 Examine and discuss the characteristics and behaviors displayed by successful student musicians that can be applied outside the music classroom. MU.5.H.1.1 Identify the purposes for which music is used within various cultures. MU.5.H.1.2 Compare and describe the compositional characteristics used by two or more composers whose works are studied in class. MU.5.H.1.3 Compare stylistic and musical features in works originating from different cultures. MU.5.H.2.1 Examine the contributions of musicians and composers for a spe-cific historical period. MU.5.O.2.1 Create a new melody from two or more melodic motifs. MU.5.S.3.2 Play melodies and accompaniments, using proper instrumental technique, on pitched and unpitched instruments. DA.5.C.1.2 Learn and produce movement sequences, assisted by the teacher, with speed and accuracy. DA.5.F.1.1 Evaluate the effectiveness of combining other works of art with specified works of dance. DA.5.H.1.2 Describe the dances, music, and authentic costumes from speci-fied world cultures.
Next Generation Sunshine State Standards Satisfied from Guidebook Activities
Extra Resources ORLANDO PHILHARMONIC ORCHESTRA | 2015 YOUNG PEOPLE’S CONCERTS
“The Orlando Philharmonic Orchestra is supported by United Arts of Central Florida, host of power2give.org/centralflorida and the collaborative Campaign for the Arts.”
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Dynamic Pointing Page
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Mein Herr Marquis, ein Mann wie Sie My dear marquis, a man like you Sollt’ besser das verstehn, Should better understand, Darum rate ich, ja genauer sich Therefore, I advise you to look more Die Leute anzusehen! Closely at people! Die Hand ist doch wohl gar zo fein, hahaha. This hand is surely far too fine, hahaha Dies Füsschen so zierlich und klein, hahaha. This foot so dainty and small, hahaha. Die Sprache, die ich führe The manner of speaking which I have, Die Taille, die Tournüre, My waist, my bustle, Dergleichen finden Sie These would never be found Bei einer Zofe nie! On a lady’s maid! Gestehn müssen Sie fürwahr, You really must admit, Sehr komisch dieser Irrtum war! This mistake was very comical! Ja, sehr komisch, hahaha, Yes, very comical, hahaha, Ist die Sache, hahaha. Is this matter, hahaha. Drum verzeihn Sie, hahaha, So pardon me, hahaha, Wenn ich lache, hahaha! If I laugh, ha ha ha! Ja, sehr komisch, hahaha Yes, very comical, hahaha, Ist die Sache, hahaha! Is this matter, hahaha! Sehr komisch, Herr Marquis, sind Sie! You are very comical, Marquis! Mit dem Profil im griech’schen Stil With this profile in Grecian style Beschenkte mich Natur: Being a gift of nature; Wenn nicht dies Gesicht schon genügend spricht, If this face doesn’t say enough, So sehn Sie die Figur! Just look at my figure! Schaun durch die Lorgnette Sie dann, ah, Just look through your lorgnette, ah Sich diese Toilette nur an, ah At this outfit, ah Mir scheint wohl, die Liebe It seems to me that love Macht Ihre Augen trübe, Has clouded your eyes, Der schönen Zofe Bild The image of your chambermaid Hat ganz Ihr Herz erfüllt! Has quite filled your heart! Nun sehen Sie sie überall, Now you see her everywhere, Sehr komisch ist fürwahr der Fall! This is truly a very comic situation! Ja, sehr komisch, hahaha Yes very comical, hahaha Ist die Sache, hahaha Is this matter, ha ha ha , Drum verzeihn Sie, hahaha, So pardon me , ha ha ha, Wenn ich lache, hahaha! If I laugh, ha ha ha! Ja, sehr komisch, hahaha, Yes very comical, ha ha ha, Ist die Sache, hahaha etc. Is this matter, ha ha ha , etc.
Mein Herr Marquis Translation
ORLANDO PHILHARMONIC ORCHESTRA | 2015 YOUNG PEOPLE’S CONCERTS: MUSIC IN MOTION | 46
Vocal Acrobatics Flashcards
ORLANDO PHILHARMONIC ORCHESTRA | 2015 YOUNG PEOPLE’S CONCERTS: MUSIC IN MOTION | 47
Vocal Acrobatics Flashcards
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Articulation Flashcards
ORLANDO PHILHARMONIC ORCHESTRA | 2015 YOUNG PEOPLE’S CONCERTS: MUSIC IN MOTION | 49
Articulation Flashcards
ORLANDO PHILHARMONIC ORCHESTRA | 2015 YOUNG PEOPLE’S CONCERTS: MUSIC IN MOTION | 50
Molly on the Shore Form Guide (to accompany Activity #1)
FORM: Very short introduction
Molly on the Shore – A (32 beats – FULL)
Temple Hill – B (16 beats)
Molly on the Shore – A (FULL)
Temple Hill – B (32 beats)
Molly on the Shore – A (FULL)
Temple Hill – B (16 beats)
Molly on the Shore – A (FULL) – melding the two together
Temple Hill – B (32 beats)
Molly on the Shore – A (FULL)
Molly on the Shore – A (FULL)
Temple Hill – B (32 beats)
Molly on the Shore – A (FULL)
Temple Hill – B (16 beats)
Molly on the Shore – A (16 beats)
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ORLANDO PHILHARMONIC ORCHESTRA | 2015 YOUNG PEOPLE’S CONCERTS: MUSIC IN MOTION | 52
Le Tombeau de Couperin Instrument Cards to accompany Activity #2
ORLANDO PHILHARMONIC ORCHESTRA | 2015 YOUNG PEOPLE’S CONCERTS: MUSIC IN MOTION | 53
Sabre Dance from Gayene Listening Map
ORLANDO PHILHARMONIC ORCHESTRA | 2015 YOUNG PEOPLE’S CONCERTS: MUSIC IN MOTION | 54
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Nigerian Dance, Movement 1 Instrument Flash Cards
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ORLANDO PHILHARMONIC ORCHESTRA | 2015 YOUNG PEOPLE’S CONCERTS: MUSIC IN MOTION | 57
Nigerian Dances Rhythm
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