2015/16 Education Concerts

Brett Mitchell Conducting

2015/16 Education Concerts

Dear Teachers,

Welcome to The Cleveland Orchestra’s 2015/16 season of Education Concerts!

In order to ensure everyone’s comfort and enjoyment during the concert, we ask that you please follow these simple guidelines:

• Plan to arrive at the concert hall 30 minutes prior to concert time. The ushers seating your group will seat more than 2,000 students per concert, so ample

time is required and appreciated. All concerts take place at Severance Hall.

• University Circle Police will be providing a letter outlining the designated “Bus Route” for Education Concerts at Severance Hall. Please make sure your transportation coordina-tor reviews this before getting on the road.

• School Group Leaders: (1) Have your Group Ticket ready which identifies your school and seat assignment; (2) Obtain a “dismissal number” (from Severance Hall bus greeters) which will be used during the Systematic Dismissal Process to ensure an orderly departure. We constantly refine the procedure based on your comments to make it faster and more efficient.

• No food, drink, gum chewing, cameras, audio or video equipment are allowed inside the concert hall.

• Have students visit the restrooms before the concert begins. This is extremely important. Since there is no intermission, it is not possible for students to visit the restrooms during the performance without disturbing others. If an emergency exists, please notify an usher. Students must be accompanied to restrooms by an adult.

• Chaperones are responsible for the conduct of their students and should plan to sit among the students rather than on the aisle or next to another adult. We recommend at least one chaperone for every 15-20 students. Students should know in advance that they will be required to sit quietly in their seats for a fairly long time.

Thank you for your cooperation! If you have questions about these or any other aspects of The Cleveland Orchestra’s Education Concerts, please feel free to call the Orchestra’s Education Department at (216) 231-7355. Enjoy the concert!

Joan Katz Napoli Sandra JonesDirector, Education and Community Programs Manager, Education and Family ConcertsThe Cleveland Orchestra The Cleveland Orchestra

Checklist to Prepare for Education ConcertsThe Cleveland Orchestra’s Education De part ment provides schools with teaching tools to assist in preparing students for and en hanc ing their en joy ment of Ed u ca tion Con certs. The Score stu dent newspaper, Teacher’s Guide and CD are provided free to schools.

Pass out The Score Stu dent News pa per The Score, a spe cial news paper for stu dents at tend ing Ed u ca t ion Con certs,

pro vides fea ture sto ries about the Or ches tra, back ground in for ma tion on com pos ers, plus Fan Mail (student let ters).

Play the Au dio Ex cerpts CD excerpts of the or ches tral piec es to be fea tured in Ed u ca t ion Con certs

pro vide a con ve nient way to fa mil iar ize stu dents with the con cert mu sic. These CDs are for class room in struc tion al use only and may not be du pli cat ed or sold.

Play the CD anytime, for example, in the morn ing be fore class be gins, dur ing re cess or lunch, or while students are pack in g up to go home. Any ex po sure will help kids become familiar with the music and enjoy the concert more.

Check out the Teaching Ideas and Orchestral Instruments

This Teacher Guide includes repertoire-specific and curriculum-linked teaching ideas and classroom activities, plus a 5-page spread on the instruments of the orchestra.

Surf the Web for Music Education Resources Here are a few sites that will be of interest – menc.org, dsokids.com, nyphikids.org, car n egie hall.org/orc,

cleve landorches tra .com.

© 2015, Musical Arts Association. Pages may be photocopied by schools for educational use.

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Reflection Section Language Arts Connection for Grades 3-5 – Ask students to send Fan Letters to The Cleveland Orchestra describing their Education Concert experience. (Which piece of music did you like best? How did the music make you feel? What was your favorite instrument?)

Visual Arts Connection for all grades – After the concert, have students draw or paint a picture of what they saw (orchestra musicians, conductor, Severance Hall) or how the music made them feel. We often showcase student artwork in displays or in our publications.

Writing Prompts For Middle and High School Students: Ask students to write their own music review of the Violins of Hope concert they attended. To help them reflect on the difference between fact writing and opinion writing pieces, they can analyze and compare the components and structure of a factual news story vs. a music review (visit www.cleveland.com/musicdance for articles and reviews of the latest arts and culture events around Cleveland). Students should use the following guidelines when writing their review:• Beginbystatingtheiroverallopinionoftheperformance• Includebasiceventinformation(who, what, where, when, why of the concert)• Identifyreasonstosupporttheiropiniondirectlyfromtheirexperienceasanaudiencemember• Maintainanobjectivetoneandcoherentlylinkreasonssupportingtheiropinion• Provideaconcludingstatement

Send fan letters, music reviews and artwork, Including name, grade, and school to: The Cleveland Orchestra, Education & Community Programs Department, Severance Hall, 11001 Euclid Avenue, Cleveland, Ohio 44106.

The Cleveland Orchestra Brett Mitchell, conductor

December 1-4, 2015

FINZI Prelude

PROKOFIEV Overture on Hebrew Themes

SHOSTAKOVICH “Allegro molto” from Chamber Symphony for String Orchestra

WILLIAMS Main Theme from Schindler’s List

BLOCH “Simchas Torah” (“Rejoicing”) from Baal Shem

BRUCH Kol Nidrei

ROSSINI Overture from La scala di seta (“The Silken Ladder”)

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You can break bodies. You can extinguish voices. You can even crush souls, temporarily. You cannot, however, silence music. Not with gas chambers. Not with firing squads. Not by means of starvation. Music always survives.

On these Education Concerts, music and drama will combine to give us a powerful new lens through which to view the important role of music in Jewish life before, during and after the Holocaust. The violin was deeply embedded in Jewish culture for centuries before World War II, but during the Holocaust (i.e., the systematic persecution and murder of six million Jews by the Nazis) the violin played an extraordinary role in fostering Jewish survival and hope. For some Jews, the instrument was a liberator; for others, it was a savior that spared their lives. For many, the violin provided comfort during one of the darkest periods in history. The music on this concert was selected to convey the themes of Jewish spirit, resistance, resilience…and hope.

Please Note: Education Concerts are approximately one hour in length. Programs are subject to change. Due to time constraints, the musical selections played on Cleveland Orchestra Education Concerts are, in many cases, excerpts from larger works. It is our goal to present a wide range of classical music of the highest artistic quality for you and your students within the time parameters imposed. We encourage you to enjoy the full works with your students whenever possible. Happy listening!

Cleveland Orchestra Education Concerts for Grades 6-12

VIOLINS hOpeof

The Cleveland Orchestra will be joined on this concert by actors from the Case Western Reserve University/Cleveland Play House MFA program in acting.

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CLASSROOM TEACHING IDEAS FOR GRADES 6-12 “VIOLINS OF HOPE”

Track 1: Introductory announcement

Track 2: Finzi, Prelude

1. Instead of writing a distinct melody and harmony, this composer chose to create a landscape of sound, or a “soundscape.” Describe an imaginary landscape that you envision in your mind while listening to the piece, or draw or paint a scene inspired by the music.

2. This piece is meant to set the mood for the rest of the music on this concert. What kind of mood do you think this is setting up?

Track 3: Prokofiev, Overture on Hebrew Themes, Op. 34

1. Prokofiev used two melodies, based loosely on Jewish folksongs, throughout this piece, one more lively and dance-like, played primarily by the clarinet, and one more sustained and singing, introduced by the strings and horns. See if you can pick out each instance of these two melodies throughout the piece. How many times do you hear each one and in what order? Do you hear any variations, or slightly different versions, of the main melodies? What other instruments do you hear playing each melody?

2. Try conducting each contrasting melodic line as if you were directing a live orchestra. How would you change your conducting style when the melody changes?

Track 4: Shostakovich, “Allegro molto” from Chamber Symphony for String Orchestra, Op. 110a

1. How would you describe the style in which the strings are playing throughout the piece?

2. What emotions do you feel while listening to this piece? How are these emotions represented in the history of the Holocaust?

3. If you had to create a visual representation of the piece, what would it look like? What colors, shapes, or other artistic elements would you use? How would this visual representation compare to the one you created for the Finzi?

Track 5: Williams, Main Theme from Schindler’s List

1. The movie Schindler’s List tells the true story of Oskar Schindler, a German entrepreneur and Nazi party member who devised and successfully carried out a plan to save thousands of Jewish lives during the Holocaust. This piece from the movie soundtrack features a melody played by solo violin. Why do you think John Williams assigned a single violinist to play this melody? What emotions, people or events do you think the melody represents?

2. Later in the piece a countermelody, or a secondary melody, is played underneath the violin by several different wind instruments. What do you think these secondary melodies represent?

Track 6: Bloch,“Simchas Torah” (“Rejoicing”) from Baal Shem

1. How is the overall feel of this piece markedly different from all of the other pieces you’ve heard so far?

2. “Simchas Torah” is a prayer read during a Jewish holiday that marks the end of the reading cycle of the Torah, or Jewish scripture, and the beginning of a new one. Discuss how musical elements such as rhythm, pitch, dynamics, tempo, instrumentation and overall style make this piece sound representative of a new beginning.

3. Dance is an integral part of many Jewish traditions. What do you think a dance to this music might look like?

Listening Guide Belowisatrack-bytracklisteningguidetoyourConcertCDwithquestionstoleadyourclassinguidedlistening and discussion of the music. Start by reading about the composers and their music in The Score student newspaper, and then follow up by listening to the music together.


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Track 7: Bruch, Kol Nidrei, Op. 47 1. Meaning “All Vows” in Aramaic, Kol Nidrei

is a chant recited at the beginning of the evening service of Yom Kippur, or The Day of Atonement. Based on the way the musicsounds, do you think this is a joyful or a solemn holiday? Explain your answer.

2. The opening melody, played by the cello after a short orchestral introduction, is meant to sound like the sighs of the cantor reciting this chant. Describe how the melodic line achieves this effect.

3. The structure of the music is relatively simple. Try to “map out” the different melodies on the board or chart paper by assigning letters to each unique section. For example, every time you hear the “sighing melody,” assign that section the letter “A.” Assign different letters of the alphabet to different melodies.

4. Analyze the map that you just created: How many different melodies did you hear? How many times was each unique melody played? Which melody ended the piece, and what does this imply about the emotion that the composer wanted to leave you with?

Track 8: Rossini, Overture to La scala di seta (The Silken Ladder)

1. This piece was featured on the first concert of the Palestine Symphony Orchestra (today’s Israel Philharmonic). Before listening, brieflyresearch the history of the Israel Philharmonic using an internet search. What else was happening historically in the years leading up WWII at the time this orchestra was formed?

2. This piece was an overture, or a musical introduction, to a comic opera with a storyline reflective of a modern-day romantic comedy. What do you hear that makes the piece sound “comedic?”

3. Imagine you are a screenplay writer and tasked with writing an original movie trailer to accompany this music. How many characters are there? What might they say to each other? What happens at the end of the trailer?

Classroom ActivitiesActivity: Music and the Holocaust: Resistance, Resilience and ReflectionA myriad of resources are available to teachers to help your students explore the role of music in Jewish culture before, during and after the Holocaust. After completing the following discussion questions with your students, either as a class or through individual writing time, consider exploring the online resources, movies, and curricula from the following partner organizations to create your own unit study on Jewish life and the Holocaust. Music teachers may consider programming Jewish music selections on their concerts this year in conjunction with this special project.

• Whatroledoesmusicplayinyourlife?Whendoyouwant to listen to music, and what kind of music do you listen to in certain situations?

• What do the words “resistance,” “resilience” and“reflection” mean to you? How do you think these ideas can be communicated through the use of music?

• After completing the activities in your ListeningGuide, decide which pieces from the Violins of Hope concert represent the themes of resistance, resilience and reflection and why.

Organizations & Holocaust Curriculum GuidesAnti-Defamation League (ADL)cleveland.adl.org/echoes-and-reflections/ADL’s Echoes and Reflections prepares educators to teach about the Holocaust in a way that stimulates engagement and critical thinking while providing opportunities for students to see the relevance of this complex history to their own lives.

Facing History and Ourselvesfac ingh is tor y.org/for-educators/educator-resources#sideThe Holocaust, including the breakdown of democracy in Germany and the steps leading to the Nazis’ organized murder of six million Jews and millions of other innocent victims, forms the core case study of Facing History and Ourselves. Facing History classrooms help students understand that history is not inevitable, and that the choices of ordinary citizens shape our lives and the lives of those around us. We are committed to helping students around the world understand this history in order to develop their skills of ethical reasoning, critical thinking, tolerance and empathy.


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Other Online Resources klezmershack.com – Information about Jewish music, Klezmer and more

sfi.usc.edu/ - Shoah Foundation (audio-visual interviews with survivors and witnesses of the Holocaust)

yadvashem.org/ - World center for documentation, research, education and commemoration of the Holocaust

Facing History and Ourselves Holocaust Resources Collectionfacinghistory.org/for-educators/educator-resources/resource-col lections/holocaust-resource-collection/books

History• TheChildrenofWillesdenLane• Friedrich• PaintedinWords• ParallelJourneys• SalvagedPages

Judgment• TheSunflower

Legacy• PaintedinWords

Rescue• TheChildrenofWillesdenLane

Survivor Testimony• Anton theDoveFancier andOtherTalesof the

Holocaust • IPromisedIWouldTell• Night• PaintedinWords• ParallelJourneys

Resource Books• HolocaustandHumanBehavior• IPromisedIWouldTell• TheJewsofPoland

Curriculum Connections: Ohio’s New Learning Standards

Videos• AuschwitzDeathCamp:Oprah,ElieWiesel

• I’mStillHere:DiariesofYoungPeopleWhoLivedDuring the Holocaust

• Into the Arms of Strangers: Stories of theKindertransports

• Judgment: Nuremberg Remembered

• Rescue:WeaponsoftheSpirit

• Resistance: Daring to Resist: Three Women Face the Holocaust

• Survivor testimony: Swimming in Auschwitz

Movies

“The Boy in the Striped Pajamas” – available on Amazon Video and iTunes

During World War II, 8-year-old Bruno (AsaButterfield) andhis family leaveBerlin to takeupresidence near the concentration camp where his father (David Thewlis) has just become commandant. Unhappy and lonely, he wanders out behind his house one day and finds Shmuel (Jack Scanlon), a Jewish boy of his age. Though the barbed-wire fence of the camp separates them, the boys begin a forbidden friendship, oblivious to the real nature of their surroundings.

“Orchestra of Exiles” - available on iTunes

Celebrated Polish violinist Bronislaw Hubermansaves musicians from the Nazis, then goes on to create what would become the Israeli Philharmonic.

“Defiance” – available through Amazon Video, Amazon, iTunes – note R rating

2008 World War II film directed by Edward Zwick set duringtheoccupationofBelarusbyNaziGermany.The screenplay by Clayton Frohman and Zwick was based on Nechama Tec’s 1993 book Defiance: The BielskiPartisans,anaccountoftheBielskipartisans,a group led by Polish Jewish brothers who saved and recruited Jews in Belarus during the SecondWorld War. The film stars Daniel Craig as Tuvia Bielski,LievSchreiberasZusBielski,JamieBellasAsaelBielski,andGeorgeMacKayasAronBielski.

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TEACHERS: Use the “Violins of Hope” concert along with suggested activities and resources in this guide to address Ohio’s Learning Standards:

MUSIC: GRADES 6-12Perceiving/ Knowing/Creating (CE)• Describedistinguishingcharacteristicsofmusical

form. (1CE)

• Identifymusicaltermsandsymbolsforarticulationand expression. (2CE)

• Listen to, analyze and describe various musicworks on the basis of their stylistic qualities and the historical and cultural contexts in which they were created. (3CE)

• Listentoandcomparevariousmusicalstylesfromthe Unites States, other cultures and historical periods. (4CE)

• Distinguish between and among the use ofdynamics, meter, tempo and tonality in various pieces through active listening. (5CE)

• Identifythesocialcontextsfromwhichmusicofvarious cultures evolved. (6CE)

• Describe how music reflects the social andpolitical events of history and the role of the musician in history and culture. (8CE)

Responding/ Reflecting (RE)• Compare and contrast a varied repertoire of

music on the basis of how elements of music are used to create meaning and expression. (2RE)

• Communicate the importance of music ineveryday life. (3RE)

• Compare and contrast selected composers andtheir works. (3RE)

• Examinehowpeoplefromdifferentbackgroundsand cultures use and respond to music. (3RE)

• Discuss how the purpose, meaning and valueof music changes because of the impact of life experiences. (3RE)

• Describe ways that music relates to other artforms using appropriate terminology. (4RE)

• Explainhowandwhypeopleuseandrespondtomusic. (4RE)

• Evaluate the use of the elements of music asrelative to expression in a varied repertoire of music. (4RE)

• Compareandcontrastsubjectmattercommontomusic and other subject areas. (5RE)

ENGLISH LANGUAGE ARTS: GRADES 6-12Writing• Write arguments to support claims with clear

reasons and relevant evidence.

• Write narratives to develop real or imaginedexperiences or events using effective technique, relevant descriptive details, and well-structured event sequences.

• Conductshortaswellasmoresustainedresearchprojects to answer a question or solve a problem.

Speaking and Listening• Engageeffectivelyinarangeofcollaborative

discussions with diverse partners, building on others’ ideas and expressing their own clearly.

• Interpretinformationpresentedindiversemediaand formats and explain how it contributes to a topic or text, or issue under study.

• Presentclaimsandfindings,sequencingideaslogically and using pertinent descriptions facts and details to accentuate main ideas or themes.


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SOCIAL STUDIES: GRADES 6-8History: Historical Thinking & Skills• Primary and secondary sources are used to

examine events from multiple perspectives and to present and defend a position.

Geography: Human Systems• Political, environmental, social and economic

factors cause people, products and ideas to move from place to place in the Eastern Hemisphere in the past and today.

• Modernculturalpracticesandproductsshowtheinfluence of tradition and diffusion, including the impact of major world religions.

• Cultural biases, stereotypes and prejudices hadsocial, political and economic consequences for minority groups and the population as a whole.

Government: Civic Participation and Skills• Differentperspectivesonatopiccanbeobtained

from a variety of historic and contemporary sources. Sources can be examined for accuracy.

• The ability to understand individual and groupperspectives is essential to analyzing historic and contemporary issues.

The Cleveland Orchestra with Amnon Weinstein and the Violins of Hope, September 27, 2015.

GRADES 9-12Civil and Human Rights • Beliefs about human rights vary among social

and governmental systems.

• Modern instances of genocide and ethniccleansing present individual, organizational and national issues related to the responsibilities of participants and non-participants.

MATHEMATICS: GRADES 6-12Mathematical Practices• Lookforandmakeuseofstructure.

MusicMusicTick?Tick?

A Matter of Time: What Makes

Cleveland Orchestra Education Concerts for Grades 3-5

Please Note: Education Concerts are approximately one hour in length. Programs are subject to change. Due to time constraints, the musical selections played on Cleveland Orchestra Education Concerts are, in many cases, excerpts from larger works. It is our goal to present a wide range of classical music of the highest artistic quality for you and your students within the time parameters imposed. We encourage you to enjoy the full works with your students whenever possible. Happy listening!

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Music is all a matter of time. Composers organize time in specific ways to create and shape a piece of music. Time determines how long a piece of music lasts. But there’s more to it: the way we feel music depends greatly on tempo, meter, and rhythm. In this Cleveland Orchestra concert, we’ll explore the many ways these composi-tional tools work together to make music “tick.”

CORIGLIANO Tarantella from Gazebo Dances

HONEGGER Pacific 231

BEETHOVEN Second Movement: “Allegretto scherzando” from Symphony No. 8

SOUSA The Stars and Stripes Forever

STRAUSS SelectionfromOntheBeautiful BlueDanubeWaltzes

TCHAIKOVSKY Selection from Second Movement (“Allegro con grazia”) of Symphony No. 6 (“Pathetique”)

STRAVINSKY “Glorification of the Chosen One” from The Rite of Spring

BIZET Habanera from Carmen

MÁRQUEZ Danzón No. 2

February 23-25, 2016The Cleveland OrchestraBrett Mitchell, conductor

Track 1: Introductory Announcement

TRACK 2: TARANTELLA from Gazebo DancesJohn Corigliano (b. 1938)

1. A gazebo is a small outdoor structure with a roof where the walls are open, like you might see in a park or someone’s backyard. Why do you think the composer called this piece Gazebo Dances?

2. Does this tarantella remind you of anything you’ve heard before? Where have you heard music like this, or where do you think you might hear it?

TRACK 3: URLICHT from Symphony no. 2 (“Resurrection”)Gustav Mahler (1860-1911)

1. The word “Urlicht” is German and means “primal light.” What kind of light do you imagine when you hear this music? What does it look like? Does it change?

2. What instruments do you hear? Do they change notes together or separately?

TRACK 4: PACIFIC 231Arthur Honegger (1892-1955)

1. This piece is named after a type of train engine. What parts of the train do you hear? How is the train moving? What do you think it is carrying, and where is it going?

2. Do you think this music could also describe a more modern vehicle or machine? What kind of machine? What motions or actions do you hear?

TRACK 5: ALLEGRETTO SCHERZANDO from Symphony no. 8Ludwig Van Beethoven (1770-1827)

1. There are two main parts to this music: the melody, or tune, and the accompaniment, which supports it. Which instruments are playing the melody and which are playing the accompani-ment? Does it change throughout the piece?

2. This piece has three sections: the first and third are similar, with a contrasting section in between. What changes about the music during this middle section?

TRACK 6: THE STARS AND STRIPES FOREVERJohn Philip Sousa (1854-1932)

1. Have you ever heard this piece somewhere other than a concert? What kind of event was it, and what was happening?

2. Try marching in place to the music. Do you think it would be difficult to play an instrument while you do this? Why do you think the composer used mostly brass and percussion instruments for this march?

TRACK 7: ON THE BEAUTIFUL BLUE DANUBEWALTZESJohann Strauss Jr. (1825-1899)

1. How does this music sound and feel different than a march? Is anything different besides the beat pattern?

2. Have you heard or danced to a waltz before? Where do you think people might dance to music like this now?

TRACK 8: ALLEGRO CON GRAZIA from Symphony no. 6 (“Pathétique”)Piotr Ilyich Tchaikovsky (1840-1893)

1. “Con Grazia” is Italian and means “with grace.” Does this music sound graceful to you? If so what makes it sound that way?

2. Try counting in groups of five over the music – it’s much more difficult than 2, 3, or 4! Can you come up with a way to move (foot stomps, knee taps, hand claps) that fits with the groups of five to help you keep the beat?

TRACK 9: GLORIFICATION OF THE CHOSENONE from The Rite of SpringIgor Stravinsky (1882-1971)

1. This music was written for a ballet. Does it sound like the sort of music you would expect to see with ballet dancers? Why or why not?

2. Who do you think the Chosen One is? What do you think is happening in this part of the ballet?

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CLASSROOM TEACHING IDEAS FOR GRADES 3-5 “WHAT MAKES MUSIC TICK?”

Listening GuideBelowisatrack-by-tracklisteningguidetoyourConcertCDwithquestionstoleadyourclass inguidedlistening and discussion of the music. Start by reading about the composers and their music in The Score student newspaper, and then follow up by listening to the music together.

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TRACK 10: HABANERA from CarmenGeorges Bizet (1838-1875)

1. What does the rhythm of this music make you think of? Does it remind you of a certain place? Where do you imagine yourself when you hear it?

2. This piece comes from an opera and is usually performed by a singer with an orchestra. You’ll hear the orchestra play it without a singer. Which instruments are playing the part that the singer would sing?

TRACK 11: DANZÓN NO. 2Arturo Márquez (b. 1950)

1. This music is based on a dance style from Mexico. What do you think the composer saw in Mexico that inspired him to write this music?

2. Have you heard dance music that sounds like the fast part of this piece? Where and when? What kind of dancing would you do?

Classroom ActivitiesWhat’s the BPM?

1. Listen to the beginning of Track #4 on your Concert CD, Pacific 231 by Arthur Honneger. Try to clap or step along with the main beat. Notice how it speeds up a little, but mostly stays the same – what changes most is that other instruments are added, playing faster notes.

2. Choose a four-syllable word that is familiar to the class and easy to divide into syllables (suggestions: macaroni, Mississippi, Alabama, cappuccino). You may want to choose a word from a current vocabulary list, or a word relevant to something your class is studying.

3. Set a slow, steady beat as a class by clapping or tapping thighs. 60 beats per minute works well, which you can set by using the second hand of a clock.

4.Begin saying your word with one syllable oneach clap:

X X X X

MA CA RO NI

5. Once you have established this, keep your claps the same, but start saying the word with two syllables between each clap:

X X X X

MA CA RO NI MA CA RO NI

6. Finally, still keeping your claps the same, say the whole word evenly between each clap:

X X X X

MACARONI MACARONI MACARONI MACARONI

7. Do the math! If you are clapping 60 beats per minute(BPM),whatistheBPMofyoursyllablesinStep5?(60BPMx2syllablesperclap=120BPM)Step6?(60BPMx4syllablesperclap=240BPM)

8. Variation: Try using two or three different groups of instruments to play the different versions of the word (example: tambourines for the Step 4 rhythm, hand drums for the Step 5 rhythm, claves for the Step 6 rhythm). Keep speaking the word to help you keep a steady beat.

Online Resources• Watch a promotional travel video for the

country of Mexico that uses Marquez’s Danzon no. 2 as its soundtrack. What do you see? Does the music make it more interesting?

youtube.com/watch?v=A11b0Z9Xg1I

• WatchtheJoffreyBallet’sreconstructionoftheoriginal choreography for “Glorification of the Chosen One” from The Rite of Spring:

youtube.com/watch?v=C_7ndqgwxcM

• Learn more about John Philip Sousa andhear excerpts fromhis othermarches at PBStelevision’s “A Capitol Fourth” website:

pbs.org/a-capitol-fourth/history/patriotic-music/

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MUSIC: GRADES 3-5Perceiving/Knowing/Creating• Listen to, identify, and respond to music of

different composers, historical periods and world cultures

• Identify elements of music including tonality,dynamics, tempo and meter, using music vocabulary

• Describetherolesofmusiciansinvariousmusicsettings

Producing/Performing• Followandrespondtothecuesofaconductor

• Play a variety of classroom instruments withproper technique

• Sing, move and respond to music from worldcultures and different composers

• Demonstrate appropriate audience etiquette atlive performances

Responding/Reflecting• Explainhowtheelementsandsubjectmatterof

music connect with disciplines outside the arts

• Noticeanddescribewhat theyhear inselectedpieces of music and compare their responses to those of others

• Explainpersonalpreferencesforspecificmusicalselections using music vocabulary

• Describe the connection between emotion andmusic in selected musical works


MATHEMATICS, GRADES 3Operations and Algebraic Thinking• Represent and solve problems involving

multiplication and division

• Understandpropertiesofmultiplicationandtherelationship between multiplication and division

Measurement and Data• Solve problems involving measurement and

estimation of intervals of time

MATHEMATICS, GRADES 4Operations and Algebraic Thinking• Gainfamiliaritywithfactorsandmultiples

• Generateandanalyzepatterns

Measurement and Data• Solve problems involving measurement and

conversion of measurements

MATHEMATICS, GRADES 5Operations and Algebraic Thinking• Analyzepatternsandrelationships

Number and Operations in Base Ten• Performoperationswithmulti-digitwholenumbers

Measurement and Data• Convert likemeasurement units within a given

measurement system

Harp

Violin ViolaCello

Double Bass

Saxophone

Piccolo

ContrabassoonBassoon Bass clarinet

Clarinet

English horn

Flute

Oboe

Trumpet

Trombone

French Horn

Gong

Maracas

SnareDrum

Bass Drum Cymbals

PianoCastanets

TriangleTimpani

THE INSTRUMENTS OF THE CLEVELAND ORCHESTRA

STRINGS

WOODWINDS

BRASS

PERCUSSION

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Tuba

Tambourine

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Historians think that the first instrument in the string family was developed from the caveman’s hunting bow. In the string family, sound is made by plucking, strumming or drawing a bow across the strings. The harp has 47 strings and pedals to add flats and sharps!

wooden bow

chin rest

finger boardneck

fancy scroll

horse hair

tail piece anchorsthe strings

bridge holdsstrings up sothey can vibratefreely

hollow bodyamplifiesthe sound

strings vibrateto make sound(plucked or bowed) one tuning peg

for each string

violin viola cello double bass harp

pedals for flats and sharps

Sensational Strings!

Air-only Woodwinds

piccolo

flute

Single Reed Woodwinds

reed

ligature holds it on

first reed

second reed

tied togetherwith thread

Double Reed Woodwinds

oboe English horn bassoon contrabassoon14

Wondrous Woodwinds!The first woodwind instrument may have been created by blowing through a blade of grass or an old animal bone. The first woodwinds had open holes that needed to be covered by your fingers. Eventually, inventors added a system of metal keys that would cover more than one hole at a time. The three types of woodwinds are (1) those which you blow across an open hole to make sound; (2) those with a single wooden reed on the mouthpiece; and (3) those with two small wooden reeds tied together called double reeds. In the last two kinds, the reeds vibrate to make sound.

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Ancientbrassinstrumentsweremadeofboneorananimal’shorn.Todaytheyaremadeofmetal.Brassplayers create sound by buzzing their lips into the metal mouthpiece. They play different notes by tightening and loosening their lips, and by pressing down valves (or in the case of the trombone, by moving the slide in and out!).

made of brassor other metalshiny

large bellat end amplifiesthe sound

hollow tubing

valves add extratubing to changepitch

player buzzes lipsthrough metal mouthpiece to start vibrationof the air inside

trumpet

Frenchhorn

slide moves tochange pitc

trombone

tuba

Brilliant Brass!

h

The percussion instruments provide the orchestra with accents, rhythms and special sounds. Force is required to make the instruments vibrate. Sound is produced by striking, hitting, scraping, shaking, rubbing or tapping the instruments with a stick, mallet, beater or a hand! There are two kinds of percussion instruments: 1) instruments like the timpani which can play a melody; and 2) those like the snare drum, which make only one pitch.

Tunable instruments that can play a melody

piano

chimes

xylophone

celesta

timpani

foot pedalto changepitch

Instruments that make one pitch

gong

triangle

snare drum

maracas

cymbals

castanets

bass drum

tambourine

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Power Packed Percussion!

TH

E C

LEV

ELA

ND

OR

CH

ES

TR

A S

EA

TIN

G C

HA

RT

CON

DU

CTO

RV

IOLA

S

BA

SSES

CELL

OS

2ND V

IOLI

NS

FLU

TES

FREN

CH H

OR

NS

TRU

MPE

TSTR

OM

BO

NES

1ST V

IOLI

NS

BA

SSO

ON

S

OB

OES

TUB

A

HA

RP

PIA

NOCL

AR

INET

S

PER

CUSS

ION

The Cleveland Orchestra’s 2015-16 Education Programs are made possible by:EndOwMEnT FundErsHope and stanley I. AdelsteinKathleen L. BarberMr. roger G. BerkIn memory of Anna B. BodyIsabelle and ronald Browndr. Jeanette Grasselli Brown and dr. Glenn r. Brownroberta r. CalderwoodAlice H. Cull MemorialMr. and Mrs. Charles r. Emrick, Jr.Charles and Marguerite C. GalanieMr. david J. GoldenThe George Gund FoundationThe Hershey Foundationdorothy Humel HovorkaMr. James J. HummerFrank and Margaret HyncikJunior Committee of The Cleveland Orchestrawalter and Jean Kalberer FoundationAlfred M. Lerner In-school Performance FundLinda and saul LudwigMachaskee Fund for Community ProgrammingMr. and Mrs. stanley A. MeiselChristine Gitlin Miles, in honor of Jahja LingMr. and Mrs. david T. MorganthalerMorley Fund for Pre-school EducationThe Eric & Jane nord Family FundPysht FundThe Max ratner Education Fund, given by the ratner, Miller,

and shafran Families and Forest City Enterprises, Inc.The william n. skirball EndowmentAnonymous, in memory of Georg soltiJules and ruth Vinney Cleveland Orchestra

Youth Orchestra Touring Fund

PrOGrAM FundErsThe Abington FoundationPaul M. Angell Family FoundationEva L. and Joseph M. Bruening FoundationMary E. and F. Joseph Callahan FoundationConway Family FoundationCuyahoga County residents through Cuyahoga Arts & Culturedominion FoundationFirstMerit FoundationThe Harry K. Fox and Emma r. Fox Charitable FoundationThe Giant Eagle FoundationThe william randolph Hearst FoundationKeyBankThe Laub FoundationMacy’sMuna & Basem Hishmeh FoundationMartha Holden Jennings FoundationThe nord Family Foundationnordson Corporation FoundationOhio Arts CouncilOhio savings Bank, A division of new York Community BankPnC BankThe reinberger FoundationAlbert G. and Olive H. schlink FoundationThe sherwin-williams CompanyThomas H. white FoundationThe Edward and ruth wilkof Foundationwomen’s Committee of The Cleveland Orchestra

as of August 2015

Documents

2015/16 Education Concerts