Weill Music Institute Link Up...Natalie Slack, Senior Editor, WMI Raphael Davison, Senior Graphic Designer CONTRIBUTORS Thomas Cabaniss, Composer Daniel Levy, Writer Tanya Witek, Writer

Link UpA Program of Carnegie Hall’s Weill Music Institute

for Students in Grades Three Through Five

The Orchestra

Student GuideSeventh Edition

Weill Music Institute

Link UpA Program of Carnegie Hall’s Weill Music Institute

for Students in Grades Three Through Five

The Orchestra

Student Guide

Weill Music Institute

Seventh Edition

WEILL MUSIC INSTITUTEJoanna Massey, Director, Learning & Engagement ProgramsAmy Mereson, Assistant Director, Learning & Engagement ProgramsHillarie O’Toole, Manager, Learning & Engagement ProgramsMatt Frey, Associate, Learning & Engagement ProgramsHannah Santisi, Coordinator, Learning & Engagement Programs

PUBLISHING AND CREATIVE SERVICESNatalie Slack, Senior Editor, WMIRaphael Davison, Senior Graphic Designer

CONTRIBUTORSThomas Cabaniss, ComposerDaniel Levy, WriterTanya Witek, WriterAmy Kirkland, EditorSophie Hogarth, IllustratorScott Lehrer, Audio ProductionRPP Productions, Inc., Video Production

Carnegie Hall’s Weill Music Institute881 Seventh Avenue, New York, NY 10019Phone: 212-903-9670 | Fax: 212-903-0758Email: [email protected]/LinkUp

Lead support for Link Up is provided by Fund II Foundation.

Additional funding for Link Up is provided by the Rose M. Badgeley Residuary Charitable Trust, The Barker Welfare Foundation, The Ambrose Monell Foundation, JJR Foundation, and Joan and Sanford I. Weill and the Weill Family Foundation. Link Up in New York City schools is made possible, in part, by an endowment gift from The Irene Diamond Fund.

© 2018 The Carnegie Hall Corporation. All rights reserved.

This book belongs to:

ICON KEYThe Singing Icon indicates that you can sing the piece at the culminating concert.

The Recorder and String Instrument Icon indicates that you can play the piece on soprano recorders or string instruments at the culminating concert. Optional bowings (

New World

DvorakRecorder

Star Icon

New World

DvorakRecorder

Star Icon

) are shown on the applicable music.

The Recorder Star Icon indicates that the piece is geared toward more experienced recorder players. Advanced string players can also play these parts.

The Movement Icon indicates that there are accompanying movements that you can learn along with the music.

S G 1

&

&

&

#

#

#

44

44

44

·1 2 3 4

·1 2 3 4

·1 2 3 4

·1 2 3 4

·1 2 3 4

·1 2 3 4

ú³ ú²

Winds blow

·

·

F

&

&

&

#

#

#

4 ú î

·

·

Ï>³ Ï>² Ï> Ï>Trum pets sound ing

·

·

ú î

·

·

- -

&

&

&

#

#

#

7

ú³ ú²Strings sing

·

·

ú î

·

·

.Ï³Ï²Ï Ï³Ï²Ï Ï Ï Ï Ï Ï

Drum mers p p p p p p pound ing

·

·

- -

Come to PlayThomas Cabaniss

Steadily

Part 1

Part 2

Part 3

Come to PlayThomas Cabaniss

Recorder Notes Needed:Part 1 (Advanced): D, E, F#, G, A, B, C, High D

Part 2 (Basic+): G, A, B, C, D (opt. D, E, F#)Part 3 (Advanced): D, E, F#, G, A, B, C, High D, High E

S G 2&

&

&

#

#

#

10



·

·

·

·

·

·

Ï³Ï Ï Ï

Come to play, Join

·

- -

&

&

&

#

#

#

13

·

Ï Ï ú,

sound with sound

·

·

Ï³ Ï Ï ÏCome to sing we’ll

·

·

Ï Ï Ï Ïshake the ground with

·

&

&

&

#

#

#

16

·

w³song

·

·

·

·

·

Ï³ Ï Ï ÏCome to play, Join

ä . RÏ² Ï Ï³ Ï² Ï

³Come to play, Join

S G 3&

&

&

#

#

#

19

·

Ï³ Ï ú ,²sound with sound

ä . RÏ² Ï Ï³ ú²sound with sound

·

Ï³ Ï Ï ÏCome to sing we’ll

ä . RÏ²Ï Ï³ Ï ²Ï³

Come to sing we’ll

·


ä . RÏ ²Ï Ï³ Ï ²Ï³shake the ground with

&

&

&

#

#

#

22

·

.ú³ Ï²song with

.ú ²Ï³

song with

·

w³song

w³song

P

P

·

·

Ï³,Ï Ï Ï

²Ï Ï³Ï² ú

What do you do with time

LEADER

&

&

&

#

#

#

25 Ï³ Ï Ï Ï Ï² Ï Ï ÏMake it groove make it move

Ï³ Ï Ï Ï Ï² Ï Ï ÏMake it groove make it move

Ï³ Ï Ï Ï Ï² Ï Ï ÏMake it groove make it move

AUDIENCE

Ï³ Ï² Ï³ú Î

make it rhyme

Ï³ Ï² Ï³ú Î

make it rhyme

Ï³ Ï² Ï³ú Î

make it rhyme

·

Ï³Ï Ï Ï² Ï Ï³Ï² ú

What do you do with song

·

LEADER

S G 4&

&

&

#

#

#

28 Ï³ Ï² Ï³ Ï Ï² Ï Ï ÏMake it sing make it ring

Ï³ Ï² Ï³ Ï Ï² Ï Ï ÏMake it sing make it ring

Ï³ Ï² Ï³ Ï Ï² Ï Ï ÏMake it sing make it ring

AUDIENCE

Ï³ Ï² Ï³ ú, Ï³ Ï²

make it strong make it

Ï³ Ï² Ï³ ú,Ï³ Ï²


Ï³ Ï² Ï³ ú, Ï³ Ï²


w³long

w³long

w³long

&

&

&

#

#

#

31 w ,

w

w

Ï³Ï Ï Ï² Ï Ï³ Ï² ú

What do you do with sound

·

·

LEADER

Ï³ Ï² Ï³ Ï Ï² Ï Ï ÏMake it cry make it fly



AUDIENCE

&

&

&

#

#

#

34

Ï³ Ï Ï ú Îmake it gleam



.Ï² jÏ³Ï Ï

²Make it your

.Ï² jÏ³Ï Ï

²Make it your

.Ï² jÏ³Ï Ï

²Make it your

w³

dream

w³

dream

w³

dream

S G 5&

&

&

#

#

#

37 8

8

8

ú³ ú²

Winds blow

·

·

FÏ Ï Ï Ï

trum pets sound ing

·

·

- -

&

&

&

#

#

#

47

ú úStrings sing

·

·



·

·



·

·

- - - -

&

&

&

#

#

#

50

ú³ ú²

Winds blow

Ï³ Ï² Ï ÏCome to play, Join

·

F

FÏ Ï Ï Ï

trum pets sound ing

Ï Ï úsound with sound

·

ú³ úStrings sing

Ï³ Ï² Ï ÏCome to sing we’ll

·

- -

Orchestra interludeOrchestra interlude

S G 6&

&

&

#

#

#

53




·



w³ ,song

·

ú³ ú²

Winds blow

Ï³ Ï² Ï ÏCome to play, Join

ä . RÏ² Ï Ï³ Ï² Ï

³Come to play, Join

f

f

f

- - - -

&

&

&

#

#

#

56 Ï Ï Ï Ïtrum pets sound ing

Ï Ï ú ,sound with sound

ä . RÏ² Ï Ï³ ú²sound with sound

ú úStrings sing

Ï³ Ï² Ï ÏCome to sing we’ll

ä . RÏ³ Ï Ï² Ï³ Ï²Come to sing we’ll




ä . RÏ³ Ï Ï² Ï³ Ï²shake the ground with

- - - -

&

&

&

#

#

#

59



.ú³ Ï²song with

.ú³ Ï²

song with

.Ï³ jÏ

²Ï³Ï²

shake the ground with

.ú³ Ï²song, with

.ú³ Ï²

song, with

wU³

song!

wU³song!

wU³song!

- -

S G 7

& ## 431 21Andante

Î Î Ï²A

pÏ³ Ï Ï²

beau ti ful- -

& ##24

Ï³ Î Ï²stream so

Ï³ Î Ï²clear and

Ï³ Î Ï²

blue A

& ##27

Ï³ Ï Ï²

beau ti ful

Ï Î Ïdream of

Ï Î Ïme and- -

& ##30

Ï Î Ï²

you TheÏ³

Ï Ï²stars seem to

Ï Î Ïfloat a -

& ##33 Ï Î Ï

bove the

Ï Î Ï²

sky WithÏ³

Ï Ï²us as we

& ##36 Ï Î Ï

go they

Ï Î Ïfly so

Ï Î Ï²

high. We're

f

& ##39

Ï³ Ï Ï²up in the

Ï Î Ïair up

Ï Î Ïin the

& ##42

Ï Î Ï²

air As

Ï³ Ï Ï²

high as we

Ï Î Ïdare high

& ##45 Ï Î Ï

as we

Ï Î Ï²

dare We'll

ÄÏ³ Ï Ï²ne ver come-

& ##48 .ú

down

Ï Ï# Ïwe will

.ústay

Blue DanubeJohann Strauss II

Vocal/Recorder Star IconsThe Blue DanubeJohann Strauss II

Recorder Notes Needed:D, E, F#, G, G#, A, B, High D

S G 8& ##51

Ï Ï³ ÏUn til

ú Ïnight be

ú Ïcomes the- -

& ## ### ..54

Ï Î Îday!

· 15

& ### .. n##71 Î Î Ï

²A

pÏ³ Ï Ï²

beau ti ful

Ï Î Ïstream so- -

& ##74

Ï Î Ïclear and

Ï Î Ï²

blue A

Ï³ Ï Ï²

beau ti ful- -

& ##77

Ï Î Ïdream of

Ï Î Ïme and

Ï Î Ï²

you The

& ##80

Ï³

Ï Ï²stars seem to

Ï Î Ïfloat a

Ï Î Ïbove the-

& ##83

Ï Î Ï²

sky, WithÏ³

Ï Ï²us as we

Ï Î Ïgo they

& ##86 Ï Î Ï

fly so

Ï Î Ï²

high We're

fÏ³ Ï Ï²up in the

& ##89 Ï Î Ï

air up

Ï Î Ïin the

Ï Î Ï²

air as

Score

Second time onlySecond time only

S G 9& ##92

Ï³ Ï Ï²

high as we

Ï Î Ïdare high

Ï Î Ïas we

& ##95 Ï Î Ï

²dare We'll

ÄÏ³ Ï Ï²ne ver come

.údown-

& ##98 Ï Ï# Ï

we will

.ústay

Ï Ï ÏUn til-

& ##101

ú Ïnight be

ú Ïcomes the

Ï ä jÏ Ïday. Ba dum

Ï Î Îbum!- - -

Score

S G 10

& ## 431 23Andante

Î Î Ï²p

Ï³ Î Ï

& ##26

Ï Î Î · Î Î Ï²

& ##29

Ï³ Î Ï Ï Î Î ·

& ##32 Î Î Ï² Ï³ Î Ï Ï Î Î

& ##35 · Î Î Ï² Ï³ Î Ï

& ##38

Ï Î Î · Î Î Ï²f

& ##41 Ï³ Î Ï Ï Î Î ·

& ##44 Î Î Ï² Ï³ Î Ï Ï Î Î

& ##47 5

ú ÏÄú Ï

& ## ### ..54

Ï Î Î · 3¹

Blue DanubeStrauss

Basic Recorder IconThe Blue DanubeJohann Strauss II

Recorder Notes Needed:D, E, F#, G, A, B, High D

S G 11& ###59 Î Ï

³Ï²

fú³ Ï Î Ï Ï

& ###62 ú Ï 4 Î Ï³ Ï²

& ###68 ú³ Î ú² Î ú³ Ï

& ### .. n##71

Ï Î Î · Î Î Ï²p

& ##74

Ï³ Î Ï Ï Î Î ·

& ##77 Î Î Ï² Ï³ Î Ï Ï Î Î

& ##80 · Î Î Ï²

fÏ³ Î Ï

& ##83

Ï Î Î · Î Î Ï²

& ##86 Ï³ Î Ï Ï Î Î ·

Score

S G 12& ##89 Î Î Ï² Ï³ Î Ï Ï Î Î

& ##92 · Î Î Ï² Ï³ Î Ï

& ##95 Ï Î Î 5

ú³ Ï²

Ä& ##102 ú Ï Ï ä jÏ Ï Ï Î Î

Score

S G 13

& # 43 .œ≤

œ≤Andante

p.œ≥ œ

≤ œ œ œ≥ œ œ≤

& #3 œ œ œ ≥̇ œ œ œ œ

& #6

œ .œ Jœ≤ .œ œ œ œ œ≥ œ .œ

≤œ≤

& #9

.œ≥ œ œ œ œ≥ œ œ≤ œ œ œ

& #12 ≥̇ œ œ œ œ œ .œ Jœ≤

& #15 .œ≥ œ œ œp

≥̇ Œ 9

& #26 Œ Œ .œ≤

œ≤ .œ≥ œ

≤ œ œ œ≥ œ œ≤

& #29 œ œ œ ˙ œ œ≥ œ œ

Nocturne fromAMidsummer Night's DreamMendelssohn

Recorder Star IconNocturne from A Midsummer Night’s Dream

Felix MendelssohnRecorder Notes Needed:D, F#, G, A, B, C, High D

S G 14

S G 15

& # 43 ÎAndante

ú³ Ï²p

Ï³ Ï² Ï

& #3

Ï Ï Ï ú Ï ú Ï

& #6

ú Ï ú Ï ú Î

& #9

ú³ Ï² Ï Ï Ï Ï Ï Ï

& #12 ú Ï ú Ï ú Ï

& #15

ú Ïp

ú Î 10

& #27

ú³ Ï² Ï Ï Ï Ï Ï Ï

& #30 ú Ï ú Ï ú Ï

Nocturne fromAMidsummer Night's DreamBasic Recorder Icon

Mendelssohn

Nocturne from A Midsummer Night’s Dream

Felix MendelssohnRecorder Notes Needed:G, A, B

S G 16

S G 17

& 431 4Brightly 3 Î Î Ï

"Get

P

&9

Ï Î Îup,

Î Î ÏGet

Ï Î Îup,

&12 Î Î Ï

"Get

.Ï jÏ# Ïup," I hear

Ï Ï Ï Ïfaint ly but I-

&15

úb Ïfall back

Î Ïb Ïback to

ú Îsleep

&18 Î Ïb Ï

back to

.úbsleep!

Ïb Î ÏI

&21 Ïb Ï Ïb

dream once a

Ï Ï Ïbgain that I

Ïb Ïb Ïknow how to-

&24

.úfly

· Î Î ÏI

&27

Ï Ï Ïdream once a

Ï Ï Ïbgain I am

Ï Ï Ïo ver the- -

Away I FlyCabaniss

Singing IconAway I FlyThomas Cabaniss

S G 18&30

Ï Ï Ïo cean

· Î Î ÏI- - -

&33 Ï Ï Ï

dream once a

Ï Ï Ïbgain I'm a

Ï Ïb Ïbird in the-

&36

.úsky

3 Î Î Ï#But

F

&41

.únow

ú Ï#I am

.úfal - - - - -

&44

ú Ïling I'm

.úbspin

úb Ïning a- - - - - -

&47

.úbround

· Î Ï ÏI hear

&50

.Ï jÏ Ïsome one say,

Ï# Ï Î"Get up!"

Î Î ÏBut-

&53

.úI'm

Ï Î Îstill

.úbsleep - - - - -

&56

Ï Î Îing

.úbI'm

.úbstill

2 Away IFly

S G 19&59

.údown

.ú8 80

&149 · 3 Î Î Ï

"Come

P

&154

Ï Î Îdown,

Î Î ÏCome

Ï Î Îdown,

&157Î Î Ï

Come

.Ï jÏ Ïdown," I hear

Ï Ï Ï Ïfaint ly but I-

&160

úb Ïstay here

Î Ïb Ïon my

ú Îbranch

&163Î Ïb Ï

on my

.úbbranch

úb ÏI

&166 Ïb Ï Ïbdream once a

Ï Ï Ïbgain I'm a

Ïb Ïb Ïkid on the-

&169

.úground

· ·

3Away IFlyBegin choreography (see SG40)Begin choreography (see SG22).

S G20&172

Ï Ï ÏRun ning and

Ï Ï Ïbjump ing and

Ï Ï Ïnot car ing- - -

&175

Ï Ï Ïwhere I go

· ·

&178Ï Ï ÏTum bling and

Ï Ï Ïblaugh ing, the

Ï Ïb Ïworld's filled with- -

&181

.úsound

3 Î Î ÏBut

p

&186

.únow

ú ÏbI am

.úri - - - - -

&189

ú Ïsing I'm

.ú#float

ú# Ïing up- - - - -

&192

.úbhigh

· Î Ï ÏI hear

&195

.Ï jÏ Ïsome one say,

Ï# Ï Î"Come down!"

Î Î ÏA

f- - -

&198

.úway,

Î Î ÏA

.úway,-

4 Away IFly

S G

&201Î Î Ï

A

.úway

.úI-

&204 .ú

fly!

.ú .ú

&207 6

5Away IFly

21

“Away I Fly” Choreography

Counts 1 and 2

Count 7

Counts 3 and 4

Count 8 Note: There are 10 eight-count phrases in the “Away I Fly” dance interlude. Repeat

this combination, moving the body higher and higher with each count so that on the

tenth repeat, you are standing tall.

Count 5 Count 6

Start seated and raise your arms for two counts

with palms up.

For count seven, stack your hands on top of each other

and circle them like you are stirring a pot.

For count eight, bump your fists in front of your body.

For the third and fourth count, make a swimming

motion. There are two “swims” for each count.

For count five, reach across your body with your left arm and pull your right arm across.

For count six, circle your torso forward

and to the right.

S G 22

S G 23

& b 441 œ .œ œ œ œ

Tor re a dor, on

p.œ œ .œ œ ˙

gu ard!- - - - - - -

& b3 œ .œ œ ˙To re a dor!

œ .œ œ ˙To re a dor!- - - - - -

& b5

˙ œ œ œ œAnd, as you fight just

p œ œ œ œ ˙think that from a bove-

& b7

œ œ œ .œ# œnDark eyes send their re

wgard

F

-

& b9 ‰ Jœ œ# œ œ œ œWith prom is es of love,

p ‰ jœ œ œ ˙To re a dor,- - - - -

& b11 ‰ jœ œ œ œ œwith prom is es of

π˙ ”love!- -

Toreador Song from CarmenBizet

CHORUS

*A soloist will sing two verses in the concert. Students will sing along on the chorus.

Singing Icon

A soloist will sing two verses in the concert. You will sing along on the chorus.

Toreador from Carmen

Georges Bizet

S G

S G

&###44

1

jœ

CiSee

FAllegro

œ œ œ œ œ œdadah

dejee

mamah

rarah

vivee

œ ˙ Œ

lholyoh

sasuh

- - --

--

--

--

&###4

œ œ œ œ œ œ

chei

shay

a

ah

deen

jeein

can

kan

tos

toos

˙ Œ œ

mil,

meeyoo

Ci

See

œ œ œ œ œ œ

da

dah

de

jee

ma

mah

ra

rah

vi

vee

-

-

- -

-

- - -

-

-

-

-

-

&###7

œ ˙Œ

lho

lyoh

sa

suh

œ œ œ œ œ œco

ko

ra

ra

cao

sowhn

do

doo

meu

mayoo

Bra

brah

˙Œ

œsil.

seeoo

Ci

See

P

-

-

-

-

-

-

-

-

-

&###10

œ œ œ œ œ œda

dah

de

jee

ma

mah

ra

rah

vi

vee

œ ˙ Œ

lho

lyoh

sa

suh

œ œ œ œ œ œchei

shay

a

ah

deen

jeein

can

kan

tos

toos

- -

-

-

-

-

-

-

-

-

-

- -

-

&###13

˙ Œ œ

mil,

meeyoo

Ci

See

Fœ œn œ œ œ œda

dah

de

jee

ma

mah

ra

rah

vi

vee

œ ˙Œ

lho

lyoh

sa

suh

- - -

-

-

-

-

-

-

-

&###16

œ œ œ œ œ œ

co

ko

ra

ra

cao

sowhn

do

doo

meu

mayoo

Bra

brah

.˙ Œ

sil.

seeoo.

-

-

- - -

-

Cidade Maravilhosa

This chorus repeats three times.

André Filho

Singing Icon

Pronunciation:

This chorus repeats three times.

Cidade MaravilhosaAndré Filho

24

25About the Composers

Ludwig van Beethoven (1770–1827) was born in Bonn, Germany. After beginning his piano studies at an early age with his father, Beethoven quickly became a famous pianist and composer in Germany. By the age of 12, he was earning a living for his family as an organist, violist, pianist, and composer. Although Beethoven began to suffer from hearing loss as early as his 20s, he continued to compose, creating some of his most famous musical works after he had become deaf. Beethoven’s originality and innovation inspired others to change the way they composed. He amplified the power of orchestral music, and his music acted as a transition into the Romantic era of music composition. Fun fact: One of Beethoven’s favorite foods was a special kind of macaroni and cheese!

Georges Bizet (1838–1875) was a French composer with a musical family. His mother, a pianist, and his father, a composer and voice teacher, recognized Bizet’s talent early. When he was nine, his father enrolled him in the Paris Conservatory of Music, where he was known as a masterful pianist and an award-winning composer. He wrote more than 150 compositions for the piano, as well as a symphony, orchestral suites, operas, and songs. His final masterpiece, Carmen, an opera that caused an uproar at its 1875 premiere, is now celebrated and performed all over the world. Thomas Cabaniss (b. 1962) is a composer and educator born in Charleston, South Carolina. Residing in New York City, Cabaniss teaches at The Juilliard School and leads arts education programs throughout the city. His music ranges from chamber music to operas and film scores. He is the host and composer-in-residence for Carnegie Hall’s Link Up program, and helped launch Carnegie Hall’s Lullaby Project, which helps pregnant women, new mothers, and their families write songs for their children. Cabaniss uses his music to encourage collaboration and help institutions support partnerships between artists and communities.

S G

André Filho (1906–1974) was a Brazilian actor and musician who composed many popular Brazilian songs. A violinist, singer, guitarist, pianist, mandolinist, and banjo player, Filho was an active performer and composer. He wrote “Cidade Maravilhosa” (“Wonderful City”) for the Rio de Janeiro Carnival in 1935. The song was made popular by Carmen Miranda, a Brazilian-born Broadway singer and actress, and became the anthem of Rio de Janeiro. Felix Mendelssohn (1809–1847) was born in Hamburg, Germany, to a musical family who encouraged him and his sister Fanny to be musicians. Mendelssohn started piano lessons at a young age and composed prolifically as a boy. Fun fact: He composed five operas and 11 symphonies for string orchestra during his childhood! An active conductor, Mendelssohn began his conducting career at the age of 20 with a choral society in Berlin. Mendelssohn and his sister were active composers and musical inspirations to each other. Mendelssohn’s musical career allowed him to travel, and his trips to other countries inspired some of his great works, including the “Scottish” and “Italian” symphonies. Mendelssohn founded the conservatory of music in Leipzig, where he taught composition until his death.

Wolfgang Amadeus Mozart (1756–1791) was a child prodigy born in Salzburg, Austria. Hailing from a musical family, Mozart began studying music with his father, Leopold, an accomplished musician who wrote a book about violin playing and technique. Mozart was immensely talented; he began writing his first piano concerto at the age of five and was performing violin, harpsicord, and viola for Austrian royalty one year later with his sister, Maria Anna (nicknamed Nannerl). At the age of seven, Mozart traveled around Europe with his sister and father, performing in over 15 cities and publishing his first compositions. Mozart’s talent led him to work as a commissioned opera composer in Italy, a court musician in Salzburg, and a musician for the archbishop in Vienna. A prolific composer, Mozart mastered many different styles, including Italian opera and music in the Austrian tradition, and composed over 600 works in his almost 36 years.

Jacques Offenbach (1819–1880) was a German-born French composer who grew up with a large musical family. His father, the cantor at the Cologne Synagogue, began teaching him music when he was young. Offenbach enjoyed performing with his many siblings, and quickly exhibited his strong musical talent. He enrolled as a cello student at the Paris Conservatory of Music at the age of 14. Though he did not graduate from the conservatory, Offenbach remained an active performer and composer. As a conductor at the Théâtre Français, Offenbach produced many of his own operas, which were known for their infectious melodies and comedic fun. He is also known as the father of the French operetta, a form of light opera similar to American musical theater.

Johann Strauss II (1825–1899) was born in Vienna, where his father was a famous musician. Although his father urged him not to pursue music (he wanted him to become a banker), Strauss rebelled against the idea and studied violin in secret. At the age of 19, Strauss started his own orchestra and conducted his first public concert. He went on to become a productive composer and tour internationally with his orchestra. Known as the “Waltz King,” he wrote over 500 waltzes, polkas, quadrilles, and other types of dance music, as well as many operettas.

Composer Timeline

S G 26

S G

Composer Timeline

27S G

1750 1775 1800 1825 1850 1875 1900 1925 1950 1975 2000 2018

Wolfgang Amadeus Mozart

1756–1791

Ludwig van Beethoven

1770–1827

Felix Mendelssohn

1809–1847

Johann Strauss II

1825–1899

Georges Bizet

1838–1875

André Filho

1906–1974

Thomas Cabaniss

b. 1962

Jacques Offenbach

1819–1880

S G 28

Brass (metal tubes, buzzed lips)

Sounds like: Sounds like:

Sounds like:Sounds like:

French Horn

Trumpet

Trombone

Tuba

Instrument Family Portraits

Clarinet

Woodwinds (wooden or metal tubes, blown)

Sounds like: Sounds like:Sounds like:

Sounds like:

Sounds like:

BassoonFlute

Oboe

Clarinet

Piccolo

high and light

S G

S G 29

Sounds like:


Sounds like:

Sounds like:

Strings (wooden bodies with strings that are bowed or plucked)

Violin

Bass

CelloHarp

Viola

Percussion (struck, shaken, or scraped)

Sounds like:

Sounds like:


Sounds like:

Timpani

Bass Drum

Triangle

Snare Drum

Xylophone

S G

S G30The Orchestra Map

ViolinsConductorHarp

Flutes

Clarinets

French Horns

Snare Drum

Bass Drum

Timpani

Xylophone

S G

Trumpets

S G

Conductor

31

Violas

Cellos

Oboes

Bassoons

Trumpets

Trombones

Basses

Tubas

S G

S G 32Instrument Identification (Visual)

Look at the pictures below and write each instrument’s name and family. In the last column, list one musical fact about the instrument. An example is given for you below.

Instrument Name Instrument Family Musical Fact

clarinet

trombone

bassoon

violin

woodwinds

brass

woodwinds

strings

Makes sound by blowing on a single reed

Changes pitch when you

move the slide

One of the largest and lowest

members of the woodwind family

Plays the highest notes of the string family

S G

S G 33

viola

cello

French horn

timpani

bass

strings

strings

brass

percussion

strings

Slightly larger than the violin

and plays lower notes

Second largest of the string instruments

and is usually played by a

musician sitting in a chair

Made with more than 12 feet of coiled

brass tubing

Also called kettledrums

and are played with mallets

Largest instrument of

the string family and plays the lowest notes

Instrument Name Instrument Family Musical Fact

S G

S G 34

Instrument Name Instrument Family

1

2

3

4

5

6

7

8

Listen carefully to each instrument example. Write the name and family of the instrument that you hear. You may use the Word Walls for clues. An example is given for you below.

trumpet brass

flute woodwinds

xylophone percussion

harp strings

bass strings

tuba brass

oboe woodwinds

violin strings

Instrument Family Word Wall

brass

percussion

strings

Instrument Word Wall

bass

bassoon tuba

cello

clarinet

flute

French horn

harp

oboe

timpani

trumpet

trombone

violin

viola

xylophone

Instrument Identification (Audio)

woodwinds

S G

My Own Orchestra

S G 35My Own Orchestra

Name of orchestra:

Type of music:

Instruments included:

Reasons for instrumentation:

Stage setup (draw):

Stadium Symphony

Sports and action music

percussion, trombone, tuba, cello

We want super-loud drums and low, scary sounds when we are playing an exciting game, so we chose low-pitch and percussive instruments

S G

S G 36

Nocturne from A Midsummer Night’s Dream

The Blue Danube

“Come to Play”

“Can-Can” from Orpheus in the Underworld

“Away I Fly”

Overture to The Marriage of Figaro

“Toreador” from Carmen

Symphony No. 5, First Movement

“Cidade Maravilhosa”

Singing Playing Listening or Moving

My Repertoire List

S G 37My Letter to the Orchestra

Dear ,

Your friend,

Date

ACKNOWLEDGMENTSScores

“Come to Play” music and lyrics by Thomas Cabaniss. Published by MusiCreate Publications. Performed by the Brooklyn Youth Chorus and Moran Katz.

The Blue Danube by Johann Strauss II, lyrics by Thomas Cabaniss. Performed by Wiener Philharmoniker conducted by Willi Boskovsky. Courtesy of Decca Music Limited under license from Universal Music Enterprises. Student performance tracks performed by Moran Katz, Amy Justman, and Shane Schag.

Nocturne from A Midsummer Night’s Dream by Felix Mendelssohn. Performed by Chicago Symphony Orchestra conducted by James Levine. Courtesy of Deutsche Grammophon GmbH, Hamburg under license from Universal Music Enterprises. Student performance tracks performed by Moran Katz, Phil Bravo, and Shane Schag.

“Away I Fly” by Thomas Cabaniss. Published by MusiCreate Publications. Performed by Shane Schag, Moran Katz, and Amy Justman.

“Toreador” from Carmen by Georges Bizet. Performed by Alan Titus and Slovak Radio Symphony Orchestra, courtesy of Naxos of America. Student performance tracks performed by Amy Justman and Shane Schag.

“Cidade Maravilhosa” by André Filho and Nick Lamer. © 1936, renewed 1964 Robbins Music Corp. Rights assigned to EMI Catalog Partnership. All rights controlled and administered by EMI Robbins Catalog Inc. (Publishing) and Alfred Music Publishing Co., Inc. (Print). All rights reserved. Used by permission. Student performance arranged by Thomas Cabaniss, performed by Amy Justman, Shane Schag, and Justin Hines. Pronunciation guide spoken by Christian Figueroa.

Allegro con brio from Beethoven’s Symphony No. 5 performed by Eugen Jochum, Symphonieorchester des Bayerischen Rundfunks. Courtesy of Deutsche Grammophon GmbH, Hamburg under license from Universal Music Enterprises.

“Can-Can” by Jacques Offenbach. Music performed by the RFCM Symphony Orchestra conducted by Dr. Keith J. Salmon—http://www.royalty-free-classical-music.org.

The Marriage of Figaro Act I: Overture by Wolfgang Amadeus Mozart. Performed by Nicolaus Esterhazy Sinfonia conducted by Michael Halasz. Courtesy of Naxos of America. Excerpts and narration by Daniel Levy.

The Young Person’s Guide to the Orchestra by Benjamin Britten. © 1947 by Hawkes & Son (London) Ltd. Courtesy of Boosey & Hawkes. Instrument excerpts performed by The Fountain Ensemble and narrated by Hillarie O’Toole. Theme performed by London Symphony Orchestra and Steuart Bedford. Courtesy of Naxos of America.

Special Thanks

Special thanks to Hilary Easton for her choreography to “Away I Fly”; Maria Schwab and the students of PS 84Q; Carey White and the students of Elizabeth Morrow School for their participation in the creation of video resources for Link Up: The Orchestra Moves; and to Dianne Berkun, Travis Horton, and the Brooklyn Youth Chorus for their participation in the creation of audio resources. Thanks to Stephen Malinowski for creating and granting permission for the Music Animation Machine. Thanks to Alejandro Aldana and David Rosenmeyer for assistance on “Cidade Maravilhosa” pronunciation.

}}

Left Hand1st Finger

Thumb

2nd Finger

3rd Finger

1st Finger

2nd Finger

3rd Finger

4th Finger (little finger)

Right Hand

&w w# wb w w# wb w w w# wb w

& w# wb w w# wb w w w# wb w w# wb

&w w w# wb w w# wb w w# wb w w

©




©




©

C

A

E F G A B C

B C D

E F GCB

GB AB

FB GB AB

CB DB

DB FBDb

Ab Bb

Gb Ab Bb

Db Eb

Eb GbD

SOPRANO RECORDER FINGERING CHART

: Hole open: Hole closed: Half hole

carnegiehall.org/LinkUp

Documents

Weill Music Institute Link Up...Natalie Slack, Senior Editor, WMI Raphael Davison, Senior Graphic Designer CONTRIBUTORS Thomas Cabaniss, Composer Daniel Levy, Writer Tanya Witek, Writer