Teacher Resource Pack

2013/14 Season

© Paul Rissmann

2

Philharmonia Orchestra

Orchestra Unwrapped

Teacher’s Pack by Paul Rissmann

Welcome to Orchestra Unwrapped. This year, the Philharmonia Orchestra will present an

action-packed children’s concert designed to introduce your class to instruments of the

orchestra and will feature some of the most fantastic orchestral music.

The programme includes:

COPLAND Fanfare for the Common Man

BEETHOVEN Symphony No.5 – 1st Movement (excerpt) MUSSORGSKY Selections from Pictures at an Exhibition

RISSMANN SUPERSONIC (Audience Participation Piece)

STRAVINSKY ‘Infernal Dance’ from The Firebird

WILLIAMS Theme from Star Wars

This pack has been written especially to enhance the concert experience for the children,

and contains two exciting projects for you to explore together in class.

Project 1 SUPERSONIC

This is the audience participation piece in our concert. SUPERSONIC is like a modern and

highly interactive Young Person’s Guide to the Orchestra. The music is fun to learn and will

enable your class to perform with the full forces of the Philharmonia during the concert.

Project 2 Pictures at an Exhibition

This is surely one of the most incredible works in the orchestra’s repertoire. In this section

of the pack, you will find several short and simple musical activities that relate directly to

Mussorgsky’s masterpiece. They feature material taken directly from the orchestral score,

and have been devised to prepare your class for listening to Pictures at an Exhibition live in

concert.

If preparation time is short, it is absolutely essential that you carry out Project 1.

Please feel free to modify activities to best suit your class. Listening to a full size symphony

orchestra live for the first time is a very special event for children. Combined with fun,

creative preparation in school, I’m sure that your class will love the experience of being

composers, performers and discerning listeners.

We hope you and your students enjoy Orchestra Unwrapped.

3

Project No. 1

SUPERSONIC A Participation Piece for Children and Orchestra

By Paul Rissmann

SUPERSONIC was commissioned by the London Symphony Orchestra in 2007. It was

written to enable thousands of school children to perform with the musicians of the LSO at

the Barbican Centre, London.

The best way to describe SUPERSONIC is as an interactive Young Person’s Guide to the

Orchestra. It will inspire your class to perform on equal grounds with the brilliant musicians

of the Philharmonia, whilst simultaneously learning about the instruments of the orchestra.

SUPERSONIC is short, fun and composed especially for children. Although it may initially

seem complex, don’t let it bamboozle you – kids always learn these pieces with the greatest

of ease. To make things even easier, a host of associated resources have been produced for

practice in class.

If you work with children who have special needs, please feel free to modify the

participation part in any way you wish.

The Piece

SUPERSONIC touches on the following three educational themes:

• the history of the orchestra

• the four instrumental sections of the orchestra

• the names of the instruments that make up each section

Think of it as a modern, highly interactive sequel to Benjamin Britten’s trail-blazing Young

Persons Guide to the Orchestra.

SUPERSONIC uses a simple, repetitive RONDO structure; just think of it as a song with

some rhythmical episodes sandwiched in-between the verses.

Here is the structure of the music:

Introduction a rhythmical beginning.

Verse 1 a simple song about the orchestra in the 17th century

The Strings interacting with the string section

Verse 2 a simple song about the orchestra in the 18th century

The Woodwinds interacting with the woodwind section

Verse 3 a simple song about the orchestra in the 19th century

The Percussion interacting with the percussion section

Verse 4 a simple song about the orchestra in the 20th century

The Brass interacting with the brass section

Finale a high-energy, 21st century tongue-twister to complete the piece

4

Chest Slap Slap one hand on the upper

part of the torso.

Tap Fingers Tap fingers in the palm of

the opposite hand.

SUPERSONIC – A Quick Guide to Body Percussion

Body percussion is a great way for people of all ages and abilities to perform rhythmically

together. SUPERSONIC requires a few body percussion moves. They are explained below:

What else is involved?

Everything else is simply sung or spoken.

Clap It will make things much easier

if you hold your hands quite

high up – round about the

chin.

Finger Clicks Click the fingers of both hands

high above the head – making

a strong V shape.

Thigh Slaps Slap the left hand on the left

thigh or the right hand on the

right thigh. Go easy with these

otherwise you may end up with

a bruise!

Stamp Foot You can choose whichever foot

you prefer to stamp.

5

How to Learn the Supersonic

I have made a practice CD for you to use in class. It contains individual tracks to help you

rehearse each section of the piece with the class. All the cues for starting each participatory

moment are given, so you never need to worry about counting the bars rest in-between

sections. If you prefer, full musical manuscript is also available, and a PowerPoint of the

lyrics can be downloaded to use in school.

Suggested Learning Process

1. Talk with the children about the orchestra.

Have they ever heard an orchestra before?

Have they been to a concert?

Do they know the names of any instruments in the orchestra?

Do they know how many sections (or instrument families) there are in the

orchestra?

What are their names? (Brass, Percussion, Strings and Woodwinds)

2. Learn to sing the main song from SUPERSONIC (Verses 1 to 4).

3. Now explore each of the other parts of the piece.

I would suggest learning them in the order they appear, so start with

Introduction, then learn the STRINGS – WOODWINDS – PERCUSSION –

BRASS.

4. Finally learn to sing the very short and easy FINALE.

Top Tips to Ease the Learning Process

• The main song is really easy to learn. Use this to inspire the children to master the

rest of the piece.

• The STRINGS and WOOWINDS are the most challenging sections. Devote one

lesson to learning each of these sections, and then consolidate their learning with

short practice sessions.

• The PERCUSSION section is a deliberate tongue twister. Don’t panic about it – just

have fun with the music.

• The BRASS section is unbelievably simple. The children will grasp it within seconds.

• The FINALE is an upbeat song with some body percussion moves (which you’ve

already learned) and it completes the piece.

6

SUPERSONIC - Participation Part

INTRODUCTION Simply say the words or letters in bold below:

BEATS 1 2 3 4

Orchestra introductory crescendo

CUE - Cymbal O R C

rest H E S

T R A

1 2 3 HEY!

rest SUPER - SONIC

rest ORCHES - TRA

rest SO

rest LET’S

GOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO

(crescendo all the way through the final go!)

VERSE 1 Sing the song below:

7

THE STRINGS

Simply say the words or syllables in bold below:

BEATS

Then there is a short violin solo, after which you perform the body percussion moves below.

Everything below relates directly to the INTRODUCTION section of the piece. If you think

of the word pattern from the introduction (where you spell out ORCHESTRA) it will give

you the exact rhythm of the moves below.

1 2 3 4

CUE - Triangle Vio - lin One

rest Vio - lin Two

rest Vi - ola

rest Cello

rest Double Bass

1 2 3 4

Go----------------------------------------------- STRINGS

1 2 3 4

AR - CLAP - CO CLAP

1 2 3 4

WITH CLAP BOW CLAP

1 2 3 4

CUE - Triangle Tap (1 finger in palm of hand)

Tap (1 finger)

Tap (1 finger)

rest Tap (2 fingers)

Tap (2 fingers)

Tap (2 fingers)

Tap (3 fingers)

Tap (3 fingers)

Tap (3 fingers)

1 2 3 CLAP

rest SLAP

Chest

SLAP

Chest

SLAP

Chest

SLAP

Chest

rest SLAP

Chest

SLAP

Chest

SLAP

Chest

rest STAMP

Either Foot

rest SLAP

Both Thighs

CLAP

8

VERSE 2 (to the same melody as Verse 1)

In the 18th century, instruments and technology,

let orchestras grow bigger so people could rock,

when classical was pop!

THE WOODWINDS

Simply say the words or syllables in bold below and perform any actions indicated:

1 2 3

CUE - Chord Flute

rest O boe

rest Cla ri net

rest Bass oon

rest Think Flute

+ CLICK both fingers

rest Think O -

+ CLAP

- boe

+ CLAP

rest Think Cla -

+ SLAP chest

- ri -

+ SLAP chest

- net + SLAP chest

rest

Think Bass -

+ SLAP

right thigh

- oon

+ SLAP

left thigh

A short interlude follows, then you perform a similar sequence but using the names of the

four auxiliary woodwind instruments:

1 2 3 4

CUE – Chord Picc o lo

rest Cor Ang lais

rest Bass Clari net

rest Con tra Bass oon

rest Think Picc -

+ CLICK right hand

- O -

+ CLICK left hand

- lo + CLICK

right hand

rest Think Cor -

+ CLAP Ang -

+ CLAP - lais

+ CLAP

rest

Think Bass

+ SLAP chest

Clar - + SLAP

chest

- i -

+ SLAP

chest

- net + SLAP chest

rest

Think Con -

+ SLAP

right thigh

- tra

+ SLAP

left thigh

Bass -

+ SLAP

right thigh

- oon

+ SLAP

left thigh

9

VERSE 3 (to the same melody as Verse 1)

In the 19th century, Beethoven wrote his Symphonies,

a new Romantic era, would knock on the door,

and music changed once more.

THE PERCUSSION

Sing the short phrase below, FIVE times in a row:

The first two times you sing the phrase, you perform it without any actions. However, on

the final three repetitions, add the actions detailed below:

At the very end of this tongue twister (after 5 repetitions of the phrase)

end with a final CLAP.

VERSE 4 (to the same melody as Verse 1)

In the 20th century, a new sound came from Stravinsky,

the rules were smashed and broken

and thrown out the door,

and sometimes heads were sore.

Timpani and percussion Timpani and percussion Harp and Piano

CLAP CLAP SLAP

chest

CLICK

both

hands

10

THE BRASS

Say the instrument names in the rhythm below:

Then, BEATBOX the rhythm above 8 times in a row. To beatbox effectively, you simply

need to find a percussive, vocal sound to fit with the rhythm above – the kids will already

be expert in this!

Try to sound as much like a drum kit as possible. The class could all use the same sounds –

or make completely different ones.

IMPORTANT: This music does not have to be very loud, as it will act as an accompaniment

to the Brass section’s melody.

FINALE Sing this new melody, twice in a row:

Then perform the following sequence to finish:

CUE –

Chord STAMP CUE –

Chord THIGH

SLAP CLAP CLAP CLAP

11

Project No. 2

Pictures at an Exhibition by Modest Mussorgsky

Pictures at an Exhibition is a masterpiece. The characterful piano pieces by the Russian

composer Modest Mussorgsky written in 1874 are now a favourite exhibit in every

orchestra’s repertoire.

Inspired by an exhibition of works by the Russian nationalist painter and architect Victor

Hartmann, Mussorgsky created ten virtuoso pieces for solo piano. He linked his sound

paintings with a recurring Promenade Theme to represent the listener moving through his

virtual musical gallery.

Years later, the French composer Maurice Ravel created an orchestral version of this piano

music. Ravel was a master of orchestration (he is the man who wrote the über famous

Bolero after all) and he re-scored Pictures at an Exhibition with full orchestral colour.

Ravel’s symphonic remix presents a fantastic adventure, ideal for young listeners. The

music will allow your class to explore the catacombs below Paris, dance a ballet with chicks

in their shells and marvel at the splendour of the Great Gate of Kiev.

Pictures at an Exhibition is the perfect stimulus for creative music-making in school. This

section of the pack details three simple musical activities inspired by the score. It contains

musical material and structures borrowed directly from Mussorgsky, all of which can be

easily performed on classroom instruments.

12

Pictures at an Exhibition

Musical Activity No.1 – The Promenade Theme

Mussorgsky uses the melody below to signify his journey through the exhibition. This

Promenade effortlessly links each of his contrasting pictures together. For such important

music, it is actually incredibly simple. It is built using a Pentatonic Scale (a scale with just

five pitches): C D F G A

1. Learn to play or sing the melody.

2. Ask the children to create a simple text for the melody. Something like this:

Let’s all go for a walk, Look at pictures on the wall,

Paintings hang all around, Dream of music, hear their sound.

Use this melody to make several verses of a song.

An Irregular Step forward!

Rhythmically this theme is very unusual. Notice in the manuscript above Mussorgsky scores the music in 5/4 and 6/4. That means there are 5 beats in some of the bars and 6 in the others. Most music (certainly most of our contemporary pop music) is scored with just 4

beats in the bar – so it seems to be that Mussorgsky’s Promenade Theme is trying to keep

us on our toes with its peculiar gait.

Try adding an un-pitched percussion accompaniment to the music – perhaps just a simple

pulse on a drum – or maybe something more sophisticated. Can the class navigate their

way through this unusual rhythmical template?

13

Musical Activity No. 2 - The Ballet of the Chicks in their Shells

EGGstraordinary Costumes!

Victor Hartmann’s humorous sketch shows chicks wearing

shells like fashionable new outfits. Commissioned for the ballet

Trilby, the costumes were created for a scene where children

play-dance as chicks.

Mussorgsky’s brilliant, chattering music suggests small chicks

running around aimlessly, underpinned by a pattern of

extremely short, almost pecking, notes. The central, more

graceful section of music depicts a gentle solo dance for one of

the chicks before returning to the slightly manic music of the

first section.

A Creative Project

1. Begin by looking at Hartmann’s sketch, and imagining the scene from the ballet.

2. Challenge the group to compose some music to depict the chicks running around in

their shells.

? How can music sound chicken-like?

What are the best instruments to use?

Inspired by Mussorgsky

1. Draw the rhythm grid below on the board (feel free to photocopy it if you prefer).

Each box represents one beat. If a box contains one character, then it has a single

note lasting one full beat (a crotchet). If a box contains two characters, then it has

two quicker notes – played in the time of one beat (two quavers). The final box

indicates a single sound sustained for 4 beats.

BEATS 1 2 3 4 5 6 7 8

* * * ** * * * *

X X X X X X X X X X X X X X X X

* * * ** * * * *

X X X X X X X X X X X X X X X X

O O O O O O O O

==============

2. Try clapping through the grid with the class.

14

3. Now, challenge the children to find a different sound to represent each character in

the grid. They could clap the *s, click the Xs, stamp the Os etc.

4. Divide the class into three groups and ask each group to choose a set of un-pitched

percussion instruments. If possible, each group should consist of similar instruments

i.e. Group 1 chooses scrapers, Group 2 chooses tambourines, and so on.

5. Now, play through the grid overleaf on the instruments.

Group 1 – play everything marked with a *

Group 2 – play everything marked with an X

Group 3 – play everything marked with an O

Everyone should play the final bar

6. Now, ask each group to assign very specific dynamics (volumes) to their music. For

instance, Group 1 may wish to crescendo (get louder) through their line. There is

only one restriction – the final bar (played by everyone) should be very loud.

7. Try and find as many different ways to play through the grid.

8. Aim to create a complete section of music – at least one minute in duration with as

much variation and colour as possible.

15

Musical Activity No.3 – The Catacombs

Paris Underground

After graduating, Victor Hartmann spent three years living in Paris. Whilst there, he made

drawings and sketches that would later inspire three of Mussorgsky’s sound pictures

(Tuileries, Limoges and Catacombs).

The picture above is a self-portrait of Hartmann exploring the catacombs below Paris.

Mussorgsky transformed this image into slow, atmospheric and slightly scary music. His

score contains the following inscription:

"Hartmann's creative spirit leads me to the place of skulls, and calls to them - the skulls begin

to glow faintly from within."

A Simple Creative Project

1. Look at Hartmann’s picture and invent a story to fit with it.

What could be happening in the catacombs?

2. Now, discuss what kind of music would compliment the story.

3. Choose appropriate instruments and begin to transform the children’s ideas into

sound.

16

Two Musical Ideas to Borrow from Mussorgsky

DYNAMICS

Catacombs features an incredible range of volume. It is full of contrast. What begins loud,

ends up soft. Quiet and still chords become ferocious in their intensity. Encourage the

group to incorporate these huge variations of sound into their music.

THEME

Catacombs is actually a very clever variation of Mussorgsky’s Promenade Theme. Why not

feature the Promenade Theme in your music? But it should be, of course, heavily disguised.

Here are some ideas to experiment with:

- play the notes of the Promenade – but backwards, one after the other; start with the

last note and end with the first!

- try playing all the notes of the Promenade at the same time - as one big chord.

- select a few pitches from the Promenade and use them to make a repeating pattern.

Finally

Once the children are happy with their music, why not add some narration on top – to

really bring their sound picture alive?

Try writing three short sentences to describe what is happening in their music. Then place

these sentences somewhere within their musical structure.

The narrator’s role could be fulfilled by a single person, or the entire class – speaking in

unison.

Now, are you brave enough to perform the music in a darkened room?

Good Luck!

© Paul Rissmann

September 2013