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Fifth Edition

Link UpWeill Music Institute

A Program of Carnegie Hall’s Weill Music Institute for Students in Grades Three Through Five

S NGSTeacher Guide

The Orchestra

Fifth Edition

S NGSTeacher Guide

The Orchestra

Link UpWeill Music Institute

A Program of Carnegie Hall’s Weill Music Institute for Students in Grades Three Through Five

WEILL MUSIC INSTITUTEJoanna Massey, Director, School ProgramsPhil Bravo, Manager, Elementary School Programs and PartnershipsJacqueline Stahlmann, Manager, Elementary School Programs and PartnershipsHillarie O’Toole, Associate, Elementary School Programs and PartnershipsRigdzin Collins, Coordinator, Elementary School ProgramsAnouska Swaray, Administrative Assistant, School Programs

PUBLISHING AND CREATIVE SERVICESJay Goodwin, Managing Editor, WMIKat Hargrave, 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: 212-903-0758E-Mail: [email protected]/LinkUp

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

Additional funding for Link Up is provided by The Ambrose Monell Foundation and The Barker Welfare Foundation.

Link Up in New York City schools is made possible, in part, by an endowment gift from The Irene Diamond Fund.

The Weill Music Institute’s programs are made available to a nationwide audience, in part, by an endowment grant from the Citi Foundation.

© 2015 The Carnegie Hall Corporation. All rights reserved.

Weill Music Institute

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TABLE OF CONTENTSIntroduction ..............................................................................................................................4How to Use this Guide ............................................................................................................ 5Icon Key .......................................................................................................................................6Options for Teachers of Students with Special Needs ...............................................6Pathways for Teachers .......................................................................................................... 7Curriculum Overview ............................................................................................................8

Concert Repertoire .................................................................................................................9Introduction to Concert Repertoire ..................................................................................9“Come to Play” (Parts 1, 2, and 3) ......................................................................................13“Come to Play” Student Assessment Sample .................................................................19 “Come to Play” Student Assessment .............................................................................. 20“Ode to Joy” .......................................................................................................................21“Ode to Joy” Student Assessment ................................................................................... 23“Simple Gifts” ....................................................................................................................... 24“Simple Gifts” Student Assessment ................................................................................ 26“New World” Symphony .....................................................................................................27“New World” Symphony Student Assessment ............................................................. 29“Bought Me a Cat” ............................................................................................................... 30“Bought Me a Cat” Student Assessment .........................................................................31“To Make Words Sing”........................................................................................................ 32“To Make Words Sing” Student Assessment ..................................................................35“Oye” ...................................................................................................................................... 36“Oye” Translation and Performance Notes ................................................................... 38“Oye” Choreography ........................................................................................................... 39“Oye” Student Assessment ................................................................................................ 40

Repertoire Exploration .......................................................................................................41Melodies Are Made of Patterns .........................................................................................41Melodies Can Be Playful .................................................................................................... 45Melodies Play Together ...................................................................................................... 47Melodies Tell a Story ....................................................................................................... 48

Families of the Orchestra ...................................................................................................55

Concert Experience ..............................................................................................................67

Basics .........................................................................................................................................73Singing ....................................................................................................................................73Recorder .................................................................................................................................77Rhythm ...................................................................................................................................81Melody ............................................................................................................................... 87

Additional Information .......................................................................................................97About the Composers ..........................................................................................................97Composer Timeline ............................................................................................................ 98Glossary ................................................................................................................................. 99Additional Resources ........................................................................................................101Lesson Plan Template ................................................................................................... 102Learning Standards ........................................................................................................... 103Common Core State Standards Initiative .................................................................... 104Classroom Assessment Tools.......................................................................................... 104CD/DVD Track Lists ......................................................................................................... 105Acknowledgments ............................................................................................................. 106Soprano Recorder Fingering Chart ............................................................................... 107

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INTRODUCTIONAbout Link UpLink Up, a program of Carnegie Hall’s Weill Music Institute, guides students and teachers in grades 3–5 through a yearlong exploration of orchestral repertoire. Students will sing and play soprano recorder or string instruments while learning basic musical concepts and composing their own music. Linking your classroom to the concert hall, this program provides extensive standards-based teacher and student materials and culminates in an interactive orchestral concert in which students sing or play soprano recorder or string instruments from their seats.

Welcome to The Orchestra SingsMelody is one of the universal elements of music. Composers and musicians create melodies, which can be sung or played on instruments. The orchestra sings when its musicians play melodies on their instruments. Through the Link Up repertoire, hands-on activities, and a culminating interactive performance with a professional orchestra, we will discover how the orchestra sings.

ExplorationHow are melodies made? How do composers and orchestras use melodies to sing?

Key Objectives Students will

• perform by singing and playing the soprano recorder or string instruments as soloists, small ensembles, and with the orchestra

• analyze and interpret the essential musical structures of melody and what makes it sing

• connect with the orchestra and explore instruments, families, and orchestration

• compose and notate new music with our host, Thomas Cabaniss, using the concert melodies as models

• develop their imaginative capacities and make personal connections to the music

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Teacher Guide FormatThe Teacher Guide is divided into six sections, each indicated with an easy-to-locate tab. The first four sections include the concert repertoire, hands-on activities for deeper explorations of each piece, lessons on the families of the orchestra, and preparation for the culminating concert. The Basics sections include additional resources and information for teaching basic music and performance skills. Each section begins with an aim, a summary of educational goals, materials and time required, music learning standards addressed, and vocabulary. Directives are bulleted and verbal prompts appear in italics. “SG,” followed by a number, indicates a corresponding page in the Student Guide.

Link Up RepertoireThe pieces your students will need to know in order to be successful at the Link Up concert are included in the first section of this guide. Students will perform these pieces by singing or playing soprano recorder or a string instrument during the concert. Look for the performance icons that indicate the different levels available for each piece of repertoire. See the Icon Key on page 6 and Pathways for Teachers on page 7 for more information.

Student AssessmentsPerformance and listening self-assessments follow each repertoire selection in the Student Guide so that you can track student progress and calibrate your lesson planning accordingly.

Activity Group SizeMost activities will work equally well for individuals, pairs, or small groups of students. Teachers can decide which group size is best for each activity.

Creative ExtensionsSome sections include an optional Creative Extension, in which students experience the section’s musical concepts and try out their own creative ideas. Share your students’ work with Carnegie Hall by e-mailing [email protected].

Planning Which Activities to CompleteYou may complete the activities in the order that best suits your needs, depending on your goals, time with students, and student skill levels. See Pathways for Teachers on page 7 for suggested program sequences. You may also choose to use the Lesson Plan Template provided on page 102.

Supplemental ResourcesBasic singing and recorder technique, as well as activities for teaching rhythm and melody are outlined in the Basics sections of this guide. Fingerings and notation for melodies to be played at the culminating concert are also pictured at the end of this book.

Standards AddressedThe Link Up program addresses national music standards as well as benchmarks in the New York City Blueprint for Teaching and Learning in Music. Link Up also provides opportunities through repertoire exploration and performance for students to improve college and career readiness skills addressed in the Common Core State Standards. Please see page 104 for more information.

HOW TO USE THIS GUIDE

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ICON KEYThe DVD Icon prompts you to watch the Link Up DVD and/or peruse materials on the Carnegie Hall website. For a complete track listing, see page 105. Visit carnegiehall.org/LinkUp to access the Digital Library.

The CD Icon guides you to tracks on the Link Up CD. For a complete track listing, see page 105.

The Listen, Clap, Say, Perform Icon prompts you to use any order or combination of our four techniques that you prefer to teach a melody. We also encourage the use of varied movements in all musical activities.

Performance icons indicate on which instrument(s) your students can prepare and perform each piece of Link Up repertoire. Some selections are for one instrument only, while others can be sung or played. For more information about which option to choose for each piece, see page 7.

The Singing Icon indicates that students can sing the piece at the culminating concert.

The Recorder and String Instrument Icon indicates that students 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.

OPTIONS FOR TEACHERS OF STUDENTS WITH SPECIAL NEEDS

• Students can participate in Link Up in a variety of ways and may learn the songs by singing, moving, and/or clapping. You may also want to focus on smaller sections of the song. Since you know your students best, allow them to participate in ways that will help them feel the most successful.

• Encourage students to engage with the music using tangible objects, such as handmade instruments (e.g., cups with beans for shakers), rhythm sticks, Orff instruments, and drums.

• Allow time for students to experience the music and repeat as often as necessary. The activities outlined in this curriculum may span more than one class period. Use one-step directions and visuals as often as possible to help students understand the concepts.

• Some visual aids are provided within the curriculum and at the Link Up concerts, but you may wish to provide additional resources to help your students engage with the material. If you have ideas for elements we can include in future curricula, please send them to us at [email protected].

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PATHWAYS FOR TEACHERSThe following program pathways are designed to guide you through Link Up: The Orchestra Sings according to the needs of your classroom. The Basic Program Path includes the most essential elements of the program and lists the minimum requirements for participation in Link Up. The Basic+ Program Path and Advanced Program Path add repertoire challenges and in-depth learning opportunities. We encourage you to explore all of the pathways not only between grade levels throughout your school, but also to differentiate instruction within the same classroom.

Basic Program Path (Minimum Requirements)

Concert Repertoire

Students learn to sing the following music:

• “Come to Play” (Part 2) • “Ode to Joy”• “Simple Gifts”• “Bought Me a Cat”• “Oye” (Chorus)

Students learn to play the following music:

• “New World” Symphony

Repertoire Exploration Students complete the following activities:• Families of the Orchestra (pages 55–57)• Rhythmic Patterns and Melodic Patterns in the Link Up Repertoire (pages 41–42) • Adding Your Own Animal Sounds to “Bought Me a Cat” (page 45)• Finale from Firebird Suite Listening Map (page 49)

Note: For students who need help in building basic music skills, please refer to the supplemental activities in the Basics sections of this guide.

Basic+ Program Path (More Sessions, Intermediate Instrumental)

First, complete theBasic Program Path (see left).

Concert Repertoire

Students learn to sing the following music:

• “Come to Play” (Parts 1 and 3)• “Oye” (Verses)• “To Make Words Sing”


• “Come to Play” (Part 2)• “Simple Gifts”• “Ode to Joy” • “New World” Symphony (opt. Low C)

Repertoire Exploration Students complete the following activities:• Patterns in Form (page 42) • Melodies Play Together (page 47)

Advanced Program Path (Many Sessions, Advanced Instrumental)

First, complete theBasic+ Program Path (see left).

Concert Repertoire


• “Come to Play” (All parts)• “Ode to Joy”• “New World” Symphony (Low C)• “Simple Gifts”• “To Make Words Sing”

Repertoire Exploration Students complete all remaining activities and creative extensions in the Repertoire Exploration section.

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CURRICULUM OVERVIEWPreparing for Your Link Up Concert

Introduce performance basics and learn the concert repertoire.

Learn fundamental concepts of music and engage in creative activities through a deeper exploration of the ideas and themes of the Link Up repertoire.

Become familiar with the different instruments and sections of the orchestra through Britten’s The Young Person’s Guide to the Orchestra.

Learn about Carnegie Hall and important landmarks in your neighborhood, and prepare for participating in the Link Up concert.

SingingDevelop proper posture, breath control, and diction, and learn to blend your voices as one.

RecorderDevelop proper posture, breath control, and fingerings on the recorder, and begin to create a blended recorder sound as a group.

RhythmInternalize a steady beat and create simple rhythm patterns.

MelodyEstablish an understanding of melody and explore melodic contour in the Link Up repertoire.

GlossaryAbout the ComposersLesson Plan TemplateLearning Standards ChartCommon Core State Standards InitiativeClassroom Assessment ToolsCD/DVD Track ListAcknowledgments Soprano Recorder Fingering Chart

Concert Repertoire

Repertoire Exploration

Families of the Orchestra

Concert Experience

Basics

Additional Information

Concert Repertoire

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Concert Repertoire



Concert Experience

Basics

Additional Information

Tom Introduces Link Up: The Orchestra Sings

• Read Thomas Cabaniss, Our Guide (SG1) aloud.• Watch Introduction to Link Up.• Watch Repertoire Overview.• Discuss the ideas and vocabulary introduced by Tom.• Watch the video again.

• What should we remember?• What should we do next?

Review of Music Basics

• Look at SG2–3 to help you prepare for learning and performing the Link Up repertoire.• You can also use the Singing Basics and Recorder Basics sections of this curriculum for more information.

Perform The Orchestra Sings Repertoire

Students should be prepared to sing or play the following pieces at the Link Up concert.

Thomas Cabaniss “Come to Play” Beethoven “Ode to Joy” Brackett “Simple Gifts” Dvořák “New World” Symphony Traditional “Bought Me a Cat” Thomas Cabaniss “To Make Words Sing” Jim Papoulis “Oye”

SG49 shows the fingerings and notation for the Link Up melodies your students will be learning. It is important that students can sing or play the concert pieces. We then encourage you to explore each piece in greater detail through the Repertoire Exploration activities on pages 41–54.

Setting Up Students for Success

Help students establish a process for learning new music: 1. Listen actively to the complete piece. 2. Clap the rhythm. You may want to start by isolating the easiest section (the refrain or first line). 3. Say the words or note names in rhythm while fingering the recorder in chin position. 4. Perform the complete piece by singing or playing the recorder.

Visit Carnegie Hall’s Digital Library to access piano/vocal scores for each piece of Link Up repertoire as well as PDFs of concert visual scores.

Introduction to Concert RepertoireAim: What do we need to know in order to participate in Link Up?Summary: We introduce performance basics as well as learn the concert repertoire.Materials: Link Up CD, Link Up DVD, Link Up Student Guides, recorders or string instrumentsTime Requirement: varies according to chosen program pathStandards: US 1, 2, 5, 6, 7, 8; NYC 1, 2, 3, 5Vocabulary: melody, music notation, repertoire

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Thomas Cabaniss, Our GuideI’m Tom, a composer and your host for The Orchestra Sings. One of the universal elements of music is melody. Composers and musicians play with sequences of tones and rhythms called melodies. When we sing, we sing melodies. When the orchestra plays great melodies, the orchestra sings. Your challenge is to discover ways in which you think the orchestra sings.

During your time with The Orchestra Sings, I hope you’ll begin each session by singing my song “Come to Play.” I wrote it with you in mind.

1

11

S G 2Preparing to Sing In order to sing well, we first have to establish good posture and deep breathing.

Posture

Breath

Sit or stand up straight with your shoulders down and relaxed. Make sure that your head is level and looking forward.

Take a deep breath and fill your lungs. Place your hand on your belly when you breathe in

and allow it to expand like a balloon.

Release your breath smoothly and slowly.

12

S G 3Preparing to Play the Recorder

When playing the recorder, there are two basic positions: rest position and playing position.

Rest Position

Place your recorder in your lap or let it hang from its lanyard.

Playing Position

Hold your recorder up and ready to play. The left hand is on top,

and the right hand is below.

Recorder Checklist

Hands: left hand on top

Holes: finger hole(s)

completely sealed

Lips: lips covering teeth

Breath: not too hard, not too soft

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10How Am I Doing? Work Title: “Come to Play” | Composer: Thomas Cabaniss Date:

1. 2. 3.

Dynamics

Mark on the lines below how you feel the composer used each element.

Standing Ovation

I performed with correct posture.

My Performance Goals

In my performance today, I am proud of the way I ...

One thing I would like to change or improve on is ...

What are some things you can do to make the improvement?

Singing Recorder Violin

Stage Ready Practice, Practice, Practice Try Again

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23

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How Am I Doing? Work Title: “Ode to Joy” | Composer: Ludwig van Beethoven Date:

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24

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25

S G

Simple Gifts

& 44 ÎModerato

1 3 î Î Î

&5

ú³ Ï ÏF

ú ú Ï³ Ï Ï Ï

&8

ú³ ú Ï³ Ï Ï Ï Ï ú³ ú

&11

ú³ Ï Ï Ï² Ï Ï ú,ú³ ú

&14

ú³ Ï Î Ï³ Ï Ï Ï Ï Ï ú³ ú²

&17

ú³ Ï, ³ Ï Ï³ Ï Ï Ï³ Ï Ï Ï

³ Ï Ï Ï Ï²

&20

Ï³ Ï úrit. 5

Simple GiftsBasicRecorderIcon

(When true)

('Tis a

Joseph Brackett

gift)

16Joseph Brackett

Tracks 14, 16

Recorder Notes Needed:G, A, B

26

S G 17

Slow ............................................................................................................................................. Fast

How Am I Doing? Work Title: “Simple Gifts” | Composer: Joseph Brackett Date:

1. 2. 3.

Dynamics


Standing Ovation












phrasing symbols.

Steps and Leaps

Tempo

Melodic Patterns




27

S G

“New World” Symphony

& 441 7Largo

.œ≥ jœ ≤̇p

.œ≥ jœ ˙̇

≤.œ≥ jœ .œ

≤ jœ

&11

w≥ ,

.œ≥ jœ ≤̇ .œ

≥ jœ ˙̇

&14

œ≥

œ≤.œ jœœ ww .œ

≥ , ≥Jœ

≤̇

&17 œ≥ œ

≤˙ œ œ

≥ œ œ w≥ ,

&20

.œ≥ Jœ ˙ œ≥ œ

≤̇ œ≥ œ œ≤ œ

&23

w≥ .œ, ≥ jœ ≤̇

π.œ≥ jœ ˙̇

≤

&26

.œ≥ jœ .œ

≤ jœ w≥

.œ, ≥ jœ ˙

≤

&29

.œ≥ jœ ˙̇

≤f œ

≥œ≤

.œ≥ jœœ

≤ww≥p

∑

New WorldDvořák

RecorderStar Icon

*

*Basic recorder may play E

BasicRecorder Icon

Basic + recorder may play the E.

Antonín Dvořák

Tracks 18, 19

18Recorder Notes Needed:(opt. C ) D, E, G, A, B, C

28

S G

“New World” SymphonyAntonín Dvořák

Tracks 17, 19

19Recorder Notes Needed:G, A

New World

Recorder

Icon

29

S G 20

Slow ............................................................................................................................................. Fast

How Am I Doing? Work Title: “New World” Symphony | Composer: Antonín Dvořák Date:

1. 2. 3.

Dynamics


Standing Ovation












phrasing symbols.

Steps and Leaps

Tempo

Melodic Patterns




30

S G

Bought Me a Cat

& #### 423 12 Î Ï

I

PÏ Ï Ï

bought me a

Ï ä jÏcat My

Ï Ïcat pleased

Ï Îme

& ####21

Ï ÏFed my

Ï Ï Ïcat un der

Ï Ïyon der

Ï Îtree

Ï ÏCat says

Ï Ï Ï"Fid dle eye

Ï Îfee,- - -

& ####28

Ï Ï ÏFid dle eye

Ï Îfee."

· · Î ÏI

Ï Ï Ïbought me a

Ï ä jÏhen my-

& ####35

Ï Ïhen pleased

Ï Îme

Ï ÏFed my

Ï Ï Ïhen un der

Ï Ïyon der

Ï Îtree

Ï ÏHen says- -

& ####42

Ï Ï Ï"Cluck e ty,

Ï Ï Ïcluck e ty!"

Ï ÏCat says

Ï Ï Ï"Fid dle eye

Ï Îfee

Ï Ï ÏFid dle eye

Ï Îfee."- -- - - -

BoughtMeACatTraditional (arr. Thomas Cabaniss)

©2013

Additional Verses and Lyrics

Verse 3:I bought me a duck, my duck pleasedmeFedmy duckunder yonder treeDuck says "Quack, quack"Hen says "Cluckety, cluckety"Cat says fiddle eye fee, fiddle eye fee

Verse 4:I bought me a goose...Goose says, "Honk, honk"Duck...Hen...Cat

Verse 5:I bought me a pigPig says, "Oink, oink"Goose...Duck...Hen...Cat

Verse 6:I bought me a dogDog says, "Bow, wow"Pig...Goose...Duck...Hen. ..Cat

Verse 7:I bought me a cowCow says, "Moo, moo"Dog...Pig...Goose...Duck...Hen...Cat

Verse 8:I bought me a horseHorse says, "Neigh, neigh"Cow...Dog...Pig...Goose...Duck...Hen...Cat

Lively

Singing Icon

Traditional (arr. Thomas Cabaniss)

Tracks 20–22

Additional Verses and Lyrics

Verse 3: I bought me a duck, my duck pleased me Fed my duck under yonder tree Duck says “Quack, quack” Hen says “Cluckety, cluckety” Cat says “Fiddle eye fee, fiddle eye fee”Verse 4: I bought me a goose ... Goose says, “Honk, honk” Duck ... Hen ... CatVerse 5: I bought me a pig Pig says, “Oink, oink” Goose ... Duck ... Hen ... Cat

Verse 6: I bought me a dog Dog says, “Bow, wow” Pig ... Goose ... Duck ... Hen ... CatVerse 7: I bought me a cow Cow says, “Moo, moo” Dog ... Pig ... Goose ... Duck ... Hen ... CatVerse 8: I bought me a horse Horse says, “Neigh, neigh” Cow ... Dog ... Pig ... Goose ... Duck ... Hen ... Cat

21

31

S G 22

Slow ............................................................................................................................................. Fast

How Am I Doing? Work Title: Bought Me a Cat | Composer: Traditional (arr. Thomas Cabaniss) Date:

1. 2. 3.

Dynamics


Standing Ovation












phrasing symbols.

Steps and Leaps

Tempo

Melodic Patterns




32

S G

To Make Words Sing

& 4417 3 î Î Ï

To

PAllegro.Ï jÏ î

make words

&23

.Ï jÏ Î Ïsing is a

ú Ï Ï Ïwon der ful

ú Î Ïthing Be

.Ï jÏ Î Ïcause in a-- -

&27

.Ï jÏ îsong words

ú Ï Ï Ïlast so

ú Î Ïlong So

Ï Ï Ï Ï Ï Ïlong

&31

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú Î ÏsoÏ Ï Ï Ï Ï Ïlong

&35

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú Î Ïsowlong

& 4339

ú Î Ïsowlong

ú Î Ïso

.úlong

&43

.ú .ú .ú8

&54

.ú³pModerato

.ú .ú² ³ .ú

²

To Make Words SingThomas Cabaniss

Singing Icon

Recorder Icon

Note that the time signature changes to 3/4

Get instruments ready

Recorder and String Instrument IconSinging Icon

Thomas CabanissText by Langston Hughes

Tracks 23–24

Get instruments ready

Note that the time signature changes to 3/4.

23Recorder Notes Needed:G, A, B, C, D

33

S G

&58 .ú³ Ï Ï² Ï² .ú

³ ·

&62 .ú³ .ú² .ú³ .ú²

&66

.ú³ Ï Ï² Ï² .ú³ ú Î

&70

Ï Ï³ Ï²P

ú³ ² Ï² Ï Ï³ ² Ï ú³ ² Ï²

&74

Ï Ï³ ² Ï ú³ ² Ï ³² .ú ·

&78

Ï³ Ï² Ï³ ú² Ï² Ï³ Ï² Ï³ ú² Ï²

&82

Ï³ Ï² Ï³ ú² Ï² .ú³ ú Î

&86

.ú² .ú .ú³ .ú

& 4490

.ú² .ú · ·

ToMakeWords Sing Vocal

24

34

S G

& 4494 7 101 î Î Ï

To

FAllegro.Ï jÏ î

make words

.Ï jÏ Î Ïsing is a

&104

ú Ï Ï Ïwon der ful

ú Î Ïthing Be

.Ï jÏ Î Ïcause in a

.Ï jÏ îsong words- -

&108

ú Ï Ï Ïlast so

ú Î Ïlong So

Ï Ï Ï Ï Ï Ïlong

Ï Ï Ï Ï Ï Ï

&112

Ï Ï Ï Ï Ï Ï ú Î ÏsoÏ Ï Ï Ï Ï Ïlong

Ï Ï Ï Ï Ï Ï

&116

Ï Ï Ï Ï Ï Ï ú Î Ïsowlong

ú Î Ïso

&120

wlong

ú Î Ïso

fwlong

rit.

w

&124

w w w w

&128 · ·

ToMakeWords Sing

Singing IconNotice that the time signaturechanges back to 4/4.Note that the time signature changes back to 4/4.

25

35

S G 26

Slow ............................................................................................................................................. Fast

How Am I Doing? Work Title: “To Make Words Sing” | Composer: Thomas Cabaniss Date:

1. 2. 3.

Dynamics


Standing Ovation












phrasing symbols.

Steps and Leaps

Tempo

Melodic Patterns




36

S G

Oye

& b 44 .. ..1 8 Î Ï Ï Ï Ï Ï

Es -Es -tá

cú -so -

cha loslo

F Î ä jÏ Ï Ï Ïllo -mí -

ran -ra -

dolos

& b11

Î Ï Ï Ï Ï Ïen si -

es -len -cu -

ciocha

Î Ï Ï Ï Ï Ï Ï Ïlo

enque

latra -

os -tan de

cu - ri-de-

dadcir

ä jÏ Ï Ï Ï Ï ÏEs -Es -

tátán

son -en

an -bú-sque-

doda

& b14

Î Ï Ï Ï Ï Ïde -del

se -ca -

an -mi -

dono

ä jÏ Ï Ï Ï Ï Ïconpe-

es -quen-

per -as

an -vo -

zaces

Î ä jÏ Ï Ï Ï Ï Ïporlla -man -

l'o -por -tu -do -

ni-dadte

& b17

Ï ä jÏÏ ÏÏ ÏÏ ÏÏEs -Es -

cú -cú -

cha -cha -

loslos

ÏÏ ä jÏÏ ÏÏ ÏÏ ÏÏes -es -

cú -cú -

cha -cha -

loslos

ÏÏ ä jÏÏ ÏÏ ÏÏ ÏÏel -el -

loslos

tete

lla -lla -

& b20 ww

man.man.

.Ï Ï ä Ï Ï Ï Ï ÏO - ye Are you list-en-ing?

f..ÏÏ ÏÏ ä Ï Ï Ï Ï Ï Ï

O-ye can you hear them cal-ling?

& b23

Ï Î ä jÏÏ ÏÏ ÏÏWe are cal -

.Ï ÏO - ye!

ÏÏ ÏÏ ÏÏ ÏÏ úúling to you.

.Ï Ï ä Ï Ï Ï Ï ÏO - ye Are you list -en- ing

& b26

..ÏÏ ÏÏ ä Ï Ï Ï Ï Ï ÏO-ye can you hear them cal-ling?

Ï Î ä jÏÏ ÏÏ ÏÏCan you hear

.Ï ÏO - ye!

..ÏÏ JÏÏ úúus?

Oye Singing IconJim Papoulis

Lively VERSE

~

CHORUS

~

Jim Papoulis

Tracks 25–29

27

37

S G 28& b .. .. ..29 4 4 (Clap)

.Ï Ï ä jÏ Ï Ï ä .Ï ÏO - ye o - ye o - ye

.À À äjÀ À À ä .À À

& b38

ä jÏ Ï Ï ä Ï Ïo - ye o - ye

.Ï Ï Î îO - ye

..ÏÏ ÏÏ Î îO - ye

& b41

..ÏÏ ÏÏ Î ä jÏÏ ÏÏ ÏÏO - ye We are cal -

ÏÏ ÏÏ ÏÏ ÏÏ úúling to you

.Ï Ï Î îO - ye

& b #44

..ÏÏ ÏÏ Î îO - ye

..ÏÏ ÏÏ Î ä jÏÏ ÏÏ ÏÏO - ye Can you hear


& #47

.Ï Ï ä Ï Ï Ï Ï ÏO - ye Are you list -en- ing


Ï Î ä jÏÏ ÏÏ ÏÏWe are cal -

.Ï ÏO - ye!

& #50 ÏÏ ÏÏ ÏÏ ÏÏ úú

ling to you.

.Ï Ï ä Ï Ï Ï Ï ÏO - ye Are you list-en-ing?


& #53

Ï Î ä jÏÏ ÏÏ ÏÏCan you hear

.Ï ÏO - ye!


(Clap) .Ï Ï Î îO - ye!

.À À Î î

4 times

Concert Repertoire

38

Translation

“Oye” Translation and Performance Notes

Performance Notes“Oye” should remain true to its cultural and rhythmic roots—those of South America. Performed with a fun spirit that continues to gain momentum until the final measure, “Oye” will come to life. Each time the refrain “Oye” is sung, there should be a crescendo of tempo, enthusiasm, and rhythmic intensity.

—Jim Papoulis

Oye

Está solo, llorandoEn silencio, en la oscuridadEstá soñando, deseandoCon esperanza, por la oportunidad

Escuchalos, escuchalos, ellos te llaman

Escuchalos, míralosEscucha lo que tratan de decirEstán en búsqueda del caminoPequeñas voces llamándote

Listen

All alone, in the darknessThey are crying out for your helpThey are hoping, they are dreamingThey are asking for a chance to be heard

Are you listening, can you hear their cries

They are watching, they are listeningThey are searching to find their wayCan you see them, can you hear them callingWhat their voices are trying to say

Track 29 “Oye” (pronunciation guide)

Concert Repertoire

39

“Oye” Choreography

During the Verses

Chorus Lead-In Chorus

Escuchalos Escuchalos

Ellos te llaman

Oye, are you listening Oye, can you hear

them callingWe are calling to you

• Alternate from one side to the other.• Step out, step together, step out, clap.• Repeat steps in the opposite direction.

• Turn to the side with both arms out.• Turn back to the front and place your hand at your ear.• Repeat on the other side.

• Place both arms straight up over your head.• Float your arms back down to your sides.

• Start with both arms at your sides.• On the first “Escuchalos,” scoop your one hand up in front of you.• On the second “Escuchalos,” scoop your other hand up in front of you.• On “Ellos te llaman,” lower both arms back to your sides.

Try adding these fun dance movements to “Oye,” or make up your own! Watch “Oye” Choreography to see a video of students singing and dancing to “Oye.”

40

S G 29

Slow ............................................................................................................................................. Fast

How Am I Doing? Work Title: “Oye” | Composer: Jim Papoulis Date:

1. 2. 3.

Dynamics


Standing Ovation












phrasing symbols.

Steps and Leaps

Tempo

Melodic Patterns





41

Check out Carnegie Hall’s Listening Adventures interactive website.

Visit listeningadventures.carnegiehall.org to learn more about the “New World” Symphony through an animated exploration of Dvořák’s life and works.

Tom Introduces Melodies

• Watch Repertoire Overview.• Discuss the ideas and vocabulary introduced by Tom.


Rhythmic Patterns in the Link Up Repertoire

• Sing and review the melody for “Ode to Joy” on SG12.• Look at the “Ode to Joy” rhythmic patterns on SG30. • Establish a steady beat by tapping your knees. Through call and response, have students echo the “Ode to Joy” rhythms on neutral syllables, such as bah, ta, or ti.• For an added challenge, echo rhythms from “Come to Play” and other Link Up melodies.• Name That Pattern: Show several patterns on the board. Chant a single pattern and have students hold up the number of the pattern performed. You may also have students take turns leading this activity.• Be Your Own Beethoven: Have students arrange and perform their own rhythmic patterns on SG30.

Melodic Patterns in the Link Up Repertoire

• Every melody has patterns of shapes or contour. Look at the “New World” Symphony melodic patterns on SG31. Find these patterns by noticing when the melody moves up, down, up and down, or stays the same.

Melodies Are Made of PatternsAim: How are melodies constructed? Summary: We establish an understanding of musical patterns and find them in the Link Up melodies.Materials: Link Up CD, Link Up DVD, Link Up Student GuidesTime Requirement: 40 minutes (four 10-minute activities)Standards: US 1, 2, 4, 5, 6, 7, 8, 9; NYC 1, 2, 3, 5Vocabulary: contour, form, pattern, phrase

Literacy LinkWhat events, ideas, or memories in Beethoven’s life might have provided the inspiration for “Ode to Joy”?

Ludwig van Beethoven: Musical Pioneer by Carol Greene (ISBN-13: 978-0516442082) allows us to look into Beethoven’s life, from his childhood to his professional successes and challenges. It includes photographs of important places and people in his life, drawings, and portraits.


42

Ode to Joy (Lens: Contour)

Ode to Joy (Lens: Solfege)

Melodic Patterns in the Link Up Repertoire (cont.)

• Establish tonality by simply singing from scale degree 5 down to 1 (G–F–E–D–C) on a neutral syllable such as bum. • Echo the “New World” Symphony patterns on SG31 in order on a neutral syllable. When students are comfortable singing patterns on a neutral syllable, you may choose to use solfege or note names.• Name That Pattern: Sing a single pattern and have students hold up the number of the pattern performed. You may also have students take turns leading this activity.• For an added challenge, have students find more melodic patterns in “Ode to Joy,” “New World” Symphony, and other Link Up repertoire.

Patterns in Form: Decoding “Ode to Joy”

• Sing and review the “Ode to Joy” melody on SG12.• A phrase is a short musical segment with a specific melodic contour and rhythm.• How many phrases are there in this melody? (4: A–A–B–A)• Where do the phrases begin and end? How do you know?

• Using the “Ode to Joy” Form and Contour Patterns on SG31, examine each phrase.• Where do the phrases begin and end?• How can rhythmic and melodic patterns help us identify phrases?

• Write down or notate any additional patterns your students observe.• Listen to Track 7 “Ode to Joy” (vocal part) to confirm your observations.

going down then

going down then

round a-round, it

going down then

so fa mi re

so fa mi re

re mi fa mi do

so fa mi re

going up then

going up then

steps ri-ight up then

going up then

do do re mi

do do re mi

re mi fa mi do

do do re mi

step back down

further down

jumps back down

step back down

mi re re

re do do

do re so

re do do

Going up then

Going up then

This part jumps a-

Going up then

Mi mi fa so

Mi mi fa so

Re re mi do

Mi mi fa so

A

A

B

A

A

A

B

A

43

S G

Melodies are Made of Patterns

30

Rhythmic Patterns from “Ode to Joy”

Rhythmic Patterns from “Come to Play”

Now, perform your arrangement by clapping, saying, or playing the rhythms above.

Create your own rhythm patterns by arranging the rhythms from “Ode to Joy” or “Come to Play” in any order that you like. Write your new arrangement in the boxes below:

1

1

1

2

2

2

3

3

3

4

4

4

44 œ œ œ œ .œ jœ œ œ .œ œ œ œ œ œ œ œ œ œ œ œ œ ˙

Sings - Rhythm Patterns

©

Score

Come to Play Rhythms



©

Score




©

Score




©

Score


qqqq

qqqq j e qq qqh

j e h qn qq qqq44 œ œ œ œ .œ jœ ˙ œ œ œ œ œ œ œ œ Œ


©

Score

Ode to Joy

44

S G 31

“New World” Symphony Melodic Patterns

“Ode to Joy” Form and Contour Patterns

Phrase

APhrase

A

Phrase

A

Phrase

B

& ## 441

Ï Ï Ï ÏGo ing up then

Ï Ï Ï Ïgo ing down then

Ï Ï Ï Ïgo ing up then

.Ï jÏ ústep back down- - -

& ##5




.Ï jÏ úfur ther down- - - -

& ##9

Ï Ï Ï ÏThis part jumps a

Ï Ï Ï Ï Ïround a round it

Ï Ï Ï Ï Ïsteps ri ight up then

Ï Ï újumps back- - -

& ## Ï Ï Ï ÏGo ing up then




Ode to JoyContour and Form Excerpt

& ## 441





& ##5





& ##9










& ## 441





& ##5





& ##9










& ## 441





& ##5





& ##9










& ## 441

œ œ œ œGo ing up then

œ œ œ œgo ing down then

œ œ œ œgo ing up then

.œ jœ ˙step back down- - -

& ##5

œ œ œ œGo ing up then



.œ jœ ˙fur ther down- - - -

& ##9

œ œ œ œThis part jumps a

œ œ œ œ œround a round it

œ œ œ œ œsteps ri ight up then

œ œ ˙jumps back- - -

& ## œ œ œ œGo ing up then



.œ jœ ˙step back down- - -


Melodies are Made of Patterns

1 2 3 4

& 44 ∑ ∑ ∑

& .œ jœ ˙ ∑ ∑

&7

w ∑ ∑

& .œ jœ jœ ∑ ∑

& .œ jœ ˙ ∑ ∑

New World MelodyScore

Pattern #1

Pattern #2

Pattern #3

Pattern #4

& 44 ∑ ∑ ∑

& .œ jœ ˙ ∑ ∑

&7

w ∑ ∑

& .œ jœ jœ ∑ ∑

& .œ jœ ˙ ∑ ∑


Pattern #1

Pattern #2

Pattern #3

Pattern #4

& 44 ∑ ∑ ∑

& .œ jœ ˙ ∑ ∑

&7

w ∑ ∑

& .œ jœ jœ ∑ ∑

& .œ jœ ˙ ∑ ∑


Pattern #1

Pattern #2

Pattern #3

Pattern #4

& 44 ∑ ∑ ∑

& .œ jœ ˙ ∑ ∑

&7

w ∑ ∑

& .œ jœ jœ ∑ ∑

& .œ jœ ˙ ∑ ∑


Pattern #1

Pattern #2

Pattern #3

Pattern #4


45

Adding Your Own Animal Sounds to “Bought Me a Cat”

• Make a list of animals that make interesting sounds.• Play Track 21, “Bought Me a Cat” (animal-sound excerpts).

• How are animal sounds represented by words (lyrics) in “Bought Me a Cat”?• How are the animal sounds represented in the melody?• What animals can we add to the song?• What sounds do the animals make?

• List new, alternative animals and their sounds using the Animal Sound Organizer on SG32.• Advanced students may also create notated versions of an animal sound.

• Using Track 22, sing “Bought Me a Cat” with your own new animal names and sounds added. For example:• I bought me a panda, my panda pleased me, fed my panda under yonder tree. My panda says “Oof oof.”• I chose the bassoon for the panda because it makes a low, rounded sound and I imagined that a panda would have a long, low sounding voice.

• Share your work with Carnegie Hall ([email protected]).

Melodies Can Be PlayfulAim: How do composers use the orchestra to play with melodies? Summary: We create new orchestrations and explore characteristics of the instruments of the orchestra.Materials: Link Up CD, Link Up DVD, Link Up Student GuidesTime Requirement: 20 minutes (two 10-minute activities)Standards: US 1, 2, 4, 5, 6, 7, 8, 9; NYC 1, 2, 3, 5Vocabulary: orchestration

Animal name Notated soundInstrument(s) used to play the soundWritten (sung) version of

the animal’s sound

Panda Ooof ooof Bassoon Two long, low Es

46

S G

Animal name

Draw a picture of the new animals in your song.

Describe why you chose each instrument for each animal and what they will sound like. Use complete sentences and music vocabulary.

Instrument(s) used to play the sound

Written (sung) version of the animal’s sound

Animal Sound Organizer

32


47

My Notes

Experiment with Your Voices

• Unison: Have the class choose a single note. Sing it together on the same vowel (for example: ah, oh, eh, ooh, ee). Repeat using different notes.• Harmony: Choose two notes from the same major scale. Divide the class into two groups or work with two students at a time, and sing the two notes together on the same vowel sound. Repeat, trying different combinations of notes.

• Which notes sound good together? • Which combinations are your favorites? • Which notes do not sound good together?

Explore Unison and Harmony Within the Link Up Repertoire

• “Simple Gifts”: Split the class into two groups. Have one half of the group sing the “Simple Gifts” lyrics (SG15) while the other half plays the basic recorder part (SG16). Play through a second time, with the students trading parts.

• Which part was the melody? • Do you prefer the melody as a solo or with harmonies? Why?• How does harmony change the piece?

• “Oye”: Locate “Oye” on SG27–28. Play Tracks 26–27, “Oye” (melody and harmony), and practice singing the melody and the harmony on the chorus.• “Ode to Joy”: Play Tracks 11–12.

• Beethoven’s stated emotion for this melody is joy. What about the melody sounds joyful?• What is different in these two recordings?• What stays the same?• Which version sounds more joyful to you? Why?

Melodies Play TogetherAim: How does the melody change when played in harmony or with accompaniment? Summary: We explore the difference between melodies in unison and melodies played in harmony.Materials: Link Up CD, Link Up DVD, Link Up Student GuidesTime Requirement: 20 minutes (two 10-minute activities)Standards: US 1, 2, 4, 5, 6, 7, 8, 9; NYC 1, 2, 3, 5Vocabulary: harmony, unison


48

Firebird Melody

& 46 ˙ œ œ œ œ œ .œ jœ œ œ œ œ œ œ

&3

œ œ œ œ œ œ œ .œ jœ œ œ œ œ ˙

Firebird-FinalStravinsky

& 46 ˙ œ œ œ œ œ .œ jœ œ œ œ œ œ œ

&3

œ œ œ œ œ œ œ .œ jœ œ œ œ œ ˙

Firebird-FinalStravinsky

Play Track 48, Firebird Suite Finale (complete).

• In the Firebird Suite Finale, Stravinsky wanted to create a big finish. To do this, he repeats the melody, but changes a few things each time it repeats. What elements of the music does he change to keep you listening?• How does the melody change? How does the accompaniment change?• How many times does the music change in a big way? As the music plays, raise your hand each time you hear a change.• What else do you notice?

Connecting the Music with the Firebird Story

• Read the Firebird story (SG33).• The finale music accompanies the final scene of the ballet, where the spell is broken, and “the princess, her friends, and all of the stone statues come back to life. Ivan and the princess live happily ever after.”

• Listen to Track 48, Firebird Suite Finale (complete).• How much of the music accompanies the stone statues coming back to life? What about the music makes you think so?• How much of the music accompanies the prince and princess celebrating their happy victory? What about the music makes you think so?

Melodies Tell a Story Aim: How does music help to tell a story? Summary: We explore melody, harmony, and accompaniment as elements of storytelling in music.Materials: Link Up CD, Link Up DVD, Link Up Student GuidesTime Requirement: 60 minutes (three 20-minute activities)Standards: US 1, 2, 4, 5, 6; NYC 1, 2Vocabulary: accompaniment, dynamics, tempo


49

Follow a Listening Map and Create a Map Key

• Play Track 48, Firebird Suite Finale (complete).• As you listen, follow along with the Firebird Listening Map (SG34). For more information on the entire

piece, refer to Tracks 49–53, Firebird Suite Finale (excerpts), and the Listening Map Key on pages 52–53.• Follow the path of the music with your finger as we listen to the Firebird Suite Finale.• What instruments are playing the melody?• What instruments are playing the accompaniment?• What else do you notice in the music?

Creative Extension: Create Your Own Melody to Tell a Story• Locate My Music Tells a Story (SG35) and have students choose or write a short story to represent

through music.• What story would you like to tell through music? It can be one that we are reading in class, another

one that you remember, or a new story that you create yourself.• Who are the characters in the story? • What is your favorite moment in the story?

• Create a short melody to represent a moment in your story using the musical elements we’ve studied.

• What is the rhythmic pattern in your melody?• What is the melodic contour? Does your melody go up or down, or up and down?• What instrument(s) will play your melody? Think about what qualities of the instrument(s) will

help to tell your story the best.• What are the tempo and dynamics of your melody?• Are there lyrics for your melody?• Does your melody have a big finish like Firebird?

• For an added challenge, add a repeating rhythmic pattern as the accompaniment or additional melodies.

• Share your work with Carnegie Hall ([email protected]).

Langston Hughes (1902–1967) was an American poet, writer, and social activist. He was born in Joplin, Missouri, and raised in several towns in the Midwest, as he moved with his family. He traveled extensively as a young adult and settled in the neighborhood of Harlem in New York City during the 1920s. There, he became an influential voice of the Harlem Renaissance, an African-American cultural movement that focused on literature, poetry, art, music, and politics. He is well-known for his many books, plays, short stories, and poems, including “To Make Words Sing.”

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Prince Ivan is hunting near an enchanted castle, which belongs to a wicked magician named Kashchei the Immortal. While hunting, Ivan sees a magical golden bird—the Firebird. Ivan catches the magical bird while she is taking golden apples from a nearby tree, and she begs for her freedom. In exchange, the Firebird offers Prince Ivan a magic feather from her golden tail that will protect him in times of trouble. Prince Ivan accepts the feather and sets the Firebird free. Whenever Ivan waves the magic feather, the Firebird will come to his rescue. Meanwhile, the evil magician Kashchei is having a good time capturing beautiful young women and turning handsome young men into stone statues. Ivan sees a beautiful princess and 12 maidens outside the enchanted castle. Prince Ivan falls immediately in love with the princess. He wants her to go away with him, but the princess tells Ivan that she and her friends are captives of the evil magician. If anyone tries to rescue them, they will be turned into stone. The maidens are forced to return to the sorcerer’s castle, but the prince follows them.

Ivan goes into the castle to fight the magician. He is captured, and just when the magician is going to turn him into stone, Prince Ivan remembers the magic feather and waves it. The Firebird returns and makes the magician and his servants do a wild dance, forcing them to dance faster and faster until they all collapse. The dance makes the servants and the evil magician too tired to hurt Ivan. The Firebird then sings them to sleep with a lullaby. The Firebird whispers to Ivan to look for a magic egg, which is the source of all of the evil magician’s power. The prince finds the egg and smashes it, and the spell is broken. The princess, her friends, and all of the stone statues come back to life. Ivan and the princess live happily ever after.

The Firebird Story & Listening Map

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The theme plays ... 2 times 1 time 1.5 times 1 time

Woodwinds

Brass

Percussion

Strings

Changes in dynamics,

energy, and instruments

melody (flute)

going up one note at a time (clarinets)

melody (solo French horn)

smooth tremolo chords

glissando as section ends (harp)

soft and peaceful, just strings and

french horn

harp glissando at the end to connect

to the next section)

energy building, even though the horn

stops playing

string glissando at the end to connect to the next section

sound grows, more instruments playing

string glissando at the end to connect to

the next section

more and more sound and energy

everyone except the low brass and

percussion is playing

melody (violins)

tremolo chords (violas and cellos)

long, soft low note (basses)

going up one note at a time (harp)

melody (violins)

going up one note at a time

(violas and cellos)

long, low note (basses and cellos)

melody (violins)

half-note chords (violas and cellos)

long, low note (basses)

half-note chords, going up (harp)

half notes going up to help build at the end

(horns)

half notes, mostly going up

melody or half notes

Section 1 (at 0:00)

Section 2 (at 0:33)

Section 3 (at 0:48)

Section 4 (at 1:09)

Listening Map Key


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2 times 2 times 1 time 1.5 times 1 time

melody and support notes all at the

same time

trills, with little glissandos along

with the horn glissandos

melody or half notes

melody

glissando into each phrase (horns)

accents at the beginning of each phrase along with

timpani (tuba)

melodic accents at the beginning

of each phrase (timpani)

melody or half notes mostly going up

loud roll (timpani)

5 shaky notes repeated four times

melody (violins)

half-note chords (violas and cellos)

long, low note (basses)

half-note glissandos going up (harp)

suddenly soft, then grows louder

strings only

very loud!

slower and bigger, full orchestra playing now

faster and more bouncy, loud

slower and grander, very big sound

no glissandos, everyone playing

the same rhythms

big slow-down right at the end

suddenly no sense of pulse here

brass chords that we have not heard before

trills, with little glissandos along

with the horn glissandos


same time

long held note

last chord (harp)


same time

accents at the beginning of each

phrase (timpani and bass drum)

7 big, heavy chords

roll (triangle)

one strike at the beginning and one at the end (timpani

and bass drum)

long held note

Section 6: transition

(at 1:41)

Section 5 (at 1:24)

Section 7 (at 1:47)

Section 8 (at 2:13)

Section 9: coda

(at 2:54)

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Write your short story here:

My Music Tells a Story

Melody 1 Melody 2

What instrument(s) plays this melody? What instrument(s) plays this melody?

Lyrics Lyrics

Tempo and Dynamics Tempo and Dynamics

fast f andante strings p

woodwinds slow soft decrescendo prestocrescendo loud brass largo percussion

Word Wall

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Tom Introduces the Orchestra

• Watch Families of the Orchestra.• Discuss the ideas and vocabulary introduced by Tom.• Watch the video again.


Orchestra Exploration

• On a separate piece of paper, have students list orchestra instruments they know.

• Choose three contrasting instruments and have students describe them in more detail.

• Draw and label the parts of the instrument (as best you can) as you notice details.

Examples of Instrument Details• Appearance (colors, shapes, size)• Materials used (wooden tubes, metal tubes, reeds, double

reeds, wooden bodies, strings)• Mechanisms and structures (slides, valves, bells, f-holes,

finger holes, mouthpieces, bridges, bows, keys, pads, separable sections, mutes)

• How sound is produced (breath, buzzing lips, fingers, bow, striking, shaking, scraping)

• Organize your instrument list into categories according to similarities (appearance, materials used, mechanisms and structures, how sound is produced)

• A symphony orchestra is composed of four instrument families: Woodwinds (wooden tubes, blown) Brass (metal tubes, buzzed lips) Percussion (struck, shaken, or scraped) Strings (wooden bodies with strings, bowed or plucked)

• Review the instruments and instrument families in the Orchestra Organizer (SG36–37).

Aim: What is an orchestra?Summary: We become familiar with the instruments and sections of the orchestra.Materials: Link Up CD, Link Up DVD, Link Up Student GuidesTime Requirement: four 30-minute sessionsStandards: US 6, 7, 8; NYC 1, 2, 3, 4, 5Vocabulary: instrument, orchestra

Britten’s The Young Person’s Guide to the Orchestra Online

Check out Digital GO, a collection of listening and music-making games, an interactive score, and engaging video interviews with orchestral musicians focusing on Britten’s The Young Person’s Guide to the Orchestra.

britten100.org/new-to-britten/learning/digital-guide-to-the-orchestra

Literacy LinkIn how many different ways can you describe the sounds of the orchestra?

The Remarkable Farkle McBride by John Lithgow (ISBN-13: 978-0689835414) paints a boy’s discovery of the orchestra and its sounds.


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Families and Instruments

Part 1 (audio)• Play Track 47, The Young Person’s Guide to the Orchestra (main theme). • Complete Families and Instruments (SG41).• Compare and discuss answers.• Play CD again as needed.

Part 2 (visual)• Complete Who Am I? (SG42–43). • Students form pairs and check one another’s work.

Benjamin Britten (1913–1976)Benjamin Britten was an English composer, conductor, and pianist. He was born in Lowestoft, a town on the English seacoast, and learned music from his mother at an early age. She loved to sing and regularly held concerts in their home. Britten wrote music in a variety of genres, including orchestral, choral, solo vocal, film music, and opera, and he is known as one of the leading 20th-century composers. In 1946, Britten composed The Young Person’s Guide to the Orchestra, Op. 34. It was originally commissioned for an educational documentary film called The Instruments of the Orchestra.

Creative Extension 1: My Own Orchestra • In your Orchestra Organizer, SG36–37, study the instruments in their appropriate family boxes

while listening to Tracks 30–45 (solo instruments and narration).• Symphony orchestras are designed to play many kinds of music from various times and places.

Orchestras from different cities all over the world include more or less the same instruments, sitting in more or less the same places.

• What if you designed your own orchestra to play a single special kind of music?• Model and complete My Own Orchestra (SG40).• Share your work with Carnegie Hall ([email protected]).


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Be the Conductor

• Discuss the role of the conductor in an orchestra.• Why does an orchestra need a conductor?• How does a conductor communicate with the orchestra during a performance without talking?

• Conductors direct the orchestra using arm movements called “beat patterns” that indicate the meter and tempo of a piece of music. Demonstrate the 4/4 beat pattern pictured to the right.

• When a piece has a 4/4 time signature, the conductor uses this pattern with his right hand (down, left, right, up). • Use your pointer finger as your conductor’s baton and practice your 4/4 beat pattern.

• Next, have the students in the class establish a slow, steady beat by patting their knees and counting “1, 2, 3, 4.”• While half of the class maintains the steady beat, invite the remaining students to practice the 4/4 beat pattern in time. • Have individual students lead the class as the conductor while the students count, being careful to follow the conductor’s tempo, dynamics, and expression.

• What other types of musical ideas might a conductor want to share with the orchestra besides the tempo and meter?

• As you practice your Link Up repertoire throughout the year, invite individual students to be the guest conductor and lead the class, making their own musical choices!

Creative Extension 2: The Best Instruments of the Orchestra Awards• Movie stars have the Academy Awards. Television shows get the Emmy Awards. Olympic athletes

receive medals. Today, it’s our job to create awards for the best instruments of the orchestra.• Play Tracks 30–45 (solo instruments and narration).• Play Track 46 (solo instruments without narration).

• This time, as the instruments play, say their names.• Model creating categories of awards (Most Soulful, Funniest, Craziest Looking, Scariest Sounding,

Loudest, Lowest, etc.).• Complete The Best Instruments of the Orchestra Awards (SG41).• Create a name for each award.• Draw a trophy or statue for the award.• Share work in an awards ceremony.

The ConductorFor all of the instruments of the orchestra to play together, they need someone to lead them. It is the job of the conductor to keep a steady beat for the musicians to follow, indicate dynamics and changes in tempo, and interpret a musical composition expressively. Conductors are highly trained musicians, many of whom have played one or more instruments for many years. Who will the conductor be at your Link Up concert?

4

3

1

2

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Oboe

Trombone

Woodwinds (wooden tubes, blown)

Brass (metal tubes, buzzed lips)

TubaFrench Horn Trumpet

PiccoloClarinetBassoon Flute

Orchestra Organizer

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Xylophone

Percussion (struck, shaken, or scraped)

Strings (strings that are bowed or plucked)

Bass Harp

Bass Drum Snare DrumTimpani Triangle

CelloViolaViolin

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The Orchestra Map

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ViolinsCondu

weill music institute link up - carnegie hall€¦ · “come to play” (parts 1, 2, and 3) ......

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