2018 KSO Youth Concert Book by Kalamazoo Symphony Orchestra

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Lennyâ&#x20AC;&#x2122;s Legacy

A Centennial Celebration of Leonard Bernstein

Lenny’s Legacy

Table of Contents Program Introduction..........................................................................................................................4 How to Use This Program.....................................................................................................................5 Lesson Adaptations for Students with Special Needs.....................................................................6 What to Expect at the Symphony .....................................................................................................8 Instruments of the Orchestra ............................................................................................................10 Who Directs the Orchestra?...............................................................................................................15 Gioachino Rossini: William Tell Overture ........................................................................................16 Sergei Prokofiev: Symphony No. 1 “Classical Symphony”............................................................20 Dmitri Shostakovich: Symphony No. 9............................................................................................24 Leonard Bernstein: West Side Story - Balcony Scene ...................................................................28 West Side Story - Mambo ...............................................................................31 Jessie Montgomery: Starburst ..........................................................................................................34 Andrew Lloyd Webber/Gary Barlow: Sing........................................................................................38 Musical Terms Index ..........................................................................................................................42 Design Team and Acknowledgments .............................................................................................43

Hello!

Students & Teachers

I will never forget the first time I saw Leonard Bernstein conduct. I had checked one of his Young People’s Concerts VHS tapes out of the library. The episode, “What Does Music Mean,” captivated me. He made big concepts come to life. In fact, rather than speaking down to the young people, he spoke to them with charm, wit, and intelligence. As a young person, I was immediately captivated. I felt that he treated me as an equal in the exploration of life and music. I ended up watching all the episodes I could find. I am excited to celebrate Bernstein’s singular contribution to American music during Youth Concerts this year. We will explore masterworks by Rossini, Prokofiev, Shostakovitch; listen to captivating music from West Side Story; explore a fantastic piece by Jessie Montgomery, a contemporary composer and performer; and then sing together and even dance at the end. Thank you for your dedication to the young people in Kalamazoo and surrounding areas. I can’t wait to see you and your students in Chenery Auditorium as we celebrate Lenny’s Legacy.

Resident Conductor/Interim Music Director

Youth Concert Program 2018 March 12-16, 2018

ROSSINI: William Tell Overture (Finale) PROKOFIEV: Symphony No. 1 “Classical Symphony” - Mvt. 1 SHOSTAKOVICH: Symphony No. 9 - Mvt. 1 BERNSTEIN: “Balcony Scene” from West Side Story MONTGOMERY: Starburst BARLOW/LLOYD WEBBER: Sing BERNSTEIN: “Mambo” from West Side Story

How to use this program Dear Teachers, We can’t wait to welcome you and your students to Chenery Auditorium this March for an exciting hour of music! In order to best prepare your students, we have recruited a team of some of the best elementary educators in the region who have designed specific lessons for each composition we’ll be presenting. You’ll notice that each lesson, while following a similar framework, is uniquely different. We asked each educator to prepare this in a personal approach – allowing for new ways for your students, and you, to approach this music. We know you are extremely busy and that this curriculum is only a part of your classroom plans. We can tell you, the more your students prepare for the program, the more they will get out of the whole experience. That being said, we know it might not be a reality for your classroom to do every lesson, and we are grateful for the time that you do give to the program. To help in planning and preparing with your busy schedule, we have laid out the lessons in a way that will hopefully help you prioritize the information. Below is a bit of an explanation of the lesson plans presented in the book:

Biographical Information - Including a short biographical snapshot of the composer and some background on the composition. This was written for the teachers, but could likely be read by older grades. Teachers of younger grades will want to take the information and present it in a more age-appropriate way. Terms to Know - These are some important vocabulary words that coincide with the lesson. Lesson Plans - In each lesson there are up to three main sections:

ESSENTIAL - The most essential part of the lesson that focuses on how to best engage your students with the composition, and the music in general. EXPLORATION - The “next steps” to take your students to a deeper understanding of the concepts. EXTENSION - Additional directions to go with your students.

Lesson Adaptations for Students with Special Needs – In previous years we have included a page with special needs adaptations. We felt it made more sense to include these important adaptations in the actual lesson, so this year you will see these adaptations as a part of each individual lesson. Please see page 7 for some general tips to help guide your students with special needs. We are grateful to Cindy Cross for supplying great ideas to include those students with special needs in each of these lessons.

Student Activity Pages - Every composition this year includes a Student Activity Page. The activities range from the classic Listening Map to Word Searches to Secret Codes and more. Our goal is to give your students an activity or visual for every lesson, allowing them to engage in a unique way with the content being presented. Sometimes these activities are acknowledged within the lesson and other times they are not, and stand alone. Please be aware of how the creator of the lesson has chosen to use them. If you have any questions, don’t hesitate to contact KSO.

Lenny’s Legacy CONTINUED ON NEXT PAGE 5

How to use this program - Continued

Leonard Bernstein’s Lesson Layout – As Daniel mentioned in his welcome letter on page 4, Bernstein is our inspiration for this year’s program. While much of the program focuses on music that inspired Bernstein, we will also explore music that Bernstein wrote. We have chosen to look into his classic West Side Story. We have included one “Biographical Page” on Bernstein and West Side Story (p.28), with the two West Side Story lessons that follow (“Balcony Scene” and “Mambo”). We only acknowledge this because we usually try to put these lessons in concert order, and by laying the lessons out this way we have had to break that rule. Be aware that “Mambo” will end our concert, but it is not last in our lessons.

“Sing” - Along -This year we are asking all students to be a part of an epic sing-along! We will be

performing Andrew Lloyd Webber/Gary Barlow’s inspiring anthem “Sing” as our penultimate song on the program. The composition is not only inspiring musically, but it’s lyrics about the importance of our voice as an individual and united are an extremely relevant message. We are asking all students attending to learn this song and sing with the orchestra during the concert. We have included a lyric sheet on p.39 and the audio track on the enclosed CD. This fall we will also be emailing out an MP3 version of the song, a piano accompaniment for those educators that wish to accompany their students on piano, and a special student accompaniment (with melodic and rhythmic instruments), created by Tara Fletcher, to use in your classroom. We look forward to SING-ing with you in March!

Electronic Material – In addition to this physical book and CD you’ve received, you will also be

receiving many electronic materials including a series of videos (many of which are a part of lessons to follow – including Starburst, Mambo, etc), MP3 tracks for download, a PDF version of this book and much more. Please check your email frequently this fall and winter as we continue to get more information to you.

IF YOU HAVE ANY QUESTIONS, PLEASE DON’T HESITATE TO CONTACT US: Benje Daneman | Education Manager Kalamazoo Symphony Orchestra (269) 349-7759 ext 210 bdaneman@kalamazoosymphony.com 6

lesson adaptations for students with special needs

Simplify – teach to the most basic part of the concept. For example: Instead of teaching a steady beat or a specific rhythmic pattern, work on fast/slow or long/short; sing a song on a syllable instead of trying to teach all the words.

Allow time for processing – many students with special needs process ideas much more slowly

than their gen. ed. peers. Give extra time for following directions and imitating activity or provide a task with fewer moving parts. For example: instead of teaching a dance with multiple movements, create two movements that correspond with the primary musical components of the piece you are using and teach only those.

Don’t overlook the power of peers – much work is being done with students on the autism

spectrum and peer partners. This can be applicable across special needs populations. Often it’s the student helpers that know best how to assist their peers. You may be able to complete more complicated tasks simply by turning over the instruction to your gen. ed. students.

Focus on all senses – especially if you have a student who is impaired in one area (movement, hearing, visual). Let the whole class experience both the loss or limit of one sense and focus on a different one.

Don’t underestimate the power of simply listening to the music – many of the most severely impacted students may simply enjoy becoming familiar with the music. When they attend a performance it is that familiarity that allows them to enjoy the experience.

EACH LESSON CONTAINS SPECIAL NEEDS ADAPTATION SUGGESTIONS FOLLOWING THE LISTENING MAP.

Lenny’s Legacy

WHAT TO EXPECT AT THE SYMPHONY

For some of you, this will be your first trip to the symphony. It’s a fun and exciting place, much like a very LARGE movie theater. It’s also a place where we must act very mature so that we can respect the performers and the other audience members. Here are some things to know before coming.

CONCERT BEHAVIOR Don’t talk and stay seated during the concert. There will be hundreds of other kids there.

Think about how loud it would be if everyone talked during the concert. You wouldn’t be able to hear the music! Please be very quiet while listening so you and your neighbor can hear all of the music. Also, stay in your seat through the whole concert, because someone might be distracted.

Stay with your group at all times. Chenery Auditorium is a big and exciting place, but please don’t go exploring on your own. There are tons of kids and schools there all at the same time. Be sure to ALWAYS stay with your group. Walk, don’t run. Just like at school, don’t run in the hallways. We wouldn’t want you bumping into anyone and getting hurt (or hurting them). Clap at the end of a song. But be sure it really is the end. In the orchestra world, we show how much we enjoyed the music by clapping at the end of a song after the conductor puts his/her arms down. So be sure to clap really loud to let the musicians and conductor know how much you enjoyed it! Have fun! We can’t wait to play music and show you some new things. We know you’ll have tons of fun and really enjoy it!

How to be a great audience member 8

HOW TO PREPARE – 3 L’S LISTEN

Listen to the music that we’ll be playing before you come. We guarantee that you’ll love the concert even more.

LOOK

Check out some pictures of orchestras and some videos of orchestras playing. See what an orchestra and the instruments look like before you come.

LEARN

Learn the stories behind each song. When you know what the song is about, the music will make a lot more sense to you!

POWER LISTENING Did you know that listening is a SUPER POWER? And it’s something you can learn to get even better at over time. Practice being a power listener before you come so you can enjoy the concert even more! Here are some things you can do to be a POWER LISTENER:

ZOOM IN Zoom in to hear the details of the sound (loud/soft, instruments, fast/slow).

ZOOM OUT Zoom back out to hear them all at once.

WATCH

Observe what’s on stage and then figure out what sound goes with what you’re seeing. Look at certain instruments Look at the conductor Look at the musicians

FEEL What does the music make you feel like, both inside and outside?

STRINGS

The string family is the LARGEST family of the orchestra! Each instrument makes noise with their STRINGS – either by plucking (pulling with your finger), bowing (using a stick with horsehair that rubs the strings) or tapping on the wood part of the instrument. The string players will push their fingers down on the strings to change the notes while they pluck or bow on the opposite end of the string.

BRASS

These are often the LOUDEST instruments in the orchestra. They are made up of long tubes that are bent in the shape of each instrument with one end of the tube being small and the other end being wide. The wide end is called the “bell.” To make a sound on a brass instrument, brass players have to press their lips together and blow air quickly through the mouthpiece (which sounds like a BUZZ). Some instruments have valves which are buttons you push down to change the notes, while other instruments have slides which move in and out to change the notes.

WOODWINDS

A long time ago, this whole family was made from wood, but not anymore – they are now made from wood or metal! The woodwinds are all long, hollow tubes with little holes. Some of the holes have coverings on them called “keys.” You make a sound on a woodwind instrument by blowing into or just over the “mouthpiece.” Woodwind players change the notes by pressing down the keys.

PERCUSSION

This is the OLDEST family of instruments! Percussion instruments are anything that you can make a sound with when you hit, shake or scrape it. This family has many different types of instruments that use sticks, mallets or the musician’s hands to make the noise. Other percussion instruments require you to hit two things together. Often percussion instruments are used to keep time, but they can also make special sounds or even play different notes. The percussion family is pretty diverse! Did you know that the piano is both a percussion and string instrument? It has small hammers inside that hit strings when you push one of the keys.

INSTRUMENTS OF THE ORCHESTRA

On the next page, youâ&#x20AC;&#x2122;ll find the empty concert stage, much like the one where the Kalamazoo Symphony Orchestra performs. Can you guess where each instrument below usually sits during the performance? oon

Bass

Fre

Violin

Tuba

Obo

Trumpet Flu

Cymbals

Clarinet

Marimba

Harp

Cello

Bass Conductor

Timpani Piano

Trombone

Viola

ORCHESTRA LAYOUT MAP

n sio

s rcu

Pia

r Ho

p Har

Conductor

Violas

Flutes Piccolo

Clarinet

Trumpets

En Obo gli sh es Ho rn

Tro es

ORCHESTRA LAYOUT KEY

2n Vio d lin s

1st Violins

14 Basses

ba s

Cellos

WHO DIRECTS THE ORCHESTRA?

You’ll notice our Conductor, Daniel Brier, will be standing in front of the orchestra when the musicians are playing. He has many very important roles in the orchestra, but here are some that he personally thinks are most important: - A conductor must be an accomplished musician (instrumentalist and/or singer). - A conductor must have a broad knowledge of music history, music theory, and the instruments of the orchestra. - The conductor spends many hours studying the music to prepare for rehearsals and performances. - The conductor shows the music through his or her body so that the orchestra is able to play together and bring life to the music. Conductors use different types of “conducting patterns” to help make sure everyone is in the same place and knows the TEMPO (how fast or slow the music goes). Here are some “conducting patterns” that you can practice yourself with some of the music from this year’s program! ONE Conduct along with William Tell Overture (Finale) which can be conducted in “One.” Try to “bounce the basketball” along with this exciting opening piece!

TWO You can conduct in “Two” while grooving to “Mambo,” Shostakovich’s Symphony No. 9, Mvmt 1 or even to Starburst.

THREE We don’t have any songs in “Three” this year, but you can conduct that pattern to a lot of famous songs like “We Wish You a Merry Christmas” or “My Country Tis of Thee.” FOUR This year you can conduct along in “Four” with the songs “Sing” and the “Tonight” section of the “Balcony Scene” (2:42). 15

GIOACHINO ROSSINI

February 29, 1792 - November 13, 1868 | Italy | Composer

BACKGROUND Gioachino Rossini, the most popular opera composer of his day, was born in Pesaro, Italy. Like many composers, Rossini learned about music from his parents. Gioachino’s father played the horn and the trumpet, and his mother was an opera singer. When Gioachino was a little boy, he learned to play the piano and to sing. In Rossini’s day, the opening of a new opera was as exciting as the opening of a new movie is for us. Rossini wrote his first opera when he was 18 years old. His most famous opera is The Barber of Seville. After composing the opera William Tell in 1829, when he was 37, Rossini stopped writing operas. After that, Rossini didn’t compose again for years. When he was much older, he wrote some music for the church, and he wrote a lot of small pieces to entertain his friends. From http://www.classicsforkids.com

THE STORY BEHIND THE MUSIC William Tell Overture (Finale)

The opera is based on the story of a Swiss folk hero, William Tell (originally titled Guillaume Tell), who had to choose between giving allegiance to a tyrant ruler or shooting an apple off the top of his son’s head with a bow and arrow. He chose to shoot the apple off his son’s head and was successful. Later he led the revolt that freed his countrymen. We will study and focus on the finale of the Overture to the opera about William Tell written by Rossini in 1829, which was his final opera before he retired at the age of 37. Many Americans recognize the William Tell Overture as the theme from the TV cowboy show, The Lone Ranger. The Finale section of the Overture is the “cavalry charge” and sounds like excitement and galloping horses. The Finale is often heard in many different places including cartoons, video games, movies and more. Here are some examples: Cartoons: Looney Tunes - https://www.youtube.com/watch?v=yUYVd3bgGp4 Video Games: Just Dance - https://www.youtube.com/watch?v=Hw-WS-O9pmc Movies & TV: The Lone Ranger (Original – 1949-1957) - https://youtu.be/Td4RHvyAFsM The Lone Ranger (2013 Version) - https://www.youtube.com/watch?v=_EMMH0NBcLU

Lesson created by Lisa Stucky (Moorsbridge Elementary, Portage Public Schools) & Beverly Ropp (Central Elementary, Portage Public Schools)

William Tell Overture ESSENTIAL FIRST LISTENING

Show the listening map and teach the rhythms. Note that A is highlighted each time it appears (this could be the basis for same/different). Listen to the selection, and lead the students in the various rhythms. Suggest that the Coda is listening only, with discussion afterwards about what made it musically exciting (beat, accents, new rhythms, many instruments, etc.).

SECOND LISTENING

Explain that a rhythm stick routine will help them have fun with the beat, rhythm, and musical form. Watch the YouTube (link below), and have students try to imitate all motions without using sticks (hands only). William Tell Rhythm Stick Video: https://youtu.be/wF5Bs2yh2T0

ADDITIONAL LISTENING

Use lummi sticks and have fun performing the stick routine. Notes regarding the stick routine (p. 19) 1. C: You will see success by students near the bottom of screen using one hand only; you will see success by students near the top of screen using two hands. The goal is to pass two sticks simultaneously. 2. D: Cue the four-beat pattern with “down - tap - out - tap.” The “out” portion might work better if students tap their knuckles together rather than their sticks. 3. Coda: a. Could be performed as shown. b. An easier adaption is to keep all the YouTube cues of rolls and the ending rhythms with the alternating sticks, but in many of the other phrases substitute a scrape-scrape-tap & hold pattern

EXPLORATION After students are familiar with the form, use flashlights to display the sections using colored lights. As they listen and explore the form they will discover how music can express contrasting moods and emotions. (No flashlights? Try it with colored glow sticks from the dollar store!) Directions: Cover the flashlight lenses in colored cellophane. Tie on with rubber bands if needed. You can use four different colors for sections A-D. Turn off the light and have students create a light show. To simplify, use two colors and have students identify the A section in one color and all other sections in the other color. (Same/different) Younger Students might also enjoy galloping during A and performing various non-locomotor motions on other sections (teacher or student leading). • Play a few phrases of the Introduction and ask: “What does this music sound like we are doing?” • After getting ideas say: “This music makes us want to get on our horses and ride!” “Let’s climb onto our horses and listen to the Introduction.” “Now it’s time to gallop on our horses!” (Play A section.) “Here we go, follow me!” • For other sections stop galloping and create other movements. Ask students: “What is your horse’s name?” “What color is your horse?” “Was your horse easy to ride or did you have to hold on tight?” “How did you get your horse to stop running?” “Were you careful to not run into other horses?”

William Tell Overture EXTENSIONS YouTube videos • Piano synthesizer with graphics depicting LH and RH melody (RH one used to visualize melodic direction): https://www.youtube.com/watch?v=dcGmj9TYLqk • 8-part a cappella voice orchestra: https://www.youtube.com/watch?v=PvxonG28IA4

LISTENING MAPS Copy the listening maps for each student (or pair of students). Cut apart into sections to rearrange as they listen (for permanence, glue onto paper). Students could copy the rhythms and other figures onto the additional blank sections. They could also add artwork to the Coda (horses and scenery, drawings of four instruments - one from each family of the orchestra, or their own ideas about the music).

SPECIAL NEEDS ADAPTATIONS Use a boomwhacker or other light weight instrument (jingle tap, jingle stick, mallet) and create patterns to follow as with the rhythm stick exercise. Routine could include: directionality (high/low, left/right), body parts (hand, head, foot, middle) or objects (chair, floor, drum, etc.).

TERMS TO KNOW Opera - A dramatic work in one or more acts, set to music, for singers and instrumentalists Overture - A musical composition at the beginning of a larger piece of music – often a musical, show, or opera Fanfare - A short ceremonial tune or flourish played on brass instruments, typically to introduce something or someone important

NOTES

William Tell Overture RHYTHM STICK ROUTINE

Introduction 0:00-0:14

0:14-0:28

0:28-0:41 0:41-0:48

Interlude 0:48-1:01

1:01-1:15

1:15-1:38

1:38-1:50

1:50-2:03

2:03-2:10

Interlude 2:10-2:23

CODA 2:23

SERGEI PROKOFIEV

April 23, 1891 - March 5, 1953 | Russia | Composer & Pianist

BACKGROUND Russian composer and pianist Sergei Prokofiev was born in 1891 in Sontsovka, a small village in Ukraine. Early on, it was clear that he had musical talent. His mother, who was a very good pianist, encouraged him, and taught him to play the piano. Sergei began composing at the age of five. When he got a bit older, he and his mother moved to St. Petersburg, so that he could study music there. After Prokofiev graduated from school, he traveled around Europe to learn more about music. World War I and the Russian Revolution made living and working in Russia very difficult, so Prokofiev left the country in 1918. Paris eventually became his home, but he also spent time in the United States and the Bavarian Alps. But the whole time he was away from Russia, Prokofiev longed for his homeland. In 1936, he made the unusual decision to move back to the Soviet Union. Prokofiev was a master at using music to tell a story. One of his most famous musical stories is Peter and the Wolf, which was written for Russia’s Central Children’s Theatre. You may have seen it performed in school, or on the concert stage. From http://www.classicsforkids.com

THE STORY BEHIND THE MUSIC Symphony No. 1, “Classical Symphony” – Movement 1

Sergei Prokofiev began work on his “Classical Symphony” in 1916, but finished it in 1917, which was the most productive year of his creative life. He also composed his First Violin Concerto, Third and Fourth Piano Sonatas, and began work on his Third Piano Concerto during that year. Prokofiev composed the “Classical Symphony” away from the piano. In Prokofiev’s own words (from his autobiography): “I noticed that the thematic material composed away from the piano was often better. I had been playing with the idea of writing a whole symphony without the piano, thinking that such a piece would have more natural and transparent colors. This is the kind of symphony I wanted to write: a symphony in a classical style.” (from “A View from the Podium” (blog) by Kenneth Woods, Conductor)

Lesson created by: Norma-Jean Forshey (King-Westwood Elementary School, Kalamazoo Public Schools)

“Classical Symphony” ESSENTIAL FIRST LISTENING - Discovery

Tell students to listen to this piece of music and when it’s done, students will share what they noticed. You can hint at what you want them to notice (this is very helpful with younger students): repeated parts, loud parts, soft parts, what instruments are used, how the music makes them feel. Older students may notice more – and may touch on the form of the piece.

SECOND LISTENING - Listening and Identifying

If same class period, continue. If different class period, review what was previously discussed – and perhaps play a small section of the music to refresh their memories. Before listening again, tell the students this music is in sonata form. Students should remember that form is the musical shape of the piece of music. Sonata form is basically three parts: A B A. The first A part is the exposition - a fancy word for the place you hear the melodies for the first time. The B section is called the development - where the melodies are expanded or “developed.” Then the A section comes around again, and this time, it’s called the recapitulation. Write A-B-A on the board, and during the 2nd listening, ask students to raise their hand when the “A” section begins. You can help by prompting them with where the “A” sections are, and pointing out where the “B” section is – check the listening map for more details and cd timing for help. Students may also need some prompting for the return of the “A” section.

THIRD LISTENING - Elements of the Listening Map If this is a different class period, review what was done before. Show students the listening map. Announce the title of the music and the composer’s name. Explain that this music is the 1st movement of a symphony that has 4 parts. Explain what is on the listening map. Play the little printed excerpts of music so students recognize these parts of the movement when they appear. Also explain any terms on the listening map that may or may not be familiar to students (see “Terms” section). Play the music again and point to the listening map elements as students listen.

EXPLORATION As students listen to the music again, they can demonstrate their understanding of different parts of the form. You can use your own gestures/hand signs/movements or use the suggestions below. You can also divide the students so that only a part of the class is responsible for one of the movements. For “Mannheim Rocket”: Use one hand (and arm) to “blast off” toward the sky OR stand up when they hear this music (and then sit down) For Theme A: Use American Sign Language (ASL) “a” sign OR one group designated as the ‘a’ group can move to the ‘a’ music using scarves or other props. For Theme B: Use ASL “b” sign OR one group designated as the ‘b’ group can move to the ‘b’ music using scarves or other props.

“Classical Symphony” EXTENSIONS A virtual listening map that scrolls through the music with brightly colored shapes that are lit up as the music plays along: https://www.youtube.com/watch?v=6Z7HsXOW6Zw Classical Symphony, Kaleidoscope Chamber Orchestra: https://www.youtube.com/watch?v=FegliwLQHrw This is a chamber orchestra playing this piece with no conductor and everyone is standing except the cellos. This is a good chance to explain to students that a chamber orchestra often has no conductor and discuss with them who would lead (concertmaster, section leaders, everyone needs to listen carefully, etc.).

SPECIAL NEEDS ADAPTATIONS Create two groups using contrasting sounds (wooden/metal, big drums/little drums, shaking/striking, etc.). Group 1 plays theme A and group 2 plays theme B. Conduct various combinations to play during the development. Repeat during the recapitulation and finish with all playing. Play with and without the recording.

TERMS TO KNOW Symphony - A large musical composition for full orchestra, often in four movements Exposition - A fancy word for the place you hear the melodies for the first time Development - Where the melodies are expanded or “developed” Recapitulation – The return of the exposition after the development in “Sonata” form Mannheim Rocket - A swiftly ascending passage usually having a rising arpeggiated melodic line combined with a crescendo (look up Mannheim Rocket in Wikipedia for a more detailed explanation) Bridge – Music to get us from one place to another Grand Pause (G.P.) – Everyone in the orchestra stops playing for one or more measures (everything is silent) Sonata Form – A form in music which uses the basic structure of ABA in its composition

NOTES

“Classical Symphony” 1st Mvmt LISTENING MAP

Introduction

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Exposition 0:03 - Theme A1

0:22 - Theme A2

0:41 - Bridge

0:53 - Theme B

1:03 - Variations on Theme B

1:27 - Closing m

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ke oc R

1:40 - GRAND PAUSE

Development 1:41 - Theme A1 (New Key)

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2:25 - Syncopation in Violins 2:34 - Closing

2:10 - Theme B Elaborated

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R o

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1:52 - Fragments of Theme A2

Recapitulation 2:44 - Intro

3:20 - Theme B

2:46 - Theme A1

2:56 - Theme A2

3:31 - Variations on Theme B

3:06 - Bridge

3:47 - Closing Does the music end with a mannheim rocket?

DMITRI SHOSTAKOVICH

September 25, 1906 - August 9, 1975 | Russia | Composer & Pianist

BACKGROUND Dimitri Shostakovich was born in 1906 to Dmitri Shostakovich and Sofiya Kokoulina. He was the second of three children and was born in St. Petersburg, Russia, during the beginnings of the Russian Revolution. He began taking piano lessons with his mother when he was 8 years old. He was a prodigy as both a pianist and composer finishing his first symphony when he was 19 years old! As an adult, he faced great trials as an artist. He wasn’t able to explore and express himself in his own personal style because of very strict government regulations in the Soviet Union. The government wanted musical works to contain folk melodies and styles, use straight-forward rhythms, very little dissonance and simple harmonies. In spite of these restrictions, Shostakovich wrote such wonderful music that he became a very important and celebrated composer in the modern era.

THE STORY BEHIND THE MUSIC Symphony No. 9 – Movement 1

Near the end of World War II, in the spring of 1945, Shostakovich announced that he was working on his 9th Symphony. His 7th and 8th symphonies had been big, expansive works and people expected that the 9th would be large and victorious, celebrating Stalin and honoring the defeat of the German forces. When the symphony was finished in August of that year, it was totally different from what people had expected. Leonard Bernstein even referred to it as the “anti-ninth!” It was very short, very light, and even humorous--not very heroic at all. The first movement is a very classical sonata-allegro form, with all the proper sections and repeats. It is spirited and fun, with a whimsical trombone that announces and interrupts the second theme in the exposition and even seems to get a little lost while trying to find the second theme in the recapitulation. Even though the critics and the Soviet government hated it in 1945, it is now regarded as a wonderful piece that is an important part of the rich musical legacy of Dimitri Shostakovich.

Lesson created by: Karen Kempe (Washington Writers’ Academy, KPS) & Jeanna Cervantes-Hickman (Winchell Elem, KPS)

Symphony No. 9 ESSENTIAL FIRST LISTENING

Teacher instructs students to listen to the main theme in example one:

Teacher plays the second theme and asks students to identify ways the themes are different. • Short and percussive accompaniment in the orchestra, circus like accompaniment. • Trombone two note motif (quarter note and whole note motif) flanked by the timpani

•

Student and Teacher go over listening map and identify places where theme occurs.

SECOND LISTENING

Teacher prepares entrances of trombone solos as “jokes” and why they would be funny in this piece (wrong entrances, interrupting, announcing presence of the second theme at wrong times in the recapitulation). Discuss how many times it is heard and the affect it has on the overall piece.

EXPLORATION Discussion questions: Choose for your appropriate grade level. What do you think Dmitri Shostakovich wanted people to think about when he wrote his 9th symphony? If you were writing a symphony at the end of a world war, what would you want it to sound like? Would you use lots of instruments or a few? Would you make it loud or soft? What instruments would you use the most? What would be the mood of the piece? If you lived in a place where your self-expression (what you said, wrote or read) was restricted by the government, how would that make you feel? Do you think it is OK for a government to set strict guidelines for painters, musicians and writers? Should there be some guidelines? What are your thoughts on censorship?

Symphony No. 9 EXTENSIONS Leonard Bernstein talks about Shostakovichâ&#x20AC;&#x2122;s 9th Symphony: https://youtu.be/FVfz5YymsXI

SPECIAL NEEDS ADAPTATIONS Have a variety of unique instruments available (seed rattle, guiro, flex-a-tone, thunder tube, etc.). Let each student take a turn being the soloist who plays a musical joke by choosing and playing one of the designated instruments at various times. If you are trying this without the recording give all students, except the soloist, the same instrument so students can hear the contrast of the musical joke. Use over several classes, having each soloist provide the musical joke at some time during each class.

TERMS TO KNOW Theme - An important part of music that returns in a composition Accompaniment - A musical part that supports another musical part in a song. An example would be a piano accompanying a singer Russian Revolution â&#x20AC;&#x201C; A revolution in Russia in 1917-18 that brought the Communist Party into power Communism - A political belief that takes ownership away from people and gives power to the government and community to own all public things (land, factories, etc) Prodigy - A person who is naturally gifted at doing something very well

NOTES

Symphony No. 9, Mvmt. 1 SONATA FORM: WHERE’S MR. KIP?

Exposition Development 2:46

3:54

1st Theme

Vi Flu olins te Str Oboe ing s

Repeats at 1:26

fast & furious

2nd Theme

TUTTI

variation of a theme

5:08

Haven’t I heard this before?

1st Theme Fast one last statement last four bars

2nd Theme I’m

0:48; 2:09

Coda

Recapitulation

los

Rhythm Elongated

t!!

8 times! The second theme is really heard on the 8th time

DMITRI SHOSTAKOVICH WORD SEARCH After reading the biography/ introduction for this piece, see if you can find the following important words about Dmitri Shostakovich:

Modern Era Shostakovich Russia Composer Piano Prodigy Music

Lesson Created by Jeanna Hickman, Winchell Elementary School, Kalamazoo Public Schools 27

LEONARD BERNSTEIN

August 25, 1918 - October 14, 1990 | USA | Composer & Pianist

BACKGROUND Leonard Bernstein was born in Lawrence, Massachusetts, and grew up in the Boston area. His father sold wigs and beauty supplies, and wanted his oldest son to take over the business. But after Leonard -- or Lenny, as all his friends called him -- composed the class song for his high school graduation, he went on to Harvard and majored in music. Leonard Bernstein got his big break when he was the 25-year-old assistant conductor of the New York Philharmonic. At the last minute, he stepped in to conduct a concert in Carnegie Hall that was broadcast live over the radio all across America. The audience loved him, and the event made front page headlines in the newspaper. When Bernstein was eventually named music director of the New York Philharmonic, he was the first American to become permanent conductor of a major American orchestra. While Bernstein was very well known for his music compositions (especially in the musical theatre world) and conducting, he was also known for his outspoken political views and his strong desire to further social change. He was also a very passionate music educator and used television, which was brand new at the time, to bring classical music to a very wide audience with his “Young People’s Concerts.” From https://www.classicsforkids.com

THE STORY BEHIND THE MUSIC West Side Story

Romeo and Juliet was written by William Shakespeare in 1597 and is considered a “tragedy” about forbidden love because the main characters both belong to families that do not get along with each other. Because of this they have to hide their love and eventually both main characters die for each other’s love. West Side Story is a musical written in 1961 and its plot (story) is very similar to Romeo and Juliet and gives a new American twist to the famous story. The award-winning score (music) was written by Leonard Bernstein. Set on the Upper West Side of New York City, the story shows the rivalry between two teen gangs of very different backgrounds - the American Jets (led by Riff) and the Puerto Rican Sharks (led by Bernado). When Riff’s best friend Tony, a former Jet, and Bernardo’s younger sister Maria meet at a dance, no one can stop their love. They begin meeting in secret, planning to run away together. There is then a fight between the Sharks and Jets under the highway, the winner gaining control of the streets. The story ends in the tragic and unexpected death of Tony.

Balcony Scene The Story Behind the Balcony Scene

The balcony scene is a particular moment that happens in both stories. It is the moment where the two “love birds” from the separate groups meet and profess their love to each other. The female (Juliet/Maria) is at the balcony of her bedroom, while the male (Romeo/Tony) is on the ground below.

ESSENTIAL To help you and your students familiarize yourselves with the story, here are some helpful videos that also are entertaining for kids. Watch a few “balcony scene” videos and compare/contrast, make lists, or a Venn diagram to discuss the similarities/differences in them! Romeo & Juliet and West Side Story Plot Summaries: Romeo and Juliet Puppet Rap: https://www.youtube.com/ watch?v=FuiIE9Bfox0 West Side Story explained in 59 seconds (Warning: content talks about Jets/Sharks shooting/stabbing each other): https://www.youtube.com/watch?v=Q-n30cMKLro “Balcony Scene” Clips: Orchestral version of West Side Story’s “Balcony Scene” (KSO will perform this version at Youth Concerts): https://www.youtube.com/watch?v=j3d1wrj4riQ The Muppet’s version of Romeo & Juliet’s “Balcony Scene”: https://www.youtube.com/watch?v=b7ACwMhyeMk Gnomeo and Juliet’s version of Romeo & Juliet’s “Balcony Scene”: https://www.youtube.com/watch?v=D6HpUndEtP8

EXPLORATION Hidden Message Worksheet

Not only does the balcony scene contain singing of the song “Tonight” but during the dialogue, it also contains snippets of tunes from other songs in the musical. For example, when Maria comes down the balcony, the orchestra plays a melody called “Maria” from another scene of the musical. This is kind of like hidden messages in the music! See if you can find the hidden message in this worksheet. If time allows, listen to a few other tunes from the musical, then listen to “balcony scene” to see if you can hear “Maria!”

EXTENSION Split the class in half. One half is Sharks, and one half is Jets. Pose a “debate” on the two groups. Have the class brainstorm ideas that the two groups could be disagreeing about. (NOTHING POLITICAL!) Some ideas could be debating over indoor vs. outdoor recess, cold lunch vs. hot lunch, football vs. soccer, letting sports be non-gender specific, etc. Does the group stop debating and come to a conclusion that they agree to disagree? West Side Story (Romeo and Juliet) also came to a point where they reconciled (of course after much tragedy).

SPECIAL NEEDS ADAPTATIONS Hidden messages: using a Bluetooth speaker, hidden in some way, play different instruments or sounds. Have students identify the sound, the location of the sound, or both.

TERMS TO KNOW Tragedy (Theater) - A play dealing with tragic events and an unhappy ending, usually involving the main characters Dialogue - Conversation between two or more people

Lesson created by Michele Helner, Beverly Ropp, Lisa Bernlohr Stucky & Tressa Crosman, Portage Public Schools Lesson created by: Erin Hoekstra (Starr Elementary, Plainwell Community Schools)

Balcony Scene from West Side Story ROMEO & JULIET MAD LIB STEP #1 - FILL IN THE BLANKS BELOW:

1. Noun: 2. Noun: 3. Direction: (i.e. North South, East, West)

4. Noun: 5. Noun: 6. Noun: 7. Noun: 8. Noun: 9. Place: 10. Noun: 11. Noun: 12. Noun: 13. Verb: 14. Noun:

STEP #2 - PLUG YOUR ANSWERS INTO A SCENE FROM SHAKESPEAREâ&#x20AC;&#x2122;S ROMEO AND JULIET:

But wait! What ________ breaks through that _________? It is 1 2 the _________ and Juliet is the _________. Arise fair sun and kill 3 4 the envious _________. It is my _________, O, it is my _________. 5 6 7 She speaks to the fairest _________ in all the _________. See 8 9 how she leans her _________ upon her _________. O, that were 10 11 a glove upon that _________, that I might _________ that 12 13 beautiful _________. 14

CRACK THE CODE USE THE KEY TO DECODE THE PHRASE BELOW

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

Mambo The Story Behind the Mambo

The “Mambo” demonstrates the excitement and celebration that music can create. It achieves this through a rather fast tempo, simultaneous rhythmic patterns and the frequent and rapid use of syncopation. The color provided by the trumpets, voices, and percussion also contributes the overall sense of excitement and celebration of the dance. In the musical West Side Story, we find both gangs, the Jets and the Sharks, at a dance being held in a neighborhood gym. During the dance, both gangs have a bit of a “dance off” to “Mambo.” At this dance, the two main characters, Tony and Maria, meet and fall in love.

ESSENTIAL FIRST LISTEN • • •

Set the story up for the students by using the “The Story” section above. Before the first listening, identify the four families of the orchestra (check out pages 10-11 in this book for more information). Ask students to listen for the “guest” instrument, which is not a member of the four families (voice). What was the spoken word and how many times did they hear it?

SECOND LISTEN • •

Define the word Mambo using the “The Mambo” section above. Ask students to check their answer.

THIRD LISTEN • •

Ask students to clap the word Mambo. Walk the beat, stopping to clap and say “Mambo” in the correct places.

EXPLORATION Hand Jive (Visual Page) * A video demo will be sent in Late 2017* All students will be invited to join in on performing a hand jive with the symphony at the concert. There will be live dancers to help lead the students in the hand jive. There is a shape chart to help students learn on the student page. Along with this hand jive students will shout MAMBO in the places practiced above. • The hand jive is performed every time at the A section and is 16 beats long. The first time it occurs (:14 - :40) it happens 7 times and the second time it occurs (1:10 – 2:04) it happens 14 times. • The Mambo is in 2/4, the first half of the Jive is 2 quarter note speed repetitions of each move and the second half of the Jive is two half note speed repetitions of each move.

EXTENSION Show the “Mambo” scene from West Side Story. Then ask students to share two things they thought were interesting with the people around them and then share one or two of the things from their group with the whole class. https://www.youtube.com/watch?v=kokbJvSEMUY Dancing the Mambo: Using one or both of the following videos, have your students spread out in the room and learn the basic steps of the mambo. Start with everyone alone and add partners as comfortable if desired. Then see if they can dance the mambo to “Mambo.” You will want to have students hold hands normally if they choose to do it with a partner. Forward and Backward: https://www.youtube.com/watch?v=--jqOdifXrw Side to Side: https://www.youtube.com/watch?v=ja4XhKS6InY Lesson created by Kelsey Werner, St. Augustine Cathedral School & St. Monica Catholic School

Mambo SPECIAL NEEDS ADAPTATIONS Provide a simplified version of the Hand Jive. Often it works well to simply slow down the movements, repeat each movement only once per cycle, or do fewer movements. Work with students to say or play “mambo” every time they hear it. Students could have an instrument and play it every time they hear the word “mambo.” You could also divide into groups and see which group can say/play it loudest!

TERMS TO KNOW Mambo – A dance invented in the 1930’s in Havana, Cuba

NOTES

Mambo

THE MAMBO HAND JIVE

Just like in West Side Story, you will get a chance to do a hand jive routine with the KSO! Practice the moves below and hand jive along with the video (will be emailed to teachers).

Pat

Clap Clap Snap Snap

Pat

Left Thumb

Left Foot Forward

2 3

Right Thumb

Pause

Right Foot Back

Shoulders Shoulders

Clap Clap

Right Foot Forward

Pause

THE MAMBO DANCE STEPS

Shift Weight to Back Foot

Left Foot Back

Shift Weight to Front Foot

JESSIE MONTGOMERY

December 8, 1981 | USA | Composer & Violinist

BACKGROUND Jessie grew up in New York City and began her musical studies at age four on the violin at the Third Street Music School Settlement in New York City. She began to improvise (make up) and compose (write) music by eleven years old! After high school Jessie went to one of the most famous music schools in the world, The Juilliard School, which is also in New York City, for violin performance and later went to school at New York University for a Master’s Degree in composition and film scoring. She has been very involved in The Sphinx Organization, based in Detroit, MI, that supports and provides opportunities for African-American and Latino musicians in classical music. She performs with many groups including the PUBLICQuartet and has performed with the Catalyst Quartet. She has written music for all types of groups including string quartets, full orchestras and movies! “Music is my connection to the world. It guides me to understand my place in relation to others and challenges me to make clear the things I do not understand. I imagine that music is a meeting place at which all people can converse about their unique differences and common stories.” – Jessie

THE STORY BEHIND THE MUSIC Starburst

Starburst was composed in 2012 from a commission by The Sphinx Foundation. This short composition is packed full of excitement, as suggested by its name. Montgomery said she wanted it to be “fun and exciting,” and it’s “a play on imagery of rapidly changing musical colors” and “it reminds me of something cosmic, and so I found an appropriate name for that.” To get these effects, she uses many different techniques throughout the orchestra, complex rhythms and dense harmonies.

Lesson created by: Kimberly Licavoli (North Ward & Dawson Elementary, Allegan Public Schools)

Starburst ESSENTIAL Note: This lesson includes instructions to watch the KSO video that will be supplied in late 2017.

FIRST LISTENING (00:00-1:07)

I can hear the string family. Before introducing the piece, give student an opportunity to identify the instruments they hear. What instrument families are represented in the piece? Which ones are missing?

SECOND LISTENING (0:00- 3:31)

I can hear the eighth note staccato pattern played by the violin and viola in section A. Before the second listening, introduce the background information. Discuss and identify the musical term “staccato” and the bowing technique used to produce the sound by watching the video. Listen for the repeating eighth note staccato pattern played 7 times by the violins and violas in the A sections of the ABA form. Using body percussion, extend the left arm as if playing the violin while playing the staccato pattern with the right index finger (bow).

THIRD LISTENING (0:00 – 3:31)

I can hear the difference between pizzicato and arco techniques. I can hear the glissando played by the Double Bass in the final A section. Before the third listening, show the video to understand and hear the following bowing techniques that create the “starburst” effect: pizzicato vs. arco, sul ponticello, glissando, up bow, and down bow.

EXPLORATION • (Grades K-2) In scatter formation, students transform a pair of rhythm sticks into a violin (left hand) and a bow (right hand). Students explore staccato, arco, and pizzicato techniques. The eighth note staccato pattern occurs at counter 0:02, 0:10, 0:26, 0:32, 1:05, 2:19, and 2:28. Allow students to pick out the arco and pizzicato patterns they hear as they “perform.” • (Grades 3 – 6) Using a nylon stocking as a shared string, students pair up face to face with the nylon between them. Students will hold the nylon taut in their left hand leaving the right hand free to wield a ruler or rhythm stick as a bow. The ruler will provide some resistance on the nylon; however, a rhythm stick could be used as a substitute. Playing in pairs will allow students to work as an ensemble and help guide their listening. For a larger ensemble, allow 2-3 paired groups to intertwine their nylons in a pinwheel formation. Use the instructions from the K-2 lesson above to play along with the music. • (Grades K-6) A section (0:00 – 1:07 & 2:18 – 3:31): Using various parts of their bodies, students create nonlocomotor movements (poke, flick, slash, punch, tap) on the repeating 8th notes utilizing low, middle, or high levels. Between 8th note groupings, students choose locomotor movements (tip toe, trot, run, leap, jog, float, spin) that best describe the music as they explore their space. During the B section (1:08 – 2:18), all students strike a pose at 1:08. To create the starburst imagery, individual students choose when and where they travel, as well as when to strike a new pose in a new location. Colorful scarves or flashlights hidden in a pocket can be added into the B section to represent random bursts of light.

Starburst EXTENSIONS Interview with Jessie Montgomery for another piece she wrote: https://www.youtube.com/watch?v=8-5CgVwMrRk

SPECIAL NEEDS ADAPTATIONS Use multi-colored props/instruments (scarves, ribbons, egg shakers, boomwhackers, etc.), talk about unusual ways to play or move props/instruments. Use recording and match movements with the music.

TERMS TO KNOW Staccato - each sound or note sharply detached or separated from others Pizzicato - plucking the strings with oneâ&#x20AC;&#x2122;s finger Arco - a term to return to bowing after playing pizzicato Sul ponticello - bow is played near the bridge to create a glassy, whispery sound Glissando - a continuous slide upward or downward between two notes Up bow - the bow is moved across the string from its tip to its heel. Pitch will get louder Down bow - the bow is moved across the string from its heel to its tip. Pitch will get softer

NOTES

Starburst LISTENING MAP

2:19-3:31

glissando sul ponticello staccato

up bow

down bow

arco 1:07-2:19 pizzicato

0:00 - 1:07

ANDREW LLOYD WEBBER March 22, 1948 | England | Composer

BACKGROUND Andrew Lloyd Webber was born in London, England in 1948 to a very musical family. His father was the director of the London College of Music, his mother was a piano teacher and his brother is a well-known cellist. Andrew started music early, playing violin at 3, in addition to French horn and piano. He began to write his own music at 6 years old! In college he started out as a History major, but soon dropped out and started to study music at the Royal College of Music. Webber has written some of the best-known musicals including Cats, Evita, Joseph and the Amazing Technicolor Dreamcoat, Jesus Christ Superstar, The Phantom of the Opera and Sunset Boulevard. His latest musical was the stage version of the movie School of Rock, that opened in 2015 on Broadway. He has won seven Tony Awards, seven Olivier Awards, a Golden Globe, an Oscar, the Praemium Imperiale, the Richard Rodgers Award for Excellence in Musical Theatre, a BASCA Fellowship, the Kennedy Center Honor and a Grammy for Best Contemporary Classical Composition. He owns seven theatres in London and has even been knighted by the Queen of England. Andrew started the Andrew Lloyd Webber Foundation which has become one of Britain’s leading charities supporting the arts and music. Interview with Andrew Lloyd Webber on “Sing”: https://www.youtube.com/watch?v=LaHrDPHSfDI

GARY BARLOW

January 20, 1971 | England | Composer, Pianist & Singer

BACKGROUND Gary Barlow, as a child, asked for a keyboard one Christmas. After getting his keyboard, he spent most of his time learning to play his favorite songs! Barlow is an English singer, songwriter and record producer and leads the British pop band “Take That.” He has also served as head judge of the UK version of The X Factor. Interview with Gary Barlow on “Sing”: https://www.youtube.com/ watch?v=KKEpFswn11E

Lesson created by: Tara Fletcher (Mattawan Early Elementary, Mattawan Consolidated Schools)

Sing THE STORY BEHIND THE MUSIC Sing

This song was a collaboration by two composers, Andrew Lloyd Webber and Gary Barlow, to write a song for the Queen of England’s Diamond Jubilee in 2012 (60th Anniversary of her becoming the queen). It was written to be an “Anthem” of the Commonwealth. The music was written in an afternoon by Gary Barlow and Andrew Lloyd Webber and the lyrics were added later, by Barlow, while he visited Kenya. Kenya was important to the Queen’s Diamond Jubilee because she first found out that she had become Queen of England while visiting there. Barlow said, “She started her reign there and we started our record in that place.” The song was released in May of 2012 and features over 200 singers and musicians, including Prince Harry on Tambourine, the Military Wives Choir, the African Children’s Choir, and the “Slum Drummers” from Kenya.

ESSENTIAL To help the kids put this song into the context of their own lives, help them figure out how old they were in 2012 when the song was released! 1. Tell the kids that this song is an “Anthem,” ask them to turn and talk in pairs or small groups about anything they might now about an anthem, and then call on a few to report out.

FIRST LISTENING

Have the kids SQUILT: S(uper)Q(uiet)U(n)I(nterrupted)L(istening)T(ime) Questions to ask: 2. Now that they have heard the song, have them turn and talk about an anthem and report out. Are their answers the same or different? (Read the definition of an anthem – see “Terms” section.) Have the kids turn and talk and report out about any or all of the following... What instruments did you hear? What voices? Any lyrics stand out? Are there repeated parts? Tempo, dynamics?

SECOND LISTENING

Listen with Lyrics sheet, keep a steady beat on your body. How does the music reinforce what the lyrics are saying? How do the composers use voices and instruments to help the song build and reinforce the meaning of the words?

THIRD LISTENING

Listen while watching the video. After seeing the video, was anything different than you imagined? Was anything the same? Did anything surprise you? Did you see any faces you recognize? (The kids might or might not recognize English Royalty.) *** Audience Participation: Learn the words and sing along at the concert! See page 6 for more information.

EXPLORATION Create your own body percussion! Have students listen to the song while keeping a steady beat somewhere on their body. Then have them work with a partner or small group to create a 2 or 4 beat body percussion pattern to perform while listening to the song. (i.e. snapping, clapping, patting, stomping, etc.) 39

Sing EXTENSIONS Keep an eye on your email for student accompaniment that includes melodic and rhythm instruments in late 2017.

SPECIAL NEEDS ADAPTATIONS Let each student choose a favorite instrument or prop. Create your own “Anthem” by allowing each student to have their own part or solo with their chosen instrument/prop. Use the student anthems as verses and work on singing the chorus as a group.

TERMS TO KNOW Anthem - An important song that is used to represent a group, cause or thing Collaboration - Working together on a project or creation with two or more people “The Commonwealth” – 52 Countries all over the world that are mostly places that were formerly governed by the British Empire. They all work together to support each other in different ways. To learn more about the commonwealth, visit this great website: http://www.youngcommonwealth.org/

NOTES

Sing

BY: GARY BARLOW & ANDREW LLOYD WEBER 0:00-0:11

INTRODUCTION 0:59-1:22

CHORUS

Sing it louder, Sing it clearer Knowing everyone will hear you. Make some noise, Find your voice tonight. Sing it stronger, Sing together, Make this moment last forever. Old and young, Shouting love tonight. 2:10-2:33

CHORUS

0:11-0:59

VERSE 1 Some words they can’t be spoken only sung, So hear a thousand voices shouting love. There’s a place, there’s a time, in this life When you sing what you are feeling. Find your feet, stand your ground, Don’t you see right now The world is listening to what we say. 1:22-2:10

VERSE 2 To sing we’ve had a lifetime to wait. (Wait, wait, wait.) And see a thousand faces celebrate. (We have to celebrate.) You brought hope, you brought light, conquered fear, No, it wasn’t always easy. Stood your ground, kept your faith, Don’t you see right now The world is listening to what we say.

2:33-2:58

Verse 3 Some words they can’t be spoken only sung, To hear a thousand voices shouting Love and light and hope.

3:20-3:46

CHORUS

BRIDGE

2:58-3:20

Just Sing! 3:46

CODA (ending) Hear a thousand voices shouting love.

MUSICAL TERMS INDEX INSTRUMENTS:

DYNAMICS:

Woodwind

Piano (Soft):

Symphony No. 9 (Shostakovich) - 0:15-0:20, 1:05-1:08

Strings

Symphony No. 1 “Classical Symphony” (Prokofiev) 0:54-1:26 (with intermittent fortes!)

Forte (Loud):

Starburst

William Tell Overture - 1:38-2:03

Brass

Crescendo (Gradually getting louder):

William Tell Overture - 0:00-0:13

Percussion West Side Story: Mambo - 0:00-0:08

Symphony No. 9 (Shostakovich) - 0:15-0:20 Symphony No. 1 “Classical Symphony” (Prokofiev) 0:00-0:04, 1:26-1:37

Decrescendo (Gradually getting softer):

Vocal:

West Side Story: Mambo - 2:22-2:38

Sing West Side Story: Balcony Scene

MUSICAL:

Fermata (Holding a certain note longer than usual – the conductor decides when it is over):

TEMPO: Largo (slowly): West Side Story: Balcony Scene - 0:00-1:45

Starburst - 3:11-3:20

Moderato (medium tempo): Sing

Allegro (fast): William Tell Overture

ADDITIONAL

activity

There are obviously many occurrences of each musical term in the program. We have named some of the most prominent examples above. Consider holding a musical scavenger hunt for each area in this year’s music to find more examples!

2018 YOUTH CONCERT DESIGN TEAM This year’s curriculum was created by an all-star cast of regional elementary educators. Without them, this wouldn’t be possible! Lisa Bernlohr Stucky - Moorsbridge Elementary, Portage Public Schools Jeanna Cervantes-Hickman - Winchell Elementary, Kalamazoo Public Schools Tara Fletcher - Mattawan Early Elementary, Mattawan Consolidated Schools Norma-Jean Forshey - King-Westwood Elementary, Kalamazoo Public Schools Mary Foster - Arcadia Elementary, Kalamazoo Public Schools Erin Hoekstra - Starr Elementary, Plainwell Community Schools Karen Kempe - Washington Writers’ Academy, Kalamazoo Public Schools Kimberly Licavoli - North Ward & Dawson Elementary, Allegan Public Schools Andrea Luegge - Cooper Elementary, Plainwell Community Schools Beverly Ropp - Central Elementary, Portage Public Schools Kelsey Werner - St. Augustine Cathedral School & St. Monica Catholic School

KALAMAZOO SYMPHONY ORCHESTRA EDUCATION STAFF: Daniel Brier Resident Conductor/Interim Music Director Liz Youker VP of Education & Community Partnerships Benje Daneman Education Manager Cindy Cross Manager of Community Partnerships Nikki Statler Director of Sales & Marketing

RECORDING INFORMATION Courtesy of Naxos of America

William Tell Overture – Finale (Rossini) – 8.550236 Symphony No. 1 “Classical Symphony”, Movement 1 (Prokofiev) – DE1604 Symphony No. 9, Movement 1 (Shostakovich) – AE-0056-2 West Side Story: Balcony Scene (Bernstein) – 8.559126 West Side Story: Mambo (Bernstein) – 8.559126

YOUTH CONCERT SUPPORT PROVIDED BY: Major Youth Concert Support The Burdick-Thorne Foundation Diane S. Robertson Foundation Tyler-Little Foundation Additional Youth Concert Support Education for the Arts Meyer Music The Mignon Sherwood Delano Foundation Youth Concert Luncheon Donors

General Education Support Anonymous Dorothy U. Dalton Foundation Harold & Grace Upjohn Foundation Irving S. Gilmore Foundation Kalamazoo Symphony Orchestra League Michigan Council for Arts and Cultural Affairs Pfizer, Inc. Trustees of the Monroe-Brown Foundation Upjohn Mason Grandchildren’s Chair in Education Zoetis

Special thanks to 2017-18 Education Program Sponsor 43

MUSIC EDUCATION Youth Concert 2018