Lesson 3: Dynamics

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LESSON 3

DYNAMICS

TEACHER WORKBOOK

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NORTH CAROLINA SYMPHONY EDUCATION SUPPORTERS

Our Education Concert is created in partnership with the North Carolina Department of Public Instruction and is made possible by a generous grant-in-aid from the State of North Carolina, the Honorable Roy Cooper, Governor; the Honorable Susi H. Hamilton, Secretary for Natural and Cultural Resources. We express our gratitude to our Boards of Trustees: The Symphony’s mission to achieve the highest level of artistic quality and performance standards, and embrace the dual legacies of statewide service and music education, is led by the North Carolina Symphony Society, Inc., and the Symphony’s endowed funds are held by the North Carolina Symphony Foundation, Inc. EDUCATION SUSTAINERS

Anonymous Trust / Simple Gifts Fund EDUCATION BENEFACTORS

The Bastian Family Charitable Foundation

EDUCATION PATRONS

Anonymous; Robert P. Holding Foundation, Inc.; Samuel P. Mandell Foundation; Youths’ Friends Association Inc. EDUCATION PARTNERS

Gipson Family Foundation

Swearingen Foundation

Alamance County Government

Granville County Community Foundation

The Titmus Foundation

Arts Council of Carteret County

Gregory Poole Equipment

Vance County Community Foundation

The Harold H. Bate Foundation

The Hellendall Family Foundation of North Carolina

Yadkin County Community Foundation

Iredell County Community Foundation

MUSIC EDUCATION ENDOWMENT FUNDS

Beane Wright Foundation Bell Family Foundation Bertsch Family Charitable Foundation, Inc. The Borden Fund, Inc. Carteret Community Foundation Cherbec Advancement Foundation The Cole Foundation

Jacksonville-Onslow Council for the Arts Kinston Community Council for the Arts The Landfall Foundation The Noël Foundation Onslow Caring Communities Foundation Outer Banks Community Foundation

The Joseph C. and Diane E. Bastian Fund for Music Education The Ruby and Raymond A. Bryan Foundation Fund The Mary Whiting Ewing Charitable Foundation Fund

Corning Incorporated Foundation

Poole Family Foundation

The Hulka Ensemble and Chamber Music Programs Fund

Edna Williams Curl and Myron R. Curl Charitable Fund

Prescott Family Charitable Trust

The Janirve Foundation Fund

The Florence Rogers Charitable Trust

The Elaine Tayloe Kirkland Fund

Emily Monk Davidson Foundation

E.T. Rollins, Jr. and Frances P. Rollins Foundation

The Dickson Foundation, Inc.

The Norman and Rose S. Shamberg Foundation

The Ina Mae and Rex G. Powell Wake County Music Education Fund

The William C. Ethridge Foundation, Inc.

The Eddie and Jo Allison Smith Family Foundation, Inc.

Mr. and Mrs. Jeffrey A. Corbett

The Lundy Fetterman Family Foundation Trust George Foundation, Inc.

Southern Bank Foundation

Authors: Barina Bailey, Zadda Bazzy, Emily Cannady, Laura Martin, Andrea, Perrone, Susan Reynolds Designer: Kimberly Ridge Editors: Sarah Baron, Jason Spencer, Layla Dougani, Erin Lunsford North Carolina Symphony, 3700 Glenwood Ave., Suite 130, Raleigh, NC 27612, 919.733.2750 ncsymphony.org/education North Carolina Symphony Student and Teacher Handbook © 2017, 2020 by North Carolina Symphony Society, Inc. Reproduction of this book in its entirety is strictly prohibited.

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LUDWIG VAN BEETHOVEN

BORN December 16, 1770, Bonn, Germany DIED March 26, 1827, Vienna, Austria

Biography Beethoven began his musical schooling when he was a small child. Both his father and grandfather were musicians at the Court of the Elector of Cologne, which was based in Beethoven’s hometown of Bonn. Although Symphony No. 8, Ludwig’s father began his son’s musical education, Mvt. II. Allegretto it was clear that the boy had surpassed his father’s scherzando abilities by the age of nine. By age 12, Beethoven had composed his first work of music. In his young adult life, Ludwig worked as a conductor and organist for the court band. Like many other composers, Beethoven traveled to Vienna, Austria, to find inspiration. Here, he played for famous musicians such as Wolfgang Amadeus Mozart and Joseph Haydn, who later became some of his mentors. Beethoven was very restless, always jumping from one composition to another. His musical ideas frequently became fused together in the chaos, Beethoven was known for having creating some of his most a hot temper and occasionally memorable works. As an lashing out at his fans. adult, he began to lose his hearing. Although this He was very fond of nature and often took long walks in the loss was devastating, he countryside to find inspiration. continued to compose for

Featured Work

Fun Facts

nearly 25 more years until he died in 1827.

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Beethoven often dipped his head in cold water before composing!

BEETHOVEN’S LIFE • Although Beethoven’s exact birth date is not known, his family celebrated it on December 16, 1770.

• When he was between the ages of 8 and 11, Beethoven began taking organ lessons and then was sent to a monastery. The monks helped him learn how to write music, and he began composing pieces that he could not yet play. He could hear the music in his head and knew that one day he would be able to play the pieces.

• At age 12, Beethoven’s first piece of music was published. It was called Nine Variations on a March.

• Beethoven’s hearing was failing gradually for years. He had to crouch closer and closer to hear the orchestra as the volume diminished.

• The premiere of his Symphony No. 7 in December 1813 marked Beethoven’s last public appearance as conductor.

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FEATURED WORK: Symphony No. 8, Mvt. II. Allegretto scherzando

During the summer of 1812, Beethoven obsessively worked on his Symphony No. 8. This was one of Beethoven’s most experimental symphonies. It is a very short piece and the final chord leaves the audience with unanswered questions. This symphony was premiered in 1814 in Vienna, along with Beethoven’s Symphony No. 7 and Wellington’s Victory. The Eighth Symphony didn’t have a great response from the audience because of its unusual structure. One of the strangest things about this symphony is that it doesn’t have a slow movement.

Instead, the second movement, Allegretto scherzando, is structured like an “intermezzo,” or an interlude.

The entire symphony is filled with musical jokes and was viewed as “rude humor” by many people in Beethoven’s time.

Classroom activities provided by Emily Cannady, Thales Academy Apex, Wake

CLASSROOM ACTIVITY #1: Virtual Lesson on Dynamics North Carolina Essential Standards in Music:

4.MR.1.1 – Illustrate perceptual skills by moving to, answering questions about, and describing aural examples of music of various styles and cultures.

5.ML.2.3 – Apply understanding of standard symbols and traditional terms for dynamics, tempo, articulation, rhythm, meter, and pitch when reading and notating music.

5.MR.1.2 – Use music terminology in explaining music, including notation, instruments, voices, and performances.

Objectives: Students will track dynamic levels and changes using a board game style listening map while listening to the 2nd movement of Beethoven’s Symphony No. 8.

Materials:

• North Carolina Symphony Education video

• Dynamics Map Game Card (page 8) • Small moveable game piece (eraser, paperclip, etc) • Accompanying slides

Process:

1. Review dynamics by showing the MusicK8 video “Forte, Piano.” Instruct students to stand and reach for the sky during the loud sections, and crouch down to the ground during the quiet sections.

2. Define the following dynamics terms: Pianissimo - very quiet Piano – quiet Forte – loud Fortissimo – very loud Crescendo – to gradually increase in volume 3. Have students watch the North Carolina Symphony video for dynamics, Beethoven’s Symphony No. 8. Instruct them to pay close attention to the dynamic levels and changes. The performance begins at timestamp 2:08.

4. Students should print out or pull up the Dynamics Map Game Card (page 8) on their screen. Students will need a game piece (if printed) or should follow along with the virtual game card with their finger.

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5. Explain that students will listen to the performance again, while tracking the dynamic levels/ changes on their game boards.

The goal of the game is to move the game piece forward with each corresponding dynamic change, and to land on the last space by the end of the piece. They may then move forward and cross the finish line!

Students should begin with their game piece on the space labeled START, and move to the first space (pp) when the music begins.

Tell students to listen carefully for the next dynamic level/change and move their game piece forward as they hear it.

Explain that some dynamic levels will come and go quickly, while others may last for a longer duration.

Teachers may use the Teacher Guide Game Board (page 9), which includes approximate timing of major dynamic changes to help ensure students are tracking correctly/on the correct space of the game boards.

6. Instruct students to play the audio from the North Carolina Symphony video for dynamics, Beethoven’s Symphony No. 8, while students track on their game boards.

Ask students to minimize the video/visual so they are focused on their game boards while listening to the audio of the recording.

Optional: Record yourself listening to the piece and following along with the game board, so students can follow along with you, or check their tracking after trying the game on their own.

7. Upon completion of the lesson, have students answer and submit the following questions:

Why do you think Beethoven implemented so many dynamic levels and changes throughout the piece?

How would this piece be different if Beethoven only used one dynamic level throughout?

How did the conductor communicate the dynamic levels and changes to the orchestra?

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CLASSROOM ACTIVITY #2: Dynamics Map Board Game North Carolina Essential Standards in Music:

4.MU.MR.1.1 – Illustrate perceptual skills by moving to, answering questions about, and describing aural examples of music of various styles and cultures.

5.MU.ML.2.3 – Apply understanding of standard symbols and traditional terms for dynamics, tempo, articulation, rhythm, meter, and pitch when reading and notating music.

5.MU.MR.1.2 – Use music terminology in explaining music, including notation, instruments, voices, and performances.

Objective: Students will track dynamic levels and changes using a board-game-style listening map while listening to the 2nd movement of Beethoven’s Symphony No. 8.

Materials:

• North Carolina Symphony Education video

• Dynamics Map Game Card (page 8) • Small moveable game piece (eraser, paperclip, etc) • Accompanying slides

Process:

1. Have students imagine a train is coming into town. Ask how they could describe the sound, or volume, of the train when it is very far away, a little closer, even closer, and as it passes by.

2. Explain that in music, we use the term dynamics to describe the volume, or how loud or quiet the music is.

Review the following terms and match them up to the train volume: Pianissimo = very quiet Piano = quiet Forte = loud Fortissimo = very loud

Explain that as the train gets closer to you, it gets louder and louder. In music we call the gradual increase in volume a crescendo.

3. Tell students that today they will be traveling to _______ (choose an exciting destination!) aboard the Dynamics Train!

4. Split students into four dynamic levels, or train stations: Pianissimo Park Piano Plaza Forte Forest Fortissimo Falls 5. Students go to their “train station” and wait for the train to come. You could also have students seated and instruct them to stand and join when the train reaches their station. As each group boards the train, they should join in and sing the song at their assigned dynamic level (listen to the audio recording here).

Note: All students aboard the train should sing the “Chug-Chug” section.

6. Next, have students watch the North Carolina Symphony video for dynamics, Beethoven’s Symphony No. 8.

Instruct students to pay close attention to dynamic levels and changes. The performance begins at timestamp 2:08.

7. Hand out a Dynamics Map Game Card (page 8) and game piece to each student. Teachers can provide a game piece such as an eraser or small construction paper square, or ask students to use a pencil, eraser, or object of their own to move throughout their game board.

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6. Next, have students the North Carolina Symphony video for dynamics, Beethoven’s 8. Explain that students will listen watch to the performance again, while tracking the dynamic levels/ changes on their game boards.Symphony No. 8. Instruct students to pay close attention to dynamic levels and changes. The

The goal of the game isbegins to move game piece forward with each corresponding dynamic change, and to land on performance atthe timestamp 2:08. the7. last Hand space out by the end of the piece.

They may then move#)forward and cross a Dynamics Map Game Card (page and game piecethe tofinish eachline! student. Teachers can

Students should begin with theirsuch gameas piece on the or space labeled START, and movesquare, to the first (pp) whentothe provide a game piece an eraser small construction paper orspace ask students music begins.

use a pencil, eraser, or object of their own to move throughout their game board.

Tell8.students to listen thelisten next dynamic level/change and move their tracking game piece as they hear it.

Explain that carefully studentsforwill to the performance again, while theforward dynamic levels/ Explain changes that someon dynamic levels will come and go quickly, while others may last for a longer duration. their game boards.

Teachers may use the Teacher Guide Game Board (page 9), which includes timestamps of major dynamic changes to help ensure students are tracking correctly and on the correct space of the game boards.

▪

The goal of the game is to move the game piece forward with each corresponding

9. Play the audio from the North Carolina Symphony video dynamics, Beethoven’s Symphony No.They 8, while students dynamic change, and to land on theforlast space by the end of the piece. may then track on their game boards.

move forward and cross the finish line!

▪ Students should begin with their game piece on the space labeled START, and move to 10. Be sure to observe tracking as when they listen move their game pieces. thestudent first space (pp) the and music begins.

Optional: Pause (suggested to check in with students and affirm are ▪ the Tellrecording studentsattovarious listentimestamps carefully for the nextbelow) dynamic level/change and move theirthey game tracking correctly/on the correct space. piece forward as they hear it.

Suggested pause checkpoints: ▪ space) Explain that some dynamic levels will come and go quickly, while others may last for a 4:40 (forte 5:25 (piano space) longer duration.

▪ students Teachers usethe theFINISH Teacher Game Board (page #), piece whichand includes timestamps 11. Celebrate with for may crossing line!Guide Allow students to reflect on the share the strategies they used to aurally identifydynamic and trackchanges the dynamic changes. of major to help ensure students are tracking correctly and on the 12. Upon completioncorrect of the lesson, students space have of the game complete boards. an exit slip answering the following questions:

Minimize the video/visual so students are focused on their game boards while listening to the audio of the recording.

Why do you think Beethoven used so many dynamic levels and changes throughout the piece?

9.HowPlay thethis audio from the North Carolina only Symphony video for level dynamics, Beethoven’s Symphony would piece be different if Beethoven used one dynamic throughout?

No. while students track on their game boards.

How did8,the conductor communicate the dynamic levels and changes to the orchestra?

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