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Link UpWeill Music Institute
A Program of Carnegie Hall’s Weill Music Institute for Students in Grades Three Through Five
First EditionStudent Guide
The Orchestra
S W N G S
S W N G S
Link UpWeill Music Institute
A Program of Carnegie Hall’s Weill Music Institute for Students in Grades Three Through Five
First EditionStudent Guide
The Orchestra
S W N G S
WEILL MUSIC INSTITUTEJoanna Massey, Director, Learning and Engagement ProgramsAmy Mereson, Assistant Director, Learning and Engagement ProgramsHillarie O’Toole, Manager, Learning and Engagement ProgramsAnouska Swaray, Manager, Learning and Engagement Programs
PUBLISHING AND CREATIVE SERVICES Natalie Slack, Associate EditorKat Hargrave, Senior Graphic Designer
CONTRIBUTORSMichele Schroeder, Curriculum Writer Thomas Cabaniss, Artistic ConsultantChris Washburne, Artistic ConsultantSophie Hogarth, IllustratorScott Lehrer, Audio Production
Carnegie Hall’s Weill Music Institute881 Seventh Avenue, New York, NY 10019Phone: 212-903-9670 | Fax: 212-903-0758Email: linkup@carnegiehall.orgcarnegiehall.org/LinkUp
Lead support for Link Up is provided by the Fund II Foundation.
Additional funding for Link Up is provided by The Jean and Louise Dreyfus Foundation, 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.
© 2016 The Carnegie Hall Corporation. All rights reserved.
Weill Music Institute
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ICON KEYThe Singing Icon indicates that you can sing the piece at the culminating concert.
The Recorder and String Instrument Icon indicates that you can play the piece on soprano recorders or string instruments at the culminating concert. Optional bowings (
New World
DvorakRecorder
Star Icon
New World
DvorakRecorder
Star Icon
) are shown on the applicable music.
The Recorder Star Icon indicates that the piece is geared toward more experienced recorder players. Advanced string players can also play these parts.
S G 1
Thomas Cabaniss, Our GuideHi, I’m Tom, a composer and your host for The Orchestra Swings. I am excited to invite you along with some of my talented musician friends to explore what it means to swing. “Swing” is many things, and though it is characteristically played by jazz musicians, an orchestra can also swing. We encourage you to investigate the many rich meanings of “swing,” from the distinctive rhythmic ideas to the larger concept of musicians who listen deeply to one another and truly play together. All of these ideas contribute to the magical moment when music starts to swing.
S G 2
Hi, I’m Courtney, a composer and pianist.Music is a wonderful vehicle for self-expression and community engagement. When we “swing” with the music, we include our own personal voice with the collective voice. We are all part of the whole, working together to create uninhibited beauty. For The Orchestra Swings, I am composing a new piece for orchestra and jazz ensemble that you will hear at the final Link Up concert. I look forward to swinging with you!
Hi, I’m Chris, a jazz musician and trombonist.I have played music for many years, and I love all genres, from classical and rock to hip-hop and salsa. My favorite genre is jazz, because you get to improvise and play whatever you want, whenever you want. It is total freedom! Most important, you get to do this with other musicians. When everyone is playing well together and really having fun, that is when the music swings. Improvisation is the key to my happiness, and I think it will be the key to yours, too.
S G 3Come to Play
Thomas Cabaniss, arr. by Chris Washburne
Recorder Notes Needed:Part 1 (Advanced): D, E, F#, G, A, B, C, High D
Part 2 (Basic +): G, A, B, C, D (opt. D, E, F#)Part 3 (Advanced): D, E, F#, G, A, B, C, High D, High E
Part 1
Part 2
Part 3
Steadily
Winds blow
1
2
3
4
Trum pets sound ing
- -
1
2
3
7 Strings sing
Drum mers p p p p p p pound ing
- -
Come to PlayThomas Cabaniss arr. by Chris Washburne
Tracks XX-XX
Recorder Notes Needed:
Part 1(Advanced): D,E,F#, G, A,B, C, High D
Part 2 (Basic +): G, A, B, C, D (opt. D, E, F #)
Part 3 (Advanced) D, E, F#, G, A, B, C, High D, High E
Recorder Star Icon
Recorder/Violin Icon
Singing Icon
S G
1
2
3
10
Drum mers p p p p p p pound ing
Come to play, Join
- -
1
2
3
13
sound with sound
come to sing we'll
shake the ground with
1
2
3
16
song
Come to play, Join
Come to play, Join
4
S G 5
1
2
3
19
sound with sound
sound with sound
Come to sing we'll
Come to sing we'll
shake the ground with
shake the ground with
1
2
3
22
song with
song with
song
song
LEADER
What do you do with time?
1
2
3
25 Make it groove make it move
Make it groove make it move
Make it groove make it move
AUDIENCE
make it rhyme
make it rhyme
make it rhyme
What do you do with song?
LEADER
S G 6
1
2
3
28 Make it sing make it ring
Make it sing make it ring
Make it sing make it ring
AUDIENCE
make it strong make it
make it strong make it
make it strong make it
long
long
long
1
2
3
31
What do you do with sound?
LEADERAUDIENCE Make it cry make it fly
Make it cry make it fly
Make it cry make it fly
1
2
3
34 make it gleam
make it gleam
make it gleam
Make it your
Make it your
Make it your
dream
dream
dream
S G 7
1
2
3
37
swing feel
Winds blow
finger snaps
finger snaps
trum pets swing ing
- -
1
2
3
53
Strings sing drums play
ding ding ga ding ding ga
ding ding ga ding
1
2
3
56
Winds blow
Come to swing, Join
trum pets swing ing
sound with sound
Strings sing drums play
Come to swing we'll
- -
Jazz Interlude
S G 8
1
2
3
59
ding ding ga ding ding ga
shake the ground with
ding ding ga ding
song
Winds blow
Come to swing, Join
Come to swing Join
1
2
3
62 trum pets swing ing
sound with sound
sound with sound
Strings sing drums play
Come to swing we'll
Come to swing we'll
ding ding ga ding ding ga
shake the ground with
shake the ground with
- -
1
2
3
65
ding ding ga ding
song with
song with
shake the ground with
song, with
song, with
song!
song!
song!
S G 9Duke’s Place
Duke Ellington, Ruth Roberts, Bill Katz, and Robert ThieleRecorder Notes Needed:G, C
13
BaSax
1. 2.
by!es
do
Take metheir tricks
down toat
Duke'sDuke's
Place.Place.
--
17
WildDrum
estmers
box
swingin
theirtownsticks
isin
Duke'sDuke's
Place.Place.
--
21
LoveCome
thaton
piaget
noyour
soundkicks
inin
Duke'sDuke's
Place.Place.
-
Duke's PlaceDuke Ellington
Ruth Roberts, Bill Katz, and Robert Thiele
Track XXRecorderNotes Needed: G, C
Singing Icon Recorder/Violin Icon
S G
I got
rhy thm
I got
mu sic--
13 I got
my friend Who could
ask for an y thing
more?- -
17 I got
dais ies
in green
pas tures- -
21 I got
my friend Who could
ask for an y thing
more?- -
25 Old man
trou ble
I don't
mind him-
29 You won't
find him
round my
door
I got
star light-
35 I got
sweet dreams
I got
my friend Who could
39 ask for an y thing
more? Who could
ask for an y thing
more?- -- -
I Got RhythmGeorge and Ira Gershwin
Track XXRecorder Notes Needed: D, E, G, A, B, C, C#, high D
Singing Icon Recorder Star Icon
10I Got Rhythm
George and Ira GershwinRecorder Notes Needed:D, E, G, A, B, C, C#, high D
S G 11I Got Rhythm
George and Ira GershwinRecorder Notes Needed:G, A, B
13
17
21
25
29
33
37
I Got RhythmGeorge and Ira Gershwin
Recorder/Violin IconTrack XXRecorder Notes Needed: G, A, B
S G 12It Don’t Mean a Thing
(If It Ain’t Got That Swing)Duke Ellington and Irving Mills
S G 12It Don’t Mean a Thing
(If It Ain’t Got That Swing)Duke Ellington and Irving Mills
It
9
don't mean a
thing if it
ain't got that swing
13 doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah It
17
don't mean a
thing all you
got to do is sing
21 doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah It
25
makesno differenceif
it's sweet or
hot
Just
givethatrhy thm
ev ry thing you
got- - -
32 It
don't mean a
thing if it
ain't got that swing
37 doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
It Don't Mean a Thing(If It Ain't Got That Swing)
Duke Ellington and Irving MillsSinging Icon
Tracks XX-XX
It
9
don't mean a
C m
thing if it
C m(maj7)
ain't got that swing
C m7
C m6
13 doo wah doo wah
F 7
doo wah doo wah doo wah
B 7
doo wah doo wah doo
E6
wah It
G 7
17
don't mean a
C m
thing all you
C m(maj7)
got to do is sing
C m7
C m6
21 doo wah doo wah
F 7
doo wah doo wah doo wah
B 7
doo wah doo wah doo
E6
wah It
25
makes no differenceif
B m7
it's sweet or
E7
hot
AM7
Just
give thatrhy thm
C m7
ev ry thing you
F 7
got
B 7
- - -
32 It
G 7
don't mean a
C m
thing if it
C m(maj7)
ain't got that swing
C m7
C m6
37 doo wah doo wah
F 7
doo wah doo wah doo wah
B 7
doo wah doo wah doo
E 6
wah
It Don't Mean a Thing(If It Ain't Got That Swing)
Duke Ellington and Irving MillsSinging Icon
Tracks XX-XX
S G 13
B SectionsA Sections“The Charleston”High and Low Snaps
Strike a Pose“Shorty George”
First, step forward with your right foot, then kick forward with your left foot. Next, step
backward with your left foot, then point backward with your right foot.
Bring both hands to your chest, then extend your arms and snap your fingers on the off-beats.
Bring your arms to your sides and point your fingers downward in opposition with your steps.
“It Don’t Mean a Thing (If It Ain’t Got That Swing)” Choreography
S G 14When the Saints Go Marching In Traditional
Recorder Notes Needed:C, D, E, F, G
Oh when the
saints
go march ing
in-
8
Oh when the
saints go
march ing
in-
12
Oh how I
want to
be in that
num ber-
16 When the
saints go
march ing
in-
When the Saints Go Marching InTraditional
Singing IconRecorder Star IconTrack XX
Recorder Notes Needed: C, D, E, F, G
S G 15When the Saints Go Marching In*
Traditional
*This is the counter-melody.
Recorder Notes Needed:G, A, B, C
1
9
16
When the Saints Go Marching InTraditional
Track XXRecorder Notes Needed: G, A, B, C
Recorder/Violin Icon
S G 16
What Is Swing?In music, “swing” can mean many things. Swing is a style of jazz that grew from African-American roots and dominated American popular music in what came to be known as the Swing Era (from approximately 1930 to 1945). Played by big bands led by such luminaries as Duke Ellington, Count Basie, Benny Goodman, and Artie Shaw, swing has a distinctive rhythmic feel. As Louis Armstrong famously said, “If you don’t feel it, you’ll never know it.” Swing makes people want to get up and dance, and a whole new kind of dance evolved along with the music, including dances like the jitterbug and the Lindy Hop.
But swing and other forms of jazz are not the only styles of music that swing; in fact, all music can swing—including orchestral music!
S G 17The Rhythm Section
Create Your Own Rhythm Section
The musicians in a jazz ensemble’s rhythm section—piano, bass, drums, and sometimes guitar—have the very important job of creating the overall feeling of swing music.
Doo doo doo doo doo doo doo doo
doo doo doo doo doo doo doo doo
Doo VA doo VA doo VA doo VA
doo VA doo VA doo VA doo VA
Ding ding ga ding ding ga
ding ding ga ding ding ga
Doo VA doo VA doo VA doo VA
doo VA doo VA doo VA doo VA
Ding ding ga ding ding ga
ding ding ga ding ding ga
©
Straight Eighth Notes
Swing Eighth Notes
Ride pattern (swing feel)
Group 1: Steady Beat
Group 2: Beats 2 and 4
Group 3: Swing 8th Notes
Group 4: Ride Pattern
Group One: Steady Beat
Doo doo doo doo doo doo doo doo
doo doo doo doo doo doo doo doo
Doo VA doo VA doo VA doo VA
doo VA doo VA doo VA doo VA
Ding ding ga ding ding ga
ding ding ga ding ding ga
Doo VA doo VA doo VA doo VA
doo VA doo VA doo VA doo VA
Ding ding ga ding ding ga
ding ding ga ding ding ga
©
Straight Eighth Notes
Swing Eighth Notes
Ride pattern (swing feel)
Group 1: Steady Beat
Group 2: Beats 2 and 4
Group 3: Swing 8th Notes
Group 4: Ride Pattern
Group Two: Beats 2 and 4
Doo doo doo doo doo doo doo doo
doo doo doo doo doo doo doo doo
Doo VA doo VA doo VA doo VA
doo VA doo VA doo VA doo VA
Ding ding ga ding ding ga
ding ding ga ding ding ga
Doo VA doo VA doo VA doo VA
doo VA doo VA doo VA doo VA
Ding ding ga ding ding ga
ding ding ga ding ding ga
©
Straight Eighth Notes
Swing Eighth Notes
Ride pattern (swing feel)
Group 1: Steady Beat
Group 2: Beats 2 and 4
Group 3: Swing 8th Notes
Group 4: Ride Pattern
Group Three: Swing Eighth Notes
Doo doo doo doo doo doo doo doo
doo doo doo doo doo doo doo doo
Doo VA doo VA doo VA doo VA
doo VA doo VA doo VA doo VA
Ding ding ga ding ding ga
ding ding ga ding ding ga
Doo VA doo VA doo VA doo VA
doo VA doo VA doo VA doo VA
Ding ding ga ding ding ga
ding ding ga ding ding ga
©
Straight Eighth Notes
Swing Eighth Notes
Ride pattern (swing feel)
Group 1: Steady Beat
Group 2: Beats 2 and 4
Group 3: Swing 8th Notes
Group 4: Ride PatternGroup Four: Ride Pattern
Doo doo doo doo doo doo doo doo
doo doo doo doo doo doo doo doo
Doo VA doo VA doo VA doo VA
doo VA doo VA doo VA doo VA
Ding ding ga ding ding ga
ding ding ga ding ding ga
Doo VA doo VA doo VA doo VA
doo VA doo VA doo VA doo VA
Ding ding ga ding ding ga
ding ding ga ding ding ga
©
Straight Eighth Notes
Swing Eighth Notes
Ride pattern (swing feel)
Group 1: Steady Beat
Group 2: Beats 2 and 4
Group 3: Swing 8th Notes
Group 4: Ride Pattern
S G 18“It Don’t Mean a Thing
(If It Ain’t Got That Swing)” Melodic and Lyric Patterns
Phrase
A
Phrase
A
Phrase
A
Phrase
B
It
don't mean a
thing if it
ain't got that swing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
It
don't mean a
thing all you
got to do is sing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
It
makes no diff erence if
it's sweet or
hot-
Just
give that rhy thm
ev ry thing you
got- -
It
don't mean a
thing if it
ain't got that swing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
Score
A
A
B
A
It
don't mean a
thing if it
ain't got that swing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
It
don't mean a
thing all you
got to do is sing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
It
makes no diff erence if
it's sweet or
hot-
Just
give that rhy thm
ev ry thing you
got- -
It
don't mean a
thing if it
ain't got that swing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
Score
A
A
B
A
It
don't mean a
thing if it
ain't got that swing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
It
don't mean a
thing all you
got to do is sing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
It
makes no diff erence if
it's sweet or
hot-
Just
give that rhy thm
ev ry thing you
got- -
It
don't mean a
thing if it
ain't got that swing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
Score
A
A
B
A
It
don't mean a
thing if it
ain't got that swing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
It
don't mean a
thing all you
got to do is sing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
It
makes no diff erence if
it's sweet or
hot-
Just
give that rhy thm
ev ry thing you
got- -
It
don't mean a
thing if it
ain't got that swing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
Score
A
A
B
A
It
don't mean a
thing if it
ain't got that swing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
It
don't mean a
thing all you
got to do is sing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
It
makes no diff erence if
it's sweet or
hot-
Just
give that rhy thm
ev ry thing you
got- -
It
don't mean a
thing if it
ain't got that swing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
Score
A
A
B
A
It
don'tmeana
thingifit
ain'tgotthatswing
doowahdoowah
doowahdoowahdoowah
doowahdoowahdoo
wah
It
don'tmeana
thingallyou
gottodoissing
doowahdoowah
doowahdoowahdoowah
doowahdoowahdoo
wah
It
makesnodifferenceif
it'ssweetor
hot -
Just
givethatrhythm
evrythingyou
got --
It
don'tmeana
thingifit
ain'tgotthatswing
doowahdoowah
doowahdoowahdoowah
doowahdoowahdoo
wah
Score
A
A
B
A
It
don'tmeana
thingifit
ain'tgotthatswing
doowahdoowah
doowahdoowahdoowah
doowahdoowahdoo
wah
It
don'tmeana
thingallyou
gottodoissing
doowahdoowah
doowahdoowahdoowah
doowahdoowahdoo
wah
It
makesnodifferenceif
it'ssweetor
hot -
Just
givethatrhythm
evrythingyou
got --
It
don'tmeana
thingifit
ain'tgotthatswing
doowahdoowah
doowahdoowahdoowah
doowahdoowahdoo
wah
Score
A
A
B
A
It
don't mean a
thing if it
ain't got that swing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
It
don't mean a
thing all you
got to do is sing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
It
makes no diff erence if
it's sweet or
hot-
Just
give that rhy thm
ev ry thing you
got- -
It
don't mean a
thing if it
ain't got that swing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
Score
A
A
B
A
It
don'tmeana
thingifit
ain'tgotthatswing
doowahdoowah
doowahdoowahdoowah
doowahdoowahdoo
wah
It
don'tmeana
thingallyou
gottodoissing
doowahdoowah
doowahdoowahdoowah
doowahdoowahdoo
wah
It
makesnodifferenceif
it'ssweetor
hot -
Just
givethatrhythm
evrythingyou
got --
It
don'tmeana
thingifit
ain'tgotthatswing
doowahdoowah
doowahdoowahdoowah
doowahdoowahdoo
wah
Score
A
A
B
A
It
don't mean a
thing if it
ain't got that swing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
It
don't mean a
thing all you
got to do is sing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
It
makes no diff erence if
it's sweet or
hot-
Just
give that rhy thm
ev ry thing you
got- -
It
don't mean a
thing if it
ain't got that swing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
Score
A
A
B
A
It
don't mean a
thing if it
ain't got that swing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
It
don't mean a
thing all you
got to do is sing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
It
makes no diff erence if
it's sweet or
hot-
Just
give that rhy thm
ev ry thing you
got- -
It
don't mean a
thing if it
ain't got that swing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
Score
A
A
B
A
It
don't mean a
thing if it
ain't got that swing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
It
don't mean a
thing all you
got to do is sing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
It
makes no diff erence if
it's sweet or
hot-
Just
give that rhy thm
ev ry thing you
got- -
It
don't mean a
thing if it
ain't got that swing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
Score
A
A
B
A
It
don't mean a
thing if it
ain't got that swing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
It
don't mean a
thing all you
got to do is sing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
It
makes no diff erence if
it's sweet or
hot-
Just
give that rhy thm
ev ry thing you
got- -
It
don't mean a
thing if it
ain't got that swing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
Score
A
A
B
A
It
don't mean a
thing if it
ain't got that swing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
It
don't mean a
thing all you
got to do is sing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
It
makes no diff erence if
it's sweet or
hot-
Just
give that rhy thm
ev ry thing you
got- -
It
don't mean a
thing if it
ain't got that swing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
Score
A
A
B
A
It
don't mean a
thing if it
ain't got that swing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
It
don't mean a
thing all you
got to do is sing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
It
makes no diff erence if
it's sweet or
hot-
Just
give that rhy thm
ev ry thing you
got- -
It
don't mean a
thing if it
ain't got that swing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
Score
A
A
B
A
It
don't mean a
thing if it
ain't got that swing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
It
don't mean a
thing all you
got to do is sing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
It
makes no diff erence if
it's sweet or
hot-
Just
give that rhy thm
ev ry thing you
got- -
It
don't mean a
thing if it
ain't got that swing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
Score
A
A
B
A
It
don'tmeana
thingifit
ain'tgotthatswing
doowahdoowah
doowahdoowahdoowah
doowahdoowahdoo
wah
It
don'tmeana
thingallyou
gottodoissing
doowahdoowah
doowahdoowahdoowah
doowahdoowahdoo
wah
It
makesnodifferenceif
it'ssweetor
hot -
Just
givethatrhythm
evrythingyou
got --
It
don'tmeana
thingifit
ain'tgotthatswing
doowahdoowah
doowahdoowahdoowah
doowahdoowahdoo
wah
Score
A
A
B
A
It
don't mean a
thing if it
ain't got that swing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
It
don't mean a
thing all you
got to do is sing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
It
makes no diff erence if
it's sweet or
hot-
Just
give that rhy thm
ev ry thing you
got- -
It
don't mean a
thing if it
ain't got that swing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
Score
A
A
B
A
It
don't mean a
thing if it
ain't got that swing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
It
don't mean a
thing all you
got to do is sing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
It
makes no diff erence if
it's sweet or
hot-
Just
give that rhy thm
ev ry thing you
got- -
It
don't mean a
thing if it
ain't got that swing
doo wah doo wah
doo wah doo wah doo wah
doo wah doo wah doo
wah
Score
A
A
B
A
It
don'tmeana
thingifit
ain'tgotthatswing
doowahdoowah
doowahdoowahdoowah
doowahdoowahdoo
wah
It
don'tmeana
thingallyou
gottodoissing
doowahdoowah
doowahdoowahdoowah
doowahdoowahdoo
wah
It
makesnodifferenceif
it'ssweetor
hot -
Just
givethatrhythm
evrythingyou
got --
It
don'tmeana
thingifit
ain'tgotthatswing
doowahdoowah
doowahdoowahdoowah
doowahdoowahdoo
wah
Score
A
A
B
A
It
don'tmeana
thingifit
ain'tgotthatswing
doowahdoowah
doowahdoowahdoowah
doowahdoowahdoo
wah
It
don'tmeana
thingallyou
gottodoissing
doowahdoowah
doowahdoowahdoowah
doowahdoowahdoo
wah
It
makesnodifferenceif
it'ssweetor
hot -
Just
givethatrhythm
evrythingyou
got --
It
don'tmeana
thingifit
ain'tgotthatswing
doowahdoowah
doowahdoowahdoowah
doowahdoowahdoo
wah
Score
A
A
B
A
S G 19My Musical Form
Create two contrasting rhythmic patterns.
List several different combinations of the A and B patterns below (e.g. A-A-B-A, A-B-A, etc.):
Now, perform your arrangement!
BA
S G 20
1st measure
5th measure
9th measure
2nd measure
6th measure
10th measure
3rd measure
7th measure
11th measure
4th measure
8th measure
12th measure
Chords in “Duke’s Place”
“Duke’s Place” Listening Map
Score
C( I )
D( ii )
F( IV )
G( V )
C7( I )
C7( I )
C7( I )
C7( I )
C7( I )
C7( I )
C7( I )
F7( IV )
F7( IV )
F7( IV )
Dm7( ii )
G7( V )
Harmonic Changes
"Duke's Place"Listening Map
C D F G
S G 21My Blues Lyrics
Step 1: Choose Your Topic
• Think about a topic that you want to write your blues lyrics about. For example, it could be something hard in your day or something that has been bothering you.
Step 2: Complete Your Lyrics
• Come up with two phrases: one that describes your problem and another that comments on it or resolves it.
• Fill in the blanks with your lyrics.
Phrase A: (Problem)
Phrase A: (Repeat Problem)
Phrase B: (Comment/ Resolution)
S G
1st Chorus
5th Chorus
9th Chorus
13th Chorus
2nd Chorus
6th Chorus
10th Chorus
14th Chorus
3rd Chorus
7th Chorus
11th Chorus
4th Chorus
8th Chorus
12th Chorus
Musician Performing
Musician Performing
Musician Performing
Musician Performing
Melody or Improvisation?
Melody or Improvisation?
Melody or Improvisation?
Melody or Improvisation?
Melody or Improvisation?
22
S G
23My Scat Patterns
Instrument Sounds It Makes
Ride Cymbal ding, ding-ga-ding, ding-ga-ding, ding-ga-ding
S G 24
Brass (metal tubes, buzzed lips)
Sounds like: Sounds like:
Sounds like:Sounds like:
French Horn
Trumpet
Trombone
Tuba
Instrument Family Portraits
Clarinet
Woodwinds (wooden or metal tubes, blown)
Sounds like: Sounds like:Sounds like:
Sounds like:
Sounds like:
BassoonFlute
Oboe
Clarinet
Piccolo
high and light
S G
Sounds like:
Sounds like: Sounds like:
Sounds like:
Sounds like:
25
Strings (wooden bodies with strings that are bowed or plucked)
Violin
Bass
CelloHarp
Viola
Percussion (struck, shaken, or scraped)
Sounds like:
Sounds like:
Sounds like: Sounds like:
Sounds like:
Timpani
Bass Drum
Triangle
Snare Drum
Xylophone
S G
The Orchestra Map
ViolinsConductorHarp
Flutes
Clarinets
French Horns
Snare Drum
Bass Drum
Timpani
Xylophone
26
Trumpets
S G
Conductor
Violas
Cellos
Oboes
Bassoons
Trumpets
Trombones
Basses
Tubas
27
S G 28Instrument Identification (Visual)
Look at the pictures below and write each instrument’s name and family. In the last column, list one musical fact about the instrument. An example is given for you below.
Instrument Name Instrument Family Musical Fact
clarinet woodwindsMakes sound by blowing on a single reed
S G 29Instrument Name Instrument Family Musical Fact
S G 30
Instrument Name Instrument Family
1
2
3
4
5
6
7
8
Listen carefully to each instrument example. Write the name and family of the instrument that you hear. You may use the Word Walls below for clues.
Instrument Family Word Wall
brass
percussion
strings
woodwinds
Instrument Word Wall
bass
bassoon tuba
cello
clarinet
flute
French horn
harp
oboe
timpani
trumpet
trombone
violin
viola
xylophone
Instrument Identification (Audio)
trumpet brass
S G
My Own Orchestra
Name of orchestra:
Type of music:
Instruments included:
Reasons for instrumentation:
Stage set-up (draw):
31
S G 32The Jazz Ensemble
The rhythm section of a jazz ensemble typically consists of piano, bass, and drums.
Big Band Quartet
Jazz ensembles with less than 10 members are referred to by the number of musicians in the group:
Duo = two musiciansTrio = three musiciansQuartet = four musiciansQuintet = five musicians
Sextet = six musiciansSeptet = seven musiciansOctet = eight musiciansNonet = nine musicians
Jazz ensembles with more than 10 members, who are divided into sections, are often called big bands.
S G 33My Own Jazz Ensemble
You have been given a rhythm section that consists of piano, bass, and drums. Now, you can select up to six more instruments from the instrument family portraits, or other instruments that you are familiar with, to create an ensemble. List or draw them below:
Add together the total number of instruments, including the rhythm section.
What do we call that number of musicians when they are grouped together? (e.g. quartet, quintet, etc.)
Create a name for your ensemble. (e.g. Courtney’s Septet!)
S G
The History of Carnegie Hall
Carnegie Hall is one of the most important and historic concert halls in the world. A man named Andrew Carnegie made it possible to build this famous music hall. Since opening in 1891, thousands of classical musicians and composers have performed here, but Carnegie Hall’s audiences have also heard swing, jazz, rock, pop, and hip-hop performances by musicians from all over the world!
In addition, Carnegie Hall wasn’t just used for concerts. Many important meetings and public speeches took place here. Carnegie Hall hosted American women during their campaign for the right to vote, and many famous leaders and public figures, including Martin Luther King, Jr., Booker T. Washington, and 13 US presidents, have made speeches here.
The main hall, named Isaac Stern Auditorium / Ronald O. Perelman Stage, has 2,804 seats.
During the 1950s, Carnegie Hall was almost demolished by people who wanted to build a skyscraper where Carnegie Hall stands. A famous violinist named Isaac Stern believed in saving Carnegie Hall and found lots of other people who believed in it, too. They worked together to raise enough money to save Carnegie Hall, and in 1964, it was turned into a national landmark. Isaac Stern and Carnegie Hall can teach us a great lesson about believing in a cause and working hard for it.
34
S G
Many legendary jazz artists have performed at Carnegie Hall. Early jazz music was first heard at Carnegie Hall in 1912 as part of a concert of African American music by James Reese Europe’s Clef Club Orchestra. This performance foreshadowed many stellar evenings featuring jazz greats including Duke Ellington, Fats Waller, W. C. Handy, Louis Armstrong, Count Basie, Billie Holiday, Dizzy Gillespie, Ella Fitzgerald, Charlie Parker, Oscar Peterson, Sarah Vaughan, Gerry Mulligan, Mel Tormé, Miles Davis, and John Coltrane. The 1938 concert by Benny Goodman and his band—one of the most celebrated events in Carnegie Hall history—marked a turning point in the public acceptance of swing music.
Artists featured in The Orchestra Swings who performed on stage at Carnegie Hall:
Ella Fitzgerald“This is the place that made me legitimate. Coming here [to Carnegie Hall] makes me feel like I am coming home. There’s just a feeling I get singing here that I don’t get anywhere else.” Ella Fitzgerald’s headline debut at Carnegie Hall was as part of a concert that included two other giants of jazz—Dizzy Gillespie and Charlie Parker. Between 1947 and 1991, the “First Lady of Song” went on to perform multiple times.
Duke Ellington“There are simply two kinds of music: good music and the other kind ...” By the time he made his wartime Carnegie Hall debut on January 23, 1943, Edward Kennedy “Duke” Ellington was already a star. The success of his debut and his new approach to jazz composition led to Ellington’s series of annual Carnegie Hall concerts, on which he always premiered at least one new work.
Louis Armstrong“We all do ‘do, re, mi,’ but you have got to find the other notes yourself.” Trumpet stylist and singer Louis Armstrong made his debut at Carnegie Hall with the Paul Whiteman Orchestra in 1938, and as a headliner for the first time in 1947.
Leonard Bernstein“I can’t live one day without hearing music, playing it, studying it, or thinking about it.” Between 1943 and 1990, Leonard Bernstein appeared at Carnegie Hall nearly 450 times as a conductor, pianist, composer, and educator—including for the famous televised Young People’s Concerts.
35
S G
“Come to Play”
“Duke’s Place”
“I Got Rhythm”
“I Got Rhythm” Variations
“Riffs” from Prelude, Fugue, and Riffs
“It Don’t Mean a Thing (If It Ain’t Got That Swing)”
“When the Saints Go Marching In”
My Repertoire List
36
Singing Playing Listening or Moving
S G
My Letter to the Orchestra
37
Dear ,
Your friend,
Date
S G 38Preparing 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.
S G 39
Name/ID: Date:
Today, I observed my classmate: (Name)
My classmate performed: (Work Title)
By: (Composer)
1. 2. 3.
Standing Ovation
My classmate performed with correct posture.
I like the way my classmate ...
One thing that my classmate can improve is ...
What are some things your classmate can do to make the improvement?
Stage Ready Practice, Practice, Practice Try Again
My classmate took low, deep breaths.
My classmate performed all of the correct notes.
My classmate performed all of the correct rhythms.
My classmate performed with expression and paid attention to the dynamics, tempo, and phrasing symbols.
My classmate performed by (check one):
Singing Playing the recorder Playing the violin
My Performance Goals
Peer Assessment
S G 40
Name/ID: Date:
Today I am performing: (Work Title)
By: (Composer)
1. 2. 3.
Standing Ovation
I performed with correct posture.
In my performance today, I am proud of the way I ...
One thing I would like to change or improve is ...
What are some things you can do to make the improvement?
Stage Ready Practice, Practice, Practice Try Again
I took low, deep breaths.
I performed all of the correct notes.
I performed all of the correct rhythms.
I performed with expression and paid attention to the dynamics, tempo, and phrasing symbols.
Today I am (check one):
Singing Playing the recorder Playing the violin
My Performance Goals
Self Assessment
S G 41Preparing to Play the RecorderWhen 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
S G 42Preparing to Play the Recorder
Mouthpiece
Parts of the Recorder
} Body
Bell*Note: There is a full fingering chart on page 113.
A G
F
&
e
œ
page 93 note
&
5
œ
page 94 note
&
10
œ
pg96 #1
&
14
œ
pg96 #2
&
18
œ
pg96 #3
&
22
œ#
pg98 #1
&
26
&
29
Notation Examples pg 93-98[Composer]
&
e
œ
page 93 note
&
5
œ
page 94 note
&
10
œ
pg96 #1
&
14
œ
pg96 #2
&
18
œ
pg96 #3
&
22
œ#
pg98 #1
&
26
&
29
Notation Examples pg 93-98[Composer]
&
e
œ
page 93 note
&
5
œ
page 94 note
&
10
œ
pg96 #1
&
14
œ
pg96 #2
&
18
œ
pg96 #3
&
22
œ#
pg98 #1
&
26
&
29
Notation Examples pg 93-98[Composer]
&
e
œ
page 93 note
&
5
œ
page 94 note
&
10
œ
pg96 #1
&
14
œ
pg96 #2
&
18
œ
pg96 #3
&
22
œ#
pg98 #1
&
26
&
29
Notation Examples pg 93-98[Composer]
E
&
e
œ
page 93 note
&
5
œ
page 94 note
&
10
œ
pg96 #1
&
14
œ
pg96 #2
&
18
œ
pg96 #3
&
22
œ#
pg98 #1
&
26
&
29
Notation Examples pg 93-98[Composer]
&
e
œ
page 93 note
&
5
œ
page 94 note
&
10
œ
pg96 #1
&
14
œ
pg96 #2
&
18
œ
pg96 #3
&
22
œ#
pg98 #1
&
26
&
29
Notation Examples pg 93-98[Composer]
B
F# D
high C
Score
Score
Score
Score
high D
middle C
middle C
S G
Name/ID: Date:
Today, I observed my classmate: (Name)
My classmate performed: (Work Title)
By: (Composer)
1. 2. 3.
Standing Ovation
My classmate performed with correct posture.
I like the way my classmate ...
One thing that my classmate can improve is ...
What are some things your classmate can do to make the improvement?
Stage Ready Practice, Practice, Practice Try Again
My classmate took low, deep breaths.
My classmate performed all of the correct notes.
My classmate performed all of the correct rhythms.
My classmate performed with expression and paid attention to the dynamics, tempo, and phrasing symbols.
My classmate performed by (check one):
Singing Playing the recorder Playing the violin
My Performance Goals
Peer Assessment
43
S G
Name/ID: Date:
Today I am performing: (Work Title)
By: (Composer)
1. 2. 3.
Standing Ovation
I performed with correct posture.
In my performance today, I am proud of the way I ...
One thing I would like to change or improve is ...
What are some things you can do to make the improvement?
Stage Ready Practice, Practice, Practice Try Again
I took low, deep breaths.
I performed all of the correct notes.
I performed all of the correct rhythms.
I performed with expression and paid attention to the dynamics, tempo, and phrasing symbols.
Today I am (check one):
Singing Playing the recorder Playing the violin
My Performance Goals
Self Assessment
44
S G 45Music Decoders
Time signature
Clef
Rest Note stem
Bar line Measure
Staff}}Notated music is made up of symbols. Use the decoders below to decode the rhythms you are learning.
Note head
S G 46Reading Rhythmic Patterns
Practice clapping, saying, singing, or playing these rhythms.
1
5
3
2
4
& 89 42· · · · · · ·
& 42 438 Ï Ï Ï Î Ï Î Ï Î Ï Ï Ï Î Ï Î Ï Î
& 43 4216 Ï Ï Ï Ï Ï Î Ï Ï Ï Ï Ï Ï Ï Î
& 42 4420 Ï Ï ú Ï Ï Ï ú Ï Ï ú Ï Ï Ï ú
& 44 C28 ú ú Ï Ï ú ú Ï Ï Ï ú Î
& C c 4432 · · · · ·
& 44 4337 Ï Ï ú Ï Ï ú Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú
& 4341 · · · · ·
Reading Rhythmic Patterns
©
Score
Rhythm Basics
1
2
3
4
5
& 89 42· · · · · · ·
& 42 438 Ï Ï Ï Î Ï Î Ï Î Ï Ï Ï Î Ï Î Ï Î
& 43 4216 Ï Ï Ï Ï Ï Î Ï Ï Ï Ï Ï Ï Ï Î
& 42 4420 Ï Ï ú Ï Ï Ï ú Ï Ï ú Ï Ï Ï ú
& 44 C28 ú ú Ï Ï ú ú Ï Ï Ï ú Î
& C c 4432 · · · · ·
& 44 4337 Ï Ï ú Ï Ï ú Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú
& 4341 · · · · ·
Reading Rhythmic Patterns
©
Score
Rhythm Basics
1
2
3
4
5
©
Rhythm #3
©
Rhythm 4
©
S G 47Creating My Own Rhythmic Patterns
Create a rhythm composition by arranging the rhythmic patterns below.
Arrange the rhythmic patterns in any order that you like. Write your new arrangement in the boxes below.
Now, perform your arrangement by clapping, saying, or playing the rhythms above.
qqqh q h n
n qq
43 œ œ œ ˙ œ œ œ œ œ ˙ œ œ
Sings - Rhythm Patterns
©
Score
Ode to Joy
S G 48
1.
2.
3.
My One-Note Songs
5
9
13
17
21
25
29
Staff Paper
5
9
13
17
21
25
29
Staff Paper
5
9
13
17
21
25
29
Staff Paper
One-Note Songs
B
S G 49Unlocking Music Notation
Musical Pitches on a Piano
Lines and Spaces
Lines Spaces
Pitches on the Staff
middleC
highC
highD
highED E F G A B
C D E F G A B C D E F G A B
1 12
34
23
45
Notated music is made up of symbols. Use the decoders below to decode the melodies you are learning.
©
Score
middle C
D E F G A B high C
high D
high E
S G 50
& 43 ∑ ∑ ∑
& œ œ œ ∑ ∑ ∑
& œ œ œ ∑ ∑ ∑
&12 ∑ ∑ ∑ ∑
&16 ∑ ∑ ∑ ∑
&20 ∑ ∑ ∑ ∑
&24 ∑ ∑ ∑ ∑
&28 ∑ ∑ ∑
Steps and LeapsScore
STEPS
LEAPS
G F
B
E
AB
Steps Leaps
Look at the pitches on the lines. Use a fun phrase to help you remember the note names.
Create your own phrase to help you remember the names of the line notes.
F
D
B
G
E
& 45 · · ·
& Ï Ï Ï Ï Ï · ·
& Ï Ï Ï î · ·
Notes on the staff examples
©
Score
& 45 · · ·
& Ï Ï Ï Ï Ï · ·
& Ï Ï Ï î · ·
Notes on the staff examples
©
Score
& 45 · · ·
& Ï Ï Ï Ï Ï · ·
& Ï Ï Ï î · ·
Notes on the staff examples
©
Score
& 45 · · ·
& Ï Ï Ï Ï Ï · ·
& Ï Ï Ï î · ·
Notes on the staff examples
©
Score
& 45 · · ·
& Ï Ï Ï Ï Ï · ·
& Ï Ï Ï î · ·
Notes on the staff examples
©
Score
& 45 · · ·
& Ï Ï Ï Ï Ï · ·
& Ï Ï Ï î · ·
Notes on the staff examples
©
Score
& 45 · · ·
& Ï Ï Ï Ï Ï · ·
& Ï Ï Ï î · ·
Notes on the staff examples
©
Score
EveryGood
BoyDoes
Fine
FDBGE
& 45 · · ·
& Ï Ï Ï Ï Ï · ·
& Ï Ï Ï î · ·
Notes on the staff examples
©
Score
& 45 · · ·
& Ï Ï Ï Ï Ï · ·
& Ï Ï Ï î · ·
Notes on the staff examples
©
Score
S G
F
D
B
G
E
51Pitch Puzzles
Note Names in “Come to Play”
& 43 ∑ ∑ ∑
& œ œ œ ∑ ∑ ∑
& œ œ œ ∑ ∑ ∑
& 44œ œ œ ∑ ∑ ∑
& œ œ œ œ ∑ ∑ ∑
& œ œ œ œ ∑ ∑ ∑
& ∑ ∑ ∑ ∑
&28 ∑ ∑ ∑
Pitch PuzzlesScore
BAG
BED
CAB
FEED
BEAD
& 43 ∑ ∑ ∑
& œ œ œ ∑ ∑ ∑
& œ œ œ ∑ ∑ ∑
& 44œ œ œ ∑ ∑ ∑
& œ œ œ œ ∑ ∑ ∑
& œ œ œ œ ∑ ∑ ∑
& ∑ ∑ ∑ ∑
&28 ∑ ∑ ∑
Pitch PuzzlesScore
BAG
BED
CAB
FEED
BEAD
& 43 ∑ ∑ ∑
& œ œ œ ∑ ∑ ∑
& œ œ œ ∑ ∑ ∑
& 44œ œ œ ∑ ∑ ∑
& œ œ œ œ ∑ ∑ ∑
& œ œ œ œ ∑ ∑ ∑
& ∑ ∑ ∑ ∑
&28 ∑ ∑ ∑
Pitch PuzzlesScore
BAG
BED
CAB
FEED
BEAD
& 43 ∑ ∑ ∑
& œ œ œ ∑ ∑ ∑
& œ œ œ ∑ ∑ ∑
& 44œ œ œ ∑ ∑ ∑
& œ œ œ œ ∑ ∑ ∑
& œ œ œ œ ∑ ∑ ∑
& ∑ ∑ ∑ ∑
&28 ∑ ∑ ∑
Pitch PuzzlesScore
BAG
BED
CAB
FEED
BEAD
& 43 ∑ ∑ ∑
& œ œ œ ∑ ∑ ∑
& œ œ œ ∑ ∑ ∑
& 44œ œ œ ∑ ∑ ∑
& œ œ œ œ ∑ ∑ ∑
& œ œ œ œ ∑ ∑ ∑
& ∑ ∑ ∑ ∑
&28 ∑ ∑ ∑
Pitch PuzzlesScore
BAG
BED
CAB
FEED
BEAD4 5
1 2 3
Look at the pitches below and write the correct note names to spell words.
& # 44 œ œ œ œ œ œ ˙
& #3 œ œ œ œ œ œ œ œ w
Note Names in "Come to Play"Melody Basics
Score
& # 44 œ œ œ œ œ œ ˙
& #3 œ œ œ œ œ œ œ œ w
Note Names in "Come to Play"Melody Basics
Score
Name the notes in our Link Up theme song, “Come to Play.” Write the letter name of each note in the spaces below.
S G 52Reading Melodic Patterns
Practice saying, singing, or playing these melodies.
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& 42 œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙
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#2 - Reading Melodic Patterns
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#4 - Reading Melodic Patterns
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#5 - Reading Melodic Patterns
& 42 œ œ ˙ œ œ ˙ ˙ ˙ œ œ ˙
Rhythm PatternsExcerpt #3
& 44 ˙ ˙ œ œ ˙ ˙ œ œ œ ˙ Œ
Rhythm PatternsExcerpt #4
S G
My Two-Note Songs
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Two-Note Songs
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My Three-Note Songs
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Three-Note Songs
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AB G
S G 55Melody Name Game
1.
=& 44 ú úBri an
Ï Ï úHow ard Drye- -
& Ï Ï îBri an
Ï Ï ä jÏ îHow ard Drye- -
& cw w w w w w w w w
& c 86· ·
& 86 43· ·
& 43 · ·
Grade 4 Rhythm and Meter and Pitch(Composing with Names)
©
& 44 ú úBri an
Ï Ï úHow ard Drye- -
& Ï Ï îBri an
Ï Ï ä jÏ îHow ard Drye- -
& cw w w w w w w w w
& c 86· ·
& 86 43· ·
& 43 · ·
Grade 4 Rhythm and Meter and Pitch(Composing with Names)
©
Use your name to create a melody. Choosing from the rhythms and pitches below, add one note value and pitch to each syllable of your name. Remember to look at the time signature and check your musical math.
4/4 is also known as common time.
Musicians use the cto show “common time.”
Name: Number of Syllables:
y h d q e j H Q E& 44 ú ú
Bri an
Ï Ï úHow ard Drye- -
& Ï Ï îBri an
Ï Ï ä jÏ îHow ard Drye- -
& cw w w w w w w w w
& c 86· ·
& 86 43· ·
& 43 · ·
Grade 4 Rhythm and Meter and Pitch(Composing with Names)
©
Rhythms
Pitches
& 44 ú úBri an
Ï Ï úHow ard Drye- -
& Ï Ï îBri an
Ï Ï ä jÏ îHow ard Drye- -
& cw w w w w w w w w
& c 86· ·
& 86 43· ·
& 43 · ·
Grade 4 Rhythm and Meter and Pitch(Composing with Names)
©
& 44 ú úBri an
Ï Ï úHow ard Drye- -
& Ï Ï îBri an
Ï Ï ä jÏ îHow ard Drye- -
& cw w w w w w w w w
& c 86· ·
& 86 43· ·
& 43 · ·
Grade 4 Rhythm and Meter and Pitch(Composing with Names)
©
& 44 ú úBri an
Ï Ï úHow ard Drye- -
& Ï Ï îBri an
Ï Ï ä jÏ îHow ard Drye- -
& cw w w w w w w w w
& c 86· ·
& 86 43· ·
& 43 · ·
Grade 4 Rhythm and Meter and Pitch(Composing with Names)
©
& 44 ú úBri an
Ï Ï úHow ard Drye- -
& Ï Ï îBri an
Ï Ï ä jÏ îHow ard Drye- -
& cw w w w w w w w w
& c 86· ·
& 86 43· ·
& 43 · ·
Grade 4 Rhythm and Meter and Pitch(Composing with Names)
©
& 44 ú úBri an
Ï Ï úHow ard Drye- -
& Ï Ï îBri an
Ï Ï ä jÏ îHow ard Drye- -
& cw w w w w w w w w
& c 86· ·
& 86 43· ·
& 43 · ·
Grade 4 Rhythm and Meter and Pitch(Composing with Names)
©
Bri How ard Dryean- -
Example 1 & 44 ú úBri an
Ï Ï úHow ard Drye- -
& Ï Ï îBri an
Ï Ï ä jÏ îHow ard Drye- -
& cw w w w w w w w w
& c 86· ·
& 86 43· ·
& 43 · ·
Grade 4 Rhythm and Meter and Pitch(Composing with Names)
©
Bri How ard Dryean- -
Example 2
& 44 ú úBri an
Ï Ï úHow ard Drye- -
& Ï Ï îBri an
Ï Ï ä jÏ îHow ard Drye- -
& cw w w w w w w w w
& c 86· ·
& 86 43· ·
& 43 · ·
Grade 4 Rhythm and Meter and Pitch(Composing with Names)
©
& 44 ú úBri an
Ï Ï úHow ard Drye- -
& Ï Ï îBri an
Ï Ï ä jÏ îHow ard Drye- -
& cw w w w w w w w w
& c 86· ·
& 86 43· ·
& 43 · ·
Grade 4 Rhythm and Meter and Pitch(Composing with Names)
©
& 44 ú úBri an
Ï Ï úHow ard Drye- -
& Ï Ï îBri an
Ï Ï ä jÏ îHow ard Drye- -
& cw w w w w w w w w
& c 86· ·
& 86 43· ·
& 43 · ·
Grade 4 Rhythm and Meter and Pitch(Composing with Names)
©
S G 56
y h d q e j Q E& 44 ú ú
Bri an
Ï Ï úHow ard Drye- -
& Ï Ï îBri an
Ï Ï ä jÏ îHow ard Drye- -
& cw w w w w w w w w
& c 86· ·
& 86 43· ·
& 43 · ·
Grade 4 Rhythm and Meter and Pitch(Composing with Names)
©
& 44 ú úBri an
Ï Ï úHow ard Drye- -
& Ï Ï îBri an
Ï Ï ä jÏ îHow ard Drye- -
& cw w w w w w w w w
& c 86· ·
& 86 43· ·
& 43 · ·
Grade 4 Rhythm and Meter and Pitch(Composing with Names)
©
Rhythms
Rhythms
Pitches
Pitches
& 44 ú úBri an
Ï Ï úHow ard Drye- -
& Ï Ï îBri an
Ï Ï ä jÏ îHow ard Drye- -
& cw w w w w w w w w
& c 86· ·
& 86 43· ·
& 43 · ·
Grade 4 Rhythm and Meter and Pitch(Composing with Names)
©
&44úúBrian
ÏÏúHowardDrye --
&ÏÏîBrian
ÏÏäjÏîHowardDrye --
&c wwwwwwwww
&c86 ··
&8643 ··
&43··
Grade4RhythmandMeterandPitch(ComposingwithNames)
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&44úúBrian
ÏÏúHowardDrye --
&ÏÏîBrian
ÏÏäjÏîHowardDrye --
&c wwwwwwwww
&c86 ··
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&43··
Grade4RhythmandMeterandPitch(ComposingwithNames)
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& 44 ú úBri an
Ï Ï úHow ard Drye- -
& Ï Ï îBri an
Ï Ï ä jÏ îHow ard Drye- -
& cw w w w w w w w w
& c 86· ·
& 86 43· ·
& 43 · ·
Grade 4 Rhythm and Meter and Pitch(Composing with Names)
©
&44úúBrian
ÏÏúHowardDrye --
&ÏÏîBrian
ÏÏäjÏîHowardDrye --
&c wwwwwwwww
&c86 ··
&8643 ··
&43··
Grade4RhythmandMeterandPitch(ComposingwithNames)
©
& 44 ú úBri an
Ï Ï úHow ard Drye- -
& Ï Ï îBri an
Ï Ï ä jÏ îHow ard Drye- -
& cw w w w w w w w w
& c 86· ·
& 86 43· ·
& 43 · ·
Grade 4 Rhythm and Meter and Pitch(Composing with Names)
©
& 44 ú úBri an
Ï Ï úHow ard Drye- -
& Ï Ï îBri an
Ï Ï ä jÏ îHow ard Drye- -
& cw w w w w w w w w
& c 86· ·
& 86 43· ·
& 43 · ·
Grade 4 Rhythm and Meter and Pitch(Composing with Names)
©
& 44 ú úBri an
Ï Ï úHow ard Drye- -
& Ï Ï îBri an
Ï Ï ä jÏ îHow ard Drye- -
& cw w w w w w w w w
& c 86· ·
& 86 43· ·
& 43 · ·
Grade 4 Rhythm and Meter and Pitch(Composing with Names)
©
& 44 ú úBri an
Ï Ï úHow ard Drye- -
& Ï Ï îBri an
Ï Ï ä jÏ îHow ard Drye- -
& cw w w w w w w w w
& c 86· ·
& 86 43· ·
& 43 · ·
Grade 4 Rhythm and Meter and Pitch(Composing with Names)
©
& 44 ú úBri an
Ï Ï úHow ard Drye- -
& Ï Ï îBri an
Ï Ï ä jÏ îHow ard Drye- -
& cw w w w w w w w w
& c 86· ·
& 86 43· ·
& 43 · ·
Grade 4 Rhythm and Meter and Pitch(Composing with Names)
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2.
3.
y h d j q e H J Q E
S G
ABOUT THE COMPOSERSLeonard Bernstein (1918–1990) the celebrated American composer and conductor, started taking piano lessons at an early age. During his childhood and adolescence in Massachusetts, he played in public regularly. He studied music at Harvard University and the Curtis Institute of Music in Philadelphia. At age 25, he made his conducting debut with the New York Philharmonic at Carnegie Hall, and went on to work as a guest conductor for orchestras around the world. In 1958, Bernstein became the music director of the New York Philharmonic, a position he held for more than a decade. He earned special acclaim for his Young People’s Concerts, which were broadcast to television viewers around the country. (Fun fact: The first of these televised concerts was recorded at Carnegie Hall!) Bernstein also composed music for symphonies, small ensembles, musical theater, opera, film, and dance.
Courtney Bryan (b. 1982) is a pianist and composer, and a New Orleans native. Her music ranges from solo works to large ensembles in the new music and jazz idioms, film scores, and collaborations with dancers, visual artists, writers, and actors. She works within various musical genres, including jazz and other types of experimental music, as well as traditional gospel, spirituals, and hymns. She performs around the New York City area, and is the director of the Institute of Sacred Music at Bethany Baptist Church of Newark, New Jersey. Bryan holds degrees from the Oberlin Conservatory of Music (BM), Rutgers University (MM), and Columbia University (DMA) with advisor George Lewis. Upcoming commissions include original compositions for The Dream Unfinished orchestra and chorus, the guitar ensemble Duo Noire, the New York Jazzharmonic, the Colorado Springs Philharmonic, and a new work for orchestra and jazz septet to be premiered at the final Link Up: The Orchestra Swings concert.
Thomas Cabaniss (b. 1962) lives in New York City and composes music for opera, theater, dance, film, and concerts. He worked with choreographer Hilary Easton to create a series of dance-theater works, and his music for theater has appeared in shows on and off Broadway. He has written an opera based on E. T. A. Hoffmann’s The Sandman, and he scored an Oscar–winning short film, The Lunch Date. His choral works include Behold the Star, available on New World Records and published by Boosey & Hawkes. He is a member of the faculty of The Juilliard School.
Duke Ellington (1899–1974) is considered to be one of the most important figures in jazz history. Born in Washington, DC, he began studying classical piano when he was around eight years old. As a teenager, he became interested in ragtime and jazz and began playing in dance bands at clubs and parties. (Fun fact: The young Edward—Ellington’s real first name—had an elegant sense of style, which earned him the nickname “Duke” from his friends.) He moved to New York City as a young man and began his career as a bandleader and composer. Ellington was hired to lead the house band at the Cotton Club, a famous jazz club in Harlem. He went on to form the Duke Ellington Orchestra—which became known all over the country thanks to radio broadcasts and popular recordings—and toured the world for more than 50 years. Over the course of his long career, Ellington collaborated with many other jazz greats, including Billy Strayhorn and Ella Fitzgerald, and wrote nearly 2,000 compositions.
George Gershwin (1898–1937) is one of the most famous American composers of the 20th century. Born in Brooklyn, he began studying music as a boy when his parents—who were Russian immigrants—bought a piano for his older brother, Ira. Gershwin left high school to work in Tin Pan Alley in New York City as a “song plugger,” playing the piano to help publishing houses advertise and sell new music. After that, he worked as a rehearsal pianist for musical theater. Gershwin used these early experiences to build a career as a composer. Eventually he began working with his brother Ira—a lyricist—forming a legendary partnership. Gershwin was fluent in composing many styles of music, from solo piano and orchestral works to musical theater, opera, and film. His best-known works include Rhapsody in Blue and An American in Paris, and the score for the opera Porgy and Bess. Gershwin died at the early age of 38 in Hollywood, California.
COMPOSER TIMELINE1875 1900 1925 1950 1975 2000 2016
Leonard Bernstein
1918–1990
Duke Ellington
1899–1974
George Gershwin
1898–1937
Courtney Bryan
b. 1984
Thomas Cabaniss
b. 1962
GLOSSARYaudience: a group of people who attend an event such as a concert
bar line: a vertical line on a staff that divides the measuresbig band: a jazz ensemble with more than 10 musicians who are divided into sectionsblues: a unique form of musical communication that gives musicians freedom to improvise and swingbridge: the contrasting, or B section, within A-A-B-A formcall and response: the form in which musicians play, listen, and respond to each other in a musical dialoguechord: a group of (typically three or more) notes sounded together, as a basis of harmonychorus: 1. a group of singers 2. in jazz, the A-A-B-A form is repeated multiple times; one time through the full form is called a chorusclef: a sign placed at the beginning of a musical staff to determine the pitch of the notesconductor: a person who leads a group in making musiccomposer: a person who writes musicdiction: the pronunciation and enunciation of words in singingdynamics: volume (loud or quiet)ensemble: a group of musicians who perform togetherform: the order of phrases or sections in musicharmony: multiple pitches played or sung at the same timeharmonic changes: a pattern or series of chords that repeats itselfhead voice: the high register of the voice, from which vibrations can be felt in the head
humming: singing without opening one’s lipsimprovisation: to make up something on the spotmeasure: a group of beats framed by bar lines on a staff (can also be referred to as a bar)
note head: the round part of a musical note which indicates the note value
note stem: the vertical line extending from the head of a note
orchestra: a large group of musicians who play together using various instruments, usually including strings, woodwinds, brass, and percussionpitch: how high or low a sound isposture: the position of the bodyrepertoire: a French word referring to the set of musical pieces you learn over a period of timerest: a rhythmic symbol that represents silencerhythm: patterns of sound and silencerhythm section: the instruments in a jazz ensemble—typically piano, bass, drums, and sometimes guitar—which form the foundation for the melody, harmony, and improvisationride pattern: a distinctive swing rhythm which the drummer plays on the ride cymbalriff: a short melodic phrase that is played over and over again by a soloist or group of musiciansroot: a single note upon which a chord is builtscale: a sequence of notes that follows a set pattern going up or down (e.g. in a C scale, the scale begins on a C and ends on the C an octave higher)scat singing: a jazz technique in which vocalists use syllables to improvise on a melodysolo: one singer or instrumentalist performing alonestaff: the set of lines and spaces on which musical pitches are writtensteady beat: the pulse in musictempo: the speed of musictime signature: a symbol used in music to indicate metertrading fours: a dialogue in which each musician takes turns playing four measures at a timetuning: to adjust a musical instrument to the correct or uniform pitch (most orchestras tune their instrumentsto an A first played by the oboe)vibrations: the movement of air
ACKNOWLEDGMENTSRecordings“Come to Play” music and lyrics by Thomas Cabaniss. Published by MusiCreate Publications. Arranged by Chris Washburne. Play-along tracks performed by Sarah Elizabeth Charles, Chris Washburne, Bruce Barth, Ugonna Okegwo, Vince Cherico, Ole Mathisen, John Walsh, and Tali Rubenstein.
“Duke’s Place” words and music by Duke Ellington, William Katz, Robert Thiele, and Ruth Roberts. Sony/ATV Harmony (ASCAP) © 1942, 1943, 1957, 1958 (Copyrights renewed). 1957 Sony/ATV Music Publishing LLC and EMI Robbins Catalog Inc. in the US. All rights on behalf of Sony/ATV Music Publishing LLC. Administered by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219. Exclusive print rights for EMI Robbins Catalog Inc. administered by Alfred Music. This arrangement © 2016 EMI Robbins Catalog Inc. and Sony/ATV Music Publishing LLC. Rights for the world outside the US administered by EMI Robbins Catalog Inc. (Publishing) and Alfred Music (Print). International copyright secured. All rights reserved. Reprinted by permission of Hal Leonard Corporation and Alfred Music. Performed by Louis Armstrong and Duke Ellington. Courtesy of Capitol Records under license from Universal Music Enterprises. Student tracks arranged by Chris Washburne. Play-along tracks performed by Sarah Elizabeth Charles, Chris Washburne, Bruce Barth, Ugonna Okegwo, Vince Cherico, Ole Mathisen, John Walsh, and Tali Rubenstein.
“It Don’t Mean a Thing (If It Ain’t Got That Swing)” words and music by Duke Ellington and Irving Mills. Sony/ATV Harmony (ASCAP) and EMI Mills Music Inc. (ASCAP) © 1932 (Renewed). Sony/ATV Music Publishing LLC and EMI Mills Music, Inc. in the US. This arrangement copyright (c) 2016 Sony/ATV Music Publishing LLC and EMI Mills Music, Inc. in the US. All rights on behalf of Sony/ATV Music Publishing LLC administered by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219. Exclusive print rights for EMI Mills Music, Inc. administered by Alfred Music. This arrangement © 2016 EMI Mills Music, Inc. and Sony/ATV Music Publishing LLC. Rights for the world outside the US administered by EMI Mills Music, Inc. (Publishing) and Alfred Music (Print). International copyright secured. All rights reserved. Reprinted by permission of Hal Leonard Corporation and Alfred Music. Performed by Louis Armstrong and Duke Ellington. Courtesy of Capitol Records under license from Universal Music Enterprises. Student tracks arranged by Chris Washburne. Performed by Sarah Elizabeth Charles, Chris Washburne, Bruce Barth, Ugonna Okegwo, Vince Cherico, Ole Mathisen, John Walsh, and Tali Rubenstein.
The Young Person’s Guide to the Orchestra by Benjamin Britten. © 1947 by Hawkes & Son (London) Ltd. Courtesy of Boosey & Hawkes. Instrument excerpts performed by The Fountain Ensemble and narrated by Hillarie O’Toole. Theme performed by London Symphony Orchestra and Steuart Bedford. Courtesy of Naxos of America.
“I Got Rhythm” by George and Ira Gershwin © 1930 (Renewed) WB Music Corp (ASCAP) and Ira Gershwin Music Corp (ASCAP). Performed by Ella Fitzgerald. Courtesy of Capitol Records under license from Universal Music Enterprises. All rights administered by WB Music Corp. This arrangement © 2016 WB Music Corp. and Ira Gershwin Music Corp. Used by permission of Alfred Music. All rights reserved. Student tracks arranged by Chris Washburne. Play-along tracks performed by Sarah Elizabeth Charles, Chris Washburne, Bruce Barth, Ugonna Okegwo, Vince Cherico, Ole Mathisen, John Walsh, and Tali Rubenstein.
“I Got Rhythm” Variations by George Gershwin and Ira Gershwin. WB Music Corp. (ASCAP) and Ira Gershwin Music (ASCAP). All rights administered by WB Music Corp. Performed by Buffalo Philharmonic Orchestra. Courtesy of Naxos of America, Inc.
“Riffs,” from Prelude, Fugue, and Riffs by Leonard Bernstein. Performed by: Benny Goodman and Columbia Jazz Combo. Originally released 1964 Sony Music Entertainment. Leonard Bernstein Music Publishing Co., administered by Universal Polygram Int. Publishing, Inc. (ASCAP), One Hundred Percent (100%) on behalf of Leonard Bernstein.
“When the Saints Go Marching In,” American folk song. Arranged by Chris Washburne. Play-along tracks performed by Sarah Elizabeth Charles, Chris Washburne, Bruce Barth, Ugonna Okegwo, Vince Cherico, Ole Mathisen, John Walsh, and Tali Rubenstein.
PhotosSG1: Thomas Cabaniss by Jennifer Taylor. SG32: Billy Taylor Trio photo by Jimmy Katz. SG35: Ella Fitzgerald photo courtesy of Sony Music Entertainment. Additional Information full page image: Link Up by Chris Lee.
IllustrationsRhythm Section Artwork by Suzanne Cerny.
Special ThanksSpecial thanks to Alee Reed for her choreography to “It Don’t Mean a Thing (If It Ain’t Got That Swing)” and the students of the Dancing Classrooms Youth Dance Company for their participation in video resources for Link Up: The Orchestra Swings. Special thanks to Courtney Bryan for creating a new commission for Link Up: The Orchestra Swings concerts.
- Hole open - Hole closed - Half Hole
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Left Hand1st Finger
Thumb
2nd Finger
3rd Finger
1st Finger
2nd Finger
3rd Finger
4th Finger (little finger)
Right Hand
SOPRANO RECORDER FINGERING CHART
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& w# wb w w# wb w w w# wb w w# wb
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C
A
E F G A B C
B C D
E F GCB
GB AB
FB GB AB
CB DB
DB FBDb
Ab Bb
Gb Ab Bb
Db Eb
Eb GbD
carnegiehall.org/LinkUp
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