curriculum guide to britten's guide to the orchestra

8/11/2019 Curriculum Guide to Britten's Guide to the Orchestra

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The Young Persons Guide to the Orchestra

Concert Curriculum Guide

Grades 5-8


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CHERS GUIDE / Young Peoples Concert: Appalachian Spring

From the Conductor

Introductory letter from Kelly Corcoran, the Associate

Conductor of the Nashville Symphony

3

Concert Program

Information on Benjamin Brittens Young Persons Guide to

the Orchestra

4

Curriculum Standard Equivalencies

A list of the Core Curriculum and Music Curriculum

standards met through this guide

5-6

Lesson Plan #1

Introduction to the Sounds and Members of an Orchestra

Gather a basic understanding of the instruments and howthey are organized in the orchestra

7-9

Lesson Plan #2Music HistoryLearn about the lives of Benjamin Britten and

Henry Purcell, and recognize different musical style periods

and themes.

10-12

Lesson Plan #3Theme and VariationObtain a deep understanding of theme

and variation, and apply that to todays culture

12-14

Lesson Plan #4FuguesEngage in the recognition of a fugue, and create a

fugue using the class as an ensemble15-17

Resource Materials

Additional teacher resources, including a symphony diagram,

instrument descriptions, and concert etiquette

18-33

Nashville Symphony Education Department

Contact Information

34

Sponsor Recognition 35

Table of Contents

ACHERS GUIDE / Young Peoples Concert: Appalachian SpringACHERS GUIDE / Table of your Contents


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CHERS GUIDE / Young Peoples Concert: Appalachian Spring

Dear Teachers and Parents:

Thank you for joining us for the Nashville Symphonys presentation of Benjamin BrittensAYoung Persons Guide to the Orchestra!

During this renowned educational concert, students will experience the magic of the

symphony, as we explore the tones, colors, and dynamics of the full orchestra, as well as individual

instruments. Guided by a narrator, this concert has been a favorite for educators, listeners, and

music lovers since it was composed by Britten in 1946. I know you will find many opportunities to

use this concert, and the concert-going experience, as an educational tool.

The Education and Community Engagement department at the Nashville Symphony has put

together this study guide to help you prepare for the concert. We have worked to develop activities

and lesson plans that directly correspond with the music and themes of the concert. In order to

maximize the experience for your students, I encourage you to use the resources in this guide before

and after the concert. Please let us know if there is anything that we can do to enhance your

concert experience. Our goal is to educate and inspire in all that we do.

It is truly exciting to hear a full orchestra of talented musicians perform together. I cant wait

to share this experience with you!

Wishing you all the best,

Kelly Corcoran

Associate Conductor

ACHERS GUIDE / Young Peoples Concert: Appalachian SpringACHERS GUIDE / From the Conductor


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The Young Persons Guide to the Orchestra, Op. 34

Variations and Fugue on a Theme of Purcell

Theme: Allegro maestoso e largamente

Tutti, Woodwinds, Brass, Strings, then Percussion

Variation A: Presto

Piccolo and FluteVariation B: Lento

Oboes

Variation C: Moderato

Clarinets

Variation D: Allegro alla marcia

Bassoons

Variations E: Brillante: alla polacca

Violins

Variation F: Meno mosso

Violas

Variation GCellos

Variation H: Cominciando lento ma poco accel. Al Allegro

Double Basses

Variation I: Maestoso

Harp

Variation J: Listesso tempo

Horns

Variation K: Vivace

Trumpets

Variation L: Allegro pomposo

Trombones and Tuba

Variation M: Moderato

Percussion (Timpani, Bass Drum & Cymbals, Tambourine & Triangle, Snare Drum & Wood Block, Xylophone,

Castanets & Gong, Whip, Percussion Tutti)

Fugue: Allegro molto

Tutti, statement of original theme

CHERS GUIDE / Young Peoples Concert: Appalachian SpringACHERS GUIDE / Young Peoples Concert: Appalachian SpringACHERS GUIDE / Concert Program

Written in 1946, Benjamin Brittens The Young Persons Guide to the Orchestra was

originally commissioned for an educational documentary film called The Instruments of

the Orchestra. This is one of Brittens most famous pieces and is often used in childrens

music education. The structure of the piece makes it ideal for teaching many musical

terms and ideas. The theme of the composition is based on Henry Purcells Abdelazar

and incorporates many variations highlighting a different instrument or instruments

family in the orchestra.


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Lesson #1: Introduction to the Orchestra (pages 7-9)

Activity #1: The Conductor: Follow the

Leader Exercise

(page 7-8)

Core Curriculum: Listening and Speaking: uses active listening skills to follow non-verbal

directions.

Music Curriculum: Standard 2.0 Playing Instruments, SPI 2.1.2 Imitate a steady beat using

body percussion or instruments, 3.0 Improvising melodies, variations, and

accompaniments.

Activity #2: Make-up of an Orchestra:

Orchestra Coloring Diagram

(page 8)

Core Curriculum: Listening and Speaking: uses active listening skills to follow non-verbal

directions, Math GLE 0006.5.1 Sort objects and use one or more attributes to solve

problems, Reading 7.0 Integrate and evaluate content presented in diverse formats and

media, including visually and quantitatively, as well as in words.

Music Curriculum: Standard 6.0 Listening and Analyzing, SPI 6.2.1 Identify, by sight and

sound, classroom instruments and classify into families.

Activity #3: The Instrument

Concentration Game

(page 9)

Core Curriculum: Listening and Speaking: uses active listening skills.

Music Curriculum: Standard 2.0: 2.3 Perform rhythmic and/or melodic accompaniments

using correct technique.

Lesson #2: Music History (10-12)

Activity #1: The Life of Benjamin Britten

(page 10-11)

Activity #2: Henry Purcell and Themes

(page 11)

Core Curriculum: Listening and Speaking: Uses active listening skills, Reading 7.0 Integrate

and evaluate content presented in diverse formats and media, including visually and

quantitatively, as well as in words, Reading 2.0 Determine central ideas or themes of a

text and analyze their development; summarize the key supporting details.

Music Curriculum: Standard 1.0 Singing 1.2 Demonstrate the ability to sing in an ensemble

selected musical examples, 6.0 Listening to, analyzing, and describing music, Standard 7.0

Evaluating 7.2 Listen to and analyze a music performance using teacher given criteria.

Nashville Symphonys Young Peoples Concert

Brittens Young Persons Guide to the Orchestra

Standard Equivalencies

The Nashville Symphony strives to integrate the concert going experience into the classroom. Below, please

find a reference of how each activity corresponds with multiple standards, both in core and music curriculum.

ACHERS GUIDE/ Standard Equivalencies

Music Curriculum: Standard 8.0 Interdisciplinary Connections: 8.2 Explain the

relationship between music and another academic discipline, Standard 9.0 Historical and

Cultural Relationships: 9.1 Explore the characteristics of music genres and style within

their historical and cultural settings.

Core curriculum: History 1.1 Identify instances in which language, art, music, belief

systems, and other cultural elements facilitate an understanding or create

misunderstanding, Writing 3.15 Use language that conveys the writers point of view,

Writing 2.0 Write informative/explanatory texts to examine and convey complex

ideas and information clearly and accurately , Language 1.0 Demonstrate command of

the conventions of standard English grammar and usage when writing or speaking.


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Activity #3: Musical Styles Though the

Ages

(page 12)

Core Curriculum: History Standard 1.0: 1.2 Identify examples of how language, literature,

the arts, architecture, traditions, beliefs, values or behaviors contribute to the

development and transmission of culture.

Music Curriculum: Standard 6.0 Listening and Analyzing: 6.1 Listen to a varied repertoire

of music representing diverse genres and cultures, 6.2 Analyze aural examples of a varied

repertoire of music representing diverse genres and cultures, 6.3 Describe listening

examples using music vocabulary, Standard 9.0 Historical and Cultural Relationships: 9.1

Explore the characteristics of music genres and styles within their historical and culturalsettings.

Lesson #3: Theme and Variation (pages 12-14)

Activity #1: What is a Theme and

Variation?

(page 13)

Core Curriculum: Standard 2.0 Language Arts: GLE 0601.2.8 Participate in work teams and

group discussions, Reading 7.0 Integrate and evaluate content presented in diverse

formats and media, including visually and quantitatively, as well as in words, Language 1.0

Demonstrate command of the conventions of standard English grammar and usage when

writing or speaking.

Music Curriculum: Standard 7.0 Evaluating: 7.2 Listen to and analyze a music performance

using teacher given criteria.

Core Curriculum: Listening and Speaking: Displays an understanding of subject matter.

Lesson #4: Fugues (pages 17-19)

Activity #1: What is a Fugue?

(page 15)

Core Curriculum: Writing: Domains (Creative), Reading 7.0 Integrate and evaluate content

presented in diverse formats and media, including visually and quantitatively, as well as in

words.

Music Curriculum: Standard 6.0 Listening and Analyzing: Students will listen to, analyze,

and describe music.

Core Curriculum: Listening and Speaking: Uses body language and behavior appropriate to

the listening situation, Reading 7.0 Integrate and evaluate content presented in diverse

formats and media, including visually and quantitatively, as well as in words.

ACHERS GUIDE/ Standard Equivalencies

Activity #2: Three Changes Game

(page 13-14)

Activity #3: Popular Music Variations

(page 14)

Core Curriculum: Writing: 0502.3.16 Use precise language, including vivid words and

figurative language, Reading 7.0 Integrate and evaluate content presented in diverse

formats and media, including visually and quantitatively, as well as in words, Writing 2.0

Write informative/explanatory texts to examine and convey complex ideas and

information clearly and accurately , Language 1.0 Demonstrate command of the

conventions of standard English grammar and usage when writing or speaking.

Music Curriculum: Standard 6.0 Listening and Analyzing: 6.3.3 Compare and contrast

music examples using appropriate music vocabulary.

Activity #2: J.S. Bach Fugue Game

(page 16)

Activity #3: Student Performance of

a Fugue

(page 16-17)

Music Curriculum: Standard 6.0 Listening and Analyzing: Students will listen to, analyze,

and describe music.

Core Curriculum: Listening and Speaking: Participates respectfully in the exchange ofideas, Language 1.0 Demonstrate command of the conventions of standard English

grammar and usage when writing or speaking.

Music Curriculum: Standard 1.0 Singing: 1.2 Demonstrate the ability to sing in an

ensemble selected musical examples.


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Lesson Plan #1: Introduction to the Sounds and Members of an Orchestra

Overview of Lesson

Activity 1- The Conductor: Follow the Leader Exercise (10 minutes)

Activity 2- Make-up of an Orchestra: Orchestra Coloring Diagram (20 minutes)

Activity 3- The Instrument Concentration Game (20 minutes)

Lesson Plan #1 Comprehension Check

Time needed

35-45 minutes

Materials needed

The Conductor pg. 23

Orchestra Coloring diagram pg. 19

Crayons or markers

Listening excerpts

Sound Pyramid

Objective

Students will gather a basic understanding of the make-up of a symphony orchestra, the role the

conductor plays, and the classification of instruments by use of visual, aural and kinesthetic skills.

Activity #1: The Conductor: Follow the Leader Exercise

Time needed

10 minutes

Materials needed

No materials are needed for this activity

Objective

To highlight the role of the conductor in an orchestra

To enrich students understanding of rhythm

To engage students in listening and taking direction

This is a get up and move activity

ACHERS GUIDE/ Lesson Plan #1


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1. Review page 23 (The Conductor) of the Resource Materials. You can also print copies for your class to review.

2. With the children standing, explain you are the conductor "and that students should follow what you do.

3. Divide the students into different instrument families. In this exercise, each family will be represented by a

different mode of body rhythm (clapping, snapping, lap patting). Show the students with conducting gestures how you

will signal increasing or decreasing the tempo, as well as the dynamics of getting louder and softer.

4. Begin with a steady rhythm, which you will set with conductor gestures. Students must follow you as you speed up,

slow down, get louder, and get softer.

5. Once students understand the exercise, choose a student to lead the activity. Explain that this student is now the

conductor. Several different students can be given the opportunity to conduct.

Activity #2: Make-up of an Orchestra: Orchestra Coloring Diagram

Time needed

20 minutes

Materials needed

One copy of the Orchestra Seating Diagram (page 20) for each

student listening excerpts

Objective

To recognize the different families within the orchestra aurally

To identify where each instrument family sits in the orchestra

This is a participatory, sit-down activity

1. Review pages 24-30 (Meet the Instruments) of the Resource Materials. You can print copies of these pages for your

students.

2. Play the violin sound excerpt from www.NSOkids.org,under Our Instruments (the instruments are arranged

alphabetically in the scrolling bar). Ask students to identify to which family the instrument sound belongs. Have

students make a case supporting their answer. Welcome a friendly debate if the opportunity presents itself.

3. Once the correct answer has been given, move on to the next instrument example and repeat the process, being

sure to pick at least one instrument from each family (strings, woodwinds, brass, and percussion).

4. Make sure students are using the diagram as an aid in identifying the instruments and where they are located in the

orchestra.

5. Play the first 2 minutes from this listening example of Benjamin Brittens Young Persons Guide to the Orchestraand

allow students to watch as each instrument family is illuminated in a different color when it plays. Invite the students

to color the corresponding section on their Orchestra Coloring Diagram.

ACHERSGUIDE / Lesson Plan #1, Activities #1-2
http://www.nsokids.org.mp.lynch2.com/http://www.nsokids.org.mp.lynch2.com/http://www.youtube.com/watch?v=Ku3TRcjLpyYhttp://www.youtube.com/watch?v=Ku3TRcjLpyYhttp://www.youtube.com/watch?v=Ku3TRcjLpyYhttp://www.nsokids.org.mp.lynch2.com/


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Activity #3: The Instrument Concentration Game

Time needed

20 minutes

Materials needed

Instrument pictures or paper labeled with instrument names

Instrument Gestures Guide, p. 20, which contains movement ideas

Objectives

To identify individual instruments and increase focus and concentration

This is a get-up and move activity.

1. Place 16 chairs in a circle leaving one chair designated as the conductor's chair and continuing in order with the violin as the

first chair all the way around through the instrument families, with harp as last. Either copy individual orchestral instrument

pictures and tape one to each chair back, or just write the instrument names on paper.

2. Demonstrate a gesture specific to each instrument that represents how it is played (this gets tricky with clarinet, oboe, and

bassoon, so be clear when demonstrating gestures). For suggestions, see Instrument Gestures Guide on p. 20. Practice the

gestures together as a class. To play the game, the conductor starts each round with two leg pats and a thumbs up, repeating

this twice (titi ta titi ta).

3. When everyone's got the rhythm, the conductor puts his gesture in place of the first thumbs up, then an instrument gesture

on the 2nd thumbs up, like the violin. The control is passed to the violin, who does pats his or her own gesture and then

someone elses of his or her choosing. For example: pat pat conductor, pat pat violin. Then the person assigned to violin

goes: pat pat violin, pat pat clarinet (or another instrument of their choosing). The players must also say the instrument

name as they do each gesture.

4. Try to keep a steady beat. If anyone flubs by breaking the rhythm, messing up a gesture, or not doing a gesture, they move to

the last seat in the orchestra and everyone behind him in the seating moves up. That means their instruments change (so

they can look on the chair back to see what they are). If more than 16 participants exist then the player that is disqualified is

replaced by a new player.


Did students understand the status of conductor as the leader? Did students

follow directions effectively?

Were students able to correctly identify instrument families by their sounds? If

not, were students able to give reasons as to why they chose incorrectly?

Did students grasp an understanding of individual instruments and how they look

when played?

ACHERS GUIDE / Lesson Plan #1, Activity #3


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ACHERS GUIDE / Lesson Plan #2: Music History

Lesson Plan #2: Music History

Overview of lesson:

Activity #1The Life of Benjamin Britten (15 minutes)

Activity #2Henry Purcell and Themes(15 minutes)

Activity #3Musical Styles through the ages (10 minutes)


Time

40-45 minutes

Materials

Listening excerpts, Abdelazer music, p. 20

Objective

Students will gain a knowledgeable background in history for the life of Benjamin Britten and Henry Purcell, as

well as gather a broad understanding of the different musical styles and how periods of history shaped them.

The student will also recognize and be able to point out musical and literary themes.

Activity #1: The Life of Benjamin Britten

Time

15 minutes

Materials

Pencil and paper for notes

This is a sit-down activity

1. Begin by giving a brief lecture on Benjamin Brittens life:

Benjamin Britten was born on November 22, 1913 in England. He composed in a style known as modern. This particular style

began is thought to have begun during the 1920s. Other composers who wrote during that time were Aaron Copland, George

Gershwin, and Igor Stravinsky.

Britten began composing at the age of five! First, he studied piano and viola, then began formal composition lessons. By the

age of 18 he had written a number of full length compositions. After graduating school, he made his living as a composer. He

wrote music for many documentary films and plays such as Night Mail in 1936. Britten moved to America during the

beginning of World War II, during the years of 1939-1942, but returned to England after the war was over.

Upon his return to England, he composed his famous War Requiem. It was written in 1962 for the newly reconstructed

Coventry Cathedral in England, since the first cathedral was destroyed during World War II. He was the first musician to be

given the title Lord by the Queen of England.

Brittens Young Persons Guide to the Orchestra is one of his best-known pieces. It showcases each instrument family

(string, woodwind, brass, percussion) as a section as well as solo instruments. This piece was composed for a documentary

film as a way to show the tone colors and abilities of the various sections of the orchestra.

Some American historical events that occurred during Brittens lifetime include The Great Depression, the assassination of

President John F. Kennedy and the astronauts first landing on the moon.


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ACHERS GUIDE / Lesson Plan #2, Activities #2-3

2. After this brief explanation of Brittens life, ask students the following:

Britten started composing when he was younger than you are now. If you were to start writing music, what style would you

choose, and why? Some styles include Classical, Rock, Country, Hip Hop, R&B.

Britten wrote a piece called War Requiem inspired by World War II. If you could compose a musical piece that honors,

memorializes, or celebrates an historical event, which event would you choose and why? Would the piece be happy or sad?

Fast or slow? Which instruments would be featured during the piece?

Britten wrote for orchestras and for operas. What are some differences between these two styles? If you could choose

between composing for a musical band or composing for a film, which would you choose and why?

3. Once they have written down their answers, ask for volunteers to share their answers with the class.

Activity #2: Henry Purcell and Themes

Time

15 minutes

Materials

Purcells Theme, Listening excerpts

This is a participatory, aural sit-down activity

1. Explain to students that Henry Purcell is a Baroque composer of the 17th century, which

is different from Brittens modern style. The reason he is important to Brittens Young

Peoples Guide to the Orchestra is because Brittens work is based on the Rondeau

fromAbdelazar, which Purcell wrote. Purcells theme is so prominent in Brittens piece

that it is subtitled Variations and Fugue on a Theme of Purcell.

2. Provide each student with a copy of Purcells Theme from page 21. Play the first minute of Brittens The Young Persons Guide

to the Orchestra multiple times. An online version is available here: Brittens The Young Persons Guide.Ask the children tofollow along with the sheet music to help identify all occurrences of the theme. Play the excerpt one more time and ask

students to sing along with the theme.

3. Once students have a good grasp of Purcells theme, explain that a musical theme is similar to a literary theme. In books,a

theme is a message that one can take from the overall story, such as a moral lesson. For instance, the theme in children story

The Boy Who Cried Wolf is that you should never lie, because then people will not trust you. Similarly, in music there are

typically musical phrases that a piece revolve around. Often times, the theme remains with the listener, and he or she is able to

sing the theme after the piece ends, just like a reader is able to state the overall theme of a book after completion.

4. To confirm students understanding of musical and literary themes provide them with the short story, such as The Lion and the

Mouse from page 22 and ask them to identify the theme. Or reference a story your class has read together. Then, play

listening excerpt from Edvard Griegs Peer Gynt Suite No. 1., In the Hall of the Mountain King and ask students to sing back the

musical theme. You may access the listening example by clicking here: Griegs Peer Gynt.
http://www.youtube.com/watch?v=Ku3TRcjLpyYhttp://www.youtube.com/watch?v=Ku3TRcjLpyYhttp://www.youtube.com/watch?v=ZAiEPUu0iO4http://www.youtube.com/watch?v=ZAiEPUu0iO4http://www.youtube.com/watch?v=ZAiEPUu0iO4http://www.youtube.com/watch?v=Ku3TRcjLpyY


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Activity #3: Musical Styles Through the Ages

Time

10 minutes

Materials

Listening Excerpt

This is a participatory, active listening, sit down activity

1. Refer to page 30 of Resource Materials. Describe the different style periods to the students and play a

portion of the corresponding excerpt for each category.

2. Play the excerpts out of order and ask students to identify to which style periods the excerpts fit. Ask the

students which style period they like the best, and why?

3. Remind students that Britten worked in the modern style, while Purcell, who composed the theme, wrote in

the Baroque style.


Do students have a basic knowledge of the lives of Benjamin Britten and Henry

Purcell?

Are the ideas of a musical themes and literary themes clear to the students? Are

students able to successfully identify each?

Can students recognize which style different musical works fall into?

Lesson #3: Theme and Variation

Overview of Lesson

Activity 1What is a theme and variation?

Activity 2Three Changes Game

Activity 3Popular Music Variations

Time needed to complete lesson

50-55 minutes

Materials

Listening excerpts

Objectives

To establish a deep understanding of the musical term theme and variations

To allow students to connect the term theme and variation to todays pop culture

ACHERS GUIDE / Lesson Plan #2, Lesson Plan #3: Theme and Variation


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Activity #1: What is a Theme and Variation?

Time

25 minutes

Materials

Listening Excerpt

TV/Computer, Projector, Speakers

Objectives

To introduce the term theme and variation

To relate theme variation to other arts

This is a participatory, discussion-based sit down activity.

1. Explain to students that, in music, a theme is a melody that serves as the main idea for a composition. When the

theme is altered, a variation occurs. Such alterations can be a change in rhythm, different harmonies, different keys, or

added notes. In Brittens The Young Persons Guide to the Orchestra each instrument family (strings, woodwind, brass,

and percussion) plays the theme and then individual instruments present a variation on that theme.

2. Access a recording and visual guide of Brittens piece here: Brittens Young Persons Guide.Project the website onto

a screen or TV where the students can see. Ask students to be actively listening and watching as the theme is stated

and variations begin with the woodwinds. A little red arrow will guide you through the piece. Press play! Stop the

recording when it reaches the end of each section.

3. Engage in a guided discussion through the following questions:

Were you able to identify the theme? The theme is easily identifiable in Brittens piece because of its

reoccurrences. The whole orchestra plays it and then the individual families play it.

What alterations to the theme did you notice in the variations? There were many added notes, changes in

rhythm, dramatic tempo changes from fast to slow and vice versa, dynamic changes, etc. The

possibilities for variation are endless.

Were you able to sing the theme after all of the variations? All the variations included the theme, but some

may have been more recognizable than others. Some may have found the percussion variation to be

particularly hard to follow. Why do you think that is?

Activity #2: Three Changes Game

Time needed

10 minutes

Materials

None

Objectives

To apply the idea of theme and variation to sources outside the realm of music

This is a get-up and move activity

ACHERS GUIDE / Lesson Plan #3, Activity 1-2
http://www.mhhe.com/socscience/music/kamien9e/part01/chapter02/youngpersonsguide/brittenguideinteractive.htmhttp://www.mhhe.com/socscience/music/kamien9e/part01/chapter02/youngpersonsguide/brittenguideinteractive.htmhttp://www.mhhe.com/socscience/music/kamien9e/part01/chapter02/youngpersonsguide/brittenguideinteractive.htm


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ACHERS GUIDE / Lesson Plan #3, Activity #2-3

1. One at a time, have students go outside the classroom and change three things about their appearance.

When they come back in, have the class try to guess the three things that changed. Allow a number of

students to take a turn with respect to time.

2. Point out to students that before they leave the room they represent the theme. After they return, they

represent a variation.

Activity #3: Popular Music Variations

Time

15-20 minutes

Materials

Pencil and Paper

Listening excerpts

Objectives

To recognize theme and variations in todays pop culture

Use aural skills to analyze two similar works

To think creatively about a theme and individually develop a variation

This is a sit down activity

1. Ask students if they can think of any examples of theme and variations in todays music culture. Explain

that a cover song or a mash-up is similar to a variation because it takes the original song (theme) and

alters it to make a new version (variation).

2. Allow students to listen to Little Boxes by Malvina Reynolds. Direct students to listen closely to thenext selection, Little Boxes by Walk off the Earth,and determine the differences from the first

selection. Ask students what differences they heard in the second version.An alternative listening

example that may be used is Somebody that I used to know by Goyte and Somebody that I used to

know by Pentatonix.

3. Tell students to choose a song that they are particularly familiar with and create a variation on that song

by writing down specific details conveying what they would change or add to the song. Look for changes

in tempo, dynamics, key, instrumentation, and performer. Students should feel free to be as creative as

they desire with this activity.

4. Once students have completed their variation have a select few share their ideas for

compositions with the class.
http://www.youtube.com/watch?v=2_2lGkEU4Xshttp://www.youtube.com/watch?v=2_2lGkEU4Xshttp://www.youtube.com/watch?v=LM8JhvfoqdAhttp://www.youtube.com/watch?v=LM8JhvfoqdAhttp://www.youtube.com/watch?v=8UVNT4wvIGYhttp://www.youtube.com/watch?v=8UVNT4wvIGYhttp://www.youtube.com/watch?v=hOKuAigsrechttp://www.youtube.com/watch?v=hOKuAigsrechttp://www.youtube.com/watch?v=hOKuAigsrechttp://www.youtube.com/watch?v=hOKuAigsrechttp://www.youtube.com/watch?v=hOKuAigsrechttp://www.youtube.com/watch?v=8UVNT4wvIGYhttp://www.youtube.com/watch?v=LM8JhvfoqdAhttp://www.youtube.com/watch?v=2_2lGkEU4Xs


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ACHERS GUIDE / Lesson Plan #4 - Fugues, Activity #1

Lesson Plan #4: Fugues

Overview of Lesson

Activity 1- What is a fugue?

Activity 2J.S. Bach Fugue Game

Activity 3Student Performance of a Fugue

Time Needed

35-45 minutes

Materials

Listening Excerpts

Objective

To engage students understanding of a fugue

To put the definition of a fugue into performance practice

Activity #1: What is a Fugue?

Time Needed

10 minutes

Materials

Listening Excerpts

Objective

To challenge students to analyze and extract different musical elements from a selection of music aurally

This is a participatory sit down activity

1. Explain to students that a fugue is a composition with two or more voices or parts, in which the melody

(called the subject), is played by one voice or instrument and then replayed and modified by the other

voices or instruments. Between statements of the subject, an episode may be heard. An episode is a

connecting passage developed from previously heard material. The listener must be careful not to get the

subject and episode confused.

2. Play the concluding section from Young Persons Guide to the Orchestra for the students from Britten

YPGsite. Explain to students that this section is a fugue and that the piccolo states the subject first and is

followed by the flute. See if students can guess which instrument states the subject next and so on

throughout the concluding section (flute, then oboe, then clarinet and finally bassoon).
http://www.mhhe.com/socscience/music/kamien9e/part01/chapter02/youngpersonsguide/brittenguideinteractive.htmhttp://www.mhhe.com/socscience/music/kamien9e/part01/chapter02/youngpersonsguide/brittenguideinteractive.htmhttp://www.mhhe.com/socscience/music/kamien9e/part01/chapter02/youngpersonsguide/brittenguideinteractive.htmhttp://www.mhhe.com/socscience/music/kamien9e/part01/chapter02/youngpersonsguide/brittenguideinteractive.htmhttp://www.mhhe.com/socscience/music/kamien9e/part01/chapter02/youngpersonsguide/brittenguideinteractive.htm


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ACHERS GUIDE / Lesson Plan #4, Activity #2-3

Activity #2: J.S. Bach Fugue Game

Time needed

10 minutes

Materials

Listening Excerpt

Objectives

To deepen students understanding of a fugue

1. This game promotes the active search for pattern and structure, which not only increases musical enjoyment, but

is also a great brain exercise. Students will be focusing on one of the most basic elements of the fuguethe

repetition of the subject (main theme) in different voices (e.g. sometimes high, sometimes low). In a sense, this

game is a musical version of Wheres Waldo, and you must spot the subject no matter how hidden it is! Click on

Listen to Subject from Bach Fugue Gameso that students may hear the subject of the piece. Play this example a

couple of times so that students are very familiar with it.

2. Explain to students that you are now going to play the whole fugue. Whenever they hear the subject they shouldraise their hand, but they must be careful! Dont let Bach trick youthere are episodes throughout the piece that

sound like the subject, but are actually just short snippets of the subject interspersed with other material. Have

students keep track of how many times they raise their hand.

3. At the end of the fugue collect a count of how many students heard the subject 1-4 times, 5-8 times, and 9 times.

Congratulate those that heard it nine times. This is how many statements of the subject there are in Bachs piece.

Activity #3: Student Performance of a Fugue

Time needed15 minutes

Objectives

Students engage in their own performance of a fugue while developing group interactive skills

Materials

None needed

This is a participatory, sit-down activity

1. Divide students into 3 groups, and make sure the groups are sitting together. Assign a number to each group

from 1-3.

2. Explain to students that they are going to create a fugue of their own with the subject being Row, Row, Row Your

Boat.
http://www.newgrounds.com/portal/view/457206http://www.newgrounds.com/portal/view/457206http://www.newgrounds.com/portal/view/457206


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3. Have the whole class sing Row, Row, Row your Boat one time through. Assign Group 1 to sing in high voices,

Group 2 to sing in very low voices, and Group 3 to sing in normal voices. The reason the groups sing the subject in

different ranges is because, unlike a round, voices in a fugue enter on higher and lower pitches. They also

continue to play new material (known as episodes) while the other voices make their entrance.

4. Explain that Group 1 will begin with the statement of the subject (Row, Row, Row Your Boat). Once they sing it

one time through they are to sing Twinkle Twinkle Little Star to represent the playing of an episode. Group 2 will

then enter with one statement of the subject (Row, Row, Row Your Boat). After completion of the subject,

Group 2 will sing Twinkle, Twinkle Little Star to represent another entrance of an episode. Group 3 then enters

with a statement of the subject as soon as Group 2 finishes singing the subject. After one statement of the subject,

Group 3 ends by singing Twinkle, Twinkle Little Star. Once all three groups have sung the subject, have children

stop singing.

5. Begin an open discussion with students talking about their performance of the Row, Row, Row Your Boat fugue.

Lead the discussion with the following questions:

What made your version of Row, Row, Row Your Boat a fugue?

What was it like trying to work together as a small group within a larger ensemble?

Was it obvious when the subject was being stated?

Were you actively listening to your peers around you?

6. If there is time left in class, visit: Lady Gaga Fugueand play this popular culture example of a fugue. The students will

get a kick out of this! (Please note, the video is not actually of a symphony performing the piece, but a very convincing

illusion).

ACHERS GUIDE / Lesson Plan #4, Activity #3
http://www.youtube.com/watch?v=XYFMgeBaLUQhttp://www.youtube.com/watch?v=XYFMgeBaLUQhttp://www.youtube.com/watch?v=XYFMgeBaLUQ


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SOURCE MATERIALS/ Table of Contents

24-30

Concert Etiquette 33

The Schermerhorn Symphony

Center32

Musical Style Periods 31

The Conductor 23

Student Activity Sheets 19-22

The Instruments of the

Orchestra


19/35


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SOURCE MATERIALS/ Student Activity Sheets- Instrument Concentration Game

Instrument Gestures Guide (for activity on pg. 9)

Conductor (finger conducting)

Violin (using your right hand, move an imaginary bow across your bent left arm)

Viola (using your right hand, move an imaginary bow across your straight left arm)

Cello (using your right hand, move an imaginary bow across the front of your body)

Bass (using your right hand, move an imaginary bow across the front of your body

while elongating your left arm above you)

Flute (twiddle your fingers to the right of your head)

Clarinet (twiddle your fingers out in front of your body)

Oboe (fingers extended but frozen out in front of body like jazz hands with palms to belly

and chest)

Bassoon (jazz hands like oboe, but off to the right side)

Trumpet (fist near mouth, other hand fingering valves)

Trombone (fist near mouth, other hand moving the slide)

French Horn (fist near mouth, other arm in arched shape as if hand is placed inside horn)

Tuba (fist near mouth, other arm extended away from body as if holding a beach ball)

Snare (index fingers tapping)

Cymbals (bring both hands together in a crashing gesture)

Harp (wave hands toward and away from body as if stroking the strings)


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SOURCE MATERIALS/ Student Activity Sheets- Purcell Theme sheet music

(Taken from Share the Music Grade 4, p. 269 Copyright 2000, McGraw-Hill School Division)


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SOURCE MATERIALS/ Student Activity Sheet-The Lion and the Mouse

The Lion and the MouseOnce upon a time, when a Lion was asleep, a little Mouse began

running all around him, up and down and over him. This woke up the

sleeping Lion, who placed his huge paw upon the Mouse and opened his big

jaws to swallow him.

Pardon, my King! cried the little Mouse, Forgive me this time. I shall

never repeat it and I shall never forget your kindness. And who knows, I may

be able to do something for you in return someday.

The Lion was so tickled at the idea of the Mouse being able to help

him, that he laughed out loud and lifted up his paw to let the Mouse go.

Sometime later, a few hunters captured the Lion King and tied him

down with ropes while they went in search of a wagon to carry him away.

Just then, the little Mouse happened to pass by, and seeing the sad

plight of the Lion, ran up to him and began gnawing away at the ropes that

bound the Lion to the ground. Was I not right? said the little Mouse.

Amazingly, one of the smallest animals in the forest had set the Lion free!


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The Conductor

Have you ever wondered who the person is standing in front of the orchestra during a concert? That

person is the conductor, and he or she is in charge of interpreting the music and keeping the orchestra

together as they play. The conductor serves as the orchestras leader or guide. He or she will study the music

score, making certain adjustments and clearly relaying ideas to the musicians. The conductor also plans

rehearsals, chooses guest artists and, most importantly, decides what the orchestra will play! He or she must

know about all the instruments in the orchestra and be able to direct all of the musicians. The conductors

job is very challenging and very important!

Reflection Questions Before the Concert

Have you ever seen a conductor of an orchestra or

marching band? What were they doing?

How would you feel if you were in front of a wholeorchestra? Would you be excited or nervous? Or

maybe both?

Can you think of another job where you must be able

to lead or direct a big group of people?

Reflection Questions After the Concert

Why do you think the job of the

conductor is important? What do you

think would happen if the conductor

were not there?

What did you think of the conductor?

How would you describe the

conductor? Were they expressive,

passionate, controlled, excited? How

do you think it feels to stand in front of

80 musicians and conduct them?

SOURCE MATERIALS/ The Conductor


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Instrument Families

There are many different instruments in the orchestra, each with a different sound.

When we talk about musical instruments, we often talk about them as being part of a family.

That's because, just like in human families, the instruments in a particular family are related to

each other. They are often made of the same types of materials, look similar to one another,and produce sound in comparable ways. Below is general information on each of the main

instrument families in the orchestra. The following pages discuss individual instrument in

more detail.

Strings: violin, viola, cello, and bass. The string family makes up half of the orchestra. Although

many of the string instruments look similar in shape and color, they vary greatly in size and

sound. To produce a sound on a string instrument the player draws a bow across the strings. The

player can also pluck the strings with his or her finger, which is a style of playing called pizzicato.

Woodwinds: flute, piccolo, clarinet, oboe, English horn, and bassoon. Woodwinds produce a

sound by blowing air through the instrument. The flute and piccolo blow air across the

mouthpiece while the other woodwinds use a thin piece of wood called a reed. The clarinet

uses a single reed which is one thin piece of wood. The oboe, English horn, bassoon, and

contrabassoon use a reed made of two pieces of wood joined together called a double reed.

When air is blown across the reed, the wood vibrates and a sound is produced.

Brass: trumpet, trombone, tuba, and French horn. All members of the brass family are made of

brass. They all produce sound the same waythe musician vibrates his lips together and against

the mouthpiece forcing air through the instrument. The trombone is the only brass instrument

that uses a slide instead of valves to change tones.

Percussion: snare drum, timpani, bass drum, cymbals, marimba, glockenspiel, vibraphone,

triangle, and more. The percussion family includes many instruments, from small to large , fromsimple to complex. To create a sound on a percussion instrument, the player typically strikes,

bangs, shakes, or scrapes it. Percussion instruments can typically be played with the hands or

with mallets.

SOURCE MATERIALS/ Instrument Families of the Orchestra


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Edgar Meyer, one of the

worlds best bassists,lives in Nashville, TN!

He has premiered two

double concertos with

the Nashville Symphony,

both double bass and

banjo, in 2003, and

double bass and violin,

in 2013.

Did you know?

Originally violin strings

were made from

sheeps intestines;

however, they broke

rather easily, so most

violinists today use

metal or steel strings.

SOURCE MATERIALS/ The String FamilySOURCE MATERIALS/ String Family!

The String Family: This family includes four instruments that may look and sound similar, but are

very different in size and playing style. All string instruments are made of wood, have four strings,

and a bow that is made of wood and horsehair. They have many parts in commonthe belly

(front), soundboard (top), the neck, the fingerboard, the scroll, and the f-holes (sound holes). Each

instrument has four strings which are tuned to four different pitches. A bow is a curved piece of

wood with a band of stretched horsehair held tightly between both ends. Sound is produced whenthe bow is drawn across the strings, causing the strings to vibrate. The player can also pluck the

string, which is a style of playing called pizzicato. Where the player puts his or her left-hand

fingers on the string determines what note is produced, and how the player moves the bow with

his or her right arm (slow or fast, rough or smooth, etc.) determines the quality of the sound.

The violinis the smallest and highest-pitched string

instrument. The violin has the ability to be both slow

and lyrical or fast and daring. This makes it one of

the most versatile instruments in the orchestra.

The viola, slightly larger than the violin, is used

almost exclusively for classical music. Its sound is

richer and warmer than the violin, but more focused

than the cellos.

The cellois even lower than the viola and is played

between the legs while sitting down. There is a

small, retractable metal rod (known as the

endpin) at the base of the instrument and allows the

player to secure the instrument in front of them and

adjust distance between the cello and the floor.

The double bassis the lowest member of

the string family and one of the largest

instruments in the orchestra. The bass is

played like the cello, but due to its size,

players often stand or lean on a tall stool

instead of sitting in a chair.

Some of the first celli

(thats plural for cello),

were crafted in the mid-

1500s by a craftsman

named Andrea Amati in

Italy. The whereabouts

of only 3 of his celli are

still known today!


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History Connections

Piccolo is actually the

Italian word for small. It

was originally called a

flauto piccolo, meaning

small flute. But over

time, the flauto portion

was dropped and now it

is simply called the

piccolo.

Because the oboe has a

pure sound and its pitchis not really affected by

temperature, all other

instruments tune to its

pitch.

ACHERS GUIDE / The Wonderful World of Woodwinds!SOURCE MATERIALS/ Wonderful World of Woodwinds!

The Woodwind Family:At one time, the instruments in this family were all made of wood, which

gives them their name. Today, they are made of wood, metal, and even plastic. These instruments

are narrow cylinders or pipes with holes. They include an opening at the bottom end of the

instrument and a mouthpiece at the top. You play these instruments by blowing air through or

across the mouthpiece (that's the "wind" in "woodwind"). The mouthpieces for some woodwinds,

including the clarinet, oboe and bassoon, use a thin piece of wood called a reed, which vibrateswhen you blow, creating the sound.

Flutesused to be made out of wood, but today they

are made out of metal. A flute player makes sound

by blowing air over a hole on the head section of

the instrument. It is similar to blowing air across the

top of a bottle.

The piccolois very similar to the flute, but it issmaller and makes a much higher pitched sound.

The piccolo is usually made of wood, just as old

flutes were made. The piccolos highest notes can

be heard over the entire orchestra!

The clarinetis made from wood, or sometimes

plastic, and makes a beautiful, rich sound. A clarinet

player makes sounds by blowing air into the top of

the clarinet and making a single reed vibrate. Theplayer changes notes by moving their fingers over

the holes and keys in the clarinet. There is also a

bass clarinet plays in a lower register and is slightly

larger than the clarinet.

The oboelooks a little like the

clarinet, but uses a double

reed. Oboe players make their

own reeds, carving them out

of cane. The oboe is the first

instrument you hear when the

orchestra is tuning. See the

sidebar to find out why!

The bass clarinet and

saxophone look very

similar. Thats because

of a Belgian instrument-

maker named Adolphe

Sax. In 1838, he

redesigned the bass

clarinet into the shape

we know today, with an

upturned bell. Then in

1846, he invented the

saxophone!


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Did you know?

The name 'English horn' is somewhat controversial,as the instrument is neither English nor a horn. It

comes from a part of Europe that is now Poland, and

shares more in common with an oboe than a horn.

Nevertheless, the name has stuck!

ACHERS GUIDE / Woodwinds, contd.SOURCE MATERIALS/ Woodwinds, Contd.

The Woodwind Family, Contd.

The bassoonis actually part of the oboe family, even thoughit is much bigger and makes much lower pitched sounds! It is

made out of wood and is four feet long, however if you

unwound the instrument it would be eight feet. Because it is

so big and heavy, it is one of the more difficult woodwind

instruments to play. Children usually wait until they are at

least 12 years old to start learning to play the bassoon.

In addition to the standard bassoon, there is also a

contrabassoon, which is considered the bass of the oboefamily. It is very similar to the bassoon except it is much lower

and twice as big. If you unwound the contrabassoon, it would

have 16 feet of tubing!

The English horn is almost identical to the oboe except for

three main points. First, it is a slightly larger instrument.

Second, unlike the body of the oboe which ends in a small flat

bell, the English horns body ends in a small bulb-like bell.

Finally, the English horn has a much deeper, rich and exotic

sound than the oboe. As with the oboe, the English horn

employs a double reed and a collection of holes and keys that

are combined to produce varying pitches.

What is a reed?

Reeds are thin strips of material made out of cane.They are attached to woodwind instruments.

When a player blows, the reed vibrates and

creates sound. Musicians spend hours each week

making and preparing their reeds for playing.


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History

Connections

The earliest trumpets

were found in Egypt

more than 3,500 years

ago! Throughout its

history, the trumpethas often been used for

military purposes. In

fact, trumpet players

were highly guarded on

the battlefield as they

relayed messages

between troops.

ACHERS GUIDE / Brass Bash!SOURCE MATERIALS/ Brass Bash!

The Brass Family:All the instruments in this family are made out of a metal called brass. Like the

woodwind family, brass players use their breath to produce sound, but instead of blowing into a

reed, brass players vibrate their lips by buzzing them into a mouthpiece. The mouthpiece helps to

amplify the buzzing of the lips. That sound travels through the tubing of the instrument to come

out a large bell, which amplifies the sound. The brass family is the loudest family in the symphony.

The trumpetis the highest pitched brass

instrument. It has three keys, or valves, that

the player uses to change pitches. If you

unwound all the trumpets tubing, it would

be 4 feet long!

The French horn makes lower pitched

sounds than the trumpet, but higher sounds

than the trombone or tuba. It is made of a

very long tube that is coiled, like a snake, into

a tight circular shape. The horn can make

both loud sounds like a trumpet or soft,

mellow sounds. See the sidebar for some of

the French horns earliest uses!

The tromboneis the only slide instrument

in the brass family. The other instruments in

this family are made up of wound tubing

with keys, or valves, but the trombone is

bent more into a long S shape. A trombone

player slides a part of the trombone back

and forth to play different notes.

The tuba is the lowest-pitched brass instrument and the newest brass

instrument to find its way into the orchestra. It often plays a similar role in the

brass section as the double bass plays in the string section. The tuba typically

has 35 valves and is formed by a large tube that is wound around and

around, eventually ending in a large flat bell which points towards the ceiling.

The earliest French

horns were small and

round and were used

to communicate while

hunting on horseback.

The horn could sit on

the knee of the rider

and be played with only

one hand, allowing the

other hand to steer the

horse as the player

galloped through the

woods.


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Did you know?

The snare drum is

probably the most ver-

satile of all the drums

and can be found in all

types of music including

classical, pop, jazz, rock

and roll, samba, andheavy metal, as well as

military and marching

bands.

ACHERS GUIDE / The Percussion FamilySOURCE MATERIALS/ Percussion FamilySOURCE MATERIALS/ The String FamilySOURCE MATERIALS/ Percussive Hits!

The Percussion Family: Thisis one of the most diverse and interesting families in the orchestra.

percussion instruments encompass a wide variety of tones, textures, sounds and shapes. To create

a sound on a percussion instrument, the player typically strikes, bangs, shakes, or scrapes it.

Some percussion instruments are tuned and can produce different notes, and some are untuned

with no definite pitch. Percussion instruments serve many different functions in the orchestra.

They can keep the rhythm, make special sounds, and add excitement and color.

Timpaniconsist of a copper or brass base and a

membrane (normally calf skin or plastic) that is stretched

over the top of that base. Each instrument is capable of

a range of pitches that are determined by the size and

specific tuning of the instruments drum head. The basic

pitch of each timpani is adjusted by a foot pedal, which

stretches the drum head to raise the pitch or loosens it

to lower the pitch. In the orchestra, there can be 2-5

timpani drums, each producing a different note or tone.

The bass drum is the biggest drum in the family. In the

orchestra it is normally mounted vertically on a stand.

Bass drums are also used in marching bands and

traditional drum sets. The main function of the bass

drum is to keep the beat of the piece.

The snare drum is made of two drum heads attached to

either side of a round shell. The top head is known as the

batter head and the bottom head is known as the snare

head. Attached to the snare head, there are 810

snares, or wire-bound strings. It is the snares that give

this drum its unique sound.

Themarimbais huge percussion instrument made of

wooden bars, suspended on a frame. The bars are

arranged like the keys of a piano, with a row of naturalsand an overlapping row of sharps and flats. Beneath the

bars there are metal tubes called resonators. The

resonators assist in amplifying the sound.

Some scholars think

that percussion

instruments were the

first instruments ever

created! After all, hand

clapping is percussion!


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History Connection

A pair of ancient

cymbals, just 5 inches

wide, were found in the

Egyptian tomb of

Ankhhape, a sacred

Egyptian musician. They

currently reside in the

British Museum.

No one knows exactly

when the triangle was

invented, or by whom,

but paintings from as

far back as the Middle

Ages, depict people

playing them.

ACHERS GUIDE / The Percussion FamilySOURCE MATERIALS/ Percussion Family

Chimes are a series of metal tubes where the length of each tube determines the pitch

of each chime. Orchestral chimes are suspended vertically from a stand and are

ordered in a similar fashion to the keys on a piano. Sound is produced when the top of

the chime is struck by a plastic or wooden hammer. In the orchestra, they are often

used to mimic the sound of church bells.

SOURCE MATERIALS/ The String FamilySOURCE MATERIALS/ Percussive Hits!

The Percussion Family, Cont.d

Cymbalsare round, dish-shaped instruments made of

brass or a special metal. The cymbals are played by

crashing two of them together, usually at a very

important and loud moment in the piece. There are

also small finger cymbals which can be attached to a

persons fingers and struck together.

The triangle consists of a steel, tubular rod that is bent

into an equilateral (equal length on all sides) triangle

shape, but with one corner left open. Sound is produced

by striking a small metal rod against the outside of the

instrument or by moving the small rod around the insideof the instrument.

TheGlockenspiel, which is German for 'play of bells,'

consists of tuned metal bars, suspended on a small

frame. Just as with the marimba, the bars are arranged

like the keys of a piano, with a row of naturals and an

overlapping row of sharps and flats. Often called the

orchestra bells, the sound produced by striking the bars

produces a very bright, shimmering sound.

The Vibraphoneis another keyboard percussioninstrument that has metal bars, resonators, and

uniquely has a motor that powers a fan to vibrate the

tones. The vibraphone, affectionately referred to as

vibes produces a softer, mellower tone when

compared with the glockenspiel.


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The Schermerhorn Symphony Center, which opened in

September 2006, was named after Maestro Kenneth Scher-

merhorn who conducted the Nashville Symphony for 22 years,

until 2005. The Symphony Center is also home to the Nash-

ville Symphonys administrationthe people responsible for

selling tickets, planning events, and even writing this

curriculum.

The Symphony Center provides all kinds of perform-

ances including classical, popular, jazz, and blues. There are

multiple performance spaces

in the Symphony Center, but

the largest facility is the

Laura Turner Concert Hall.

This concert hall has a concertorgan, custom-made for the

Symphony Center.

The Laura Turner Concert Hall is specially designed to make the

instruments and music sound beautiful and clear no matter where you sit in

the hall. Whether youre in the front row, the back of the balcony, or even

behind the stage, the music sounds spectacular. From the wood on the

floor to the fabric on the chairs, the materials used in the hall are designed

with sound in mind. We hope you enjoy your visit!

Online tours of the Schermerhorn

Symphony Center are available on thewww.NSOkids.orgwebsite, under

Visit the Symphony!

ONLINERESOURCE

The floor in Laura Turner Concert Hall is very

special because the seats can actually go into

the basement to make a flat floor. At the Scher-

merhorn, this is called flipping the floor, and

you can click hereto watch a video of the

change.

The pipe organ in Laura Turner Con-cert Hall has over 3,000 pipes.

The Martha Rivers Ingram Garden Courtyard fea-

tures a fountain and a statue of former conductor

Kenneth Schermerhorn, after whom the Symphony

Center is named. On a sunny day, this is a great

place to eat a lunch from the Symphony Caf!

SOURCE MATERIALS/ The Schermerhorn Symphony Center
http://www.nashvillesymphony.org/nsokids/http://www.nashvillesymphony.org/nsokids/http://www.youtube.com/watch?v=dT2CBJYSbeE&list=PL5FE557EACAE5182E&index=3&feature=plpp_videohttp://www.youtube.com/watch?v=dT2CBJYSbeE&list=PL5FE557EACAE5182E&index=3&feature=plpp_videohttp://www.youtube.com/watch?v=dT2CBJYSbeE&list=PL5FE557EACAE5182E&index=3&feature=plpp_videohttp://www.nashvillesymphony.org/nsokids/


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Discovering Concert Etiquette

You and your classmates are about to embark on a great adventure to the Schermerhorn Symphony

Center to hear the Nashville Symphony perform. Making this trip the best it can be requires each person to

display certain types of behaviors or etiquette. Read the information below before you come to visit Scher-

merhorn Symphony Center and talk about it with your teachers and friends. As you enter the concert hall,

this is the time to chat with your friends, read the concert program (if provided), make a last minute run tothe restroom and turn off cell phones or pagers (you dont want yours to go off in the middle of the con-

cert!). Look around, what do you see?

How many seats do you think there are in Laura Turner

Concert Hall?

How many musicians are there on the stage?

Where are the emergency exits?

Where do the violin players sit? The French horn players,

the tuba player, etc.

Just before the concert begins, the lights in the

concert hall will dim and the stage lights will become

brighter. Many times, you will also hear safety or concert announcements made at this time, so listen up. It

is important to remember, too, that you, as an audience member, are a vital part of the performance. What

you do and dont do during a concert, not only affects you, but also those round you and the musicians on

the stage. Here are some points to remember:

Once the lights dim, or the safety/concert announcement ends, its time to stop talking. Not only does talking

disturb the people around you, but it can be distracting to the musicians on the stage. Even the quietest whis-

per can carry easily throughout a concert hall (remember concert halls are specifically designed to enhance and

relay sound).

If you need to get up during the performance, try to wait to do so between pieces. Think how distracting it is

when you are at the movies, and all of a sudden someone gets up in front of you, and you get distracted

watching them shuffle through the aisle. Its the same thing at a symphony concert. Timing is everything!

Applause is welcome at the end of each musical selection, but how do you know when that is? Sometimes

when you think a piece is over, it really is just a pause or quiet section. Heres a hint - keep an eye on the

conductor and 1st violin player (the concertmaster). At the end of a piece you will see the conductor lower his/

her hands and the concertmaster will lower his/her instrument. When you see both these things happen, it is a

good sign the piece is over and you can applaud.

However, once the concert is over, clap away. Performers love the sound of applause! Sometimes

you might even see an audience stand up and give a standing ovation. This is something the audience does

to tell the performers that they really, REALLYliked the performance. As you leave the Laura Turner Concert

Hall, make sure to gather your belongings and look to the adults for any special exiting information.

ACHERS GUIDE / Concert EtiquetteSOURCE MATERIALS/ Concert Etiquette


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ACHERS GUIDE / Contact Information

Nashville Symphony Education Department

Blair Bodine

Director of Education and Community Engagement

Andy Campbell

Education and Community Engagement Program Manager

Kelley Bell

Education and Community Engagement Assistant

2012 Summer Interns

Ann Goodrich

Eleni Miller

Lynn Nakazawa

The YPC Curriculum Guides are researched and compiled

by the 2012 Summer Interns.

Website: NashvilleSymphony.org/Education

Email: [email protected]

Phone: 615.687.6398


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curriculum guide to britten's guide to the orchestra

Documents