staff listing & contributors · engagement with music through a comprehensive program of...

STAFF LISTING

& CON

TRIBUTORS

WRITERS

Dr. Melissa Baker

Shanna Lesniak

EDITORS

Joel Esher

Anne Damassa

Melissa Attebury

CREATIVE SERVICES

Rea Ackerman, Director

Joan Adelson, Graphic Designer

Robyn Eldridge, Copy Editor

Rita Lopez, Project Coordinator

Catherine Monson, Copywriter

Marc Tremitiere, Senior Graphic Designer

MUSIC & THE ARTS

Julian Wachner, Director

Melissa Attebury, Associate Director

Melissa Baker, Administrator

Avi Stein, Associate Organist

Anne Damassa, Music Education

Special Thanks to Anthony Indelicato and Christopher Trice for producing the curriculum DVD and to the entire TV New Media staff for music’s stunning webcasts.

For more information go to: trinitywallstreet.org/music-arts/education

1

Special Thanks to Anthony Indelicato and Christopher Trice for producing the curriculum DVD and to the entire TV New Media staff for music’s stunning webcasts.

TABLE OF CO

NTEN

TS

Forward 2

Options for Teachers 3

Meet the Artists 4

Lesson Plans/Handouts 7

Concert Etiquette Lesson 18

Appendix (Standards) 19

2

Music and the Arts at Trinity Wall Street is dedicated to promoting lifelong engagement with music through a comprehensive program of educational opportunities, cultural activities, and free access to Trinity’s acclaimed performances. Trinity carries out this vision through extensive educational youth programs and partnerships with underserved schools and communities throughout New York City. Through these efforts, Trinity provides free opportunities for all to experience music at the highest level of excellence.

Music and the Arts outreach maintains a student-centered philosophy of education, catering to the individual

FOREWORDWelcome teachers to Trinity’s new outreach program!

goals of each school, while addressing core and educational standards. From Trinity’s webcasts to classroom curricula and live Concerts at One participation, Trinity provides highly interactive educational experiences to participating students. Our engaging curricula is designed for all teachers, regardless of music background. In addition, Trinity offers professional development and educational opportunities for teachers at partnering schools.

We appreciate you partnering with us to supplement the well-rounded education your students are already receiving. Please do not hesitate to contact me with any questions about the lesson plans – you are the most vital part of the students receiving this education and I am happy to help in any way. As this is our pilot year, we greatly appreciate any feedback or suggestions and we sincerely thank you for being a part of our program.

Sincerely,

Dr. Melissa BakerAdministrator, Music and the ArtsTrinity Wall [email protected]

3

As this is our pilot year, we wanted to make sure that the curricula are user-friendly. The content of these lesson plans can be taught at any age, but the writing style is geared more toward a middle school aged student. Please feel free to adjust the content and text so that the lesson ideas are put into context for the age group you are teaching.

Items that are in green are informative and you can choose to read these or present this information any way that you feel is appropriate.

Items that are in red are a prompt and are intended to be read to the class. These prompts are designed to encourage class and group discussion while expanding the students’ ideas and understanding. Follow-up questions such as - Can you tell me more about that? What do you hear in the music? How does the music make you feel? – will provide further discussion for younger students as they develop more confidence in their vocabulary.

OPTIONS FOR TEACHERS

LISTENINGAs you facilitate listening and reflection discussion, consider the following ways to develop listening skills:

• Play some examples more than once so that the students can become familiar with the music

• Feel free to pause within the longer tracks to discuss smaller sections of the music

• Some prompts may work better if asked while the video is playing: music is harder to recall in memory only

STANDARDSStandards for each lesson are included in the appendix. Please feel free to include additional standards that would appropriately fit each lesson plan.

MATERIALSAll materials are provided, except for Lesson 6 creative extension. Please note that there is one cut-out page that will either need to be prepped or the cutting can be done by the students. The Trinity DVD is separated by tracks, but will play continuously, so please make sure to pause or stop the DVD at the end of each track.

TIME REQUIREDPlease note that these are approximate and are dependent on the length of class discussions.

MEET THE

ARTISTSCONCERTS

AT ONE FALL 2015

October 8: The Choir of Trinity Wall Street The GRAMMY®-nominated Choir of Trinity Wall Street is the premier ensemble at Trinity Wall Street. These peerless interpreters of early and new music will present turn of the 20th century works by Martin, Strauss and Mahler.https://www.youtube.com/watch?v=t0yjZNbBTnY

October 15: NOVUS NY Hailed by The New Yorker as “expert and versatile

musicians,” NOVUS NY is the contemporary music orchestra of Trinity Wall Street. This Third Thursday

concert will present works by Brahms and the NY Philharmonic’s newly named

composer-in-residence, Esa-Pekka Solonenhttps://www.youtube.com/watch?v=BHHkEwL6Zn4

October 22: Jeremy Kittel BandJeremy Kittel has earned a reputation as one of the most exceptional violinists and fiddlers of his generation. His diverse styles range from jazz, Scottish and Irish fiddle, bluegrass to classical music and more. Committed to nurturing future generations of musicians, he is a passionate educator and clinician.https://www.youtube.com/watch?v=Vm5Akm5w4zM

October 29: Founders Drawing from their international successes as

classical soloists, and an exceptional knowledge of composition, FOUNDERS has created a sound that is unique, inspired, and completely original. Whether it be a re-imagined Radiohead tune or

a new composition that draws from the American folk-music tradition, the music FOUNDERS creates

will thrill audiences of all generations. https://www.youtube.com/watch?v=bUBSCeFRWYE

November 5: Freedom ConcertModeled after the “freedom concerts” presented by the late Coretta Scott King throughout her leadership in the civil rights movement, this concert will present poetry and prose along with a wide range of classical and contemporary music.Great video that will be included in our curriculum!https://www.youtube.com/watch?v=UH5GWZG4b3E

5

November 12: Thomas Bergeron Jazz Sextet A trumpeter, composer, producer, and educator known for excelling in both the jazz and classical realms, Thomas Bergeron exemplifies a new breed of 21st century artists. He is a member of NOVUS NY and will perform with the jazz sextet from his recent album “Sacred Feast.”https://www.youtube.com/watch?v=zlCHlIXY7g0

November 19: NOVUS NY Percussion QuartetThe acclaimed percussion quartet from

NOVUS NY will perform Pulitzer Prize winning John Luther Adams’ monumental work in nine

movements Strange and Sacred Noise. (clip of the work)

https://www.youtube.com/watch?v=DajxfD2w2nQ

December 3: Chris Pattishall Quartet Recently named by Wynton Marsalis as one of the top five jazz musicians under 30 to watch, Chris Pattishall is quickly generating a powerful presence in the jazz world. Chris will return to Trinity with a diverse program of standard jazz, original, and holiday tunes.https://www.youtube.com/watch?v=_fHDoJdtWwE

December 10: Project Trio With infectous grooves and a beatboxing flutist,

PROJECT Trio is a passionate, high energy chamber music ensemble comprised of three

virtuosic composer/performers from Brooklyn, NY. Project is a rare chamber ensemble that uses hip hop beats to make classical music relevant for

today’s younger generation.https://www.youtube.com/watch?v=0Qg_y7lh5LY

December 17: Canadian Brass Holiday ConcertKnow as the “gold standard of brass,” the world renowned Canadian Brass are guaranteed to deliver an entertaining, spontaneous, virtuosic, and most of all, fun performance of holiday tunes.https://youtu.be/_gM9uqc6LbA

MEET THE

ARTISTSCONCERTS

AT ONE FALL 2015

7

SEQUENCE OF TEACHING AND LEARNING EXPERIENCES

1) Guided Discussion: What is Trinity Wall Street?

What do you think of when you think about “Trinity Wall Street”?

Do you know where Trinity is?

Hand out Trinity map (handout #1)

What landmarks do you see in this map?

Is Trinity’s location important? If so, why?

Can you find where you are on this map? Let’s find where we are on the map. Trace the route from our school to Trinity. What boroughs do we need to go through? How would we get there?

What do you think happens at Trinity Wall Street?

2) What goes on at Trinity Wall Street?

Play track 1 on the Trinity DVD

3) Reflective Discussion: What goes on at Trinity Wall Street?

What did you notice in that video? Are you surprised at what you watched?

Did any of those performers spark your interest?

Did you recognize any of the instruments in the video?

Trinity has several different ensembles that perform. Explain that an ensemble is any group of musicians that perform together. A choir is

an ensemble of singers and an orchestra is an ensemble of instrumentalists.

What ensembles did you see on the video?

4) Exploring Trinity: What makes Trinity so special?Handout #2 Read through (or have students read aloud) the Trinity History handout. Discuss the key points of Trinity’s history and its impact on New York City and the world.Examples of questions (please feel free to come up with your own):How old is Trinity?

What important events happened at Trinity?

What do you find most interesting about Trinity’s history?

Why do so many people visit Trinity Church and St Paul’s Chapel?

Questions geared for older students:Trinity received land from Queen Anne in 1705, how does that effect Trinity?

In what ways does Trinity help communities here and throughout the world?

When you attend a concert at Trinity Wall Street, you will not only attend a world renowned performance, you will get to be a part of New York City history!

Creative Extension

Have your students go on an internet scavenger hunt to find fun facts about Trinity and its history.

LESSON 1: Welcome to Trinity!AIM: What makes Trinity Wall Street special?

SUMMARY OF KEY ACTIVITIES:• Guided discussion and exploration of Trinity and its place in NYC history• Watch live music samples• Reflection and discussion

STANDARDS: See Appendix

MATERIALS: Trinity DVD, lesson plan & student handouts (1, 2)

VOCABULARY: choir, orchestra, chamber ensembles

TIME REQUIRED: 20-40 minutes

8


1) Guided Discussion: What makes up a choir?

Have students work in small groups and say the phrase “this is my voice” in their normal speaking volume. What did you notice about the different sounds of your voices?

Each of us has a different timbre to our voices. Timbre (pronounced tam-bur) is the character or quality of sound that makes us all sound different and unique. Timbre is different from pitch, which is how high or low your voice sounds. Some ways to describe timbre could be dark, warm, nasal, airy, bright, mellow, rich, velvety, lush, etc.

Have two students in the class say “this is the timbre of my voice.”

What are the differences in their timbres?

Who had a higher pitched voice?

A choir is made up of different voices that are put into “voice parts” or sections based on the pitch of their voices.

2) What are the different voice parts in a choir? Video Samples

Soprano is the highest vocal range of all voice types.

Play track 2: soprano sample

What did you notice about the timbre and pitch of her voice?

Alto is the 2nd highest voice, and is also known as the lower range of the female voice.

Play track 3: alto sample

What did you notice that was different from the soprano voice?

Do you think a boy could sing this part?

Some men have the ability to sing very high and they can hit the same high notes as females. In The Choir of Trinity Wall Street, most of the altos are actually boys! When a boy sings a higher (usually female) part he is called a countertenor.

Play track 4: countertenor sample

What did you think of the timbre and pitch of the countertenor’s voice?

Tenor is the highest of the ordinary adult male range.

Play track 5: tenor sample

How did the tenor sound compare to the countertenor?

LESSON 2: Welcome to The Choir of Trinity Wall StreetAIM: What is a choir?

SUMMARY OF KEY ACTIVITIES:• Guided discussion and exploration of voice types• Watch live music samples• Reflection and discussion


MATERIALS: Trinity DVD & lesson plan

VOCABULARY: choir, timbre, pitch, soprano, alto, tenor, bass


9

Bass is the lowest of the male range.

Play track 6: bass sample

What did you think of the pitch and timbre of his voice?

What voice part do you think you would be in a choir?

Is your voice high like a soprano, or low like a bass?

3) How do the different voice parts fit together? Video sample

Play track 7: all four solo voice parts singing together

Could you hear all four voices?

Do you think it helps to hear all four voices that their timbre and pitches are different?

Which voices could you hear the most?

4) Video samples: Exploring the full choir

Now we will listen to the full choir. See if you can hear the different voice parts in the choir. Each voice part will take a turn singing. When each voice enters, you will see the words “soprano,” “alto,” “tenor,” and “bass.”

Play track 8: He shall purify

Were you able to tell what the voices were?

Split the class into four groups and assign each group to be soprano, alto, tenor, and bass. Have them raise their hands when they hear their section sing.

Play track 9: He shall purify (without text)

Here is an example of the full choir singing together. In this song, hear the voices enter from low to high, bass then tenor then alto and finally soprano.

Play track 10: Jeremiah’s Fire

Here is an additional example with Trinity’s Youth Chorus.

Play track 11: Bobby McFerrin

5) Reflection

What was the most interesting thing you saw or heard and why?

Can you think of places or times that you may have heard a choir?

Creative Extension

Brainstorm a list of emotions.

Improvise timbre (airy, bright, nasal, mellow, rich, velvety, lush), pitch (high, low), and dynamics (volume) to embody one of the emotions on the list while saying the words to the Happy Birthday Song.

LESSON 2: Welcome to The Choir of Trinity Wall Street continued

10


1) Guided Discussion: What is an orchestra family?

Who are the members of your family?

What do they have in common and what makes them unique?

When we talk about an orchestra, we often talk about the instruments as being part of a family. Just like in our families, instruments in a particular family are related to each other. They are often made of the same thing, like wood or brass. They usually look similar to one another and they make sound in similar ways. Some are larger and smaller, just like parents and children.

2) What are the instruments in the different orchestra families?

Each family in the orchestra is grouped by the way they make sound.

Pass out the strings handout (handout #3)

What do you see that these instruments have in common?

What are these instruments made of?

Why do you think this family is called strings, even though they are made of wood?

Read or have students read aloud the information on the page.

Pass out the woodwinds handout (handout #4)



Why do you think this family is called woodwinds when some are metal?

Read or have students read aloud the information on the page

Pass out the brass handout (handout #5)



Why do you think this family is called brass when some are silver?


Pass out the percussion handout (handout #6)



How do you think these instruments are played?


LESSON 3: Welcome to NOVUS NY, the orchestra of Trinity Wall Street

AIM: What is an orchestra?

SUMMARY OF KEY ACTIVITIES:• Guided discussion and exploration of the orchestra and its instrument families• Watch live music samples • Reflection and discussion


MATERIALS: Trinity DVD, handouts 3-6 (instrument cutouts) & lesson plan

VOCABULARY: orchestra, strings, winds, brass, percussion, ensemble


11

3) Find your orchestra family

Using the pictures from the “instrument cutouts, provide cutouts of each individual instrument. Give each student one instrument cutout or have them pick randomly. Have students organize themselves with the other instruments that they think are in their orchestra family.

Why did you choose that family? What do you think makes your family unique?

4) What does an orchestra sound like?

Here is an example of the string family.

Play track 12

What instruments did you see or hear?

Could you hear the difference in their timbre?

Here is an example of the woodwind family.

Play track 13



Here are two examples of the brass family.

Play track 14



Here are examples of the percussion family.

Play track 15



Here are a few examples of all of the families of the orchestra playing together.

Have the students listen and watch and see if they can identify which instruments are playing.Play track 16

Creative ExtensionHave the students listen to track 16 and raise their hands when they hear either their family or instrument from Exercise 3. Find your orchestra family.

Literacy suggestions (grades K-5: listed in age order)Moss. Lloyd. Illus. by Marjorie Priceman. Zin! Zin! Zin! A Violin. Simon & Schuster Books for Young Readers, 1995.Lithgow, John. The Remarkable Farkle McBride. Simon & Schuster Books for Young Readers, 2000.Lach, William. Can You Hear It? Abrams Books for Young Readers, 2006.Ganeri, Anita. The Young Person’s Guide to the Orchestra. Harcourt Brace & Company, 1996.

LESSON 3: Welcome to NOVUS NY continued

12


1) Guided Discussion: Reviewing the Civil Rights Movement.

Lead a class discussion about the Civil Rights Movement. Be sure to include what the fight for civil rights was about, Jim Crow laws, a few key people, and the time period (1960–1965).

Introduce/Review Dr. Martin Luther King, Jr.’s “I Have A Dream” speech (http://www.teachertube.com/video/i-have-a-dream-speech-20916) by looking at photos, video, and websites, such as nypl.org or naacp.org.

What are some of the issues that Dr. King discusses in his speech?

Turn and talk to a classmate on this question: Are we still faced with similar issues today? Have students document answers.

2) What is a freedom song?

Read the following quote from Dr. King:

“In a sense the freedom songs are the soul of the movement. They are more than just incantations of clever phrases designed to invigorate a campaign; they are as old as the history of the Negro in America. They are adaptations of the songs the slaves sang—the sorrow songs, the shouts

for joy, the battle hymns and the anthems of our movement. I have heard people talk of their beat and rhythm, but we in the movement are as inspired by their words. ‘Woke Up This Morning with My Mind Stayed on Freedom’ is a sentence that needs no music to make its point. We sing the freedom songs today for the same reason the slaves sang them, because we too are in bondage and the songs add hope to our determination that ‘We shall overcome, Black and white together, We shall overcome someday.’” — Dr. Martin Luther King, Jr.

Music and singing played a critical role in inspiring, mobilizing, and giving voice to the civil rights movement. The history of freedom songs actually dates over a century prior to the civil rights movement. With African roots, spirituals were not only songs of faith and hymns of endurance, but often had secret meanings to help slaves find the underground railroad. It is believed that through these spirituals, music was crucial in helping thousands of slaves escape.

Spirituals became used as Freedom Songs as anthems for the civil rights movement. Music was pivotal to the movement’s productivity, communicating unspeakable feelings and a nation-wide desire for radical change. Music gave the movement strength and added variety to freedom progression strategies. Freedom songs were direct and repetitive, allowing the message

LESSON 4: Freedom ConcertAIM: What is the history of freedom songs?

SUMMARY OF KEY ACTIVITIES:• Guided discussion and exploration of freedom songs and their importance in American

history• Watch live music samples and /or prepare for live Trinity concert experience• Learn the Freedom song “O Freedom!” • Create original lyrics to “O Freedom!” • Reflection and discussion


MATERIALS: Trinity DVD, lesson plan & student handouts (?)

VOCABULARY: freedom song, civil rights, a cappella, lyrics


13

to be clear. Melodies were simple and repetitive, which allowed easy involvement within both black and white communities. Freedom songs gave a sense of great connection and were often used politically to grab the attention of the nation to address the severity of segregation.

3) Listen and learn “O Freedom!”

Watch video clip of “O Freedom:” Play track 17

(For an original 7-minute interview and performance: www.youtube.com/watch?v=UH5GWZG4b3E)

What type of ensemble did you see on the video?

Describe the timbre of the voices. The group is singing a cappella, or without instrument accompaniment. Most freedom songs were performed a cappella in order to make them accessible to all people and easy to perform in any venue or situation.

4) Exploring the lyrics of O Freedom!

Pass out and have the students read the lyrics of O Freedom! (handout #7)

What are the lyrics saying?

What does freedom mean to you?

Have students sing along with the recording.

5) Reflection and Discussion

What are some current events that could benefit from hearing this freedom song?

Creative ExtensionStudents compose their own lyrics to O Freedom!

Have students use a worksheet to compose individual lyrics to O Freedom! or have them write their own.

Refer to class and student notes that have been taken throughout the lessons for help. Selected lyrics will be printed in the program and sung during the Freedom Concert at Trinity.

Create your own lyrics to O Freedom!

Oh freedom, oh freedom, oh freedom over meAnd before I’d be a slave I’ll be buried in my graveAnd go home to my Lord and be free

No more ______________, no more ______________, no more ___________over meAnd before I’d be a slave I’ll be buried in my graveAnd go home to my Lord and be free

No more ____________, no more _____________, no more ____________over meAnd before I’d be a slave I’ll be buried in my graveAnd go home to my Lord and be free


There’ll be ___________, there’ll be __________, there’ll be ____________ over meAnd before I’d be a slave I’ll be buried in my graveAnd go home to my Lord and be free

There’ll be ____________, there’ll be _____________, there’ll be ___________ over meAnd before I’d be a slave I’ll be buried in my graveAnd go home to my Lord and be free


LESSON 4: Freedom Concert continued

14


1) Guided Discussion: Where did beatboxing come from?

Play track 18

Where did the term “human beatbox” come from?

Name the three basic parts of a drum set.

2) Body rhythms

What kinds of different sounds can you make with your bodies?

Have the students experiment with clapping, stomping, snapping fingers, slapping knees, etc.

What kind of different sounds can you make with your mouths?

Have them explore a range of sounds: words, yawns, coughs, air sounds, buzzing, clicks, breathing in and out, shh, etc.

3) Turn your class into a human drum set

Using the words “boots” and “cats,” you will be teaching the class how to simulate the sounds of a kick (bass) drum, snare drum, and high hat cymbal.*

Everyone say the word “boots.”

Now say it a few times, exaggerating the “b” and the “ts.”

We will start with the bass drum. The “b” sound is simulating the bass drum. Have the class practice saying a non-voiced “b” and experiment with air and lips to make a loud percussive sound. Have them do eight together in a consistent time (use the second hand of a clock if needed to keep them steady).

Next is the high hat cymbal. The “ts” sound simulates hitting the high hat. Have them practice a few non-voiced “ts” sounds. Have them do eight together.

Now let’s combine bass drum and high hat (by saying unvoiced boots).

Have the class keep a steady beat (use the second hand of a clock if needed for the b’s).“b” “ts” “b” “ts” “b” “ts” “b” “ts”

Everyone say the word “cats.”

Now say it a few times exaggerating the “c” (or kuh) and the “ts.”

We will start with the snare drum. The “c” sound is simulating the snare drum. Have the class practice saying a non-voiced “c” and experiment with pushing a good amount of air so that there is a clear and loud consonant on the “kuh” sound.Have them do eight together in a consistent time (use the second hand of a clock if needed to keep them steady).

LESSON 5: Project TrioAIM: What is beatboxing?

SUMMARY OF KEY ACTIVITIES:• Guided discussion and video explaining beatboxing and where it came from • Explore the sounds of a drum set (kit)• Explore body rhythms• Learn beatbox basics through “boots cats”


MATERIALS: Trinity DVD & lesson plan

VOCABULARY: drum kit, snare, kick drum, high hat, beatbox


*Note that this part of the lesson plan will be explained thoroughly during Trinity’s professional development seminar.

15

Now let’s combine the snare drum and high hat (by saying unvoiced “cats”).

Have the class keep a steady beat.“kuh” “ts” “kuh” “ts” “kuh” “ts” etc.

Now let’s put together our human drum set. Using repeated “b” “ts” “kuh” “ts” (boots cats), have the class try to keep a steady beat together and experiment with making these sounds as percussive and drum-like as possible.

Have students volunteer freestyle and experiment with various sounds while the class keeps steady beats of “boots cats.”

Creative Extension Play around with different consonants to see what different drum-like sounds you can create. Experiment with the following sentences to create different rhythmic patterns (unvoiced). Underlined parts are on the beats (you can have the class clap a steady beat–use the second hand if needed and make sure the underlined parts line up with the claps).

Boots Cats BarbequeBent In ShentonBouncing pizzaBaboons and pigsBaboons and pigs are beyond petite patternsSoccer boot, soccer ball (not too fast–like a samba!)Sick(a) bag, Sick(a) dog (like a shaker–exaggerate k)

LESSON 5: Project Trio continued

16


1) Guided Discussion: Review of the brass family

Who are the members of the brass family?

Pass out handout # 8

What do they have in common and what makes them unique?

Characteristics that are common to brass instruments: they are made of brass, they all have a cup-shaped mouthpiece, and they all have a flare-shaped bell at the end. The trumpet, tuba, and French horn all have keys, called valves, which are pressed in various combinations to produce different pitches. The trombone does not have any valves, but instead has a slide, which is used to produce different pitches.

2) How do brass players make a sound?

Have the students buzz their lips. You can either have them buzz them like a motorcycle or horse, or if they cannot produce a buzz, tell them to say “mmmm” with their lips, blow air through the mouthpiece (while still saying “mm”) and if there is no buzz yet, firm the lips until a buzz sounds.

This “buzzing” sound is the basic sound for all brass instruments. Brass musicians buzz into their mouthpiece, which projects the buzz as a pitch.

The mouthpiece connects to a length of brass tubing that ends in a bell. The smaller instruments have less tubing and produce a higher sound. The bigger instruments have more tubing, which produces a lower sound.

Which instruments on the brass handout will sound higher and which sound lower?

What do you think the flare-shaped bell does to the sound?

By focusing the sound in a specific direction (like a megaphone), the sound is made louder by the shape of the bell.

Have the students amplify their voices by cupping their hands around their mouths, simulating a megaphone.

3) What does a brass quintet sound like?

To explore the sounds of the brass quintet, we will listen to Bach’s “Little Fugue.” A fugue is when a short melody called a subject is passed around through the instruments.

Here is the “subject” of the fugue, played by the trumpet.

Play track 19

Play the track again (possibly a few times) and see if the class can sing along with the first three notes of the subject. This will help the students identify the subject throughout the fugue.

LESSON 6: Canadian BrassAIM: What is a brass quintet?

SUMMARY OF KEY ACTIVITIES:• Guided discussion and exploration of the brass instruments in a quintet• Watch live music samples • Reflection and discussion


MATERIALS: Trinity DVD, handout & lesson plan

VOCABULARY: trumpet, trombone, French horn, tuba, valve, slide, fugue, subject


17

Now we will listen to the entire fugue. Have the students raise their hands when they hear the subject and see if they can identify the instrument playing the subject.

Play track 20

What instruments did you hear playing the subject?

How did their pitches and timbres differ?

Have the students think of different characters or animals that could represent the brass instruments. Have them discuss why they chose that character or animal and how they hear that in the instrument.

This next song is called “Flight of the Bumblebee.”

Play track 21

How do the instruments reflect the character of the song?

See if you can identify the characters in “You’re a Mean One Mr. Grinch.”

Play track 22

Have the students listen and watch carefully to see how the musicians portrayed characters.

What did you notice about the performance?

Were there any surprises?

LESSON 6: Canadian Brass continued

1. Practice making your lips buzz. 2. Press your lips inside the tube and buzz away!3. Try making your lips buzz faster and slower. You'll soon discover that if you buzz your lips just right, you'll get the best sound from the horn. This is because of an effect of sound waves. When the length of the sound wave you create matches up well with the length of the tube, the sound gets stronger.

You can change the sound of your trumpet by using tubes that are thicker and thinner. You can also change the sound if you manage to find tubes that are conical—that is, they get bigger throughout the length of the tube. Mix and match the tubes and experiment to discover your own experimental trumpet.

Creative Extension: Experimental TrumpetAllow students to practice buzzing, noting that with a little practice, higher and lower pitches can be achieved by making their lips vibrate faster or slower.

Make a trumpet! (See the following activity, adapted from NYPhilkids.org)

YOU WILL NEED

1. Using a knife or scissors, ask a teacher to help you carefully cut off the spout of the soda bottle. You want the cut part of the bottle to match up to be slightly larger than the width of the cardboard tube. This will be your mouthpiece.

2. Tape the mouthpiece to the cardboard tube.

PROCEDURE

3. Form the construction paper into a funnel shape. The smallest part of the funnel should be able to fit over the non-mouthpiece end of the cardboard tube. Tape the construction paper so that the funnel keeps its shape.

4. Tape the funnel to the tube.

TRY IT OUT

Plastic soda bottle

Paper towel tube or cardboard gift wrapping tube

Masking tape or duct tape

A sheet of construction paperA sharp knife

1818

TEACHING OBJECTIVE Students will demonstrate an understanding of appropriate audience behavior in a variety of settings.

PRE-ASSESSMENT Ask students how they would behave at a symphony concert.

TEACHING SEQUENCE

1. Ask students to describe places where they were members of an audience. Answers could include attending a movie, a theater, a sports arena, at home watching television, a concert hall, etc.

2. Discuss the appropriate audience behavior for each of the settings listed above. For example, how would audi-ence behavior at a golf tournament be different from a football game? How would the audience behave at a rock concert compared with a classical concert or a recital by a single person?

3. Choose students to act as performers in at least three of the settings listed above. For example, they may pretend to be playing a sport like golf or tennis; or they could pretend to be playing

Action Ideal Behavior

Talking Talks softly before and after concert, but does not talk once the performance begins

Body Keeps body quiet with little movement during the performance

Listening Actively listens during concert

Clapping Claps when the musicians enter and at the end of each piece of music. Clapping can be enthusiastic; but yelling, shouting, whistling and stomping are not appropriate.

CONCERT ETIQUETTE LESSON PLAN

CONCERT ETIQUETTE SURVEY

instruments in an orchestra or a rock band. Allow the students to perform while the rest of the class pretends to be in the audience.

4. Before and after each performance, review with the class where they are pretending to be and help the class evaluate the appropriate audience behavior for each location. Point out that some behaviors that are fine in one setting are considered inappropriate in another. Ask performers if they felt that the audience’s behavior was appropriate for their performance and why.

CULMINATING ACTIVITY

Tell students that they will soon be going to a concert where they will see a professional ensemble. Help students create a rubric for correct behavior at a symphony concert. Have students use this list to evaluate their behavior after the concert.

EVALUATION

Did student responses indicate an understanding of the appropriate audience behavior as an audience member in a variety of settings?

Less

on P

lan

Gra

des

Stra

nd

Stan

dard

All

(1-6

)K

-8La

ngua

ge A

rts:

Rea

ding

Info

rmat

iona

l Tex

tRI

.K.1

- 8.

1D

emon

stra

te u

nder

stan

ding

of k

ey d

etai

ls a

nd c

once

pts

of th

e te

xt in

eac

h le

sson

: ask

and

ans

wer

que

stio

ns.

All

(1-6

)K

-8La

ngua

ge A

rts:

Rea

ding

Info

rmat

iona

l Tex

tRI

.K.4

- 8.

4D

eter

min

e th

e m

eani

ng o

f the

voc

abul

ary

wor

ds in

trod

uced

in e

ach

less

on p

lan

All

(1-6

)6-

8La

ngua

ge A

rts:

Rea

ding

Info

rmat

iona

l Tex

tR.

I.6.2

- 8.

2D

eter

min

e th

e ce

ntra

l ide

a of

the

less

on p

lan

and

prov

ide

a su

mm

ary

of k

ey d

etai

ls

All

(1-6

)K

-8La

ngua

ge A

rts:

Spe

akin

g &

Lis

teni

ngSL

.K.1

- 8.

1En

gage

in c

olla

bora

tive

and

refle

ctiv

e di

scus

sion

s ab

out m

ater

ial p

rese

nted

All

(1-6

)K

-8La

ngua

ge A

rts:

Spe

akin

g &

Lis

teni

ngSL

.K.2

- 8.

2D

eter

min

e th

e m

ain

idea

s as

pre

sent

ed in

var

ious

form

ats

(vid

eo, p

ictu

re, m

aps,

etc

)

All

(1-6

)K

-8La

ngua

ge A

rts:

Lan

guag

eL.

K.1

- 5.

1D

emon

stra

te c

omm

and

of E

nglis

h gr

amm

ar a

nd c

onve

ntio

ns d

urin

g re

flect

ive

disc

ussi

ons

All

(1-6

)6-

8La

ngua

ge A

rts:

Lan

guag

eL.

6.1

- 8.1

Mak

e lo

gica

l inf

eren

ces

from

m th

e te

xt; c

ite s

peci

fic te

xtua

l evi

denc

e du

ring

disc

ussi

ons

All

(1-6

)K

-8La

ngua

ge A

rts:

Lan

guag

eL.

K.4

- 8.

4D

eter

min

e or

cla

rify

the

mea

ning

of n

ew v

ocab

ular

y w

ords

in e

ach

less

on

Less

on 1

6-8

His

tory

/ So

cial

Stu

dies

: Rea

ding

His

tory

RH.6

.1 -

8.1

Read

Trin

ity H

isto

ry c

lose

ly to

det

erm

ine

wha

t the

text

say

s an

d m

ake

logi

cal i

nfer

ence

s fro

m it

Less

on 1

6-8

His

tory

/ So

cial

Stu

dies

: Rea

ding

His

tory

RH.6

.2 -

8.2

Det

erm

ine

the

cent

ral i

deas

with

in T

rinity

's H

isto

ry a

nd a

naly

ze th

eir d

evel

opm

ent w

ith k

ey s

uppo

rtin

g de

tails

.

Less

on 1

6-8

His

tory

/ So

cial

Stu

dies

: Rea

ding

His

tory

RH.6

.4 -

8.4

Det

erm

ine

the

mea

ning

of n

ew w

ords

and

phr

ases

that

are

incl

uded

thro

ugho

ut th

e le

sson

pla

n (fo

cusi

ng o

n hi

stor

y)

Less

on 1

6-8

His

tory

/ So

cial

Stu

dies

: Rea

ding

His

tory

RH.6

.7 -

8.7

Inte

grat

e an

d ev

alua

te th

e vi

sual

info

rmat

ion

from

the

vide

o an

d ph

otog

raph

s

Less

on 1

ext

6-8

His

tory

/ So

cial

Stu

dies

: Writ

ing

His

tory

WH

ST.6

- 8.

6U

sing

the

inte

rnet

to p

rodu

ce w

ritin

g an

d pr

esen

t add

ition

al fa

cts

abou

t Trin

ity a

nd re

latio

nshi

ps to

less

on p

lan

info

rmat

ion

Less

on 1

ext

6-8

His

tory

/ So

cial

Stu

dies

: Writ

ing

His

tory

WH

ST.6

- 8.

8G

athe

r rel

evan

t inf

orm

atio

n fro

m m

ultip

le p

rint a

nd d

igita

l sou

rces

Less

on 4

K-8

Lang

uage

Art

s: W

ritin

gW

.K.5

- 8.

5Re

writ

e ly

rics

to "

O F

reed

om"

to c

onve

y yo

ur fe

elin

gs o

n fre

edom

Less

on 4

6-8

His

tory

/ So

cial

Stu

dies

: Rea

ding

His

tory

RH.6

.1 -

8.1

Dis

cuss

and

read

Civ

il Ri

ghts

Mov

emen

t his

tory

; det

erm

ine

wha

t the

text

say

s an

d m

ake

logi

cal i

nfer

ence

s fro

m it

Less

on 4

6-8

His

tory

/ So

cial

Stu

dies

: Rea

ding

His

tory

RH.6

.2 -

8.2

Det

erm

ine

the

cent

ral i

deas

with

in C

ivil

Righ

ts h

isto

ry a

nd a

naly

ze it

s de

velo

pmen

t with

key

sup

port

ing

deta

ils.

Less

on 4

6-8

His

tory

/ So

cial

Stu

dies

: Rea

ding

His

tory

RH.6

.4 -

8.4

Det

erm

ine

the

mea

ning

of n

ew w

ords

and

phr

ases

that

are

incl

uded

thro

ugho

ut th

e le

sson

pla

n (fo

cusi

ng o

n hi

stor

y)

Less

on 4

6-8

His

tory

/ So

cial

Stu

dies

: Rea

ding

His

tory

RH.6

.7 -

8.7

Inte

grat

e an

d ev

alua

te th

e vi

sual

info

rmat

ion

from

the

vide

o an

d ph

otog

raph

s

Less

on 6

6-8

Scie

nce:

Rea

ding

Sci

ence

and

Tec

hnic

al S

ubje

cts

RST.

6.2

- 8.2

Det

erm

ine

the

cent

ral i

deas

; pro

vide

an

accu

rate

sum

mar

y of

how

bra

ss in

stru

men

ts w

ork

Less

on 6

6-8

Scie

nce:

Rea

ding

Sci

ence

and

Tec

hnic

al S

ubje

cts

RST.

6.4

- 8.4

Det

erm

ine

the

mea

ning

s of

the

voca

bula

ry w

ords

and

dis

ucss

the

scie

nce

behi

nd p

rodu

cing

sou

nd o

n a

bras

s in

stru

men

t

Less

on 6

ext

6-8

Scie

nce:

Rea

ding

Sci

ence

and

Tec

hnic

al S

ubje

cts

RST.

6.3

- 8.3

Follo

w th

e m

ultis

tep

proc

edur

e to

car

ry o

ut th

e cr

eativ

e ex

tens

ion

proj

ect

Nat

iona

l and

NYC

Mus

ic a

nd A

rts

Stan

dard

s

All

(1-6

)K

-8N

atio

nal S

tand

ards

for M

usic

Edu

catio

nSt

anda

rd #

6Li

sten

ing

to, a

naly

zing

, and

des

crib

ing

mus

ic

All

(1-6

)K

-8N

atio

nal S

tand

ards

for M

usic

Edu

catio

nSt

anda

rd #

7Ev

alua

ting

mus

ic a

nd m

usic

per

form

ance

s

All

(1-6

)K

-8N

atio

nal S

tand

ards

for M

usic

Edu

catio

nSt

anda

rd #

8U

nder

stan

ding

rela

tions

hips

bet

wee

n m

usic

, the

oth

er a

rts,

and

dis

cipl

ines

out

side

the

arts

All

(1-6

)K

-8N

atio

nal S

tand

ards

for M

usic

Edu

catio

nSt

anda

rd #

9U

nder

stan

ding

mus

ic in

rela

tion

to h

isto

ry a

nd c

ultu

re

All

(1-6

)K

-8N

YC B

luep

rint f

or th

e ar

ts: M

usic

Mak

ing

By

expl

orin

g an

d ob

serv

ing

mus

ic, s

tude

nts

expe

riene

c th

e po

wer

of m

usic

to c

omm

unic

ate

All

(1-6

)K

-8N

YC B

luep

rinnt

for t

he a

rts:

Mus

ic L

itera

cySt

uden

ts d

eveo

p a

wor

king

kno

wle

dge

of m

usic

and

app

ly it

to a

naly

zing

and

eva

luat

ing

mus

ic

All

(1-6

)K

-8N

YC B

luep

rint f

or th

e ar

ts: M

akin

g C

onne

ctio

nsB

y in

vest

igat

ing

hist

oric

al, s

ocia

l, an

d cu

ltura

l con

text

s, s

tude

nts

enric

h th

eir c

reat

ive

wor

k an

d un

ders

tand

the

sign

ifica

nce

of

mus

ic in

the

evol

utio

n of

hum

an th

ough

t and

exp

ress

ion.

All

(1-6

)K

-8N

YC B

luep

rint f

or th

e ar

ts: C

omm

unity

and

C

ultu

ral R

esou

rces

Stud

ents

bro

aden

thei

r per

spec

tive

by w

orki

ng w

ith p

rofe

ssio

nal a

rtis

ts a

nd a

rts

orga

niza

tions

that

repr

esen

t div

erse

cul

tura

l and

pe

rson

al a

ppro

ache

s to

mus

ic, a

nd b

y se

eing

per

form

ance

s of

wid

ely

varie

d m

usic

sty

les

and

genr

es.

All

(1-6

)K

-8N

YC B

luep

rint f

or th

e ar

ts: C

aree

rs a

nd L

ifelo

ng

Lear

ning

Stud

ents

con

side

r the

rang

e of

mus

ic a

nd m

usic

-rel

ated

pro

fess

ions

as

they

thin

k ab

out t

heir

goal

s an

d as

pira

tions

, and

und

er-

stan

d ho

w th

e va

rious

pro

fess

ions

sup

port

and

con

nect

with

eac

h ot

her.

All

(1-6

)K

-8N

ew Y

ork

Stat

e Le

arni

ng S

tand

ards

for t

he A

rts

Stan

dard

# 1

Cre

atin

g, P

erfo

rmin

g, a

nd P

artic

ipat

ing

in th

e A

rts

Stud

ents

will

act

ivel

y en

gage

in th

e pr

oces

ses

that

con

stitu

te c

reat

ion

and

perf

orm

ance

in th

e ar

ts (d

ance

, mus

ic, t

heat

re, a

nd v

isua

l art

s) a

nd p

artic

ipat

e in

var

ious

role

s in

the

arts

.

All

(1-6

)K

-8N

ew Y

ork

Stat

e Le

arni

ng S

tand

ards

for t

he A

rts

Stan

dard

# 2

Kno

win

g an

d U

sing

Art

s M

ater

ials

and

Res

ourc

es: S

tude

nts

will

be

know

ledg

eabl

e ab

out a

nd m

ake

use

of th

e m

ater

ials

and

re

sour

ces

avai

labl

e fo

r par

ticip

atio

n in

the

arts

in v

ario

us ro

les

All

(1-6

)K

-8N

ew Y

ork

Stat

e Le

arni

ng S

tand

ards

for t

he A

rts

Stan

dard

# 3

Resp

ondi

ng to

and

Ana

lyzi

ng W

orks

of A

rt: S

tude

nts

will

resp

ond

criti

cally

to a

var

iety

of w

orks

in th

e ar

ts, c

onne

ctin

g th

e in

divi

d-ua

l wor

k to

oth

er w

orks

and

to o

ther

asp

ects

of h

uman

end

eavo

r and

thou

ght.

All

(1-6

)K

-8N

ew Y

ork

Stat

e Le

arni

ng S

tand

ards

for t

he A

rts

Stan

dard

# 4

Und

erst

andi

ng th

e C

ultu

ral C

ontr

ibut

ions

of t

he A

rts:

Stu

dent

s w

ill d

evel

op a

n un

ders

tand

ing

of th

e pe

rson

al a

nd c

ultu

ral f

orce

s th

at s

hape

art

istic

com

mun

icat

ion

and

how

the

arts

in tu

rn s

hape

the

dive

rse

cultu

res

of p

ast a

nd p

rese

nt s

ocie

ty

HANDOUT 1: Where We Are

Bronx

Man

hatta

nQueens

Brooklyn

Staten Island

NYCBOROUGHS

World Trade Center

St. Paul’s Chapel

Trinity

Church

HANDOUT 2: Trinity History

Trinity Wall Street is an Episcopal parish that has been a part of New York City since 1697. Located on Broadway at the

head of Wall Street, Trinity stands as a symbol of spiritual values in the midst of downtown’s thriving financial district and residential community. It is deeply rooted in the city’s and nation’s history.

Established during the British occupation of New York and recognized by royal charter, Trinity was the first Anglican Church in Manhattan. After the Revolutionary War, Trinity helped form the Episcopal Church of America. The current building is the third on the site and was consecrated in 1846.

A number of Episcopal churches in New York were founded originally as Trinity chapels before be-coming independent. St. Paul’s Chapel, at Broadway and Fulton Street, remains part of the parish today.

Built in 1766, George Washington prayed there after his inauguration as Presi-dent in 1789. Located just across the street from the World Trade Center, St. Paul’s played an important role in hosting recovery workers after the attacks of September 11, 2001.

Trinity and St. Paul’s also have historic churchyards that are the final resting place of a number of notable people, including Alexander Hamilton, Robert Fulton, and a number of statesmen, inventors, judges, printers, soldiers, ministers, and others that had a hand in shaping Trinity, New York City, and the nation. Together, both churches average about 3 million visitors a year.

Trinity has a strong tradition of music and arts programming. The Choir of Trinity Wall Street, a GRAMMY®-nominated professional ensemble, helps lead Sunday worship and performs concerts of early and

contemporary music throughout the fall and spring. Many concerts are webcast on the internet and are often heard on WQXR, New York’s classical music station. The choir performs with the Trinity Baroque Orchestra and NOVUS NY, the contemporary music orchestra. Trinity has provided free weekly music offerings since the 1920s and continues this tradition through it various series including Concerts at One and Bach at One.

Trinity Church through the ages

Continued

HANDOUT 2: Trinity History

Trinity’s Faith in Action is the grant-making arm of the organization, investing in local and global organizations. In addition to providing assistance for projects in metropolitan New York, Trinity has a strong commitment to partnerships with Africa’s An-glican churches, as well as parishes and bishops in Panama, New Orleans, and Haiti, among others. In an effort to “raise the next generation of leaders,” Trinity advocates for support of public schools in the neighborhoods of church parishes.

Because of a land grant from Queen Anne in 1705, Trinity is an important New York property owner. Trinity Real Estate owns and operates more than six million square feet of space in 18 commercial build-ings, mostly located in the Hudson Square district

about a mile north of Trinity and St. Paul’s. As the primary landlord in the area, Trinity has played a leading role in transforming the neighborhood from light industrial to modern office use. The revenue from Trinity’s real-estate holdings makes much of the parish’s mission and ministry work possible and provides for the upkeep of Trinity and St. Paul’s. •

St. Paul’s Chapel: The oldest building in continuous use in New York City.

HANDOUT 3: Strings

The strings have been the main part of the orchestra for over three hundred years. They are the largest family of instruments in

the orchestra and they come in four sizes: the violin, which is the smallest, viola, cello, and the biggest, the double bass. The smaller instruments, the violin and viola, make higher-pitched sounds, while the larger cello and double bass produce low, rich sounds. They are all similarly shaped, with curvy, wooden, hollow bodies and wooden necks. The strings stretch over the body and neck and attach to small decorative heads, where they are tuned with small tuning pegs. • NOVUS bass section

Owen Dalby, NOVUS violinist

Claire Bryant, NOVUS cellist

Strings

bass

cello

viola violin

The woodwind family got its name because they were originally all made of wood (the flute is now made of metal) and air, or wind, is needed to play

them. Woodwind instruments make sounds in three different ways. The flute makes a sound by blowing air through an opening in the top of the flute called the head joint. The clarinet uses a single reed, made of one piece of wood, to produce sound. When air is blown against the reed, which is attached to a mouthpiece, it vibrates to make sound. The oboe and bassoon use a double reed, or two pieces of wood vibrating against each other, to make a sound. •

HANDOUT 4: Woodwinds

Trinity Baroque Orchestra oboe section

Melissa Baker, flute, NOVUS NY

Woodwinds

piccolo fluteclarinet oboe bassoon recorder

Brass family instruments produce their sound when the player buzzes his/her lips while blowing air through a metal, cup-shaped

mouthpiece. The mouthpiece connects to a length of brass tubing that ends in a bell. The smaller instruments have less tubing and produce a higher sound. The bigger instruments have more tubing, which produces a lower sound. Most of the brass instruments have valves, which open up different lengths of tubing, changing the pitch. The members of the brass family are the loudest in the orchestra and can trace their ancestry back to herald trumpets, hunting horns, and military bugles. •

HANDOUT 5: Brass

Brass

John Thiessen, trumpet, Trinity Baroque Orchestra

NOVUS brass section

baritone horn

bass trombone

trumpet

cornet

tenor horn

tuba

flugel horn

euphonium

French horn

natural trumpet

trombone

HANDOUT 6: Percussion

The instruments in the percussion family are played by being struck, shaken, or scraped. There are two types of percussion instruments,

tuned and untuned. The tuned notes play specific pitches, like the timpani or a xylophone. The untuned produce a sound with an indefinite pitch, like the cymbals. Percussion instruments add much color, variety, and excitement to the orchestra. Drums are among the earliest instruments. Their ancestors can be found in Africa, Asia, the Americas, Europe, and the Middle East. •

Percussion

NOVUS percussionists

tom-tomhi-hat cymbal

snare drum

drumsticks

drum kit

bass drum

harmonica maracas triangle castanets tambourine

kettle drum steel drum

xylophone

glockenspiel

congas

tension post crash cymbal

high-hat cymbals

rack toms

tripod standbass drum

lug

snare drum

ride cymbal

Drum Set

percussion sticks

HANDOUT 7: O Freedom

Oh freedom, oh freedom, oh freedom over me

And before I’d be a slave I’ll be buried in my grave

And go home to my Lord and be free

No more moaning, no more moaning, no more moaning over me



No more weeping, no more weeping, no more weeping over me






There’ll be singin’, there’ll be singin’, there’ll be singin’ over me



There’ll be glory, there’ll be glory, there’ll be glory over me






HANDOUT 8: Canadian Brass

Brass

Members of Canadian Brass

baritone horn

bass trombone

trumpet

cornet

tenor horn

tuba

flugel horn

euphonium

French horn

natural trumpet

trombone

HANDOUT: Instrument Cutouts

violin viola

cello


flute

oboe

clarinet


trombonetrumpet

tuba


tambourene

bass drum

staff listing & contributors · engagement with music through a comprehensive program of...

Documents