teacher's guide for discover/next generation concerts

Symphony Orchestra

n n n n n n n nn n n n n nn nn

Laura Jackson conductor

William Grant Still: “Humor” from Afro-American Symphony

Alexander Borodin: In the Steppes of Central Asia

Gustav Holst: “The Dargason” from St. Paul’s Suite

William Walton: Passacaglia, “The Death of Falstaff” from Henry V

Georges Bizet: “Carillon” from L’Arlésienne Suite No. 1

20 05 -20 0 6 Young Peop l e ’s Conce r t s

music = patternsWolfgang Amadeus Mozart: Movement III (Minuet and Trio) from Symphony No. 40

Atlanta

Look around you. Do you see a pattern anywhere? Patterns are everywhere. Repeating something creates a pattern. You can find patterns

in your clothing. Think of stripes, flowers or squares repeated in fabrics.

You can find patterns in nature. Think of the leaves on a tree. You can even know a tree’s name if you know the shape of the leaf. All maple trees have leaves that look like hands, for instance. That “hand” pattern repeats in every leaf.

There are patterns in poems. There are patterns in math. There are patterns in the days of our lives.

Music also has patterns. Composers make patterns by repeating a rhythm or a melody. Patterns are very important in music. Music would just wander around if it did not have a pattern. Patterns help you remember the music.

The music you hear at the Young People’s Concert will have patterns of all kinds. This lesson will help you begin to notice musical patterns when you listen to the radio or your CDs.

We are looking forward to seeing you here at Symphony Hall. This book contains some patterns that you’ll see all around our building. When you arrive, try to find them. Meanwhile, study your lessons on patterns. See you soon!

Trombones

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The Teacher’s Guide

Pass any playground and you will hear the age-old sounds of young hands clapping and snapping in perfect rhythm to sing-song chants. Children naturally create rhythm patterns and rhyme patterns in their games. We humans seem to have patterns hard-wired into our beings.

Babies will follow the patterns in Pat-a-Cake or “Ride a horsey, ride a horsey down to town. Look out! Look out! Don’t fall down!” Children think these games are just for fun, but they are developing music and math skills through their play.

Once in school, students are taught to count by twos, fives and tens – more number patterns. Students learn that the world around them is all about patterns. Artists repeat shapes or colors that create patterns in quilts, stained glass windows and tapestries. Naturalists marvel at the spiral pattern in a nautilus shell or a zebra’s stripes. Scientists study weather patterns and the patterns of molecular behavior. Poets use language artistically, often based on a metrical or rhyming pattern.

Music=patterns –- literally! In the music of Western culture, there are only twelve tones available. Repetition is inevitable. We usually create order in that repetition through patterns. The very foundation, the “beat” of music, is nothing more than a recurring pulse at regular time intervals. That is the basis of the simplest of musical patterns – a metrical pattern: 1-2-3, 1-2-3 (triple meter) or 1-2, 1-2 (duple meter).

Nearly all music has pattern. There are a few exceptions. They are difficult to comprehend, precisely because pattern is absent. Composers can create a pattern by repeating one, two or a group of many notes. They can repeat a single pitch or interval. They may repeat a two-note rhythm incessantly throughout a piece. A rhythm like is nothing more than repeated pairs of notes, the first of which is two times as long as the second. When you repeat this mathematical 2:1 pattern, you have a rhythm pattern.

On a larger scale, composers arrange long themes (melodies) in sequences that contain at least one repetition to create the large patterns we call sectional musical form. Sectional forms may be symmetrical (as in ABA form) or asymmetrical (ABACAD). Musical forms can be simple (exact repetition) or complex (with subtle changes in each repetition.)

Art is the imposing of a pattern on experience, and our aesthetic enjoyment is recognition of the pattern.

Alfred North Whitehead (1861-1947), Dialogues

Teacher’s Introduction

The teacher pages provide:• Further interesting background on the music and/or composer• Strategies for presenting the student activities • Correlation with music textbooks• Correlation with the Georgia Quality Core Curriculum• Other Resources, including websites, books and recordings for further studyThe Curriculum Connections section includes visual art, science, social studies, language arts and mathematics activities to support the patterns theme.

RECOMMENDED SEQUENCE OF INSTRUCTION

(Note: These materials were designed for use in many different instructional settings. Whether you are a 3rd grade classroom teacher, a middle school orchestra or general music teacher or a home-school instructor, the lessons are designed so that anyone can teach them. Adaptations may be necessary. The important thing is that students have an opportunity to explore all of the materials in preparation for the concert. Their enjoyment and yours will be greatly enhanced.)

1. Teacher preparation: Read all of the materials. Preview the 30-minute videotape. 2. Have students read the introduction in their booklet first. 3. View the videotape. You might show a section of the videotape (it’s clearly di-

vided) each day over several days or you may play it all in one day. The videotape indicates where to pause and play the entire composition on the CD if you de-sire. Follow each videotape section with the reading and activities in the student booklet. Each lesson should take no more than 15 minutes and (for grades 3-5) provide good transition time between other subjects. If you teach middle school music classes, an entire class might be devoted to the videotape and activities, or use the lessons as a beginning or closing activity for several classes. Several activities require additional opportunities to hear the entire composition. You might also use the CD for casual listening any time.

4. The integrated curriculum activities in each subject area might be taught at the same time you present the music activities or after the entire videotape and all music activities are presented. You will probably see possibilities for incorporat-ing these activities into other subject lessons, creating stronger connections among the parts of the curriculum. Be sure to share the integrated curriculum activities with the students’ other teachers.

5. Please send the student booklet home for parents to see. It includes a note to parents regarding other concert opportunities for the whole family.

A note about the visual art on these pages: We have chosen illustrations that utilize patterns. Encourage students to identify patterns in the world around them. Resources available in your school: Consult the Share the Music (McGraw-Hill) Master Index for the following examples of patterns. (Each district in the greater Atlanta area adopted this text series in 1999. It should be readily available in your school.)

Movement, patterned: p. 116, Dance styles: p. 151, Hand jives and hand dances: p. 121, Locomotor, patterned: p. 121, Dance steps: p. 122, American Sign Language: p. 149, ABA Form: p. 92, American Sign Language: p. 149

The teacher’s guide to Music = Patterns is organized around the Atlanta Symphony Orchestra concert your students will hear at Symphony Hall. For each music selec-tion on the program you will find a copy of the student materials for that piece, and, on the facing page, strategies for presenting the student material and extending the lesson. Each lesson is correlated with the Share the Music (McGraw-Hill) textbook series and with the Georgia Quality Core Curriculum. Supplementary activities for visual art, language arts, social studies, mathematics and science appear in the back of the Teacher’s Guide.

We believe that music is essential to a complete education. We further believe that music is a necessary and equal part of the total school curriculum. We have produced these lessons with those beliefs as our guiding principle. We hope you will take full advantage of this guide and the other materials provided so that your students can in turn be knowledgeable and eager participants in the wider culture of their city and their world.

Students will receive the maximum benefit from their concert experience if the abundant connections between music and the other parts of the curriculum are emphasized. The materials in this guide will help you to make those connections. We urge you to share these materials with all of your colleagues who teach the students attending the concert. Share the teaching and multiply the results! Additional copies of the Teacher’s Guide videotape and CD are available by calling 404-733-4871. Or you may download the print materials from www.atlantasymphony.org/education.

We welcome your comments and questions. After using these materials and attending the concert, please take a moment to complete the evaluation form you will receive at Symphony Hall. Staff assistance with these materials is available by calling the ASO Education Department at 404-733-5038. LESSON OUTLINE

Each student lesson includes the following components:• Background information about the music• Background information about the composer• Activities to do after viewing a section of the video or hearing the CD

How To Use This Guide

In school year 2005-06, we will explore patterns in music. Pattern is de-fined as an artistic or decorative design or a design of natural or accidental

origin. Patterns are created by repeating some element.

The elements of the arts – line, color, rhythm and form - are the mate-

rial out of which all designed things are created. In music, we call line

“melody” and we call color “tone color”. Tone color refers to the char-

acteristic sounds of the instruments and how those sounds are combined.

We think that rhythm is a purely musical concept. There is visual rhythm as

well. When lines and shapes are repeated in a visual artwork, the result is

visual rhythm. Form is present in all designed things. Form is the structure,

organization or arrangement of the materials of music, visual art, dance,

architecture, etc. In previous years, the Atlanta Symphony Orchestra Young

People’s Concerts have explored some of the elements of music. This year,

we will see how they are used to create patterns in music. Then we will

see how those patterns are used to build a composition.

A pattern, whether in nature or art, relies upon three characteristics: a unit

(a melody, a shape, an event, etc.), repetition, and a system of organization.

Your students will hear classical music that utilizes a variety of patterns.

Some of the patterns consist of small bits of musical material – a two-note

rhythm or a short melodic motif. There are also large patterns, as found in

the over-arching form of a composition. Each piece of music on the con-

cert was chosen because its use of pattern is evident to young listeners.

We will compare patterns in music with patterns in other designed

things as well as in the natural world. Though patterns can be found in

other disciplines besides music, one of the most significant uses of pat-

terns appears in mathematics. This unit of study will reinforce the con-

cept of number patterns. These lessons provide other opportunities for

connections with the broader curriculum. Please refer to the Curriculum

Connections page at the back of the Teacher’s Guide for ideas.

We welcome you to this year’s ASO Young People’s Concerts. Please let us

know if we can assist you in any way to prepare your students for the concert.

The Artist’s Toolbox


The teacher pages provide:• Further interesting background on the music and/or composer• Strategies for presenting the student activities • Correlation with music textbooks• Correlation with the Georgia Quality Core Curriculum• Other Resources, including websites, books and recordings for further studyThe Curriculum Connections section includes visual art, science, social studies, language arts and mathematics activities to support the patterns theme.

RECOMMENDED SEQUENCE OF INSTRUCTION

(Note: These materials were designed for use in many different instructional settings. Whether you are a 3rd grade classroom teacher, a middle school orchestra or general music teacher or a home-school instructor, the lessons are designed so that anyone can teach them. Adaptations may be necessary. The important thing is that students have an opportunity to explore all of the materials in preparation for the concert. Their enjoyment and yours will be greatly enhanced.)

1. Teacher preparation: Read all of the materials. Preview the 30-minute videotape. 2. Have students read the introduction in their booklet first. 3. View the videotape. You might show a section of the videotape (it’s clearly di-

vided) each day over several days or you may play it all in one day. The videotape indicates where to pause and play the entire composition on the CD if you de-sire. Follow each videotape section with the reading and activities in the student booklet. Each lesson should take no more than 15 minutes and (for grades 3-5) provide good transition time between other subjects. If you teach middle school music classes, an entire class might be devoted to the videotape and activities, or use the lessons as a beginning or closing activity for several classes. Several activities require additional opportunities to hear the entire composition. You might also use the CD for casual listening any time.

4. The integrated curriculum activities in each subject area might be taught at the same time you present the music activities or after the entire videotape and all music activities are presented. You will probably see possibilities for incorporat-ing these activities into other subject lessons, creating stronger connections among the parts of the curriculum. Be sure to share the integrated curriculum activities with the students’ other teachers.

5. Please send the student booklet home for parents to see. It includes a note to parents regarding other concert opportunities for the whole family.

A note about the visual art on these pages: We have chosen illustrations that utilize patterns. Encourage students to identify patterns in the world around them. Resources available in your school: Consult the Share the Music (McGraw-Hill) Master Index for the following examples of patterns. (Each district in the greater Atlanta area adopted this text series in 1999. It should be readily available in your school.)

Movement, patterned: p. 116, Dance styles: p. 151, Hand jives and hand dances: p. 121, Locomotor, patterned: p. 121, Dance steps: p. 122, American Sign Language: p. 149, ABA Form: p. 92, American Sign Language: p. 149

The teacher’s guide to Music = Patterns is organized around the Atlanta Symphony Orchestra concert your students will hear at Symphony Hall. For each music selec-tion on the program you will find a copy of the student materials for that piece, and, on the facing page, strategies for presenting the student material and extending the lesson. Each lesson is correlated with the Share the Music (McGraw-Hill) textbook series and with the Georgia Quality Core Curriculum. Supplementary activities for visual art, language arts, social studies, mathematics and science appear in the back of the Teacher’s Guide.

We believe that music is essential to a complete education. We further believe that music is a necessary and equal part of the total school curriculum. We have produced these lessons with those beliefs as our guiding principle. We hope you will take full advantage of this guide and the other materials provided so that your students can in turn be knowledgeable and eager participants in the wider culture of their city and their world.

Students will receive the maximum benefit from their concert experience if the abundant connections between music and the other parts of the curriculum are emphasized. The materials in this guide will help you to make those connections. We urge you to share these materials with all of your colleagues who teach the students attending the concert. Share the teaching and multiply the results! Additional copies of the Teacher’s Guide videotape and CD are available by calling 404-733-4871. Or you may download the print materials from www.atlantasymphony.org/education.

We welcome your comments and questions. After using these materials and attending the concert, please take a moment to complete the evaluation form you will receive at Symphony Hall. Staff assistance with these materials is available by calling the ASO Education Department at 404-733-5038. LESSON OUTLINE

Each student lesson includes the following components:• Background information about the music• Background information about the composer• Activities to do after viewing a section of the video or hearing the CD

How To Use This Guide

Still

It’s a par - ty________ Let’s go danc-ing______

William said this was his “hallelujah” rhythm. Do you see how the rhythm fits the word?

Hal-le – lu - jah_________

Listen to Humor, then answer these questions:

Does the rhythm pattern stay the same or does it change?

Does the rhythm pattern slow down, speed up or stay the same tempo?

Does the rhythm pattern ever stop? Activity 2:

Repeated rhythms hold the music together. Too many repeated things can be boring. What does William Grant Still do to make the music interesting?

(Circle the things you hear.)

Change instruments playing the rhythm

Change the melody playing along with the rhythm

Change the dynamics (loud-soft)

Change the rhythm pattern slightly

Activity 3:

William Grant Still uses a repeated rhythm pattern in his music. Can you recognize the patterns below and predict what comes next?

a. 1, 2, 4, 8, ___, ___, ___, ___, ___, ___,

b. 1, 2, 4, 7, 11, 16, 22, ___, ___, ___, ___,

c. 1, 1, 2, 3, 5, 8, 13, 21, ___, ___, ___, ___,

d . 5 ,4 ,9, 8 ,13 ,12 ,17,16 , , , , , , ,

e. °®°°®°°°® ___ ___ ___ ___

f. A B A C A D A ___ ___ ___ ___ ___ ___

g. ___ ___ ___ ___ ___ ___

h. ___ ___ ___ ___ ___ __

William Grant Still (1894-1978)

“Humor” from Afro-American Symphony

This music will make you feel happy. You might hear some melodies you have heard before. You will hear a rhythm pattern repeated many times. The repeated rhythm pattern helps hold the music together.

About the Composer

William Grant Still grew up in the South. His father was a band director. William took music lessons when he was young. His mother wanted him to become a doctor. He became a composer instead.

William made a living by writing music for radio, television and movies. He wanted to become a classical composer. His

dream came true. He wrote five symphonies and nine operas. He conducted symphony orchestras, too.

About the Music

Listen to the very first rhythm pattern in this piece. You will hear that rhythm many times. This music is

about feelings. It makes us think about having a good time at a party.

In this music, you hear a lively rhythm at the beginning. Then the music becomes quieter. The lively rhythm comes back at the

end. Can you hear the banjo playing?

Activity 1:

A rhythm pattern is a repeated group of long and short notes. The rhythm pattern in

Humor is short-short-short-long. The notes for the rhythm pattern are:

Try saying these words to know how the rhythm sounds.

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Text Correlations: Gr. 4: p. 309; Gr. 5: pp. 52, 64, 86; Gr. 7: p. 129; Gr. 8: pp. 48-49, 106, 332

William Grant Still (1894-1978)

“Humor” from Afro-American Symphony

More About the Music

William Grant Still composed music during the flowering of African American culture - the Harlem Renaissance. This piece of music brings Still’s background in popular music and jazz together with his classical training. The 3rd movement, entitled Humor, is just that – a humorous combination of the blues motive that is a thread running through every movement of the Afro-American Symphony, the rhythms of ragtime and the popular Gershwin tune “I Got Rhythm,” written in the same year for the Broadway show, Girl Crazy. The blues motive is played by the low brass instruments with a new rhythm. Still prefaced each movement with a quotation from a poem by Harlem Renaissance poet Paul Laurence: “An’ we’ll shout ouah hallelujahs/On dat mighty reck’nin’ day.” This piece illustrates the use of a rhythm pattern repeated frequently and providing unity for the entire movement. Before listening to “Humor,” explain that a rhythm pattern is simply a group of long and short sounds that is repeated many times. Begin by clapping a 4-beat rhythm, and asking the students to echo it back to you. Go back and forth between teacher and students repeating the same rhythm. Then ask students to create a new rhythm pattern and lead the activ-ity. Help students invent their own rhythm patterns to accompany a number of familiar tunes.

Activity 1: 1. The “hallelujah” rhythm returns many times, sometimes in an altered form.2. The tempo of the piece remains constant. 3. Sometimes the rhythm pattern disappears, but not for long.

Activity 2: Still employs all the methods listed for introducing variety into the music. The “hal-lelujah” rhythm bounces around from the violins, to the oboe, flute clarinet, muted trumpet and trombones. The accompanying melody changes. You hear both the “I Got Rhythm” tune and the blues theme on top of the rhythm pattern. The dynam-ics go from loud to soft and back again to loud. He occasionally makes the first note a dotted eighth note, changing the rhythm slightly. Also, he was the first to use the banjo in a symphony.

Resources:• http://www.musiclab.com/products/lib_info.htm - You won’t find a better source for

demonstrating rhythmic, melodic and harmonic patterns in music. Great for teaching how certain rhythm patterns help define style and genre of music.

• http://www.philtulga.com/unifix.html - Build rhythm patterns with this interactive game.

• http://pbskids.org/cyberchase/games/patterns/patterns.html - Rhythm pattern ma-chine for younger students.

• http://digital.library.wisc.edu/1711.dl/AfricaFocus - Search the collection and choose “Songs and Singing.” Listen to the rhythms and patterns of African music.

• http://www.seussville.com/university/reasoning/games/ - Pattern identification for young students.

• http://highered.mcgraw-hill.com/sites/0072287683/student_view0/chapter1/activities.html# - Interactive site. Compose by combining rhythm patterns. Match rhythm patterns. Go to “chapter two” to do the same with melody patterns.

• Exploring Patterns, by Betty Franco (Scholastic 1999), ISBN 0590644405X

More About the Composer

William Grant Still was born in Mississippi and raised in Little Rock, Arkansas. His band director father died when William was three months old. His mother was an English teacher. He grew up listening to his stepfather’s recordings of opera and his grandmother singing spirituals. He studied violin privately. He later commented that he had to acquaint himself with the popular music of the time, since he didn’t hear much of it growing up.

He became a part of that popular music scene, playing in the bands of jazz greats W.C Handy and Eubie Blake. At the same time, he arranged music for dance band leaders Paul Whiteman and Artie Shaw. Meanwhile, he studied com-position at Oberlin College, at the New England Conservatory and with avant garde composer Edgar Varése.

Still

About the Music

Alexander called In the Steppes of Central Asia a picture in music. He said that it was very quiet out in the steppes. You can hear the sound of camels coming from far away. The footsteps of the camels make a rhythm. The rhythm of their steps never stops.

People traveled certain routes across the steppes. They called those routes the Great Silk Road. The caravans carried silk cloth and other beautiful things from Asia to Europe. This piece of music is like a moving picture. You hear the steps of the camels from far away. Then they get closer. When they get very close, you hear two melodies. The first one sounds like a Russian folk song. The second one sounds Oriental. The melodies seem sad and strange. Slowly, the caravan disappears into the distance.

Activity:

On the Great Silk Road, people moved things over a long distance. They also carried information and ideas along the Silk Road. It

was the first “world wide web.”

Look at the map below. The area in the circle is Central Asia. What is happening in Central

Asia today? Read more about the Silk Road at this website:

www.silkroadproject.org

Alexander Borodin (1813-1887)

In the Steppes of Central Asia

Sometimes you hear one rhythm pattern repeated all the way through a piece of music. We call that a rhythmic ostinato. The ostinato in this music helps tell a story.

Imagine a huge area of land with no trees. We call that kind of place a steppe. A steppe is like a prairie or a plain. A steppe is rockier and drier than a prairie. Think of a group of people slowly walking across the “steppe”. They are leading camels. The camels carry heavy loads of supplies. Listen for the rhythm of the camels walking. That walking rhythm is the rhythmic ostinato.

About the Composer

Alexander Borodin was born in Russia. He loved school. He started music lessons when he was eight years old. He learned

to play the piano and the flute. Before long, he started writing music.

Alexander was a scientist. He discovered important things. Music was his hobby. He wrote music when he was off from work. When he got

older, he spent more and more time on his music.

Alexander loved writing music. He also loved cats. He

had more than twenty cats!

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Resources: • Major, John. The Silk Route: 7000 Miles of History. Harper Trophy, 1997. A good

resource for younger children.• MacDonald, Fiona. The World in the Time of Marco Polo. Parsippany, N.J.: Dillon

Press, 1997. Appropriate for Elementary and Middle School.• Nicholson, Robert. The Mongols: Facts, Stories, Activities. New York: Chelsea Juniors,

1994. Good for Elementary and early Middle School.• http://www.ias.berkeley.edu/orias/MarcoPolo/marcopolo.html - This is the GA DOE-

recommended lesson plan on Marco Polo and his travels.• http://www.metmuseum.org/explore/marco/get.html - Retrace the journey of Marco

Polo on the Silk Road from China to Venice. See works of art from countries along the way. (DOE-recommended) Elementary School

• http://www.readwritethink.org/lessons/index.asp - This is the NCTE and International Reading Association site. Search on “Silk Road” or “Marco Polo.”

• http://www.AskAsia.org - This is the Asia Society’s educational site.• http://www.silk-road.com - The Silk Road Foundation site.• http://www.silkroadproject.org - This excellent site has an extensive set of lesson

plans and links to other sites. See the pictures of musical instruments of the Silk Road countries.

More About the Composer Alexander Borodin was well known in scientific circles for his contributions to the field of chemistry. His dissertation at the Russian Academy of Sciences was the first written in Russian rather than Latin. He received a Doctor of Medicine degree despite his tendency to faint at the sight of blood. He never practiced medicine.

He devoted more and more of his time to composition as he matured. He said that his composer friends wished he would be ill more often so that he would stay home and compose.

He died suddenly at 54 from a brain hemorrhage and was buried next to his friend, Russian composer Modest Mussorgsky. His brokenhearted wife, Katarina, died just a few months later. His composer friends Rimsky-Korsakov and Glazunov completed and published his famous opera Prince Igor after his death. Interestingly, Borodin received the Tony Award for composition posthumously in 1954. Melodies from his opera were used in the American Broadway musical Kismet. More About the Music In the Steppes of Central Asia is a tone poem - a one-movement programmatic composition. In a tone poem, the program or theme can be a nature scene, an event, a location, a story, a country, a feeling, a character, a poem or a piece of art.

Borodin’s music describes not only the desolation of the steppes (the sustained high pitch in the beginning), but also the slow and monotonous trek of the pack animals and the people (listen for the plucking in the lower strings-the rhythmic ostinato). Over the even pulse of the footsteps floats a peaceful Russian song (played by the clarinet) and then you hear an exotic Oriental-sounding melody (played by the English horn). The Oriental melody is a fragment from Prince Igor, also known as the “Polovtsian Dances.” George Forrest and Robert Wright used this melody for their song “Stranger in Paradise” in the 20th century American musical Kismet. Borodin joins the two melodies toward the end of the piece, symbolizing the joining of Eastern and Western cultures.

Activity:This piece provides an opportunity to teach your students about the rich history of the Great Silk Road. The Silk Road was a vast trade route not only connecting Japan to Venice, but also spanning a period from the 2nd century BC to the 15th century AD. The resources listed above provide information on the cultural, artistic, political, reli-gious and economic significance of the Silk Road. At a minimum, explore the geographi-cal location of the Silk Road and its significance in current affairs. The Marco Polo sites above apply particularly to 4th grade Social Studies curriculum, but there is a treasure trove of resources for every subject from Early Exploration to Global Economics.

Text Correlations: Gr. K: T143; Gr. 2: p. 250; Gr. 4: pp. 24, 56, 361G; Gr. 5: pp. 96, 178

Alexander Borodin (1813-1887)

In the Steppes of Central Asia

Gustav Holst (1874-1934)

“The Dargason” from St. Paul’s Suite

You will hear a melodic pattern in this music. The composer turned this melodic pattern into a melodic ostinato. An ostinato repeats from the beginning to the end of a piece of music. An ostinato never stops. It goes on and on.

About the Composer

Gustav Holst was born in England. His father was a piano teacher. His mother died when Gustav was only eight years old. His father’s sister came to take care of Gustav.

Gustav was an unhappy little boy. He could not see well. Since no one noticed, he did not get glasses. He had very bad pains in his hands. His father wanted him to be a pianist. Practicing hurt his hands. Gustav decided to play the trombone instead. Then one day he started writing music. He wrote music the rest of his life.

Gustav was a very good music teacher. He taught at St. Paul’s Girls School in Hammersmith, England. He composed most of his music while he taught at St. Paul’s. The first piece he wrote there was St. Paul’s Suite.Holst

About the Music

St. Paul’s Suite is a group of four pieces Gustav wrote for his students. The last one, “The Dargason,” is a very old English dance tune. People danced a jig to this tune. A jig is a lively dance. The modern name for the tune is “The Irish Washerwoman.”

“The Dargason” is unusual. It has no end! It’s a good melody for an ostinato. You will hear another melody called “Greensleeves.” It is an old English tune, too. It is very different from “The Dargason” tune. It is not a lively dance. It is a ballad. You hear “Greensleeves” only twice.

Activity:

Listen to the “The Dargason.” Circle the correct answers below.

How many tunes does this piece have? 1 2 3 4

Which instrument family do you hear?

Woodwinds Brasses Percussion Strings

How many times is the Dargason tune played? 3 4 5 6 7

Which of these two pictures looks like “The Dargason” sounds?

1. ≠≠≠≠≠≠≠≠

2. ≠≠≠≠≠≠≠≠

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More About the Composer Gustav Holst was a gifted teacher and composer who enjoyed many successes in his lifetime. Despite his success, he often felt rejected by the public. Our 21st century ears are now accustomed to the compositional techniques that were so new in the earlier part of the last century. Many of Holst’s works have been “rediscovered.”

Holst was a natural scholar. His interests ranged from Hindu philosophy and Sanskrit literature to astrology. In the course of composing, he learned new languages in order to make his own translations of various texts. His lifelong friend and mentor, Ralph Vaughan Williams, introduced him to his own English folk heritage.

Despite Holst”s poor health, he traveled widely, usually lecturing and always walk-ing - his favorite sport. In 1923, he injured his head when he fell from a conducting podium during a rehearsal. He never quite recovered. Ten years later, he suffered a bleeding ulcer. Though his surgery for the ulcer was successful, he died from heart failure after the operation. He left behind thirteen operas, numerous choral, vocal solo and orchestral works, hymns, incidental music and works for brass band.

ActivityThere are two melodies in The Dargason; the jig tune and the Greensleeves tune. The piece is written for strings only. A melodic ostinato is a short, repeated melody pattern, which is intended to be performed together with another melody to produce harmony. The jig melody is an ostinato (repeated over and over), while the Greensleeves melody enters later and is an overlay on the first tune.

The Dargason melody is played seven times. The first graphic illustrates the way Holst uses the two melodies.

Extend the Lesson Listen to the Mars movement of Holst’s The Planets to hear another melodic ostinato.

Teach your students the old song “Hey, Ho, Nobody Home,” then teach them the melod-ic ostinato. Play “Hey, Ho, Nobody Home” on this website, and hear the melodic ostinato:

http://www.uwosh.edu/faculty_staff/liske/musicalelements/texture/poly6.html

Text Correlations: Gr. 4: p. 325 (“Hey, Ho! Nobody Home”); Gr. 6: p. 158: Gr. 7: pp. 102-103, 138-179; Gr. 8: pp. 126-129

Gustav Holst (1874-1934)

“The Dargason” from St. Paul’s Suite

William Walton (1902-1983)

Passacaglia, “The Death of Falstaff”, from Henry V

This music is sad. Look at the title. It’s about someone dying. This music is from a movie. The people in the movie are remembering a man named Falstaff. Falstaff was their friend who died.

Two things make this music sound sad. It is very slow. Also, very low instruments are the first thing you hear.

There is one big pattern in this piece. Can you hear it?

About the Composer

William Walton’s father was a choir director. His mother taught singing. He lived in Oldham, England. He left home at ten years old.

William became a chorister when he was ten. A chorister is a choir singer. Choir school is like a boarding school. The choristers live together in a dormitory. A chorister goes to school and sings every day in the choir.

William’s choir school was in Oxford, England. William stayed at Oxford after choir school. He became a student at the university there. He began composing while he was at choir school.

William grew up during World War II. He was drafted into the army. His duty was to write music for patriotic movies. William wrote this music for the movie Henry V. The story is about war between England and France. Falstaff was an old friend of the King of England, Henry V. William Walton was nominated for an Academy Award for his Henry V music.

About the Music

This piece of music is a passacaglia (pah - sah - kahl´- yah). A passacaglia is written in a slow triple meter. That means it has groups of three beats. Passacaglias often tell sad stories.

A long time ago, the passacaglia was a slow dance. Then it became a piece of music with a short melody repeated all through the piece. The repeated melody is another musical pattern. Sometimes we call the repeated melody a basso ostinato.

Activity 1:

Listen to the William Walton’s Passacaglia. The melody is four measures long (12 beats). How many times do you hear the complete melody?

Is the repeated melody always played by the same instruments?

Circle the instruments you hear in this piece:

strings

woodwind

brass

percussion

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A study of patterns in music would not be complete without exploring a passacaglia. Unfortunately, most well known passacaglias are very long and not very accessible to a young listener. We chose Walton’s brief passacaglia from his score for the World War II film Henry V because of its brevity and clarity. It is an excellent and very ac-cessible example of the form.


Walton was immersed in music during his early life. His time as a chorister at Christ Church Cathedral at Oxford was the beginning of his life as a composer. His first piece was performed when he was sixteen. His undergraduate years at Oxford were spent more on his music than his prescribed studies. He spent hours studying scores in the Oxford music library.

He finally left Oxford without a degree. He accepted an invitation to live with the literary Sitwell siblings - Edith, Sacherevell and Osbert. He spent much of his time in an upstairs room composing. Through the Sitwells, he met some of the greatest literary and musical figures of the time - Delius, Diaghilev, T.S. Eliot, Peter Warlock, Stravinsky, Gershwin and Ezra Pound.

His first significant composition, Façade, premiered in the Sitwell home in 1922. It combined Walton’s music with Edith Sitwell’s poetry. His next years were a whirl-wind of commissions and concerts.

During World War II, he concentrated on a line of composition already familiar to him: film scores. The British military wanted him to compose music to accom-pany the patriotic movies so important to the morale of civilians and soldiers alike. One of those films was Henry V.

Henry V is based on the Shakespeare play of the same name. The bravery of King Henry in battle was deemed a source of inspiration for the troops. Released in 1944, it was popular just as the war in Europe was ending. The remembrance of the death of Falstaff is an especially sad moment in the film. Falstaff was the youthful inspira-tion to Henry when he was the reckless Prince Hal. It is said that Falstaff’s humor and love of mischief helped mold the personality of the much-loved monarch.


A passacaglia is a continuous variation form. While the ground melody goes on unchanged, the other lines are freely varied throughout.

The ground bass is taken from a bawdy tune, “Watkins Ale” of 15th century England. The tune’s connection to Shakespeare’s time is important, of course, but the text of the old song refers to the perils of drinking and losing control. Flastaff, Prince Hal and their friends were said to be expert carousers in their time. A sad remembrance of Falstaff would naturally recall the source of much of their fun. Bawdy or not, the melody adapts well to the passacaglia form.

Activity1:

The passacaglia melody is repeated nine times. A fragment of the melody provides a short ending. The first three times, the melody is in the double bass. The fourth and fifth are played by the cello/viola. The bass enters again for the sixth iteration. Twice you hear the viola repeat the melody. Then, the ninth repeat is played by the violins with the basses varying the other lines. The piece is written entirely for strings.

Text Correlations: Gr. 4: p. 325 (“Hey, Ho! Nobody Home”); Gr. 6: p. 158: Gr. 7: pp. 102-103, 138-179; Gr. 8: pp. 126-129

William Walton (1902-1983)

Passacaglia, “The Death of Falstaff”, from Henry V

Movement III (Minuet and Trio) from Symphony No. 40 Wolfgang Amadeus Mozart

MINUET (A)

TRIO (B)

♥ Violins ♥ Oboes, flutes, then bassoons ♥ Violins ♥ Oboes, flutes, then bassoons

♥Cellos (Woodwinds answer) ♥Horns and violins ♥Horns, flutes, bassoons

♥Cellos (Woodwinds answer) ♥Horns and violins ♥Horns, flutes, bassoons

MINUET (A)

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Wolfgang Amadeus Mozart (1756-1791)

Movement III (Minuet and Trio) from Symphony No. 40

This piece has an ABA pattern. It is symmetrical. This piece, called a minuet, is slow and serious. Minuets have a B section called a trio.

About the Composer

Mozart’s father taught him at home. He wrote his first piece of music when he was five years old. He was a musical prodigy. A prodigy is a young person who is unusually talented. Mozart’s father took his son all over Europe. He wanted to show off Mozart’s talent and make money from it.

Mozart met most of the kings and emperors of his day. Mozart amazed them. He could create a new piece of music in a very short time. He wrote 600 pieces of music in his lifetime. He played the piano better than anyone else. He didn’t even have to practice!

About the Music

A minuet is a type of dignified dance. Mozart did not mean for people to dance to this minuet. It was a “concert” piece, meant only for listening. Minuets always have groups of three beats. As you listen to it, count “1-2-3, 1-2-3.”

The string instruments and the woodwind instruments seem to echo each other in this piece. Listen for them. They repeat each other a lot. Because they repeat the other’s melodies, they create a pattern.

The big pattern in this piece is ABA. All minuets and all scherzos have a three-part form called ABA form.

Listening Activity

Listen to the minuet. Follow the musical map to find all of the patterns. Circle all of the repeated parts.

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Wolfgang Amadeus Mozart (1756-1791)

Movement III (Minuet and Trio) from Symphony No. 40

Resources:• http://www.artsalive.ca/pdf/mus/mozart_en.pdf - An excellent and complete teacher’s resource packet for teaching about Mozart’s life and music.• www.stringsinthemountains.org/m2m - An interactive story of Mozart’s life for grades 3-6.• www.mozartproject.org/biography/bi_56_60.html - A thorough survey of Mozart’s early life and career.• http://library.thinkquest.org/22673/orchestra.html - An interactive survey of the instruments of the orchestra. See and hear each of the instruments.• Mike Venesia, Wolfgang Amadeus Mozart (Getting to Know the World’s Greatest Composers)


Mozart was a keyboard virtuoso at age 6. He could read concertos at sight and could fascinate audiences by improvising variations, fugues and fantasias on demand. Mozart composed in his head, then quickly jotted down the entire composition. His music was a synthesis of all the styles he heard in his early travels.

Mozart and his sister Nannerl can be compared with musical prodigies of today. That doesn’t capture the extraordinary quality of Mozart’s gifts, however. He was a true genius. He was not only a brilliant performer, but also a composer of enor-mous ability at an unusually young age. Lead your students in a discussion of the kind of education and practice it takes to play an instrument well or compose great music. Mozart was born with the skills other composers work a lifetime to acquire.

Both Nannerl and Wolfgang were often sick. Their life on the road was very dif-ficult and robbed them of a normal childhood. It wasn’t all boredom and hardship, though. By the age of eight, Mozart had met most of the emperors, kings and queens of Europe. He had the adoration and attention of a large public.

Mozart’s last years were difficult. Just as it appeared he was about to enter an easier time, while he was writing his brilliant Requiem, Mozart died. He was buried in an unmarked grave in Vienna.


In a burst of creativity, Mozart wrote his last three symphonies (Symphonies 39 - 41) in six weeks during the summer of 1788. He is listed in the Guiness Book of World Records for that feat. He was to die in only three years at the age of 35.

The 40th is Mozart’s second to last symphony. He wrote it during one of the most depressing periods of his life. Mozart’s suffering is evident. He felt that he was no longer the wunderkind. Others were beginning to eclipse his fame. There is no record of a commission for the work, so he could only hope that it might bring some income. His six-month-old daughter had just died. He was forced to move his family to smaller quarters because of lack of money. It’s not surprising that this and his last symphony are the only ones he wrote in a melancholy minor key. Alfred Einstein, the noted Mozart scholar, suggested that these last three symphonies were composed as “representing no occasion, no immediate purpose, but an appeal to eternity.”

The minuet is an odd mix of zest and angst. The trio is solemn. The harmonies were positively daring for their time. The form is thoroughly Classical, clear and balanced. Yet, the emotional quality of Mozart’s melodies are well beyond Haydn and his own early works.

Instead of full-blown melodies, Mozart relied on musical motifs in this movement. He invents just a couple of short melodies and repeats them many times, changing them slightly with each repetition. The trio is in G-major and makes use of instru-

ment groups for contrast.

Text Correlations: Gr. 2: pp. 133, 343A, 343B; Gr. 3: p. 359C; Gr. 7: p. 30

Georges Bizet (1838-1875)

“Carillon” from L’Arlésienne Suite No.1

Plays presented on the stage sometimes have music. That kind of music is called incidental music. The music helps set the scene for the play. This music is for a wedding scene. You can hear the wedding bells chime.

About the Composer

Georges Bizet had a happy childhood. His father was a singing teacher. His mother was a famous pianist. Georges’ mother taught him to read music and words when he was four years old. His father wanted him to become a great musician. His father sometimes hid Georges’ schoolbooks from him so that he would not stop his practice.

Georges went to study at the Paris Conservatory when he was only nine. He wrote his first symphony when he was 17 years old. He won a lot of prizes and awards for his music.

When Bizet was 33, he wrote music for L’Arlésienne, a play by Alphonse Daudet. The play was not very popular. The people did like Bizet’s music, though. He put the pieces into a suite so that it could be played in concerts.

About the Play

The play L’Arlésienne (The Girl from Arles) is a melodrama. A melodrama is a bit like a soap opera. This melodrama is the sad story of a family in the south of France. Their oldest son Frederico falls in love with a farm girl from Arles. Since the girl loves someone else, he decides to marry Vivette, who loves him very much. You hear the carillon music when they are about to walk down the aisle.

Before the couple can marry, Frederico hears that the girl from Arles is about to marry her sweetheart. He leaves Vivette to go to the girl in Arles. Vivette comes after him. Frederico is so sad that he takes his own life. The carillon bells announce his death.

About the Music

A carillon is a set of bells in a tower. You can play melodies on the bells. In “Carillon” you can hear bells chiming. First, the bells announce the wedding of Frederico and Vivette. After Frederico dies, you hear the carillon again. This time the bells are announcing that Frederico is dead.

Activity

As you listen to “Carillon,” try to hear which parts are repeated. What kind of patterns do you hear in this piece? Choose from the list below.

• Melodic ostinato

• Rhythmic ostinato

• Passacaglia

• ABA form

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Georges Bizet (1838-1875)

“Carillon” from L’Arlésienne Suite No.1


Georges Bizet was one of the most promising young French composers. He was awarded the Prix de Rome at the age of nineteen. He did not achieve his potential until he produced his popular incidental music for Daudet’s play L’Arlésienne (The Girl from Arles).

Bizet was the only child of a wig-maker who aspired to be a musician. Thanks to an uncle who taught at the Paris Conservatory, Georges was admitted to the school before the minimum age of ten. He studied piano, organ, singing, harp, strings, wood-winds, and composition. Charles Gounod, known for his opera Faust, was his teacher and greatest musical influence.

Georges Bizet fits the rather unfortunate stereotype of the struggling artist who is unappreciated in his own time, but acclaimed after his death. After a brilliant start, Bizet was largely unsuccessful in the musical world of his day. Three months after receiving mixed reviews of his Carmen, he died of a heart attack at age 37.

Bizet is best known today for his opera Carmen and for his L’Arlésienne Suite #1. His Symphony in C is frequently performed also, but it lay hidden on a shelf until 1935. Bizet spent much of his career in the theatre, writing operas and incidental music.


The music from L’Arlésienne (The Girl from Arles) was originally scored for chamber orchestra. Bizet arranged the music into his L’Arlésienne Suite #1. There is a Suite No. 2, but it was compiled after Bizet’s death by his friend Ernest Guiraud from Bizet’s original music.

Activity:

Every pattern type listed except passacaglia is employed in “Carillon.” The piece is in an ABA form. At the beginning of the A section, you will hear the melodic ostinato of the carillon bell pattern, played by the brass instruments. Over this, the violins play a lilting tune that is repeated several times. The section draws to a close with a crescendo accompanied by the timpani.

The B section is much softer, with the flutes introducing a new, more melancholy legato melody. The oboe takes over the melody. In the background, you will hear a rhythmic ostinato in the lower strings.

The A theme returns in the oboe along with its melodic “carillon” ostinato in the background. The piece slowly crescendos to full orchestra and a majestic ending.

Text Correlations: Gr. 1: p. T70; Gr. 2: p. 343E; Gr. 4: p. 71; Gr. 6: p. 232; Gr. 7: p. 74

Meet the ConductorLaura Jackson, an ASO conductor, will lead our Young People’s Concerts this year. The conductor is the person who stands in front of the orchestra and leads the music. The conductor’s instrument is the whole orchestra! The musicians follow the conductor’s arm movements in order to play together. The conductor reads from the score. The score helps the conductor see what each instrument should be playing at any moment. The conductor starts and stops the orchestra and sets the speed (tempo) of the music. She keeps the beat and shows the players how the music should be played.

Below, Maestra Jackson answers some questions to help you get to know her.

Where were you born and raised?

I was born in Roanoke, Virginia, but spent much of my childhood in Plattsburgh, New York. There was a 112-mile-long lake in our back yard. I did a lot of swimming, sailing and water skiing in the summer. I would sled and skate in the winter. I even trained for a short time with Olympic coaches for the luge, a small racing sled.

How did you get interested in music?

I started playing violin when I was very young, and I loved it. I still play the violin, but now my first love is conducting. Sometimes the music is so beautiful when I am conducting that I almost forget to keep moving my arms. I just want to stand there and listen to the music all around me.

How did you learn to conduct?

I have had some wonderful teachers. I received my doctorate degree at the University of Michigan. I studied conducting with Kenneth Kiesler. I also have studied with Michael Morgan and with Robert Spano, the ASO’s Music Director. I have conducted a lot of orchestras in Michigan, Maine, Massachusetts and New Hampshire.

Do you like living in Atlanta?

I love working with Maestro Spano again and with the wonderful Atlanta Symphony Orchestra. I am looking forward to these concerts for young people. We will have a lot of fun exploring music together. Atlanta is a beautiful city – and a lot warmer than Michigan! Also, I love eating grits again like I did as a little girl!

ASO Conducting Felow Laura Jackson is a member of the American Conducting Fellows Program, a national training program developed and managed by the American Symphony Orchestra League.

A Note to Parents:We are delighted that your child will have an opportunity to visit Symphony Hall to hear the Atlanta Symphony Orchestra. This student guide is part of the extensive preparation materials provided for educators to use in preparing young people for the concert. The teacher materials are available for your perusal on the Internet at http://www.atlantasymphony.org/education/index.html.

The theme of the 2005-2006 ASO Young People’s Concerts is Music = Patterns. Students will discover how to listen for and identify the many types of patterns in music. This will enhance their understanding and enjoyment of all music. This set of lessons also reinforces learning in mathematics and other parts of the school curriculum. In subsequent years, students will learn about other aspects of music. We hope you will encourage your school leaders to take advantage of these future concerts.

The Atlanta Symphony Orchestra provides other opportunities for you to share the joy of music with your child. The Sunday afternoon Family Concert series is designed to be an entertaining learning experience for the whole family. Also on Sunday afternoons, you and your children may enjoy concerts performed by the Atlanta Symphony Youth Orchestra. This talented group of student musicians ranging in age from 13-18 performs three subscription concerts a year. We hope you’ll take advantage of these and other concerts to instill in your child a love of orchestral music – a lifelong gift that your child will treasure.

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Each lesson addresses these objectives:

Study Guide Objectives

Grades QCC Strand QCC Standard

3,4,5 General MusicResponds to music in a variety of instrumental and vocal styles through listening, moving, singing, and playing instruments.

3,4,5 General MusicDistinguishes among string, woodwind, brass, percussion and electronic instru-ment families by sight and sound.

3,4,5,6,7,8 General MusicDistinguishes among repeating and contrasting phrases, sections and simple for-mal structures—ABA.

3,4,5,6,7,8General Music; Music Appreciation,History and Literature

Demonstrates growth in knowledge of music vocabulary appropriate to the level.

3,4,5,6,7,8 General Music Describes personal response to listening selections.

4,5,6,7,8 Music Appreciation, History and Literature Expands knowledge of selected famous composers and their music.

5,6,7,8 General MusicDescribes the expressive effect of music in terms of its elements: melody, rhythm, harmony, timbre and tonality

6,7,8 Music Appreciation, History and LiteratureListens to music or examines scores to describe the elements (rhythm, melody, harmony, form, dynamics and timbre) of music from developmentally appropriate selections.

6,7,8 Music Appreciation, History and LiteratureDemonstrates an aesthetic understanding of music and its relationship to the other arts.

6,7,8 Music Appreciation, History and Literature Analyzes and makes critical judgments about music.

6,7,8 Music Appreciation, History and Literature Integrates many elements of the study of music with other art forms and other curricular areas, and related use of technology.

Guide to Audience Behavior

Your students will learn many things by attending the Young People’s Concerts. Not the least of these is concert etiquette. Please review these guidelines thoroughly with your students. This knowledge of the expectations in a formal concert situation will increase their comfort in this new environment – and increase their enjoyment!

• Upon arriving inside the Galleria (lobby) of the Woodruff Arts Center, everyone is expected to speak in a moderate tone of voice. It’s fine to talk, but no yelling, please.

• Upon entering Symphony Hall it’s time to whisper only. Ushers will be seating your class, and they need to be heard when they direct you to your seat. The orchestra will be warming up on the stage. The musicians need to be able to hear themselves, too.

• When the lights dim, all whispering should stop. The concertmaster is about to tune the orchestra and the conductor will be entering next.

• When the conductor enters the stage, everyone applauds. No whistling or stamping feet, please. Just polite applause is fine.

• Once the music begins, everyone should concentrate on the music. Between pieces of music, the conductor will speak. Listen carefully.

• Noisemakers to avoid (things you didn’t think about!):Velcro fasteners on wallets and pursesBeepers, cell phones and the alarm on your watchJingling jewelryAny kind of electronic toy

• Show your appreciation for the music at the end of each piece by applauding. Watch the conductor carefully to make sure the music has really ended. Sometimes it seems like the end, then the music starts again. The conductor usually puts her hands down by her sides when the piece is over.

• Avoid yelling on the way out of the hall or the Galleria. This is the moment when your teacher and the ushers need your attention most. Watch and listen!

ATLANTA SYMPHONY ORCHESTRA Young People’s Concerts


The concept of patterns is such a rich learning theme that connections in each area of the curriculum are easily found. Patterns are fundamental to an understanding of mathematics, the sciences, social studies and language arts. All art forms are rife with patterns. Below, we have outlined only a few of the many ways the curriculum can be connected through this theme. We will direct you to some of the best teach-er resources on the internet. As a starting place, explore http://www.marcopolo-edu-cation.org/marcograms/12-20-02.html This site (“Understanding Patterns”) includes lesson plans based on patterns in math, social studies, language arts, visual arts and music.

Mathematics

Like music, math is a science of patterns. The Fibonacci series, Pascal’s Triangle, counting by 5’ or 10’s – all are important patterns in math.

• http://www.42explore2.com/patterns.htm Everything you ever wanted to know about patterns in math and geometry.

• http://www.primarygames.com/patterns/start.htm Decide what comes next in a pattern of images. Interactive.

• http://illuminations.nctm.org/index_o.aspx?id=103 Only one of many NCTM essons on number patterns.

• http://mathforum.org/geometry/rugs/symmetry/ All about symmetry and patterns in geometry.

• http://www.sciencenetlinks.com/Lessons.cfm?DocID=134 Have fun with Fibonacci’s rabbits.• http://mathforum.org/dr.math/faq/faq.pascal.triangle.html Pascal’s triangle

Social Studies

All cultures have traditions and rituals. They become traditions and rituals through repeti-tion. Compare and contrast the traditions and rituals of different cultures. Go to this site to examine the traditions and rituals in families: http://ohioline.osu.edu/flm00/fs12.html

Our communities have distribution patterns of commercial, industrial and residential land use. Study your own community. Map out the way your community groups its functions into different areas. Use this site to study your own community’s distribution pattern: http://censtats.census.gov/cgi-bin/cbpnaic/cbpsel.pl

Science

Nature has created some of the most beautiful patterns. We find patterns in the weather and the seasons. Patterns in DNA determine how we look. Birds follow migration patterns.

http://www.hitchams.suffolk.sch.uk/patterns_nature/index.htm View pictures of patterns in nature taken by students. Use this as the basis for a science/photography project to document the patterns in nature.http://artsedge.kennedy-center.org/content/2291/ Lesson: “How many cells are born in a day?”

Language Arts

Our language has syntax - a pattern. Poetry has a rhyme or a metrical pattern. Use these tools and ideas to discover how music and language share many characteristics, especially patterns.

• http://www.proteacher.com/070176.shtml Poetry patterns: Writing haiku• www.rhymer.com An online rhyming dictionary. Type in a word and get rhyme suggestions.• http://www.sciencenetlinks.org/lessons_printable.cfm?DocID=284

Morse code – develop skills and using logic to find patterns in encrypted language. • http://www.nonsenselit.org/Lear/BoN/bon020.html

A source for Edward Lear’s wonderful nonsense poetry. It’s full of patterns.• http://edsitement.neh.gov/view_lesson_plan.asp?id=403 Patterns in limericks.• http://www.enchantedlearning.com/Rhymes.html More children’s poetry.

Curriculum Connections

The ASO Coca-Cola Family Concerts

Atlanta Symphony Orchestra Education StaffSusan Merritt, Director of Education

Brenda Pruitt, Assistant Director of Education

Melanie Darby, Coordinator of Youth and Family Programs

Sponsors/FundersASO Young People’s Concerts are sponsored by:

With support from the Kathy Griffin Memorial Endowment

The Atlanta Symphony Youth Orchestra is sponsored by: With additional support by: The Lanie and Ethel Foundation

Coca Cola Family Concerts are sponsored by:

With support from Publix Supermarkets Charities

Additional Education Funding is provided by: The Arthur M. Blank Family Foundation Education & Outreach Fund The Goizueta Foundation William Randolph Hearst Endowed Fund Fulton County Arts Council Georgia Council for the Arts

October 30, 2005Halloween: A Creature FeatureDr. Frank N. Stein, conductorLee Harper & Dancers1:30 & 3:30pm

January 29, 2006The Journey of Sir Douglas FirJere Flint, conductorAtlanta Symphony Youth Orchestra1:30 & 3:30pm

March 5, 2006Tubby the Tuba and Friends: An ASO Sing-AlongJere Flint, conductorMichael Moore, tubaWendy Bennett, vocalist1:30 & 3:30pm

April 30, 2006The Lost ElephantJere Flint, conductorDan Kamin, guest artist1:30 & 3:30pm

Atlanta Symphony Youth Orchestra Concerts

Fall ConcertSunday Nov. 20, 2005, 8pmJere Flint, conductor

Winter ConcertSunday March 26, 2006, 3pmJere Flint, conductor

Spring ConcertSunday May 7, 2006, 3pmJere Flint, conductor

teacher's guide for discover/next generation concerts

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