with Parachutes, Paper Plates, Ribbons and Scarves Download Edition By Dan Fee and Denise Gagné Themes & Variations

Transcription

1 with Parachutes, Paper Plates, Ribbons and Scarves Download Edition By Dan Fee and Denise Gagné Themes & Variations

2 MORE Listening Fun! By Dan Fee and Denise Gagné Active listening lessons with PARACHUTES, PAPER PLATES, SCARVES and RIBBONS that will engage your students and get them excited about listening to classical music! Includes: lessons aligned to national standards reproducible composer biographies audio CD PowerPoints to aid in teaching the routines and concepts movies about the composers QuickTime videos of each activity reproducible visuals to aid in teaching concepts Download Print Permission: The purchaser of this download is permitted to print ONE copy only of this publication. No sharing of this copy or the MP3s included is allowed under international copyright law. Themes & Variations # Riverside Drive, Red Deer, Alberta T4N 6Y5 Phone or Fax: Printed in Canada 2013 Themes & Variations Cover design by Craig Cassils Edited by Jane Mueller ISBN:

3 Table of Contents Page # CD# Introduction 3 Listening Logs 5 1. Bourrée from Music for the Royal Fireworks 7 1 by George F. Handel 2. La Rejouissance from Music for the Royal Fireworks 13 2 by George F. Handel 3. Serenade No. 13 in G major, K 525, 16 3 Eine kleine Nachtmusik Menuetto by Wolfgang Amadeus Mozart 4. Overture to Act II from Swan Lake 23 4 by Peter Tchaikovsky 5. Little Red Riding Hood from Sleeping Beauty 29 5 by Peter Tchaikovsky 6. Waltz in D-flat major, op. 64, No. 1, Minute Waltz 31 6 by Frederic Chopin 7. Hungarian Dance No by Johannes Brahms 8. Tritsch-Tratsch Polka, op by Johann Strauss, Jr. 9. Gavotte en rondeau from Ballet du Roi 41 9 by Jean Baptiste Lully 10. Argonaise from Carmen Suite no by Georges Bizet 2

4 Listening Log Title: Composer:_ 1. What does this music make you think 7. What are some instruments that you of? Why? hear? 2. What is the mood of the piece? How is the mood achieved? 8. Is the music in a major or minor key? 3. Describe the tempo: 4. Describe the dynamics: 5. Describe the texture of the music - do many instruments play or just a few? 6. Are the notes in the music played smoothly or are they separated? 9. What are 2-3 criteria you could use to evaluate this performance if you were an adjudicator in a festival? 10. Did you enjoy the performance? Tell why or why not? 5

5 Listening Log Title: Composer:_ 1. Initial Reaction How does the music make you feel? Why? What does the music make you think of? How? What is the mood of the music? 3. What musical techniques did the composer use to communicate the mood or feeling you described in box 1? 2. Describe the music What instruments or voices do you hear? Describe the tempo, dynamics, articulation, pitch and rhythm. Do you hear any repeated parts? 4. Informed Point of View Did you like the piece? Explain why or why not using musical terminology. 6

6 LESSON PLAN #1 Bourrée from Music for the Royal Fireworks by George F. Handel CONCEPT Learning about the Baroque Period of music. Learning about dynamics. OBJECTIVE The student will develop an appreciation for the Baroque Period in music by learning its characteristics and listening to a sample of its music. In addition, knowledge of G.F. Handel, a key composer, will be gained. The students will be able to identify the dynamic level of the example. NATIONAL STANDARD 9. Understanding music in relation to history and culture. 6. Listening to, analyzing, and describing music. PROCEDURE 1. Play Bourrée from the accompanying CD. Tell the students you will be asking an important question when the music is finished. 2. Ask the students if they think the music is old or new. They will most likely realize that the music is from long ago. Inform them that the music they heard is from the Baroque Period of music, some 300 years ago. Provide them with the following facts: - The Baroque Period is from approximately Most of the music comes from European countries. - Composers you might know from this period are J.S. Bach and G.F. Handel. Handel wrote the music you just heard. (Show posters or Internet images of both composers.) - Music from the Baroque Period often featured a harpsichord, a bass instrument providing the main pitches (basso continuo) and sudden changes in dynamics. - The music will tend to sound fancy/ornate to our ears. 3. Play the music again and ask the students if they heard any of the qualities mentioned. (The most obvious is the sudden dynamic changes.) 4. After handing out the dynamics manipulatives, play the music one more time, instructing the students to hold up (or point to) the appropriate dymanic level. You may lead them in this, if needed. 5. Share with the students that this music was written for a special fireworks display ordered by the King of England, Handel s boss, to celebrate the end of a war. Unfortunately, the fireworks caused a nearby building to catch on fire and Handel s music was never performed that night! 6. Ask the students to draw a quick picture of the scene they imagine at the Royal Fireworks display. Tell them to include a fancy/ornate building on fire, fireworks in the sky and G.F. Handel somewhere off to the side. Including King George II is optional. On the back of the paper, ask them to list two qualities of Baroque music. Play Bourrée while they are drawing. You may also want to play La Rejouissance, also from Fireworks music. There is a famous piece of artwork of the fireworks display. You can find it on-line at ASSESSMENT The above picture and facts will serve as assessment. Observation is used to assess the success of signaling the correct dynamic level. 7

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8 BIOGRAPHY: George Frideric HANDEL Born: February 23, 1685 in Halle, Germany Died: April 14, 1759 in London, England Baroque Period Even though George Frideric Handel was born in Germany, he is considered to be one of England s greatest composers because he spent most of his adult life, and therefore his most productive period in composition, in England. He is known for writing many Italian operas and a number of English oratorios, including his most famous work, Messiah. Handel s father was a barber and a surgeon and strongly encouraged his son to become a lawyer. He banned Handel from practicing music, but Handel could not be swayed, and found ways to practice secretly on the clavichord that was stored in the family attic. He also studied music theory by candlelight, late at night in his room. Finally, after hearing Handel play, a duke who was a patient of Handel s father, convinced the senior Handel to allow his son to study music. Handel began music studies in Germany, but soon went to Italy to learn more about opera. When he arrived back in Germany four years later, he became a court composer for a prince who later became the King of England. Handel continued working for the new king as court composer. Handel mastered several instruments including the violin, oboe, organ, and harpsichord, but his skills at the keyboard were soon overshadowed by his skills at composing opera. His first opera, Rinaldo, written in 1771, was a huge success. Italian opera became very popular in England, due in large part to Handel s success and ability at composing such works. When the English people tired of opera, Handel began writing in a new genre (which he created) called oratorio. The English people adopted this tradition as their own. One of Handel s most famous pieces, Messiah, was written near the end of his career. When the King of England first heard this work, it is said that he was so impressed that he rose to his feet during the Hallelujah Chorus. Another legend says that because of the length of Messiah, the king stood to stretch. Because the king rose, everyone in the hall was obligated to do the same. Standing during the Hallelujah Chorus is a tradition that continues today! Toward the end of his life, Handel suffered from increasing blindness. Eventually, he had to dictate his musical ideas to a friend who wrote them down. In early April of 1759, Handel became ill while conducting a performance of Messiah. He died just a few weeks later with over 3000 people in attendance at his funeral. About the Music Handel s Music for the Royal Fireworks was written in 1749 to celebrate the end of an 8-year war. There was to be a huge celebration and Handel was in charge of writing the music for it! King George of England, however, wanted music with no fiddles. (violins) Because the performance was to be out of doors, Handel needed to be sure that the sound would be loud enough. Handel s ensemble included brass instruments, oboes, bassoons and timpani. A public rehearsal of Handel s Fireworks Music one week before the performance drew 12,000 people and caused a 3-hour traffic jam on the London Bridge! When the day finally arrived for the first official performance of Music for the Royal Fireworks a small enclosure (pavilion) caught on fire due to falling fireworks. Handel and his musicians had been playing here just one hour earlier! The original purchaser of More Listening Fun! has permission to reproduce this page for student use

9 MUSICAL MOVEMENT GUIDE - RIBBONS Bourrée, from Music for the Royal Fireworks by George F. Handel MATERIALS One ribbon for each student. Ribbons that are one meter or three feet in length work well in the classroom. FORMATION Have students space themelves far enough apart that the ribbons won t hit any other students. MOVEMENT Lead the students through the suggested movement the first time that you try this. This will give them some ideas of what they can do with the ribbons and will help them to become familiar with the piece. Another time, have the students create their own movements with the ribbons. Have them use both non-locomotor and locomotor movements. See the lesson on form that follows. A Section 0:01-:0:12 20 beats wave ribbon overhead 0:13-0:25 20 beats wave ribbon low, in response to change in dynamics B Section 0:26-0:35 8 beats stir fast - 8 right 8 left 8 right 8 left 0:36-0:45 8 beats large circles in front - 4 right 4 left 0:46-0:55 8 beats stir fast - 8 right 8 left 8 right 8 left 0:56-1:05 8 beats large circles in front - 4 right 4 left A Section 1:06-1:18 20 beats wave ribbon overhead B Section 1:19-1:28 8 beats stir fast - 8 right 8 left 8 right 8 left 1:29-1:40 8 beats large circles in front - 4 right 4 left 10

10 MUSICAL MOVEMENT GUIDE - SCARVES Menuetto from Eine kleine Nachtmusik by Wolfgang Mozart MATERIALS Each student needs one colored scarf. FORMATION Students stand in lines with enough space between them to prevent bumping. MOVEMENT This routine only has four different scarf movements. When you wave the scarf right and left wave on beat one, hold for beats two and three. When you bounce the scarf, bounce each beat with small bounces. When you toss the scarf in the air, toss on beat one and let it float down on beats two and three. When you wiggle the scarf, do quick waves on each beat moving from a low level to a higher level. The movements really help to reinforce the feeling of triple meter. When students have learned these movements, give them the opportunity to create their own movements for each section with scarves or ribbons. Consider dividing the class into four groups, giving each group the task of creating movement for one section. 0:00-0:21 wave the scarf right and left 0:22-0:27 bounce the scarf 0:28-0:32 wave the scarf right and left 0:33-0:37 bounce the scarf 0:38-0:42 wave the scarf right and left 0:43-1:04 toss the scarf in the air 1:05-1:10 wiggle - quick waves side to side starting low and moving higher 1:11-1:21 toss the scarf in the air 1:22-1:27 wiggle - quick waves side to side starting low and moving higher 1:28-1:37 toss the scarf in the air 1:38-1:48 wave the scarf right and left 1:49-1:54 bounce the scarf 1:55 - end wave the scarf right and left 19

11 MUSICAL MOVEMENT GUIDE Menuetto from Eine kleine Nachtmusik by Wolfgang Mozart PLATE ROUTINE ONE MATERIALS Each student needs two paper plates. FORMATION Students may sit in chairs or on the floor in their music spots. They may also stand. If your classes sit on choral risers, they may do the activity there. Even a random placement will work. Each student has one paper plate in each hand. MOVEMENT This routine only has three different movement patterns. The music sections repeat several times, so the movements will too. Because of that, and because it requires no special seating arrangement or partners, it may be a good choice for your first paper plate movement routine. PART ONE 0:00 0:21 With one paper plate in each hand, the plates are placed about one yard apart at chest level during the first measure (3 beats). They cross in front of your body, changing places on the second measure. REPEAT apart/cross until the music changes at 0:22. Optional wiggle the plates on the quicker notes at the end of the phrases. PART TWO 0:22 0:26 With plates next to each other stretched to your right, cross them to your left making an arc or rainbow. Then make another arc, coming back to your right. 0:27 0:42 Repeat ONE (abbreviated) Repeat TWO Repeat ONE (abbreviated) PART THREE 0:43 1:04 During the first measure (3 beats) hold one paper plate high and the other low. (Right or left is not important. The students will copy/mirror you.) Continue alternating high/low on beat one for five more measures. During measures seven and eight, let your paper plates take a big bow in front of you. REPEAT. 1:05 2:00 Repeat TWO, Repeat THREE, Repeat TWO, Repeat THREE Repeat ONE (abbreviated), Repeat TWO, Repeat ONE (abbreviated) ENDING End with plates on top of each other parallel with the floor, stretched out in front of you. 21

12 LESSON PLAN #5 Little Red Riding Hood from Sleeping Beauty by Peter Tchaikovsky CONCEPT Teaching recognition and use of accelerando. OBJECTIVE The student will be able to identify an accelerando by sight and sound through appropriate movements. NATIONAL STANDARD 5. Reading and notating music. PROCEDURE 1. Teacher plays or sings a familiar song ( Twinkle, Twinkle Little Star, London Bridge Is Falling Down etc.). Teacher repeats song but adds an accelerando about halfway though. Through teacher questioning, students respond that it got faster. 2. Repeat teacher singing or playing a familiar song and have students clap the beat, making sure that they match the faster beat when you add the accelerando. 3. Tell the students that in order to make music more exciting, sometimes composers decide to make the beat gradually get faster. This is called accelerando. Show the common abbreviation (accel.). Note that the word is similar to the accelerator in your car, which makes the vehicle go faster! 4. Have the students look at 4 measures of quarter notes in 4/4 time. (SmartBoard, whiteboard, chalkboard, etc.) Clap the 4 measures keeping the beat steady. Place an accelerando at the beginning of measure 3 and repeat, gradually getting faster from measure 3 until the end. Repeat but double the length of the exercise and insert half notes, sets of eighth notes and quarter rests, if you like. Place the accelerando in a different spot, suggested by one of your students. Repeat, if desired. 5. Listen to Little Red Riding Hood by Tchaikovsky on the accompanying audio CD. Ask the students to raise their hands if they heard an accelerando. Ask them if it was in the first half or the second half of the recording (second half). Listen again, asking the students to stand when they hear the accelerando (it begins at about 0:52). 6. Lead the students in movements to show accelerando: during A section, they use their right hand to place the beat on their palm up, open left hand. During the B section, they fan themselves as if hot, alternating right/ left. (These are movements from the accompanying paper plate routine. When you teach it, they will already have these movements in their movement experience bank! ) Make sure the movements accelerate beginning at about 0:52. ASSESSMENT Informal visual and aural assessment are used throughout the lesson when observing the student movements and rhythm clapping. 29

13 MUSICAL MOVEMENT GUIDE Little Red Riding Hood from Sleeping Beauty by Peter Tchaikovsky MATERIALS One plate for each student. The thin, cheap, white small paper dessert plates may work best. FORMATION Students stand in one circle. You will need to be close to each other but not so close that shoulders touch. Each student has one paper plate in their right hand. Left hand and arm is held out palm up as if waiting for something to be put on it. MOVEMENT This routine is fast and fun! The majority of this routine is simply passing paper plates to the right, making it sort of a game. You may want to start by passing bean bags. The explanation below (part one) provides detail on how to do this simple, natural movement. The accelerando will create an exciting challenge for the students. If someone drops their paper plate, they should just pick it up and try to get back into the routine as soon as possible. You may want to save this one for a Friday afternoon! PART ONE 0:00 0:15 The movements are to the half note beat. On the first half note beat, tap your palm up, open left hand with the paper plate held in your right hand. On the next half note beat, pass your paper plate, still in your right hand, to the palm up, open left hand of the person on your right. Continue passing paper plates from your right hand to the left hand of the person on your right. (Imagine that you re delivering and balancing a pizza!) This passing movement repeats many times until 0:16. PART TWO 0:16 0:31 With your right hand, take the last paper plate delivered from your left hand and fan yourself for four beats (one whole note length). Switch hands and fan yourself with your left hand for four beats. Switch hands and fan the person on your left for four beats. Switch hands again to fan the person on your right for four beats. As you fan your neighbor, you always reach across your chest to do so. REPEAT fanning right self/left self/right crossover neighbor/left crossover neighbor one more time. 0:32 1:07 Repeat ONE. As the music intensifies, be sure your movements do the same. You can even act as if you are somewhat upset or confused! The accelerando beginning at about 0:52 should cause the students to really focus, making their movements faster. ENDING As the end of the piece approaches at about 1:04, prepare to turn your paper plate into a Frisbee. Throw it at the end! To avoid having paper plates land on other students, you may want to have your class turn around just before throwing them. 30