Teacher Resource Pack. 2013/14 Season Paul Rissmann

Transcription

1 Teacher Resource Pack 2013/14 Season Paul Rissmann

2 2 Philharmonia Orchestra Orchestra Unwrapped Teacher s Pack by Paul Rissmann Welcome to Orchestra Unwrapped. This year, the Philharmonia Orchestra will present an action-packed children s concert designed to introduce your class to instruments of the orchestra and will feature some of the most fantastic orchestral music. The programme includes: COPLAND BEETHOVEN MUSSORGSKY RISSMANN STRAVINSKY WILLIAMS Fanfare for the Common Man Symphony No.5 1 st Movement (excerpt) Selections from Pictures at an Exhibition SUPERSONIC (Audience Participation Piece) Infernal Dance from The Firebird Theme from Star Wars This pack has been written especially to enhance the concert experience for the children, and contains two exciting projects for you to explore together in class. Project 1 SUPERSONIC This is the audience participation piece in our concert. SUPERSONIC is like a modern and highly interactive Young Person s Guide to the Orchestra. The music is fun to learn and will enable your class to perform with the full forces of the Philharmonia during the concert. Project 2 Pictures at an Exhibition This is surely one of the most incredible works in the orchestra s repertoire. In this section of the pack, you will find several short and simple musical activities that relate directly to Mussorgsky s masterpiece. They feature material taken directly from the orchestral score, and have been devised to prepare your class for listening to Pictures at an Exhibition live in concert. If preparation time is short, it is absolutely essential that you carry out Project 1. Please feel free to modify activities to best suit your class. Listening to a full size symphony orchestra live for the first time is a very special event for children. Combined with fun, creative preparation in school, I m sure that your class will love the experience of being composers, performers and discerning listeners. We hope you and your students enjoy Orchestra Unwrapped.

3 3 Project No. 1 SUPERSONIC A Participation Piece for Children and Orchestra By Paul Rissmann SUPERSONIC was commissioned by the London Symphony Orchestra in It was written to enable thousands of school children to perform with the musicians of the LSO at the Barbican Centre, London. The best way to describe SUPERSONIC is as an interactive Young Person s Guide to the Orchestra. It will inspire your class to perform on equal grounds with the brilliant musicians of the Philharmonia, whilst simultaneously learning about the instruments of the orchestra. SUPERSONIC is short, fun and composed especially for children. Although it may initially seem complex, don t let it bamboozle you kids always learn these pieces with the greatest of ease. To make things even easier, a host of associated resources have been produced for practice in class. If you work with children who have special needs, please feel free to modify the participation part in any way you wish. The Piece SUPERSONIC touches on the following three educational themes: the history of the orchestra the four instrumental sections of the orchestra the names of the instruments that make up each section Think of it as a modern, highly interactive sequel to Benjamin Britten s trail-blazing Young Persons Guide to the Orchestra. SUPERSONIC uses a simple, repetitive RONDO structure; just think of it as a song with some rhythmical episodes sandwiched in-between the verses. Here is the structure of the music: Introduction a rhythmical beginning. Verse 1 a simple song about the orchestra in the 17 th century The Strings interacting with the string section Verse 2 a simple song about the orchestra in the 18 th century The Woodwinds interacting with the woodwind section Verse 3 a simple song about the orchestra in the 19 th century The Percussion interacting with the percussion section Verse 4 a simple song about the orchestra in the 20 th century The Brass interacting with the brass section Finale a high-energy, 21 st century tongue-twister to complete the piece

4 4 SUPERSONIC A Quick Guide to Body Percussion Body percussion is a great way for people of all ages and abilities to perform rhythmically together. SUPERSONIC requires a few body percussion moves. They are explained below: Finger Clicks Click the fingers of both hands high above the head making a strong V shape. Clap It will make things much easier if you hold your hands quite high up round about the chin. Chest Slap Slap one hand on the upper part of the torso. Thigh Slaps Slap the left hand on the left thigh or the right hand on the right thigh. Go easy with these otherwise you may end up with a bruise! Fingers fingers in the palm of the opposite hand. Stamp Foot You can choose whichever foot you prefer to stamp. What else is involved? Everything else is simply sung or spoken.

5 How to Learn the Supersonic I have made a practice CD for you to use in class. It contains individual tracks to help you rehearse each section of the piece with the class. All the cues for starting each participatory moment are given, so you never need to worry about counting the bars in-between sections. If you prefer, full musical manuscript is also available, and a PowerPoint of the lyrics can be downloaded to use in school. 5 Suggested Learning Process 1. Talk with the children about the orchestra. Have they ever heard an orchestra before? Have they been to a concert? Do they know the names of any instruments in the orchestra? Do they know how many sections (or instrument families) there are in the orchestra? What are their names? (Brass, Percussion, Strings and Woodwinds) 2. Learn to sing the main song from SUPERSONIC (Verses 1 to 4). 3. Now explore each of the other parts of the piece. I would suggest learning them in the order they appear, so start with Introduction, then learn the STRINGS WOODWINDS PERCUSSION BRASS. 4. Finally learn to sing the very short and easy FINALE. Top Tips to Ease the Learning Process The main song is really easy to learn. Use this to inspire the children to master the of the piece. The STRINGS and WOOWINDS are the most challenging sections. Devote one lesson to learning each of these sections, and then consolidate their learning with short practice sessions. The PERCUSSION section is a deliberate tongue twister. Don t panic about it just have fun with the music. The BRASS section is unbelievably simple. The children will grasp it within seconds. The FINALE is an upbeat song with some body percussion moves (which you ve already learned) and it completes the piece.

6 6 SUPERSONIC - Participation Part INTRODUCTION Simply say the words or letters in bold below: BEATS Orchestra introductory crescendo CUE - Cymbal O R C H E S T R A HEY! SUPER - SONIC ORCHES - TRA SO LET S GOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO (crescendo all the way through the final go!) VERSE 1 Sing the song below:

7 7 THE STRINGS Simply say the words or syllables in bold below: BEATS CUE - Triangle Vio - lin One Vio - lin Two Vi - ola Cello Double Bass Go STRINGS AR - CLAP - CO CLAP WITH CLAP BOW CLAP Then there is a short violin solo, after which you perform the body percussion moves below. Everything below relates directly to the INTRODUCTION section of the piece. If you think of the word pattern from the introduction (where you spell out ORCHESTRA) it will give you the exact rhythm of the moves below (1 finger in palm of hand) (1 finger) CUE - Triangle (3 fingers) (2 fingers) (3 fingers) (2 fingers) (1 finger) (2 fingers) (3 fingers) CLAP CLAP Chest Chest STAMP Either Foot Both Thighs Chest Chest Chest Chest Chest

8 8 VERSE 2 (to the same melody as Verse 1) In the 18 th century, instruments and technology, let orchestras grow bigger so people could rock, when classical was pop! THE WOODWINDS Simply say the words or syllables in bold below and perform any actions indicated: CUE - Chord Flute O boe Cla ri net Bass oon Think Flute + CLICK both fingers Think O - + CLAP Think Cla - + chest Think Bass - + right thigh - ri - + chest - oon + left thigh - boe + CLAP - net + chest A short interlude follows, then you perform a similar sequence but using the names of the four auxiliary woodwind instruments: CUE Chord Picc o lo Cor Ang lais Bass Clari net Con tra Bass oon Think Picc - + CLICK right hand Think Cor - + CLAP Think Bass + chest Think Con - + right thigh - O - + CLICK left hand Ang - + CLAP - tra + left thigh Clar - + chest - lo + CLICK right hand - lais + CLAP - i - + chest Bass - + right thigh - net + chest - oon + left thigh

9 9 VERSE 3 (to the same melody as Verse 1) In the 19 th century, Beethoven wrote his Symphonies, a new Romantic era, would knock on the door, and music changed once more. THE PERCUSSION Sing the short phrase below, FIVE times in a row: The first two times you sing the phrase, you perform it without any actions. However, on the final three repetitions, add the actions detailed below: Timpani and percussion Timpani and percussion Harp and Piano CLAP CLAP chest CLICK both hands At the very end of this tongue twister (after 5 repetitions of the phrase) end with a final CLAP. VERSE 4 (to the same melody as Verse 1) In the 20 th century, a new sound came from Stravinsky, the rules were smashed and broken and thrown out the door, and sometimes heads were sore.

10 10 THE BRASS Say the instrument names in the rhythm below: Then, BEATBOX the rhythm above 8 times in a row. To beatbox effectively, you simply need to find a percussive, vocal sound to fit with the rhythm above the kids will already be expert in this! Try to sound as much like a drum kit as possible. The class could all use the same sounds or make completely different ones. IMPORTANT: This music does not have to be very loud, as it will act as an accompaniment to the Brass section s melody. FINALE Sing this new melody, twice in a row: Then perform the following sequence to finish: CUE Chord STAMP CUE Chord THIGH CLAP CLAP CLAP

11 11 Project No. 2 Pictures at an Exhibition by Modest Mussorgsky Pictures at an Exhibition is a masterpiece. The characterful piano pieces by the Russian composer Modest Mussorgsky written in 1874 are now a favourite exhibit in every orchestra s repertoire. Inspired by an exhibition of works by the Russian nationalist painter and architect Victor Hartmann, Mussorgsky created ten virtuoso pieces for solo piano. He linked his sound paintings with a recurring Promenade Theme to represent the listener moving through his virtual musical gallery. Years later, the French composer Maurice Ravel created an orchestral version of this piano music. Ravel was a master of orchestration (he is the man who wrote the über famous Bolero after all) and he re-scored Pictures at an Exhibition with full orchestral colour. Ravel s symphonic remix presents a fantastic adventure, ideal for young listeners. The music will allow your class to explore the catacombs below Paris, dance a ballet with chicks in their shells and marvel at the splendour of the Great Gate of Kiev. Pictures at an Exhibition is the perfect stimulus for creative music-making in school. This section of the pack details three simple musical activities inspired by the score. It contains musical material and structures borrowed directly from Mussorgsky, all of which can be easily performed on classroom instruments.

12 12 Pictures at an Exhibition Musical Activity No.1 The Promenade Theme Mussorgsky uses the melody below to signify his journey through the exhibition. This Promenade effortlessly links each of his contrasting pictures together. For such important music, it is actually incredibly simple. It is built using a Pentatonic Scale (a scale with just five pitches): C D F G A 1. Learn to play or sing the melody. 2. Ask the children to create a simple text for the melody. Something like this: Let s all go for a walk, Look at pictures on the wall, Paintings hang all around, Dream of music, hear their sound. Use this melody to make several verses of a song. An Irregular Step forward! Rhythmically this theme is very unusual. Notice in the manuscript above Mussorgsky scores the music in 5/4 and 6/4. That means there are 5 beats in some of the bars and 6 in the others. Most music (certainly most of our contemporary pop music) is scored with just 4 beats in the bar so it seems to be that Mussorgsky s Promenade Theme is trying to keep us on our toes with its peculiar gait. Try adding an un-pitched percussion accompaniment to the music perhaps just a simple pulse on a drum or maybe something more sophisticated. Can the class navigate their way through this unusual rhythmical template?

13 13 Musical Activity No. 2 - The Ballet of the Chicks in their Shells EGGstraordinary Costumes! Victor Hartmann s humorous sketch shows chicks wearing shells like fashionable new outfits. Commissioned for the ballet Trilby, the costumes were created for a scene where children play-dance as chicks. Mussorgsky s brilliant, chattering music suggests small chicks running around aimlessly, underpinned by a pattern of extremely short, almost pecking, notes. The central, more graceful section of music depicts a gentle solo dance for one of the chicks before returning to the slightly manic music of the first section. A Creative Project 1. Begin by looking at Hartmann s sketch, and imagining the scene from the ballet. 2. Challenge the group to compose some music to depict the chicks running around in their shells.? How can music sound chicken-like? What are the best instruments to use? Inspired by Mussorgsky 1. Draw the rhythm grid below on the board (feel free to photocopy it if you prefer). Each box represents one beat. If a box contains one character, then it has a single note lasting one full beat (a crotchet). If a box contains two characters, then it has two quicker notes played in the time of one beat (two quavers). The final box indicates a single sound sustained for 4 beats. BEATS * * * ** * * * * X X X X X X X X X X X X X X X X * * * ** * * * * X X X X X X X X X X X X X X X X O O O O O O O O ============== 2. Try clapping through the grid with the class.

14 3. Now, challenge the children to find a different sound to represent each character in the grid. They could clap the *s, click the Xs, stamp the Os etc. 4. Divide the class into three groups and ask each group to choose a set of un-pitched percussion instruments. If possible, each group should consist of similar instruments i.e. Group 1 chooses scrapers, Group 2 chooses tambourines, and so on. 5. Now, play through the grid overleaf on the instruments. Group 1 play everything marked with a * Group 2 play everything marked with an X Group 3 play everything marked with an O Everyone should play the final bar 6. Now, ask each group to assign very specific dynamics (volumes) to their music. For instance, Group 1 may wish to crescendo (get louder) through their line. There is only one riction the final bar (played by everyone) should be very loud. 7. Try and find as many different ways to play through the grid. 8. Aim to create a complete section of music at least one minute in duration with as much variation and colour as possible. 14

15 15 Musical Activity No.3 The Catacombs Paris Underground After graduating, Victor Hartmann spent three years living in Paris. Whilst there, he made drawings and sketches that would later inspire three of Mussorgsky s sound pictures (Tuileries, Limoges and Catacombs). The picture above is a self-portrait of Hartmann exploring the catacombs below Paris. Mussorgsky transformed this image into slow, atmospheric and slightly scary music. His score contains the following inscription: "Hartmann's creative spirit leads me to the place of skulls, and calls to them - the skulls begin to glow faintly from within." A Simple Creative Project 1. Look at Hartmann s picture and invent a story to fit with it. What could be happening in the catacombs? 2. Now, discuss what kind of music would compliment the story. 3. Choose appropriate instruments and begin to transform the children s ideas into sound.

16 16 Two Musical Ideas to Borrow from Mussorgsky DYNAMICS Catacombs features an incredible range of volume. It is full of contrast. What begins loud, ends up soft. Quiet and still chords become ferocious in their intensity. Encourage the group to incorporate these huge variations of sound into their music. THEME Catacombs is actually a very clever variation of Mussorgsky s Promenade Theme. Why not feature the Promenade Theme in your music? But it should be, of course, heavily disguised. Here are some ideas to experiment with: - play the notes of the Promenade but backwards, one after the other; start with the last note and end with the first! - try playing all the notes of the Promenade at the same time - as one big chord. - select a few pitches from the Promenade and use them to make a repeating pattern. Finally Once the children are happy with their music, why not add some narration on top to really bring their sound picture alive? Try writing three short sentences to describe what is happening in their music. Then place these sentences somewhere within their musical structure. The narrator s role could be fulfilled by a single person, or the entire class speaking in unison. Now, are you brave enough to perform the music in a darkened room? Good Luck! Paul Rissmann September 2013