El Paso Electric Young People s Concerts January 31, February 1 & 2, :30am and 12:30pm THE ORCHESTRA SWINGS

Transcription

1 El Paso Electric Young People s Concerts January 31, February 1 & 2, :30am and 12:30pm Abraham Chavez Theatre El Paso Symphony Orchestra James O. Welsch, conductor THE ORCHESTRA SWINGS Come to Play Thomas Cabaniss Slavonic Dance No. 1 Antonin Dvorak Duke s Place Duke Ellington I Got Rhythm Variations George Gershwin Riffs from Prelude, Fugues, and Riffs Leonard Bernstein It Don t Mean a Thing If It Ain t Got That Swing Duke Ellington Do Your Thing Courtney Bryan When the Saints Go Marching In - Traditional This year s El Paso Electric Young People s Concerts are being presented in collaboration with the Weill Music Institute at Carnegie Hall. They have chosen the El Paso Symphony Orchestra as a regional orchestra to partner with to provide music, materials, and curriculum to make this year s concerts an exciting and interactive event for all the students in the audience. At different points in the concert, students will be asked to participate from their seats in the auditorium through singing or playing a recorder (if available) and get the opportunity to make music along with the musicians of the EPSO. This multi-media concert explores elements of swing within orchestral and azz music. Through the Link Up repertoire, students explore melody, rhythm, and style through listening, composition, and performance, and play and sing alongside the El Paso Symphony Orchestra in a culminating, interactive concert experience.

2 Dr. James O. Welsch A Florida native, James O. Welsch earned a Doctor of Musical Arts in Orchestral Conducting in May from the University of Texas at Austin. He earned a Bachelor s of Music in Theory and Composition at Stetson University, DeLand, Florida, and a Master s of Music in Orchestral Conducting at Syracuse University, where he subsequently taught in the NASM-accredited Setnor School of Music before pursuing a doctorate under the mentorship of Maestro Gerhardt Zimmermann. At Setnor, Dr. Welsch was named Faculty Member of the Year in , his first year of teaching. While a graduate student and assistant professor at Setnor School of Music, he was assistant and cover conductor of the Syracuse Symphony Youth Orchestra; conductor of the New Directions Ensemble; founding conductor of the Setnor Brass Choir, and leader of other student ensembles. He also served as conductor for the Syracuse University Opera in fully-staged annual productions. As Director of Music Ministries for a Syracuse suburban church, he organized performances of maor works that involved inner-city singers and instrumentalists along with musicians from the church, community, and area high schools. He has been a guest conductor for Syracuse Symphony Orchestra, Syracuse Society for New Music, The Orlando Philharmonic, Syracuse University Wind Ensemble, Stetson University Symphonic Band, The Greater Syracuse Ecumenical Choir and Orchestra, and the Syracuse University Oratorio Society. In Austin, Dr. Welsch conducted the Cedar Park High School musical Ragtime, and he was co-music director/conductor of Oklahoma! at Zilker Park Summer Theater. He was a faculty member and Chamber Orchestra conductor for the U. T. String Proect, directed by Laurie Scott and Music Director of The University of Texas University Orchestra. He served as assistant conductor/conductor of The University of Texas Symphony Orchestra and Camerata and conductor of the Engineering Honors Orchestra (EcHO). He assisted Maestro Kelly Kuo on numerous Butler Opera Center productions as both assistant conductor/conductor and was assistant conductor with The Austin Symphony Orchestra, Maestro Peter Bay - Music Director. In Fall 2016 he was appointed Music Director and General Manager of the El Paso Symphony Youth Orchestras, Assistant Conductor of the El Paso Symphony Orchestra, and most recently, Music Director of the United States/Mexico Youth Philharmonic Orchestra (based out of El Paso, TX and Ciudad Juarez). He is the recipient of artist grants for individual creative work and community arts proects. His compositions, original orchestrations and arrangements, have been performed in concerts and contests.

3 Weill Music Institute Link Up A Program of Carnegie Hall s Weill Music Institute for Students in Grades Three Through Five The Orchestra S W N G S Second Edition Student Guide

4 Weill Music Institute Link Up A Program of Carnegie Hall s Weill Music Institute for Students in Grades Three Through Five The Orchestra S W N G S Second Edition Student Guide

5 WEILL MUSIC INSTITUTE Joanna Massey, Director, Learning & Engagement Programs Amy Mereson, Assistant Director, Learning & Engagement Programs Hillarie O Toole, Manager, Learning & Engagement Programs Matt Frey, Associate, Learning & Engagement Programs PUBLISHING AND CREATIVE SERVICES Natalie Slack, Senior Editor, WMI Kat Hargrave, Senior Graphic Designer CONTRIBUTORS Michele Schroeder, Curriculum Writer Thomas Cabaniss, Artistic Consultant Chris Washburne, Artistic Consultant Sophie Hogarth, Illustrator Scott Lehrer, Audio Production Carnegie Hall s Weill Music Institute 881 Seventh Avenue, New York, NY Phone: Fax: linkup@carnegiehall.org carnegiehall.org/linkup Lead support for Link Up is provided by Fund II Foundation. Additional funding for Link Up is provided by The Ambrose Monell Foundation, JJR Foundation, The Barker Welfare Foundation, and Joan and Sanford I. Weill and the Weill Family Foundation. Link Up in New York City schools is made possible, in part, by an endowment gift from The Irene Diamond Fund The Carnegie Hall Corporation. All rights reserved. Weill Music Institute

6 ICON KEY The Singing Icon indicates that you can sing the piece at the culminating concert. The Recorder and String Instrument Icon indicates that you can play the piece on soprano recorders or string instruments at the culminating concert. Optional bowings ( ) are shown on the applicable music. The Recorder Star Icon indicates that the piece is geared toward more experienced recorder players. Advanced string players can also play these parts.

7 SG Thomas Cabaniss, Our Guide Hi, I m Tom, a composer and your host for The Orchestra Swings. I am excited to invite you along with some of my talented musician friends to explore what it means to swing. Swing is many things, and though it is characteristically played by azz musicians, an orchestra can also swing. We encourage you to investigate the many rich meanings of swing, from the distinctive rhythmic ideas to the larger concept of musicians who listen deeply to one another and truly play together. All of these ideas contribute to the magical moment when music starts to swing. 1

8 SG 2 Hi, I m Courtney, a composer and pianist. Music is a wonderful vehicle for self-expression and community engagement. When we swing with the music, we include our own personal voice with the collective voice. We are all part of the whole, working together to create uninhibited beauty. For The Orchestra Swings, I composed a new piece for orchestra and azz ensemble called Do Your Thing that you will hear at the final Link Up concert. I look forward to swinging with you! Hi, I m Chris, a azz musician and trombonist. I have played music for many years, and I love all genres, from classical and rock to hip-hop and salsa. My favorite genre is azz, because you get to improvise and play whatever you want, whenever you want. It is total freedom! Most importantly, you get to do this with other musicians. When everyone is playing well together and really having fun, that is when the music swings. Improvisation is the key to my happiness, and I think it will be the key to yours, too.

9 SG 3 Recorder Notes Needed: Part 1 (Advanced): D, E, F#, G, A, B, C, High D Come to Play Part 2 (Basic +): G, A, B, C, D (opt. D, E, F#) Part 3 (Advanced): D, E, F#, G, A, B, C, High D, High E Part 1 Steadily Thomas Cabaniss, arr. by Chris Washburne Winds blow Part 2 Part Trum - pets sound - ing Strings sing Drum - mers p p p p p p pound - ing 2 3

10 SG Drum - mers p p p p p p pound - ing 3 Come to play, Join sound with sound come to sing we'll shake the ground with song 3 Come to play, Join Come to play, Join

11 SG sound with sound Come to sing we'll shake the ground with sound with sound Come to sing we'll shake the ground with song with song LEADER song with song What do you do with time? 1 25 AUDIENCE 2 Make it groove make it move make it rhyme LEADER 3 Make it groove make it move make it rhyme What do you do with song? Make it groove make it move make it rhyme

12 SG AUDIENCE 2 Make it sing make it ring make it strong make it long long 3 Make it sing make it ring make it strong make it long Make it sing make it ring make it strong make it 1 31 LEADER AUDIENCE What do you do with sound? Make it cry make it fly 2 3 Make it cry make it fly Make it cry make it fly make it gleam make it gleam make it gleam Make it your Make it your Make it your dream dream dream

13 SG Jazz Interlude 37 swing feel Winds finger snaps blow trum - pets swing-ing 3 finger snaps 1 53 Strings sing drums play ding ding ga ding ding ga ding ding ga ding Winds blow trum - pets swing - ing Strings sing drums play 3 Come to swing, Join sound with sound Come to swing we'll

14 SG ding ding ga ding ding ga ding ding ga ding Winds blow 3 shake the ground with song Come to swing, Join Come to swing Join trum - pets swing -ing Strings sing drums play ding ding ga ding ding ga 3 sound with sound sound with sound Come to swing we'll Come to swing we'll shake the ground with shake the ground with 1 65 ding ding ga ding shake the ground with song! 2 3 song with song, with song! song with song, with song!

15 SG 9 Recorder Notes Needed: G, C Duke s Place & Duke Ellington, Ruth Roberts, Bill Katz, and Robert Thiele 13 &. Ó. J Ó 1. Ba - by! 2. Sax - es Take do me their down tricks to at Duke's Duke's Place. Place. 17 & Ó. J Ó Wild - est Drum-mers box swing in their town sticks is in Duke's Duke's Place. Place. & Ó. Ó J. 21 Love Come that on pia get - no your sound kicks in in Duke's Duke's Place. Place.

16 SG 10 Recorder Notes Needed: D, E, G, A, B, C, C#, high D & # & # 17 & # 21 & # I I I. got. got. got. I. got. rhy - thm my friend Who could. dais. I Got Rhythm I. got. mu ask for an - y-thing - ies in green pas - my friend Who could.. ask for an - y-thing George and Ira Gershwin - sic w more? tures w more? 25 & # 29 & # 35 & # 39 & # J. You Old I. won't man. got. find. trou. - J him sweet # J ble dreams. round my J. I door I Ó. got don't I.. mind. got him. star - light my friend Who could w ask for an - y-thing more? Who could ask for an - y-thing more?

17 SG 11 Recorder Notes Needed: G, A, B I Got Rhythm George and Ira Gershwin

18 SG 12 It Don t Mean a Thing (If It Ain t Got That Swing) & bb b Ó Duke Ellington and Irving Mills It 9 & bb b don't mean a thing if it b ain't got that swing w 13 & bb b doo wah doo wah doo wah doo wah doo wah doo wah doo wah doo wah It 17 & b b b don't mean a b thing all you b got to do is sing w 21 & bb b doo wah doo wah doo wah doo wah doo wah doo wah doo wah doo wah It 25 & bb b makes no differenceif. it's sweet or w hot Ó.. Just give thatrhy-thm ev-ry-thing you w got 32 & b b b Ó It don't mean a thing if it b ain't got that swing w 37 & bb b Ó doo wah doo wah doo wah doo wah doo wah doo wah doo wah doo wah

19 SG 13 It Don t Mean a Thing (If It Ain t Got That Swing) Choreography A Sections High and Low Snaps Bring both hands to your chest, then extend your arms and snap your fingers on the off-beats. Shorty George Bring your arms to your sides and point your fingers downward in opposition with your steps. B Sections The Charleston First, step forward with your right foot, then kick forward with your left foot. Next, step backward with your left foot, then point backward with your right foot. Strike a Pose

20 SG 14 Recorder Notes Needed: C, D, E, F, G When the Saints Go Marching In Traditional Oh when the saints go march-ing in 8 Oh when the saints go march - ing in 12 Oh how I want to be in that num - ber 16 When the saints go march - ing in

21 SG 15 Recorder Notes Needed: G, A, B, C When the Saints Go Marching In * Traditional *This is the counter-melody.

22 SG 16 Instrument Family Portraits Woodwinds (wooden or metal tubes, blown) Clarinet Clarinet Sounds like: Sounds like: Oboe Flute Bassoon Sounds like: Sounds like: high and light Piccolo Sounds like: Brass (metal tubes, buzzed lips) Sounds like: Sounds like: Trumpet Tuba Trombone French Horn Sounds like: Sounds like:

23 SG 17 Percussion (struck, shaken, or scraped) Sounds like: Triangle Sounds like: Timpani Xylophone Snare Drum Bass Drum Sounds like: Sounds like: Sounds like: Strings (wooden bodies with strings that are bowed or plucked) Sounds like: Violin Viola Sounds like: Bass Cello Sounds like: Harp Sounds like: Sounds like:

24 SG 18 The Orchestra Map Snare Drum Xylophone Timpani Bass Drum French Horns Clarinets Flutes Harp Violins Conductor

25 SG Trumpets Trombones Tubas Bassoons Oboes Violas Cellos Basses 19

26 SG 20 Instrument Identification (Visual) Look at the pictures below and write each instrument s name and family. In the last column, list one musical fact about the instrument. An example is given for you below. Instrument Name Instrument Family Musical Fact clarinet woodwinds Makes sound by blowing on a single reed

27 Instrument Name Instrument Family Musical Fact SG 21

28 SG 22 Instrument Identification (Audio) Listen carefully to each instrument example. Write the name and family of the instrument that you hear. You may use the Word Walls for clues. An example is given for you below. 1 2 Instrument Name trumpet Instrument Family brass Instrument Word Wall Instrument Family Word Wall bass French horn trumpet woodwinds bassoon harp tuba brass cello oboe viola percussion clarinet timpani violin strings flute trombone xylophone

29 SG 23 My Own Orchestra Name of orchestra: Type of music: Instruments included: Reasons for instrumentation: Stage setup (draw):

30 SG 24 The Jazz Ensemble The rhythm section of a azz ensemble typically consists of piano, bass, and drums. Jazz ensembles with less than 10 members are referred to by the number of musicians in the group: Duo = two musicians Trio = three musicians Quartet = four musicians Quintet = five musicians Sextet = six musicians Septet = seven musicians Octet = eight musicians Nonet = nine musicians Jazz ensembles with more than 10 members, who are divided into sections, are often called big bands. Big Band Quartet

31 SG 25 My Own Jazz Ensemble You have been given a rhythm section that consists of piano, bass, and drums. Now, you can select up to six more instruments from the instrument family portraits, or other instruments that you are familiar with, to create an ensemble. List or draw them below: Add together the total number of instruments, including the rhythm section. What do we call that number of musicians when they are grouped together? (e.g. quartet, quintet, etc.) Create a name for your ensemble. (e.g. Courtney s Septet!)

32 SG 26 My Repertoire List Singing Playing Listening or Moving Come to Play Slavonic Dance No. 1 Duke s Place I Got Rhythm Variations I Got Rhythm Riffs from Prelude, Fugue, and Riffs It Don t Mean a Thing (If It Ain t Got That Swing) Do Your Thing When the Saints Go Marching In

33 SG 27 My Letter to the Orchestra Date Dear, Your friend,

34 ABOUT THE COMPOSERS Leonard Bernstein ( ), the celebrated American composer and conductor, started taking piano lessons at an early age. During his childhood and adolescence in Massachusetts, he played in public regularly. He studied music at Harvard University and the Curtis Institute of Music in Philadelphia. At age 25, he made his conducting debut with the New York Philharmonic at Carnegie Hall, and went on to work as a guest conductor for orchestras around the world. In 1958, Bernstein became the music director of the New York Philharmonic, a position he held for more than a decade. He earned special acclaim for his Young People s Concerts, which were broadcast to television viewers around the country. (Fun fact: The first of these televised concerts was recorded at Carnegie Hall!) Bernstein also composed music for symphonies, small ensembles, musical theater, opera, film, and dance. Courtney Bryan (b. 1982) is a pianist and composer, and a New Orleans native. Her music ranges from solo works to large ensembles in the new music and azz idioms, film scores, and collaborations with dancers, visual artists, writers, and actors. She works within various musical genres, including azz and other types of experimental music, as well as traditional gospel, spirituals, and hymns. She performs around the New York City area, and is the director of the Institute of Sacred Music at Bethany Baptist Church of Newark, New Jersey. Bryan holds degrees from the Oberlin Conservatory of Music (BM), Rutgers University (MM), and Columbia University (DMA) with advisor George Lewis. Recent commissions include original compositions for The Dream Unfinished orchestra and chorus, the guitar ensemble Duo Noire, the New York Jazzharmonic, the Colorado Springs Philharmonic, and a new work for orchestra and azz septet, Do Your Thing, which premiered at the Link Up: The Orchestra Swings concert in Thomas Cabaniss (b. 1962) lives in New York City and composes music for opera, theater, dance, film, and concerts. He worked with choreographer Hilary Easton to create a series of dance-theater works, and his music for theater has appeared in shows on and off Broadway. He has written an opera based on E. T. A. Hoffmann s The Sandman, and he scored an Oscar winning short film, The Lunch Date. His choral works include Behold the Star, available on New World Records and published by Boosey & Hawkes. He is a member of the faculty of The Juilliard School.

35 Antonín Dvořák ( ) was born in a small village in Bohemia, which is now part of the Czech Republic, a country in central Europe. He was one of seven children. His parents recognized his musical talent, and at the age of six he began his musical training. He studied music in Prague and graduated as an accomplished violinist and violist before he was 20 years old. Dvořák is known for integrating elements of folk music from his native Bohemia into his works. The composer s Slavonic Dances utilize the rhythms of folk music, but were written with his own melodies. Dvořák moved to the US to accept a position as head of the National Conservatory of Music in He wrote his Symphony No. 9, From the New World, during his time in the US, and the New York Philharmonic premiered the work at Carnegie Hall in Duke Ellington ( ) is considered to be one of the most important figures in azz history. Born in Washington, DC, he began studying classical piano when he was around eight years old. As a teenager, he became interested in ragtime and azz and began playing in dance bands at clubs and parties. (Fun fact: The young Edward Ellington s real first name had an elegant sense of style, which earned him the nickname Duke from his friends.) He moved to New York City as a young man and began his career as a bandleader and composer. Ellington was hired to lead the house band at the Cotton Club, a famous azz club in Harlem. He went on to form the Duke Ellington Orchestra which became known all over the country thanks to radio broadcasts and popular recordings and toured the world for more than 50 years. Over the course of his long career, Ellington collaborated with many other azz greats, including Billy Strayhorn and Ella Fitzgerald, and wrote nearly 2,000 compositions. George Gershwin ( ) is one of the most famous American composers of the 20th century. Born in Brooklyn, he began studying music as a boy when his parents who were Russian immigrants bought a piano for his older brother, Ira. Gershwin left high school to work in Tin Pan Alley in New York City as a song plugger, playing the piano to help publishing houses advertise and sell new music. After that, he worked as a rehearsal pianist for musical theater. Gershwin used these early experiences to build a career as a composer. Eventually he began working with his brother Ira a lyricist forming a legendary partnership. Gershwin was fluent in composing many styles of music, from solo piano and orchestral works to musical theater, opera, and film. His best-known works include Rhapsody in Blue and An American in Paris, and the score for the opera Porgy and Bess. Gershwin died at the early age of 38 in Hollywood, California.

36 COMPOSER TIMELINE Leonard Bernstein Courtney Bryan Antonín Dvořák b Thomas Cabaniss b Duke Ellington George Gershwin

37 GLOSSARY audience: a group of people who attend an event such as a concert bar line: a vertical line on a staff that divides the measures big band: a azz ensemble with more than 10 musicians who are divided into sections blues: a unique form of musical communication that gives musicians freedom to improvise and swing bridge: the contrasting, or B section, within A-A-B-A form call and response: the form in which musicians play, listen, and respond to each other in a musical dialogue chord: a group of (typically three or more) notes sounded together, as a basis of harmony chorus: 1. a group of singers 2. in azz, the A-A-B-A form is repeated multiple times; one time through the full form is called a chorus clef: a sign placed at the beginning of a musical staff to determine the pitch of the notes conductor: a person who leads a group in making music composer: a person who writes music diction: the pronunciation and enunciation of words in singing dynamics: volume (loud or quiet) ensemble: a group of musicians who perform together form: the order of phrases or sections in music harmony: multiple pitches played or sung at the same time harmonic changes: a pattern or series of chords that repeats itself head voice: the high register of the voice, from which vibrations can be felt in the head humming: singing without opening one s lips improvisation: to make up something on the spot measure: a group of beats framed by bar lines on a staff (can also be referred to as a bar) note head: the round part of a musical note which indicates the note value note stem: the vertical line extending from the head of a note

38 orchestra: a large group of musicians who play together using various instruments, usually including strings, woodwinds, brass, and percussion pitch: how high or low a sound is posture: the position of the body repertoire: a French word referring to the set of musical pieces you learn over a period of time rest: a rhythmic symbol that represents silence rhythm: patterns of sound and silence rhythm section: the instruments in a azz ensemble typically piano, bass, drums, and sometimes guitar which form the foundation for the melody, harmony, and improvisation ride pattern: a distinctive swing rhythm which the drummer plays on the ride cymbal riff: a short melodic phrase that is played over and over again by a soloist or group of musicians root: a single note upon which a chord is built scale: a sequence of notes that follows a set pattern going up or down (e.g. in a C scale, the scale begins on a C and ends on the C an octave higher) scat singing: a azz technique in which vocalists use syllables to improvise on a melody solo: one singer or instrumentalist performing alone staff: the set of lines and spaces on which musical pitches are written steady beat: the pulse in music tempo: the speed of music time signature: a symbol used in music to indicate meter trading fours: a dialogue in which each musician takes turns playing four measures at a time tuning: to adust a musical instrument to the correct or uniform pitch (most orchestras tune their instruments to an A first played by the oboe) vibrations: the movement of air

39 ACKNOWLEDGMENTS Scores Come to Play music and lyrics by Thomas Cabaniss. Published by MusiCreate Publications. Arranged by Chris Washburne. Play-along tracks performed by Sarah Elizabeth Charles, Chris Washburne, Bruce Barth, Ugonna Okegwo, Vince Cherico, Ole Mathisen, John Walsh, and Tali Rubenstein. Duke s Place words and music by Duke Ellington, William Katz, Robert Thiele, and Ruth Roberts. Sony/ATV Harmony (ASCAP) 1942, 1943, 1957, 1958 (Copyrights renewed) Sony/ATV Music Publishing LLC and EMI Robbins Catalog Inc. in the US. All rights on behalf of Sony/ATV Music Publishing LLC. Administered by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN Exclusive print rights for EMI Robbins Catalog Inc. administered by Alfred Music. This arrangement 2016 EMI Robbins Catalog Inc. and Sony/ATV Music Publishing LLC. Rights for the world outside the US administered by EMI Robbins Catalog Inc. (Publishing) and Alfred Music (Print). International copyright secured. All rights reserved. Reprinted by permission of Hal Leonard Corporation and Alfred Music. Performed by Louis Armstrong and Duke Ellington. Courtesy of Capitol Records under license from Universal Music Enterprises. Student tracks arranged by Chris Washburne. Play-along tracks performed by Sarah Elizabeth Charles, Chris Washburne, Bruce Barth, Ugonna Okegwo, Vince Cherico, Ole Mathisen, John Walsh, and Tali Rubenstein. It Don t Mean a Thing (If It Ain t Got That Swing) words and music by Duke Ellington and Irving Mills. Sony/ATV Harmony (ASCAP) and EMI Mills Music Inc. (ASCAP) 1932 (Renewed). Sony/ATV Music Publishing LLC and EMI Mills Music, Inc. in the US. This arrangement copyright 2016 Sony/ATV Music Publishing LLC and EMI Mills Music, Inc. in the US. All rights on behalf of Sony/ATV Music Publishing LLC. Administered by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN Exclusive print rights for EMI Mills Music, Inc. administered by Alfred Music. This arrangement 2016 EMI Mills Music, Inc. and Sony/ATV Music Publishing LLC. Rights for the world outside the US administered by EMI Mills Music, Inc. (Publishing) and Alfred Music (Print). International copyright secured. All rights reserved. Reprinted by permission of Hal Leonard Corporation and Alfred Music. Performed by Louis Armstrong and Duke Ellington. Courtesy of Capitol Records under license from Universal Music Enterprises. Student tracks arranged by Chris Washburne. Performed by Sarah Elizabeth Charles, Chris Washburne, Bruce Barth, Ugonna Okegwo, Vince Cherico, Ole Mathisen, John Walsh, and Tali Rubenstein. The Young Person s Guide to the Orchestra by Benamin Britten by Hawkes & Son (London) Ltd. Courtesy of Boosey & Hawkes. Instrument excerpts performed by The Fountain Ensemble and narrated by Hillarie O Toole. Theme performed by London Symphony Orchestra and Steuart Bedford. Courtesy of Naxos of America. I Got Rhythm by George and Ira Gershwin 1930 (Renewed) WB Music Corp (ASCAP) and Ira Gershwin Music Corp (ASCAP). Performed by Ella Fitzgerald. Courtesy of Capitol Records under license from Universal Music Enterprises. All rights administered by WB Music Corp. This arrangement 2016 WB Music Corp. and Ira Gershwin Music Corp. Used by permission of Alfred Music. All rights reserved. Student tracks arranged by Chris Washburne. Play-along tracks performed by Sarah Elizabeth Charles, Chris Washburne, Bruce Barth, Ugonna Okegwo, Vince Cherico, Ole Mathisen, John Walsh, and Tali Rubenstein. I Got Rhythm Variations by George Gershwin and Ira Gershwin. WB Music Corp. (ASCAP) and Ira Gershwin Music (ASCAP). All rights administered by WB Music Corp. Performed by Buffalo Philharmonic Orchestra. Courtesy of Naxos of America, Inc. Riffs from Prelude, Fugue, and Riffs by Leonard Bernstein. Performed by: Benny Goodman and Columbia Jazz Combo. Originally released 1964 Sony Music Entertainment. Leonard Bernstein Music Publishing Co., administered by Universal Polygram Int. Publishing, Inc. (ASCAP), One Hundred Percent (100%) on behalf of Leonard Bernstein. When the Saints Go Marching In, American folk song. Arranged by Chris Washburne. Play-along tracks performed by Sarah Elizabeth Charles, Chris Washburne, Bruce Barth, Ugonna Okegwo, Vince Cherico, Ole Mathisen, John Walsh, and Tali Rubenstein. Slavonic Dance No. 1 in C Maor, Op. 46, No. 1 by Antonín Dvořák, performed by Zdeněk Košler, Slovak Philharmonic Orchestra, Courtesy of Naxos of America, Inc. Photos SG1: Thomas Cabaniss by Jennifer Taylor. SG24: Billy Taylor Trio photo by Jimmy Katz; Miles Davis Nonet photo PoPsie Randolph/Getty Images. Illustrations Rhythm Section artwork by Suzanne Cerny. Special Thanks Special thanks to Alee Reed for her choreography to It Don t Mean a Thing (If It Ain t Got That Swing) and the students of the Dancing Classrooms Youth Dance Company for their participation in video resources for Link Up: The Orchestra Swings. Special thanks to Courtney Bryan for creating a new commission for Link Up: The Orchestra Swings concerts.

40 SOPRANO RECORDER FINGERING CHART Left Hand } } 1st Finger 2nd Finger 3rd Finger Thumb 1st Finger Right Hand 2nd Finger 3rd Finger 4th Finger (little finger) - Hole open - Hole closed - Half Hole C CB Db D DB E F G & w # w bw w # w bw w w # w bw Eb FB Gb w & # w bw w # w bw w w # w bw w # w bw GB Ab A AB Bb B C CB Db D DB & # w bw w # w bw w w # w bw w # w bw Eb & w w # w bw w # w bw w # w bw w w E & w F FB Gb G GB Ab A AB Bb B C w # w bw w # w bw w # w bw w w

41 carnegiehall.org/linkup