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 Third Edition Student Guide
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 Third Edition Student Guide
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 Hannah Santisi, Coordinator, Learning & Engagement Programs PUBLISHING AND CREATIVE SERVICES Natalie Slack, Senior Editor, WMI Raphael Davison, 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 10019 Phone: 212-903-9670 Fax: 212-903-0758 Email: 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 Rose M. Badgeley Residuary Charitable Trust, The Barker Welfare Foundation, The Ambrose Monell Foundation, JJR 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. 2018 The Carnegie Hall Corporation. All rights reserved. Weill Music Institute
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ICON KEY The Singing Icon indicates that you can sing the work at the culminating concert. The Recorder and String Instrument Icon indicates that you can play the work 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 work is geared toward more experienced recorder players. Advanced string players can also play these parts. The Movement Icon indicates that there are accompanying movements that you can learn along with the music.
SG 1 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 3 1 4 Trum - pets sound - ing 2 3 1 7 Strings sing Drum - mers p p p p p p pound - ing 2 3
SG 2 1 2 10 Drum - mers p p p p p p pound - ing 3 Come to play, Join 1 13 2 3 sound with sound come to sing we'll shake the ground with 1 16 2 song 3 Come to play, Join Come to play, Join
SG 3 1 19 2 3 sound with sound Come to sing we'll shake the ground with sound with sound Come to sing we'll shake the ground with 1 22 2 3 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
SG 4 1 28 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 1 2 3 34 make it gleam make it gleam make it gleam Make it your Make it your Make it your dream dream dream
SG 5 1 2 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 2 3 1 2 56 Winds blow trum - pets swing - ing Strings sing drums play 3 Come to swing, Join sound with sound Come to swing we'll
SG 6 1 2 59 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 1 2 62 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!
Recorder Notes Needed: G, C Duke s Place &4 4 12 SG 7 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.
SG 8 Recorder Notes Needed: D, E, G, A, B, C, C#, high D & # 4 4 8 13 & # 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?
SG 9 I Got Rhythm Recorder Notes Needed: G, A, B George and Ira Gershwin 13 17 21 25 29 33 37
SG 10 & bb b 4 4 7 It Don t Mean a Thing (If It Ain t Got That Swing) Ó It don't mean a Duke Ellington and Irving Mills thing if it 11 & bb b b w ain't got that swing doo wah doo wah doo wah doo wah doo wah 15 & bb b b doo wah doo wah doo wah It don't mean a thing all you 19 & b b b b w got to do is sing doo wah doo wah doo wah doo wah doo wah 23 & bb b. doo wah doo wah doo wah It makes no diff'rence - if it's sweet or 27 & bb b w hot Ó Just. give that rhy -thm ev - ry - thing you. w got 32 & b b b Ó b w It don't mean a thing if it ain't got that swing 37 & bb b Ó doo wah doo wah doo wah doo wah doo wah doo wah doo wah doo wah
SG 11 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
SG 12 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
Recorder Notes Needed: G, A, B, C When the Saints Go Marching In * SG 13 Traditional 1 9 16 *This is the counter-melody.
SG 14 About the Composers Leonard Bernstein (1918 1990), a celebrated American composer and conductor, began playing piano at an early age when his aunt gave him her upright piano. During his childhood in Massachusetts, he continued his piano studies and went on to study music at Harvard University and the Curtis Institute of Music. From the time Bernstein started a azz band as a teenager, azz had a vibrant influence on his music. At age 25, he made his conducting debut with the New York Philharmonic at Carnegie Hall. 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 live at Carnegie Hall! Bernstein s compositions span orchestral music, chamber music, opera, and musical theater. He was also a generous humanitarian, who believed that artists would help create a more peaceful world. Courtney Bryan (b. 1982) is a pianist and composer who works within many different musical genres, including azz, traditional gospel, classical, and experimental styles. Hailing from New Orleans, she began playing and composing music at a young age, a musical path which led her to receive degrees from the Oberlin Conservatory of Music, Rutgers University, and Columbia University. Bryan s work ranges from solo to large ensemble works, film scores, and collaborations with dancers, visual artists, writers, and actors. Recent commissions include original compositions for The Dream Unfinished orchestra and chorus, guitar ensemble Duo Noire, and the New York Jazzharmonic. Do Your Thing, Bryan s new work for orchestra and azz septet, was commissioned by Carnegie Hall for Link Up: The Orchestra Swings and received its world premiere in Carnegie Hall s Stern Auditorium / Perelman Stage in 2017. Bryan is currently an assistant professor of music at Tulane University.
SG 15 Thomas Cabaniss (b. 1962) is a composer and educator born in Charleston, South Carolina. Residing in New York City, Cabaniss teaches at The Juilliard School and leads arts education programs throughout the city. His music ranges from chamber music to operas and film scores. He is the host and composer-in-residence for Carnegie Hall s Link Up program, and helped launch Carnegie Hall s Lullaby Proect, which helps pregnant women, new mothers, and their families write songs for their children. Cabaniss uses his music to encourage collaboration and help institutions support partnerships between artists and communities. Antonín Dvořák (1841 1904) was born in a small village in Bohemia, which is now part of the Czech Republic. Hailing from a musical family, Dvořák began studying the violin at the age of six, and was soon performing with his father and the village band at the family inn. His musical talent led him to study in Prague, where he graduated as an accomplished violinist and violist before the age of 20. Dvořák is known for integrating elements of Bohemian and other forms of Slavic folk music into many of his works, including his Slavonic Dances. He moved to New York City to accept a position as head of the National Conservatory of Music in 1892. A year later, Dvořák s Symphony No. 9, From the New World, was premiered by the New York Philharmonic at Carnegie Hall. Duke Ellington (1899 1974) is considered 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, Ellington became interested in ragtime and azz and began playing in dance bands at clubs and parties. 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 (1898 1937) is one of the most recognized American composers of the 20th century. Born in Brooklyn, New York, he exhibited his musical talent at a young age, first learning melodies on a neighbor s player piano and then beginning his studies on an upright piano that his parents purchased for his older brother, Ira, who was an acclaimed lyricist. Gershwin began his professional music career in Tin Pan Alley as a song plugger, playing the piano to help publishing houses advertise and sell new music, and later playing as a rehearsal pianist for musical theater. Gershwin and his brother formed a legendary partnership, creating many notable works that include the opera Porgy and Bess. Gershwin s compositions include both popular and classical styles, as well as works for solo piano, orchestra, musical theater, opera, and film.
SG 16 Composer Timeline 1850 1875 1900 1925 Antonín Dvořák 1841 1904 Duke Ellington 1899 1974 George Gershwin 1898 1937
SG 17 1950 1975 2000 2018 Leonard Bernstein 1918 1990 Courtney Bryan b. 1982 Thomas Cabaniss b. 1962
SG 18 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:
SG 19 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:
SG 20 The Orchestra Map Snare Drum Xylophone Timpani Bass Drum French Horns Clarinets Flutes Harp Violins Conductor
SG Trumpets Trombones Tubas Bassoons Oboes Violas Cellos Basses 21
SG 22 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
Instrument Name Instrument Family Musical Fact SG 23
SG 24 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 3 4 5 6 7 8 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
SG 25 My Own Orchestra Name of orchestra: Type of music: Instruments included: Reasons for instrumentation: Stage setup (draw):
SG 26 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
SG 27 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!)
SG 28 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
SG 29 My Letter to the Orchestra Date Dear, Your friend,
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). 1957 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 37219. 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 37219. 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. 1947 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 SG26: Billy Taylor Trio photo by Jimmy Katz. 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.
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
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