ORLANDO PHILHARMONIC ORCHESTRA | 2016 YOUNG PEOPLE’S CONCERTS

Once Upon a Symphony

“Supported in part by United Arts of Central Florida. Through the Arts and Culture Access Grant, children attend field trips and in‐school programs that connect to their class curriculum. Learn more or view lesson plans at www.UAArtsEd.com.”

Table of Contents Guidebook Contents Welcome Letter Meet the Contributors Using This Resource Packet Remember the Classroom Teachers Saying “Thank You” Be the Best Audience You Can Be! Star Spangled Banner Procedure Star Spangled Banner Der Vogelfänger bin ich ja Symphony No. 9 “Ode to Joy” Overture to Midsummer Night’s Dream Overture to “William Tell” Sleeping Beauty Waltz Romeo & Juliet Suite No. 2 Harry’s Wondrous World Behold the Bold Umbrellaphant “Behold the Bold Umbrellaphant” “The Lynx of Chain” “Hatchickens” “The Tearful Zipperpotamuses” Behold the Bold Umbrellaphant ELA

3 4 5 5 5 6 6 7 8 10 14 16 22 25 27 30 31 32 33 35 37

Extra Materials “Der Vogelfänger bin ich ja” from The Magic Flute Symphony No. 9 “Ode to Joy” Sleeping Beauty Waltz Romeo & Juliet Suite No. 2 Behold the Bold Umbrellaphant The Lynx of Chain The Tearful Zipperpotamuses

44 47 53 54 55 57 60

ORLANDO PHILHARMONIC ORCHESTRA | 2016 YOUNG PEOPLE’S CONCERTS: ONCE UPON A SYMPHONY | 2

Sean’s character, Pappageno, is known far and wide as a bird catcher who wishes he could use his hunting skills to meet women. Dear Philharmonic Friend, We are so excited to share the 2016 Young People’s Concert, Once Upon a Symphony, with you! For many students, the Young People’s Concerts are the first time they get to see a live symphony orchestra. For the Philharmonic, however, the YPCs are more than a simple concert. We get to collaborate with our friends from the Orlando Ballet, interweaving live music with outstanding ballet. Your students will sway to the waltz from Sleeping Beauty and be transported to a fantastical island by an excerpt from Overture to A Midsummer Night’s Dream. We will accompany Sean Stork, performing the uproarious Der Vogelfänger bin ich ja from Mozart’s most beloved opera, the Magic Flute.

As always, the audience gets to be a part of the action, singing the incomparable Ode to Joy from Symphony No. 9. If that weren’t enough, every musician gets to play their part, presenting music that tells incredible stories by Mendelssohn, Prokofiev, John Williams, and more. The Young People’s Concerts have been a part of Central Florida music education for more than 20 years. For the Philharmonic, they are a gift to our community. It is our hope that the stories we present inspire your students to create musical stories of their own. Thank you, and enjoy the performance! Dr. Leia Barrett Director of Education

ORLANDO PHILHARMONIC ORCHESTRA | 2016 YOUNG PEOPLE’S CONCERTS: ONCE UPON A SYMPHONY | 3

Contributors Dr. Leia Barrett Director of Education Orlando Philharmonic [email protected] 407.896.6700 x 232

Katherine Miller Guidebook Contributor Three Points Elementary [email protected] Overture to “William Tell” (16) Harry’s Wondrous World (27) Tearful Zipperpotamuses (35)

Kathyn Anderson District ELA Coach-Secondary Advanced Studies [email protected] English Language Arts Lesson (37)

Anka Pink Guidebook Contributor Resource Teacher Music K-5 [email protected] Overture to a Midsummer Night’s Dream (14)

Romeo & Juliet Suite No. 2 (25)

Grace Jordan Guidebook Contributor Arbor Ridge Elementary [email protected] Sleeping Beauty Waltz (22) Lynx of Chain (32)

Rachel Robertson Guidebook Contributor Kissimmee Elementary [email protected] Der Vogelfänger bin ich ja (8) Behold the Bold Umbrellaphant (31)

Cynthia Krulick Guidebook Contributor Dommerich Elementary [email protected] Symphony No. 9 “Ode to Joy” (10) Hatchickens (33)

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USING THIS RESOURCE PACKET The Philharmonic is providing both physical and interactive materials. The guidebook and an embedded Prezi can be found at www.orlandophil.org/ypc. In addition: All materials (recordings, interactive PowerPoints, etc.) can be accessed at https://1drv.ms/f/s! AjmeEfKaNavilAY2TQGvYTi7eOOH All materials in this packet can be used in a variety of ways: e.g., copied for students, made into transparencies, projected onto a screen, and made into packets to be used as manipulatives For questions regarding this teacher resource guide contact the teacher listed on the individual work. For general inquiries contact [email protected].

REMEMBER THE CLASSROOM TEACHERS Taking the time to make sure the classroom teachers are informed about concert etiquette will pay off during the field trip. Don’t assume that just because they’re adults they know how to behave at an orchestra concert! Provide classroom teachers with ways to integrate the information into their classroom curriculum. Consider playing short excerpts of the pieces during morning announcements or making CDs available to the teachers to play in their classrooms during quiet study times.

SAYING “THANK YOU!” The Orlando Philharmonic (and the Orlando Ballet) love to get thank-you cards from students! Consider writing a short note to express your thanks. You might share what your favorite song was and why; draw a picture of your favorite part of the ballet or opera selections. Send all thank you notes to the addresses listed below. The Young People’s Concert series is only possible with the support of many different groups of people. You can show how much you value this experience by sending thank-you notes to your school/district administration, school board members, and United Arts of Central Florida. Orlando Philharmonic Offices: Orlando Philharmonic Orchestra Attn: Young People’s Concerts 425 N. Bumby Avenue Orlando, FL 32803 Orlando Ballet Offices: Orlando Ballet 415 E. Princeton Street Orlando, FL 32803-1453 United Arts of Central Florida 2450 Maitland Center Parkway #201 Maitland, FL 32751

CONCERT FEEDBACK Please go to the following survey and complete after you’ve attended the concert:

https://www.surveymonkey.com/r/2016YPC

NEW THIS YEAR: A special ELA supplemental lesson plan perfect for classroom teachers!

ORLANDO PHILHARMONIC ORCHESTRA | 2016 YOUNG PEOPLE’S CONCERTS: ONCE UPON A SYMPHONY | 5

BE THE BEST AUDIENCE YOU CAN BE!

STAR-SPANGLED BANNER PROCEDURE

In addition to introducing your students to music, attending the Young People’s Concert teaches students how to be a receptive cultural audience. Take time to tell your students that appreciation is shown in a different way when attending a symphony concert. Teach your students that the best way to show appreciation is by clapping because it leaves their ears free to enjoy the music.

Each school can have up to two students (one boy and one girl) onstage to sing the Star-Spangled Banner (Some teachers have found this is a good incentive for their most well-behaved students.)

The Philharmonic provides all coordinators with MP3s of the excerpts your students will hear. We encourage you to listen to those samples a few times before attending for following reasons: Your students will learn more at the concert. Classical music is often complex; most musicians can listen to the same piece several times and hear something different! Your students will be amazed at the difference between hearing a recording and attending a live performance. For many professional musicians, the power of live music inspired them to make music a part of their life. We want your students to feel comfortable at the concert. By listening to the music beforehand, they often have a better idea when it ends and are therefore less likely to clap early. Listen carefully, and wait until the end of each piece to clap (or make other noises), unless the conductor or narrator instructs you to do so during the music.

As soon as you arrive, a chaperone needs to escort your singers backstage (the backstage door is on the left as you look at the stage). It is a good idea to make sure the students know where their class is sitting prior to going backstage. Administration members from the Orlando Philharmonic will give the accompanying adults the student certificates before the concert begins to ensure they arrive safely.* Star-Spangled Banner singers will file onto the stage and the audience should stand up and sing along. Watch the conductor to know when to start singing and when to stop. After the SSB, the singers will exit to the left side of the stage and a chaperone must escort the singers back to their seats. *Teachers- please fill out the following survey form at least 2 business days prior to the date you’re attending. This ensures we have your students reserved. If there are any questions we’ll contact you via email. https://drive.google.com/open? id=12UnAZldIB9nXQe842Po6ILFxum066cNtoGKliVC

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Star Spangled Banner Lyrics by Francis Scott Key (1779-1843) Music by John Stafford Smith (1750-1836)

History of the Star Spangled Banner

While negotiating the release of American prisoners, Key and Skinner were not allowed to leave the ship because they had seen the position of British ships who were about to attack. Key and Skinner were forced to watch the bombing of Ft. McHenry all night during the Battle of Baltimore. In the morning, Key was amazed to see that the American flag was still waving and was inspired to write “Defence of Fort M’Henry.” Key eventually set the lyrics to the song “To Anacreon in Heaven” and it became better known as “The Star Spangled Banner.” The Star Spangled Banner was made the official national anthem of the United States of America in 1916 by President Woodrow Wilson.

2016 YOUNG PEOPLE’S CONCERTS: ONCE UPON A SYMPHONY

The Star Spangled Banner was written as a poem by Francis Scott Key, a lawyer from the state of Maryland. During the War of 1812, Key had accompanied British Prisoner Exchange Colonel John Stuart Skinner onto a British ship, the HMS Torrent.

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“Der Vogelfänger bin ich ja” From “The Magic Flute”

About The Magic Flute

Wolfgang Amadeus Mozart (1756-1791)

Born in Salzburg, Austria, Mozart was writing music from the age of 3 and was known as a child prodigy. From the age of 5, Mozart was performing before European Royalty. Although he died at just 35, Mozart composed more than 600 works. It would take 202 hours to listen to all the music Mozart wrote! The Magic Flute, the opera where our aria originates, was one of 22 operas Mozart wrote. Magic Flute was one of the last operas Mozart wrote before he died.

2016 YOUNG PEOPLE’S CONCERTS: ONCE UPON A SYMPHONY

About Wolfgang Amadeus Mozart

The Magic Flute (in German Die Zauberflöte) is an opera in two acts and made use of a musical form called Singspiel that combines singing and spoken word. The work premiered on September 30, 1791, just four months before Mozart’s death. In the Magic Flute, the Queen of the Night begs Prince Tamino to rescue her daughter Pamina from the high priest Sarastro. When the Prince arrives to save her, however, he is impressed by Sarastro’s kingdom and decides to join it. In order to join Sarastro’s kingdom, Tamino and Pamina have to go through horrible trials, but eventually succeed in vanquishing the Queen of the Night and her minions. Meanwhile, Papageno, the “bird catcher,” is found by Tamino and accompanies him on his quest to rescue Pamina. Der Vogelfänger bin ich ja is the first time Tamino sees Papageno. Papageno is singing a song about how he wishes he could find a woman to love as easily as he can catch birds. The aria will be sung in the original German. A translation has been provided on page 10.

Taken during the 2016 Orlando Philharmonic Orchestra performance of “The Magic Flute” Credit: David Whitfield

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“Der Vogelfänger bin ich ja” From “The Magic Flute”

“Der Vogelfänger bin ich ja” From “The Magic Flute”

Lesson Plans

Lesson Plans

MU.5.S.1.3 Arrange a familiar song by manipulating specified aspects of music MU.5.S.2.1 Use expressive elements and knowledge of musical structure to aid in sequencing and memorization and to internalize details of rehearsals and performance MU.5.F.1.1 Create a performance, using visual, kinesthetic, digital, and/or acoustic means to manipulate musical elements. MU.5.C.1.2 Hypothesize and discuss, using correct music vocabulary, the composer’s intent for a specific musical work. MU.5.O.1.1 Analyze, using correct music vocabulary, the use of musical elements in various styles of music as a foundation for understanding the creative process

2016 YOUNG PEOPLE’S CONCERTS: ONCE UPON A SYMPHONY

Next Generation Sunshine State Standards Met

1. Introduce the music and provide a some background information about this scene in the opera. Watch the video of a stage performance of Der Vogelfanger bin ich ja for the first listen. https://www.youtube.com/watch? v=JqwBZ639pvw 2. Display the rhythm accompaniment for this piece and briefly discuss its features. Give each student a pair of drumsticks or rhythm stick and a board or book; otherwise they can simply play sticks on the floor. Practice the rhythm phrases and then play along with each verse– encourage students to pay attention to the stick icons and figure out what they represent. 3. Next, draw attention to the drumstick icons in the accompaniment and choose a student to explain about the icons (where the pipes are played). During those sections, students will flip their drumstick in the air. This will take practice - remind students to only do a small flip, not a toss to the ceiling! Play the rhythm accompaniment again, adding the stick flips. 4. Another day, have students compose each missing measure using only quarter notes/ rests, eighth notes, and sixteenth notes. Give each student a pair of drumsticks (practice the stick flip again) and then perform the accompaniment again with the music.

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Symphony No. 9 “Ode to Joy”

“Der Vogelfänger bin ich ja”

Ludwig van Beethoven (1770-1827)

Translation (Summary)

My life’s my own, so bright and free, for all the birds belong to me. If only there were traps for girls, I’d catch a dozen by their curls. I’m Papageno, that’s my name. And catching birds, well, that’s my game! And when I get them nice and plump I’ll trade some for a sugar lump. Then give it to my favorite one, and woo her till her heart is won. Oh, snuggled in my nest we’d lie and gently rock to a lullaby Translation from https://www.metopera.org/metoperafiles/ education/Educator%20Guides/Ed%20Guide%20pdfs/ Magic.Flute.guide.pdf

2016 YOUNG PEOPLE’S CONCERTS: ONCE UPON A SYMPHONY

I’m Papageno, that’s my name. And catching birds, well, that’s my game! My snares are laid. My sights are set. I whistle them into my net.

About Ludwig van Beethoven Beethoven was considered musical at a very early age. His grandfather and father were his first teachers. First musical performance was at age 8. Played piano, violin, and organ. First composition published at age 12 At age 25 he began to lose his hearing. He used conversation books to communicate with his friends. Admired the principles of the French Revolution and originally dedicated his Symphony #3 (Eroica) to Napoleon. When Napoleon declared himself Emperor, Beethoven heatedly erased the dedication. About Symphony no. 9 Symphony no. 9 is considered one of Beethoven’s finest works and one of the most popular works in Western Music. The lyrics from Symphony no. 9 are based on a poem by Friedrich Schiller (1759-1805), a German poet, playwright, and historian. Even though Symphony no. 9 was premiered in 1824, Beethoven had been planning to use the poem “Ode to Joy” in a musical work since 1793.

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Next Generation Sunshine State Standards Met There are many orchestral innovations in this work, including the largest orchestra Beethoven ever used and the use of chorus as part of a symphony.

In 1985 it was named the Official Anthem of the European Community (later known as the European Union). The famous story about the conclusion of the concert is featured at the end of the children’s movie Beethoven Lived Upstairs: “The large and distinguished audience applauded vociferously after the symphony. Beethoven, who had stood among the players, near the conductor, did not turn around to acknowledge the applause because he could not hear it; one of the solo singers “plucked him by the sleeve and directed his attention to the clapping hands and waving hats and handkerchiefs . . . he turned to the audience and bowed.” (from Grout A History of Western Music)

2016 YOUNG PEOPLE’S CONCERTS: ONCE UPON A SYMPHONY

Amazingly, Beethoven was completely deaf by the time he wrote Symphony no. 9. He conducted its premiere which was the first time he had been on stage in 12 years!

MU.3.C.1.3 Identify families of orchestral and band instruments. MU.3.C.3.1 Identify musical characteristics and elements within a piece of music when discussing the value of the work. MU.3.H.1.2 Identify significant information about specified composers and one or more of their musical works. MU.3.O.3.1 Describe how tempo and dynamics can change the mood or emotion of a piece of music. MU.4.C.1.2 Describe, using correct music vocabulary, what is heard in a specific musical work. MU.4.C.1.3 Classify orchestral and band instruments as strings, woodwinds, brass, percussion, or keyboard. MU.4.S.2.1 Apply knowledge of musical structure to aid in sequencing and memorization and to internalize details of rehearsal and performance. MU.4.H.1.2 Describe the influence of selected composers on the musical works and practices or traditions of their time. MU.5.C.1.3 Identify, aurally, selected instruments of the band and orchestra. MU.5.C.1.4 Identify, aurally, the four primary voice parts, i.e., soprano, alto, tenor, bass, of a mixed choir. MU.5.C.3.1 Develop criteria to evaluate an exemplary musical work from a specific period or genre. MU.5.S.2.1 Use expressive elements and knowledge of musical structure to aid in sequencing and memorization and to internalize details of rehearsals and performance. MU.5.S.3.2 Play melodies and accompaniments, using proper instrumental technique, on pitched and unpitched instruments. MU.5.H.2.1 Examine the contributions of musicians and composers for a specific historical period.

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Symphony No. 9 “Ode to Joy”

Symphony No. 9 “Ode to Joy”

Lesson Plans

Lesson Plans

Lesson 1: focus on composer biography, Symphony #9, Ode to Joy phrases

Supplemental Materials for Lesson 1 A comprehensive PowerPoint, entitled “Beethoven,” has been provided to assist with further study. Here are the suggested uses for the Powerpoint. Slide 3: Recording with orchestra and chorus singing in original German Review families of instruments in orchestra Discuss why Beethoven added a chorus to the 9th Symphony Listen to excerpt. (Singing starts at 1:50) 5th grade: Define SATB

2016 YOUNG PEOPLE’S CONCERTS: ONCE UPON A SYMPHONY

Play themes from some of Beethoven’s most famous works. (Theme from Symphony no. 5, Fur Elise, Ode to Joy) Ask students if they sound familiar. Predict the composer, time period, and genre. Give overview of Beethoven’s life and the Classical Period. Refer to the previous page for some good talking points. Watch one of the flash mob performances of Ode to Joy. Analyze the musical elements, especially dynamics, and discuss how this effected the mood and emotion of the piece. Recommended: https:// www.youtube.com/watch? v=YJEDR0vtNWM

Slide 4: Slide 4 includes a recording with children’s voices singing the translation (attributed to Carolyn Minear) we will use at the concert. The music is repeated three times. It has a two measure introduction and a two measure interlude each time. The first time is singing, the second time is instrumental, the third time is singing. 1. Listen and analyze phrases for same and different. 2. Divide class into groups. Assign each group one phrase and ask them to create a movement piece to represent the melody and/or words. Can use scarves or other movement props if desired. 3. Perform movement piece with groups remaining frozen until their phrase is heard. 4. Learn to sing song. Emphasize vocal tone and posture. 5. Practice in a variety of ways. For example 1st time sing, 2nd time audiate and only sing certain phrases, 3rd time perform movement piece (see above). Slide 5: Excerpt we will hear at YPC. 1. Follow the listening map (attributed to Lynn Schroeder). 2. Use orchestra response cards to identify instrument families. 3. Practice sitting with singing posture. 4. Begin singing at 1:40. (There are no voices on the recording.)

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Symphony No. 9 “Ode to Joy”

ADDITIONAL RESOURCES Beethoven Lives Upstairs Movie by Classical Kids. Available on DVD and online. 50 minutes. Historical fiction film featuring a 10 year old boy who befriends Beethoven during the time he is composing the 9th Symphony.

Lesson Plans

Slide 6-7: 1. Practice descant without the recording. 2. Perform with recording in a variety of ways. For example: 1 - listen and practice recorder part with chin recorder 2 – sing the words 3 – play the recorder descant Slide 8: Extra slide.

2016 YOUNG PEOPLE’S CONCERTS: ONCE UPON A SYMPHONY

Lesson 2: Recorder Lesson This is intended for 4th and 5th grade students who already have learned recorder basics. Students should have already practiced singing Ode to Joy in a previous lesson. Review basic recorder technique. Practice fingerings with Chin recorder/ finger push ups. Learn F# (Start from G, skip one, put down two. Also known as “bunny ears”.) Review whole note and half note durations.

http://www.classicsforkids.com/music/instruments_orchestra.asp Interactive page that teaches instrument families using Benjamin Britten’s Young Person’s Guide to the Orchestra There are videos flashmobs from all over the world performing excerpts from Beethoven’s 9th Symphony. I believe it is a testament to the universal appeal of the music and the message it conveys. Flashmob in Nuremberg, Germany Starts with young girl playing the melody on recorder. The joy on the musicians faces in priceless. https://youtu.be/a23945btJYw Flashmob in Sabadella, Spain Enjoyed by people young and old. https://youtu.be/kbJcQYVtZMo From Japan: video of 10,000 people in a performing 4th movement in a stadium. Over 18 minutes, but worth watching some of it. https://youtu.be/xBlQZyTF_LY Ragtime Piano Version https://youtu.be/0ws14FpDnY4 For further information: Symphony with Final Chorus on Schiller's "Ode to Joy" http://www.classical.net/music/comp.lst/articles/beethoven/ symphony9.php Beethoven’s “Ode to Joy” Lyrics, Translation, and History: http:// classicalmusic.about.com/od/romanticperiodsymphonies/qt/ Beethovenjoytxt.htm This site has a two minute video biography that is entertaining, but not appropriate for students J http://www.classicfm.com/composers/beethoven/

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Overture to “A Midsummer Night’s Dream”

Lesson 1: Parachute Activity Perform a parachute activity to the excerpt from “Overture to a Midsummer Night’s Dream”

Felix Mendelssohn (1809-1847)

Mendelssohn came from a family of artists and was considered a child prodigy Mendelssohn began learning piano at age six and presented his first recital at age 9 Between the ages of 12 and 14, Mendelssohn composed and published his first major works with strings. As a conductor, Mendelssohn is credited with bringing J.S. Bach’s music back into popularity. He died at the age of 38 after suffering from poor health during a trip to England.

About Overture to a Midsummer Night’s Dream Mendelssohn wrote Overture to a Midsummer Night’s dream when he was 17 years old. Mendelssohn was inspired to write the work after reading a German translation of Shakespeare’s famous play A Midsummer Night’s Dream. He was considered a great conductor and composer, conducted the British premiere of the work. Just a few years before his death, Mendelssohn wrote other incidental music based on the story, including one of his most famous works, his wedding march, often used in weddings.

2016 YOUNG PEOPLE’S CONCERTS: ONCE UPON A SYMPHONY

About Felix Mendelssohn

00:01 – 00:20 : Circle Right 00:20 – 00:31: up and down 00:32 – 00:51: circle Left 00:52 – 01:02: Pull parachute towards yourself 8 times then go up and down 4 times 01:03 – 01:16: Circle Right – 4 measures then circle Left 01:17 – 01:23: Shake fast down on floor 01:24 – 01:30: Shake fast holding at waist 01:31 – 01:40: Shake fast down on floor 01:41 – 01:49: pull parachute up on down beats 01:50 – 02:00: Circle Right 02:01 – 02:11: Circle Left 02:12 – 02:20: Shake parachute at waist then go under the mountain

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Overture to “A Midsummer Night’s Dream” Lesson Plans Lesson 2: Creative Scarf Play 2016 YOUNG PEOPLE’S CONCERTS: ONCE UPON A SYMPHONY

1. Play Overture to a Midsummer Night’s Dream while students walk in at the beginning of class. 2. Provide each student with their scarves and have them perform a simple warm-up; after completing your warm-up (2-3 minutes) have students put scarves away for later use. 3. Listen to the overture again, having students close their eyes. After listening to the music, ask your students what they imagine when the music is playing. 4. Listen to the work again 5. Now, tell your students a short summary of the plot to a Midsummer Night’s Dream (a summary is provided in the “Extra Materials” section) 6. Have students pull out scarves again and find their own space in the room 7. Play the music again, having students silently make their own movements to the music; play at least through 1’06” of the work 8. Divide students into 5 different groups, assigning each group their own unique 8 measures to plan. Group 1 receives the first eight measures, Group 2 measures 9-16, etc.

9. Give students about 7-10 minutes to work on choreography. Note: Group 5 will have the strong march feel on the steady beat from 00:53-01:06. 10. Play the song again; this time, have student groups perform their scarf choreography with the music, finishing at 1’06” 11. Repeat group rotation through until the end of the piece 12. Debrief: ask students what they learned by having to create something of their own

Next Generation Sunshine State Standards Met Grade 3 – Intermediate 1: MU.3.O.1.In.a Recognize basic elements in a piece of music. MU.3.O.3.1 Describe how tempo and dynamics can change the mood or emotion of a piece of music. MU.3.C.1.In.a Use a variety of teacher-selected sensory skills to recognize specified musical characteristics. Grade 4 – Intermediate 2 MU.4.C.1.In.a Identify and use appropriate sensory skills to recognize specified musical characteristics. MU.4.O.1.Pa.a Demonstrate awareness of beat and rhythm. Grade 5 – Intermediate 3 MU.5.C.1.In.a Identify and use appropriate sensory skills to support appreciation of musical works. MU.5.H.2.Pa.a - Explore music from a specific historical period.

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Overture to “William Tell”

Overture to “William Tell”

Gioachino Rossini (1792-1868)

Lesson Plans

About Gioachino Rossini

About William Tell One day, William Tell goes into the town square with his son. He is shocked to learn that the government had changed and the ruling lord was oppressing his people. The new lord was even demanding that everyone bow to his hat! William Tell refuses to bow, and the lord decides to punish him. He is told to shoot the apple off of his son’s head, a feat the lord believes impossible.

Lesson 1: William Tell Overture Recorder Lesson 2016 YOUNG PEOPLE’S CONCERTS: ONCE UPON A SYMPHONY

Born in Pesaro, Italy. Considered a Romantic composer and wrote sacred music, chamber music, and operas. He was nicknamed “The Italian Mozart” because he often used song-like melodies in his scores. His first opera was produced when he was 18 years old, and by the time he was 38 he’d composed 39 operas. “William Tell” was his final opera. Rossini was popular with both commoners and royalty, being paid handsomely by both King George IV of Great Britain and Charles X of France. When Rossini retired in 1829 – at the age of 37 – he was quite wealthy and was considered the most celebrated opera composer of his time. Rossini died of pneumonia at the age of 76.

Focus: Recorder, Rhythm, Reading Music Standards: MU.4.S.2.1 – Apply knowledge of musical structure to aid in sequencing and memorization and to internalize details of rehearsal and performance. MU.4.S.3.3 – Perform extended pentatonic melodies at sight MU.4.F.1.1 – Create new interpretations of melodic or rhythmic pieces by varying or adding dynamics, timbre, tempo, lyrics, and/or movement. MU.5.C.1.1 – Discuss and apply listening strategies to support appreciation of musical works. MU.5.C.2.1 – Define criteria, using correct music vocabulary, to critique one’s own and other’s performance MU.5.S.2.1 – Use expressive elements and knowledge of musical structure to aid in sequencing and memorization and to internalize details of rehearsal and performance MU.5.S.2.2 – Apply performance techniques to familiar music. MU.5.S.3.2 – Play melodies and accompaniments, using proper instrumental technique, on pitched and un-pitched instruments.

Little do they know, however, that William Tell is a master archer. He shoots the apple off his son’s head and inspires the townspeople to overthrow the new

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Overture to “William Tell”

Overture to “William Tell”

Lesson Plans

Lesson Plans

Lesson 1: William Tell Overture Recorder Lesson

Materials: William Tell Overture Recorder Melody, recorders.

Focus: Recorder, Rhythm, Reading Music 2016 YOUNG PEOPLE’S CONCERTS: ONCE UPON A SYMPHONY

Standards: MU.4.S.2.1 – Apply knowledge of musical structure to aid in sequencing and memorization and to internalize details of rehearsal and performance. MU.4.S.3.3 – Perform extended pentatonic melodies at sight MU.4.F.1.1 – Create new interpretations of melodic or rhythmic pieces by varying or adding dynamics, timbre, tempo, lyrics, and/or movement. MU.5.C.1.1 – Discuss and apply listening strategies to support appreciation of musical works. MU.5.C.2.1 – Define criteria, using correct music vocabulary, to critique one’s own and other’s performance MU.5.S.2.1 – Use expressive elements and knowledge of musical structure to aid in sequencing and memorization and to internalize details of rehearsal and performance MU.5.S.2.2 – Apply performance techniques to familiar music. MU.5.S.3.2 – Play melodies and accompaniments, using proper instrumental technique, on pitched and unpitched instruments.

Procedure: The modified recorder melody for the A section is from Artie Almeida’s Recorder Express book, page 28. 1. Recommended for 5th grade. This lesson should be used with the William Tell Overture Recorder Melody worksheet, found on page ___, and is a great warm-up for your kids if they’re rusty on the recorder. Play the exercise as is with your students the first time; consider throwing in more difficult rhythms such as the Feel free to just play through it with your kiddos and maybe even throw in the eighth/sixteenth rhythm (see left) to give your advanced players a challenge and to work on tonguing. 2. Clap the rhythm of the entire song with the class, paying close attention to the eighth rest/eighth note in measure seven. 3. If your students need some extra help, the worksheet has broken the melody up, basically into groups of two measures a piece. Divide your class evenly into four groups. 4. In each group of four there will be a coach (choose wisely). Coaches are in charge of the group and basically are the teacher, making sure that students have the correct fingerings and are playing the rhythm correctly. 5. Groups will be given their section of the melody (the worksheet has the letters underneath to save time) 6. Start by fingering the notes and singing the letter names, but students should not play while practicing. 7. Give each group 30-60 seconds to practice playing for their group while everyone else is practicing quietly. 8. Once everyone has practiced (or you have run out of time ) have the groups perform their two measures in sequence to perform the entire song. 9. If you have the time, give students an extra challenge to create a new interpretation of their melody. Suggestions: Change a rhythm, speed up the tempo, etc. ORLANDO PHILHARMONIC ORCHESTRA | 17

Overture to “William Tell”

Overture to “William Tell”

Lesson Plans

Lesson Plans Lesson: William Tell Overture Rhythm Reading Lesson Focus: Form, Rhythm, Reading Music, Instruments Standards: MU.4.S.2.1 – Apply knowledge of musical structure to aid in sequencing and memorization and to internalize details of rehearsal and performance. MU.4.C.1.1 – Develop effective listening strategies and describe how they can support appreciation of musical works MU.4.C.1.2 – Describe, using correct music vocabulary, what is heard in a specific musical work. MU.4.C.3.1 – Describe characteristics that make various musical works appealing. MU.5.C.1.1 – Discuss and apply listening strategies to support appreciation of musical works. MU.5.C.2.1 – Define criteria, using correct music vocabulary, to critique one’s own and other’s performance MU.5.S.2.1 – Use expressive elements and knowledge of musical structure to aid in sequencing and memorization and to internalize details of rehearsal and performance MU.5.S.2.2 – Apply performance techniques to familiar music. MU.5.S.3.2 – Play melodies and accompaniments, using proper instrumental technique, on pitched and unpitched instruments.

Materials: William Tell Overture Theme Rhythms, various UPP or Kidstix set up with crash cans, beat boards and tambourines. Procedure: 1. On page ___ are the main rhythmic themes for Overture to William Tell. These are fifth grade level rhythms, but are a great way to introduce the one eighth/two sixteenth pair to fourth and fifth grade, depending on your student’s current levels. 2. Feel free to use UPP for these theme rhythms, but another option are the “Kidstix” from “Kidstix” by Artie Almeida. This kit includes a 10” can, beat board, tambourine, and drumsticks. 3. Before passing out supplies, work through rhythms by clapping and saying them with your students. 4. Section A should be played on the beat board, B section on the can and the C section on the tambourine. Students should listen only during the introduction, interlude and the D section. The rhythm for the coda will be the following (Full page version available on page___) Steady Beat on beat board: 24 beats Big 4: only play once on each downbeat, 1st time beat board, 2nd time can, 3rd time tambourine, 4th time sticks Tremolo on timbre of their choice: 8 beats Steady beat on beat board: 24 beats Big 4: only play once on each downbeat, 1st time beat board, 2nd time can, 3rd time tambourine, 4th time sticks Tremolo on timbre of their choice: 8 beats Silence: 16 beats Steady beat on beat board: 12 beats Big 4 (double time): only play once on each downbeat, 1st time beat board, 2nd time can, 3rd time tambourine, 4th time sticks Silence: until the last beat and then let them crazy play on the last beat until you cut them off. ORLANDO PHILHARMONIC ORCHESTRA | 18

Overture to “William Tell”

Materials: flashlights, parachute, various UPP (Depending on which movement activity you choose)

Lesson Plans

MU.4.C.1.1 Develop effective listening strategies and describe how they can support appreciation of musical works MU.4.C.1.2 Describe, using correct music vocabulary, what is heard in a specific musical work. MU.4.C.3.1 Describe characteristics that make various musical works appealing. MU.5.C.1.1 Discuss and apply listening strategies to support appreciation of musical works. MU.5.C.2.1 Define criteria, using correct music vocabulary, to critique one’s own and other’s performance

Procedure (notes from Katherine Miller): 2016 YOUNG PEOPLE’S CONCERTS: ONCE UPON A SYMPHONY

MU.3.C.1.1 Describe listening skills and how they support appreciation of musical works MU.3.C.2.1 Respond to a musical work in a variety of ways and compare individual interpretations MU.3.C.2.1 Evaluate performances of familiar music using teacher-established criteria MU.3.O.1.1 Identify, using correct music vocabulary, the elements in a musical work. MU.3.O.1.2 Identify and describe the musical form of a familiar song. MU.3.F.3.1 Collaborate with others to create a musical presentation and acknowledge individual contributions as an integral part of the whole.

I have used all of these lessons before and do them during the same week so that I can keep the song on my iPod and get it done. My grade level break down is follows…. 3rd grade – Instruments lesson 4th grade – Parachute lesson* 5th grade - Flashlights lesson* I think any grade level (depending on maturity level) could handle any of them so you could just pick one and use it for all grade levels, but that is up to you. Focus on the form of the piece, which is below. During the Coda, multiple themes are heard so I’ve broken down the Coda to show when each move should occur. FORM: Introduction A B interlude A C D C B interlude A CODA

* Note: The Parachute activity (19) and Flashlights activity (20) are used with permission from Artie Almeida.

ORLANDO PHILHARMONIC ORCHESTRA | 19

Overture to “William Tell”

Overture to “William Tell”

Lesson Plans

Lesson Plans

Note: If possible, provide students with a variety of instruments from the wood, metal, skin, and shaker groups. FORM: Introduction A B interlude A C D C B interlude A CODA Introduction: Silence A: woods playing the steady beat B: metals playing the steady beat Interlude: Silence C: skins playing the steady beat D: everyone pretending to play their violins Coda: Everyone plays the following pattern: Steady Beat: 24 beats Big 4: only play once on each downbeat Crazy play: 8 beats Steady beat: 24 beats Big 4: only play once on each downbeat Crazy play: 8 beats Silence: 16 beats Steady beat: 12 beats Big 8: play on each big beat. Silence: until the last beat and then let them crazy play on the last beat until you cut them off. Used with permission from Artie Almeida.

2016 YOUNG PEOPLE’S CONCERTS: ONCE UPON A SYMPHONY

Instruments (great for 3rd grade): Emphasize that during this activity students must watch the conductor! As the conductor, be really enthusiastic with your movements; if you have a baton, use it!

Parachute (great for 4th grade): If you have the time for students to pantomime the motions first with the music, and then use the real thing, not only will they get to hear the song more but the parachute activity will be more successful. FORM Introduction A B interlude A C D C B interlude A CODA Introduction: Silence A: tiptoe around in a circle B: steady beat shakes Interlude: Silence C: Mushrooms (hold the parachute up) then slowly let it fall until the next big beat. D: Washing Machine. Everyone moves their hands left to right. Coda: Everyone plays the following pattern: Steady Beat Shakes: 24 beats Big 4: Mushroom up then mushroom down on each downbeat Crazy shake: 8 beats Steady beat shakes: 24 beats Big 4: Mushroom up then mushroom down on each downbeat Crazy shake: 8 beats Stay Still: 16 beats Steady beat shakes: 12 beats Big 8: mushroom up then mushroom down, but still only do it 4 times. Stay still: until the last beat and then I countdown to 1 and then yell GO! And the students all lift up the parachute and let go and if they let go at the same time the parachute will stick to the ceiling (if it isn’t too tall.) ORLANDO PHILHARMONIC ORCHESTRA | 20

Overture to “William Tell” Lesson Plans

Coda: Everyone shows their colors on the following pattern:

Flashlight Painting (great for 5th grade):

If you have windows in your home or classroom, black them out with butcher paper for this activity. Have all students lie down on their backs. Students should place the light on their chest or on the floor so the room is completely dark. Make sure students keep the flashlight on the entire time. FORM: Introduction A B interlude A C D C B interlude A CODA Introduction: No light A: Red lights on the steady beat B: blue lights on the steady beat Interlude: Silence C: Green lights on the steady beat D: Teacher light. Regular flashlight only.

2016 YOUNG PEOPLE’S CONCERTS: ONCE UPON A SYMPHONY

Kids LOVE this one and it is so mesmerizing! Go to your local home improvement store and purchase flashlights in bulk during the hurricane season.

Steady Beat lights: 24 beats Big 4: Pick either the four walls or four corners of your room and on each downbeat they should shine it over to that spot. For example (back, window, cabinets, front, etc.) Crazy shake on ceiling: 8 beats Steady beat lights: 24 beats Big 4: Pick either the four walls or four corners of your room and on each downbeat they should shine it over to that spot. Crazy shake: 8 beats No light: 16 beats Steady beat lights: 12 beats Big 8: Pick either the four walls or four corners of your room and on each downbeat they should shine it over to that spot. On this one you will call them out at double time. No light: until the last beat and then we crazy shake on the ceiling until I turn the lights back on.

ORLANDO PHILHARMONIC ORCHESTRA | 21

ORLANDO PHILHARMONIC ORCHESTRA | 21

“Waltz” from Sleeping Beauty

Fun Activities for Overture to “William Tell”

Pyotr Ilyich Tchaikovsky (1840-1893)

Just Dance YouTube Video - https://www.youtube.com/ watch?v=Hw-WS-O9pmc

Animated Graphical Score - https://www.youtube.com/ watch?v=1k8sGztMsKA A really cool video showing all the levels of the instruments during the piece and which parts had small fast parts or long slower parts. Really mesmerizing… you do not have to play the whole thing. Try having your students create their own graphical score with this or another work of your choosing. Mnozil Brass - https://www.youtube.com/watch? v=eZO9XZ3cLUc A really funny brass ensemble playing the William Tell Overture, but with a few fun elements mixed in between. And the trombones in the video are moving! Really great video featuring the brass family! Boomwacker Hard Hats - https://www.youtube.com/watch? v=6jtrRwHVCgI

About Pyotr Ilyich Tchaikovsky 2016 YOUNG PEOPLE’S CONCERTS: ONCE UPON A SYMPHONY

Hilarious for the kiddos! During the C section there is a spot where the dancers get on each others backs and such…. Obviously not a good look in your classroom so during the C section I’m just going to have them do the lasso move that they show after they do a leap frog move. It will be big lasso and small lasso depending on the dynamic level.

Tchaikovsky was born on May 7, 1840 in Votkinsk, Russia. He began taking piano lessons at the age of five, but wound up leaving his musical passion to fulfill the desires of his parents in civil service. At age 21, however, he decided to take lessons at the Russian Musical Society and from there went on to study composition at the St. Petersburg Conservatory. Tchaikovsky, a Russian composer from the late Romantic Era, is considered by many to be the most popular Russian composer in history. He wrote a wide variety of compositions including: operas, symphonies, concertos, overtures, and, of course, ballets. His three ballets (The Nutcracker, Swan Lake and The Sleeping Beauty) are among his most well - known and beloved compositions. Tchaikovsky died at the age of 53 shortly after conducting his Sixth Symphony in St. Petersburg in November, 1893.

Another fun video one that uses boomwackers with hard hats to show off the William Tell themes.

ORLANDO PHILHARMONIC ORCHESTRA | 22

“Waltz” from Sleeping Beauty

About The Sleeping Beauty

The premiere of the work was successful, but Tchaikovsky died before it gained worldwide acclaim, making it one of the most popular ballet productions of all time. This music will feature dancers from the Orlando Ballet. Lesson 1 Before introducing your students to the following dance, I suggest that you show them a performance of this waltz on a YouTube video; I recommend the Bolshoi Ballet, https:// www.youtube.com/watch?v=Mp2wWLTKwWg. This world renowned company will perform Tchaikovsky’s waltz with beautifully decorated garlands. This can only enhance their understanding of the dance that they will perform after watching the video.

Lesson Plans Lesson 2: Fun with Noodles 2016 YOUNG PEOPLE’S CONCERTS: ONCE UPON A SYMPHONY

The Sleeping Beauty ballet was first performed in 1890. Tchaikovsky was approached by the Director of the Imperial Theatre in St. Petersburg to compose the music for The Sleeping Beauty. Tchaikovsky based his music on the version of the story by the Brothers Grimm. The director also incorporated other characters such as Puss in Boots, Little Red Riding Hood, Cinderella, and other famous fictional characters.

1) In preparation for the dance, have children pat the macro beat with one hand and the micro beat with the other hand. This will prepare them for movement on the macro beat, while learning that a waltz is to be felt in 3. 2) It is recommended that you purchase two different colored pool noodles from the store. You will need one for each child in the classroom. 3) All students are seated in a double circle, facing each other as partners. The inside circle has one color noodle (i.e. orange) and the outside circle has another colored noodle (i.e. blue). 4) Number the partners from 1 – 8. If you have more children in your class, you may have to double up on the number you give to each partner. For instance, you may have 2 sets of partners for #7 and 2 sets for #8. INTRODUCTION: 1) Partner #1 stands up, facing each other, and holds the noodle in an arc above their head on macro beat 1 and then holds for 2, 3 and 4 2) Partners #2 – 8 do the same thing until all partners are standing with the noodles in an arc above their head 3) Bow for 2 counts down and then stand up with arc above head for the next 2 counts (wait for 4 more beats until the A section begins)

ORLANDO PHILHARMONIC ORCHESTRA | 23

“Waltz” from Sleeping Beauty

“Waltz” from Sleeping Beauty

Lesson Plans 1.

4. 5. 6. 7.

B section: 8. Sashay to the right 8 counts (holding noodle horizontally across body) 9. Sashay to the left 8 counts (holding noodle horizontally across body) 10. Do-si-do around partner and back to own place for 8 counts with arc above head 11. Do-si-do around partner the other way for 8 counts A’ section: 12. Repeat A section as above with one exception, the 4th phrase involves all partners bowing to each other at the same time for 3 counts down and then 3 counts up Coda: 13. Inside circle joins outside circle for the next 6 beats (all facing the center) 14. All sashay right for 6 counts 15. All sashay left for 6 counts 16. Face partner for 3 counts 17. Orange noodle goes over head of partner 18. Blue noodle goes over head of partner 19. Sashay around each other (noodles hooked over each other’s heads) for 6 counts 20. Stop, lift noodles up from each other’s heads and face center with noodle arcs up on the last beat

Lesson 3: Listening Assessment 2016 YOUNG PEOPLE’S CONCERTS: ONCE UPON A SYMPHONY

2. 3.

A section: Hold noodles in an arc above head and sway right and then left for 8 beats Step in and touch – noodle arcs down to floor Step out and touch – noodle arcs up (Repeat) Partner #1 turns in a circle to the right on beat 1 Partners #2 – 8 turn in succession on their respective beat. #2 turns on beat 2, #3 turns on 3, etc. Partner #1 bows to each other and all other partners bow on their respective beat All partners come back up from bow on beat 9 and then hold slightly while preparing for the B section

Lesson Plans

1. After the students have learned the dance, you may wish to test their aural skills with a simple instrumental listening assessment. 2. Each student receives the Sleeping Beauty Waltz paper, a clip board and a pencil. 3. The teacher instructs them to listen carefully to each section of the music, including the introduction and the coda and place a number in the box of the correct instrument or instruments that are being featured. For example: during the introduction, the entire orchestra is playing, so the students would place a #1 in that box. 4. During the A section, the string section is playing so that box would have a #2 inside of it. The string section continues to play during the B section, but it will also feature the trumpet. 5. Call attention to this particular instrument when it is heard in the music and have the students place a #3 in that box. The flute is featured in the return to the A section and the entire orchestra plays on the coda, so that box would have a #1 and a #5 in it. 6. If you would like to challenge them further, have them label the families as well as the individual ORLANDO PHILHARMONIC ORCHESTRA | 24

ORLANDO PHILHARMONIC ORCHESTRA | 24

Romeo & Juliet Suite No. 2

Romeo & Juliet Suite No. 2

“The Montagues and the Capulets”

“The Montagues and the Capulets” Lesson Plans

Sergei Prokofiev (1891-1953)

Prokofiev was born in Sontsovka, Russia He composed his first piece at the age of five He was also an excellent chess player, winning a match when he was 13 years old against a future chess world master Studied at the St. Petersburg Conservatory (even taking an orchestration class taught by Rimsky-Korsakov during his tenure), but was bored by many of his classes Considered one of the major composers of the 20th century He was an excellent pianist Popular in elementary music classrooms for his composition Peter and the Wolf He died at the age of 61 due (most accounts agree) to a cerebral hemorrhage.

About Romeo and Juliet Suite No. 2 The music from Romeo and Juliet Suite No. 2 was originally created for a ballet based on the Shakespeare play. The ballet itself was criticized because of many artistic decisions, such as making the ending happy, but the music was well-received.

Next Generation Sunshine State Standards Met 2016 YOUNG PEOPLE’S CONCERTS: ONCE UPON A SYMPHONY

About Sergei Prokofiev

Grade 3- Intermediate 1 MU.3.O.3.In.a Identify the mood or emotion of a piece of music. MU.3.O.3.Su.a Respond to music to demonstrate how it makes one feel. MU.5.O.3.Pa.a Respond to music to demonstrate how it makes one feel. Grade 4- Intermediate 2 MU.4.C.1.1 Develop effective listening strategies and describe how they can support appreciation of musical works. MU.4.O.1.1 Compare musical elements in different types of music, using correct music vocabulary, as a foundation for understanding the structural conventions of specific styles. Grade 5- Intermediate 3 MU.5.C.1.In.a - Identify and use appropriate sensory skills to support appreciation of musicalworks. MU.5.C.1.Su.a - Recognize and use teacher-selected sensory skills to support appreciation of musical works. MU.5.C.1.3 - Identify, aurally, selected instruments of the band and orchestra.

The music you will be hearing is the first movement of the suite. It represents the Montagues and the Capulets, the two warring families Romeo and Juliet were a part of in the original story.

ORLANDO PHILHARMONIC ORCHESTRA | 25

ORLANDO PHILHARMONIC ORCHESTRA | 25

Romeo & Juliet Suite No. 2 “The Montagues and the Capulets” Lesson Plans Lesson 1: Dance and Movement 1. Play the work as the students walk into the classroom 2. If you students have attended ballet before, have them describe a ballet they’ve seen. Show a YouTube video of ballet. Optional— if you would prefer, show ballet after completing the lesson. 3. Model a step/touch dance move for your students 4. Demonstrate an Alamande Hold with a student partner 5. Have students find a partner, deciding who is “A” and who is “B” 6. Have all “A’s” line up 7. All B’s line up next to their partners. Students should turn and face each other, creating two lines.Now your students are ready to learn the choreography

Romeo & Juliet Suite No. 2 “The Montagues and the Capulets” Lesson Plans Regal/Elegant Movement Note: The times are suggestions; students can be somewhat flexible with the movements and it will still make sense. 00:01-00:09 – Line A and B face one way. Partner A places hand on top of hand of partner B Lines A and B walk 8 steps (16 beats = 4 measures) 00:10-00:13 – Half Alamande to right – A and B place right hands palm to palm and slowly Switch places (line A becomes line B) 00:14-00:18 – Half Alamande to left - A and B place left hands palm to palm and slowly Switch places (back to their original spots) 00:19-00:22 – Bow – partners bow to each other 00:23-00:31 - Lines A and B walk 8 steps (16 beats = 4 measures) 00:32-00:35 - Half Alamande to right 00:36-00:40 - Half Alamande to left 00:41-00:49 – Promenade Hold - SMALL, QUICK steps (16 steps) A and B shake right hands and HOLD (don’t let go), then Shake left hands and HOLD (hands will now create an ‘X’ in front of them). Both partners will now face the same direction. 00:50-00:57 – Step-Touch – (x4 – 16 beats) BOW after last step-touch A and B face each other – put hands behind their backs. Step in the Same direction (one will step with their left foot, the other with their right) 00:58-01:02 – Bow 01:03-01:10 - Promenade Hold - SMALL, QUICK steps (16 steps) 01:11-01:18 – Partner A stikes a pose, B stately march around partner A 01:19-01:27: Lines A and B walk 8 steps (16 beats = 4 measures) 01:28-01:32 - Half Alamande to right 01:33-01:36 - Half Alamande to left 01:37-01:42 – Bow and Freeze

ORLANDO PHILHARMONIC ORCHESTRA | 26

Romeo & Juliet Suite No. 2 Lesson Plans Lesson 2: Listening Map Exercise 1. Take a moment to discuss the orchestra families with your students 2. Ensure students are able to identify each orchestra family with visually and aurally; focus on the instruments featured in the Romeo & Juliet Suite No. 2 in particular (Strings, Brass) 3. Play the excerpt for your students; listen to the work a few times to ensure retention 4. Put up the accompanying listening map on the board. It is found in the “Extra Materials” section 5. Print out listening maps for the students. Have them sit in pairs and work together to follow the listening map. 6. Discuss the listening map and musical form with the students, making sure students understand the materials.

Harry’s Wondrous World John Williams (b. 1932) About John Williams Born in Queens, New York, and is still actively composing today Began as a jazz pianist, but became a TV and film composer Williams has provided scores for more than 75 films, including Jaws, E.T., Harry Potter, Indiana Jones, Star Wars, and Jurassic Park Served as a conductor for the Boston Pops Orchestra from 1980-1993 Currently resides in Los Angeles, California

“Ah, music. A magic beyond all we do here!” — Albus Dumbledore About Harry’s Wondrous World Harry’s Wondrous World is the theme presented in the first two Harry Potter movies to represent Harry Potter. The theme is thread throughout both Harry Potter and the Sorceror’s Stone and Harry Potter and the Chamber of Secrets. This music is meant to capture the wonder Harry Potter feels upon realizing he belongs to a magical world and, for the first time in his life, belongs. Note: If you students like “Harry’s Wondrous World, “ join the Orlando Philharmonic on February 18 and 19 at the Dr. Phillips Center. Tthe Orlando Philharmonic Orchestra will provide a live accompaniment to Harry Potter and the Sorceror’s Stone.

ORLANDO PHILHARMONIC ORCHESTRA | 27

Harry’s Wondrous World

Harry’s Wondrous World

Lesson Plans

Lesson Plans

Next Generation Sunshine State Standards Met

MU.4.O.3.1 Identify how expressive elements and lyrics affect the mood or emotion of a song. MU.4.C.1.1 Develop effective listening strategies and describe how they can support appreciation of musical works MU.4.C.1.2 Describe, using correct music vocabulary, what is heard in a specific musical work. MU.4.C.3.1 Describe characteristics that make various musical works appealing. MU.5.C.1.2 Hypothesize and discuss using correct music vocabulary, the composer’s intent for a specific musical work. MU.5.C.1.1 Discuss and apply listening strategies to support appreciation of musical works. MU.5.C.2.1 Define criteria, using correct music vocabulary, to critique one’s own and other’s performance

Lesson 1: Harry’s Listening Lesson 2016 YOUNG PEOPLE’S CONCERTS: ONCE UPON A SYMPHONY

MU.3.C.1.1 Describe listening skills and how they support appreciation of musical works MU.3.C.2.1 Respond to a musical work in a variety of ways and compare individual interpretations MU.3.C.2.1 Evaluate performances of familiar music using teacherestablished criteria MU.3.O.1.1 Identify, using correct music vocabulary, the elements in a musical work. MU.3.O.1.2 Identify and describe the musical form of a familiar song.

Focus: Listening, Analyzing, Describing Materials: Harry’s Wondrous World music excerpt, 4 frame paper (found in Supplemental materials), pencils Creator Note: Harry’s Wondrous World is a very long song in classroom terms. To ensure there is enough classroom time, students will be writing a story to describe what they imagine is happening during the work. Since the excerpt is 4’21”, provide your students with about one minute five seconds for each quadrant of their 4 frame paper. Have students tell a story through their drawing based on what they imagine is happening during the music. If your students are familiar with Harry Potter, have them draw their favorite scene from one of the movies. If not familiar, provide a brief overview of the story and they can create their own version. Keep an eye on the clock and alert your students when they should move to the next frame.

ORLANDO PHILHARMONIC ORCHESTRA | 28

Harry’s Wondrous World

Harry’s Wondrous World

Lesson Plans

Lesson Plans

Focus: Conductors, Conducting, Batons, Triple Meter

Procedure: 1. Have a discussion with your class about Harry Potter. What are some describing words that you would use to describe the stories of Harry Potter 2. Discuss how John Williams would be able to translate those describing words into music to help viewers feel like they are in Harry’s World. 3. Steer the conversation into meter and discuss which meter they think would lend itself best to Harry Potter and his wand movements. (Triple meter is recommended) 4. Discuss the conductor and the conductor’s job in the orchestra. Practice a triple meter pattern, having students conduct with their hands to start. 5. Have students describe a conductor’s baton, describing what it looks like. Hopefully, students will mention that it looks like a wand.

2016 YOUNG PEOPLE’S CONCERTS: ONCE UPON A SYMPHONY

Materials: Recording of song, conducting batons (kids batons, chopsticks, rhythm sticks, etc.)

6. Explain to the students that everyone will be conductors and then turn into wizards during the music! 7. Let students know they will be conducting in three and then show students one of the provided spells (Please see the PPT or use one of the cards found in the Extra Materials section 8. Students should practice the projected wand motion and the spell name until the teacher calls them back into the triple meter pattern and prepares for the next spell. 9. Note: the provided PowerPoint always goes back to triple meter. 10. Listen to the music prior to class, identifying the beginnings of phrases and deciding when to switch to other spells. 11. Be sure to remind students that we are only “practicing” our spells today. We are not in battle. So we shouldn’t be yelling the spell names out (the music is still the main focus).

ORLANDO PHILHARMONIC ORCHESTRA | 29

Behold the Bold Umbrellaphant Introduction

About “Behold the Bold Umbrellaphant”

About Lucas Richman

About Jack Perlutsky Jack Prelutsky was born in Brooklyn, New York and graduated from The High School of Music and Art where he developed a love of music and art that would last a lifetime. He happened into poetry quite by accident. After drawing pictures of imaginary animals, a friend encouraged him to send the sketches to a publisher. At the last minute, he wrote some poems to go along with it and the publisher loved the poems that took him only two hours to write. She published the poems and threw out the drawings that took him six months to complete. He has written more than 50 poetry collections and has been awarded many honors for his captivating rhymes.

2016 YOUNG PEOPLE’S CONCERTS: ONCE UPON A SYMPHONY

Lucas Richman was born in 1964 and is a Grammy Award-winning composer and conductor whose music has been performed by over 200 orchestras in the United States. In 2010, John Williams invited Richman to lead a three month summer tour of Star Wars in Concert; and in November 2009, the San Diego Orchestra premiered Behold the Bold Umbrellaphant, a book of children’s poetry. The book was written by Children’s Poet Laureate, Jack Prelutsky and set to music by Lucas Richman.

Behold the Bold Umbrellaphant was originally a set of poems written by Children’s Poet Laureate, Jack Prelutsky. In November 2009, the San Diego Symphony commissioned Lucas Richman to set the poetry to music. In the book, household objects are combined with animals. For example, a ballpoint pen is combined with a penguin to make a Ballpoint Penguin. Jack Prelutsky is very enthusiastic about music, and has even composed some music himself! In addition to Behold the Bold Umbrellaphant, Jack published a book of original poems based on the amazing orchestral work, Carnival of the Animals, with illustrations by Mary GrandPre. The Philharmonic will be performing the following movements from Behold the Bold Umbrellaphant, but we encourage you to listen to the entire work. 1. 2. 3. 4.

Behold the Bold Umbrellaphant The Lynx of Chain Hatchickens The Tearful Zipperpotamuses

ORLANDO PHILHARMONIC ORCHESTRA | 30

“Behold the Bold Umbrellaphant”

Straw Horn Instructions for “Behold the Bold Umbrellaphant”

Lesson Plans

2016 YOUNG PEOPLE’S CONCERTS: ONCE UPON A SYMPHONY

Behold the Bold Umbrellaphant 1. Display the words of the poem as students listen to the piece. Afterward, discuss any unknown vocabulary (e.g. pachyderm, forage, uncanny). 2. Listen to the piece again, encouraging students to figure out why particular words are highlighted in the text. 3. Lead students to describe what type of sound effect is added to each word and why the composer might have chosen that sound. 4. Give each student a straw horn (instructions attached; can be pre-made or students can easily make their own). Discuss features of the brass family as the class makes/practices straw trumpets. As a class, read through the entire poem and play straw horn after each highlighted word. 5. *Display the next slide* Using the colored icons, students will choose an instrument (e.g. straw horn, vibraslap, gong, etc.) to represent each color (blue, red, or green). Drag a colored icon to each highlighted word. Lead class to discuss musical reasons of how they paired words with instrument sounds. 6. Divide class into groups for each instrument. Perform speech piece with instrument parts. 7. Allow students to create a simple ostinato accompaniment to be played on drums during the speech piece. Perform with all instrument parts. 8. Go back and listen again to the selection piece. Are there any similarities between yours and the original? Any differences? What else did you notice?

Assembly 1. Flatten one end of your soda straw by sticking the end in your mouth, biting down with your teeth, and pulling it out. Do this several times to make a flexible, flat-ended straw. 2. Cut equal pieces from each side of the flattened end (as shown—click to enlarge), so that the straw has two “lips” at the end. 3. Put the cut end of the straw in your mouth and make a seal with your lips. Blow into the straw. You’ll probably have to experiment with blowing harder and softer while biting down with different amounts of pressure until you make the straw sing. Going Further There are many ways to experiment with your straw oboe: 1. Slide a slightly larger straw onto the end and use it like a trombone. 2. Cut finger holes into the straw with scissors and play it like a recorder. 3. Snip the straw shorter and shorter with scissors to change its pitch. 4. Devise a “bell” with paper and tape to make your

instrument louder. 5. Experiment with new ways to change the sound.




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“The Lynx of Chain”

“The Lynx of Chain”

Lesson Plans

This video highlights the various people involved in the production of this children’s work: poet, composer, orchestra members, conductor, record producer, as well as people involved in fund raising projects for the recording of this major work. LESSON 2: 1. For this lesson, open the PowerPoint for The Lynx of Chain. 2. Students read and clap rhythms that are posted after key phrases in the poem. Hint: To help the students read these rhythms accurately, the teacher may wish to assign words to each rhythmic phrase. Phrases 1 and 2 (clang, clang all around), phrases 3 and 4: (jingle, jangle), and phrases 5, 6 and 7 ( jingle, jangle, jingle, jangle). 3. Give each student a shaker or an unpitched metal percussion instrument and have them insert it into the poem, exploring all of the various timbres of these metal and shaker instruments as they play together on the key rhythmic phrases. 4. Have all children play the rhythms as the teacher plays the recording of The Lynx of Chain.

2016 YOUNG PEOPLE’S CONCERTS: ONCE UPON A SYMPHONY

LESSON 1: Teachers might want to show the following YouTube video to students as they prepare them for these lessons: https:// www.youtube.com/watch?v=aTmjmmhn3TA.

Lesson Plans LESSON 3: 1. Divide the class into four groups. 2. Give each group a card with an assigned portion of the poem, as well as the specific rhythms matching that portion, and an emotion that the group is to use in their presentation to the class. 3. Each group must select a person to be the reader of the poem. That reader must use the emotion that is stated at the top of the card, as he/she presents to the class. 4. The rest of the group will come up with a creative way to show the rhythm pattern in their assigned section of the poem. (Hint: These sounds must be made with body percussion or found sounds. The students may not use instruments in this assignment. Examples of things that can be used: snap, pat, clap, click tongue, smack lips, hit shoes together, stamp, mouth popping sound, fist bumping, rubbing hands together, etc.) 5. The last phrase on each one of their cards is the last phrase of the poem and the entire group will perform that with a crescendo. All manner of body percussion and found sounds can be utilized for this final phrase. 6. When all groups have had time to create their own mini performance, review the order in which they will present. Perform the poem in its entirety without the original recording. Allow children to make their own variations in tempo,

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“Hatchickens”

“Hatchickens”

Lesson Plans

Lesson Plans Next Generation Sunshine State Standards Met

MU.4.C.1.2 Describe, using correct music vocabulary, what is heard in a specific musical work. MU.4.O.1.1 Compare musical elements in different types of music, using correct music vocabulary, as a foundation for understanding the structural conventions of specific styles. MU.4.C.3.1 Describe characteristics that make various musical works appealing. MU.5.C.1.1 Discuss and apply listening strategies to support appreciation of musical works. MU.5.C.1.2 Hypothesize and discuss, using correct music vocabulary, the composer's intent for a specific musical work. MU.5.H.1.2 Compare and describe the compositional characteristics used by two or more composers whose works are studied in class.

2016 YOUNG PEOPLE’S CONCERTS: ONCE UPON A SYMPHONY

MU.3.C.1.1 Describe listening skills and how they support appreciation of musical works. MU.3.C.3.1 Identify musical characteristics and elements within a piece of music when discussing the value of the work. MU.3.O.1.1 Identify, using correct music vocabulary, the musical elements in a piece of music.

Lesson 1: Focus on composer’s intent, staccato/legato 1. Improvise staccato music on piano or other instrument. Ask students to move to show what they hear. Define and label staccato. 2. Improvise legato music and ask students to move. Define and label. Use expressive voices when speaking the word “staccato” and “legato”. 3. Read Hatchickens poem. 4. Discuss project by San Diego Symphony to commission Lucus Richman to write music to the Prelutsky poems. Suggestions for beginning the discussion: 5. If you were a composer writing music for Hatchickens, how would you make it sound? Staccato or legato? What tempo? What dynamics? 6. Listen to music and discuss student’s predictions and make observations about how the music brought the poem to life. 7. Discuss individual opinions of the music. Examine the musical choices of the composer. Would you have enjoyed it without the words of the poem? How would it sound at a different tempo? 8. Lucus Richman is a conductor and a composer. Explain what this means. With the time remaining, have students try the following movement activity using scarves or ribbon: :00 awkward motion: feet flat, stick hips out on strong beats. Make dots in the air with scarves – repeat every time you hear this theme :09 (and :19) legato flourishes up and down :28 (and :36) draw large X in front of you :44 draw X in front of you, then :46 circle over head :52 (and :57) legato flourish 1:00 draw X up high, then down low 1:05 legato flourish 1:10 draw X 1:13 spin body and scarf 1:15 staccato movements – bow on last note ORLANDO PHILHARMONIC ORCHESTRA | 33

Lesson 2: Focus on meter, subdivision of the beat/accent

Locomotion with teacher playing drum 1. Ask students to walk throughout the room. Observe and see if they find a steady tempo. If not, pick one or two students and accompany their walking with a beat on a drum until all are walking a steady beat. 2. First variation: Teacher calls out a number (2, 3, or 4) while students are walking, students quietly count and clap on beat 1. (Teacher emphasizes downbeat of pattern with drum.) 3. Challenge students to create different movements to show groups of beats. They can work as individuals or in a group. (Examples: leap in the air on downbeat, swing arms on downbeat, patsche on downbeat clap on upbeats) 4. Share movements with the class. Discuss how 2s feel different from 3s. Bag pass in with students sitting in circle 1. Pass bean bag to the steady beat while chanting “and pass and pass”. The and is the anacrusis and pass is the beat. You could also count it “and 1 and 2”. This represents the beat subdivided into 2s and should feel very precise and even. 2. Change so the beat is subdivided in 3s. The words could be “pass and we pass” (and we is the anacrusis). You could also use “pineapple” or another three syllable phrase. 3. Discuss the change in how the movement feels with the different subdivisions of the beat. 4. Divide into circles with 4 to 6 people in each. Create a new way to perform bean bag pass in 2s and in 3s. Perform with teacher playing drum and calling out a signal to switch from 2s to 3s.

The link to the score is in the Supplemental Materials folder. Hatchickens begins on p.92. BTBUmbrellaphant-FS.pdf 2016 YOUNG PEOPLE’S CONCERTS: ONCE UPON A SYMPHONY

This music is in 6/8 (compound meter). I don’t normally teach the 6/8 time signature or the word compound meter at the elementary level. However, this music presents an excellent opportunity to discover that when the subdivision of the beat is in 3s it feels very different from when it is in 2s. In Hatchickens, the time signature does not change (see score link in additional resources) but there are several places where the rhythm creates patterns to make it sound like it is moving in 2s (this is drawing the X in the movement activity in lesson A). Below are some ideas for working on this concept. Try one of the 3s vs. 2s activities before they hear the Hatchickens music so they can discover the effect of compound meter and shifting accents.

Additional Resources

Lucas Richman website: http://lucasrichman.com Jack Prelutsky website: http://jackprelutsky.com Under “Jack’s Poem’s and Music” “Listen to Jack’s Music” there is a recording of Umbrellaphant with a man’s voice and guitar. Excellent opportunity to compare musical elements and compositional characteristics. Transcript of interview with Jack Prelutsky on NPR: http://www.npr.org/2012/05/11/152520959/prelutskyscarnival-of-animals-poems-meet-music There are many resources on compositions by Lucas Richman. I found this especially motivating. It is the story of a collaboration between Richman and a woman with cerebral palsy. https://youtu.be/oi217PnTdpk? list=PLfKcVWpJZwUmztGeTGmmjfkGHTBRVHUiU

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“Tearful Zipperpotamuses”

“Tearful Zipperpotamuses”

Lesson Plans

Lesson Plans

Lesson: The Tearful Zipperpotamuses

Standards: MU.3.C.1.1- Describe listening skills and how they support appreciation of musical works MU.3.C.2.1- Respond to a musical work in a variety of ways and compare individual interpretations MU.3.C.2.1 – Evaluate performances of familiar music using teacher-established criteria MU.3.O.1.1 – Identify, using correct music vocabulary, the elements in a musical work. MU.3.O.1.2 – Identify and describe the musical form of a familiar song. MU.3.S.3.2. – Play melodies and layered ostinato, using proper instrumental technique, on pitched and unpitched percussion. MU.4.C.1.1 – Develop effective listening strategies and describe how they can support appreciation of musical works MU.4.C.1.2 – Describe, using correct music vocabulary, what is heard in a specific musical work. MU.4.C.3.1 – Describe characteristics that make various musical works appealing. MU.5.C.1.1 – Discuss and apply listening strategies to support appreciation of musical works. MU.5.C.2.1 – Define criteria, using correct music vocabulary, to critique one’s own and other’s performance

2016 YOUNG PEOPLE’S CONCERTS: ONCE UPON A SYMPHONY

Focus: Glissandos, Instruments, Form, melodic direction

Materials: Orff instruments (I would stick with xylophones and glockenspiels), woodblocks (or a clicking instrument), listening map for conductor directions Procedure: In the Tearful Zipperpotamuses there are a few reoccurring themes that we will focus on using instruments. I call the “A” section the “Uh-Oh” theme cause it sounds like a cartoon “uh-oh”. On the glissandos students assigned to Orff instruments will play a glissando either up or down depending on where they are in the song. TEACHER NOTE: Teachers you will need to listen to the song a few times to familiarize yourself with where the glissandos are. You might miss a few, but don’t beat yourself up over it. Do your best to conduct and bring students in at the right time. 1. The “tear” icon during the A section will be played on a clicking instrument. A woodblock or rhythm sticks would be great here. Repeat four times each time. 2. During the B section as the poem is being spoken, you will hear the crying violins going from F-D in a bordun type pattern. This happens randomly and you can either assign this part to students or just practice being the crying violins after the song is over. 3. There will still be glissandos during the B section so make sure that your Orff instruments are prepared. 4. For the Coda students will just sit and listen to the ending. It’s only a few seconds long. 5. If time permits, have students switch to make sure that every student gets a chance at either the Orff part or the clicking instrument.

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“Tearful Zipperpotamuses”

“Tearful Zipperpotamuses”

Lesson Plans

Lesson Plans Materials: Tearful Zippo Rhythm Cards, Orff instruments and clicking instrument

Lesson: The Tearful Zipperpotamuses Rhythms

Standards: MU.3.C.1.1- Describe listening skills and how they support appreciation of musical works MU.3.C.2.1- Respond to a musical work in a variety of ways and compare individual interpretations MU.3.C.2.1 – Evaluate performances of familiar music using teacher-established criteria MU.3.O.1.1 – Identify, using correct music vocabulary, the elements in a musical work. MU.3.O.1.2 – Identify and describe the musical form of a familiar song. MU.3.S.3.5 – Notate simple rhythmic and melodic patterns using traditional notation MU.4.C.1.1 – Develop effective listening strategies and describe how they can support appreciation of musical works MU.4.C.1.2 – Describe, using correct music vocabulary, what is heard in a specific musical work. MU.4.C.3.1 – Describe characteristics that make various musical works appealing. MU.4.S.3.5 – Notate simple rhythmic phrases and extended pentatonic melodies using traditional notation. MU.5.C.1.1 – Discuss and apply listening strategies to support appreciation of musical works. MU.5.C.2.1 – Define criteria, using correct music vocabulary, to critique one’s own and other’s performance MU.5.S.3.5 – Notate rhythmic phrases and simple diatonic melodies using traditional notation

2016 YOUNG PEOPLE’S CONCERTS: ONCE UPON A SYMPHONY

Focus: Rhythm, Arranging/Notating, Reading music

Procedure: If you decide to only do this lesson with this song and not the instruments with the listening map, you will want the students to hear the song so do a listen and ask for some ideas on what they heard based off of the title of the song. Then teach students the most common instrument part for the A section. Orff instruments will glissando up and then clicking instruments will play 4 times to show the “wah wah wah wah” part. See the listening map for iconic notation and something you could show the students when teaching them just that part. Then you can either decide to do small groups with the rhythm cards or create a B section rhythm and a C section rhythm as a class. I would have each group create a 16 beat phrase using the tearful zippo rhythm cards. Then the instrument group would play the A section and then the following sections would be the rhythms. Perform in Rondo form. If time, allow students to switch from doing the instruments to creating a rhythm pattern.

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Standards Addressed in Alignment with OCPS Scope & Sequence:

“Behold the Bold Umbrellaphant” English Language Arts Lesson Plans

About the Award: The Lee Bennett Hopkins award was established in 1993 and is presented annually to an American poet or anthologist for the most outstanding new book of children's poetry published in the previous calendar year. It is co-sponsored by Mr. Hopkins himself, the Pennsylvania State University Libraries, the Pennsylvania Center for the Book, and an additional sponsor, Pennsylvania School Librarians Association. Since its inception, the winning poet or anthologist has received a handsome plaque and a $1000 honorarium made possible by Mr. Hopkins, himself a poet and anthologist. Check out the official award web site here.

2016 YOUNG PEOPLE’S CONCERTS: ONCE UPON A SYMPHONY

Supplemental ELA Lesson Plan for: Grades 3-5 (Approximately 5 Days) Author: Prelutsky, Jack. 2006. Behold the Bold Umbrellaphant. New York: Greenwillow. Personal Website: http://jackprelutsky.com/ Illustrator: Carin Berger Interview: http:// frolickingthroughcyberspace.blogspot.co.uk/2009/09/ interview-with-authorillustrator-carin.html *This is a 2007 honor book for the Lee Bennett Hopkins Poetry Award:

LAFS.5.RL.1.2 Determine a theme of a story, drama, or poem from details in the text, including how characters in a story or drama respond to challenges or how the speaker in a poem reflects upon a topic; summarize the text. LAFS.5.RL.2.4 Determine the meaning of words and phrases as they are used in a text, including figurative language such as metaphors and similes. LAFS.5.RL.2.5 Explain how a series of chapters, scenes, or stanzas fits together to provide the overall structure of a particular story, drama, or poem. LAFS.5.RL.2.6 Describe how a narrator’s or speaker’s point of view influences how events are described. LAFS.5.W.3.8 Recall relevant information from experiences or gather relevant information from print and digital sources; summarize or paraphrase information in notes and finished work, and provide a list of sources. LAFS.5.W.3.9 Draw evidence from literary or informational texts to support analysis, reflection, and research. Apply grade 5 Reading standards to literature (e.g., “Compare and contrast two or more characters, settings, or events in a story or a drama, drawing on specific details in the text [e.g., how characters interact]”). Apply grade 5 Reading standards to informational texts (e.g., “Explain how an author uses reasons and evidence to support particular points in a text, identifying which reasons and evidence support which point[s]”).

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Summary of Book: Audio Excerpt: https:// www.teachingbooks.net/book_reading.cgi? id=872

“Behold the Bold Umbrellaphant” English Language Arts Lesson Plans

Recognize and explain the meaning of common idioms, adages, and proverbs. Use the relationship between particular words (e.g., synonyms, antonyms, homographs) to better understand each of the words. LAFS.5.SL.1.1 Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grade 5 topics and texts, building on others’ ideas and expressing their own clearly. Come to discussions prepared, having read or studied required material; explicitly draw on that preparation and other information known about the topic to explore ideas under discussion. Follow agreed-upon rules for discussions and carry out assigned roles. Pose and respond to specific questions by making comments that contribute to the discussion and elaborate on the remarks of others. Review the key ideas expressed and draw conclusions in light of information and knowledge gained from the discussions.

2016 YOUNG PEOPLE’S CONCERTS: ONCE UPON A SYMPHONY

LAFS.5.L.3.5 Demonstrate understanding of figurative language, word relationships, and nuances in word meanings. Interpret figurative language, including similes and metaphors, in context.

http://www.audiobooks.com/audiobook/behold -the-bold-umbrellaphant-and-otherpoems/233202 BEHOLD THE BOLD UMBRELLAPHANT AND OTHER POEMS is a collection of seventeen poems all written by Jack Prelutsky which give the reader a feel for his exceptional style and voice. The topic of each poem is unique, deriving by crossing an everyday inanimate object with an animal or insect. For example, in the first poem, “Behold the Bold Umbrellaphant”, Prelutsky crosses an umbrella with an elephant. This one of a kind animal is special because no matter what the weather is like, hot or raining, the umbrellaphant is safe from the rain and heat because his trunk turns into an umbrella at the end. Most of the poems are depicted across a doublepage spread with the newly produced animal-object illustrated through the use of collage. Children will enjoy Jack Prelutsky’s creativity as they look forward to being introduced to new items as each page is turned.

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“Behold the Bold Umbrellaphant” English Language Arts Lesson Plans

Questions to ask before reading: Lead the children in a discussion using the following questions: What do you know about poetry? What types of poems have you read before? Happy? Sad? Funny? Look at the cover of the book. Why do you think this elephant has an umbrella? What does “combine” mean? Read the title of the book. Discuss how the poet, Jack Prelutsky, is combining animals with objects. Take a picture walk through the book and ask children what they think is being combined on a few sample pages. Look at the illustrations. Who knows how they were made? Discuss the collage technique.

If the budget allows, purchase the audio version of this book, read by Jack Prelutsky himself, which is lyrical and musical. Choose a favorite poem for students to learn. After listening to it, invite students to join in the reading/singing of the poem. While reading, invite the students to act out the poems. For example, while reading “The Circular Sawtoise”, students can slowly move around, yawning. When it’s time to “saw”, students can spin around as fast as they can. Then, as the sawing is done, they can go back to slowly moving around. Before showing children the illustrations read the poem and allow children the opportunity to draw what they think the new animal will look like. When ready, show the illustrations from the text and discuss similarities and differences.

Suggestions for reading poems aloud: Before reading each new title or poem, ask the children to guess what animal and object were combined based on the illustrations. Then have children predict what the name of the new object will be. Check and confirm predictions. Choose one or more poems to copy onto large chart paper. Before reading, mask (cover up) one or two words in the text. Children will guess the covered word using context clues. For example, in the poem “The Lynx of Chain”, cover the words resplendent and vanish. After reading each stanza, invite students to predict what word would make sense in the covered spot. Students could even identify what beginning letters would be seen for certain guesses. When ready, check predictions.

2016 YOUNG PEOPLE’S CONCERTS: ONCE UPON A SYMPHONY

“Behold the Bold Umbrellaphant” English Language Arts Lesson Plans

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“Behold the Bold Umbrellaphant” English Language Arts Lesson Plans

Recommended Poetry/Writing Sites Great site to use prior to writing to get students creative juices flowing! (Whiteboard Ready) http://teacher.scholastic.com/writewit/poetry/ poetry_engine.htm

Follow up activity options: Poetry/Writing

Feedback to Students: Teacher feedback will be especially important as students work in cooperative groups. Teachers will need to establish rules for group work, and will likely need to remind students of these rules as students work through the lesson. The following are suggested rules for group work (additional ideas with an example chart can be found here): Only one person may talk at a time Allow at least 2 people to speak before you speak again to ensure everyone has an opportunity to contribute Use words that are respectful and thoughtful of others' feelings Focus on your own group's conversation rather than those around you Help each other understand if someone in the group is confused 2. What If? Ask students to consider the creatures in Behold the Bold Umbrellaphant. Challenge them to choose at least two creatures (from either book) and imagine what would happen if they encountered each other. Have students write a poem about the meeting.

2016 YOUNG PEOPLE’S CONCERTS: ONCE UPON A SYMPHONY

1. Children can work in pairs to write their own combination poem. They will choose one animal and one inanimate object that were not used in the book. The poem must include a unique name for the object, one positive and one negative aspect of this new creation. When finished, compile all poems into a class book.

Wonderful site to help scaffold students as they go through the process of writing a poem. http://teacher.scholastic.com/writewit/poetry/ jack_home.htm Digital Poetry Sources: http://www.poetry4kids.com/ http://www.gigglepoetry.com/ http://jeffspoemsforkids.org/ http://www.fizzyfunnyfuzzy.com/

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“Behold the Bold Umbrellaphant” English Language Arts Lesson Plans

2. Creature Creations Hand out two small slips of paper to everyone and ask them to write the name of an animal on one piece and a plant or everyday object on the other. Collect the animal pieces in one bag or hat and the plant/object pieces in another. Have each student pull one paper out of each container. How can the two be combined into one creature? What will they call the creature? Once they’ve figured it out, they can brainstorm about their creature—writing down what it looks like, what it does, what its temperament is, what it eats, where it sleeps, etc. Then, students can use their brainstorming to write a poem about the creature. Finally, provide art materials for students to draw, paint, or collage their creature. Display good copies of the poems with their illustrations. Reading and Listening: Pass out scrap paper for children to sketch their images of the creatures when you read the books to the class as readalouds, without showing the illustrations. Fiction books using collage illustrations: Carle, Eric. 1988. The Mixed-Up Chameleon. HarperCollins. ISBN 006443162
 Carle, Eric. 1994. The Very Hungry Caterpillar. Hamilton Hamish. ISBN 0399226230
 Lionni, Leo. 1973. Frederick. Dragonfly Books. ISBN 9780394826141


2016 YOUNG PEOPLE’S CONCERTS: ONCE UPON A SYMPHONY

Visual Art Lessons 
 1. The illustrator, Carin Berger, used collage to create the illustrations in this text. After learning about collage techniques, either through the art teacher or the internet, students will create a collage of their own. They may choose to do an animal from the book or their own new creation. Invite students, parents, etc. to collect and donate any materials to use for a collage activity. Display final products as an art exhibit for other students to visit. Helpful Collage Making Tips to Share with Students: http://www.wikihow.com/Make-a-Collage

Science Lesson 1. After researching various animals and their habitats, children will work in pairs to create a new animal and its habitat following the pattern in the book. Together, the class will create a rubric based on the specifications decided upon. Some possible suggestions could be: Where does your creature live? What does he eat? Who are his enemies? How does he transport? Partners will work together to create the animal, habitat and some type of display that includes all the questions/ aspects of the rubric. When ready, students can present their new habitats to class. 2. Animals-Spice up a mammal, bird, or other animal study with the creativity of poetry. Using Behold the Bold Umbrellaphant as a model, engage children in writing poems about the particular topic animal of their study. Have them create a specific animal character with a name to feature in a poem that incorporates some of the nonfiction information they learned in their research. *Nonfiction books about animal habitats:
 Arnosky, Jim. 2000. Crinkleroots Guide to Knowing Animal Habitats. Aladdin. ISBN 0689835388 Moore, Jo Ellen. 1998. Habitats, Grades 1-3 (Science Works for Kids Series). Evan-Moor Educational Publishers. ISBN 1557996881 
 Press, Judy. 2005. Animal Habitats! (Williamson Little Hands Series). Williamson Books. ISBN 9780824967567





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Language Arts-English Lessons

Formative Assessment Before beginning the lesson, pose the following questions to students.

Students can work together to identify various parts of speech found in the poems. For example, students can make an adjective, noun or verb chart.

DIGGING DEEPER Just the Right Word:

1. Show or read to children “The Circular Sawtoise” (p. 16) from Behold the Bold Umbrellaphant. Ask them how the poem would be different if Jack Prelutsky had used the word “goes” instead of “lumbers” at the end. 2. Give a few small groups copies of “The Limber Bulboa” (p. 17) from Behold the Bold Umbrellaphant. Challenge each group to identify verbs that describe how the creature moves. 3. Provide them with a piece of paper for brainstorming at least five more verbs that fit these meanings. 4. At the end, request volunteers to read each poem to the rest of the class, identifying the movement verbs in the poems. 5. Have each group read out their brainstormed list of similar verbs.

 Vocabulary: Establish an ongoing list of unknown words the students hear or read in these poems. Enlist students to take turns finding the definitions of the words and reporting them back to the group. Personification Lesson: http://www.readwritethink.org/classroom-resources/lessonplans/dancing-minds-shouting-smiles-860.html

2016 YOUNG PEOPLE’S CONCERTS: ONCE UPON A SYMPHONY

Jack Prelutsky is well respected for his use of language—both wordplay and word choice. The poems in these two books use a variety of verbs that do more than just sit on the page. They help portray the animals.

What is a poem? How is poetry similar to other types of writing? How is poetry different from other types of writing? How do authors and poets make their work interesting? After asking each question, allow students to participate in a "Think, Pair, and Share." First, students think about their own answer to the question. Next, students turn to a partner and each person shares their own answer. Finally, the teacher randomly selects students to share their pair's answer. If students are easily able to answer the questions, then they should be ready to continue with the lesson. If students are struggling in answering the posed questions, more instruction on poetry and word choice may be needed before continuing.

Figurative Language Lesson: http://www.cpalms.org/Public/PreviewResourceLesson/ Preview/48007

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ORLANDO PHILHARMONIC ORCHESTRA | 2016 YOUNG PEOPLE’S CONCERTS

Extra Materials

“Supported in part by United Arts of Central Florida. Through the Arts and Culture Access Grant, children attend field trips and in‐school programs that connect to their class curriculum. Learn more or view lesson plans at www.UAArtsEd.com.”

https://www.youtube.com/watch? v=JqwBZ639pvw

Watch the video here.

In this scene, a bird catcher named Papageno is boasting about how good he is at playing on his pipes to catch birds, but he complains that he can’t use his skills to catch the girls.

This aria is from W.A. Mozart’s final opera, Die Zauberflote (The Magic Flute). The baritone is singing in German. This opera is one of the most frequently performed operas worldwide.

Der Vogalfanger bin ich ja

Der Vogelfanger bin ich ja

Der Vogelfanger bin ich ja

Overture to “William Tell” Rhythm Lesson

Overture to “William Tell” Rhythm Lesson Page 1

Overture to “William Tell” Rhythm Lesson Page 2

Overture to “William Tell” Recorder Lesson Page 1

Overture to “William Tell” Recorder Lesson Page 2

Prokofiev Romeo and Juliet Suite no. 2—The Montagues and Capulets 00:00 - 00:04

00:05—00:40

00:41—01:02

01:03—01:19

01:20—01:24

01:25—01:41

00:00—00:04 and 0120—01:24: Each instrument image = 1 beat Rest of piece: Each instrument image = 1 measure

(X2 = 16 measures)

remains entirely dry!

That fortunate umbrellaphant

sends oceans from the sky

And when a sudden thunderstorm

is 99 degrees.

No matter if the temperature

is ever at its ease

And so the bold umbrellaphant

has yet to spring a leak.

and ends in an umbrella that

is probably unique

The pachyderm’s uncanny trunk

for it is in the shade.

To forage in the broiling sun,

that’s not the least afraid,

Behold the bold umbrellaphant

Behold the Bold Umbrellaphant

= _____________

= _____________

= _____________

= _____________

Instruments

remains entirely dry!

that fortunate umbrellaphant

sends oceans from the sky,

And when a sudden thunderstorm

is 99 degrees.

no matter if the temperature

is ever at its ease,

And so the bold umbrellaphant

has yet to spring a leak.

and ends in an umbrella that

is probably unique

The pachyderm’s uncanny trunk

for it is in the shade.

to forage in the broiling sun,

that’s not the least afraid

Behold the bold umbrellaphant

Behold the Bold Umbrellaphant

Tearful Zipperpotamuses “Boo hoo” Rhythm

Boo

Hoo

Boo

Hoo

Boo

Hoo

Boo

Hoo

Tearful Zipperpotamuses “Button” Rhythm

But-ton

But-ton

But-ton

But-ton

Tearful “Zipperpotamuses” Rhythm

Zip-per-pot-a-mus

Zip-per-pot-a-mus

Zip-per-pot-a-mus

Zip-per-pot-a-mus

Zip Rhythm

Ziiiipppp

Ziiiipppp

Ziiiipppp

Ziiiipppp