2015 SCHOOLS NOTES REFLECTIONS ON GALLIPOLI Image: ©Gary Heery Schools Notes: ©Kathleen Beazley
2015 SCHOOLS NOTES REFLECTIONS ON GALLIPOLI
Image: ©Gary Heery Schools Notes: ©Kathleen Beazley
Australian Chamber Orchestra 2015 Schools’ Notes Reflections on Gallipoli
Notes © Kathleen Beazley 2014
ACO Schools Notes 2015 Reflections on Gallipoli
Program Title Reflections on Gallipoli
Repertoire Vaughan Williams – The Lark Ascending Kelly – Elegy for Strings “In Memoriam Rupert Brooke” Not included in this resource pack: Elgar – Sospiri Carl Vine – New work to be premiered
YouTube Recording links for repertoire Vaughan Williams - The Lark Ascending orchestral recording https://www.youtube.com/watch?v=UD39DV1A02s Vaughan Williams - The Lark Ascending as originally performed https://www.youtube.com/watch?v=3b0rN43q6jo Kelly - Elegy for Strings “In Memoriam Rupert Brooke” https://www.youtube.com/watch?v=aK19TZfoHLo
Included in this pack Scores Lesson ideas for before and after the concert Worksheets
This resource is written in reference to the Draft Australian Curriculum: The Arts, for years 7-8 and 9-10.
Lesson ideas are labelled to identify links to the following aspects of the Australian National Curriculum: The Arts
where applicable:
(i) General capabilities
(ii) Cross-curriculum links and priorities
(iii) Viewpoints
Use the Australian Curriculum Reference Pages on the ACO website for a comprehensive outline of the areas
above.
Australian Chamber Orchestra 2015 Schools’ Notes Reflections on Gallipoli
Notes © Kathleen Beazley 2014
Programming Themes and Ideas
Ralph Vaughan Williams and Frederick Septimus Kelly share a number of similar circumstances. Most notably they
both felt compelled to “do their part” for King and country and were deeply affected by their experiences in World
War 1 – the Great War. Both men witnessed great devastation during their time in front line posts in France. This is
reflected well in the two works for this concert program. Kelly’s Elegy for his dear friend Rupert Brooke and Vaughan
Williams’ work harkening back to simpler, calmer times, evoke great emotion through their delicate and careful
manipulation of melody and orchestral colour.
The poignancy of Vaughan Williams’ and Kelly’s works during the commemoration of the 100 year anniversary of
the Gallipoli campaign is an important learning experience for students. Exploring the techniques these composers
used to create such beautiful works from personal experiences should serve as an excellent example to inspire
students to find their own voice in creating music themselves.
See activities in Before /After you see the concert to further explore some of the ideas mentioned above and their
connections to the Draft Australian Curriculum: The Arts.
Australian Chamber Orchestra 2015 Schools’ Notes Reflections on Gallipoli
Notes © Kathleen Beazley 2014
Teachers’ Analysis Guide
This is a Teachers’ Analysis Guide to help you identify the main musical elements featured in Vaughan Williams’ The Lark Ascending.
The terms in bold are important vocabulary terms.
The overall structure of this piece is ternary form (ABA).
SECTION Musical features/ideas
SEC
TIO
N A
LETTER A – F: The opening of this piece is three delicate ascending parallel chords. The airy tone in the strings with no vibrato emphasizes the impressionist feel of the scene set by Vaughan Williams right from the beginning. The violin solo then begins with an opening cadenza for 1’45” seconds that so vividly depicts the bird-call and then the flight of the Lark through the development of the initial two note motif. The pitch gradually rises and the rhythmic density increases giving a clear sense of the bird’s ascension skywards and increased propulsion: Opening of the cadenza
The full range of the violin is explored with the melody soaring high above the stave, as the melodic idea that carries through the A section is introduced in the highest range of the violin:
We can already see the folk music influence on this motif/musical idea with the dotted notes and the quaint pentatonic feel of the melody.
The orchestra enters in the meter which is very much in keeping with the English folk style. The celli and double basses often have an ostinato or a drone accompaniment idea that emulates the way in which the bagpipes are so often used in English folk music: Just before letter A
Remnants of the opening cadenza are seen throughout the A section. There are often rapid arpeggio figures in the solo violin intertwined with the melodic motif, capturing the flight of the Lark ascending through the sky so vividly: Opening of letter B
Further development throughout the orchestra takes place from letter B when the horn in F takes the motif with interjections of the opening cadenza bird-call. Fragments are then woven through the orchestra until a sweeping statement of the melody emerges at letter D, with most strings playing double stops or divided parts, adding to the texture of this section: Violin Solo part at letter D
This section then returns to the delicacy of the opening as the strings play airy parallel chords and the solo violin almost simply resuming the opening cadenza: Last four bars of the A Section
Australian Chamber Orchestra 2015 Schools’ Notes Reflections on Gallipoli
Notes © Kathleen Beazley 2014
Teachers’ Analysis Guide
SECTION Musical features/ideas
SEC
TIO
N B
6’11” LETTER G – R: This section moves to the pastoral scene of the village, or what’s happening on the ground, although the Lark is still heard throughout this section as well.
There are two definite motifs stated and developed in this section. The meter is changed to . The first is introduced by the flutes and the second is initially stated by the clarinets in A:
Motif 1
Motif 2
Imitation, fragmentation, canonic entries and pitch variation are used to develop these two musical ideas throughout the orchestra in section B. This is particularly evident at letters J-K where the tempo is increased and fragments of these motifs are heard in various instruments and at various pitches. All the while the solo violin virtuosically reminds us of the Lark with its use of bird-call motifs, trills, ornaments, interplay with the flutes and other instruments: Examples of the solo violin part include in letter J
In letter L
Again, there is a sweeping climax to this section just before letter O and then the texture is scaled back to return attention to the main character, the Lark, as we lead-in to the final A section. Letter R consists of held chords in the strings while the solo violin restates the first motif one last time, as if glancing to the village below before resuming the flight of the Lark into the final section. Solo and String accompaniment at letter R
Australian Chamber Orchestra 2015 Schools’ Notes Reflections on Gallipoli
Notes © Kathleen Beazley 2014
Teachers’ Analysis Guide
SECTION Musical features/ideas
SEC
TIO
N A
1
9’25” LETTER S – END The transition back to the themes of Section A are first heard in the parallel chords at letter S:
There is then a delicate floating phrase with double stops in the solo violin drawing our attention back to the Lark. This idea is heard twice as we move into the final section: Third bar of letter S
At letter U the meter returns and we are once again soaring through the skies with the Lark. The full forces of the orchestra are used as the musical ideas from the first section are triumphantly revisited. There is much interplay between the solo violin and the rest of the orchestra as fragments of the melody are explored in multiple parts. Gradually the texture thins, giving the impression of being high up in the atmosphere, where eventually there is nothing but the Lark. The close of the piece is almost a replica of the opening. The parallel chords in the strings (no vibrato) are followed by an ending cadenza in the solo violin: Letter Y
Australian Chamber Orchestra 2015 Schools’ Notes Reflections on Gallipoli
Notes © Kathleen Beazley 2014
Before you see the concert…
The activities below relate to Worksheet 1 – The Lark Ascending, with suggestions for before and after the concert experience. The activities below are outlined in the Worksheet 1 – The Lark Ascending and also include the activities in the other worksheets which scaffold suggested activities.
WORKSHEETS: 1 – The Lark Ascending 2 – The Lark Ascending-SCORE 3 – Score Markings
INTR
OD
UC
TIO
N
GC – LIT, CCT, PSC, EU, ICU CCL – 1, 3, 4, 6, 7 CCP – 3 VP – 1, 2, 3, 4, 6, 7, 8, 9, 10, 13
Introduction Activity 1 – Worksheet 1 includes the excerpt of the Meredith poem Vaughan Williams used as his
preface. Ask students to imagine the scene described in this poem as a good way to start the creative process
for later activities. Highlighting the main imagery in the poem text will help with the next activity.
Introduction Activity 2 – Worksheet 1 This activity can be adjusted for Yr7-8 or Yr9-10 students. Worksheet 2 –
The Lark Ascending-SCORE will be needed for this activity. Younger students may complete this activity as a
whole class task and may only do section A. Older or more able students could do this activity in small groups or
individually for the whole piece without completing it as a class first.
Introduction Activity 3 – Worksheet 1 and Worksheet 3 - Score Markings Having students use instruments and
explore sounds as soon as possible builds confidence and encourages active engagement in learning. This
creative activity is a great culmination task and asking students to record some of their improvised ideas will
come in handy for the composition task after the concert.
SCO
RE/
RES
EAR
CH
GC – LIT, NUM, ICT, CCT, EU, ICU CCL – 1, 3, 8 VP – 1, 2, 3, 4, 6, 7, 8, 9, 10, 13
Score/Research Activity 1 – Worksheet 1 The style of Romance for solo instrument and accompaniment is a
very particular style. It is a style that allows for the expressive nature of an instrument to really shine through as
lyrical ideas are explored in the melodies and accompaniment throughout the piece. As students find other
examples of Romances they will discover the importance of expressive techniques in this style of composition.
Score/Research Activity 2 – Worksheet 1 Students will need Worksheet 3 – Score Markings for this activity and
can use the score from the introduction activity. The exploration of specific score instructions and markings will
help to add detail to the annotations already on the score from the previous activity. This will also create links
for students between the poems imagery and Vaughan Williams interpretations of these images in his scoring of
the work.
Score/Research Activity 3 – Worksheet 1 Pastoral themes were used often by Vaughan Williams and his
contemporaries in the early 20th century, especially with his strong interest in English folk music. As students
research what pastoral themes are related to and how musical elements are used to create pastoral themes,
they should be able to find some examples of them in Vaughan Williams’ score. Younger students will need
more specific guidance to identify the subtleties of these themes and so completing this as a whole class activity
may be helpful.
FOLK
MU
SIC
GC – LIT, NUM, ICT, CCT, PSC, EU, ICU CCL – 1, 11 VP – 1, 2, 3, 4, 6, 7, 8, 9
Folk Music Activity 1 – Worksheet 1 Students should be familiar with the two folk motifs Vaughan Williams uses
in the middle section of the work before attending the concert.
Australian Chamber Orchestra 2015 Schools’ Notes Reflections on Gallipoli
Notes © Kathleen Beazley 2014
Before you see the concert…
The worksheets below give a brief introduction to Kelly’s work Elegy for Strings “In Memoriam Rupert Brooke” and
explore Kelly’s inspiration for his composition – his dear friend Rupert Brooke and the poetry he wrote.
…After the concert
The activities below are outlined in the Worksheet 1- The Lark Ascending and also include other worksheets that
scaffold suggested activities.
WORKSHEETS: 4 – The Soldier 5 – Elegy for Strings - SCORE
GC – LIT, ICT, CCT, EU, ICU CCL – 1, 3, 6, 7 VP – 1, 2, 3, 4, 6, 7, 8, 9, 10, 13
Worksheet 4 – The Soldier introduces Rupert Brooke’s poem The Soldier to students. As with Vaughan Williams’
work, the students begin by exploring the historical context and how the scene is set through the language used in
the poem.
Activity 1 – Worksheet 4 In their own words, students retell Rupert Brooke’s story as a soldier.
Activities 2 & 3 – Worksheet 4 Students identify the emotive and descriptive language used in the poem and relate
this language to, or find these images from the poem in the score. Yr7-8 students may need to do this activity as a
whole class task. Yr9-10 students should be able to complete the task in pairs or individually.
Activity 4 – Worksheet 4 Students create a visual collage of images that they think best reflect the atmosphere and
mood that both Kelly and Brooke depict in their works. This ties together the three creative pursuits of poetry, music
and visual arts.
WORKSHEETS: 1- The Lark Ascending 6 – Folk Music 7 – Shepherd Hey-SCORE
SCO
RE/
RES
EAR
CH
GC – LIT, NUM, ICT, CCT, PSC, EU, ICU CCL – 1, 3, 8 VP – 4, 5, 6, 7, 8, 9, 14
Yr9-10:
Students may revisit Worksheet 1 - Activities 2 & 3 after the concert to refine some of the annotations and
details identified in the score.
This will be helpful to the students when they are later composing their own piece.
FOLK
MU
SIC
GC – LIT, NUM, ICT, CCT, PSC, EU, ICU CCL – 1, 3, 7 VP – 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 12
2 – Students will learn a traditional folk tune in Worksheet 6 and Worksheet 7 in small groups. You may wish to
learn the melody as a whole class to model the piece before asking the students to put together the melody and
accompaniment to create their own performance.
WORKSHEETS: 8 – Concert Review
REV
IEW
GC – LIT, ICT, CCT, ICU CCL – 1, 3, 4, 11 VP – 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 12, 13
Worksheet 8 – Concert Review will give students the opportunity to reflect on the experience of seeing
Vaughan William’s The Lark Ascending, Kelly’s Elegy for Strings and the new work by Carl Vine.
Worksheet 1 – The Lark Ascending
Australian Chamber Orchestra 2015 Schools’ Notes Reflections on Gallipoli
Notes © Kathleen Beazley 2014
INTRODUCTION ACTIVITIES
1. Read this extract from Meredith’s
poem (or the whole poem). Discuss
the imagery in the poem. Draw a
picture that you think best represents
what is described in this extract.
2. Using a copy of the score, highlight
where Vaughan Williams has captured
these ideas in his work. Annotate the
score with as much detail as you can.
3. Now that you can see how Vaughan
Williams translated words into music –
try this yourself. Using classroom
instrument/s, or your own
instrument/s explore musical ways to
represent the images in this poem.
Notate or record your musical ideas.
The Lark Ascending
Ralph Vaughan Williams was very interested in the tradition of English folk
tunes. He often used folk-like ideas in his compositions, as he has done in the
middle section of this work. His main inspiration for this work however, came
from a poem of the same name written in the late 19th century by fellow Englishman George Meredith (1828-1909).
The original work was composed for violin and piano in 1914 for violinist Marie Hall. However, it was later developed
into a work for orchestra and solo violin and premiered in 1921 at a Queens’s Hall concert in London1.
Here is the extract of the 122-line poem written by George
Meredith that Vaughan Williams included in the preface to his
work:
The Lark Ascending
He rises and begins to round,
He drops the silver chain of sound,
Of many links without a break,
In chirrup, whistle, slur and shake.
…For singing till his heaven fills,
‘Tis love of earth that he instils,
And ever winging up and up,
Our valley is his golden cup
And he the wine which overflows
to lift us with him as he goes.
…Till lost on his aerial rings
In light, and then the fancy sings.2
The two musical motifs from the B section:
1 http://www.barbwired.com/barbweb/programs/vaughanwilliams_lark.html 2 http://allpoetry.com/The-Lark-Ascending Lark image from: http://www.rspb.org.uk/discoverandenjoynature/discoverandlearn/birdguide/families/larks.aspx © Graham Catley
Click on the excerpts above and below to hear the motif. Please note, you will need an internet connection to hear these excerpts.
Worksheet 1 – The Lark Ascending
Australian Chamber Orchestra 2015 Schools’ Notes Reflections on Gallipoli
Notes © Kathleen Beazley 2014
FOLK MUSIC ACTIVITIES
1. Learn each of the motifs Vaughan
Williams uses in this work. How do
they relate to each other? Can they be
played at the same time?
2. Learn the song on the Folk Music
Worksheet. Add an accompaniment
to the song and put together a
performance.
3. When you are familiar with the folk
tune – add some simple dance moves
to demonstrate an understanding of
the structure. You may need to
research some traditional folk dance
moves for this activity – or make up
your own.
Put it all together and perform with
the class.
4. Using what you have learnt so far
and the characteristics listed, compose
your own folk tune.
SCORE/RESEARCH ACTIVITIES
1. Find other examples of Romances
for instruments and compare them
with this one.
2. Complete the Score Markings
Worksheet on score markings and
indicators. These written instructions
given to performers are very
important and help to shape the
performance greatly.
3. Research what is meant by pastoral
themes in this work. Highlight some of
the ways Vaughan Williams has
captured these ideas in the score.
Romance for Violin and Orchestra:
This work was first performed in 1914 and was originally a Romance
for Violin and Piano. Vaughan Williams then became involved in the
Great War (World War 1), as part of the Royal Army Medical Corp in
France. During this time most of his musical pursuits were put on
hold until his return to England in 1919. Upon his return the work
was altered to become the Romance for Violin and Orchestra that is
most often performed.
A Romance is “(1) a song with a simple vocal [melody] line and a
simple accompaniment; especially popular in late 18th-19th-century
France and Italy; (2) a short instrumental piece with the lyrical
character of a vocal romance.”3
The simple beauty that Vaughan Williams achieves in his work is
created by the combination of (1) his reference to simple folk music
ideas, (2) broad pastoral themes presented in both the solo and
accompanying parts and (3) careful score instructions for various
playing techniques throughout the work.
Characteristics of English Folk Music:
This work is in a ternary structure with the cadenza style opening of
the solo violin (aka – the “Lark”) returning in the final section. The B
section introduces the two motifs first heard in the Flute and the
Clarinet in A – later heard in the Oboe part.
Some of the characteristics of English folk music included in these
two motifs include:
Simple meter ( )
Simple rhythmic ideas with repetition - crotchets and quavers,
dotted notes
Simple melodic ideas centred around triads/arpeggios
Traditional tonal centre (G major / E minor)
Anacrusis beginnings to melodic ideas
Short phrases that are balanced in melodic contour -
Flute (motif 1) - b1-3 downward curved contour
- b4-6 upward curved contour
Clarinet (motif 2) - b1-2 upward curved contour
- b3-4 downward curved contour
3 http://www.library.yale.edu/cataloging/music/glossary.htm
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 2 - The Lark Ascending - SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 2 - The Lark Ascending - SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 2 - The Lark Ascending - SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 2 - The Lark Ascending - SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 2 - The Lark Ascending - SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 2 - The Lark Ascending - SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 2 - The Lark Ascending - SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 2 - The Lark Ascending - SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 2 - The Lark Ascending - SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 2 - The Lark Ascending - SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 2 - The Lark Ascending - SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 2 - The Lark Ascending - SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 2 - The Lark Ascending - SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 2 - The Lark Ascending - SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 2 - The Lark Ascending - SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 2 - The Lark Ascending - SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 2 - The Lark Ascending - SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 2 - The Lark Ascending - SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 2 - The Lark Ascending - SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 2 - The Lark Ascending - SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 2 - The Lark Ascending - SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 2 - The Lark Ascending - SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 2 - The Lark Ascending - SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 2 - The Lark Ascending - SCORE
Worksheet 3 – Score Markings
Australian Chamber Orchestra 2015 Schools’ Notes Reflections on Gallipoli
Notes © Kathleen Beazley 2014
SCORE MARKINGS
An essential part of modern composition is to provide performers with enough information so that they can convey
the intentions of the composer. This is why score markings and indicators are so important. Score markings can
provide performers with information regarding the shape, feel, overall effect and technical requirements of a work.
DYNAMICS AND ARTICULATION
Dynamics and articulation are basic score markings used in compositions to guide musicians in their performance.
Dynamics indicate volume, and articulation markings indicate how to attack a note or phrase to help shape the
performance.
CHALLENGE
1. Find and highlight as many dynamic markings as you can on the Lark Ascending score. Annotate the first
example of each with a description of the marking for future reference.
2. Find and highlight as many articulation markings as you can on the Lark Ascending score. Annotate the first
example of each with a description of the marking for future reference.
HINT – Use one colour highlighter for the dynamics and a different colour for the articulations.
PLAYING TECHNIQUES AND OTHER MARKINGS
There are many specific score markings, apart from dynamics and articulations regarding technique and expression
in Vaughan Williams’ The Lark Ascending (YOUTUBE LINK). Most of them are in Italian as is the tradition.
CHALLENGE
1. Follow the score as you listen to the performance of the piece from the YouTube link above. Can you
accurately interpret these markings taken from the Lark Ascending score?
HINT – You may need to look up one or two of these to help you with the interpretation
Score Marking SCORE Explanation senza misura
Opening
sur la touche
Opening
Cantabile
Page 4
con/senza sord. (sordino)
Page 4/5
Tranquillo
Page 8
Poco meno mosso
Page 12
Scherzando
Page 13
Animato
Page 16
Subito
Page 19
Molto sostenuto
Page 20
2. Now that you have identified these markings, highlight and annotate where they are in the score.
HINT – Use a third colour highlighter for the score markings above.
Worksheet 4 – The Soldier
Australian Chamber Orchestra 2015 Schools’ Notes Reflections on Gallipoli
Notes © Kathleen Beazley 2014. Image courtesy Australian War Memorial
Rupert Brooke – English Poet The Soldier If I should die, think only this of me: That there's some corner of a foreign field That is forever England. There shall be In that rich earth a richer dust concealed; A dust whom England bore, shaped, made aware, Gave, once, her flowers to love, her ways to roam, A body of England's, breathing English air, Washed by the rivers, blest by suns of home. And think, this heart, all evil shed away, A pulse in the Eternal mind, no less Gives somewhere back the thoughts by England given, Her sights and sounds; dreams happy as her day; And laughter, learnt of friends' and gentleness; In hearts at peace, under an English heaven. This poem is considered to be an English nationalist poem, written in 1914. It glorifies the heroism of the English soldiers who fought in World War I. This poem is pointing out that war is not always started for the reasons that your government tells you; there is a larger picture to consider. It is often read at the memorial services of soldiers.
CHALLENGE: Activity 1. The words in this poem evoke strong images of wartime and the emotions that surround a soldier’s journey. In particular a journey that does not end with a return home. Follow the link and find out how Rupert Brooke ended his journey as a soldier. In your own words write about the journey Rupert Brooke had as a soldier. Use as many descriptive and emotive words as you can.
Worksheet 4 – The Soldier
Australian Chamber Orchestra 2015 Schools’ Notes Reflections on Gallipoli
Notes © Kathleen Beazley 2014. Image courtesy Australian War Memorial
Activity 2. Read through the poem and highlight the important images/words that give insight into the soldiers’
plight, e.g. “There shall be in that rich earth a richer dust concealed” – meaning the soldiers buried in the foreign land
are great men that enrich the soil in which they lie.
Activity 3. Listen to F.S. Kelly’s Elegy for Strings (a musical lament) with the poem’s imagery fresh in your mind. On
the score provided, write the following quotes from the poem and highlight the musical ideas that reflect the poem’s
message:
“If I should die, think only this of me”
“Washed by the rivers, blest by suns of home”
“A pulse in the eternal mind”
“In hearts at peace, under an English heaven”
Are there any other quotes from the poem that you think would fit into Kelly’s work? If so, add them to the score as well and highlight the musical ideas that match the language. Activity 4. There have been several significant conflicts in the last century around the world. Kelly’s Elegy for Strings depicts a certain atmosphere and feeling about wartime due to the influence of Brooke’s poetry. In the space below create a collage of found images that you think illustrates what Kelly and Brooke are trying to depict in their respective art forms.
Worksheet 5 - Elegy in Memoriam Rupert Brooke SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 5 - Elegy in Memoriam Rupert Brooke SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 5 - Elegy in Memoriam Rupert Brooke SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 5 - Elegy in Memoriam Rupert Brooke SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 5 - Elegy in Memoriam Rupert Brooke SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 5 - Elegy in Memoriam Rupert Brooke SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 5 - Elegy in Memoriam Rupert Brooke SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 5 - Elegy in Memoriam Rupert Brooke SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 5 - Elegy in Memoriam Rupert Brooke SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 5 - Elegy in Memoriam Rupert Brooke SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 5 - Elegy in Memoriam Rupert Brooke SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 5 - Elegy in Memoriam Rupert Brooke SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 5 - Elegy in Memoriam Rupert Brooke SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 5 - Elegy in Memoriam Rupert Brooke SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 6 – Folk Music
Australian Chamber Orchestra 2015 Schools’ Notes Reflections on Gallipoli
Notes © Kathleen Beazley 2014
Folk Music
Music and other art forms are an essential part of culture. Creative pursuits allow members of a culture to express
attitudes, beliefs and knowledge that is central to a particular group, clan or society. In its most basic definition, Folk
Music is the music of the people. Traditionally it was a way of preserving history, creating a sense of belonging in a
community, teaching younger members about traditions and cultural ways and, of course, a means of
entertainment.
The folk music of England and the British Isles, has characteristics particular to that region, as does most folk music
from various areas of the world. These characteristics including pitch, rhythm, performing media and structure help
to make English folk music unique to the nations of England, Ireland, Scotland and Wales.
CHARACTERISTICS OF ENGLISH FOLK MUSIC
Simple meter (time signature). - Reels; Hornpipes; Polkas - Jigs, Waltzes Simple rhythmic ideas with repetition.
Ostinato patterns – in the melody, accompaniment or on percussion. Use of crotchets, quavers and dotted notes.
Simple melodic ideas centred around triads/arpeggios.
Notes in the melody often move up and down triad chords. This creates internal harmony within the melody.
Traditional tonal centres. Often using C, G or D major; A, E or B minor. Often suited the tuning of the instruments used.
Anacrusis beginnings. Melodies often start with an up-beat.
Short, balanced phrases. Clear structure for dancers and easier to remember music without a written score.
Drone accompaniment ideas. Long sustained notes often a 5th apart – emulates the bagpipes and gives solid harmonic accompaniment.
ENGLISH FOLK SONG – SHEPHERDS HEY1
This song is an excellent example of an English folk tune. The tune can be played in a major or minor key.
On the next page are examples of the tune in G major and A minor.
CHALLENGE -
1. How many characteristics from the table can you see in the melody parts of this tune?
Highlight and label them on the staves. HINT – The structure has not been labelled in the A minor version. Be
sure to add the section labels to it.
2. Learn both of the melodies and see if you can incorporate any other characteristics from the table in your
performance of the melody part.
3. Now put together a performance with melody, accompaniment and some percussion. Use Worksheet 7 to
help you build your performance.
4. Once you are confident with your performance, join with another group and devise a folk dance that clearly
represents the structure of the phrases and overall sections of the song.
5. Rehearse your total performance and then present it ALL to the class.
1 Melodic material sourced from - English Folk Dance and Songs Society: http://www.efdss.org/
Worksheet 6 – Folk Music
Australian Chamber Orchestra 2015 Schools’ Notes Reflections on Gallipoli
Notes © Kathleen Beazley 2014
SHEPHERDS HEY – G MAJOR:
SHEPHERDS HEY – A MINOR:
{
{
{
{
Simplified
Tune
Melody
Chords/
Bass
q = 150A
G C G D G C G D G
Simp.
tune
Mel
Chd/
Bs
5
G C G D G C G D G
Simp.
tune
Mel
Chd/
Bs
B9
G C G D G C G D G
Simp.
tune
Mel
Chd/
Bs
13
G C G D G C G D G
4
4
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4
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Shepherds Hey - G major
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Worksheet 7 - Shepherds Hey SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
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Simp.
tune
Mel
Chd/
Bs
1
A D A E A D A E A
Simp.
tune
Mel
Chd/
Bs
5
A D A E A D A E A
Simp.
tune
Mel
Chd/
Bs
9
A D A E A D A E A
Simp.
tune
Mel
Chd/
Bs
13
A D A E A D A E A
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A
Shepherds Hey - A minor
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2
Worksheet 7 - Shepherds Hey SCORE
Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli
Notes (c) Kathleen Beazley 2014
Worksheet 8 – Concert Review
Australian Chamber Orchestra 2015 Schools’ Notes Reflections on Gallipoli
Notes © Kathleen Beazley 2014
Concert Review
Details of the concert
Date Venue
Artists/Performers
Featured Repertoire
What were your impressions about the venue and set-up of the musicians for this concert?
Name an instrument/performing media that particularly interested you in this performance.
What was it that drew your attention to this instrument during the concert?
What was the role/s or this instrument throughout the concert?
Which piece of music most interested you in this concert program?
In as much musical detail as you can, describe what made this piece so interesting for you?
Which piece of music least interested you in this concert program?
In as much musical detail as you can, describe what made this piece uninteresting for you?
Having heard some of the repertoire on recordings before attending the concert, describe the experience of
hearing the concert.
If you had to write a tweet or Facebook post about your overall impressions of the concert WHAT WOULD IT BE? You can even send your post to the ACO (email [email protected]) for us to include on our Twitter and Facebook pages!