Weill Music Institute Link

Link UpWeill Music Institute

A Program of Carnegie Hall’s Weill Music Institute for Students in Grades Three Through Five

First EditionStudent Guide

The Orchestra

S W N G S

S W N G S

Link UpWeill Music Institute

A Program of Carnegie Hall’s Weill Music Institute for Students in Grades Three Through Five

First EditionStudent Guide

The Orchestra

S W N G S

WEILL MUSIC INSTITUTEJoanna Massey, Director, Learning and Engagement ProgramsAmy Mereson, Assistant Director, Learning and Engagement ProgramsHillarie O’Toole, Manager, Learning and Engagement ProgramsAnouska Swaray, Manager, Learning and Engagement Programs

PUBLISHING AND CREATIVE SERVICES Natalie Slack, Associate EditorKat Hargrave, Senior Graphic Designer

CONTRIBUTORSMichele Schroeder, Curriculum Writer Thomas Cabaniss, Artistic ConsultantChris Washburne, Artistic ConsultantSophie Hogarth, IllustratorScott Lehrer, Audio Production

Carnegie Hall’s Weill Music Institute881 Seventh Avenue, New York, NY 10019Phone: 212-903-9670 | Fax: 212-903-0758Email: [email protected]/LinkUp

Lead support for Link Up is provided by the Fund II Foundation.

Additional funding for Link Up is provided by The Jean and Louise Dreyfus Foundation, The Ambrose Monell Foundation, and The Barker Welfare Foundation.

Link Up in New York City schools is made possible, in part, by an endowment gift from The Irene Diamond Fund.

The Weill Music Institute’s programs are made available to a nationwide audience, in part, by an endowment grant from the Citi Foundation.

© 2016 The Carnegie Hall Corporation. All rights reserved.

Weill Music Institute

This book belongs to:

ICON KEYThe Singing Icon indicates that you can sing the piece at the culminating concert.

The Recorder and String Instrument Icon indicates that you can play the piece on soprano recorders or string instruments at the culminating concert. Optional bowings (

New World

DvorakRecorder

Star Icon

New World

DvorakRecorder

Star Icon

) are shown on the applicable music.

The Recorder Star Icon indicates that the piece is geared toward more experienced recorder players. Advanced string players can also play these parts.

S G 1

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

S G 2

Hi, I’m Courtney, a composer and pianist.Music is a wonderful vehicle for self-expression and community engagement. When we “swing” with the music, we include our own personal voice with the collective voice. We are all part of the whole, working together to create uninhibited beauty. For The Orchestra Swings, I am composing a new piece for orchestra and jazz ensemble that you will hear at the final Link Up concert. I look forward to swinging with you!

Hi, I’m Chris, a jazz musician and trombonist.I have played music for many years, and I love all genres, from classical and rock to hip-hop and salsa. My favorite genre is jazz, because you get to improvise and play whatever you want, whenever you want. It is total freedom! Most important, you get to do this with other musicians. When everyone is playing well together and really having fun, that is when the music swings. Improvisation is the key to my happiness, and I think it will be the key to yours, too.

S G 3Come to Play

Thomas Cabaniss, arr. by Chris Washburne

Recorder Notes Needed:Part 1 (Advanced): D, E, F#, G, A, B, C, High D

Part 2 (Basic +): G, A, B, C, D (opt. D, E, F#)Part 3 (Advanced): D, E, F#, G, A, B, C, High D, High E

Part 1

Part 2

Part 3

Steadily

Winds blow

1

2

3

4

Trum pets sound ing

- -

1

2

3

7 Strings sing

Drum mers p p p p p p pound ing

- -

Come to PlayThomas Cabaniss arr. by Chris Washburne

Tracks XX-XX

Recorder Notes Needed:

Part 1(Advanced): D,E,F#, G, A,B, C, High D

Part 2 (Basic +): G, A, B, C, D (opt. D, E, F #)

Part 3 (Advanced) D, E, F#, G, A, B, C, High D, High E

Recorder Star Icon

Recorder/Violin Icon

Singing Icon

S G

1

2

3

10

Drum mers p p p p p p pound ing

Come to play, Join

- -

1

2

3

13

sound with sound

come to sing we'll

shake the ground with

1

2

3

16

song

Come to play, Join

Come to play, Join

4

S G 5

1

2

3

19

sound with sound

sound with sound

Come to sing we'll

Come to sing we'll



1

2

3

22

song with

song with

song

song

LEADER

What do you do with time?

1

2

3

25 Make it groove make it move

Make it groove make it move

Make it groove make it move

AUDIENCE

make it rhyme

make it rhyme

make it rhyme

What do you do with song?

LEADER

S G 6

1

2

3

28 Make it sing make it ring

Make it sing make it ring

Make it sing make it ring

AUDIENCE

make it strong make it



long

long

long

1

2

3

31

What do you do with sound?

LEADERAUDIENCE Make it cry make it fly

Make it cry make it fly

Make it cry make it fly

1

2

3

34 make it gleam

make it gleam

make it gleam

Make it your

Make it your

Make it your

dream

dream

dream

S G 7

1

2

3

37

swing feel

Winds blow

finger snaps

finger snaps

trum pets swing ing

- -

1

2

3

53

Strings sing drums play

ding ding ga ding ding ga

ding ding ga ding

1

2

3

56

Winds blow

Come to swing, Join

trum pets swing ing

sound with sound


Come to swing we'll

- -

Jazz Interlude

S G 8

1

2

3

59



ding ding ga ding

song

Winds blow

Come to swing, Join

Come to swing Join

1

2

3

62 trum pets swing ing

sound with sound

sound with sound


Come to swing we'll

Come to swing we'll




- -

1

2

3

65

ding ding ga ding

song with

song with


song, with

song, with

song!

song!

song!

S G 9Duke’s Place

Duke Ellington, Ruth Roberts, Bill Katz, and Robert ThieleRecorder Notes Needed:G, C

13

BaSax

1. 2.

by!es

do

Take metheir tricks

down toat

Duke'sDuke's

Place.Place.

--

17

WildDrum

estmers

box

swingin

theirtownsticks

isin

Duke'sDuke's

Place.Place.

--

21

LoveCome

thaton

piaget

noyour

soundkicks

inin

Duke'sDuke's

Place.Place.

-

Duke's PlaceDuke Ellington

Ruth Roberts, Bill Katz, and Robert Thiele

Track XXRecorderNotes Needed: G, C

Singing Icon Recorder/Violin Icon

S G

I got

rhy thm

I got

mu sic--

13 I got

my friend Who could

ask for an y thing

more?- -

17 I got

dais ies

in green

pas tures- -

21 I got

my friend Who could

ask for an y thing

more?- -

25 Old man

trou ble

I don't

mind him-

29 You won't

find him

round my

door

I got

star light-

35 I got

sweet dreams

I got

my friend Who could

39 ask for an y thing

more? Who could

ask for an y thing

more?- -- -

I Got RhythmGeorge and Ira Gershwin

Track XXRecorder Notes Needed: D, E, G, A, B, C, C#, high D

Singing Icon Recorder Star Icon

10I Got Rhythm

George and Ira GershwinRecorder Notes Needed:D, E, G, A, B, C, C#, high D

S G 11I Got Rhythm

George and Ira GershwinRecorder Notes Needed:G, A, B

13

17

21

25

29

33

37

I Got RhythmGeorge and Ira Gershwin

Recorder/Violin IconTrack XXRecorder Notes Needed: G, A, B

S G 12It Don’t Mean a Thing

(If It Ain’t Got That Swing)Duke Ellington and Irving Mills

S G 12It Don’t Mean a Thing

(If It Ain’t Got That Swing)Duke Ellington and Irving Mills

It

9

don't mean a

thing if it

ain't got that swing

13 doo wah doo wah

doo wah doo wah doo wah

doo wah doo wah doo

wah It

17

don't mean a

thing all you

got to do is sing

21 doo wah doo wah


doo wah doo wah doo

wah It

25

makesno differenceif

it's sweet or

hot

Just

givethatrhy thm

ev ry thing you

got- - -

32 It

don't mean a

thing if it


37 doo wah doo wah


doo wah doo wah doo

wah

It Don't Mean a Thing(If It Ain't Got That Swing)

Duke Ellington and Irving MillsSinging Icon

Tracks XX-XX

It

9

don't mean a

C m

thing if it

C m(maj7)


C m7

C m6

13 doo wah doo wah

F 7


B 7

doo wah doo wah doo

E6

wah It

G 7

17

don't mean a

C m

thing all you

C m(maj7)

got to do is sing

C m7

C m6

21 doo wah doo wah

F 7


B 7

doo wah doo wah doo

E6

wah It

25

makes no differenceif

B m7

it's sweet or

E7

hot

AM7

Just

give thatrhy thm

C m7

ev ry thing you

F 7

got

B 7

- - -

32 It

G 7

don't mean a

C m

thing if it

C m(maj7)


C m7

C m6

37 doo wah doo wah

F 7


B 7

doo wah doo wah doo

E 6

wah

It Don't Mean a Thing(If It Ain't Got That Swing)

Duke Ellington and Irving MillsSinging Icon

Tracks XX-XX

S G 13

B SectionsA Sections“The Charleston”High and Low Snaps

Strike a Pose“Shorty George”

First, step forward with your right foot, then kick forward with your left foot. Next, step

backward with your left foot, then point backward with your right foot.

Bring both hands to your chest, then extend your arms and snap your fingers on the off-beats.

Bring your arms to your sides and point your fingers downward in opposition with your steps.

“It Don’t Mean a Thing (If It Ain’t Got That Swing)” Choreography

S G 14When the Saints Go Marching In Traditional

Recorder Notes Needed:C, D, E, F, G

Oh when the

saints

go march ing

in-

8

Oh when the

saints go

march ing

in-

12

Oh how I

want to

be in that

num ber-

16 When the

saints go

march ing

in-

When the Saints Go Marching InTraditional

Singing IconRecorder Star IconTrack XX

Recorder Notes Needed: C, D, E, F, G

S G 15When the Saints Go Marching In*

Traditional

*This is the counter-melody.

Recorder Notes Needed:G, A, B, C

1

9

16

When the Saints Go Marching InTraditional

Track XXRecorder Notes Needed: G, A, B, C

Recorder/Violin Icon

S G 16

What Is Swing?In music, “swing” can mean many things. Swing is a style of jazz that grew from African-American roots and dominated American popular music in what came to be known as the Swing Era (from approximately 1930 to 1945). Played by big bands led by such luminaries as Duke Ellington, Count Basie, Benny Goodman, and Artie Shaw, swing has a distinctive rhythmic feel. As Louis Armstrong famously said, “If you don’t feel it, you’ll never know it.” Swing makes people want to get up and dance, and a whole new kind of dance evolved along with the music, including dances like the jitterbug and the Lindy Hop.

But swing and other forms of jazz are not the only styles of music that swing; in fact, all music can swing—including orchestral music!

S G 17The Rhythm Section

Create Your Own Rhythm Section

The musicians in a jazz ensemble’s rhythm section—piano, bass, drums, and sometimes guitar—have the very important job of creating the overall feeling of swing music.

Doo doo doo doo doo doo doo doo

doo doo doo doo doo doo doo doo

Doo VA doo VA doo VA doo VA

doo VA doo VA doo VA doo VA

Ding ding ga ding ding ga






©

Straight Eighth Notes

Swing Eighth Notes

Ride pattern (swing feel)

Group 1: Steady Beat

Group 2: Beats 2 and 4

Group 3: Swing 8th Notes

Group 4: Ride Pattern

Group One: Steady Beat











©


Swing Eighth Notes






Group Two: Beats 2 and 4











©


Swing Eighth Notes






Group Three: Swing Eighth Notes











©


Swing Eighth Notes





Group 4: Ride PatternGroup Four: Ride Pattern











©


Swing Eighth Notes






S G 18“It Don’t Mean a Thing

(If It Ain’t Got That Swing)” Melodic and Lyric Patterns

Phrase

A

Phrase

A

Phrase

A

Phrase

B

It

don't mean a

thing if it


doo wah doo wah


doo wah doo wah doo

wah

It

don't mean a

thing all you

got to do is sing

doo wah doo wah


doo wah doo wah doo

wah

It

makes no diff erence if

it's sweet or

hot-

Just

give that rhy thm

ev ry thing you

got- -

It

don't mean a

thing if it


doo wah doo wah


doo wah doo wah doo

wah

Score

A

A

B

A

It

don't mean a

thing if it


doo wah doo wah


doo wah doo wah doo

wah

It

don't mean a

thing all you

got to do is sing

doo wah doo wah


doo wah doo wah doo

wah

It


it's sweet or

hot-

Just

give that rhy thm

ev ry thing you

got- -

It

don't mean a

thing if it


doo wah doo wah


doo wah doo wah doo

wah

Score

A

A

B

A

It

don't mean a

thing if it


doo wah doo wah


doo wah doo wah doo

wah

It

don't mean a

thing all you

got to do is sing

doo wah doo wah


doo wah doo wah doo

wah

It


it's sweet or

hot-

Just

give that rhy thm

ev ry thing you

got- -

It

don't mean a

thing if it


doo wah doo wah


doo wah doo wah doo

wah

Score

A

A

B

A

It

don't mean a

thing if it


doo wah doo wah


doo wah doo wah doo

wah

It

don't mean a

thing all you

got to do is sing

doo wah doo wah


doo wah doo wah doo

wah

It


it's sweet or

hot-

Just

give that rhy thm

ev ry thing you

got- -

It

don't mean a

thing if it


doo wah doo wah


doo wah doo wah doo

wah

Score

A

A

B

A

It

don't mean a

thing if it


doo wah doo wah


doo wah doo wah doo

wah

It

don't mean a

thing all you

got to do is sing

doo wah doo wah


doo wah doo wah doo

wah

It


it's sweet or

hot-

Just

give that rhy thm

ev ry thing you

got- -

It

don't mean a

thing if it


doo wah doo wah


doo wah doo wah doo

wah

Score

A

A

B

A

It

don'tmeana

thingifit

ain'tgotthatswing

doowahdoowah

doowahdoowahdoowah

doowahdoowahdoo

wah

It

don'tmeana

thingallyou

gottodoissing

doowahdoowah

doowahdoowahdoowah

doowahdoowahdoo

wah

It

makesnodifferenceif

it'ssweetor

hot -

Just

givethatrhythm

evrythingyou

got --

It

don'tmeana

thingifit

ain'tgotthatswing

doowahdoowah

doowahdoowahdoowah

doowahdoowahdoo

wah

Score

A

A

B

A

It

don'tmeana

thingifit

ain'tgotthatswing

doowahdoowah

doowahdoowahdoowah

doowahdoowahdoo

wah

It

don'tmeana

thingallyou

gottodoissing

doowahdoowah

doowahdoowahdoowah

doowahdoowahdoo

wah

It

makesnodifferenceif

it'ssweetor

hot -

Just

givethatrhythm

evrythingyou

got --

It

don'tmeana

thingifit

ain'tgotthatswing

doowahdoowah

doowahdoowahdoowah

doowahdoowahdoo

wah

Score

A

A

B

A

It

don't mean a

thing if it


doo wah doo wah


doo wah doo wah doo

wah

It

don't mean a

thing all you

got to do is sing

doo wah doo wah


doo wah doo wah doo

wah

It


it's sweet or

hot-

Just

give that rhy thm

ev ry thing you

got- -

It

don't mean a

thing if it


doo wah doo wah


doo wah doo wah doo

wah

Score

A

A

B

A

It

don'tmeana

thingifit

ain'tgotthatswing

doowahdoowah

doowahdoowahdoowah

doowahdoowahdoo

wah

It

don'tmeana

thingallyou

gottodoissing

doowahdoowah

doowahdoowahdoowah

doowahdoowahdoo

wah

It

makesnodifferenceif

it'ssweetor

hot -

Just

givethatrhythm

evrythingyou

got --

It

don'tmeana

thingifit

ain'tgotthatswing

doowahdoowah

doowahdoowahdoowah

doowahdoowahdoo

wah

Score

A

A

B

A

It

don't mean a

thing if it


doo wah doo wah


doo wah doo wah doo

wah

It

don't mean a

thing all you

got to do is sing

doo wah doo wah


doo wah doo wah doo

wah

It


it's sweet or

hot-

Just

give that rhy thm

ev ry thing you

got- -

It

don't mean a

thing if it


doo wah doo wah


doo wah doo wah doo

wah

Score

A

A

B

A

It

don't mean a

thing if it


doo wah doo wah


doo wah doo wah doo

wah

It

don't mean a

thing all you

got to do is sing

doo wah doo wah


doo wah doo wah doo

wah

It


it's sweet or

hot-

Just

give that rhy thm

ev ry thing you

got- -

It

don't mean a

thing if it


doo wah doo wah


doo wah doo wah doo

wah

Score

A

A

B

A

It

don't mean a

thing if it


doo wah doo wah


doo wah doo wah doo

wah

It

don't mean a

thing all you

got to do is sing

doo wah doo wah


doo wah doo wah doo

wah

It


it's sweet or

hot-

Just

give that rhy thm

ev ry thing you

got- -

It

don't mean a

thing if it


doo wah doo wah


doo wah doo wah doo

wah

Score

A

A

B

A

It

don't mean a

thing if it


doo wah doo wah


doo wah doo wah doo

wah

It

don't mean a

thing all you

got to do is sing

doo wah doo wah


doo wah doo wah doo

wah

It


it's sweet or

hot-

Just

give that rhy thm

ev ry thing you

got- -

It

don't mean a

thing if it


doo wah doo wah


doo wah doo wah doo

wah

Score

A

A

B

A

It

don't mean a

thing if it


doo wah doo wah


doo wah doo wah doo

wah

It

don't mean a

thing all you

got to do is sing

doo wah doo wah


doo wah doo wah doo

wah

It


it's sweet or

hot-

Just

give that rhy thm

ev ry thing you

got- -

It

don't mean a

thing if it


doo wah doo wah


doo wah doo wah doo

wah

Score

A

A

B

A

It

don't mean a

thing if it


doo wah doo wah


doo wah doo wah doo

wah

It

don't mean a

thing all you

got to do is sing

doo wah doo wah


doo wah doo wah doo

wah

It


it's sweet or

hot-

Just

give that rhy thm

ev ry thing you

got- -

It

don't mean a

thing if it


doo wah doo wah


doo wah doo wah doo

wah

Score

A

A

B

A

It

don't mean a

thing if it


doo wah doo wah


doo wah doo wah doo

wah

It

don't mean a

thing all you

got to do is sing

doo wah doo wah


doo wah doo wah doo

wah

It


it's sweet or

hot-

Just

give that rhy thm

ev ry thing you

got- -

It

don't mean a

thing if it


doo wah doo wah


doo wah doo wah doo

wah

Score

A

A

B

A

It

don'tmeana

thingifit

ain'tgotthatswing

doowahdoowah

doowahdoowahdoowah

doowahdoowahdoo

wah

It

don'tmeana

thingallyou

gottodoissing

doowahdoowah

doowahdoowahdoowah

doowahdoowahdoo

wah

It

makesnodifferenceif

it'ssweetor

hot -

Just

givethatrhythm

evrythingyou

got --

It

don'tmeana

thingifit

ain'tgotthatswing

doowahdoowah

doowahdoowahdoowah

doowahdoowahdoo

wah

Score

A

A

B

A

It

don't mean a

thing if it


doo wah doo wah


doo wah doo wah doo

wah

It

don't mean a

thing all you

got to do is sing

doo wah doo wah


doo wah doo wah doo

wah

It


it's sweet or

hot-

Just

give that rhy thm

ev ry thing you

got- -

It

don't mean a

thing if it


doo wah doo wah


doo wah doo wah doo

wah

Score

A

A

B

A

It

don't mean a

thing if it


doo wah doo wah


doo wah doo wah doo

wah

It

don't mean a

thing all you

got to do is sing

doo wah doo wah


doo wah doo wah doo

wah

It


it's sweet or

hot-

Just

give that rhy thm

ev ry thing you

got- -

It

don't mean a

thing if it


doo wah doo wah


doo wah doo wah doo

wah

Score

A

A

B

A

It

don'tmeana

thingifit

ain'tgotthatswing

doowahdoowah

doowahdoowahdoowah

doowahdoowahdoo

wah

It

don'tmeana

thingallyou

gottodoissing

doowahdoowah

doowahdoowahdoowah

doowahdoowahdoo

wah

It

makesnodifferenceif

it'ssweetor

hot -

Just

givethatrhythm

evrythingyou

got --

It

don'tmeana

thingifit

ain'tgotthatswing

doowahdoowah

doowahdoowahdoowah

doowahdoowahdoo

wah

Score

A

A

B

A

It

don'tmeana

thingifit

ain'tgotthatswing

doowahdoowah

doowahdoowahdoowah

doowahdoowahdoo

wah

It

don'tmeana

thingallyou

gottodoissing

doowahdoowah

doowahdoowahdoowah

doowahdoowahdoo

wah

It

makesnodifferenceif

it'ssweetor

hot -

Just

givethatrhythm

evrythingyou

got --

It

don'tmeana

thingifit

ain'tgotthatswing

doowahdoowah

doowahdoowahdoowah

doowahdoowahdoo

wah

Score

A

A

B

A

S G 19My Musical Form

Create two contrasting rhythmic patterns.

List several different combinations of the A and B patterns below (e.g. A-A-B-A, A-B-A, etc.):

Now, perform your arrangement!

BA

S G 20

1st measure

5th measure

9th measure

2nd measure

6th measure

10th measure

3rd measure

7th measure

11th measure

4th measure

8th measure

12th measure

Chords in “Duke’s Place”

“Duke’s Place” Listening Map

Score

C( I )

D( ii )

F( IV )

G( V )

C7( I )

C7( I )

C7( I )

C7( I )

C7( I )

C7( I )

C7( I )

F7( IV )

F7( IV )

F7( IV )

Dm7( ii )

G7( V )

Harmonic Changes

"Duke's Place"Listening Map

C D F G

S G 21My Blues Lyrics

Step 1: Choose Your Topic

• Think about a topic that you want to write your blues lyrics about. For example, it could be something hard in your day or something that has been bothering you.

Step 2: Complete Your Lyrics

• Come up with two phrases: one that describes your problem and another that comments on it or resolves it.

• Fill in the blanks with your lyrics.

Phrase A: (Problem)

Phrase A: (Repeat Problem)

Phrase B: (Comment/ Resolution)

S G

1st Chorus

5th Chorus

9th Chorus

13th Chorus

2nd Chorus

6th Chorus

10th Chorus

14th Chorus

3rd Chorus

7th Chorus

11th Chorus

4th Chorus

8th Chorus

12th Chorus

Musician Performing

Musician Performing

Musician Performing

Musician Performing

Melody or Improvisation?





22

S G

23My Scat Patterns

Instrument Sounds It Makes

Ride Cymbal ding, ding-ga-ding, ding-ga-ding, ding-ga-ding

S G 24

Brass (metal tubes, buzzed lips)

Sounds like: Sounds like:

Sounds like:Sounds like:

French Horn

Trumpet

Trombone

Tuba

Instrument Family Portraits

Clarinet

Woodwinds (wooden or metal tubes, blown)

Sounds like: Sounds like:Sounds like:

Sounds like:

Sounds like:

BassoonFlute

Oboe

Clarinet

Piccolo

high and light

S G

Sounds like:


Sounds like:

Sounds like:

25

Strings (wooden bodies with strings that are bowed or plucked)

Violin

Bass

CelloHarp

Viola

Percussion (struck, shaken, or scraped)

Sounds like:

Sounds like:


Sounds like:

Timpani

Bass Drum

Triangle

Snare Drum

Xylophone

S G

The Orchestra Map

ViolinsConductorHarp

Flutes

Clarinets

French Horns

Snare Drum

Bass Drum

Timpani

Xylophone

26

Trumpets

S G

Conductor

Violas

Cellos

Oboes

Bassoons

Trumpets

Trombones

Basses

Tubas

27

S G 28Instrument Identification (Visual)

Look at the pictures below and write each instrument’s name and family. In the last column, list one musical fact about the instrument. An example is given for you below.

Instrument Name Instrument Family Musical Fact

clarinet woodwindsMakes sound by blowing on a single reed

S G 29Instrument Name Instrument Family Musical Fact

S G 30

Instrument Name Instrument Family

1

2

3

4

5

6

7

8

Listen carefully to each instrument example. Write the name and family of the instrument that you hear. You may use the Word Walls below for clues.

Instrument Family Word Wall

brass

percussion

strings

woodwinds

Instrument Word Wall

bass

bassoon tuba

cello

clarinet

flute

French horn

harp

oboe

timpani

trumpet

trombone

violin

viola

xylophone

Instrument Identification (Audio)

trumpet brass

S G

My Own Orchestra

Name of orchestra:

Type of music:

Instruments included:

Reasons for instrumentation:

Stage set-up (draw):

31

S G 32The Jazz Ensemble

The rhythm section of a jazz ensemble typically consists of piano, bass, and drums.

Big Band Quartet

Jazz ensembles with less than 10 members are referred to by the number of musicians in the group:

Duo = two musiciansTrio = three musiciansQuartet = four musiciansQuintet = five musicians

Sextet = six musiciansSeptet = seven musiciansOctet = eight musiciansNonet = nine musicians

Jazz ensembles with more than 10 members, who are divided into sections, are often called big bands.

S G 33My Own Jazz Ensemble

You have been given a rhythm section that consists of piano, bass, and drums. Now, you can select up to six more instruments from the instrument family portraits, or other instruments that you are familiar with, to create an ensemble. List or draw them below:

Add together the total number of instruments, including the rhythm section.

What do we call that number of musicians when they are grouped together? (e.g. quartet, quintet, etc.)

Create a name for your ensemble. (e.g. Courtney’s Septet!)

S G

The History of Carnegie Hall

Carnegie Hall is one of the most important and historic concert halls in the world. A man named Andrew Carnegie made it possible to build this famous music hall. Since opening in 1891, thousands of classical musicians and composers have performed here, but Carnegie Hall’s audiences have also heard swing, jazz, rock, pop, and hip-hop performances by musicians from all over the world!

In addition, Carnegie Hall wasn’t just used for concerts. Many important meetings and public speeches took place here. Carnegie Hall hosted American women during their campaign for the right to vote, and many famous leaders and public figures, including Martin Luther King, Jr., Booker T. Washington, and 13 US presidents, have made speeches here.

The main hall, named Isaac Stern Auditorium / Ronald O. Perelman Stage, has 2,804 seats.

During the 1950s, Carnegie Hall was almost demolished by people who wanted to build a skyscraper where Carnegie Hall stands. A famous violinist named Isaac Stern believed in saving Carnegie Hall and found lots of other people who believed in it, too. They worked together to raise enough money to save Carnegie Hall, and in 1964, it was turned into a national landmark. Isaac Stern and Carnegie Hall can teach us a great lesson about believing in a cause and working hard for it.

34

S G

Many legendary jazz artists have performed at Carnegie Hall. Early jazz music was first heard at Carnegie Hall in 1912 as part of a concert of African American music by James Reese Europe’s Clef Club Orchestra. This performance foreshadowed many stellar evenings featuring jazz greats including Duke Ellington, Fats Waller, W. C. Handy, Louis Armstrong, Count Basie, Billie Holiday, Dizzy Gillespie, Ella Fitzgerald, Charlie Parker, Oscar Peterson, Sarah Vaughan, Gerry Mulligan, Mel Tormé, Miles Davis, and John Coltrane. The 1938 concert by Benny Goodman and his band—one of the most celebrated events in Carnegie Hall history—marked a turning point in the public acceptance of swing music.

Artists featured in The Orchestra Swings who performed on stage at Carnegie Hall:

Ella Fitzgerald“This is the place that made me legitimate. Coming here [to Carnegie Hall] makes me feel like I am coming home. There’s just a feeling I get singing here that I don’t get anywhere else.” Ella Fitzgerald’s headline debut at Carnegie Hall was as part of a concert that included two other giants of jazz—Dizzy Gillespie and Charlie Parker. Between 1947 and 1991, the “First Lady of Song” went on to perform multiple times.

Duke Ellington“There are simply two kinds of music: good music and the other kind ...” By the time he made his wartime Carnegie Hall debut on January 23, 1943, Edward Kennedy “Duke” Ellington was already a star. The success of his debut and his new approach to jazz composition led to Ellington’s series of annual Carnegie Hall concerts, on which he always premiered at least one new work.

Louis Armstrong“We all do ‘do, re, mi,’ but you have got to find the other notes yourself.” Trumpet stylist and singer Louis Armstrong made his debut at Carnegie Hall with the Paul Whiteman Orchestra in 1938, and as a headliner for the first time in 1947.

Leonard Bernstein“I can’t live one day without hearing music, playing it, studying it, or thinking about it.” Between 1943 and 1990, Leonard Bernstein appeared at Carnegie Hall nearly 450 times as a conductor, pianist, composer, and educator—including for the famous televised Young People’s Concerts.

35

S G

“Come to Play”

“Duke’s Place”

“I Got Rhythm”

“I Got Rhythm” Variations

“Riffs” from Prelude, Fugue, and Riffs

“It Don’t Mean a Thing (If It Ain’t Got That Swing)”

“When the Saints Go Marching In”

My Repertoire List

36

Singing Playing Listening or Moving

S G

My Letter to the Orchestra

37

Dear ,

Your friend,

Date

S G 38Preparing to Sing

In order to sing well, we first have to establish good posture and deep breathing.

Posture

Breath

Sit or stand up straight with your shoulders down and relaxed. Make sure that your head is level and looking forward.

Take a deep breath and fill your lungs. Place your hand on your belly when you breathe in

and allow it to expand like a balloon.

Release your breath smoothly and slowly.

S G 39

Name/ID: Date:

Today, I observed my classmate: (Name)

My classmate performed: (Work Title)

By: (Composer)

1. 2. 3.

Standing Ovation

My classmate performed with correct posture.

I like the way my classmate ...

One thing that my classmate can improve is ...

What are some things your classmate can do to make the improvement?

Stage Ready Practice, Practice, Practice Try Again

My classmate took low, deep breaths.

My classmate performed all of the correct notes.

My classmate performed all of the correct rhythms.

My classmate performed with expression and paid attention to the dynamics, tempo, and phrasing symbols.

My classmate performed by (check one):

Singing Playing the recorder Playing the violin

My Performance Goals

Peer Assessment

S G 40

Name/ID: Date:

Today I am performing: (Work Title)

By: (Composer)

1. 2. 3.

Standing Ovation

I performed with correct posture.

In my performance today, I am proud of the way I ...

One thing I would like to change or improve is ...

What are some things you can do to make the improvement?


I took low, deep breaths.

I performed all of the correct notes.

I performed all of the correct rhythms.

I performed with expression and paid attention to the dynamics, tempo, and phrasing symbols.

Today I am (check one):



Self Assessment

S G 41Preparing to Play the RecorderWhen playing the recorder, there are two basic positions: rest position and playing position.

Rest Position

Place your recorder in your lap or let it hang from its lanyard.

Playing Position

Hold your recorder up and ready to play. The left hand is on top,

and the right hand is below.

Recorder Checklist

Hands: left hand on top

Holes: finger hole(s)

completely sealed

Lips: lips covering teeth

Breath: not too hard, not too soft

S G 42Preparing to Play the Recorder

Mouthpiece

Parts of the Recorder

} Body

Bell*Note: There is a full fingering chart on page 113.

A G

F

&

e

œ

page 93 note

&

5

œ

page 94 note

&

10

œ

pg96 #1

&

14

œ

pg96 #2

&

18

œ

pg96 #3

&

22

œ#

pg98 #1

&

26

&

29

Notation Examples pg 93-98[Composer]

&

e

œ

page 93 note

&

5

œ

page 94 note

&

10

œ

pg96 #1

&

14

œ

pg96 #2

&

18

œ

pg96 #3

&

22

œ#

pg98 #1

&

26

&

29


&

e

œ

page 93 note

&

5

œ

page 94 note

&

10

œ

pg96 #1

&

14

œ

pg96 #2

&

18

œ

pg96 #3

&

22

œ#

pg98 #1

&

26

&

29


&

e

œ

page 93 note

&

5

œ

page 94 note

&

10

œ

pg96 #1

&

14

œ

pg96 #2

&

18

œ

pg96 #3

&

22

œ#

pg98 #1

&

26

&

29


E

&

e

œ

page 93 note

&

5

œ

page 94 note

&

10

œ

pg96 #1

&

14

œ

pg96 #2

&

18

œ

pg96 #3

&

22

œ#

pg98 #1

&

26

&

29


&

e

œ

page 93 note

&

5

œ

page 94 note

&

10

œ

pg96 #1

&

14

œ

pg96 #2

&

18

œ

pg96 #3

&

22

œ#

pg98 #1

&

26

&

29


B

F# D

high C

Score

Score

Score

Score

high D

middle C

middle C

S G

Name/ID: Date:

Today, I observed my classmate: (Name)

My classmate performed: (Work Title)

By: (Composer)

1. 2. 3.

Standing Ovation

My classmate performed with correct posture.

I like the way my classmate ...

One thing that my classmate can improve is ...

What are some things your classmate can do to make the improvement?


My classmate took low, deep breaths.

My classmate performed all of the correct notes.

My classmate performed all of the correct rhythms.

My classmate performed with expression and paid attention to the dynamics, tempo, and phrasing symbols.

My classmate performed by (check one):



Peer Assessment

43

S G

Name/ID: Date:

Today I am performing: (Work Title)

By: (Composer)

1. 2. 3.

Standing Ovation

I performed with correct posture.

In my performance today, I am proud of the way I ...

One thing I would like to change or improve is ...

What are some things you can do to make the improvement?


I took low, deep breaths.

I performed all of the correct notes.

I performed all of the correct rhythms.

I performed with expression and paid attention to the dynamics, tempo, and phrasing symbols.

Today I am (check one):



Self Assessment

44

S G 45Music Decoders

Time signature

Clef

Rest Note stem

Bar line Measure

Staff}}Notated music is made up of symbols. Use the decoders below to decode the rhythms you are learning.

Note head

S G 46Reading Rhythmic Patterns

Practice clapping, saying, singing, or playing these rhythms.

1

5

3

2

4

& 89 42· · · · · · ·

& 42 438 Ï Ï Ï Î Ï Î Ï Î Ï Ï Ï Î Ï Î Ï Î

& 43 4216 Ï Ï Ï Ï Ï Î Ï Ï Ï Ï Ï Ï Ï Î

& 42 4420 Ï Ï ú Ï Ï Ï ú Ï Ï ú Ï Ï Ï ú

& 44 C28 ú ú Ï Ï ú ú Ï Ï Ï ú Î

& C c 4432 · · · · ·

& 44 4337 Ï Ï ú Ï Ï ú Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú

& 4341 · · · · ·

Reading Rhythmic Patterns

©

Score

Rhythm Basics

1

2

3

4

5

& 89 42· · · · · · ·

& 42 438 Ï Ï Ï Î Ï Î Ï Î Ï Ï Ï Î Ï Î Ï Î

& 43 4216 Ï Ï Ï Ï Ï Î Ï Ï Ï Ï Ï Ï Ï Î

& 42 4420 Ï Ï ú Ï Ï Ï ú Ï Ï ú Ï Ï Ï ú

& 44 C28 ú ú Ï Ï ú ú Ï Ï Ï ú Î

& C c 4432 · · · · ·

& 44 4337 Ï Ï ú Ï Ï ú Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú

& 4341 · · · · ·

Reading Rhythmic Patterns

©

Score

Rhythm Basics

1

2

3

4

5

©

Rhythm #3

©

Rhythm 4

©

S G 47Creating My Own Rhythmic Patterns

Create a rhythm composition by arranging the rhythmic patterns below.

Arrange the rhythmic patterns in any order that you like. Write your new arrangement in the boxes below.

Now, perform your arrangement by clapping, saying, or playing the rhythms above.

qqqh q h n

n qq

43 œ œ œ ˙ œ œ œ œ œ ˙ œ œ

Sings - Rhythm Patterns

©

Score

Ode to Joy

S G 48

1.

2.

3.

My One-Note Songs

5

9

13

17

21

25

29

Staff Paper

5

9

13

17

21

25

29

Staff Paper

5

9

13

17

21

25

29

Staff Paper

One-Note Songs

B

S G 49Unlocking Music Notation

Musical Pitches on a Piano

Lines and Spaces

Lines Spaces

Pitches on the Staff

middleC

highC

highD

highED E F G A B

C D E F G A B C D E F G A B

1 12

34

23

45

Notated music is made up of symbols. Use the decoders below to decode the melodies you are learning.

©

Score

middle C

D E F G A B high C

high D

high E

S G 50

& 43 ∑ ∑ ∑

& œ œ œ ∑ ∑ ∑

& œ œ œ ∑ ∑ ∑

&12 ∑ ∑ ∑ ∑

&16 ∑ ∑ ∑ ∑

&20 ∑ ∑ ∑ ∑

&24 ∑ ∑ ∑ ∑

&28 ∑ ∑ ∑

Steps and LeapsScore

STEPS

LEAPS

G F

B

E

AB

Steps Leaps

Look at the pitches on the lines. Use a fun phrase to help you remember the note names.

Create your own phrase to help you remember the names of the line notes.

F

D

B

G

E

& 45 · · ·

& Ï Ï Ï Ï Ï · ·

& Ï Ï Ï î · ·

Notes on the staff examples

©

Score

& 45 · · ·

& Ï Ï Ï Ï Ï · ·

& Ï Ï Ï î · ·


©

Score

& 45 · · ·

& Ï Ï Ï Ï Ï · ·

& Ï Ï Ï î · ·


©

Score

& 45 · · ·

& Ï Ï Ï Ï Ï · ·

& Ï Ï Ï î · ·


©

Score

& 45 · · ·

& Ï Ï Ï Ï Ï · ·

& Ï Ï Ï î · ·


©

Score

& 45 · · ·

& Ï Ï Ï Ï Ï · ·

& Ï Ï Ï î · ·


©

Score

& 45 · · ·

& Ï Ï Ï Ï Ï · ·

& Ï Ï Ï î · ·


©

Score

EveryGood

BoyDoes

Fine

FDBGE

& 45 · · ·

& Ï Ï Ï Ï Ï · ·

& Ï Ï Ï î · ·


©

Score

& 45 · · ·

& Ï Ï Ï Ï Ï · ·

& Ï Ï Ï î · ·


©

Score

S G

F

D

B

G

E

51Pitch Puzzles

Note Names in “Come to Play”

& 43 ∑ ∑ ∑

& œ œ œ ∑ ∑ ∑

& œ œ œ ∑ ∑ ∑

& 44œ œ œ ∑ ∑ ∑

& œ œ œ œ ∑ ∑ ∑

& œ œ œ œ ∑ ∑ ∑

& ∑ ∑ ∑ ∑

&28 ∑ ∑ ∑

Pitch PuzzlesScore

BAG

BED

CAB

FEED

BEAD

& 43 ∑ ∑ ∑

& œ œ œ ∑ ∑ ∑

& œ œ œ ∑ ∑ ∑

& 44œ œ œ ∑ ∑ ∑

& œ œ œ œ ∑ ∑ ∑

& œ œ œ œ ∑ ∑ ∑

& ∑ ∑ ∑ ∑

&28 ∑ ∑ ∑

Pitch PuzzlesScore

BAG

BED

CAB

FEED

BEAD

& 43 ∑ ∑ ∑

& œ œ œ ∑ ∑ ∑

& œ œ œ ∑ ∑ ∑

& 44œ œ œ ∑ ∑ ∑

& œ œ œ œ ∑ ∑ ∑

& œ œ œ œ ∑ ∑ ∑

& ∑ ∑ ∑ ∑

&28 ∑ ∑ ∑

Pitch PuzzlesScore

BAG

BED

CAB

FEED

BEAD

& 43 ∑ ∑ ∑

& œ œ œ ∑ ∑ ∑

& œ œ œ ∑ ∑ ∑

& 44œ œ œ ∑ ∑ ∑

& œ œ œ œ ∑ ∑ ∑

& œ œ œ œ ∑ ∑ ∑

& ∑ ∑ ∑ ∑

&28 ∑ ∑ ∑

Pitch PuzzlesScore

BAG

BED

CAB

FEED

BEAD

& 43 ∑ ∑ ∑

& œ œ œ ∑ ∑ ∑

& œ œ œ ∑ ∑ ∑

& 44œ œ œ ∑ ∑ ∑

& œ œ œ œ ∑ ∑ ∑

& œ œ œ œ ∑ ∑ ∑

& ∑ ∑ ∑ ∑

&28 ∑ ∑ ∑

Pitch PuzzlesScore

BAG

BED

CAB

FEED

BEAD4 5

1 2 3

Look at the pitches below and write the correct note names to spell words.

& # 44 œ œ œ œ œ œ ˙

& #3 œ œ œ œ œ œ œ œ w

Note Names in "Come to Play"Melody Basics

Score

& # 44 œ œ œ œ œ œ ˙

& #3 œ œ œ œ œ œ œ œ w

Note Names in "Come to Play"Melody Basics

Score

Name the notes in our Link Up theme song, “Come to Play.” Write the letter name of each note in the spaces below.

S G 52Reading Melodic Patterns

Practice saying, singing, or playing these melodies.

1

5

3

2

4

& 42 œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙

©

#2 - Reading Melodic Patterns

©


©


& 42 œ œ ˙ œ œ ˙ ˙ ˙ œ œ ˙

Rhythm PatternsExcerpt #3

& 44 ˙ ˙ œ œ ˙ ˙ œ œ œ ˙ Œ

Rhythm PatternsExcerpt #4

S G

My Two-Note Songs

5

9

13

17

21

25

29

Staff Paper

5

9

13

17

21

25

29

Staff Paper

5

9

13

17

21

25

29

Staff Paper

Two-Note Songs

1.

2.

3.

AB

53

S G 54

My Three-Note Songs

5

9

13

17

21

25

29

Staff Paper

5

9

13

17

21

25

29

Staff Paper

5

9

13

17

21

25

29

Staff Paper

Three-Note Songs

1.

2.

3.

AB G

S G 55Melody Name Game

1.

=& 44 ú úBri an

Ï Ï úHow ard Drye- -

& Ï Ï îBri an

Ï Ï ä jÏ îHow ard Drye- -

& cw w w w w w w w w

& c 86· ·

& 86 43· ·

& 43 · ·

Grade 4 Rhythm and Meter and Pitch(Composing with Names)

©

& 44 ú úBri an


& Ï Ï îBri an



& c 86· ·

& 86 43· ·

& 43 · ·


©

Use your name to create a melody. Choosing from the rhythms and pitches below, add one note value and pitch to each syllable of your name. Remember to look at the time signature and check your musical math.

4/4 is also known as common time.

Musicians use the cto show “common time.”

Name: Number of Syllables:

y h d q e j H Q E& 44 ú ú

Bri an


& Ï Ï îBri an



& c 86· ·

& 86 43· ·

& 43 · ·


©

Rhythms

Pitches

& 44 ú úBri an


& Ï Ï îBri an



& c 86· ·

& 86 43· ·

& 43 · ·


©

& 44 ú úBri an


& Ï Ï îBri an



& c 86· ·

& 86 43· ·

& 43 · ·


©

& 44 ú úBri an


& Ï Ï îBri an



& c 86· ·

& 86 43· ·

& 43 · ·


©

& 44 ú úBri an


& Ï Ï îBri an



& c 86· ·

& 86 43· ·

& 43 · ·


©

& 44 ú úBri an


& Ï Ï îBri an



& c 86· ·

& 86 43· ·

& 43 · ·


©

Bri How ard Dryean- -

Example 1 & 44 ú úBri an


& Ï Ï îBri an



& c 86· ·

& 86 43· ·

& 43 · ·


©

Bri How ard Dryean- -

Example 2

& 44 ú úBri an


& Ï Ï îBri an



& c 86· ·

& 86 43· ·

& 43 · ·


©

& 44 ú úBri an


& Ï Ï îBri an



& c 86· ·

& 86 43· ·

& 43 · ·


©

& 44 ú úBri an


& Ï Ï îBri an



& c 86· ·

& 86 43· ·

& 43 · ·


©

S G 56

y h d q e j Q E& 44 ú ú

Bri an


& Ï Ï îBri an



& c 86· ·

& 86 43· ·

& 43 · ·


©

& 44 ú úBri an


& Ï Ï îBri an



& c 86· ·

& 86 43· ·

& 43 · ·


©

Rhythms

Rhythms

Pitches

Pitches

& 44 ú úBri an


& Ï Ï îBri an



& c 86· ·

& 86 43· ·

& 43 · ·


©

&44úúBrian

ÏÏúHowardDrye --

&ÏÏîBrian

ÏÏäjÏîHowardDrye --

&c wwwwwwwww

&c86 ··

&8643 ··

&43··

Grade4RhythmandMeterandPitch(ComposingwithNames)

©

&44úúBrian

ÏÏúHowardDrye --

&ÏÏîBrian


&c wwwwwwwww

&c86 ··

&8643 ··

&43··


©

& 44 ú úBri an


& Ï Ï îBri an



& c 86· ·

& 86 43· ·

& 43 · ·


©

&44úúBrian

ÏÏúHowardDrye --

&ÏÏîBrian


&c wwwwwwwww

&c86 ··

&8643 ··

&43··


©

& 44 ú úBri an


& Ï Ï îBri an



& c 86· ·

& 86 43· ·

& 43 · ·


©

& 44 ú úBri an


& Ï Ï îBri an



& c 86· ·

& 86 43· ·

& 43 · ·


©

& 44 ú úBri an


& Ï Ï îBri an



& c 86· ·

& 86 43· ·

& 43 · ·


©

& 44 ú úBri an


& Ï Ï îBri an



& c 86· ·

& 86 43· ·

& 43 · ·


©

& 44 ú úBri an


& Ï Ï îBri an



& c 86· ·

& 86 43· ·

& 43 · ·


©

2.

3.

y h d j q e H J Q E

S G

ABOUT THE COMPOSERSLeonard Bernstein (1918–1990) the celebrated American composer and conductor, started taking piano lessons at an early age. During his childhood and adolescence in Massachusetts, he played in public regularly. He studied music at Harvard University and the Curtis Institute of Music in Philadelphia. At age 25, he made his conducting debut with the New York Philharmonic at Carnegie Hall, and went on to work as a guest conductor for orchestras around the world. In 1958, Bernstein became the music director of the New York Philharmonic, a position he held for more than a decade. He earned special acclaim for his Young People’s Concerts, which were broadcast to television viewers around the country. (Fun fact: The first of these televised concerts was recorded at Carnegie Hall!) Bernstein also composed music for symphonies, small ensembles, musical theater, opera, film, and dance.

Courtney Bryan (b. 1982) is a pianist and composer, and a New Orleans native. Her music ranges from solo works to large ensembles in the new music and jazz idioms, film scores, and collaborations with dancers, visual artists, writers, and actors. She works within various musical genres, including jazz and other types of experimental music, as well as traditional gospel, spirituals, and hymns. She performs around the New York City area, and is the director of the Institute of Sacred Music at Bethany Baptist Church of Newark, New Jersey. Bryan holds degrees from the Oberlin Conservatory of Music (BM), Rutgers University (MM), and Columbia University (DMA) with advisor George Lewis. Upcoming commissions include original compositions for The Dream Unfinished orchestra and chorus, the guitar ensemble Duo Noire, the New York Jazzharmonic, the Colorado Springs Philharmonic, and a new work for orchestra and jazz septet to be premiered at the final Link Up: The Orchestra Swings concert.

Thomas Cabaniss (b. 1962) lives in New York City and composes music for opera, theater, dance, film, and concerts. He worked with choreographer Hilary Easton to create a series of dance-theater works, and his music for theater has appeared in shows on and off Broadway. He has written an opera based on E. T. A. Hoffmann’s The Sandman, and he scored an Oscar–winning short film, The Lunch Date. His choral works include Behold the Star, available on New World Records and published by Boosey & Hawkes. He is a member of the faculty of The Juilliard School.

Duke Ellington (1899–1974) is considered to be one of the most important figures in jazz history. Born in Washington, DC, he began studying classical piano when he was around eight years old. As a teenager, he became interested in ragtime and jazz and began playing in dance bands at clubs and parties. (Fun fact: The young Edward—Ellington’s real first name—had an elegant sense of style, which earned him the nickname “Duke” from his friends.) He moved to New York City as a young man and began his career as a bandleader and composer. Ellington was hired to lead the house band at the Cotton Club, a famous jazz club in Harlem. He went on to form the Duke Ellington Orchestra—which became known all over the country thanks to radio broadcasts and popular recordings—and toured the world for more than 50 years. Over the course of his long career, Ellington collaborated with many other jazz greats, including Billy Strayhorn and Ella Fitzgerald, and wrote nearly 2,000 compositions.

George Gershwin (1898–1937) is one of the most famous American composers of the 20th century. Born in Brooklyn, he began studying music as a boy when his parents—who were Russian immigrants—bought a piano for his older brother, Ira. Gershwin left high school to work in Tin Pan Alley in New York City as a “song plugger,” playing the piano to help publishing houses advertise and sell new music. After that, he worked as a rehearsal pianist for musical theater. Gershwin used these early experiences to build a career as a composer. Eventually he began working with his brother Ira—a lyricist—forming a legendary partnership. Gershwin was fluent in composing many styles of music, from solo piano and orchestral works to musical theater, opera, and film. His best-known works include Rhapsody in Blue and An American in Paris, and the score for the opera Porgy and Bess. Gershwin died at the early age of 38 in Hollywood, California.

COMPOSER TIMELINE1875 1900 1925 1950 1975 2000 2016

Leonard Bernstein

1918–1990

Duke Ellington

1899–1974

George Gershwin

1898–1937

Courtney Bryan

b. 1984

Thomas Cabaniss

b. 1962

GLOSSARYaudience: a group of people who attend an event such as a concert

bar line: a vertical line on a staff that divides the measuresbig band: a jazz ensemble with more than 10 musicians who are divided into sectionsblues: a unique form of musical communication that gives musicians freedom to improvise and swingbridge: the contrasting, or B section, within A-A-B-A formcall and response: the form in which musicians play, listen, and respond to each other in a musical dialoguechord: a group of (typically three or more) notes sounded together, as a basis of harmonychorus: 1. a group of singers 2. in jazz, the A-A-B-A form is repeated multiple times; one time through the full form is called a chorusclef: a sign placed at the beginning of a musical staff to determine the pitch of the notesconductor: a person who leads a group in making musiccomposer: a person who writes musicdiction: the pronunciation and enunciation of words in singingdynamics: volume (loud or quiet)ensemble: a group of musicians who perform togetherform: the order of phrases or sections in musicharmony: multiple pitches played or sung at the same timeharmonic changes: a pattern or series of chords that repeats itselfhead voice: the high register of the voice, from which vibrations can be felt in the head

humming: singing without opening one’s lipsimprovisation: to make up something on the spotmeasure: a group of beats framed by bar lines on a staff (can also be referred to as a bar)

note head: the round part of a musical note which indicates the note value

note stem: the vertical line extending from the head of a note

orchestra: a large group of musicians who play together using various instruments, usually including strings, woodwinds, brass, and percussionpitch: how high or low a sound isposture: the position of the bodyrepertoire: a French word referring to the set of musical pieces you learn over a period of timerest: a rhythmic symbol that represents silencerhythm: patterns of sound and silencerhythm section: the instruments in a jazz ensemble—typically piano, bass, drums, and sometimes guitar—which form the foundation for the melody, harmony, and improvisationride pattern: a distinctive swing rhythm which the drummer plays on the ride cymbalriff: a short melodic phrase that is played over and over again by a soloist or group of musiciansroot: a single note upon which a chord is builtscale: a sequence of notes that follows a set pattern going up or down (e.g. in a C scale, the scale begins on a C and ends on the C an octave higher)scat singing: a jazz technique in which vocalists use syllables to improvise on a melodysolo: one singer or instrumentalist performing alonestaff: the set of lines and spaces on which musical pitches are writtensteady beat: the pulse in musictempo: the speed of musictime signature: a symbol used in music to indicate metertrading fours: a dialogue in which each musician takes turns playing four measures at a timetuning: to adjust a musical instrument to the correct or uniform pitch (most orchestras tune their instrumentsto an A first played by the oboe)vibrations: the movement of air

ACKNOWLEDGMENTSRecordings“Come to Play” music and lyrics by Thomas Cabaniss. Published by MusiCreate Publications. Arranged by Chris Washburne. Play-along tracks performed by Sarah Elizabeth Charles, Chris Washburne, Bruce Barth, Ugonna Okegwo, Vince Cherico, Ole Mathisen, John Walsh, and Tali Rubenstein.

“Duke’s Place” words and music by Duke Ellington, William Katz, Robert Thiele, and Ruth Roberts. Sony/ATV Harmony (ASCAP) © 1942, 1943, 1957, 1958 (Copyrights renewed). 1957 Sony/ATV Music Publishing LLC and EMI Robbins Catalog Inc. in the US. All rights on behalf of Sony/ATV Music Publishing LLC. Administered by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219. Exclusive print rights for EMI Robbins Catalog Inc. administered by Alfred Music. This arrangement © 2016 EMI Robbins Catalog Inc. and Sony/ATV Music Publishing LLC. Rights for the world outside the US administered by EMI Robbins Catalog Inc. (Publishing) and Alfred Music (Print). International copyright secured. All rights reserved. Reprinted by permission of Hal Leonard Corporation and Alfred Music. Performed by Louis Armstrong and Duke Ellington. Courtesy of Capitol Records under license from Universal Music Enterprises. Student tracks arranged by Chris Washburne. Play-along tracks performed by Sarah Elizabeth Charles, Chris Washburne, Bruce Barth, Ugonna Okegwo, Vince Cherico, Ole Mathisen, John Walsh, and Tali Rubenstein.

“It Don’t Mean a Thing (If It Ain’t Got That Swing)” words and music by Duke Ellington and Irving Mills. Sony/ATV Harmony (ASCAP) and EMI Mills Music Inc. (ASCAP) © 1932 (Renewed). Sony/ATV Music Publishing LLC and EMI Mills Music, Inc. in the US. This arrangement copyright (c) 2016 Sony/ATV Music Publishing LLC and EMI Mills Music, Inc. in the US. All rights on behalf of Sony/ATV Music Publishing LLC administered by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219. Exclusive print rights for EMI Mills Music, Inc. administered by Alfred Music. This arrangement © 2016 EMI Mills Music, Inc. and Sony/ATV Music Publishing LLC. Rights for the world outside the US administered by EMI Mills Music, Inc. (Publishing) and Alfred Music (Print). International copyright secured. All rights reserved. Reprinted by permission of Hal Leonard Corporation and Alfred Music. Performed by Louis Armstrong and Duke Ellington. Courtesy of Capitol Records under license from Universal Music Enterprises. Student tracks arranged by Chris Washburne. Performed by Sarah Elizabeth Charles, Chris Washburne, Bruce Barth, Ugonna Okegwo, Vince Cherico, Ole Mathisen, John Walsh, and Tali Rubenstein.

The Young Person’s Guide to the Orchestra by Benjamin Britten. © 1947 by Hawkes & Son (London) Ltd. Courtesy of Boosey & Hawkes. Instrument excerpts performed by The Fountain Ensemble and narrated by Hillarie O’Toole. Theme performed by London Symphony Orchestra and Steuart Bedford. Courtesy of Naxos of America.

“I Got Rhythm” by George and Ira Gershwin © 1930 (Renewed) WB Music Corp (ASCAP) and Ira Gershwin Music Corp (ASCAP). Performed by Ella Fitzgerald. Courtesy of Capitol Records under license from Universal Music Enterprises. All rights administered by WB Music Corp. This arrangement © 2016 WB Music Corp. and Ira Gershwin Music Corp. Used by permission of Alfred Music. All rights reserved. Student tracks arranged by Chris Washburne. Play-along tracks performed by Sarah Elizabeth Charles, Chris Washburne, Bruce Barth, Ugonna Okegwo, Vince Cherico, Ole Mathisen, John Walsh, and Tali Rubenstein.

“I Got Rhythm” Variations by George Gershwin and Ira Gershwin. WB Music Corp. (ASCAP) and Ira Gershwin Music (ASCAP). All rights administered by WB Music Corp. Performed by Buffalo Philharmonic Orchestra. Courtesy of Naxos of America, Inc.

“Riffs,” from Prelude, Fugue, and Riffs by Leonard Bernstein. Performed by: Benny Goodman and Columbia Jazz Combo. Originally released 1964 Sony Music Entertainment. Leonard Bernstein Music Publishing Co., administered by Universal Polygram Int. Publishing, Inc. (ASCAP), One Hundred Percent (100%) on behalf of Leonard Bernstein.

“When the Saints Go Marching In,” American folk song. Arranged by Chris Washburne. Play-along tracks performed by Sarah Elizabeth Charles, Chris Washburne, Bruce Barth, Ugonna Okegwo, Vince Cherico, Ole Mathisen, John Walsh, and Tali Rubenstein.

PhotosSG1: Thomas Cabaniss by Jennifer Taylor. SG32: Billy Taylor Trio photo by Jimmy Katz. SG35: Ella Fitzgerald photo courtesy of Sony Music Entertainment. Additional Information full page image: Link Up by Chris Lee.

IllustrationsRhythm Section Artwork by Suzanne Cerny.

Special ThanksSpecial thanks to Alee Reed for her choreography to “It Don’t Mean a Thing (If It Ain’t Got That Swing)” and the students of the Dancing Classrooms Youth Dance Company for their participation in video resources for Link Up: The Orchestra Swings. Special thanks to Courtney Bryan for creating a new commission for Link Up: The Orchestra Swings concerts.

- Hole open - Hole closed - Half Hole

}}

Left Hand1st Finger

Thumb

2nd Finger

3rd Finger

1st Finger

2nd Finger

3rd Finger

4th Finger (little finger)

Right Hand

SOPRANO RECORDER FINGERING CHART

& w w# wb w w# wb w w w# wb w

& w# wb w w# wb w w w# wb w w# wb

& w w w# wb w w# wb w w# wb w w

©




©




©

C

A

E F G A B C

B C D

E F GCB

GB AB

FB GB AB

CB DB

DB FBDb

Ab Bb

Gb Ab Bb

Db Eb

Eb GbD

carnegiehall.org/LinkUp

Weill Music Institute Link

Documents