Alan Gilbert

Music Director

BEETHOVEN’S
PASTORAL
SYMPHONY:
MAN AND
NATURE

SCHOOL DAY CONCERTS 2011

Resource Materials for Teachers
Education at the New York Philharmonic

The New York Philharmonic’s education programs open doors to symphonic

music for people of all ages and backgrounds, serving over 60,000 young
people, families, teachers, and music professionals each year. The School
Day Concerts are central to our partnerships with schools in New York City
and beyond.
The pioneering School Partnership Program joins Philharmonic Teaching
Artists with classroom teachers and music teachers in full-year residencies.
Currently 3,000 students at 14 New York City schools are participating in
the three-year curriculum, gaining skills in playing, singing, listening, and
composition. For over 80 years the Young People’s Concerts have
introduced children and families to the wonders of orchestral sound; on four
Saturday afternoons, the promenades of Avery Fisher Hall become a carnival
of hands-on activities, leading into a lively concert. Very Young People’s
Concerts engage pre-schoolers in hands-on music-making with members of
the New York Philharmonic. The fun and learning continue at home through
the Philharmonic’s award-winning website Kidzone!, a virtual world full of
games and information designed for young browsers.
To learn more about these and the Philharmonic’s many other education
programs, visit nyphil.org/education, or go to the Kidzone! at
nyphilkids.org to start exploring the world of orchestral music right now.

The School Day Concerts are made possible with support from the Carson Family Charitable Trust,
with additional support from the Mary P. Oenslager Student Concert Endowment Fund and the Oceanic
Heritage Foundation.
This guide has been made possible through an endowment gift from Lillian Butler Davey.
MetLife Foundation is the Lead Corporate Underwriter for the New York Philharmonic's Education Programs.

CREDITS

Writer: Richard Mannoia, New York Philharmonic Senior Teaching Artist

Contributors: Evangeline Avlonitis, Teacher, PS 165

Elizabeth Guglielmo, Assistant Principal, Supervision – Music and Art, Bayside High School

Editors: Theodore Wiprud, New York Philharmonic Director of Education

Amy Leffert, New York Philharmonic Assistant Director of Education

Design: Ted Dawson Studio

Welcome
to your School Day Concert!

T
he lessons in this booklet work together with the School Day Concert
itself to enable your students to put their ears to good use in the
concert hall. They will learn to notice, to describe, to compare and
contrast. They will explore their own relationship with nature as they
hear what Beethoven expressed 200 years ago. They will enter into a thrilling
world of sound empowered to make their own sense of what they hear.
This booklet is divided into five Units, each with its own number of Activities.
Each Activity is presented with an approximate timing, and every teacher can
adjust the lesson plans according to their students’ background and abilities.
Elementary Extensions suggest ways to take each concept further at the
grade-school level. Middle & High School Extensions provide ways to
challenge those at the secondary level and/or students studying music.
To help you implement the units presented here, we also offer a teacher
workshop where our Teaching Artists will guide you through the lessons.
It is important that as many participating teachers attend as possible.
Expect a dynamic and challenging experience at the concert, where everything
will be both live and projected on the big screen. To make the most of the
opportunity, play the enclosed CD for your students and carry out as many of
the lessons in this book as you can. Enjoy the lessons, indulge in listening, and
have fun at your School Day Concert—see you there!
Theodore Wiprud
Director of Education
School Day Concerts
FOR MIDDLE SCHOOL AND HIGH SCHOOL TEACHERS
Teacher Workshop: Concerts:
Monday, December 6, 2010 Wednesday, February 2, 2011
4:00–6:00 p.m. 10:30 a.m. and 12:00 p.m.

FOR ELEMENTARY SCHOOL TEACHERS

Teacher Workshop: Concerts:
Tuesday, December 7, 2010 Thursday, February 3, 2011
4:00–6:00 p.m. 10:30 a.m. and 12:00 p.m.
FOR TEACHERS IN THE SCHOOL PARTNERSHIP PROGRAM
Teacher Workshops: Concerts:
Wednesday, December 8 Friday, February 4, 2011
and Thursday, December 9, 2010 10:30 a.m. and 12:00 p.m.
4:00–6:00 p.m.

All Teacher Workshops take place at Avery Fisher Hall

Helen Hull Room, 4th floor
132 West 65th Street, Manhattan
 The Program
Alan Gilbert, conductor
Theodore Wiprud, host
LUDWIG VAN BEETHOVEN Symphony No. 6, Pastoral (1808)
1. Awakening of Cheerful Feelings upon Arrival in the Country
2. Scene by the Brook
3. Merry Gathering of Country Folk
4. Thunderstorm
5. Shepherd’s Song; Happy and Thankful Feelings after the Storm

YOUNG COMPOSERS Suite of New Works (February 2)

Qin Ding* (Age 20, Manhattan School of Music) Ritual: Going Home
Julian Korzeniowski* (Age 18, LaGuardia High School) Plutchik’s Wheel
Eric Segerstrom (Age 17, Bethlehem Central High School) From the Catacombs
*Participants in Making Score, a program of the New York Youth Symphony

VERY YOUNG COMPOSERS Selection of New Works (February 3 and 4)

Ashley Balbi (Age 12, P.S. 59: ’10) Midnight Blue
Julian Galesi (Age 11, P.S. 39: ’10) Tssszzawwww…KABLAM!
Nuha Holby (Age 10, P.S. 24) Voices of Darkness
Musa Jatta, Jr. (Age 10, P.S. 165) Disco Vibe
Daniel Moors (Age 10, P.S. 199) River Song
Myia Pino (Age 11, P.S. 108) Cinderella

Very Young Composers

C reated by the New York Philharmonic’s Young Composers Advocate

Jon Deak, the Very Young Composers program enables students
with limited musical backgrounds to compose music to be performed by
Philharmonic musicians. Very Young Composers serves fourth- and fifth-
graders as an afterschool program for the Philharmonic’s School
Partnership Program schools, middle-schoolers in the new Bridge
program at Avery Fisher Hall, and children and teens in countries around
the world where the program has been introduced. In every locale, Very
Young Composers culminates in astonishing works revealing the power
of children’s imaginations. Almost 100 compositions are played by
ensembles of Philharmonic musicians, or even by the full Orchestra at
School Day Concerts, each year.

2 2011 SCHOOL DAY CONCERTS

 Making Score Composition Seminar
A Program of the New York Youth Symphony

C reated as a groundbreaking program by the New York Youth

Symphony, Making Score provides aspiring composers under
age 23 with a series of rigorous seminars in composition. Based on
an advanced level study of orchestration, score reading, compositional
technique, and a full spectrum of musical styles and genres, students
work with prominent guest speakers who bring their expertise directly
to the students. Topics covered include strings, woodwinds, brass,
keyboard, percussion, vocal, electronics, Broadway, film music, world
music topics and scoring. In addition to an orchestration session with
American Composers Orchestra and reading sessions with the
acclaimed Attacca Quartet and Puff woodwind quintet, students work
one-on-one with a mentor to help realize individual compositions to be
given premieres at Symphony Space.
For more information, please visit www.nyys.org.

The Blueprint for Teaching and Learning in the Arts

The Blueprint for Teaching and Learning in the Arts is a guide for arts educators
in New York City public schools. The Music Blueprint defines five strands of
learning:
• Making Music • Cultural Resources
• Music Literacy • Careers and Lifelong Learning
• Making Connections
This Resource Guide for Teachers provides lessons that address all five
strands. In the course of these lessons, your students will make music,
develop musical literacy, explore connections with other disciplines, get
information about careers in music, and of course take advantage of an
important community resource, the New York Philharmonic.

2011 SCHOOL DAY CONCERTS 3

 Beethoven’s Pastoral Symphony
Man and Nature
Ludwig van Beethoven’s nine symphonies are
the foundation of the orchestra’s repertory.
Composed between 1800 and 1824, they redefined
the concert experience and launched the Romantic
period in music. Much of Beethoven’s music is still
part of the air we breathe. Almost everyone will hear
something familiar in the powerful opening of his Fifth
Symphony (Track 6), the glorious “Ode to Joy” from his
Ninth Symphony (Track 7), his deceptively simple
piano piece Für Elise (Track 8), and the dreamy
Moonlight Sonata for Piano (Track 9).
Beethoven was born in Bonn, Germany in 1770 and was raised by a
demanding musician father. As a child, he was recognized to have immense
talent for both playing the piano and composing, and he published his first
piece at the age of 11. Beethoven eventually moved to Vienna, the capital of
the musical world, where he spent the bulk of his career. He became the
most famous pianist of his day, performing his path-breaking concertos with
orchestras, and producing performances of his astonishing symphonies.
Beethoven was a great idealist who believed that music could change the
world. But his life was always stormy, full of difficulties with family, with
relationships, and with his health. In his late twenties he began going deaf –
a tragic blow for a composer and concert pianist.
To escape the bustling city and to ease life’s frustrations, the composer often
headed for the countryside. Beethoven said, “No one can love the country as
much as I do. For surely woods, trees, and rocks produce the echo which man
desires to hear.” It was his love of nature that inspired the Sixth Symphony.
Beethoven rarely gave his pieces titles, but on his Sixth Symphony he
inscribed: “Pastoral Symphony, or Recollections of Country Life.”
The Sixth Symphony places us in a landscape by turns gentle, playful, and
violent. It portrays feelings aroused by nature’s great forces and intimate
details. How can an artwork convey the individual’s response to nature?
And how are we responding to nature today? What has changed since
Beethoven’s time? These are just a few of the questions the Sixth Symphony
invites us to consider.

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Unit 1
What’s a Pastoral?
Activity 1

Defining Pastoral (5 minutes)

O n the board draw a web with the word pastoral in it. Ask students,
Does anyone know what the word pastoral means? Is there a
similar word that may give you a hint? (For instance, pasture or pastor,
the shepherd of a congregation.) What if I write the word countryside
under the word pastoral – what comes to mind?
Pastoral refers to the countryside, including shepherds and the herding
life. While your students brainstorm and create their own word webs,
write on the board the words they suggest, such as beautiful, peaceful,
serene, calm, nature, trees and tall grasses, hills, valleys, ponds, or any
number of animals.

Activity 2
Envisioning and Drawing (5 minutes)

T ell students, Now I want you to envision a pastoral landscape.

Close your eyes. What do you see? How do you feel? Who's in the
picture and what are they doing? Underneath your web, draw what's in
your mind's eye. Students draw and the class shares and explains what
they included in their drawing and why.

2011 SCHOOL DAY CONCERTS 5

 Activity 3
Introducing Beethoven and Listening (10 minutes)

Introduce the composer Ludwig van Beethoven. Refer to information on

page 4 as necessary. Beethoven was a German composer inspired by long
walks in the countryside. In 1808, he wrote his Sixth Symphony, which is
also called his Pastoral Symphony. A symphony is a large piece for
orchestra, usually in several big, separate sections called movements.
Listen to an excerpt from the Pastoral Symphony. If you like, invite
students to draw while they listen.
Scene by the Brook (Track 10)
Ask your students, What do you imagine as you listen to this music?
We know Beethoven loved taking walks in nature – how do you think his
music reflects the experience he was having?

Elementary Extensions:
Read the picture book The Story of the Hudson by T. Locker with lovely
pastoral paintings. Other books by Locker include John Muir: America's
Naturalist and Walking with Henry and Rachel Carson: Preserving A Sense
of Wonder. Invite your students to associate pictures or ideas from these, or
similar, books with passages of the Pastoral Symphony as you continue
studying the piece.
Read the book Beethoven Lives Upstairs by Barbara Nichol. Students will
learn about Beethoven in his later years and his frustration about going deaf
and trying to compose. Ask students, What impact do you think Beethoven’s
deafness may have had on his work?

Middle & High School Extension:

Explore the time period in which Beethoven lived (1770-1827). Do research
online to find out more about his childhood, career, and body of music.
Make a web and continue, as a class, to add on new and revealing information
discovered during research.

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Unit 2
An Expression of Feelings
Activity 1

Connecting to Feelings in Nature (10 minutes)

M ake a T-chart labeled "What I see / How I feel" (in reference

to a pastoral experience). Students might write:
m I see rolling hills/ It makes me feel peaceful
m I see cows grazing in the distance/ It makes me wonder about cows
m I smell wildflowers/ It makes me feel happy because the scent

tickles my nose
Connect students to urban parks and explore how close their
experiences are to Beethoven's, even though we live in an urban
environment. Recall a class outing, or visit the NYC Parks
Department website to locate a local park or take a virtual park tour:
www.nycgovparks.org (click on the “Explore Your Park” button).

Ask students, In the city how can we have a pastoral experience similar
to the ones Beethoven had? Even though we live in a primarily urban
environment, where can we go in our neighborhood to connect with
nature and the outdoors? How do you feel when you spend an afternoon
at the park? What can we find in our neighborhood that Beethoven
might have also encountered on his nature walks?

2011 SCHOOL DAY CONCERTS 7

 Elementary Extension:
Google "pastoral landscapes" to find numerous examples of pastoral paintings
and photographs to show students. Have students describe the images and ask
what they all have in common. How do the images engage your senses? What
feelings do you associate with the pictures?

Middle & High School Extensions:

Show students a video compilation of scenes from The Lord of the Rings showing
the Shire, a pastoral area, at http://www.youtube.com/watch?v=sAb-fqBrUsY.
Lead a discussion to compare pastoral settings: What similarities do you notice
between the Shire scene and the pastoral scenes you imagined when listening
to the Pastoral Symphony? What similarities do you hear between Howard
Shore’s Shire music and the first movement of Beethoven’s symphony?

Compare composers and their relationships to their environment. Beethoven

was expressing his feelings about the country. Name a song that expresses your
feelings about the city, for example: Alicia Keys/Jay-Z, “Empire State of Mind”
(clean version or chorus excerpt only); Billy Joel, “New York State of Mind”; or
Frank Sinatra, “New York, New York.” Ask students, How does Beethoven
express his love for the country in the Sixth Symphony? How do these recording
artists express their love for New York?

Activity 2
Connecting Feelings to Music (10 minutes)

While writing in journals, ask students, Think of a time when you arrived at a
place where you were looking forward to going. Describe the feelings you had
on the way to that place. Describe the feelings you had as you walked into that
place. How could you capture those feelings musically?
Now listen to the first movement of the Pastoral Symphony:
Awakening of Cheerful Feelings upon Arrival in the Country (Track 1)
In this movement, Beethoven presents us again and again with the feeling of
traveling, the feeling of anticipation, and the “rush” of first arriving somewhere
we are looking forward to going. Ask students, How does Beethoven’s music
capture those feelings of anticipation and arrival?

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Students might answer:
m Repeated rhythms sound like bubbling energy and excitement.

m Dynamic surges feel like, “Are we there yet?” (Track 1: 4:37 to 4:52)

m Repeated melodic motive conveys the anticipation one feels when close

to the desired destination (perhaps, one’s heart thumping) or the little “rush”
of energy one feels when one is about to arrive. (Track 1: 4:52 to 6:09)

Activity 3

Exploring Beethoven’s Intentions (15 minutes)

Discuss how Beethoven wanted to portray his love for the countryside in his
Sixth Symphony. The titles for the symphony’s five movements (big sections)
are:
1. Awakening of Cheerful Feelings upon
Arrival in the Country
2. Scene by the Brook
3. Merry Gathering of Country Folk
4. Thunderstorm
5. Shepherd’s Song; Happy and Thankful
Feelings after the Storm
There has been much debate about
Beethoven’s intentions in this symphony – was
he portraying nature literally or abstractly?
Beethoven said it was “more an expression of feeling than painting.”
Discuss the quote with yours students. What do you think he meant by this?
Did he want to tell a story? Why did he give each movement its title?
People who believe Beethoven tried to make his music mimic nature sounds
from the country often point to these parts:
Bird calls (flute = nightingale, oboe = quail, clarinet = cuckoo) in the second
movement (Track 11)
Sounds of a gently flowing brook in the second movement (Track 12)
Ask students, What do you think? What do you hear? Do you imagine birds
and a brook? Something different? Are there other parts of the symphony
that directly portray sounds of nature? Can music actually sound like nature?

2011 SCHOOL DAY CONCERTS 9

 Activity 4

Connecting Beethoven’s Movements

through Feelings (10 minutes)
In Beethoven’s symphony he describes a progression of feelings in the third,
fourth, and fifth movement titles:
3. Merry Gathering of Country Folk
4. Thunderstorm
5. Shepherd’s Song; Happy and Thankful Feelings after the Storm
Ask students, What do you think about the country folk and their
experiences in nature? How would you describe their feelings throughout
the movements?
Listen to excerpts from the three movements and compare:

Merry Gathering of Country Folk (Track 13)

Thunderstorm (Track 14)
Shepherd’s Song; Happy and Thankful Feelings after the Storm (Track 15)
Ask students, What do you hear in the music that lets you know what the
feelings are? How does the music compare to each title?

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Unit 3
Storms and Climaxes
Activity 1

Connecting to Storms (10 minutes)

L ead students in a think-pair-share about their experiences in storms.

Have them ask each other, Where were you? How did you know a
storm was coming? What were your feelings? How did the storm change
from beginning to end? What did you see? What did you hear? What did
you like or dislike about the experience?

Activity 2

Thunderstorm Sounds (20 minutes)

B rainstorm sounds and images of a thunderstorm and assign a

sound students can make to represent each. Students can use
their voices, bodies, instruments, or objects in the room to represent their
thunderstorm sounds. For example, first drops of rain = snap fingers,
or rustling leaves = soft recorder trills.
Decide on an order of events and list it on the board. Determine where
the climax(es) will be. Experiment with sudden surprises, dynamics
(volume changes), and combinations of sounds. Practice, perform, and
record if possible.

2011 SCHOOL DAY CONCERTS 11

 Activity 3

Listening to Beethoven’s Thunderstorm (10 minutes)

Have students make a line graph (make sure to make it large enough so that
students can later write examples of musical elements on the graph to explain
their feelings). On the x-axis write the words beginning, middle, and end evenly
spaced apart. On the y-axis write calm, nervous, and terrified. As students listen to
Beethoven’s storm music, they will track their emotions throughout the piece by
plotting points at each emotional stage. Have students discuss what it was in the
music that elicited these feelings (ex: “the increased tempo made me start to feel
nervous in the middle of the piece“) and write their feelings on the graph as a
visual representation of tracking intensity and emotion in music.
terrified
nervous
calm
beginning middle end

Shepherd’s Song; Happy and Thankful Feelings after the Storm (Track 15)
Afterward, ask students, Do you think the music directly represents a
thunderstorm? If so, what instruments are used to represent thunder?
What instruments do you think represent rain or wind? How does Beethoven
use dynamics (volume changes) to express the sounds of the thunderstorm?
Is there a high point? Most exciting part? Beethoven said his music was an
expression of feelings – does it actually represent a thunderstorm or does it
convey the feelings you might have during a thunderstorm?

Activity 4
Climaxes and Intensity (10 minutes)
We just heard climaxes in Beethoven’s “Thunderstorm” movement. He used
dynamics to create stormy intensity. How else can a composer create
growing intensity in his or her music?
Listen to the following excerpts and discuss how an orchestra can be used
to create musical intensity and a climax. Responses may include faster
notes, adding instruments, heavier accented notes, etc.
Shepherd’s Song; Happy and Thankful Feelings after the Storm (Track 16)
Scene by the Brook (Track 17)
Awakening of Cheerful Feelings upon Arrival in the Country (Track 18)

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Elementary Extensions:
Explain that in literature we also have ways of building tension and climax .
With the use of a story map, discuss how a story has a distinct introduction,
rising action, climax, falling action, and a resolution. Write an interactive story
with the class after they consider ways of building tension in a story.
Questions to consider:
m How can we build tension in a story?
m Should we build it slowly or quickly?
m Do we want it to be predictable? Unpredictable?
m Should there be any surprises?

m How can attention to description, setting, use of sound effects, and action

help us create tension?

m Should there be a resolution, or not?

Make connections with the way Beethoven builds and resolves the tension in
the “Thunderstorm” movement. Students can make a Venn diagram to compare
Activity 4
ways to create tension in music and ways to create tension in writing.

Middle & High School Extension:

Illustrate the feeling of tension and release involved in a climactic moment.
Direct students to stand in a circle and instruct them to lightly run in place very
quickly (as in football conditioning drills). Explain that you will call out numbers
from one up to five signifying levels of intensity. As you call out a new number
and the intensity builds, everyone will move toward the center of the circle.
The higher the number you call, the closer everyone moves to the center.
When you call five, the whole class will quickly move all the way into the center
of the circle, and when the students “hit” the center of the circle, they will all
disperse outwardly, as if an explosion has happened.

Once the students have mastered this “build up” movement activity without
music playing, the teacher may attempt this movement activity while listening to
Beethoven’s “Thunderstorm” (Track 4). When the students feel tension
building, they move toward the center of the circle; when they feel a sense of
release, they move away from the center of the circle. (This may require the
teacher to guide the class during moments when there are several surges in
succession, for example, beginning at 0:27.)

2011 SCHOOL DAY CONCERTS 13

 Unit 4
Melodies and Accompaniments
Activity 1
Creating Accompaniments (25 minutes)

S ing a well-known melody together with your students and practice it

until they are secure. Any melody will do – “I’ve Been Working on
the Railroad,” “Lean on Me,” or a Hannah Montana song. Brainstorm
ways of making different types of backgrounds or accompaniments.
For example, an accompaniment could be a rhythm pattern, a repeated
group of notes on the recorder, harmonies, or sustained humming.
Create accompaniments to your chosen melody and try them out. How is
each one unique? How does the melody sound or feel different with each
new accompaniment?

Middle & High School Extensions:

Listen to two versions of the same song, for example:
“No Me Ames,” performed by Jennifer Lopez and Marc Anthony – ballad version
vs. salsa version
“Sound of Silence” – Simon and Garfunkel vs. The Dickies performance
“Down,” performed by Jay Sean – original vs. “Candlelight Remix” (found at
www.youtube.com/watch?v=3lEgCYtSjD4).
Ask students, How does the accompaniment in each version change the feeling
of the song?
Select a melody from a popular song to use as a basis for experimenting with
rhythmic and harmonic accompaniments. Download free drum machine
GrooveStation DT-010 or go to www.hotfrets.com/songanator.asp and select a
chord progression to accompany your melody. Change the tempo and beats, or
change the strumming and picking style of the chords to perform with your chosen
melody. Ask students, How does it feel different? How does the new beat
change the feeling of the song? How does the new style/timbre of
accompaniment change the feel of the progression?

14 2011 SCHOOL DAY CONCERTS

 Activity 2

Learning Beethoven’s Melody (5 minutes)

Learn to sing or play this melody from “Happy and Thankful Feelings after the
Storm” (Track 19):

Beethoven uses this melody throughout the final movement of his symphony.
Each time, however, there are changes – the instruments playing the melody
are different and also the accompaniments.

Activity 3

Listening for Melody and Accompaniments (15 minutes)

Take a sheet of paper and fold it into four squares and number as follows:

1 2

3 4

Listen to the following four examples of the “shepherd’s song.” Each time it is
played by different instruments and the accompaniment changes. Students
can write their observations about the changes in melody and accompaniment
in each box.
Shepherd’s Song; Happy and Thankful Feelings after the Storm:
Excerpt 1 (Track 20)
Excerpt 2 (Track 21)
Excerpt 3 (Track 22)
Excerpt 4 (Track 23)

2011 SCHOOL DAY CONCERTS 15

 Unit 5
Exploring Melodic
Development
Activity 1

Learning Beethoven’s Opening Melody (15 minutes)

W ith your students, listen to the melody from the symphony’s first
movement, here played on the piano:
Awakening of Cheerful Feelings upon Arrival in the Country, (Track 24)
Ask students, What do you notice about this melody? How would you
describe the shape of it? What is the feeling of it?
Now sing the melody or play it on instruments (note names are provided).
Practice until memorized and secure. As you sing, you can use the
counting lyrics below, or lead your class in creating lyrics of their own that
will enable them to refer to specific notes in this melody.

16 2011 SCHOOL DAY CONCERTS

 Activity 2

Experimenting with Fragmentation

and Repetition (20 minutes)
Ask students, Where do we find examples of repetition in nature? What’s a
situation with a repetition of feelings? What are some other patterns you can
think of?
Composers often take a melody and use it to create new melodic ideas.
Two tools composers use are called fragmentation (cutting the melody into a
smaller bit) and repetition (repeating more than once).
Look again at the melody from Activity 1. Experiment with ways of
fragmenting the melody and repeating. There are lots of variations – here are a
couple of examples. As you sing, you can use the counting lyrics below:

Example 1

Example 2

Practice singing or playing each new variation. Ask students, What is fun or
satisfying about this kind of composing? What other tools do you think a
composer might use to take an existing melody and change it a little bit to make
something new? Responses may include: playing it backwards, adding new notes
to extend it, sequencing, ornamenting, etc.

2011 SCHOOL DAY CONCERTS 17

 Activity 3

Trying Out Beethoven’s Fragments (5 minutes)

Here are some of the melodic fragments Beethoven repeated in his

symphony. Listen to the melodic excerpts performed on the piano
and try singing them through. Learn to sing them using the counting
lyrics shown below, or try them on the recorder or other available
instrument.

Melodic Fragment 1 (Track 25)

Melodic Fragment 2 (Track 26)

Melodic Fragment 3 (Track 27)

Melodic Fragment 4 (Track 28)

Ask students, How does each fragment have its own feeling or
expression? How do Beethoven’s fragments compare with the ones we
used in Activity 2?

18 2011 SCHOOL DAY CONCERTS

 Elementary Extension:
Build on the idea of fragments, patterns, and repetition in music by having
students pick a pattern they see in nature, such as zebra stripes, giraffe patterns,
sunflowers, snowflake shapes, or leaf patterns. (For images visit National
Geographic Kids at kids.nationalgeographic.com/kids/photos/gallery/patterns
-in-nature/).
Have students create a "frieze" by giving them a long strip of art paper.
Students can repeat a fragment of the natural design or change it to create a
new design. Make the connection that as in music, by repeating an image,
changing the color, using only a part of it, drawing it upside down, etc., you
can create something new and different with a single element.

Middle & High School Extensions:

Refer to the “melody nuggets” available on a separate insert. Have music
theory students compose at least one alteration for each “melody nugget”
labeled “original” by ornamenting the excerpt, extending it with notes of their
own, extending it as a sequence, writing it backwards, changing its rhythm, or
selecting just a fragment of it to reference. Then have students string together
different combinations of the original excerpts and their newly altered excerpts
to develop Beethoven’s melodic content in their own unique ways.
Student performers may try randomly “cutting and pasting” together different
“melody nuggets” and performing them. Ask students, What makes some
pairs work together and others not?
Students who do not have the music theory or performance skills to do the
above may “mix and match” the “melody nuggets” in a similar fashion by
working with audio loops in GarageBand (Mac) or Audacity (free download for
Mac or PC). Note: Audacity will not automatically “snap” the loops to a time
grid, so the student will have to move the loops manually to the appropriate
place on the track to keep all loops synchronized with the pulse.

Activity 4

Listening for Melodic Development (15 minutes)

Listen to the first movement of Beethoven’s symphony and notice how he

uses fragmentation and repetition.

Awakening of Cheerful Feelings upon Arrival in the Country (Track 1)

Ask students, What do you notice about melody in this music? How is
Beethoven using repetition? Which new fragments did you hear him
repeating? How does he use repetition to express feelings? How do
you think Beethoven is creating pastoral sounds or feelings with his melodies
and repetition?
2011 SCHOOL DAY CONCERTS 19
 Appendix
Recorder Melodies from
Beethoven’s Sixth Symphony

From “Scene by the Brook”:

From “Scene by the Brook”:

From “Merry Gathering of Country Folk”:

20 2011 SCHOOL DAY CONCERTS

How to Have a Great Day at the Philharmonic
Before You Come…
• Leave food, drink, candy, and gum behind — avoid the rush at the trash cans!
• Leave your backpack at school, too — why be crowded in your seat?
• Go to the bathroom at school — so you won’t have to miss a moment of
the concert!
When You Arrive…
• Ushers will show your group where to sit. Your teachers and chaperones
will sit with you.
• Settle right in and get comfortable! Take off your coat and put it right under
your seat.
• If you get separated from your group, ask an usher to help you.
On Stage…
• The orchestra will gather on stage before your eyes.
• The concertmaster enters last — the violinist who sits at the conductor’s left
hand side. Quiet down right away, because this is when the players tune
their instruments. It’s a magical sound signaling the start of an orchestra
concert.
• Then the conductor will walk on. You can clap, then get quiet and listen for
the music to begin.
• Each piece has loud parts and quiet parts. How do you know when it ends?
Your best bet is to watch the conductor. When he turns around toward the
audience, then that piece is over and you can show your appreciation by
clapping.
Listening Closely…
• Watch the conductor and see whether you can figure out which instruments
will play by where he is pointing or looking.
• See if you can name which instruments are playing by how they sound.
• Listen for the melodies and try to remember one you’ll be able to hum later.
Then try to remember a second one. Go for a third?
• If the music were the soundtrack of a movie, what would the setting be like?
Would there be a story?
• Pick out a favorite moment in the music to tell your family about later. But
keep your thoughts to yourself at the concert — let your friends listen in their
own ways.
2011 SCHOOL DAY CONCERTS 21
 The New York Philharmonic

T
he New York Philharmonic is by far the oldest symphony orchestra in

the United States, and one of the oldest in the world. It was founded

in 1842 by a group of local musicians, and currently plays about 180

concerts every year. On May 5, 2010, the Philharmonic gave its 15,000th

concert – a record that no other symphony orchestra in the world has ever

reached. The Orchestra currently has 106 members. It performs mostly at

Avery Fisher Hall, at Lincoln Center, but also tours around the world. The

Orchestra’s first concerts specifically for a younger audience were organized

by Theodore Thomas for the 1885–86 season, with a series of 24 “Young

People’s Matinees.” School Day Concerts have been performed annually

since 1998 and bring up to 12,000 students and teachers to Avery Fisher

Hall for performances with the Philharmonic each year.

22 2011 SCHOOL DAY CONCERTS

Meet the Artists
Alan Gilbert, conductor

A lan Gilbert became Music Director of the New York

Philharmonic in September 2009, the first native
New Yorker to hold the post. In his inaugural season he
introduced a number of new initiatives: the positions of The Marie-Josée Kravis
Composer-in-Residence, held by Magnus Lindberg; The Mary and James G.
Wallach Artist-in-Residence, held in 2010–11 by violinist Anne-Sophie Mutter;
an annual three-week festival, which in 2010–11 is titled Hungarian Echoes,
led by Esa-Pekka Salonen; and CONTACT!, the New York Philharmonic’s new-
music series. In the 2010–11 season Mr. Gilbert leads the Orchestra on two
tours of European music capitals; two performances at Carnegie Hall, including
^
the venue’s 120th Anniversary Concert; and a staged presentation of Janácek’s
The Cunning Little Vixen.
Mr. Gilbert is the first person to hold the William Schuman Chair in Musical
Studies at The Juilliard School, and is conductor laureate of the Royal
Stockholm Philharmonic Orchestra and principal guest conductor of Hamburg’s
NDR Symphony Orchestra. He has conducted other leading orchestras in the
U.S. and abroad, including the Boston, Chicago, and San Francisco symphony
orchestras; Los Angeles Philharmonic; Cleveland and Philadelphia Orchestras;
and the Berlin Philharmonic, Munich’s Bavarian Radio Symphony Orchestra, and
Amsterdam’s Royal Concertgebouw Orchestra. In November 2008 he made his
acclaimed Metropolitan Opera debut conducting John Adams’s Doctor Atomic.
His recordings have received a 2008 Grammy Award nomination and top
honors from the Chicago Tribune and Gramophone magazine.

Theodore Wiprud, host

T heodore Wiprud has been Director of Education at

the New York Philharmonic since 2004, overseeing
a wide range of in-school programs, educational
concerts, adult programs, and online offerings. He hosts
both the School Day Concerts and the historic Young
People’s Concerts, including performances on
international tours. He has been active in the creation and implementation of
New York City’s Blueprint for Teaching and Learning in the Arts and has
designed many professional development sessions for music teachers. Prior to
his tenure at the New York Philharmonic, Mr. Wiprud created educational and
community-based programs at the Brooklyn Philharmonic, the Orchestra of St.
Luke’s, and the American Composers Orchestra, and worked as a teaching
artist and resident composer in a number of New York City schools. Earlier, he
directed national grantmaking programs at Meet The Composer, Inc., and before
that headed the music department at Walnut Hill School in Massachusetts.
Mr. Wiprud is an active composer whose works are published by Allemar Music.
He holds degrees from Harvard (biochemistry) and Boston University (theory
and composition), and studied at Cambridge University as a Visiting Scholar.
2011 SCHOOL DAY CONCERTS 23
 School Day Concert CD
Track Listing
Ludwig van Beethoven Symphony No. 6, Pastoral (1808)
1 Awakening of Cheerful Feelings upon Arrival in the Country
2 Scene by the Brook
3 Merry Gathering of Country Folk
4 Thunderstorm
5 Shepherd’s Song; Happy and Thankful Feelings after the Storm

Highlights from Beethoven’s Masterworks

6 Symphony No. 5, Allegro con brio (excerpt)
7 Symphony No. 9, “Ode to Joy” (excerpt)
8 Für Elise (excerpt)
9 Piano Sonata No. 14, Moonlight (excerpt)

Instructional Excerpts from the Pastoral Symphony

10 Scene by the Brook (page 6)
11 Bird calls (page 9)
12 Gently flowing brook (page 9)
13 Merry Gathering of Country Folk (page 10)
14 Thunderstorm (page 10)
15 Happy and Thankful Feelings after the Storm (page 10)
16 Happy and Thankful Feelings after the Storm (page 12)
17 Scene by the Brook (page 12)
18 Awakening of Cheerful Feelings upon Arrival in the Country (page 12)
19 Piano melody: Happy and Thankful Feelings after the Storm (page 15)
20 Excerpt 1: Happy and Thankful Feelings after the Storm (page 15)
21 Excerpt 2: Happy and Thankful Feelings after the Storm (page 15)
22 Excerpt 3: Happy and Thankful Feelings after the Storm (page 15)
23 Excerpt 4: Happy and Thankful Feelings after the Storm (page 15)
24 Piano melody: Awakening of Cheerful Feelings upon Arrival in the Country (page 16)
25 Melodic fragment 1 (page 18)
26 Melodic fragment 2 (page 18)
27 Melodic fragment 3 (page 18)
28 Melodic fragment 4 (page 18)

24 2011 SCHOOL DAY CONCERTS

CD CREDITS:

Beethoven: Symphony No. 6, Pastoral

New York Philharmonic; Leonard Bernstein, conductor (1963)
Courtesy of Sony Music Entertainment

Beethoven: Symphony No. 5

New York Philharmonic; Lorin Maazel, conductor (2003)
Courtesy of New York Philharmonic Archives

Beethoven: Symphony No. 9

New York Philharmonic; Kurt Masur, conductor (1999)
New York Philharmonic Special Editions

Piano excerpts courtesy of New York Philharmonic Teaching Artist Jihea Hong-Park.
nyphilkids.org
nyphil.org/sdc