The Young Person's Guide To The Orchestra

2019/20
learning and community engagement
The Young Person’s Guide to the Orchestra

Young People’s Concert Teacher’s Guide: Grades 3–8
Aaron Copland: Fanfare for the Common Man
Benjamin Britten: The Young Person’s Guide to the Orchestra
Antonio Vivaldi: Spring from The Four Seasons
Jean-Baptiste Lully: Overture to Armide
Jacques Offenbach: Overture to Orpheus in the Underworld
Ludwig van Beethoven: Violin Concerto, Movement III
Nikolay Rimsky-Korsakov: Flight of the Bumble Bee from Tale of the Tsar Sultan
John Williams: Main Title from Star Wars
Welcome
Introduction
Concert Program (To listen, click the title)

How To Use This Guide
Aaron Copland: Fanfare for the Common Man
This guide is designed to accompany the 2019/20 Young People’s Concert, Benjamin Britten: The Young Person’s Guide to the Orchestra
“The Young Person’s Guide to the Orchestra.” We offer background Antonio Vivaldi: Spring from The Four Seasons
information on the pieces you will hear at the concert, along with a listening Jean-Baptiste Lully: Overture to Armide
guide for each piece, biographical information about the composers, and Jacques Offenbach: Overture to Orpheus in the Underworld
extension activities for further study. Ludwig van Beethoven: Violin Concerto, Movement III
Also included are introductions to the four families of instruments Nikolay Rimsky-Korsakov: Flight of the Bumble Bee from Tale of the Tsar Sultan
(strings, woodwinds, brass, and percussion) and online resources. It is John Williams: Main Title from Star Wars
our hope that utilizing this guide will deepen the concert experience for
your students. We encourage you to fit this material into your teaching style Goals of the Teacher’s Guide usage and concert attendance:
and specific student needs. • Introduce students to live orchestral music.
Providing this guide online allows teachers to project information to the • Provide students with an opportunity to participate
entire class and access listed websites in the resource section. All materials as audience members in the live music experience.
are developed to help meet and exceed the Oregon Department of • Introduce students to all of the instruments and how they
Education’s Arts Content Standards curriculum objectives, and Common express particular musical ideas.
Core standards, and to support your work in the classroom. • Demonstrate the role of music in various art forms
throughout program selections.
• Introduce students to the classical music genre, its composers,
Concert Theme: “The Young Person’s Guide to the Orchestra” its place in the historic context, and its evolution to date.
Norman Huynh, associate conductor • Encourage students to critique selections listening for
Pam Mahon, narrator images suggested by the composers music.
The Oregon Symphony believes that music is an essential part of the

total school curriculum. We hope you will take full advantage of this
guide and hyperlinks so your students in turn can be knowledgeable and
eager participants.
Please email us at [email protected] if you have questions
or wish to share your experiences in preparing your students for our
Young People’s Concert.
Monica Hayes, M.S. Ed.,
Hank Swigert director, learning & community engagement programs
2019/20 Young People’s Concert: The Young Person’s Guide to the Orchestra 2
Welcome
Guide Contents
Page 2 Introduction, Concert Details, Listening Links,

and Concert Goals
Page 3 Guide Contents
Page 4 National & State Content Standards
Page 5 Sound Awareness and Concert Expectations
Page 6 Resources on the Web
Page 7 Meet Conductor Norman Huynh
Page 8 Biographies of Kaia Selden and Pam Mahon
Page 9 Getting to Know the Orchestra
Page 10 The Orchestra by the Numbers
Page 11 Brief History of the Oregon Symphony
Page 12 Brief History of the Arlene Schnitzer Concert Hall
Page 13 Concert Program Notes, Biographies of Composers,
Extension Activites
Appendix
Page 30 Instrument Families in the Orchestra
Page 34 Oregon Symphony Roster
Page 35 Blackline Images of Instruments and Orchestra
Page 40 Our Generous Education Program Supporters
Curriculum Connections
National & State Content Standards
The Oregon Symphony has an ongoing commitment to support In addition, this Young People’s Concert supports the following
the National Standards for Music Education as outlined below: Common Core State Standards:
1. Performing on instruments, alone and with others, a varied The Arts: Create, Present, Perform – Apply ideas, techniques and processes
repertoire of music. in the arts.
2. Reading and notating music. • Apply artistic elements and technical skills to create, present, and/or
3. Listening to, analyzing, and describing music. perform works of art for a variety of audiences and purposes.
4. Evaluating music and music performances. • Communicate verbally and in writing, using knowledge of the arts to
describe and/or evaluate one’s own artwork.
5. Understanding relationships between music, the other arts,
and disciplines outside the arts. The Arts: Aesthetics and Art Criticism – Respond to and analyze works of art,
based on essential elements, organizational principles, and aesthetic criteria.
6. Understanding music in relation to history and culture.
• Use knowledge of technical, organizational, and aesthetic elements to
describe and analyze one’s own art and the art of others.
• Respond to works of art, giving reasons for preferences.
The Arts: Historical and Cultural Perspectives – Understand the relationship
of works of art to their social, historical and cultural contexts, and the
influence of the arts on individuals, communities, and cultures.
• Understand that the arts have an historical connection.
• Explain how a work of art reflects the artist’s personal experience
in a society or culture.
Download the most current version of Oregon’s Common music
from the Department of Education’s website.
Welcome Concert Expectations
Sounds Awareness Activity Concert Day
We are constantly surrounded by sound, but rarely do we truly listen to The day of your Young People’s Concert experience is sure to be a fun
what we hear. Listening to a 50-minute concert may be a new and unusual and exciting one. Knowing what to expect will help you and your students
experience for many of your students. Essential to the development of deep prepare for the concert and will make the experience the best it can be.
listening skills is the acquisition of sound awareness. Following are some Listed below are a few logistical details along with some basic expectations
suggested strategies for developing active listening skills in listeners of all that we have of concert attendees.
ages. These exercises will be helpful prior to any of the following lessons
as you introduce the music and concepts found in this Teacher’s Guide.
Arrival & Seating Information
Two weeks prior to the concert date you will receive a seat confirmation for
Goal your group. Bring this with you on the day of the concert. For those coming
Students will develop active listening skills. to the Portland concerts, please note on your confirmation your entrance
location (either the Broadway Street or Park Street entrance) and the section
Instructional Objectives in which you are seated. When you arrive at the hall please proceed directly
to the entrance noted on your confirmation. An usher will greet you and lead
Students will:
you to your section. Groups will be seated front to back on a first-come, first-
• Identify and describe environmental sounds. seated basis. If you arrive together, your group will be seated together. Please
• Identify and describe various sounds played on arrive 30 minutes before the concert start time. Concerts must begin on time.
a variety of musical instruments. No student backpacks, food, drink, or gum will be allowed in the concert hall.
If you plan to bring lunches, please store them on your bus or in the lobby.
Instructional Activities Use of cell phones and cameras is prohibited during the concert.
Environmental Sounds Concert Expectations
• Turn off the classroom lights and have students close their eyes. Please take a few moments before the concert to discuss with your students
• Have students spend one full minute listening to environmental sounds. and chaperones your expectations for their concert behavior. Young People’s
Concerts are designed to be informative and entertaining. We encourage
• Elicit responses from students as to what sounds they heard. Create a word
kids to move to the music and show that they are having a good time by
bank using all student responses.
applauding and participating at appropriate times. Please remind your
• After an initial list has been created, go back to each sound on the list and students to respect fellow audience members by refraining from conversation
ask students to describe their sound further. Add these descriptions to each throughout the concert, just as they would be asked in an assembly at
sound listed. their school. The best way to show the performers that they are enjoying
• Refer back to this word bank throughout the year, adding sounds and the concert is by listening quietly during the performance and clapping
descriptions to increase sound awareness. enthusiastically after each piece.
Resources on the Web
Interactive Music Resources – Websites for Kids & Teachers
Oregon Symphony Education Resources: Links to materials related to Sphinx Kids: A website that includes games, videos and music, with a special
orchestra sections, and more. focus on minority composers and musicians.
Oregon Symphony: Learn all about the musicians, plus a guide to the Carnegie Hall Weill Institute Resource Center: A website with a music
instruments of the orchestra. educators’ toolbox.
Classics for Kids: Award-winning interactive programs with classroom History of the Orchestra: A website with the history of the orchestra.
activities, games and historic information.
Lesson ideas from Teacher’s Institute SFSO: A website with lesson ideas.
Dallas Symphony for Kids: A national award-winning website to get students
and teachers more involved in classical music.
New York Philharmonic for Kids – “Kidzone”: A website with interactive
games, music, classroom activities, information about classical music and fun
facts about music composition.
Meet our Conductor
Norman Huynh
oregon symphony associate conductor
Norman Huynh has established himself as a
conductor with an ability to captivate an audience
through a multitude of musical genres. This
season, Norman continues to showcase his
versatility in concerts featuring Itzhak Perlman,
hip hop artists Nas and Wyclef Jean, and vocal
superstar Storm Large.
Born in 1988, Norman is a first generation Asian
American and the first in his family to pursue
classical music as a career. Upcoming and recent
engagements include the St. Louis Symphony Orchestra, Detroit Symphony,
Grant Park Music Festival, and the Princess Galyani Vadhana Youth
Orchestra of Bangkok. He has served as a cover conductor for the New York
Philharmonic and Los Angeles Philharmonic with John Williams.
Norman has been at the forefront of moving orchestral music out of the
traditional concert hall. In 2011, he co-founded the Occasional Symphony
in Baltimore to celebrate holidays by performing innovative concerts in
distinct venues throughout the inner-city. The orchestra performed on Dr.
Seuss’ birthday at Port Discovery Children’s Museum, Halloween in a burnt
church turned concert venue, and Cinco de Mayo in the basement bar of
a Mexican restaurant.
Norman currently resides in Portland, or and enjoys skiing, boardgames and
riding his motorcycle. You can follow him on Instagram @normanconductor.
Young Person’s Guide to the Orchestra
Meet our Soloist Meet our Narrator
Kaia Selden Pam Mahon

violin narrator
Fourteen-year-old violinist Kaia Selden has received Pam Mahon is excited to introduce the audience
first prize in several competitions, including members to all of the musicians in the orchestra
Cascades Music Foundation, Simon Fiset and as narrator in Britten’s Young Person’s Guide to the
Seattle Young Artists. She was a finalist at the 2018 Orchestra. Ms. Mahon is also the teaching artist
Postacchini International Competition in Italy and for the Oregon Symphony’s Kinderkonzerts and
received third prize at the 2019 Kocian International Carnegie Hall Link Up National Concerts.
Competition in the Czech Republic. Other Portland credits include: Lureena Jones,
Kaia has performed twice on npr shows: “From Adrift in Macao (Broadway Rose); Aldonza, Man
the Top” with Christopher O’Riley in Las Vegas of La Mancha; Mother, Ragtime; Baker’s Wife, Into
and “Tiny Desk Concerts” in Washington, D.C. the Woods; Claire Ganz, Rumors; Donna/Oolie,
She made her concerto debut at ten and has since been featured as soloist City of Angels; Carmen, Sweet Charity; Pam, The Full Monty (Lakewood
with Philharmonia Northwest, Classical Tahoe Festival Orchestra, Northwest Theatre Company); Mary Bland, Eating Raoul (Live on Stage); Madame de
Symphony and Seattle Symphony. This season she will be performing with la Grande Bouche, Beauty and the Beast; Wicked Witch of the West, The
Olympia Symphony, Kirkland Civic Symphony and Oregon Symphony. Wizard of Oz; and Brooke Wyndham, Legally Blonde: The Musical (Pixie
Kaia’s first violin lessons were at the Community Music Center in Portland, or, Dust Productions); Mazeppa, Gypsy (Portland Center Stage); Young Boy,
where her teachers included Oregon Symphony violinist Clarisse Atcherson. Jenůfa; Chocholka/Jay, The Cunning Little Vixen; Papagena, The Magic Flute;
She is currently a freshman at Lincoln High School in Portland and she is a Nurse Maid, Street Scene (Portland Opera).
violin student of Simon James. In her spare time, she enjoys rock climbing,
movies, chamber music, and reading Murakami.
Young Person’s Guide to the Orchestra
Getting to Know the Orchestra
It’s the big day and you take your seat in the concert hall ready to hear some • Bassoon: Looks like a plumbing pipe; sounds like a dream. High notes
classical music. You look up and see almost 80 people in the orchestra. Here’s sound throaty, even otherworldly. Middle notes sound luscious, full, mellow;
a breakdown of the instruments they’re playing: low notes can be very powerful.
• Violin: The instrument is made of wood; the bow is made of horsehair; the • French Horn (or just Horn): The most noble-sounding brass instrument;
four strings are made of metal; the sound is sweet, singing, and divine. has a full, round, dark tone, great for majestic hunting calls.
They’re divided into two sections, First and Second Violins, each with • Trumpet: The most powerful orchestral instrument and the highest-pitched
different music to play. brass instrument. Executes impressive runs and leaps in a single bound.
• Viola: Slightly larger than a violin, playing slightly lower notes, with a • Trombone: A powerful low brass instrument with a slide to change notes.
breathier or throatier sound than a violin. Essential for parades, as well as symphonies.
• Cello: Played sitting down, with the instrument between the legs. Makes a • Tuba: Lowest of the brass instruments. Can produce a wall of low,
beautiful, rich, singing sound. blasting sound.
• Bass (or Double Bass): Enormous, bigger around than the average human • Percussion: The player is expected to be a master of a vast range of different
being. Plays the lowest notes of all the strings, providing the foundation for instruments: timpani (the great big kettledrums), bass drum, snare drum
the orchestra’s sound. Played sitting on a tall stool or standing up. (for marches), cymbals (for crashing together), xylophone (played with
• Flute: Blown across, just like a bottle; produces a sweet, silvery sound. mallets), and other oddities.
• Oboe and English horn: Played by blowing into a reed, a whittled-down flat • Piano: a musical stringed instrument resembling a harp set in a vertical or
piece of sugar cane. Produces one of the most beautiful sounds on earth: horizontal frame, played by pressing keys that cause hammers to strike the
clear, vibrant, sweet, plaintive, and full. strings and produce audible vibrations.
• Clarinet: A dark, tubular woodwind instrument that creates a full, round • Harp: a musical instrument consisting of a triangular frame formed by a
sound, very pure, without the edge of the oboe’s sound. soundbox, a pillar, and a curved neck, and having strings stretched between
the soundbox and the neck that are plucked with the fingers.
The Orchestra
By the Numbers
Conductor 1 About the Orchestra

Total Musicians 76 The symphony
STRINGS orchestra is the largest
Violins 24 and most exciting of
Violas 8 all musical groups,
Cellos 7 with as many as 100
Double Basses 5 players. It is divided
into four musical
families called strings,
WOODWINDS
woodwinds, brass,
Flutes 3
and percussion. Every
Piccolo 1
instrument in the
Oboes 3
orchestra belongs to
English Horn 1
one of these families.
Clarinets 3
In a symphony
Bassoons 3
orchestra, the musical
families are related to
BRASS one another just like
French Horns 5 cousins, aunts, and
Trumpets 3 uncles. The orchestra
Trombones 3 is a big family of
Tuba 1 instruments playing
together.
PERCUSSION
Timpani 1 To learn more
Percussion 3 about your Oregon
Keyboard 1 Symphony, check us
Harp 1 out online.
History
Brief History of the Oregon Symphony
The Oregon Symphony is Portland’s largest performing arts organization today, but Civic Auditorium (now Keller Auditorium) to its current home, the Arlene Schnitzer
it has long and deep roots that go all the way back to 1896 and the founding of the Concert Hall. The move, and DePreist’s leadership, were turning points in the Oregon
Portland Symphony – the first orchestra west of the Mississippi River. W.H. Kinross Symphony’s history that resulted in a new level of concert activity, even greater service
conducted the inaugural concert at Portland’s Marquam Grand Theatre on October 30 in the areas of education and community programs, and recordings.
of that year. By 1899 the Symphony performed an annual concert series, and in 1902 it In 2003, when DePreist retired after 23 seasons with the orchestra, Carlos Kalmar took
embarked on its first state tour. over as its 10th music director. He continues to lead the orchestra’s 76 musicians to
The decades that followed saw many milestones, but two of the biggest came in new heights, including music’s most prestigious concert venue, New York’s Carnegie
1967 – when the orchestra’s name was officially changed to Oregon Symphony to Hall, as part of the first Spring for Music Festival. The orchestra’s newest cd is Haydn
reflect the increasing number of concerts played outside Portland and a commitment Symphonies, released on the Pentatone label. The Symphony’s recorded works reach
to serve the larger statewide and regional community – and in 1984 when, under the millions of music lovers via broadcasting on All Classical and American Public Media
leadership of Music Director James DePreist, the orchestra moved from the Portland programs, and have received Grammy nominations.
History
Brief History of the Arlene Schnitzer Concert Hall
The Arlene Schnitzer Concert Hall is a historic theater building and performing arts The lobby was lit with huge crystal chandeliers. Nearly $35,000 had been spent
center in Portland, Oregon. Part of the Portland Center for the Performing Arts, it is on them. The largest had a span of nearly 8 feet, weighing over 1700 pounds and
home to the Oregon Symphony, Portland Youth Philharmonic, Metropolitan Youth containing 181 lights. Currently, the largest chandelier has 137 candle bulbs, and the
Symphony, White Bird Dance Company, and Portland Arts & Lectures. The Oregon smaller ones each have 124 bulbs.
Symphony is the main tenant in this city-owned building, renting the hall for all In 1972, the Portland City Council voted to give the building Landmark Status, over the
rehearsals and performances. Originally (and sometimes still referred to as) the objections of John Haviland, the owner. The landmark status applied only to the exterior
Paramount Theatre, it is also locally nicknamed “The Schnitz”. of the building. Many people felt that the interior of the building was more valuable
It is the last surviving theater building on Portland’s Broadway, which was once lined architecturally. The building (as the Paramount Theatre) was placed on the National
with large theater houses. The architectural firm Rapp and Rapp, famous for its Register of Historic Places in 1976. In the 1970s Haviland wanted to either sell or renovate
theater buildings, designed the Italian Renaissance- the building as it was coming into disrepair and the
style building. The building was variously described by concert goers were ruining the interior. The original
the newspapers as being of the French Renaissance theater organ and statuary were sold off in an auction
or Northern Italianate style. The Paramount was on March 26, 1975. During the auction, there was a
considered, at its opening, to be the largest and general outcry from the audience to keep a particular
most lavish theater for a city the size of Portland. marble statue, called “Surprise” (a nude girl with her
Originally opened as the Portland Publix Theatre, a hands thrown across her face) in the theater. A hat was
vaudeville venue in March 1928, the name changed to passed among the 1200 member audience to take up
the Paramount Theater in 1930, as the owners had a a collection, and $5,233.97 was raised to purchase the
contract to run Paramount films locally. The building statue and keep it in the theater lobby. The statue had a
continued to show films until 1972, after which it finger missing from a bullet from a box-office robbery in
hosted rock concerts. the 1920s, it is now restored. “Surprise” still greets all
visitors to the hall in the main foyer.
Visitors were greeted by a 65-foot (20 m) high
“Portland” sign above the Broadway Marquee, which A major renovation began in September 1983 to the
contained approximately 6,000 theatrical lights. The designs of Boora Architects, restoring the building
current sign is an exact replica of this original sign. The to much of its original opulence. The interior of the
sign read “Paramount” from 1930–1984. The theater auditorium, however, was painted one neutral color,
was designed with many foyers and lobbies. The main rather than restoring the murals that had decorated
entrance to the auditorium boasted huge French-paned it. Portland residents Arlene and Harold Schnitzer
windows facing east and south, covered with velvet contributed generously to the completion of the initial
drapes. The walls were covered with mirrors and marble, phase of the Portland Center for the Performing Arts.
and the floors were covered with expensive carpets. The one-year, $10 million renovation involved repairing,
The furnishings had been purchased from a French recasting or replacing much of the theatre’s ornate
museum and private collections. The concessions interior as well as making it comfortable and safe for
stand was made of marble and stretched nearly half today’s audiences and performers. It is a gem in our
the length of the main lobby. It was described as the city and we are happy to welcome you into the Oregon
“longest candy counter in the West.” Symphony’s home!
Composer and Program Notes
Composer: Benjamin Britten To conclude the work, Britten wrote his own brisk and lively fugue subject,
which is in itself a variation on Purcell’s theme. The piccolo starts, and all
Born: November 22, 1913, Lowestaft, England
the instruments or groups of instruments enter in the order in which they
Died: December 4, 1976, Aldeburgh, England were heard in the variations. With all the instruments playing together, the
composition comes to a grand climax when the brass sound the original
This Oregon Symphony Young People’s Concert features Benjamin Britten’s Purcell theme.
composition, written expressly to introduce students to the instruments and
sections of the orchestra. Get to know it well and you will be pleased with The work was dedicated to the children of the Maud family, with whom the
the connection your students will already have with the concert experience, composer had become friends.
as they settle in for this well-planned program of iconic music.
About Benjamin Britten’s “Young Person’s Guide to the Orchestra”

Britten wrote Young Person’s Guide to the Orchestra in 1946 as part of the score
to a documentary film designed for children in 1946 for a British Ministry of
Education film entitled Instruments of the Orchestra. The piece begins with
the full orchestra playing a sweeping, stately theme based on the Rondeau
from Abdelazar composed by Henry Purcell in 1695, the final year of his life.
Britten then briefly introduces each section of the orchestra: woodwinds,
brass, strings, and percussion and each play their own variation on the theme.
Next, Britten produces a veritable Who’s Who of the full orchestra. Each
instrument is provided an ingenious variation that both stresses that
instrument’s particular characteristics and demonstrates how it is typically
used within the orchestra.
Listening Notes
Britten: A Young Person’s Guide to the Orchestra Follow along as you watch and listen to this performance. Each instrument
in each section is brought into the theme! The piece is 16 minutes and 48
The Young Person’s Guide to the Orchestra composed by Britten in 1946,
seconds and well-worth listening to and watching several times prior to
is based on a theme from Abdelazar written by Henry Purcell in 1695, and
attending the Oregon Symphony concert. See if students can close their eyes
is played by the entire orchestra at the beginning, and then is scored for
and recognize each instrument joining in on each variation. Benjamin Britten
individual sections at a time: first the woodwinds, followed by the brass, then
wrote this piece specifically for students to listen, learn and be inspired to play.
the strings, and finally with an interpretation played by the percussion.
After this introduction to the different families of the orchestra by repetitions
of the theme, there is a more in-depth look at the different instrument families Theme: Allegro maestoso e largamente
with variations on the theme played by individual instruments. Although it Variation a: Presto – Piccolo and Flute
starts by featuring the piccolo and flutes, the underlying harmonic structure is
maintained by the harp and strings. Each member of the woodwind family is Variation b: Lento – Oboes
then introduced in turn, highlighting the unique sound of each instrument. Variation c: Moderato – Clarinets
This format is then copied by the strings in turn, and then by the brass and Variation d: Allegro alla Marcia – Bassoons
percussion, traveling through their individual variations. Variation e: Brillante: alla polacca – Violins
After the whole orchestra has been taken in pieces, it is reassembled using an Variation f: Meno mosso – Violas
original fugue which starts with the piccolo, followed in by all the woodwinds,
strings, brass and percussion in turn. Once everyone has entered, the brass Variation g: – Cellos
are re-introduced with Purcell’s original melody while the remainder continue Variation h: Cominciando lento ma poco a poco accel. al Allegro – Basses
the fugue theme until the piece finally comes to an end after building up to a
Variation i: Maestoso – Harp
fortissimo finish.
Variation j: L’istesso tempo – Horns
Variation k: Vivace – Trumpets
Variation l: Allegro pomposo – Trombones and tuba
Variation m: Moderato – Percussion
Fugue: Allegro molto – each section enters into the fugue to end with the
entire orchestra – finishing as they began!
Extension Activities
Britten: A Young Person’s Guide to the Orchestra Activity

Preparation/Materials • Divide the class into four groups. Assign each group a family of instruments
to research and present to the rest of the class. Information should include
• Computer and projector to show a map of the sections of the orchestra:
how the family of instruments is designated, and a list of instruments
“The Orchestra” page in this Teacher’s Guide
included in the family. If possible, students will play recordings of the family
• If students have access to individual computers, or can pair up: class set of of instruments or individual instruments in the family.
computers with headphones
• If computers are not available for students to play recordings, teacher will
• If a class set of computers is not available, print out several of each page from play recordings of instruments using the links below:
the Appendix of this Teacher’s Guide: “String Family,” “Woodwind Family,”
• Oregon Symphony’s website page about the instruments
“Brass Family,” and “Percussion Family.” It may also be helpful to have several
• Philharmonia, a website to explore instruments
printouts of “The Orchestra” and “Getting to Know the Orchestra”
• Dallas Symphony Orchestra website to learn and listen to instruments
Composer: Aaron Copland the Common Man because he wanted to honor every person who worked
for victory, including those who weren’t on the battlefield. On composing
Born: November 14, 1900, Brooklyn, New York
the piece Copland said, “The challenge was to compose a traditional fanfare,
Died: December 2, 1990, North Tarrytown, New York direct and powerful, yet with a contemporary sound.”
Education: Private lessons in New York with Ruben Goldmark, then studied in What to listen for: A fanfare is a piece of music usually used to make an
Paris with Nadia Boulanger. announcement, such as the arrival of an important person. They are most
Country of residence: United States; Paris, France often short, rhythmic, exciting, and often loud. In Fanfare for the Common
Man listen for the brass section playing the main theme alternating with
Notable compositions: Ballet scores, including Billy the Kid, Rodeo, timpani and cymbals.
Appalachian Spring; three symphonies; film scores for The Red Pony,
Of Mice and Men, and Our Town; a clarinet concerto for Benny Goodman; Melody: The melody has a very open feel, with wide skips between notes
A Lincoln Portrait for speaker and orchestra rather than steps. The Fanfare has been used extensively for important national
events, as a theme for television programs, and has been rewritten in different
Musical era: 20th century. styles including a jazz version, a reggae version, and a rock version. Copland
Personal: He wrote his first piece at the age of 11, and by 15 he decided himself brought the melody back in the fourth movement of his Third Symphony.
to devote his life to composing. After returning to the United States from Harmony: Copland keeps you on your toes and shifts the harmony in
France, Copland organized an important series of concerts to showcase unexpected ways, and rather frequently for a shorter piece. Fanfare for the
new American music, wrote articles and books, and formed the Composers’ Common Man begins firmly in B-flat Major. As the theme keeps repeating,
Alliance. When Copland ran the composition faculty at the summer school in surprising notes – A-flat and E-flat – are introduced, and Copland pivots on
Tanglewood, Massachusetts, one of his students was Leonard Bernstein. the note D to end the piece not in the key of B-flat, as your ear expects, but in
Fun facts: Copland was a serious music student, but he also played in dance D Major. It gives it a wonderfully bright and triumphant feel.
bands. As a composer, he is also famous for saying “I’ve spent most of my life Rhythm: Fanfare for the Common Man is uncommonly slow for a fanfare,
trying to get the right note in the right place.” utilizing slower rhythms and with the tempo marked “Very deliberately.”
Selection to be performed: Fanfare for the Common Man Instruments: The instruments used holds true to tradition for a fanfare. The
piece makes extensive use of the brass section: horns, trumpets, trombones,
Why was this piece included? Copland wrote Fanfare for the Common Man
and tuba. It also uses timpani, tam-tam (a type of gong), and the bass drum.
after the Cincinnati Symphony Orchestra asked several composers to write
fanfares during World War II. Since its premiere on March 12, 1943, Fanfare for Hyperlinks for further study:
the Common Man has been one of the most frequently performed works for Public Broadcasting Service’s website page on Aaron Copland
orchestra around the world. Copland tried and rejected many different titles National Public Radio’s website page about Fanfare for the Common Man
for this work including “Fanfare of the Day of Victory,” “Fanfare for a Solemn
Ceremony,” and “Fanfare for Four Freedoms.” He finally chose Fanfare for
Copland: Fanfare for the Common Man Activity

Preparation/Materials • Teacher asks children to sit with eyes closed to listen to Fanfare for the
Common Man.
• A device to listen to Fanfare for the Common Man on YouTube
• Teacher reads to children the definition of a “fanfare”, according to the
• Paper and various drawing and coloring utensils
Oxford Dictionary: “A short ceremonial tune or flourish played on brass
instruments, typically to introduce something or someone important.”
• Teacher asks students who or what they think of when they hear a
fanfare: royalty, knight’s tournament, opening of the Olympics, important
politicians, important ceremonies, etc.
• Teacher points out the name of the piece again, Fanfare for the Common
Man. Teacher leads a discussion about what the term “common man”
means, and why Copland may have chosen to honor everyday people and
unsung heroes. Information on this piece.
• Teacher prompts students to think of someone who is not famous, but
deserving of recognition. Teacher provides students with papers and
writing/drawing/coloring utensils to draw a picture of that person and write
a paragraph in honor of them.

Composer: Antonio Vivaldi What to listen for: Unusual for the time, Vivaldi included a sonnet for each
movement making it an early example of what would later become program
Born: March 4, 1678, Venice, Italy
music. Listen for music that elicits visions of a babbling brook, bird song, and
Died: July 28, 1741, Vienna, Austria thunder, reflecting the sonnet below:
Education: Antonio Vivaldi’s main music teacher was probably his father, Springtime is upon us.
Giovanni Battista who was a violinist in the San Marco Basilica in Rome. The birds celebrate her return with festive song,
Vivaldi trained to be a priest and was ordained in 1703. and murmuring streams are
Country of residence: Primarily Italy, also Austria softly caressed by the breezes.
Thunderstorms, those heralds of Spring, roar,
Notable compositions: Vivaldi was quite prolific, writing nearly 500 concerti casting their dark mantle over heaven,
and numerous sonatas for a wide variety of instruments, as well as sacred Then they die away to silence,
vocal music and operas. His most famous work is titled “The Four Seasons” and the birds take up their charming songs once more.
and is four concerti for violin, divided into three movements for each season.
Melody: Vivaldi announces Spring with an instantly recognizable melody
Musical era: Baroque that recurs several times as the refrain or ritornelli. In between the ritornelli
Personal: Throughout his career Vivaldi served as the violin master, director violin soloists are given opportunities to demonstrate virtuosic technique
of instrumental music, and composer for an orphanage for girls, Ospedale less focused on a specific melody, rather the florid passages illustrate images
della Pietà. Many of his works were written for the students there. He was well of spring such as bird song. Also notice the use of contrasting dynamics,
known throughout Europe, and often held in higher regard outside of where particularly when a phrase is repeated.
he was based in Venice. J.S. Bach very much appreciated Vivaldi’s works, and Harmony: Spring is firmly planted in the key of E Major. It briefly transitions to the
transcribed ten of his concerti as harpsichord or organ concerti. relative minor key of C# minor to create tension during the thunderstorm section,
Fun facts: Due to his red hair Vivaldi went by the nickname “Il Prete Rosso” returning brightly to E Major when the clouds disappear and birds sing again.
which translates as “The Red Priest”. Rhythm: Spring’s rhythm in the refrain is a bouncy combination of eighth and
Selection to be performed: Spring from The Four Seasons sixteenth note patterns in the upper strings with a more constant quarter
note beat pattern established in the lower strings. During the solos sections
Why was this piece included?: Spring is an example of a violin concerto. Violin
the rhythm varies widely, again focusing more on illustrating an image than
solos alternate with passages of a larger string ensemble, giving us a piece
a strict structure, and often utilizes challenging fast-moving rhythms and
that perfectly highlights the string section of an orchestra.
techniques to do so.
Instruments: Solo violins, violins, viola, cello, bass, and harpsichord.
Hyperlinks for further study:
Biography on Antonio Vivaldi
Information on The Four Seasons
Vivaldi: The Four Seasons, La primavera (Spring) Activity

Preparation/Materials • Teacher hands out paper and pencils to all students, asks them to write
“Vivaldi-Spring” at the top of their paper.
• A device to listen to Spring on YouTube
• Teacher asks students to listen and list words illustrating what they hear,
• A projector to “Spring is in the Air” from Smithsonian Museum.
and plays the recording of Spring.
• Teacher asks students to turn the paper over and write “Smithsonian:
Spring Is in the Air Collection” at the top.
• Teacher projects “Spring is in the Air” so that all students can see it.
Teacher can scroll down slowly to show all of the artwork, and click on
each piece to zoom in and get more information if students show interest.
Teacher asks students to list words illustrating what they see.
• Teacher asks students to partner to discuss their lists, and to look for
repeated words.
• Teacher asks students to return to their desks and create their own poem
or drawing about the spring, using words from their lists. Teacher plays the
recording of Spring in the background as students work.
Composer: Jean-Baptiste Lully Selection to be performed: Armide: Overture (1686)

Born: November 18, 1632, Florence, Italy Why was this piece included?: Armide, based on the libretto by playwright
Died: March 22, 1687, Paris, France Jean-Phillipe Quinault, is considered a masterpiece. The overture of Armide
is considered an excellent example of the “French Overture” style that Lully
Education: Uncertain- Lully claimed a Franciscan monk gave him his first established. The purpose of this type of overture was to create a festive
music lessons and taught him guitar. It is also likely that he was taught by atmosphere for the ballet or opera to follow, and to welcome the king to
household musicians and the composers Nicolas Métru, François Roberday, the performance.
and Nicolas Gigault who were all employed by Mademoiselle de Montpensier
when he served as her chamber boy. What to listen for: The overture alternates between an initial section that
includes slow, majestic, music with persistent dotted rhythms, and a
Country of residence: Italy through age 14, France for the remainder of his life. contrasting section with fugal elements and a quicker tempo, ending with
Notable compositions: Lully was known for his innovation. He wrote court the slow section.
ballets, establishing the form of “French Overture”. His court ballets include Melody: The Overture is divided into two sections. The A section is formal, in
Le Mariage force, La Princesse d’Elide, and Le Bourgeois Gentilhomme. He is a stately walking tempo, while the B section quickens the pace and presents a
credited with creating the genre tragédie lyrique, and adapting the Italian style spry melody with quick ascending and descending runs.
of recitative to French language to create récitatif simple and récitatif mesuré.
His Operas include Cadmus et Mermione, Atys, and Armide. Other notable Harmony: Firmly in C Major. Lower strings demonstrate the Baroque use of
works include the sacred motet Misere, and the instrumental piece Suites de basso continuo to establish chord changes.
Symphonies et Trios. Rhythm: Persistent dotted rhythms at a slower tempo give it a bouncy,
Musical era: Baroque but restrained, feel. Rhythmic figures rushing to the down beat drive the
music forward.
Personal: Born Giovanni Battista Lulli, he changed his name to Jean-Baptiste
Lully in 1681 when he was granted a letter of naturalization, as well his lettres Instruments: Instrumentation was not indicated in the original edition of the
de noblesse, from France. Lully was quite ambitious, he served as the musical score as was common at the time. An orchestra from the Baroque period
composer for King Louis XIV, music master to the royal family, and the looked quite different than a modern orchestra, take a look here to compare
director of the Royal Opera. orchestras from different time periods.
Fun facts: For several years no opera could be performed anywhere in France Hyperlinks for further study:
without Lully’s permission. Biography on Jean Baptiste Lully
Surprising Fact: Lully struck his foot with a long and weighty conducting Listen and learn more about Jean Baptiste Lully
staff during a performance. The wound eventually became infected, and
caused his death.
Lully: Armide, Overture Activity

Preparation/Materials • Teacher explains that music has a form, and that sections are labeled with
letters. The first thing you hear is “A”, something different will be called “B”,
• A device to listen to the Overture to Armide on YouTube
etc. The Overture to Armide uses only two contrasting sections, “A” and “B”.
• This activity works best in a place with plenty of open space
• Teacher shows students a sign language “A” and “B”. Here is a picture,
if needed.
• Teacher asks students to listen to the music on the YouTube website,
using the sign-language for “A” and “B” to show the different sections.
Option: Teacher may give the students the choice to sit or lay down, with
eyes closed or open – whatever will best help students focus on the music.
• Teacher invites students to work alone, in partners, or in a small group of up
to four, to create contrasting statue poses to show each section of music.
After students have a few minutes to come up with a plan, the teacher
plays the Overture to Armide again and students show their statue poses –
changing to show “A” and “B” as the music plays. Option: Teacher may give
students the option to create movement for each section if there is enough
space. The teacher can take photos of each pose and post in the classroom
for students to look at, as they listen and get to know this composition.
Composer: Jacques Offenbach Selection to be performed: Orpheus in the Underworld:

Born: June 20, 1819 in Cologne, Germany Overture (1858)
Died: October 5, 1880 in Paris, France Why was this piece included?: The Overture includes bits of melodic themes
from throughout Orpheus in the Underworld, and the melody known as “The
Education: Offenbach’s father taught him violin starting at the age of six. He
Infernal Galop” was adopted by both the Moulin Rouge and the Folies Bergére
moved to cello at the age of 9 and studied with Bernhard Breuer. Offenbach
as the regular music for their Can-Can dance.
attended the Paris Conservatory at the age of 14, but left after just one
year of study. Following this he studied cello with Louis-Pierre Norblin and What to listen for: Offenbach uses dynamics to give the effect of surprise
composition with Fromental Halévy. and building energy. A distinct melody known by most as “The Can-Can” is
played over rapidly played notes adding to the frenetic, driving feeling. All
Country of residence: Germany and France
instruments line up to loudly play a D Major chord with identical rhythms
Notable compositions: Offenbach is credited with founding the French opéra together, providing a climactic ending.
bouffe genre. Most notably he wrote nearly 100 operas and operettas, most
Melody: Moving in leaps with descending octave runs interspersed, driving
of which are comedic or satirical. His best-known work is Orpheus in the
and lively.
Underworld, including the famous “can-can” melody. Other works include
La Belle Hélène, La Vie Parisienne, Barbe-bleue, and Fantasio. Harmony: In the key of D Major, the harmony is straight-forward using basic
chord progressions including the root, dominant, and sub-dominant chords
Musical era: Romantic
of the key.
Personal: Offenbach was considered a cello virtuoso and much of his early
Rhythm: A distinct rhythm in the main melody alternates half notes with fast-
career included performing in the Opéra-Comique, as well as composing
moving staccato eighth notes. The supporting instruments emphasize the
for and performing in the fashionable salons of Paris, and touring Europe
quick, steady eight-note pulse.
performing with other famous musicians of the day including Liszt and
Mendelssohn. He opened his own theater in the Champs-Elysées, acting Instruments: Written for full orchestra. The melody is most often brought
as manager and composer from 1855–1862. Offenbach’s work influenced forward by the upper woodwind section and first violins.
Gilbert and Sullivan in England and Johann Strauss the Younger in Vienna, Hyperlinks for further study:
among others.
Biography of Jacques Offenbach
Fun facts: Early in his career, Offenbach had a reputation as a prankster. One Information on Orpheus in the Underworld
story claimed that he sabotaged some of the other musicians’ music stands
to collapse in the middle of a performance!
Offenbach: Orpheus in the Underworld, Overture Activity

Preparation/Materials • Teacher asks students to close their eyes and listen to Overture to Orpheus
in the Underworld, focusing particularly on the Can-Can dance melody at
• A device to listen to Overture to Orpheus in the Underworld on YouTube
the end.
• A projector to show the poem, “Can-Can” by Mandy Coe, or copies printed for
• Teacher explains that a can-can is a very lively, joyful dance. Teacher then
student to read on their own.
projects or hands out Mandy Coe’s “Can-Can” and the class reads through it.
• Paper and writing utensils
• Teacher explains that Mandy Coe is playing with the term “Can-Can”,
describing how dancing gives her a feeling of freedom.
• Teacher asks students to think of something that makes them feel free,
like they can do anything. Students write a paragraph or poem describing
the activity and how it makes them feel, using the poem “Can-Can” to help
guide their ideas.

Composer: Ludwig van Beethoven Selection to be performed: Violin Concerto in D Major,

Born: December 16, 1770 in Bonn, Germany movement 3 (1806)
Died: March 26, 1827 in Vienna, Austria Why was this piece included?: While it was not well-received when first
written, Beethoven’s violin concerto was revived after his death and is now
Education: Studied privately with his father and other teachers in Bonn. In
considered one of the most important works of the violin concerto repertoire.
1782, he moved to Vienna to study with Franz Joseph Haydn.
This piece was selected to feature the virtuosic playing of our young soloist,
Country of residence: Germany and Austria Kaia Selden, whose impressive biography is included in this guide.
Notable compositions: Nine symphonies, the most famous being the Third What to listen for: In this movement of the solo concerto the violin introduces
(Eroica), Fifth, Sixth (Pastoral), Seventh, and Ninth; sixteen string quartets; themes that the orchestra then echoes. The piece continues to alternate
thirty-two piano sonatas, including the Pathétique, Waldstein, Appassionata, between the orchestra and solo violin passages with the violin expanding
and Hammerklavier; a violin concerto and five concertos for piano, including themes and playing virtuosic runs of notes. The movement is labeled a
the Emperor (No. 5); the opera Fidelio, for which he wrote four overtures; rondo, indicating a form in which the first theme (A) alternates with one or
Mass in D (Missa Solemnis) more contrasting themes (labeled B, C, etc.) in this case the form is roughly
Musical era: Classical to Romantic ABACABA. Listen for the first melody returning several times.
Personal: As a young man, Beethoven was inspired by the humanitarian ideals Melody: The main theme makes frequent use of an arpeggiated D chord,
of “The Enlightenment”, and was devoted to the principles of liberty, freedom, leaping up and down and often repeated at higher and lower registers. It is
and high artistic values. also often altered slightly, to the D minor chord for example, to create tension
or allow the piece to change to a different tonality.
Fun facts: According to one of Beethoven’s biographers, the composer was
easily distracted and often zoned out of conversations. When a friend asked to Harmony: Typical of Beethoven, the harmony starts in D Major and modulates
know why he stopped paying attention to her, he replied, “I was just occupied in unexpected ways, moving to g minor in the C section, and by launching into
with such a lovely, deep thought, I couldn’t bear to be disturbed.” A flat in the coda before resolving back to D Major.
Rhythm: Movement 3 is written in 6/8 time giving it a jaunty, bouncing feel
enhanced by the frequent quarter-eighth patterns.
Instruments: In addition to the solo violin, it is scored for flute, two oboes,
two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.
Biography of Ludwig van Beethoven
Information on Violin Concerto in D Major
Beethoven: Violin Concerto in D Major, 3rd Movement Activity

Preparation/Materials • Teacher explains that music has a form, and that sections are labeled with
letters. The first thing you hear is “A”, something different will be called
• A device to project this short video clip describing Rondo Form on YouTube,
“B”, etc. The Violin Concerto in D Major, 3rd Movement by Beethoven has a
and to play the recording of Violin Concerto in D Major, 3rd Movement
specific form called a Rondo. Watch the video explaining Rondo form.
• Construction paper in a variety of colors
• Students create a listening map showing ABACA by gluing shapes with
• Scissors and glue sticks letters in that order. They may use any color or shape they wish for each
letter- “A” should be the same color and shape each time, “B” and “C”
should be a different color and shape. It should look something like this:
B C

A A A
• Watch the Rondo video again, pointing to each section on their map as the
music plays.
• Teacher explains that the Violin Concerto in D Major, 3rd Movement has the
same form, though each section will be much longer. Teacher plays the
video of the Concerto while students follow along on their map. A reminder,
if students get lost, they can always listen for the first melody, “A”, to return
to get back on track!

Composer: Nikolai Rimsky-Korsakov commercials and T.V. shows. There are also numerous versions produced
including solo piano recordings, jazz versions, rock versions, and a cappella
Born: March 6, 1844 in Tikhvin, Russia
vocal versions. Musicians seem to enjoy taking on the challenge of playing
Died: June 8, 1908, in Luga, Russia this very fast and technical work!
Education: Rimsky-Korsakov started taking piano lesson at age 6, continued What to listen for: Rimsky-Korsakov is very skilled at evoking scenes and
them in the Russian Naval Academy with Ulikh who then recommended stories through his music. He uses clever instrumentation, including solo
him to take piano and composition lessons from Feodor A. Kanille. Kanille flute and clarinet, to create music that sounds like the chaotic and rapidly
introduced Rimsky-Korsakov to Mily Balakirev, who mentored him as he began changing flight pattern of a bumblebee. Excellent use of accents and dynamics
composing his own music. make it feel as if the bee is flying closer or farther away.
Country of residence: Russia Melody: Rapid chromatic ascending and descending melodic movement
Notable compositions: Capriccio Espagnol, Scheherazade, Russian Easter Festival give the feeling of quickly flying up and down. Rapidly repeated notes on the
Overture, The Tale of Tsar Sultan, Sadko, The Golden Cockerel. strings instruments give a buzzing effect, emphasized with an accent when
they change to a new pitch.
Musical era: Transitional- Romantic and Russian Nationalistic
Harmony: A simple melody underlies the rapid chromatic movement,
Personal: Many of the members of Rimsky-Korsakov’s family served in the providing stability and a harmonic base.
Russian government and military, which led him to a career as an officer in
the Navy. While he was in the Naval academy he also studied composition Rhythm: Mostly rapidly played sixteenth notes, often played at the fastest
and became one of “The Mighty Five” – a group of Russian composers who possible tempo. The theme played in the background of the rapid notes is
rejected traditional Western music study and conventions, instead choosing to made up mostly of quarter and eighth notes, providing a steady beat and
use folksong, modal and exotic scales, and folk polyphony. Once he returned supporting the rapidly played notes.
to St. Petersburg after his stint in the Navy, he taught composition and Instruments: Rimski-Korsakov’s exceptional ability to fully utilize sections of
directed the orchestra at the St. Petersburg Conservatory. Rimsky-Korsakov instruments and solo instruments to evoke scenes is on display in this piece.
taught many famous composers including Glazunov, Prokofiev, and Respighi. The chromatic melody is passed around between sections of the orchestra,
Fun facts: Though he had piano lessons and some informal composition and between solo instruments, including flute and clarinet, to great effect.
instruction, Rimsky-Korsakov felt unprepared to be an excellent music Different sections of instruments enter and exit the piece creating tension,
educator and composer. He structured a three year program for himself and adding to the dynamic contrasts.
concentrating on harmony, counterpoint, and the fugue. Hyperlinks for further study:
Selection to be performed: Tale of the Tsar Sultan: Biography of Nikolai Rimsky-Korsakov
More information on Nikolai Rimsky-Korsakov
Flight of the Bumblebee
Why was this piece included?: Written as part of an opera, this incidental
bit of music has become one of the most well-known classical works. This
is due to its frequent use in popular culture, being used countless times in
Rimsky-Korsakov: Tale of the Tsar Sultan, Activity

Flight of the Bumblebee • Teacher asks students to close their eyes and listen to Flight of the Bumblebee.
Preparation/Materials • Teacher leads a discussion about how music can tell a story. Sometimes people
• A device to listen to Flight of the Bumblebee on YouTube. may imagine different stories when they listen to the same piece of music.
• Copies of a story map, this one or similar, for all students. • Teacher talks through the elements of a story while students look at their
story map.
• Writing utensils. Also coloring utensils, if using the additional drawing option.
• Students listen again to Flight of the Bumblebee while looking at their story
maps, and take notes about the story they imagine when they listen. Repeat
several times, if necessary.
• Students pair up with a partner to show their story maps and discuss the
story they imagined.
• Possible extensions: Students may use their maps to write out their stories,
or create a comic strip illustrating their stories.
Composer: John Williams Selection to be performed: “Main Title” from Star Wars
Born: February 8, 1932, Floral Park, New York Why was this piece included?: Williams is a prolific and widely lauded
Education: North Hollywood High School, followed by composition studies composer. Music from Star Wars, including the Main Title, is one of the most
at the University of California, Los Angeles, and private piano studies at the recognizable, successful, and enduring of his many musical scores for films.
Juilliard School in New York In 1977 the score was awarded the Golden Globe for Best Original Score,
and in 1978 it won the Grammy for Best Pop Instrumental Performance, Best
Country of residence: United States Instrumental Composition, and Best Album of Original Score Written for a
Notable compositions: Scores to over 75 Hollywood motion pictures, Motion Picture. In the same year, 1978, Star Wars won Best Original Score at
including Jaws, Close Encounters of the Third Kind, all seven films in the the Academy Awards.
Star Wars franchise (as well as the eighth film released in 2018), E.T. the What to listen for: Williams makes extensive use of the leitmotif, or a series of
Extraterrestrial, Raiders of the Lost Ark, Schindler’s List, Saving Private Ryan, musical themes that represents the various characters, objects and events in
Memoirs of a Geisha, and the first three Harry Potter films; has also written the film.
music for television, concertos for various instruments, and fanfares for four
Olympic Games. Melody: The melody varies based on the character, object, or scene Williams
is wishing to evoke. We hear triumphant melody full of leaps representing
Musical era: 20th and 21st Century Luke Skywalker, a Rebel Fanfare played by the brass section, and the flowing
Personal: Williams’ first major job in Hollywood was pianist in the studio legato melody, representing Princess Leia, played in the lower strings.
orchestra at Columbia Pictures, and he can be heard playing on the Harmony: Bb Major chords are blasted out by the brass section, followed by
soundtracks to such films as South Pacific (1958), Some Like it Hot (1959), arpeggiated quartal harmonies that resolve to the dominant chord.
West Side Story (1961), and To Kill a Mockingbird (1962).
Rhythm: Williams relies heavily on triplet figures, giving the piece the feel of a
Fun facts: In 1975, Williams wrote the score to a musical set in the 12th Heroic March.
century and based on the turbulent friendship between Thomas Beckett and
King Henry II. Thomas and the King opened in London and closed before it Instruments: Williams utilizes the full orchestra. The brass section
reached Broadway. emphasizes the heroic: Luke and the Rebels, while the string section provides
a more lyric style to represent Leia.
Information on John Williams
Catalog of Star Wars’ musical themes
More information on John Williams’ Star Wars musical themes
Williams: “Main Title” from Star Wars Activity

Preparation/Materials • Teacher explains that John Williams is a master at creating a musical motif,
a short bit of music, to represent different specific characters in Star Wars.
• A device to listen to “Main Title” from Star Wars on YouTube and to listen
Students listen to “Main Title” from Star Wars, listening particularly for bits
to individual motifs with this hyperlink. Teacher should listen to the motifs
of music that seem to illustrate a character or scene.
ahead of time and choose three or four that represent some of the most
famous characters to play for students. • Teacher asks students to write the names of the characters that the teacher
has chosen, each on a separate piece of paper. Students will write what they
• A writing journal or writing paper, writing utensils.
hear for each character: list instruments, how loud the music is, if the music
is fast or slow, does it sound bright or dark, etc.
• Teacher plays a few themes for their chosen characters from Star Wars.
• Teacher asks students to think about a book they are currently reading, or
one of their favorite books. Using their notes from the Star Wars motifs
to help guide their ideas, students will write about what kind of motif and
instruments used they imagine for one or two characters in the book.
Appendix
String Family
How it works The instruments

When you look at a stringed instrument, the first thing you’ll probably notice The strings are the largest family of instruments in the orchestra and they
is that it’s made of wood, so why is it called a stringed instrument? The come in four sizes: the violin, which is the smallest, the viola, the cello, and
bodies of the stringed instruments, which are hollow inside to allow sound to the biggest, the double bass, sometimes called the contrabass. (Bass is
vibrate within them, are made of different kinds of wood; but the part of the pronounced “base,” as in “baseball.”) The smaller instruments, the violin and
instrument that makes the sound is the strings, which are made of nylon, steel viola, make higher-pitched sounds, while the larger cello and double bass
or sometimes gut. produce low rich sounds. They are all similarly shaped, with curvy wooden
The strings are played most often by drawing a bow across them. The handle bodies and wooden necks. The strings stretch over the body and neck and
of the bow is made of wood and the strings of the bow are actually horsehair attach to small decorative heads, where they are tuned with small tuning pegs.
from horses’ tails! Sometimes the musicians will use their fingers to pluck You play the violin and viola by resting it between your chin and left shoulder.
the strings, and occasionally they will turn the bow upside down and play the Your left hand holds the neck of the instrument and presses down on the
strings with the wooden handle. strings to change the pitch, while your right hand moves the bow or plucks the
strings. Since the cello is too large to put under your chin, you play it sitting
down with the body of the cello between your knees and the neck on your left
shoulder. The body of the cello rests on the ground and is supported by a
metal peg. The double bass is so big that you have to stand up or sit on a very
tall stool to play it. Like the cello, the body of the
double bass stands on the ground, supported
by a metal peg, and the neck rests on your left
shoulder. You play the cello and the double bass
in a similar manner to the
violin and viola, using your left
hand to press down on the strings
and your right hand to move
the bow or pluck the strings.
Violin Viola Cello Double bass
Appendix
Woodwind Family

The instruments in the Woodwind family used to be made of wood, which Just like the stringed instruments, the smaller woodwinds play higher pitches
gives them their name. Today, they are made of wood, metal, plastic or some while the longer and larger instruments play the lower pitches. The woodwind
combination. They are all basically narrow pipes with holes, an opening at one family of instruments includes, from the highest sounding instruments to
end and a mouthpiece at the other. You play them by blowing air through the the lowest, the piccolo, flute, oboe, English horn, E-flat clarinet, clarinet, bass
mouthpiece (that’s the “wind” in “woodwind”) and opening or closing the clarinet, bassoon and contrabassoon.
holes with your fingers to change the pitch. Metal caps called keys cover the The French horn player joins the woodwind quintet to add some color– even
holes of most woodwind instruments. though it is made of brass and has a different mouthpiece.
The mouthpieces for some woodwinds, including the clarinet, oboe and
bassoon, use a thin piece of wood called a reed, which vibrates when you blow
across it. The clarinet uses a single reed made of one piece of wood, while the
oboe and bassoon use a double reed made of two pieces joined together. To
play the clarinet and the oboe, you hold the instrument upright, blow through
the reed in your mouth and use both hands to press down on the keys to
open and close the holes and change the pitch. The flute is played by holding
it horizontally with both hands and blowing across a hole in the mouthpiece,
much like blowing across the top of a bottle. Your fingers open and close
the keys to change the pitch. You play the bassoon by holding it upright and
blowing through the double reed just like an oboe. The air travels down the
tube and then makes a u-turn and goes up and out the top. Just like the oboe,
clarinet and the flute, you use both hands to press on the keys to open and
close the holes and change the pitch.
Oboe: double reed
Flute:
embouchure hole
Flute Oboe Clarinet Bassoon
Clarinet: Bassoon:
single reed double reed
Appendix
Brass Family

If you think the brass family got its name because the instruments are made of The brass family members that are most commonly used in the orchestra
brass, you’re right! This family of instruments can play louder than any other are the trumpet, French horn, trombone and the tuba. To play all four of
in the orchestra and can also be heard from far away. Although their early the different brass instruments, the first step is to buzz your lips into the
ancestors are known to have been made of wood, tusks, animal horns or shells, mouthpiece. Each brass instrument has a different shaped mouthpiece,
today’s modern instruments are made entirely of brass. Brass instruments are helping to create the different sounds. The trumpet is the smallest member
essentially very long pipes that widen at their ends into a bell-like shape. The of its family and plays the highest pitches. You play the trumpet by holding
pipes have been curved and twisted into different shapes to make them easier it horizontally, buzzing your lips into the mouthpiece and pressing down the
to hold and play. three valves in various combinations to change pitch. To play the French horn,
Like the woodwind family, brass players use their breath to produce sound, you hold it with the bell curving downward and buzz into the mouthpiece.
but instead of blowing into a reed, they vibrate their own lips by buzzing them Your left hand plays the three valves and you can change the type of sound you
against a metal cup-shaped mouthpiece. The mouthpiece helps to amplify the make by the way you place your right hand in the bell. You play the trombone
buzzing of the lips, which creates the sound. Most brass instruments have by holding it horizontally, buzzing into the mouthpiece and using your right
valves attached to their long pipes; the valves look like buttons. When you hand to change pitch by pushing or pulling the slide to one of seven different
press down on the valves, they open and close different parts of the pipe. You positions. You play the tuba sitting down with the instrument on your lap and
change the pitch and sound by pressing different valves and buzzing your lips the bell facing up. You blow and buzz into a very large mouthpiece and use
harder or softer. your hand to press down on the valves which changes the sound. It takes a lot of
breath to make sound with the tuba!
French Horn
Trumpet
Mouthpieces
Trombone
Trumpet valves Tuba
Appendix
Percussion Family

The percussion family is the largest in the orchestra. Percussion instruments The instruments of the percussion family have international ancestors from the
include any instrument that makes a sound when it is struck, shaken or Middle East, Asia, Africa, the Americas, and Europe representing musical styles
scraped. Some percussion instruments are tuned and can sound different from many different cultures. The most common percussion instruments in the
notes, like the xylophone, timpani or piano, and some are untuned with orchestra include the timpani, xylophone, cymbals, triangle, snare drum, bass
no definite pitch, like the bass drum, cymbals or castanets. Percussion drum, tambourine, gongs, chimes, celesta, and piano.
instruments keep the rhythm, make special sounds and add excitement and
color. Unlike most of the other players in the orchestra, a percussionist will
usually play many different instruments in one piece of music. Percussionists
also use different kinds of mallets to change the sound when striking or
scraping an instrument. Brushes, mallets and sticks come in various shapes
and sizes. Scraped percussion instruments are less common in the orchestra, Piano
but are used in much of the oflk music in the world.
Timpani Bass drum Snare drum Xylophone Cymbals
Mallets Brushes Gongs Triangle Glockenspiel Celesta Chimes
Appendix
Oregon Symphony Roster
Carlos Kalmar, music director Viola Flute Horn

Norman Huynh, associate conductor
Joël Belgique, principal Martha Long, principal John Cox, principal
Charles Noble, asst. principal Alicia DiDonato Paulsen, asst. principal Joseph Berger, assoc. principal
Violin Jennifer Arnold** Zachariah Galatis Graham Kingsbury, asst. principal
Sarah Kwak, concertmaster Kenji Bunch* Matthew Berliner*
Peter Frajola, assoc. concertmaster Silu Fei Piccolo Mary Grant**
Erin Furbee, asst. concertmaster Leah Ilem Zachariah Galatis Alicia Michele Waite
Chien Tan, principal second violin Ningning Jin
Inés Voglar Belgique, asst. principal Brian Quincey Oboe Trumpet
second violin Viorel Russo Martin Hébert, principal Jeffrey Work, principal
Fumino Ando Martha Warrington Karen Wagner, asst. principal David Bamonte, asst. principal
Keiko Araki Kyle Mustain** Doug Reneau
Clarisse Atcherson Cello Jason Sudduth*
Ron Blessinger Nancy Ives, principal Trombone
Lisbeth Carreno Marilyn de Oliveira, asst. principal English Horn Casey Jones, principal
Ruby Chen Seth Biagini Kyle Mustain** Robert Taylor, asst. principal
Emily Cole Kenneth Finch Jason Sudduth* Charles Reneau
Julie Coleman Trevor Fitzpatrick
Eileen Deiss Antoinette Gan Clarinet Bass Trombone
Jonathan Dubay Kevin Kunkel James Shields, principal Charles Reneau
Gregory Ewer Todd Kuhns, asst. principal
Daniel Ge Feng Bass Marc Dubac Tuba
Lynne Finch Colin Corner, principal JáTtik Clark, principal
Shin-young Kwon Braizahn Jones, asst. principal Bass Clarinet
Ryan Lee Nina DeCesare Todd Kuhns Timpani
Yuqi Li Donald Hermanns Jonathan Greeney, principal
Samuel Park Jeffrey Johnson Bassoon Sergio Carreno, asst. principal
Serami Park Jason Schooler Carin Miller Packwood, principal
Vali Phillips Evan Kuhlmann, asst. principal** Percussion
Shanshan Zeng Nicole Haywood, asst. principal* Niel DePonte, principal
Adam Trussell Michael Roberts, asst. principal
Steve Vacchi* Sergio Carreno
Contrabassoon Harp
Instruments of the Orchestra Evan Kuhlmann** Jennifer Craig, principal
Take advantage of this online resource that provides detailed descriptions and Steve Vacchi*
pictures of the instruments that make up the Oregon Symphony. *Acting
**Leave of absence
2019/20 Young People’s Concert: The Young Person’s Guide to the Orchestra
To learn more about your Oregon Symphony Orchestra check us out online at
35
orsymphony.org/learning-community/instruments
36
37
38
39
Credits
Oregon Symphony learning & community engagement programs are supported by:
Anonymous Nordstrom
esco Foundation pge Foundation
Robert G. & Dorothy N. Cameron Franklin & Dorothy Piacentini
Family Fund of ocf Charitable Trust
J.W. & H.M. Goodman Family Reser Family Foundation
Foundation Joan Lamb & William Rutherford
Mary Dooly & Thomas W. Holman Dorothy F. Sherman Music Education
Fund of ocf Fund for Children
H.W. & D.C. Irwin Foundation Nancy & Richard Silverman
Hampton Family Foundation of ocf Charitable Foundation
Herbert A. Templeton Foundation Storms Family Foundation
Juan Young Trust Patty Vemer Education Fund
Lamb Family Foundation Wheeler Foundation (wa)
Macy’s Wintz Family Foundation
Robert McMahon Fund of ocf Several hundreds of
Anne K. Millis Fund of ocf individual donors
Monica Hayes, M.S. Ed.

Hank Swigert director, learning and community
engagement programs
Genevieve Stevens-Johnson, M.S.

music educator
curriculum contributor
orsymphony.org

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What is the concert theme and what pieces will be performed?

What is the concert theme and what pieces will be performed?

What are some of the goals of using the teacher's guide and attending the concert?

What are some of the goals of using the teacher's guide and attending the concert?

2019/20

learning and community engagement

The Young Person’s Guide to the Orchestra

Concert Program (To listen, click the title)

The Oregon Symphony believes that music is an essential part of the

Page 2 Introduction, Concert Details, Listening Links,

National & State Content Standards

Sounds Awareness Activity Concert Day

Interactive Music Resources – Websites for Kids & Teachers

Meet our Conductor

Meet our Soloist Meet our Narrator

Kaia Selden Pam Mahon

Getting to Know the Orchestra

Conductor 1 About the Orchestra

Brief History of the Oregon Symphony

Brief History of the Arlene Schnitzer Concert Hall

Composer and Program Notes

About Benjamin Britten’s “Young Person’s Guide to the Orchestra”

Britten: A Young Person’s Guide to the Orchestra Activity

Composer and Program Notes

Copland: Fanfare for the Common Man Activity

Composer and Program Notes

Vivaldi: The Four Seasons, La primavera (Spring) Activity

Composer and Program Notes

Composer: Jean-Baptiste Lully Selection to be performed: Armide: Overture (1686)

Lully: Armide, Overture Activity

Composer and Program Notes

Composer: Jacques Offenbach Selection to be performed: Orpheus in the Underworld:

Offenbach: Orpheus in the Underworld, Overture Activity

Composer and Program Notes

Composer: Ludwig van Beethoven Selection to be performed: Violin Concerto in D Major,

Beethoven: Violin Concerto in D Major, 3rd Movement Activity

Composer and Program Notes

Rimsky-Korsakov: Tale of the Tsar Sultan, Activity

Composer and Program Notes

Williams: “Main Title” from Star Wars Activity

How it works The instruments

Violin Viola Cello Double bass

How it works The instruments

Oboe: double reed

Flute Oboe Clarinet Bassoon

How it works The instruments

How it works The instruments

Timpani Bass drum Snare drum Xylophone Cymbals

Mallets Brushes Gongs Triangle Glockenspiel Celesta Chimes

Oregon Symphony Roster

Carlos Kalmar, music director Viola Flute Horn

Monica Hayes, M.S. Ed.

Genevieve Stevens-Johnson, M.S.

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Page 2 Introduction, Concert Details, Listening Links,