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TABLE OF CONTENTS Concert Introduction ...........................................................................................................................4 What To Expect at the Symphony .....................................................................................................6 Instruments of the Orchestra .............................................................................................................8 Who Directs the Orchestra ................................................................................................................13 Leonard Bernstein: Overture to Candide ........................................................................................14 Maurice Ravel: Conversations of Beauty and the Beast, from Mother Goose Suite ...............18 Giacomo Puccini: “Sì, mi chiamano Mimì,” from La Bohème.......................................................22 Igor Stravinsky: The Firebird Suite ...................................................................................................27 The Firebird and Its Dance and Variation of the Firebird ................................................28 Infernal Dance .........................................................................................................................30 Berceuse ...................................................................................................................................34 Finale ........................................................................................................................................36 Art Project: The Firebird Suite ...........................................................................................................38 Leonard Bernstein: “Make Our Garden Grow,” from Candide ....................................................40 Lesson Adaptations for Student with Special Needs ....................................................................42 Musical Terms Index ..........................................................................................................................44 Design Team and Acknowledgments ..............................................................................................45



Students & Teachers

Those of us who work with children know the power of story. Stories instill hope, shape outlook, and ultimately transform children’s lives. As adults we are not immune to the allure of a good story. The rise of storytelling in marketing, branding, and professional productions such as The Moth Radio Hour reveal that we adults crave a good story as well. In fact, storytelling is central to human existence. This is why I am thrilled to introduce this year’s program — Write Your Story. We will focus on how master composers tell a timeless story through sound. Bernstein’s Candide teaches us that no matter what crazy adventure life gives us, we can still cultivate and shape our future. Ravel’s Conversations of Beauty and the Beast revels in the beauty of love and transformation. Mimì, the protagonist of Puccini’s La Bohéme, helps us to realize that no matter how insignificant we feel, our story is important. Stravinsky’s The Firebird takes us on an unforgettable, magical adventure. Most importantly, I will spend time in the program helping the kids realize that we are all “writing” our own stories. No matter what happens in our lives, we turn the page and continue to write our story. These timeless stories provide us inspiration and hope as we write our stories. Thank you for your dedication to the young people of our community. Your hard work helps our children dream and achieve. I’m looking forward to seeing you and your students at Chenery Auditorium as we explore this wonderful music together.


Youth Concert Program 2017 February 13-17, 2017

BERNSTEIN: Overture to Candide RAVEL: Mother Goose Suite IV. Conversations of Beauty and the Beast PUCCINI: La Bohème “Si, mi chiamano Mimì” STRAVINSKY: The Firebird Suite (1919) II. The Firebird and Its Dance III. Variation of the Firebird V. Infernal Dance VI. Berceuse VII. Finale BERNSTEIN: “Make Our Garden Grow” from Candide 4

How to use this program Dear Teachers, We’re glad that you will be joining us in February for what we know will be an amazing experience for you and your students. In order for the concert to be the most meaningful for your students, a team of some of the best elementary educators in the region have designed specific lessons to help prepare your students. We have asked each educator to create a unique lesson on every composition of the program. You’ll notice that each lesson is very different from the next and will not only challenge and engage your students in different ways, but will hopefully challenge and engage you as an educator to try new approaches! We completely understand you are extremely busy, and this might just be a drop in the bucket of what you are doing in your classrooms. While we hope you use all of the lessons, we understand that might not be the case. Don’t be afraid to pick and choose – the lessons aren’t dependent on each other and could easily stand alone. We are grateful for as much preparation as you can do with your students, and can guarantee that every minute you spend on this material with them, the more your students will engage, learn and enjoy the concert! Here’s a bit of explanation of some of the areas you’ll see in this book.

Lesson Plans - In each lesson there are up to three main sections:

ESSENTIAL - The most essential part of the lesson that focuses on how to best engage your students with the composition, and music in general. EXPLORATION - The “next steps” to take your students to a deeper understanding of the concepts. EXTENSION - Additional directions to go with your students.

Listening Maps - For most compositions our team has designed a listening map to help give a visual aid to understanding the flow and form of the composition.

The Firebird Suite - This is our first time presenting a multi-movement work in a Youth Concert. Use this experience to teach students that orchestral works are often made up of multiple parts and tell a larger story - much like a novel. The full suite actually has seven movements, but we will only be presenting five. Each lesson covers one movement (though, we’ve combined movement two and three). While we know this is a lot of material, the important thing is that the students understand the story and background of The Firebird, as that will be an integral part of the concert experience.

Art Component - Before you begin teaching The Firebird, review the art lesson on pages 38-39 and determine your participation. We plan to utilize images from each school in the performance. See art lesson for more information on submissions. Michigan/Cross Curricular Standards & Benchmarks: Usually we provide the service of listing the standards and benchmarks that the concert and curriculum will cover. This year, in an effort to best utilize space, we have decided to provide a link to these on our website. To find the link to the current year’s list, please visit:




For some of you, this will be your first trip to the symphony. It’s a fun and exciting place, much like a very LARGE movie theater. It’s also a place where we must act very mature so that we can respect the performers and the other audience members. Here are some things to know before coming.

CONCERT BEHAVIOR Don’t talk and stay seated during the concert. There will be hundreds of other kids there.

Think about how loud it would be if everyone talked during the concert. You wouldn’t be able to hear the music! Please be very quiet while listening so you and your neighbor can hear all of the music. Also, stay in your seat through the whole concert, because someone might be distracted.

Stay with your group at all times. Chenery Auditorium is a big and exciting place, but please don’t go exploring on your own. There are tons of kids and schools there all at the same time. Be sure to ALWAYS stay with your group. Walk, don’t run. Just like at school, don’t run in the hallways, we wouldn’t want you bumping into anyone and getting hurt (or hurting them). Clap at the end of a song. But be sure it is really the end. In the orchestra world, we show how much we enjoyed the music by clapping at the end of a song after the conductor puts his arms down. So be sure to clap really loud to let the musicians and conductor know how much you enjoyed it! Have fun! We can’t wait to play music and show you some new things. We know you’ll have tons of fun and really enjoy it!

How to be a great audience member



Listen to the music that we’ll be playing before you come. We guarantee that you’ll love the concert even more.


Check out some pictures of orchestras and some videos of orchestras playing. See what an orchestra and the instruments look like before you come.


Learn the stories behind each song. When you know what the song is about, the music will make a lot more sense to you!

POWER LISTENING Did you know that listening is a SUPER POWER? And it’s something you can learn to even get better at over time. Practice being a power listener before you come so you can enjoy the concert even more! Here are some things you can do to be a POWER LISTENER:

ZOOM IN Zoom in to hear the details of the sound (loud/soft, instruments, fast/slow).

ZOOM OUT Zoom back out to hear them all at once.


Observe what’s on stage and then figure out what sound goes with what you’re seeing. Look at certain instruments Look at the conductor Look at the musicians

FEEL What does the music make you feel like, both inside and outside?



The string family is the LARGEST family of the orchestra! Each instrument makes noise by their STRINGS – either plucking (pulling with your finger), bowing (using a stick with horsehair that rubs the strings) or tapping on the wood part of the instrument. The string players will push their fingers down on the strings to change the notes while they pluck or bow on the opposite end of the string.


These are often the LOUDEST instruments in the orchestra. They are made up of long tubes that are bent in the shape of each instrument with one end of the tube being small and the other end being wide. The wide end is called the “bell.” To make a sound on a brass instrument, brass players have to press their lips together and blow air quickly through the mouthpiece (which sounds like a BUZZ). Some instruments have valves which are buttons you push down to change the notes while other instruments have slides which move in and out to change the notes.



A long time ago, this whole family was made from wood instruments, but not anymore – they are now made from wood or metal! The woodwinds are all long, hollow tubes with little holes. Some of the holes have coverings on them called “keys.” You make a sound on a woodwind instrument by blowing into or just over the “mouthpiece.” Woodwind players change the notes by pressing down the keys.


This is the OLDEST family of instruments! Percussion instruments are anything that you can make a sound with when you hit, shake or scrape it. This family has many different types of instruments that use sticks, mallets or the musician’s hands to make the noise. Other percussion instruments require you to hit two things together. Often percussion instruments are used to keep time, but they can also make special sounds or even play different notes. The percussion family is pretty diverse! Did you know that the piano is both a percussion and string instrument? It has small hammers inside that hit a string when you push one of the keys.



On the next page, you’ll find the empty concert stage, much like the one where the Kalamazoo Symphony Orchestra performs. Can you guess where each instrument below usually sits during the performance? oon











Trumpet Flu







Bass Conductor

Timpani Piano







n sio

s rcu



r Ho


p Har



Flutes Piccolo



En Obo gli sh es Ho rn







Tro es



2n Vio d lin s

1st Violins

12 Basses

ba s



You’ll notice our Conductor, Daniel Brier, will be standing in front of the orchestra when they are playing. He has many very important roles in the orchestra, but here are some that he personally thinks are most important: - A conductor must be an accomplished musician (instrumentalist and/or singer). - A conductor must have a broad knowledge of music history, music theory, and the instruments of the orchestra. - The conductor spends many hours studying the music to prepare for rehearsals and performances. - The conductor shows the music through his or her body so that the orchestra is able to play together and bring life to the music. Conductors use different types of “conducting patterns” to help make sure everyone is in the same place and knows what the TEMPO (how fast or slow) is. Here are some “conducting patterns” that you can practice yourself with some of the music from this year’s program! ONE Conducting in one is just like bouncing a basketball. Maurice Ravel’s Conversations of Beauty and the Beast is in “one.” Try to “bounce the basketball” in time to Ravel’s music. TWO Conducting in two is not too different than one. When you conduct in two, beat one is down and to the right and beat two goes back up to the top. Our opening piece Overture to Candide starts out in “two.” THREE When conducting in three, think “down, out, up.” The beginning of Stravinsky’s Infernal Dance is in “three.” FOUR When conducting in four, think “down, in, out, up.” The Berceuse from Stravinsky’s The Firebird is in “four.” 13

Overture to Candide

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Composer · Pianist · Conductor August 25, 1918 | October 14, 1990 United States of America • Leonard Bernstein’s original name was Louis but he was always called Leonard. He legally changed his name when he was 15. • He studied music at three different colleges: Harvard University, Curtis Institute of Music and Tanglewood Institute of Music. In one of his very hard conducting classes, he was the ONLY student to ever get an A. • When Bernstein was only 27 he filled in last minute to conduct the New York Philharmonic at Carnegie Hall for a live national radio broadcast! This made him famous overnight. • Leonard started a “Young People’s Concerts” TV show in 1958 for CBS. This was the first program of its kind on TV. • Bernstein won 10 Grammy Awards, 2 Tony Awards and 11 Emmy Awards! • His music was always different and combined lots of different styles from classical to jazz to Latin to Broadway musicals! • Find out more information about Leonard Bernstein at

THE STORY BEHIND THE MUSIC Candide was a novel written in 1759 by Voltaire. Candide, a young man, begins his life safely in a castle where he is taught and believes that his life is the “best of all possible worlds” and everything that happens is for the best, no matter what! The story follows Candide on his life of crazy adventures including being kicked out of the castle, joining an army at war, getting very rich (then losing it to a thief), being shipwrecked at sea and chasing the woman he loves all over the world bringing him to many far off lands. His adventures are challenging and difficult, but allow him to grow and learn many new things along the way!

Hyper-links available in digital pdf or visit the KSO YouTube Channel 14

Lesson created by Norma-Jean Forshey - King-Westwood Elementary School, Kalamazoo Public Schools

Overture to Candide LISTENING MAP


0:06-0:15 0:15-0:20






0:54-1:16 1:16-2:07 2:17-2:28 2:07-2:12




3:10-3:30 2:42-3:10




Overture to Candide



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Lesson Plan

ABOUT THE MUSIC Candide is an operetta written by Leonard Bernstein that was first performed on Broadway on December 1, 1956. An operetta is a short opera that is usually humorous in nature and often includes both sung and spoken dialogue. What the orchestra will be playing is the overture to the operetta. An overture is a composition, usually at the beginning of an opera, played by the orchestra. It contains multiple contrasting sections of songs and main themes from the work to follow. The Overture to Candide has earned its place in orchestral repertoire. It is one of the most frequently performed orchestral compositions by a 20th Century American composer, and the most often performed piece of concert music by Bernstein. The overture incorporates tunes from the songs “The Best of All Possible Worlds,” “Battle Music,” “Oh, Happy We,” and “Glitter and Be Gay,” and other melodies composed specifically for the overture.

ESSENTIAL First Listening: Telling a Story

Tell the students they will be listening to a piece of music. Ask them to listen carefully to the music and decide if the music is telling a story. What story does the music bring to their mind? Is it an exciting story or a sad story? What happens during the story? Tell students to keep their story idea in their head until the listening is over. Play the music. Listen to as many student responses as you have time for.

Second Listening: Listening and Identifying

(If different class period, review what was discussed in the first listening. If same class period, continue.) Ask students to listen for what instruments they hear in the music. Do any parts of the music repeat? Is all of the music loud or all quiet? Is it fast or slow? (any concepts from the music that you would like to emphasize would work here!) Play the selection again. After listening, list the instruments students heard on the board. Ask your specific questions again. Do any parts repeat? Yes Is it fast or slow? Most are fast, some are a little slower Is it loud or quiet? Most are loud, some are quiet, etc.

Third Listening: Elements of the Listening Map

(If this is a different class period, review what was done before.) Show students the listening map. Announce the title and composer’s name. Explain that this music is from an operetta - where singers tell the story (see definition above). Tell students that an “overture” sets the mood at the beginning of an operetta with parts of the music that will be heard throughout the story (see definition above). 16

You can briefly explain that this is an adventure story (did any student say that the music sounded exciting or like an adventure during the first listening?) The main character, Candide, joins the army, participates in a war, loses a large fortune (money), is shipwrecked, and is separated from the woman he loves. Have students point out elements on the listening map that repeat. Notice which elements are not repeated. (This would be a good time to explain the form, coda, crescendo and accelerando.) Listen to the music again, and point to the listening map elements as students listen.

EXPLORATION As students listen to the music again, they can demonstrate their understanding of the different parts of the piece. You may compose your own gestures or movements or use the ones below. Feel free to only use one or two of the gestures – the music moves quickly from one part to the other! A Section: Students salute Running feet: students alternately tap their legs to the beat Circus clown: students show huge smiles Trumpets: play an imaginary trumpet Birds: use hand like a bird beak (imitate chirping silently with hands) B Section: Make a heart shape with both hands (pointer fingers and thumbs) or cover your heart with both hands C Section: What gesture would you use? D Section: What gesture would you use?

EXTENSION YouTube Videos • Listen to the overture with Leonard Bernstein conducting: • Listen to an organ rendition, with an interesting organist, Cameron Carpenter, who is playing with the KSO on April 1, 2017:

Draw a Story

If you have lots of time (or maybe leave this as a sub plan!), your students could ‘draw a story’ as they listen to Overture to Candide. Explain to students that there is one main character in this story and his name is Candide. As students listen to the music, they can imagine what is happening to the main character. What type of adventure is he having? Using large drawing paper, students could draw one part of a story that they think of while listening to the music. You may need to play the overture numerous times. It could be fun to put the pictures in some kind of ‘story’ order, and have each student tell about what happens to the main character in their picture.

Write a Story

Older students could write one paragraph of a story about our main character, Candide. What happens to our character during different parts of the music? Students can choose one part of the music to focus on and write a paragraph about the adventures of Candide. It could be fun to put the paragraphs together in some kind of ‘story’ order. You could also just pick students to read what they wrote in no special order and see what kind of story happens!

Lesson created by Norma-Jean Forshey - King-Westwood Elementary School, Kalamazoo Public Schools


Conversations of Beauty & The Beast



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Composer · Pianist March 7, 1875 | December 23, 1937 France • Ravel went to school at the Paris Conservatory, but got kicked out two times and never even graduated! • Ravel drove an army ambulance in World War I for France. He later wrote music about friends he met while there. • Ravel lived with his mother until he was 42 years old!

THE STORY BEHIND THE MUSIC Once upon a time there was a rich merchant who had three daughters. The two eldest were selfish and mean tempered. The youngest was lovely in spirit as well as appearance and was known as “Beauty.” In time, the fortunes of the father failed, and the family was forced to move to the country and a simpler life. While attending to his business, the father came upon an enchanted castle where Beast reigned. Upon learning that the merchant had three daughters, Beast promised that he would spare the father’s life if one of his daughters would willingly marry Beast. Beauty came willingly, but fearfully. Every night under kindly treatment from Beast, she engaged with him in pleasant conversation. Every night, Beast asked Beauty to marry him. It wasn’t until she left for a time, and was made aware that Beast was dying of sadness in her absence, that Beauty returned and they had their final conversation. BEAUTY: “When I think how good-hearted you are, you do not seem to me so ugly.” BEAST: “Yes, I have indeed a kind heart; but I am a monster.” BEAUTY: “There are many men more monstrous than you.” BEAST: “If I had wit, I would invent a fine compliment to thank you, but I am only a beast. Beauty, will you be my wife?” BEAUTY: “No Beast!” BEAST: “I die content since I have the pleasure of seeing you again.” BEAUTY: “No, my dear Beast, you shall not die: you shall live to be my husband!” The enchantment is broken, the Beast has disappeared, and Beauty sees at her feet only a prince.


Lesson created by Kimberly Licavoli - North Ward & Dawson Elementary Schools, Allegan Public Schools

Conversations of

Beauty & The Beast



0:00 0:33









3:20 19

Conversations of Beauty & The Beast



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Lesson Plan

ABOUT THE MUSIC Conversations of Beauty and the Beast is the 4th movement in Ravel’s Mother Goose Suite, a collection of five pieces that illustrate well known fairytales. These pieces were first written in 1910 as a duet for two young piano students, Mimì and Jean, the children of his good friends. Unmarried and childless, Ravel adored children and their world of fantasy. He sought to write piano music that could be played by children, as well as reflected the world of childhood.

ESSENTIAL Written as a waltz, Ravel built in musical themes for Beauty and Beast. The music is divided into 4 sections: music that describes Beauty, music that describes Beast, music that describes Beauty declaring her love for the Beast, and finally Beast transformed into a handsome Prince. See Story on page 18.

First Listening: Section 1: (00:00 – 1:06); Section 2: (1:10 – 1:39)

• I can hear the beautiful solo clarinet melody that represents Beauty in Section 1. • I can hear the chilling solo contrabassoon melody that represents Beast in Section 2. Listen for the clarinet melody as it sings Beauty’s part of the conversation. The full melody is played twice (0:00) & (0:33).

TIMING: 0:00, 0:33

Listen for the contra-bassoon melody as it sings Beast’s part of the conversation in section 2. It is the lowest pitched instrument in the orchestra. TIMING: 1:10


Second Listening: Section 3: (1:39- 3:16); Section 4: (3:16 – 4:31)

• I can hear the combined melodies of Beauty and Beast in Section 3. • I can hear a harp glissando transform Beast (contrabassoon) to a Prince (violin) in Section 4. Listen for Beauty & Beast’s melodies to combine as they talk & dance clockwise in the Listening Map in Section 3. Beauty’s melody moves from the clarinet to the oboe, flute, & violin, while Beast remains on the contrabassoon. Can you hear Beast’s plea for Beauty to be his wife? (1:40) What is she telling him?

TIMING: 1:40

In Section 4, listen for a cymbal crash when she accepts his proposal thus breaking the magic spell! Listen to the harp as the pitches ascend, signaling a transformation of the Beast melody to the violin.

Third Listening: Whole Composition: (0:00 – 4:31) Listen to the piece from beginning to end. Younger students can use their hands as puppets for each character of the story.

EXPLORATION- MOVEMENT • Explore an ice skating movement in three beats to the measure. • Students, in grades K-1, practice stepping one foot every three counts. Add an arm swing to the movement. • Students, in grades 2-5, use two dinner size paper plates with a waxed coating, students place the ball of their foot on each paper plate pretending to ice skate through the space using flowing arm movements as they glide to Sections 1 & 3 of Ravel’s piece. • Explore the basic Waltz with older students. Use an 8.5 x 11 inch paper as the inside of a box. Students move their feet to the outside 4 corners.


Lesson created by Kimberly Licavoli - North Ward & Dawson Elementary Schools, Allegan Public Schools


La Bohème: “Sì, mi chiamano Mimì”



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Composer · Pianist · Organist December 22, 1858 | November 29, 1924 Italy & Belgium • Has been called “the greatest composer of Italian opera after Verdi.” • Puccini had 8 brothers and sisters! • Puccini came from four generations of musicians – that means his great-great grandparents were musicians. • In 1903 Puccini and his family were in a car accident. Luckily no one was injured too badly. • Puccini smoked cigarettes and cigars for most of his life and eventually was diagnosed with throat cancer! • Puccini loved technology and was good friends with the inventor, Thomas Edison. He also loved cars, boats, hunting and the country. • Four of Puccini’s operas are some of the most performed operas in the world today: La Bohème, Tosca, Madama Butterfly, Turandot.

THE STORY BEHIND THE MUSIC This song finds the two main characters in the story of La Bohème, Rodolfo and Mimì, talking in Rodolfo’s apartment in Paris, France. Rodolfo, a poet, decided to not go out with his friends one night in order to stay home and write. When he is writing Mimì, Rodolfo’s neighbor, knocks on his door asking if he can help her light a candle that had blown out. While she is there, she begins to feel sick and needs to sit down. After some time, and losing the key to her apartment, Rodolfo asks to know more about Mimì’s life. She describes her “simple” life to him. Rodolfo is very interested in Mimì and begins to fall in love with her as she tells him about herself. Taken from:

Hyper-links available in digital pdf or visit the KSO YouTube Channel


Lesson Created by Jeanna Hickman - Winchell Elementary School, Kalamazoo Public Schools

La Bohème: “Sì, mi chiamano Mimì” LISTENING MAP

0:19 Harp & Violin


“La storia mia e breve...”



“Si, mi chiamano Mimi.”

0:33 Strings



“Son tranquilla e lieta.”


Strings & Brass create open feeling pentatonic - Introspective -

“Mi piaccion quelle cose che han si dolce malia, che parlano d’amor, di primavere, di sogni e di chimere, quelle cose che han nome poesia... Lei m’intende?”






2:00 Strings


“Si, mi chiamano Mimi, il perche non so.”

2:30 Strings & Brass

“Ma quando vien lo...” f



Staccato alternating with legato

3:23 Flute

“Sola, mi fo il pranzo da me stessa... Vivo sola...”

4:22 Pentatonic

“Germoglia in un vaso una rosa... ma i fior ch’io faccio, Ahime! Non hanno f odore.”


“Altro di me non le saprei narrare.”



La Bohème: “Sì, mi chiamano Mimì”


word by word translation by Terry Eickel Mimi’s aria from La Bohème

Note to teachers: Consider having your students translate the Italian on the listening map on page 23 using this page.


Sì, mi chiamano Mimì

Yes, they call me Mimi

(Italian lyrics)

(English translation)

Sì, mi chiamano Mimì, ma il mio nome è Lucia. La storia mia è breve. A tela o a seta ricamo in casa e fuori... on tranquilla e lieta ed è mio svago far gigli e rose. Mi piaccion quelle cose che han sì dolce malìa, che parlano d’amor, di primavere, di sogni e di chimere, quelle cose che han nome poesia... Lei m’intende?

Yes, they call me Mimi, But my name is Lucy My history is brief To cloth or to silk I embroider at home or outside... I am peaceful and happy And it is my pastime To make lilies and roses I like these things That have so sweet smell, That speak of love, of spring, That speak of dreams and of fantasies These things that have poetic names Do you understand me?

Mi chiamano Mimì, il perché non so. Sola, mi fo il pranzo da me stessa. Non vado sempre a messa, ma prego assai il Signore. Vivo sola, soletta là in una bianca cameretta: guardo sui tetti e in cielo; ma quando vien lo sgelo il primo sole è mio il primo bacio dell’aprile è mio! Germoglia in un vaso una rosa... Foglia a foglia la spio! Cosi gentile il profumo d’un fiore! Ma i fior ch’io faccio, Ahimè! non hanno odore. Altro di me non le saprei narrare. Sono la sua vicina che la vien fuori d’ora a importunare.

They call me Mimi, And why I don’t know. Alone, I make Lunch for myself. I do not always go to mass, But I pray a lot to the Lord. I live alone, alone. There is a white little room I look upon the roofs and heaven. But, when the thaw comes The first sun is mine The first kiss of April is mine! Rose buds in a vase Leaf by leaf I watch it! That gentle perfume of a flower! But the flowers that I make Ah me! they don’t have odor! About me, I would not know how to tell. I am your neighbor who has come unexpectedly to bother you.

La Bohème: “Sì, mi chiamano Mimì”

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Yes, They Call Me... #3

Directions: Read the story all the way through first. Think about

what you would put in the blank boxes from the choices below the blanks. Remember that you are using Mimi’s aria as a story template to introduce yourself to someone. After you fill in the blanks, share your answers with a partner.

Yes, they call me _______________________. But my real name is ______________________. (insert nickname) (insert given name) My history is __________________. I _________________________ at _________________________ (short/ long) (action verb/ occupation) (insert location/place) or ____________________. I am _______________________ and _______________. It is my (2nd location/place) (insert personality trait) (insert emotion) pastime to make _________________ and _____________________. I _____________________ these things (noun/ items) (noun/ item) ( like/ dislike) that smell _____________________ and speak of __________________, of ______________________. (sweet/ sour) (insert emotion) (insert month of the year) That speak of dreams and of fantasies. These things that have ______________________ (insert adjective) names. Do you understand me?

They call me _________________. Why, I do not know. Alone, I make lunch for (insert nickname) ________________________. I live __________________________ alone, alone. There is a (insert best friend’s name) (insert adjective) ____________________ little room where I look upon the roofs and _______________. But, when the (favorite color) (heaven/space/clouds) __________________comes, the ___________________ sun is mine. The first ______________________ of (freeze/thaw) (favorite number) (hug/handshake/kiss) __________________________ is mine! (birthday month) ___________________________in a vase. Leaf by leaf I watch it! The ______________________________ (Favorite flower) (adjective) perfume of a flower! But the ______________________________ that I make, Ah me! They don’t (noun(s)) have any __________________________! About ______________________________, I would not know how (noun) (insert nickname) to tell. I am your neighbor who came unexpectedly to bother you.

Lesson Lesson created Created by Jeanna Winchell Elementary School, Kalamazoo SchoolsPublic Schools 25 byHickman Jeanna-Hickman, Winchell Elementary School,Public Kalamazoo

La Bohème: “Sì, mi chiamano Mimì” ck Tra


Lesson Plan

ABOUT THE MUSIC: The opera La Bohème is based on Henri Murger’s novel, Scènes de la vie de bohème, a collection of scenes portraying young bohemians living in the Latin Quarter of Paris in the 1840s. La Bohéme focuses on the relationship between Rodolfo and Mimì: their meeting, falling in love , and ending with her death. The Pulitzer and Tony award-winning musical Rent (by Jonathan Larson) was loosely based on the plot of La Bohème.

ESSENTIAL Lesson One: Exposure and introduction to the song.

Read the synopsis of the aria before the music is played to acquaint the students with the storyline of the aria. Students listen to the aria, imagining the story and listening to the emotion behind the aria. They do not need to understand the words, just try to feel the emotion and sentiment. You may refer to the translation and read it prior to listening if needed. Students are asked to consider the following questions while listening: Does the aria and orchestra sound thick or thin in texture? How would you describe the feelings the girl is expressing? Are there a range of dynamics? Could there be a range of feelings she is trying to express? What role does the orchestra play? Are there any instruments that stand out in your listening? Discuss observations as a class, around texture, dynamics and orchestration.

Lesson Two: Everybody has a story to tell!

Explain that the aria “Sì, mi chiamano Mimì” is when Mimì introduces herself to Rodolfo. She paints a picture of her world in this aria. Discuss with your students some of the important facets of her life that she feels describe her life to Rodolfo. What did she choose to discuss with him?

EXPLORATION Fun Activity Worksheet: “Yes, they call me…”

Pass out “Yes, they call me…” worksheets and allow students to fill in the blanks on the page. This is similar to a MadLib, where students can fill the blanks to help describe their likes and dislikes. Have students read their worksheets to a partner. If there is time, and if there are students willing to participate, ask for students to hand in their letters and the teacher can read them to the class. Discuss what new findings that were learned about classmates. Is their letter serious or silly? Ask the students how this relates to the aria “Sì, mi chiamano Mimì”. When listened to, each person has an interesting story to tell, listing their likes and dislikes, hopes and dreams. Is she being sincere? How can you tell her intent by the music? Invite students to listen to the aria once more. Discuss any feelings or findings regarding the character and her aria.

EXTENSION Activities Using Technology View traditional opera scenes of the aria “Sì, mi chiamano Mimì” at the following YouTube addresses:


• Staged version with Angela Gheorghiu - must see! • Maria Callas performance with still pictures: • African American Soprano Leontyne Price: Hyper-links available in digital pdf or visit the KSO YouTube Channel

The Firebird Suite (1919 Version)

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Composer · Pianist · Conductor June 17, 1882 | April 6, 1971 Russia, France, Switzerland & America • Stravinsky’s father was a famous opera singer in Russia, which is where he learned about music. • He originally went to college to be a lawyer, but changed his mind when he started to study music with another famous composer in Russia, named Nikolai Rimsky-Korsakov. • He wrote three ballets for the most famous ballet group in the world at the time, the Ballets Russes. One of his ballets, The Rite of Spring, was so different for the time that it caused a riot in the theater in 1913! • Stravinsky wrote in many different styles of classical music, but was interested in jazz music too. • While in America, Stravinsky lived in both New York City and Hollywood, where you can see him on the walk of fame. • Many of Stravinsky’s compositions are in movies. Check out Disney’s Fantasia, where you can hear The Rite of Spring, and Fantasia 2000, where you can hear The Firebird. • He wrote a piece called Circus Polka in 1942 that was meant for a ballet of circus elephants.

THE STORY BEHIND THE MUSIC This timeless story is based on Russian folklore. Prince Ivan finds himself lost in a magical forest. Ivan does not know that this forest is ruled by a dangerous king, Kastchei, who turns intruders into stone. While wandering in the forest, Ivan sees the Firebird picking golden to apples from a tree. Ivan captures the Firebird, releasing her only after she gives him a feather containing magical powers. Thirteen princesses appear and Ivan watches them dance and play with golden apples. The princesses warn Ivan of King Kastchei. Kastchei tries to turn Ivan to stone but the Firebird’s feather protects Ivan from the king’s magic. The Firebird then causes Kastchei and his followers to dance wildly until they drop exhausted. Prince Ivan discovers and then destroys an egg that holds the king’s special powers. Kastchei dies and all those he had turned to stone come back to life. In a triumphant celebration, Ivan takes the hand of the loveliest of the Princesses in marriage, and all is well again. Lesson created by Michele Helner, Beverly Ropp, Lisa Bernlohr Stucky & Tressa Crosman, Portage Public Schools


The Firebird Suite (1919 Version)

Movement II Movement III The Firebird and Its Dance Variation of The Firebird

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THE FIREBIRD AND ITS DANCE STORY An introduction allows the audience to learn about the characters and setting. • The Firebird is a wonderful and magical bird whose wings are the color of fire as she moves through the sky. She loves to be in the tree filled with golden apples that is in the middle of King Kastchei’s enchanted garden. • Setting: A beautiful enchanted garden right outside the king’s castle. • King Kastchei is an evil king. • Prince Ivan is a kind prince.

THE FIREBIRD AND ITS DANCE LESSON Hear the music. What to listen for: The Firebird and Its Dance: • Violins give a fiery strong introduction to the Firebird using tremolo and no particular melody.

Variations of the Firebird:

• Listen for the woodwinds as they represent the Firebird. You can really hear the piccolo tweeting about. The repeating theme of the woodwinds is the first solo for the Firebird. This movement is in 6/8 time and it’s obvious that it is a dance. • There are other families of instruments playing too, but they are not as significant as the woodwinds. Listen for a second theme where the woodwinds do a type of question/answer with the muted trumpets. (Woodwinds play the check marks and trumpets play the triangles in this listening map.) • Look and listen for a variation of the Firebird’s theme (1:06:40), which is shown with the repeated doodles on the listening map.

EXTENSION Discuss with your students if knowing the story is important for the musicians who are playing the music. Why or why not?

Other Resources:

• The Firebird Variation:

Hyper-links available in digital pdf or visit the KSO YouTube Channel


Lesson created by Michele Helner, Beverly Ropp, Lisa Bernlohr Stucky & Tressa Crosman, Portage Public Schools

Movement II Movement III The Firebird and Its Dance Variation of The Firebird


The Firebird and Its Dance Track #4

Variation of The Firebird Track #5

:14 :24




Movement V Infernal Dance

The Firebird Suite (1919 Version)

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INFERNAL DANCE STORY An important sequence of events to the Firebird story 1. Prince Ivan wanders into King Kastchei’s garden and captures the Firebird. 2. The Firebird begs for freedom, and Prince Ivan agrees. 3. The Firebird gives Prince Ivan one of his feathers. 4. Thirteen beautiful princesses come out of King Kastchei’s castle to dance around Prince Ivan. He falls in love with one of the princesses, Elena. 5. Prince Ivan sees lots of stone statues in the garden. The princesses explain that he will also be turned into stone if King Kastchei captures him. 6. King Kastchei’s evil gang comes and tries to capture Prince Ivan. 7. Prince Ivan remembers that he has the Firebird’s feather and waves it. 8. The Firebird comes to help him, leading King Kastchei and his gang in a wild and fast dance that makes them whirl around and around and grow exhausted.

INFERNAL DANCE LESSON Tell the story. The sequence cards on the facing page can be used in many ways. To introduce the story and/or the music, you can show one set of cards on a large screen for all students to see. As a follow-up for older students, let individuals or small groups have sets of cards to manipulate and order a) as the class retells the story; or b) as they listen to the music. Younger students could take turns choosing a card to go next on the large screen, with teacher prompts. Hear the music. What to listen for:

Listen for the short motifs and patterns. • • • •

Melodies are moving quickly up and down. Rhythms are often syncopated (off the beat). Accents add excitement. The whole orchestra is featured, almost like a collage of sound. Listen especially for tambourine, triangle, trombone, and xylophone.

EXTENSION: Stravinsky’s style is like Picasso’s art in the cubism style. It is complex and made up of various shapes, colors and sounds. Each “cube” of the music when put together makes up the whole story or picture. Try using various colored paper shapes and glue them together into a picture while listening to The Firebird. Look at a picture of “Three Musicians” (1921) by Pablo Picasso to see the cubism style. File:Picasso_three_musicians_moma_2006.jpg Other Resources: • Infernal Dance: • The last eight minutes of Disney’s Fantasia 2000 is music from The Firebird Suite

Hyper-links available in digital pdf or visit the KSO YouTube Channe 30

Lesson created by Michele Helner, Beverly Ropp, Lisa Bernlohr Stucky & Tressa Crosman, Portage Public Schools

Movement V Infernal Dance


Prince Ivan wanders into King Kastchei’s garden and captures the Firebird.

The Firebird gives Prince Ivan one of his feathers. Prince Ivan sees lots of stone statues in the garden. The princesses explain that he will also be turned into stone if King Kastchei captures him.

Prince Ivan remembers that he has the Firebird’s feather and waves it.

The Firebird begs for freedom and Prince Ivan agrees.

Thirteen beautiful princesses come out of King Kastchei’s castle to dance around Prince Ivan. He falls in love with one of the princesses, Elena.

King Kastchei’s evil gang comes and tries to capture Prince Ivan.

The Firebird comes to help, leading King Kastchei and his gang in a wild and fast dance that makes them whirl around and around and grow exhausted. 31

Movement V Infernal Dance











1:18 33

Movement VI Berceuse

The Firebird Suite (1919 Version)

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BERCEUSE STORY Music can create a mood and let the story move forward at a proper pace. • The mood is very gentle. This music is a lullaby, and is named for the French word for lullaby, “berceuse.” • The music puts King Kastchei and his gang to sleep after their wild dance. • The music gives Prince Ivan a chance to stop and listen to information from the Firebird. The Firebird tells Prince Ivan that there is a secret place that holds King Kastchei’s power. Strange as it may sound, that secret place is a giant egg made of special glass called crystal. • Prince Ivan has time to think about how he will go and find the egg.

BERCEUSE LESSON Hear the music. What to listen for:

This is a listening exercise in tone color. Students should work on differentiating the woodwind sounds of oboe and bassoon and the string sounds of the harp and the violins. The harp plays a 4-note ostinato on A# G# A# B (all quarter notes). The low strings play a short descending pattern, which represents King Kastchei.

EXTENSION Younger children could have a picture of one of the woodwind instruments, and hold it up when that instrument is featured. Therefore, nothing is held up when strings are featured. This could also become a movement activity (with perhaps scarves and ribbons or other props replacing the instrument pictures). One group could be King Kastchei’s gang, represented by the bassoon, and the other the princesses and statues, represented by the oboe. Older students could expand their listening discrimination to include bassoon, oboe, harp and violin. Also, individual students could have a set of pictures and hold up whichever one was featured. The Listening Map could provide a visual cue, and with practice the students could discriminate the tone colors without the Listening Map. Other Resources:

• Berceuse: • Have the students watch The Firebird Ballet:

Hyper-links available in digital pdf or visit the KSO YouTube Channel


Lesson created by Michele Helner, Beverly Ropp, Lisa Bernlohr Stucky & Tressa Crosman, Portage Public Schools

Movement VI Berceuse






1:07-1:18 1:18-1:56

1:56-2:34 2:34-2:52



Movement VII Finale

The Firebird Suite (1919 Version)


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FINALE STORY An ending can have many parts. Different characters need to finish their parts in the story. 1. Prince Ivan finds the crystal egg and smashes it. The egg breaks into many pieces. 2. King Kastchei’s life and power leave him, and he and his gang disappear. 3. The stone statues in King Kastchei’s enchanted garden are now turned back into the real people they are -- and so the people are set free to return to their lives. 4. Prince Ivan and Princess Elena fall in love and get married. 5. The Firebird flies away. What good deeds do you suppose she might do in the future?

FINALE LESSON Hear the music. What to listen for: • • • ���

Listen to the soft and sweet (dolce) theme at the beginning as it is passed from the French horn to the strings and then the flute. It is a magical sound as this is where the spell is broken in the enchanted garden and the stone statues can move again! How are they moving? (Lento, very slow) Notice how the dynamics build to an extremely full and fff sound. How did that happen? (The rest of the instruments were added.) They are ALL playing variation 2 now. Listen as the strings play tremolo. (The bow is moved very fast on the same notes.) Which instrument family is playing variation 3, first fast and then slow? (Brass) Doesn’t it sound like the royal wedding of Prince Ivan and his princess? As the conclusion is played do you hear more extreme dynamics? (Loud, suddenly soft and then a big crescendo to loud again.) Could this be the Firebird flying away?

EXTENSION Ask your students why the dynamics are so important in this composition. To borrow a phrase from popular culture, why might they call it “extreme dynamics”. Other Resources: • Read a book about the Firebird to your students. If the text is too much, just show the pictures and retell it in your own words. Students could help recall the story in their own words. • Finale:

Hyper-links available in digital pdf or visit the KSO YouTube Channel


Lesson byby Michele Helner, Beverly Ropp, Lisa Bernlohr Stucky & Tressa Lessoncreated Created Michele Helner, Beverly Ropp, Lisa Bernlohr Stucky, Tressa Crosman, Crosman, Portage Portage Public Public Schools Schools

Movement VI Finale




Variation 1


Variation 2


Variation 3


Variation 4






Lento Maestoso





Allegro non troppo


Doppio valore, Maestoso



Molto pesante

Listening map by Marcia Working, from 2010 Youth Concert.


The Firebird Suite (1919 Version)


PLEASE pick one group art activity (or create your own group project) to illustrate a story element from one of the following movements of Stravinsky’s The Firebird Suite. Digitally submit only one entry per school to be included in our 2017 Youth Concert performance. Include school name in the lower right corner and submit by January 20, 2017 to

MOVEMENTS 2 & 3 The Firebird, a magical bird, loves to eat the golden apples from the tree in the middle of evil King Kastchei’s enchanted garden.

Enchanted Garden Weaving (2 days) • • •

Objective: Class creates an enchanted garden by weaving a landscape background and adding individual student plant creations into the foreground. Materials: Plastic green garden fence as a loom, plastic tablecloth or streamers in earth tones for the weft. Plants can be made from various mediums: paper, recycled drinking bottles, coffee filters etc. Directions: Cut the garden fence loom to size. Students can take turns weaving the background while others are creating plants to weave into the foreground. If the Firebird is not in the picture, please have students add a hint of red to symbolize the Firebird and what it represents.

Tree With Golden Apples Still Life (1 day) • • •

Objective: Class creates the tree with the golden apples using student handprints. Materials: Background paper, various shades of green paint or construction paper. Directions: Students use a painted handprint or a handprint cut out to create the canopy & add golden apples. If the Firebird is not in the picture, please have students add a hint of red to symbolize the Firebird and what it represents.

Firebird Portrait (2 days) • • •

Objective: Class creates a firebird portrait using student handprints. Materials: Background paper, paint or construction paper in warm tones. Directions: Instruct students to create a penciled outline of a firebird. Project a student’s work onto a background & fill in with painted handprint or a handprint cut out to create feathers. Layer hands from the outer edge to the body and head.

MOVEMENT 5 Prince Ivan wanders into the garden capturing the Firebird. Upon release, the Firebird gives Ivan one feather. Thirteen princesses come out of Kastchei’s castle dancing in a garden filled with stone statues. Kastchei’s evil gang tries to capture Prince Ivan but he escapes by waving the feather which creates a fast, wild, and whirling dance exhausting all.

Foil Figure Statues (1 day) • • •


Objective: Students create foil statues to be placed in Enchanted Garden Materials: Background paper, 12” x 12” piece of aluminum foil for each student Directions: Use the following 5 minute YouTube video to mark cutting lines for isolating the limbs of the figure. Glue figures to a background. Add a hint of red to symbolize the Firebird and what it represents.

Evil Gang Abstract Painting (1 day) •

• •

Objective: Students create dark images to be placed on a background of swirling colors of the dance. Materials: Background paper, 4” x 4” paper for images, paint or markers Directions: Create a swirling background of color with finger paints or brushes then add images. Add a hint of red to symbolize the Firebird and what it represents.

MOVEMENT 6 A lullaby puts Kastchei and his gang to sleep. The Firebird reveals the source of Kastchei’s evil power: a giant, crystal egg hidden in the garden.

Kastchei’s Egg Puzzle (1 day) • • •

Objective: Students create patterns of color on individual puzzle pieces. Materials: Large piece of white paper, markers Directions: Draw a large egg. Leaving an oval shape in the middle of the egg for Kastchei’s power, cut the rest of the egg into sections, one for each student to color in patterns. Reassemble the egg outlining each piece in black. Students could add their thumbprints into the oval center representing Kastchei’s power.

MOVEMENT 7 Ivan discovers the egg and destroys it. Kastchei’s life and power come to an end, allowing the stone statues to turn back into real people. Prince Ivan & Princess Elena fall in love and marry.

Good Conquers Evil Abstract Mural (1 day) • • •

Objective: Students create patterns of color moving from dark to light. Materials: Large piece of white paper, glue, paint, markers, sponges, Directions: From fingers to brushes, students can explore different tools to create patterns of color across the mural moving from dark to light. Add a hint of red to symbolize the Firebird and what it represents

STORY-TELLING EXTENSION Could your class pantomime the story as the music is heard? Discuss pantomime (silent acting) and imagination (your brain and creativity). We will only use a few props to help us imagine the story. Some ideas to get all students involved include casting everyone as either: • The Firebird - a girl (yellow/orange scarves) • King Kastchei - a boy (purple/black scarves) • Prince Ivan - a boy (red/blue scarves) • Princesses - other girls (pastel scarves, except Elena’s is white to show that she will be the bride later) • Gang - other boys (one lummi stick each, will use like a sword). Could they start out holding their sticks to be The Firebird’s tree, and only when it is time to try to capture Prince Ivan do they break out of that formation and become the King’s gang? • Stone Statues - mix of boys and girls (one lummi stick each, to show an ordinary part of that person’s life, could be an instrument, a tool, a baby, etc) will be frozen in the garden, which will provide the setting for the pantomime, and after they are released during the Finale they will move in shared space with their bodies and props moving. Note: Are some students not ready to be a statue throughout? If so, let the statues only appear in the first and last scenes and simply be “off-stage” as an audience during Infernal Dance and Berceuse. Art Project created by Kim Licavoli. Story -Telling Extension Created by Michele Helner, Beverly Ropp, Lisa 39 Bernlohr Stucky & Tressa Crosman, Portage Public Schools

Make Our Garden Grow



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Teachers - Use Leonard Bernstein’s composer page (p. 14) in conjunction with this lesson.

THE STORY BEHIND THE MUSIC “Make Our Garden Grow” is the finale of Leonard Bernstein’s operetta, Candide, first performed in 1956. It is based on Voltaire’s satirical novel of the same name, published in 1759. As we learned with the Overture to Candide on page 14 the plot follows the main character, Candide, from an idyllic childhood to a number of hardships and disasters while a young man. When he finally overcomes this adversity, he realizes that he can take ownership of his own life and provide all of his basic necessities for himself. Candide chooses to cultivate his own garden both literally and figuratively.

ESSENTIAL Activity Page - Follow directions on top of the page and do the activity before listening.

First Listening:

• Play the piece for the class. • Have students do a paired share discussion of what they heard and noticed about the music. • Have the students share some of their ideas with the class. Help steer the conversation toward the musical concepts they explored previously in the stations.

Second listening:

• Play the main theme of the piece at :21. • Play the full recording and have students listen for the expression changes each time the melody occurs.

EXPLORATION The concept behind this piece is that we are all cultivating our own gardens in life: “We’ll build our house and chop our wood and make our garden grow, and make our garden grow.” One idea for exploring this music further is to “grow our gardens” through movement. Have the class start as “seeds” on the floor. As the music builds and grows, each student will begin to grow, moving creatively as he/she does so. Using colorful scarves for this creative expression would be a beautiful way to create imagery to go with this expressive musical work.

EXTENSION Listen and watch this piece being performed at the following YouTube links: • Barbara Streisand: • Renee Fleming and Jerry Hadley: • Groves /Chenowith/LuPone/Allen: Hyper-links available in digital pdf or visit the KSO YouTube Channel 40

Lesson created by Beth Stachura - Green Meadow Elementary & North Elementary, Comstock Public Schools & Stephanie Measzros - El Sol, Kalamazoo Public Schools


1. Print, cut and place each direction sheet at five different stations. 2. Teach “Are You Sleeping/Frere Jacques� or other simple song to the class. 3. Explain directions and split class into 5 even groups and send one group to each station. Give each group 3 minutes to explore at each station, then have them switch. 4. After groups have visited every station, have each group perform the song in the direction of the station they ended at. After each performance have the class describe what they notice about the performance and what was musically different about it.

Station 1 - Dynamics

Station 2 - Tempo

Directions: Perform the song with a soft dynamic (piano), then with a loud dynamic (forte).

Directions: Perform the song with a fast tempo (allegro), then with a slow tempo (largo).

English Lyrics

Are you sleeping, Are you sleeping,

Frere Jacques, Frere Jacques,

Brother John, Brother John?

Dormez Vous, Dormez Vous?

Morning bells are ringing, Morning bells are ringing, Ding, ding, dong. Ding, ding, dong.

French Lyrics

Sonnez les matines, Sonnez les matines.

English Lyrics

Are you sleeping, Are you sleeping,

Frere Jacques, Frere Jacques,

Brother John, Brother John?

Dormez Vous, Dormez Vous?

Morning bells are ringing, Morning bells are ringing,

Din, din, don. Din, din, don.

Ding, ding, dong. Ding, ding, dong.

French Lyrics

Sonnez les matines, Sonnez les matines. Din, din, don. Din, din, don.

Station 3 - Harmony

Station 4 - Texture

Directions: Play melodic instruments (glocks, xylophones, boomwhacker) on C & G to create harmony while singing the song.

Directions: Sing the whole song as a group. Then take turns singing the song as a solo or duet.

English Lyrics

Are you sleeping, Are you sleeping,

Frere Jacques, Frere Jacques,

Brother John, Brother John?

Dormez Vous, Dormez Vous?

Morning bells are ringing, Morning bells are ringing, Ding, ding, dong. Ding, ding, dong.

French Lyrics

Sonnez les matines, Sonnez les matines.

English Lyrics

Directions: Sing and play the rhythm of the song on woods. Repeat the song again and play the rhythm on metals. Repeat this again while playing on drums. Finally, play the rhythm on shakers and scrapers.

Frere Jacques, Frere Jacques,

Brother John, Brother John?

Dormez Vous, Dormez Vous?

Morning bells are ringing, Morning bells are ringing,

Din, din, don. Din, din, don.

Station 5 - Timbre

Are you sleeping, Are you sleeping,

Ding, ding, dong. Ding, ding, dong.

English Lyrics

French Lyrics

Sonnez les matines, Sonnez les matines. Din, din, don. Din, din, don.

Are you sleeping, Frere Jacques, Are you sleeping, Frere Jacques,

French Lyrics

Brother John, Dormez Vous, Brother John? Dormez Vous? Morning bells are ringing, Sonnez les matines, Morning bells are ringing, Sonnez les matines. Ding, ding, dong. Din, din, don. Ding, ding, dong. Din, din, don.



FOR STUDENTS WITH SPECIAL NEEDS 1. Simplify – teach to the most basic part of the concept. [For example: Instead of teaching a steady beat or a specific rhythmic pattern, work on fast/slow or long/short; sing a song on a syllable instead of trying to teach all the words.] 2. Allow time for processing – many students with special needs process ideas much more slowly than their gen. ed. peers. Give extra time for following directions and imitating activity or provide a task with fewer moving parts. For example: instead of teaching a dance with multiple movements, create two movements that correspond with the primary musical components of the piece you are using and teach only those. 3. Don’t overlook the power of peers – much work is being done with students on the autism spectrum and peer partners. This can be applicable across special needs populations. Often it’s the student helpers that know best how to assist their peers. You may be able to complete more complicated tasks simply by turning over the instruction to your gen. ed. students. 4. Focus on all senses – especially if you have a student who is impaired in one area (movement, hearing, visual). Let the whole class experience both the loss or limit of one sense and focus on a different one. 5. Don’t underestimate the power of simply listening to the music – many of the most severely impacted students may simply enjoy becoming familiar with the music. When they attend a performance it is that familiarity that allows them to enjoy the experience.

OVERTURE TO CANDIDE SENSORY ADAPTATION: Encourage eye contact on an individual basis and have students match facial expressions, either of each other or staff, that change along with the music. MOVEMENT ADAPTATION: Use scarves to assist students in conducting the piece. Scarves can be loosely tied to wrists for students who have difficulty holding them. Have students hold one end of the scarf and a partner hold the other to conduct or move to the music. HANDS ON ADAPTATION: Assign each student an instrument. Have them all play together while matching dynamics.

CONVERSATIONS OF BEAUTY AND THE BEAST FROM MOTHER GOOSE SUITE SENSORY ADAPTATION: Increase sensory arousal and awareness by encouraging students to reach out and up as music increases in activity then relax back down as the music relaxes. MOVEMENT ADAPTATION: Match body/rhythmical movement to the music. For example - use coated paper plates on each foot and “ice skate”/glide across the floor. May use ribbons/streamers instead of plates for rhythmic dancing. HANDS ON ADAPTATION: Have students choose an instrument to be identified with each character. For example – Beauty could be wrist bells, whereas The Beast could be a drum or thunder tube.


LA BOHÈME – “SÌ, MI CHIAMANO MIMÌ” SENSORY ADAPTATION: Students will identify simple emotions expressed by the music when visually prompted by teacher (using feeling icons, such as happy, sad, mad, etc). MOVEMENT ADAPTATION: Students will play “Musical Charades.” For example – one student will choose a piece of music out of a group of song titles/pictures to be played and then act out a rhythmical movement/dance about how that music makes them feel. The other students will identify which emotion the actor is performing. HANDS ON ADAPTATION: Students do a complete “fill in the blank” lyric re-write/lyric discussion comprised of what are their favorite person/place/or thing to “My Favorite Things” from The Sound of Music. For example – “Frasier, and Friends, and How I Met Your Mother, Big Bang Theory and NCIS, Bones and Will & Grace and That 70s Show, these are a few of my favorite shows…”

THE FIREBIRD SUITE SENSORY ADAPTATION: Introduce what is involved in a ballet. Explain that ballet expresses music through dance. Teach the five basic positions of ballet. Adapt accordingly. Some students may use only arms, or only feet if needed. MOVEMENT ADAPTATION: Students will dramatize (“act out”) the segments of the story by using “ballet” (creative movement) along with music. For example - Share that the music they are about to hear is from a ballet called The Firebird, about a large, beautiful bird that casts a spell on some magical creatures and makes them all do a fiery or very flashy dance. The creatures dance very hard for a long time and then collapse (fall down) into sleep at the very end. Use colored streamers or scarves for fire. HANDS ON ADAPTATION: Assign each student an instrument to represent one of the magical creatures but have them play together when directed and match dynamics.

Adaptations Created by Sara Dawson, WoodsEdge Learning Center




INSTRUMENTS: Woodwind: Conversations of Beauty and the Beast Features clarinet and contrabassoon soloists throughout The Firebird - Movement V: Infernal Dance 4:04-4:24 Overture to Candide - 1:00-1:15

Strings: Overture to Candide - 1:16-1:50 “Make our Garden Grow” - :25-1:15 La Bohème - Accompaniment from 0:00-2:00 The Firebird - Movement V: Berceuse 3:20-3:43

Brass: Overture to Candide - 0:00-0:06, :30-:41 “Make Our Garden Grow”- 2:30-3:10 The Firebird - Movement VI: Infernal Dance 0:00-:30 & all throughout (3:56) The Firebird - Movement VII: Finale – 1:48-2:09, 2:44-2:59

Percussion: Overture to Candide - :25-:56 The Firebird - Movement V: Infernal Dance – 1:17-1:20 Mallets The Firebird - Movement VII: Finale – 1:59-2 Triangle, Timpani & Bass Drum

Vocal: La Bohème

TEMPO: Largo (slowly): “Make our Garden Grow” The Firebird - Movement VI: Berceuse


Moderato (medium tempo): Conversations of Beauty and the Beast Opening Section

Allegro (fast): Overture to Candide - Opening Section The Firebird - Movement V: Infernal Dance

DYNAMICS: Forte (Loud):

Overture to Candide - Opening Section The Firebird - Movement V: Infernal Dance - 3:56 The Firebird - Movement VII: Finale - 2:44-3:00

Piano (Soft): “Make our Garden Grow”- Opening Section

Crescendo (Gradually getting louder): Overture to Candide - 3:10-3:28, 3:30-3:48 “Make our Garden Grow”- 1:20-1:37 The Firebird - Movement V: Infernal Dance 3:50-3:55 The Firebird - Movement VII: Finale - 1:10-1:35, 3:00-3:08

Decrescendo (Gradually getting softer): La Bohème – 2:58-3:06


Fermata (Holding a certain note longer than usual – the conductor decides when it is over): “Make our Garden Grow”- 3:39-3:45 The Firebird – Movement VII: Finale – 3:00-End Overture to Candide - :36-:42

2017 YOUTH CONCERT DESIGN TEAM This year’s curriculum was created by an all-star cast of regional elementary educators. Without them, this wouldn’t be possible! Lisa Bernlohr Stucky - Moorsbridge Elementary, Portage Public Schools Jeanna Cervantes-Hickman - Winchell Elementary, Kalamazoo Public Schools Tressa Crosman - Amberly Elementary, Portage Public Schools Sara Dawson - WoodsEdge Learning Center Norma-Jean Forshey - King-Westwood Elementary, Kalamazoo Public Schools Mary Foster - Arcadia Elementary, Kalamazoo Public Schools Michele Helner - Woodland Elementary, Portage Public Schools Kimberly Licavoli - North Ward & Dawson Elementary, Allegan Public Schools Stephanie Measzros - El Sol Elementary, Kalamazoo Public Schools Beverly Ropp - Central Elementary, Portage Public Schools Beth Stachura - North & Green Meadow Elementary, Comstock Public Schools


RECORDING INFORMATION Courtesy of Naxos of America

Candide Overture (Bernstein) - C49007 The Firebird Suite - 1919 version (Stravinksy) II. The Firebird and Its Dance - PTC5186556 III. Variation of the Firebird - PTC5186556 V. Infernal Dance - PTC5186556 VI. Berceuse - PTC5186556 VII. Finale - PTC5186556 La Bohème: Si, mi chiamano mimi (Puccini) 8.660003-04 Daniel Brier, Resident Conductor Liz Youker, VP of Education & Community Partnerships Benje Daneman, Education Manager Cindy Cross, Manager of Community Partnerships Nikki Statler, Director of Sales and Marketing

Mother Goose Suite (Ravel) IV. Conversations of Beauty and the Beast - CD93.325 “Make Our Garden Grow” from Candide Suite (Courtesy of Reference Recordings (RR-87))

YOUTH CONCERT SUPPORT PROVIDED BY: Major Youth Concert Support The Burdick-Thorne Foundation Diane S. Robertson Foundation Tyler-Little Foundation Additional Youth Concert Support Education for the Arts John E. Fetzer Institute Fund The Mignon Sherwood Delano Foundation Youth Concert Luncheon Donors

General Education Support Anonymous Dorothy U. Dalton Foundation Harold & Grace Upjohn Foundation Irving S. Gilmore Foundation Kalamazoo Symphony Orchestra League Michigan Council for Arts and Cultural Affairs National Endowment for the Arts Pfizer, Inc. Upjohn Mason Grandchildren’s Chair in Education Zoetis 45


2017 KSO Youth Concert Curriculum