Musical Explorers: Filipino, Armenian, Son Jarocho (Grades K-2)

Musical Explorers My City, My Song Developed in partnership with Carnegie Hall’s Weill Music Institute

Teacher Guide

2017 | 2018

THE BROAD STAGE Jane Deknatel, Director, Performing Arts Center Ilaan E. Mazzini, Director of Education & Community Programs Alisa De Los Santos, Education & Community Programs Manager Mandy Matthews, Education & Community Programs Associate Sam Sandoval, Education & Community Programs Assistant

ADDITIONAL CONTRIBUTERS CĂŠsar Castro Ara Dabandjian Xochi Flores Joel Jacinto Shanna Lesniak-Whitney Amy Mereson Anouska Swaray Giselle Tongi ILLUSTRATIONS Sophie Hogarth AUDIO PRODUCTION Jeff Cook The Broad Stage Education & Community Programs Theater: 1310 11th Street | Santa Monica, CA 90401 Mailing: 1900 Pico Blvd | Santa Monica, CA 90405 Phone: 310-434-3560| Fax: 310-434-3439 education@thebroadstage.org thebroadstage.org/musicalexplorers Education and Community Programs at The Broad Stage is supported in part by The Herb Alpert Foundation Barbara Herman in honor of Virginia Blywise The California Arts Council Johnny Carson Foundation City of Santa Monica and the Santa Monica Arts Commission The Rosalinde and Arthur Gilbert Foundation Leonard M. Lipman Charitable Fund Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission The Ralph M. Parsons Foundation Sidney Stern Memorial Trust Sony Entertainment Dwight Stuart Youth Fund Ziering Family Foundation, a Support Foundation of the Jewish Community Foundation of Los Angeles Lead funding for Musical Explorers has been provided by Ralph W. and Leona Kern.

Lead funding for Musical Explorers has also been graciously provided by JJR Foundation, JMCMRJ Sorrell Foundation, and Joan and Sanford I. Weill and the Weill Family Foundation.

Major funding for Musical Explorers has been provided by the E.H.A. Foundation and The Walt Disney Company.

Additional support has been provided by The Edwin Caplin Foundation, the Ella Fitzgerald Charitable Foundation, the Lanie & Ethel Foundation, and the Vidda Foundation.

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Table of Contents Foreword 4 Introduction to Musical Explorers 5 How to Use the Teacher and Student Guides 5 Pathways for Teachers 6 Active Listening Tips 7 Meet the Artists 8 Becoming Musical Explorers—Student Activities 9 Welcome to Our Musical Trip! 10 Explore the Sounds of Our City 11 Musical Explorers Around the World Map 12 Discover Music in Everyday Objects 14 Create a Postcard 15 Vocal and Body Warm-Ups 16 Carnegie Hall Musical Explorers Song 20 Filipino Folk with Giselle 22 Armenian with Ara 36 Son Jarocho with César and Xochi 51 Concert Experience 61 Additional Information 67 Glossary 67 National Core Arts Standards for Music and California VAPA Music Standards 68 Common Core Capacities 69 Acknowledgments 69 Track List 70

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Foreword Welcome to Musical Explorers!

Musical Explorers is designed to connect students in grades K–2 to the rich and diverse musical community of Los Angeles as they build fundamental music skills through listening, singing and moving to songs from all over the world. Students explore a wide variety of musical styles found in different Los Angeles neighborhoods, learn songs throughout the year and perform with the artists at culminating interactive concerts.

The Musical Explorers curriculum encompasses skills-based and creative activities that can be integrated into both general and music classrooms. This Teacher Guide includes lesson plans, background information about the artists and their featured musical styles and additional resources.

Digital resources include the songs from each unit performed by our artists, as well as supporting learning tracks and videos. Student Guide pages are full of hands-on activities, photographs, and illustrations that will support active learning.

We thank you for joining our expedition and hope you enjoy the journey!

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Introduction to Musical Explorers Exploration How can music represent the spirit of a community?

Key Objectives Musical Explorers are students and teachers who look for the answers to this question as they • meet artists representing diverse musical styles and cultures from around the world • sing and move to the artists’ songs • make connections among the artists’ music, their cultures, and Los Angeles’ diverse communities • learn fundamental musical concepts How to Use the Teacher and Student Guides This Teacher Guide (TG) contains three units, each devoted to one of our Musical Explorers genres. Every unit contains two lessons, each focusing on a song; the lessons guide you through the process of learning the songs, as well as teaching relevant musical concepts and exploring the cultural context. There are multiple activities within each lesson; you can choose among them to best suit the needs of your classroom.

The complementary Student Guide (SG) pages are incorporated within the Teacher Guide. Additional features that can be found within each lesson include: • Audio Tracks: Audio tracks can be found on the provided Musical Explorers CD. • Videos: Introductory videos for the artists and their music can be found on each artist’s resource page.

• Resources for Teachers: Each unit starts with a page of resources that provides background information about the musical genre and culture. Some of these resources are intended to be shared with students; others are for teachers who may want to explore further on their own.

• Creative Extensions: Creative extensions are designed to deepen the exploration of repertoire, culture and musical concepts.

• Literacy Extensions: Each unit identifies picture books related to the artist’s music and culture that you can read with your students.

• Musical Word Wall: We encourage you to build a word wall and add vocabulary words as they are introduced in the lessons. A glossary of terms can be found in the back of this Teacher Guide.



 

The Teacher Guide, Student Guide, artist resource pages and additional digital resources related to each genre are available through the Musical Explorers Resources webpage thebroadstage.org/musicalexplorers.



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Music Educators Toolbox Carnegie Hall’s digital Music Educators Toolbox provides additional activities, worksheets, audio and video resources and assessments to supplement your teaching.

You can browse the Toolbox by grade level or concept, and all activities are tied to national music standards and the California State Visual and Performing Arts Standards.

These materials are free for use at carnegiehall.org/toolbox.



Options for Teachers of Students with Special Needs • Students can participate in Musical Explorers in a variety of ways and may learn the songs by singing, moving and/or clapping. You may also want to focus on smaller sections of the songs. Since you know your students best, allow them to participate in ways that will help them feel the most successful.

• Encourage students to engage with the music using tangible objects, such as handmade instruments (e.g., cups with beans for shakers), rhythm sticks and drums.

• Allow time for students to experience the music and repeat as often as necessary.

The lessons outlined in this curriculum may take additional time and span more than one class period.

• Use one-step directions and visuals as often as possible to help students understand the concepts.

• Some visual aids are provided within the curriculum and at the Musical Explorers concerts, but you may wish to provide additional resources to help your students engage with the material. If you have ideas for elements to include in future curricula, please send them to education@thebroadstage.org.

Explore

(Minimum requirements for concert)

Meet the artists by using your teacher and student guides.

Listen to both of each artist’s songs.

Learn the parts of the songs that the students will sing at the concert along with any movements that accompany the songs.

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Enhance

Discover

(If you have more time)

(If you have a lot more time)

Try out some of the additional activities provided in each unit. There are musical activities as well as activities focused on visual art, social studies, literacy, etc. Choose the activities that speak to you and fit your classroom needs.

Go deeper! If there is a genre that your students particularly love, listen to some of the additional music suggested by the artists or go on a related field trip; you’ll find resources on the Introduction page at the beginning of each unit.

Dig into the activities highlighted in Becoming Musical Explorers—Student Activities (TG10, SG2–7), go on sound-discovery walks, or create an everythingbut-the-kitchen-sink orchestra from everyday objects. Or put together your own Musical Explorers performance for your school or community.

Active Listening Tips One of the goals of Musical Explorers is to develop habits of active and engaged listening. You can support your students on this journey by using the following strategies.

Make the Invisible Visible Look for ways to make the invisible world of music visible and, whenever possible, kinesthetic. These methods include • counting, clapping, and tapping rhythms (body percussion) • drawing or painting to music • connecting the music to narrative ideas • dancing and moving to music • connecting cultural ideas with music Ask Open-Ended Questions Here are some general suggestions to inspire discussion as students encounter new songs and new sounds. We include additional scripted prompts in blue italics throughout the Teacher Guide as a starting point for further learning and exploration.

• What do you hear in this music?

• How would you move to this music?

• What words can you use to describe this music? For example, is it busy or calm, loud or soft, high or low, smooth or bumpy?

• How does this music make you feel?

• What do you think the musicians are feeling? What makes you think that?

• What are the instrumentalists doing? What is the singer doing?

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Meet the Artists Giselle, Filipino Folk Giselle Töngi, known to her fans simply as “G,” is a familiar and respected figure in the Filipino community. She has long been active in the entertainment industry with over two decades of television experience in both the Asian and American market. Primarily recognized for her acting in film, television and theater in the Philippines, winning several awards for her work, Giselle is also an accomplished writer and producer. Her past work includes the short films “Pinoy Grease,” “Pinoy Tango,” as well as “The Balikbayan Project: With the Bascos,” a 13-part travel series about a second generation Fil-Am family’s experience in the Philippines . Her most recent stint in Manila was the role of Social Media Producer for Rappler.com, where Giselle contributed for the lifestyle, theater and entertainment section. She is also a regular columnist for Asian Journal under her Global Kababayan section. Most recently, Giselle independently hosted and produced a weekly show in North America for FilAms on FREE TV called Kababayan that ran for 11 years.

Ara, Armenian Best known for founding the popular, Los Angeles based, folk ensemble Element Band, Ara Dabandjian’s compositions and musical arrangements have garnered multiple awards. Dabandjian’s compositions deliver unique expression of folk-fusion by incorporating deft instrumentation, lush vocal harmonies, and rich multi-ethnic musical styles that have landed him at prominent stages around the globe. His compositions are credited in several theatrical productions, including Academy Award winner Tim Robbins’ Actors’ Gang and Academy Award winner Alex Dinelaris’ Red Dog Howls and multiple scores for motion pictures. He has performed around the world, including Los Angeles favorites such as the Hollywood Bowl, Nokia Theater, Kodak Theater, Ford Amphitheatre, Starlight Bowl and Skirball Cultural Center.

César and Xochi, Son Jarocho César Castro is a Master Luthier, Sonero and Jarocho from Veracruz, Mexico. César began studying Son Jarocho at 11 with renowned harpist, Andres Alfonso Vergara and continued his studies with Gilberto Gutierrez of El Grupo Mono Blanco, joining the group formally at 16. He also learned laudería, how to make instruments used in the Son Jarocho tradition. In 2001, César began working with Chicanos in Los Angeles through a binational Exchange, Fandango Sin Fronteras, forging relationships through music, and building community through participatory performance. In 2009, César founded Cambalache.

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Xochi Flores has studied Son Jarocho with Quetzal Flores, Russell Rodríguez and and César Castro. She formed part of the first Encuentro of Chicano/ as/ and Jarochos in Xalapa, Veracruz. Xochi has been instrumental in the Exchange by writing grants to bring artists and community workers to the US, participating in groups such as Candela, Las No que No, and collaborating with groups like Quetzal, Ozomatli, Son del Centro, Son de Madera and most recently with Laura Rebolloso, in performances, recordings, group presentations, fundraising and workshops.

Becoming Musical Explorers—Student Activities On SG2 and SG5, you will find two activities to use throughout the year to engage students in discovering music in the world around them. These activities are designed to work individually—both inside the classroom and at home—and as classroom projects (e.g., taking a sound discovery walk or making DIY instruments out of found objects in your classroom).

•

Explore the Sounds of Our City, SG2, gives your students an opportunity to act as musical detectives outside of the classroom, listening for sounds and music in their everyday lives and recording them in the “journal” provided.

• Discover Music in Everyday Objects, SG5, highlights common objects found at home or in the classroom that can be used to create DIY musical instruments. For example, a cardboard box can be strung with rubber bands of different sizes to create a string instrument; a set of drinking glasses filled with different amounts of water can be struck with a spoon or a chopstick to create a xylophone-like instrument; and two pot lids can be struck together like cymbals. Encourage your students to discover other objects that can yield interesting sounds.

The Musical Explorers Around the World Map, SG3–4, illustrates the geographic roots of the music you will be studying this year.

Create a Postcard, SG6, gives your students an opportunity to share what’s special about their neighborhoods as they are learning about the Los Angeles neighborhoods associated with each of the genres.

Literacy Extension: The Listening Walk



In Paul Showers’s The Listening Walk, get immersed in all the sounds around you as you join a girl walking her dog throughout the neighborhood. You may even hear sounds you wouldn’t expect!

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SG

1

Welcome to Our Musical Trip!

Our bus driver, Violet, will take us to neighborhoods all over Los Angeles, where we’ll discover the music and cultures that we will be studying.

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SG

2

Explore the Sounds of Our City Music is everywhere! Let’s go on a sound exploration. All you need are your ears. You can use this explorer’s journal to record what you hear, including car horns and sirens, people singing, the chimes for the subway doors and even silence.

What did you hear?

When and where?

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SG

3

Musical Explorers Around the World Map We can hear music from all around the world in Los Angeles.

Where do these types of music come from?

Filipino Folk The Philippines Armenian Armenia Son Jarocho Veracruz, Mexico Veracruz, Mexico

SON JAROCHO

CĂŠsar and Xochi

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SG

4

ARMENIAN

FILIPINO FOLK

Ara Armenia

Giselle

The Philippines

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SG

5

Discover Music in Everyday Objects Music is waiting to be found in everyday objects!

Experiment and see what kinds of sounds you can make with these objects.

What other objects can you find that make interesting musical sounds?

14

SG

6

Create a Postcard Use the space below to draw or paste pictures of some of your favorite things about your neighborhood. Then write a message to one of our Musical Explorers artists describing your neighborhood.

Greetings from .. .

Dear ___________________ _,

(Artist’s name) c/o The Broad Stage 1900 Pico Blvd.

Santa Monica, CA 90405

Your friend, ______________________

__

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Vocal and Body Warm-Ups Teachers are encouraged to start each lesson with warm-up activities in order to establish a routine that fosters healthy vocal technique, kinesthetic learning and active listening.

Vocal Warm-Ups The following warm-ups are designed to work as a sequence but can also be used as stand alone activities, depending on time, objective and teacher preference.

Smooth and Bouncy Breath: Breathing is the basis for all the ways we use our voice.

• • • •

Using both hands, have students create an “O” shape by touching pointer finger to pointer finger and thumb to thumb.

Instruct them to put the “O” around their belly button and take slow, silent, and deep breaths, pushing the “O” out in a smooth motion as they exhale while keeping their shoulders still.

Add a “sh” or “th” sound to the breath.

Next, try to bounce the “O” in short motions. Add a “sh,” “th,” or “t” sound to the breath.

• What is different or the same when you add different letter sounds while you exhale?

• What is happening inside your body as you breathe?

• Is anything moving? What is moving?

Add Sound to the Breath: In the following exercises, students explore the full range of their voices, from the lowest register to the highest. Body movements match the direction of the voice.

Sirens: Have students pretend they are police cars on a chase with their sirens on. To do this, start by singing “ooo” on a low pitch and slide up to a high pitch, and then slide back down to a low pitch.

• How can we use our arms to show the different levels our voices are making?

•

Try out students’ ideas of how sirens can sound and look.

Yawning Kittens: Have students pretend they are sleepy kittens by stretching, yawning, and sighing.

• • •

Model the vocal contour of the yawn and sigh (going from a high to a low pitch).

Model a swooping contour with your hands and arms.

Have students mimic you so that they can begin to feel and understand the difference between high and low pitches by using their bodies and voices.

Floating Balloon: Have students imagine they are a balloon floating in the wind.

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• •

Model the balloon’s path by moving your arm.

• •

Have students imitate your arm and vocal movements.

Make your voice match the contour of the balloon’s path (voice starts low and finishes high). Repeat this several times.

Experiment with the size and contour of the balloon’s arc, matching the movement with your voice.

Put Breath, Sound, and Imagination Together: Using the following prompts, guide students through The Apple Tree vocal warm-up.

The Apple Tree: Have students imagine they are picking apples.

•

• Look up to the ceiling and imagine a big apple tree.

• Stretch your right hand up and pick the most beautiful apple you can find.

• Clean your apple on your shirt using your breath. Use short, low breaths with a “huh” sound.

• Take a huge bite, and make biting and chewing sounds—the more obnoxious the better.

• Tell me how delicious the apple is by making “mmm” sounds. The higher the sound, the more delicious the apple is!

• Swallow the apple with a gulping sound.

• Look at the apple and exclaim, “Ewww (on a vocal siren from high to low), there’s a worm!”

• Throw the apple and shake your body out to rid yourself of the gross idea of eating a worm.

Repeat the warm-up with the left hand.

Explore Different Voices: Lead a discussion with the class about the four different ways they can use their voices—whispering, talking, calling and singing.

•

• Where would we use our whispering voice? (e.g., library or movie theater) • Where would we use our talking voice? (e.g., classroom, telephone or dinner table) • Where would we use our calling voice? (e.g., baseball game, playing sports or leading a group) • Where would we use our singing voice? (e.g., Musical Explorers concert, car or shower) Have students explore each vocal quality by using the same sentence and pretending they are in some of the places identified above. (e.g., “Hi, my name is …”)

Body Warm-Ups Explore Scales and Melodic Contour

•

Have students sing the notes of a major scale while touching the corresponding points on their bodies indicated below. This scale can be sung using scale degrees, solfège, or the names of the corresponding body part.

Scale Degree

Solfège

Body Part

1

do

toes

2

re

ankles

3

mi

knees

4

fa

hips

5

sol

waist

6

la

shoulders

7

ti

head

8

do

hands in the air

• •

Reverse the scale direction, starting from the top and going down the scale.

You can also try this out with different scales, including minor and pentatonic scales.

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Explore Rhythm and Feel the Beat

• • •

Have students count to four in a repeated pattern.

As they count, have them step in place on beats 1 and 3, maintaining a steady beat.

As they keep the beat with their feet, have students repeat each phrase of “The Beat Is in Score My Feet” after you.

The Beat Is In My Feet

The Beat Is in My Feet: Lead students through different rhythms.

Teacher CALL:

Student RESPONSE:

Teacher CALL:

                    







The beat, the beat, the beat is in my feet

        

         

      



      



3

rhy - thm is

Student RESPONSE:

• • •

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







in

my

 hands,



     



     

  

   

The beat ne - ver chan - ges

but the beat stays the same

You can go fast or slow Teacher CALL:



       

The beat is like my heart beat

You can go fast or slow

Student RESPONSE:

The beat ne - ver chan - ges

           

3

Teacher CALL:

The

               

beat is like my heart beat

Student RESPONSE:



The beat, the beat, the beat is in my feet

  



The

but the beat stays the same

   (here we

go



 now ...)

Begin rhythmic patterns for students to echo back, while everyone continues to keep the steady beat in their feet.

While the students continue to keep the steady beat with their feet, create simple rhythmic patterns with your hands (e.g., chest patting, clapping, snapping, etc.). Ask the students to echo them back to you.

Continue to explore other kinds of body percussion (e.g., hissing, clucking, etc.).

As the students become comfortable with the©warm-up, ask for volunteers to act as the leader, creating their own rhythms for the class to echo back.

Sing the “Carnegie Hall Musical Explorers Song”

• •

Teach students the “Carnegie Hall Musical Explorers Song” on SG7, using the accompaniment, Track 2.

Track 1 as well as

This song can become a staple in your warm-up routine.

Musical Word Wall Add the words explorer, melodic contour, scale, solfège and steady beat to the Musical Word Wall.

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Carnegie Hall Musical Explorers Song Music and lyrics by Daniel Levy

   





  



Ev' - ry song

D 7sus 4  

4

 



tells

 A m7    



F





Don't

son.

you

 B m7        



makes the mu - sic

a sto

G/F 





a tale.

11



tells

G

7

-

    

Ev' - ry rhy



 

want

to



D7



know?





thm

 



 

has

 

       to

tune

a rea -

A m7

Don't you want

know

what

D7 D 7sus 4            

    

Come a - long and

-



Ev' - ry

   



D 7sus 4

ry.

Em

A m7

go?

-





A m7

G

see.

Make your

E

dis - co - ver - y.

I

can

                            

14

G

G/F

sing it.

I can say it.

 G/F    



19

say

23



 C add9 

C add9   

25

sing - in'

27



 

D 7sus 4

I can dance it.

    

    

I can dance it.

  

of

at

-

   songs D7



G

sic

G

and

 

feel

 

A m7

I

-

my

door.

 

in'

good.

My F

 

what

ci - ty

can

know

   A m7/D

makes

the

Copyright © 2007 Daniel Eliot Levy ASCAP

20

I can

  G        I

can go

   and

my

   

I

    know

     C add9

 



can



I can sing it.

  

C add9

I can play it.

    mu

G

I can play it.

E



C/E

it.

world

C/E

what

makes

-

sic

the

   

   G

neigh - bor - hood,

  

  

mu

ex - plore

  

the

mu





go!

-

sic



G

 grow.

SG

7

Carnegie Hall Musical Explorers Song Every song tells a story, every tune tells a tale.

Every rhythm has a reason, don’t you want to know?

Don’t you want to know what makes the music go?

Come along and see, make your discovery.

(x2) I can go explore the world of music at my door.

My city and my neighborhood, singing songs and feeling good.

I can know what makes the music grow.

I can know what makes the music go!

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Lesson 1

Filipino Folk with Giselle

Filipino Folk with Giselle • x Genre and Artist Overview Giselle Töngi is a passionate singer and actress in the Los Angeles Pilipino music and dance community.

A graduate of the University of California with a communications degree and double minor in film and theater, she is more recently defined by the many roles she plays off the stage. She has actively participated in or hosted many events and fundraisers in the Filipino American community. Her personal goals have always been aligned with melding her own bi-cultural identity. Growing up in the Philippines and America has given her a unique perspective, allowing her to value the importance of her roots.

Giselle says that “to be able to bridge the gap between my own two cultures by creating content specifically for Fil-Ams (Filipino-Americans) such as myself is truly the focus of my professional career. To be able to be a voice in the artistic community and be given the chance to represent the Fil-Am experience is also a way to define our culture and identity, which I take very seriously. This keeps me aligned with other people who are also working toward creating art and reuniting other fellow Fil-Ams together.”

Giselle is also a part of Kayamanan Ng Lahi Philippine Folk Arts, a critically acclaimed non-profit organization based in Los Angeles, California. Under the leadership of Joel Jacinto, Barbara Ele and Ave Jacinto, Kayamanan is committed to presenting, promoting and preserving the richness and diversity of Philippine culture through dance and music, to educate, entertain and enlighten. Kayamanan’s artistic approach is based on anthropological research, resulting in a strong and appropriate translation between traditional folk and folkloric Philippine dance and music forms and styles - from the village to the stage.

• x Resources for Teachers Listening: • • • •

Freddie Aguilar, “Anak” Bayang Barrios “Bahay Kubo”, popular Filipino folk song “Leron Leron Sinta”, popular Filipino folk song

Reading: • Filipinos in Los Angeles by Mae Respicio Koerner • My First Book of Tagalog Words by Liana Romulo • Culture and Customs of The Philippines by Paul Rodell Los Angeles Resources:

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•

Visit kayamanan.org, Kayamanan Ng Lahi’s website to find out more about all that they do!

•

Unidad Park, located in Historic Filipinotown, is a community park that features a community garden and the largest Filipino mural in the United States.

•

Association for the Advancement of Filipino American Arts and Culture (FilAm Arts) is an organization that is dedicated to advancing the diverse cultural heritage of Filipino through arts education and performance.

•

The Park’s Finest, Filipino restaurant in Echo Park, Los Angeles.

SG

8

Meet Giselle!

! n w o t o n i p i l i F c i r o Hist

... m o r f s g n i G re e t

Mabuhay! in I am a Filipina American living My name is Giselle Tongi and Los Angeles, California! of the Republic of the I grew up in Manila, the capital go t the Philippines is an archipela Philippines! Did you know tha islands? 7,107 to be exact! surrounded by many beautiful ino Americans in my I am proud to represent the Filip community. e very excited to share the heritag Kayamanan Ng Lahi and I are er eth tog t, we’ll do what we do bes and culture of our people. So gift of song and dance of the with a smile we will share the Philippines with you all!

Musical Explorers c/o The Broad Stage 1900 Pico Blvd.

Santa Monica, CA

Salamat, Giselle

Giselle

23

Georgian Folk with Ilusha SG

9

Lesson 1

We asked Giselle …

Where did you grow up?

I grew up in Manila, Philippines and New Jersey. I am what you call a Filipina American!

What are Filipinos known for?

Filipinos are known for their warm and genuine hospitality, thousands of tropical island destinations and the biggest and loudest party in the neighborhood (complete with the Filipino food spread). Lumpia is a traditional Filipino dish that is usually served at parties.

What is some of the traditional clothing worn in Filipino culture?

The Barong Tagalog is the material made from pineapple fibers that mostly men and now women wear. The traditional clothing for Filipinas, it is the baro’t saya and the terno (butterfly sleeves).

baro’t saya and terno

lumpia

24

Manila, Philipp ines

Filipino Folk with Giselle

Lesson 1

Lesson 1: Learning “Tong Tong Tong” Aim: What can music tell us about the people who sing it?

Summary: Students learn to sing “Tong Tong Tong” ( The Crab Song); explore the instruments from the Islands of the Philippines; and learn the corresponding movements to “Tong Tong Tong”.

Materials: Musical Explorers CD, Musical Explorers Student Guide Standards: California VAPA Music 1.3, 2.2, 3.1, 4.2 Vocabulary: lyrics, bandurria

The Philippines is a Southeastern Asian country in the Western Pacific Ocean, comprising more than 7,000 islands. “Tong Tong Tong” is a folk song that is originally in the Cebuano language but since has been translated into Tagalog. Cebuano is spoken in the Visayas Islands region of the Philippines.

• Sing “Tong Tong Tong”

•

Listen to “Tong Tong Tong” on

•

Learn the lyrics to “Tong Tong Tong” and the pronunciation of the lyrics on

Track 3.

Tong Tong Tong Tong • Practice the lyrics by singing along toPakitong-kitong the chorus of “Tong Tong Tong” on

Track 5.

Track 4.

Philippine Folksong

4 & b4 Œ

œ

™ œ œ ™œ œ œ œ œ

&b œ

œ

ki

at

Ϫ

Tong tong tong 6

10

& b Ϫ ka't

ma

œ œ™ J

tong pa - ki - tong - ki - tong,

j œ œ -

œ ‰ œj œ œ

Œ

sa - rap!

j œ œ 1.

œ

Kay

Œ

na - nga - nga - gat!

Ó

œ

a - li - ma - ngo

Œ

œ

hi - rap

Œ

œ Œ œ œ

sa da - gat

œ

œ

j Œ œ œ œ™

œ

Œ

hu - li - hin 2.

œ

œ

œ

Tong tong tong

™™ œ

ma - la -

œ

œ

sa - pag -

Œ

Ó

gat!

Music Preparation: Annie Nepomuceno, 2017

Tong tong tong tong Pakitong-kitong, Alimango sa dagat

(Nonsense chant) 25

Crab in the sea

Lesson 1

Filipino Folk with Giselle

Explore the Lyrics in “Tong Tong Tong”

• •

Discuss the lyrics, or words, in the song “Tong Tong Tong” with your students.

These lyrics are in Tagalog, the official language of the Philippines. Lyrics can tell us a lot about the people who sing the song and the culture they come from.

• • • •

•

What can we tell about the people who sing this song?

Where might they live?

What do they eat?

How do they get their food?

Share that the Philippines is a country made up of over 7,000 islands, with many different people who speak many different languages and have many different traditions.

“Tong Tong Tong” Tong, tong, tong, tong pakitong-kitong

Tong, tong, tong, tong pakitong-kitong.

Alimango sa dagat

Crab in the sea,

malaki at masarap!

big and delicious!

Kay hirap hulihin

So difficult to catch

sapagkat nangangagat.

because it bites.

Tong, tong, tong, tong pakitong-kitong.

Tong, tong, tong, tong pakitong-kitong.

Explore the Bandurria

•

The bandurria is a stringed instrument used in traditional Filipino songs. Look at the image of the bandurria and learn the parts on SG 10.

• How many strings does the bandurria have?

• Does the bandurria look similar to another instrument you have seen?

•

Listen to the sound that the bandurria makes on

Track 6.

• What does the sound remind you of?

• Listen to “Tong Tong Tong” on

26

Track 3 to hear the bandurria.

Filipino Folk with Giselle

Lesson 1

Learn Movements to “Tong Tong Tong”

•

Learn traditional Filipino movements to “Tong Tong Tong” using the guide below. Use Track 3 to perform the movements with the song or follow along with Giselle in the video “Tong Tong Tong”.

Tong, tong, tong, pakitong-kitong.

Alimango sa dagat

1

Connect your thumb and pointer finger together like a crab’s pinchers, with both arms overhead.

malaki

2

Spread your fingers wide and bring arms overhead, to the side and down to indicate big.

Sway right and left during the beginning of the song until “alimango sa dagat.”

27

Lesson 1

3

Filipino Folk with Giselle

at Masarap

Extend arms in front of you and then to your stomach in a forward swooping motion to indicate stomach.

4

Kay hirap

Cross your right hand in front of body with pincher fingers.

Hulihin sapagkat nangangagat.

5 Cross your left hand over your right with pincher fingers.

Sway both hands right to left while opening and closing the fingers.

Musical Word Wall Add the words lyrics and bandurria to the Musical Word Wall.

28

SG

10

Explore the Bandurria The bandurria is a stringed instrument used in traditional Filipino songs. It is originally from Spain and came to the Philippines during the 1500’s. The Filipino version of the instrument has 14 strings.

Tuning Peg

Strings

Sound Hole

Bridge

29

Filipino Folk with Giselle

Lesson 2

Lesson 2: Learning “Salidumay” Aim: How do we use our voices to create dynamics in a song?

Summary: Students learn to sing “Salidumay” and understand call and response, explore dynamics in “Salidumay” and learn traditional Filipino movements.

Materials: Video projector & video of Unidad Park, Musical Explorers CD, Musical Explorers Student Guide Standards: California VAPA Music 2.1, 3.1, 3.4 Vocabulary: call and response, dynamics, crescendo, decrescendo, forte, piano

“Salidumay” is an indeginous folk song associated with the Igorot and Kalinga natives of the Cordillera Mountains in the northern part of the Philippines. Among the Itneg people, “Salidumay” is the response song of young women to the kalkalimusta songs of men during the weaving season. The song has sweet melodies, expressions of gratitude and plays an important role in the lives of young people of courtship age.

• Sing “Salidumay”

•

Listen to “Salidumay” on the other.

Track 7. The song is a call and response with one group or choir echoing

• Call and response is a musical form where the leader calls one line, and the group responds with either an echo or another complementary phrase.

•

Learn the chorus to “Salidumay” on Track 9.

•

Practice singing the response to Giselle’s call during “Salidumay” on Track 7. Invite one student to be the leader and sing the call with Giselle while the rest of the class sings the response.

Track 8 and pronunciation of the lyrics in “Salidumay” on

Salidumay

adapted by Grace Nono

4 & b4 œ

Call

Ay, 5

Ay,

30

Œ

ay!

Response

&b œ

œ

Œ Œ

œ ay!

œ œ œ

Chorus

Œ

œ

Sa - li - dum - may,

Œ

œ œ œ

œ

Sa - li - dum - may,

œ œ œ

œ

sa - li - dum - may

Œ

œ œ œ

œ

sa - li - dum - may

œ

w

di - way

œ

w

di - way

Filipino Folk with Giselle

Lesson 2

“Salidumay” Kalikasan Kayamanan Kagandahan Kabuhayan

Nature Wealth Beauty Livelihood

Ay, ay salidumay Salidumay diway

Ay, ay salidumay Salidumay diway

Yamang lupa Yamang tubig Yamang puno Yamang hangin Yamang tao Yamang diwa Yamang malay Yamang kaluluwa

Land riches Water riches Tree riches Wind riches People riches Essence riches Consciousness riches Soul riches

Ay, ay salidumay Salidumay diway

Ay, ay salidumay Salidumay diway

Kalinangan Kasaysayan Sulong, bayan Kalayaan…

Resources History Forward, country Freedom…

Explore Dynamics

•

Listen to “Salidumay” again on Track 7 and notice when the music gets louder or softer. The different volumes at which a singer sings or a musician plays are called dynamics.

• Getting louder is called a crescendo and getting softer is called a decrescendo.

• Loud is forte and soft is piano.

•

Practice changing your dynamics by singing along with Giselle on • • • • •

•

Track 7.

How does it feel to sing forte and piano?

How do we use our voices differently to sing forte and piano?

Do you use more breath to sing forte or piano?

What happens to our breath when we crescendo or decrescendo?

Which dynamic do you like singing better?

Have your students practice drawing the symbols used to communicate a change in dynamics on SG 11.

31

Lesson 2

Filipino Folk with Giselle

Learn Movement to “Salidumay”

•

Follow the steps to perform the dance with “Salidumay” on

Track 7.

Ay Ay! Salidumay,

Ay Ay! Salidumay,

salidumay diway

salidumay diway

1

Place your arms overhead in a V position. Bend your hands out at your wrists.

Move your arms in a wave motion starting at the elbow and moving up through the fingers 8 times.

2

Step out to the right and put your weight on your right foot.

Straighten your back leg and point your toe.

Repeat the wave motion 8 times.

Musical Word Wall Add the words call and response, dynamics, crescendo, decrescendo, forte and piano to the Musical Word Wall.

32

Filipino Folk with Giselle





Lesson 2

Creative Extension: Create your own Lyrics to “Salidumay” Have students reflect on the things that make their neighborhoods special or “rich”, such as good food, music and the people in their communities. Using SG 12, students will create their own lyrics to “Salidumay” to celebrate all of things for which they are thankful in their neighborhoods.

Literacy Extension: Tuko and the Birds In Tuko and the Birds by Shirley Climo, Tuko, the gecko, arrives in the small, peaceful Philippine island of Luzon and disturbs the other animals by bellowing his name everytime he eats. Everyone is miserable, until Haribon the eagle devises a plan to trick Tuko into leaving the island for good.

33

SG

11

The Language of Music The language of music uses special shapes and letters that all musicians understand, no matter where they are from or what language they speak. Practice drawing the symbols below.

crescendo

34

decrescendo

SG

12

Create your own Lyrics “Salidumay” is a song of love for the many riches of the Philippines. Think about what you love about your neighborhood and use those ideas to write new lyrics to “Salidumay.”

Ay, ay salidumay Salidumay diway riches riches riches riches riches riches

35

Introduction

Armenian with Ara

Armenian with Ara Genre and Artist Overview Ara Dabandjian is dedicated to continuing the tradition of Armenian music and bringing that tradition to a new audience in Los Angeles. He created his band, Element Band, to give a new breath to traditional Armenian songs and music, after noticing that the new generation of Armenian-Americans was less interested in Armenian music than previous generations had been. Knowing how rich Armenian music is, he felt compelled to arrange Armenian music to be palatable to the ears of Armenian-American kids, as well as to people of all ages and all backgrounds. Element Band’s unique signature embodies the essence of World Music. The band’s distinctive arrangements preserve and popularize traditional Armenian songs by infusing each piece with large bodied vocals and a cool blend of instrumentals. The band’s original compositions resonate deeply with listener’s yearning for nostalgia through modern tones while maintaining the integrity of traditional songs by performing with indigenous instruments.

Ara also believes that music continues the soul of a community of people, as well as honors their history and their future. In the early 1900’s, Armenia was devastated by genocide, resulting in the death of as many as 1.5 million Armenians. An additional half million were forced to flee their homeland, spawning the creation of new Armenian communities all over the world. Many of those who came to Los Angeles congregated in Glendale and in Hollywood where Little Armenia was founded.

Resources for Teachers Listening: • • • •

Element Band Harout Pamboukjian Zulal Miqayel Voskanyan

Reading: • The Armenians: Art, Culture, and Religion by Nira Stone and Michael Stone Videos: • Geography Now! Armenia • Armenia, the Land of Noah Documentary Los Angeles Resources: • Little Armenia is a community within Hollywood, California that is named after the large number of Armenian-Americans who live there and houses plenty of murals that highlight Armenian history and culture.

• Armenian Genocide Martyrs Monument, sometimes known as the Montebello Genocide Memorial, is a monument in Montebello, California that is dedicated to the victims of the Armenian Genocide of 1915.

• Armenian-American Museum, currently under construction in Glendale and set to open in 2018, will be a new resource to experience Armenian history and all of the contributions Armenian-Americans have made to our city.

To Learn More about Armenian Music and Culture: • thearmenite.com • armeniapedia.org • agbu.org

36

SG

13

Meet Ara!

Glendale

Parev Musical Explorers!

I am very excited to be sharing the tradition of Armenian music with you. I grew up in Los Angeles but my grandparents are from Western Armenia, where music was a part of their daily lives. The songs that you will be learning come from an ancient land and have been passed down by many generations before us. I’m looking forward to meeting you all in person and singing these wonderful Armenian songs together.

Your friend,

Musical Explorers

c/o The Broad Stage 1900 Pico Blvd.

Santa Monica, CA 90405

Ara

37

SG

14

We asked Ara …

What was your first important musical experience?

I’m a self-taught musician, so the first and most important musical experience for me was growing up with a musical family; music was always present in our home. There was singing and instruments playing on most nights. There were many influences and different genres of music that I was exposed to growing up in Los Angeles – many of which would be considered life changing experiences that molded me to the type of musician I am today. However, none surpassed the impression and the tradition, which was passed on to me by my family.

What is your favorite Armenian holiday to celebrate?

“Vartavar” is my favorite Armenian holiday. Vartavar is celebrated 98 days (14 weeks) after Easter. During the day of Vartavar, people from a wide array of ages are allowed to douse strangers with water. It is common to see people pouring buckets of water from balconies on unsuspecting people walking below them. The festival is very popular among children as it is one day where they can get away with pulling pranks.

It is also a means of refreshment on the usually hot and dry summer days of July or late June.

What instruments do you play?

I play the accordion, oud, mandolin, guitar, piano, bouzouki (Greek instrument), saz (Armenian instrument) and other ethnic string-instruments.

Vartavar Holid ay

Oud

38 38

West Armenia

Armenian with Ara

Lesson 1

Lesson 1: Learning “Gakavi Yerku” Aim: How do different versions of the same song make us sing, move and feel differently?

Summary: Students will learn the chorus of “Gakavi Yerku”, compare and contrast different versions and learn about the oral tradition of Armenian music.

Materials: Musical Explorers CD, Musical Explorers Student Guide Standards: California VAPA Music 2.1, 3.3, 4.2 Vocabulary: chorus, choir, oral tradition, composer, accordion, ostinato

GAKAVAI YERKU

“Gakavi Yerku” “Gakavi Yerku” is a traditional Armenian folk song that is very old. It has been sung by people for hundreds of years, and parents taught it to their children by simply singing it to them, which is called oral tradition. No one knows who first wrote, or composed, “Gakavi Yerku”, but a composer and collector of Armenian folk music named Gomidas Vardapet was the first person to write it down in music. He added classical instruments and harmonies for multiple voices. Gomidas’ work with “Gakavi Yerku” and many other traditional Armenian songs are the reason that they are still sung today.

##c &

∑

Sing “Gakavi Yerku”

• • •

∑

Listen to “Gakavi Yerku” on

## &

∑

Track 10.

∑

∑

Learn the chorus to “Gakavi Yerku” on Track 12.

Practice the chorus by singing along to “Gakavi Yerku” on

∑

∑

-

roo

## œ œ œ œ œ œ œ & si - roo - ni - g

-

roo

-

nig

-

ni

-

g

œ œ œ œ ˙

na - kh - shoon ga

## œ œ œ œ œ ˙ &

j œ œ œ œ œ ˙ œ

œ œ œ œ œ œ™ si

si

Track 10.

Chorus

## 4 & 4

4 4

∑

Track 11 and pronunciation of the Armenian lyrics on

- ka

-

vig

œ œ œ œ œ œ œ si

-

roo -

si

-

roo

-

nig

œ œ œ œ œ œ™ si

-

roo

-

ni

j œ - g

œ œ œ œ ˙

na - kh - shoon ga

-

ka

-

vig 39

Lesson 1

Armenian with Ara

“Gakavi Yerku”

Ganach saren, sari dzeren Parev perav dzaghigneren

The sun rose from the bosom of dark clouds The partridge flew away from the green mountain From the summit of the green mountain, She brought us the greeting of flowers

Siroonig, siroonig, siroonig nakhshoon gakavig

Pretty, nice little partridge

Kou pooyn hyoosadz dzaghignerov Shooshan, narkiz, noonofarov Kou degh lutsvadz tsogh oo shaghov Knes gelnes yerk oo daghov

Your nest is braided with flowers Of lilies, of narcissus and nenuphars Your place is soaked in dew and night-damp You go to sleep and wake up with songs and odes

Siroonig, siroonig, siroonig nakhshoon gakavig

Pretty, nice little partridge

Kou tev papoog oo khadoodig Bsdig gudoots garmir dodig Garmir garmir dodignerov Gu shororas joodignerov

Your wings are fine and speckled You have a cute little beak and small red feet With your small red feet, You waddle around with your little chicks

Siroonig, siroonig, siroonig nakhshoon gakavig

Pretty, nice little partridge

Yerp gu gaynes mamrod kareen Saghmos gases dzaghignereen Sarer, tsorer zvart ganes Tarti dzoven sird gu hanes

When you stand on the mossy stone You sing psalms to the flowers You bring joy to mountains and valleys You calm the heart from the sea of suffering

Siroonig, siroonig, siroonig nakhshoon gakavig

Pretty, nice little partridge

Arev patsvets tookh amberen Gakav turav ganach saren

Explore the Accordion

•

The accordion is a box-shaped musical instrument with a keyboard and bellows used in many musical genres, including Armenian. Look at the image of the accordian and learn the parts on SG 15.

• How many keys does the accordion have?

• How many bellows does the accordion have?

•

Listen to the sound that the accordion makes on

Track 14.

• What does the sound remind you of?

• Listen to “Gakavi Yerku” on 40

Track 10 to hear the accordion.

Armenian with Ara

Lesson 1

Compare and Contrast Different Versions of “Gakavi Yerku”

• •

“Gakavi Yerku” has been sung by many people in many different ways.

Lesson 2 people all playing instruments and singing in Armenian Folk withandZulal a choir.

This orchestra choir is made up of many Listen to

Track 13 to hear a version of “Gakavi Yerku” arranged by Gomidas Vardapet sung by

harmony together.

•

Now listen to Ara’s version of “Gakavi Yerku” again on

Track 10.

• Can you name some differences between the two versions?

• Note how singers startthe as ifsame? they were one voice, spread out into different parts, and then come back • the Is the melody together• at the end.

Notice how they always blend and work well together.

How is the tempo the same or different?

Track 43.

• Explore the oud on SG31, and listen to the Armenian oud demonstration, • How do you feel when you listen to Ara’s version? The choir’s version?

• Why might different musicians play the same songs differently?

Create Musical Harmony This exercise may be more appropriate for older and more experienced students. You will be exploring harmonic intervals by creating an ostinato, or simple repeated Yerku” pattern, on the first note of the scale, and then experiencing Create Musical Harmony in “Gakavi the harmony created by adding different notes in the scale on the same repeated pattern. Use the body scale exercise, TG18, in conjunction with thisappropriate activity, having students tap the corresponding part ofYou their bodies as This exercise may be more for older or more experienced students. will be exploring they sing their notes. intervals by creating an ostinato, or simple repeated pattern, on the first note of the scale, and harmonic

Ostinato

then experiencing harmony created by adding different notesrhythmic in the scale on the repeated • Divide the class into twothe sections.

Have one group sing a simple repeated pattern, orsame ostinato.

For pattern. example:Use the body scale exercise, TG 17, in conjunction with this activity, having students tap the corresponding part of their bodies as they sing their notes.

•

& 44 œ œ ˙

Divide the class into two sections. Have one group sing a simple repeated pattern, or ostinato. For example: Doo doo doo

œ œ ˙

Doo doo doo

Ostinato

• That• note will be the first note of the scale or Do; using the body scales exercise, TG18, students will touch That note will be the first note of the scale or Do; using the body scales exercise, TG 17, students will touch their toes as they sing the note. their toes as they sing the note.

• While half the class sings the ostinato, ask the other half to sing the same rhythm an octave above, with their • inWhile half ostinato, to sing the same rhythm an octave above, hands the air (asofinthe theclass bodysings scale),the repeating it ask overthe andother over. half For example: with their hands in the air (as in the body scale), repeating it over and over. For example:

& 44

œ œ ˙

œ œ ˙

Doo doo doo

Doo doo doo

• As they sing, have the two groups switch parts, when you call out “switch!”

• Now the same activityswitch with aparts, third step thecall scale on knees) instead of the octave, • As they sing, try have the two groups whenofyou out (hands “switch!”

repeating the pattern multiple times until the students feel secure singing the harmony. If you are able,

• Now try the same activity with the third step of the scale (knees) instead of the octave, repeating the pattern try this with the fifth, fourth and second scale degrees. multiple times until the students feel secure singing the harmony. Try this with the fifth, fourth, and second • How doesstudents it feel toare singready, eachtry harmony?

How do different harmonies feel the same or different? scale degrees.

If your three-part harmony.

• Guide the students to think about the space between the notes – how close or far apart they are.

• How does it feel to sing each harmony? How do the different harmonies feel the same or different? Guide the students to think about the space between the notes—how close together or far apart they are.

• If your students are ready, have the first group continue to sing the ostinato on the root while the second 41 group goes up the scale using the same rhythmic pattern, and changing pitches after two rhythmic patterns.

Accompany them on piano or pitched instrument if possible.

Lesson 1



Armenian with Ara

Creative Extension: Learning about Oral Tradition Like many kinds of folk music, Armenian folk songs like “Gakavi Yerku” have been passed down by many generations of parents to their children. Discuss how music could be shared across generations.

• How can parents share music with their children?

Ask students to think about the members of their families who have lived a long time.

• Who is the oldest member of your family? Grandparents? Aunts or uncles?

Have students interview a grandparent or older member of their family.

• Where did you grow up?

• What kinds of music did you listen to?

• Did your parents share music with you?

Ask students to learn a traditional song from their family member’s childhood and share it with the class.

A lot of folk music is about life many years ago, when people lived closely with nature.

People would invent songs about things they noticed as they worked tending crops or gathering for a big meal with family and friends.

Read the lyrics of “Gakavi Yerku” out loud to your students and reflect on its meaning.

• • • •

What kind of animal is the song about?

Name some descriptive words that the singer uses to describe the partridge.

How does the song of the partridge make the singer feel?

Is there anything that you hear that makes you feel this way?

Using SG 16, have students observe an animal in their neighborhood and think about the way it looks, moves, sounds and acts, as well as the way this animal makes them feel.



Literacy Extension: The Greedy Sparrow: An Armenian Tale In The Greedy Sparrow: An Armenian Tale by Lucine Kasbarian, a greedy sparrow tricks everyone who offers help - and learns that dishonesty and selfishness never pay.

Musical Word Wall Add the words chorus, choir, oral tradition, composer, accordion and ostinato to the Musical Word Wall.

42

SG

15

Explore the Accordion

The accordion is a box-shaped musical instrument with a keyboard and bellows. The instrument is played by pushing and pulling apart the bellows while pressing buttons or keys. The performer usually plays the melody using the keyboard and the accompaniment with the bass buttons.

Keyboard

Bellows

Bass Buttons

43

Freedom Songs with Imani SG

16

Lesson 2

Observing an Animal The song “Gakavi Yerku� is about a bird called a partridge, the beauty of its home and how the singer feels when the partridge sings. Pick an animal you see often in your neighborhood and observe it. Write or draw what you observe and how you feel below.

My Animal

44

How it looks

How it sounds

How it moves

How it makes me feel

Armenian with Ara

Lesson 2

Lesson 2: Learning “Habrban” Aim: How do movement and music come together?

Summary: Students learn to sing the chorus to “Habrban”; learn traditional Armenian dance and perform it with “Habrban”; and discover two new instruments, the oud and dhol.

Materials: Musical Explorers CD, Musical Explorers Student Guide Version: Element Band Standards: California VAPA Music 1.3, 2.1, 3.4 Arrangement: Ara Dabanjian Vocabulary: Oudoud, Introdhol (No Rhythm)

Habrban

b2 & b b4

------------------------------------------------- Rhythm (Percussion) ----------------------------------------------

∑

∑

Sing “Habrban”

∑

∑

∑

∑

∑

∑

Verse 1 • Listen to “Habrban” on Track 15. b ™ ‰ œon œ Track b ‰ theœlyrics œ œto™“Habrban” b the ™ 16œand œ œpronunciation ™ chorus to “Habrban” œ œ œ œ œ onœ œ • &Learn of œ J J j œ œ œ

nœ œ

17.

•

Practice the chorus by singing along to “Habrban” on

b j &b b œ œ œ ‰

Track 15.

œœœ œœœ œ œ œ

j œ

Chorus

œœœ œ

œTrack œ

j ‰ ™™ 42 œ œ œ

b2 j j & b b 4 ≈ œ œ œ œ œ œ œ ‰ œ œ œ œ œj ‰ œ œ œj ‰ ≈ œ œ œ œ œ œ œ ‰ œ œ œ œ œj ‰ habrban eh

habr - ban

ja- n eh - jan

bb b & œ œ œr ≈ ≈ ≈ ∑

∑

jan ghourban

∑

∑

habrban eh

∑

habr - ban

∑

∑

ja- n eh - jan

∑

∑

jan ghourban

b & b b ‰ œ nœ œ œ ™ œbœ œ œ œ œ ‰ œ nœ œ œ ™ œbœ œ œ œ œ œ œ œj ‰ œ œ œ œ œ œ C‹

bb b &

C‹

C‹

C‹

C‹/D C‹/E¨ F‹

F‹ F‹/G

^¿ ^¿ ‰ œ ≈œ ≈œ nœ œ œ ™ j ™ n œ b œ œ œ œ œ œ œ œ œ œ R R œ œœ œ œ œ œ jœ œ œ œ C‹ C‹/D C‹/E¨ F‹ F‹ n œF‹/G F‹/A¨ A¨ B¨ (Groove) C‹ STOP C‹

F‹/A¨ A¨ B¨ j œ

C‹

C‹ HabrbanC‹

STOP

C‹

C‹

Chorus (+Octave)

b j & b b œbœ œ œ œ œ œ œ œ ‰Transcribed œ œ œ œbyœAragas œ œ œj œ œ œ œ œ œ œj ‰ ≈ œ œ œ œ4545 œ œ Abramian

Lesson 2

Armenian with Ara

“Habrban” Arev yelav gpokher Loosnagn yelav gpokher Garmir yeres sev chookhen Garmir yeres sev chookhen Habrban, habrban

The Sun came up and changed The Moon came up and changed A red face and a black sash A red face and a black sash Hey, Hey.

Habrban eh, habrban Jan eh jan, jan ghourban

Hey my love, my dearest one.

Aghchi ko anoon sareh Yar jan ko anoon sareh Ko sern indzi gvareh Ko sern indzi gvareh Habrban, habrban

Girl, your name is Sareh My dear, your name is Sareh Your love burns me Your love burns me Hey, Hey

Habrban eh, habrban Jan eh jan, jan ghourban

Hey my love, my dearest one.

Aghchi ko anoon Shooshan Yar jan ko anoon Shooshan Ari yertank soorp nshan Vosgi madnik kez nshan Habrban, habrban

Girl your name is Shooshan Dear one, your name is Shooshan Let’s go to Saint Nshan church I’ll give you a golden engagement ring Hey, Hey

Habrban eh, habrban Jan eh jan, jan ghourban

Hey my love, my dearest one.

3

Learn Movement to “Habrban”

46

• •

There is a traditional Armenian dance that is done at celebrations by large groups of people.

•

After learning the movements, dance with “Habrban” on

Look at the movements and learn the traditional Armenian dance. First, put your class in a large circle and move towards the right, following the steps on TG 47-48.

Track 15.

Armenian with Ara 1 1

Have your feet together with your arms bent next to you. Bring your hand to a fist, but lift your pinky up. Connect your pinky with your neighbor’s pinky.

Keep your arms here during the entirety of the dance.

3

Step your left foot behind your right foot.

Lesson 2

2

Step your right foot out to the side.

4

Step your right foot out to the side.

47

Lesson 2

Armenian with Ara

5

6

Step your left foot together to meet your right foot.

Pause, and at the same time bend your knees and bring your arms down and back up. Keep your pinky connected with your neighbor’s.

Explore the “Oud” and “Dhol”

•

Look at the image of the oud and dhol and learn the parts on SG 17-18 • The oud is a pear-shaped string instrument with a rounded back and short neck.

• The dhol is a double-headed percussion instrument that is shaped like a barrel.

•

Listen to the sound that the oud makes on

Track 18 and the sound that the dhol makes in

Track 19.

• What does the sound of the oud make you think of?

• What does the sounds of the dhol make you think of?

• How do you do you want to move your body when you hear the oud? The dhol?

•

Listen to “Habrban” on Track 15. Divide the class into two halves and assign one half to raise their hands when they hear the oud and the other half to raise their hands when they hear the dhol.

Musical Word Wall Add the words oud and dhol to the Musical Word Wall.

48

SG

17

Explore the Oud The oud is a pear-shaped string instrument with a rounded back and a short neck. While the oud looks like a big gourd, its body is actually made out of many wooden strips - in fact, its name in Arabic means “thin strips of wood�! Ten of the strings are paired together - pairs of strings play the same note with one low string on its own.

Strings Tuning Pegs

Bridge

Sound Hole

49

SG

18

Explore the Dhol The dhol is a percussion instrument with a cylindrical body and two heads. When playing, musicians can use their hands or sticks to hit the two heads. The rope connects the two heads so that they can be tuned. Tightening or loosening the rope tunes the instrument.

Rope Shell

Head

50

Son Jarocho with César and Xochi

Introduction

Son Jarocho with César and Xochi • x Genre and Artist Overview Son Jarocho is a folk music tradition from Veracruz, a Mexican state along the Gulf of Mexico. The style evolved in the last two hundred and fifty years and represents a fusion of indigenous, Spanish and African musical elements, which reflects the population that evolved in that region throughout the time the area was colonized. The subject of songs range from love to nature and most songs still reflect life in colonial and 19th century Mexico. An essential part of the Son Jarocho culture is the fandango where all ages come to together to participate in the music and dance. This celebration is the way that the Son Jarocho tradition has been kept alive for so many generations.

César ad Xochi are members of Cambalache (from a Spanish word that means exchange), a group of musicians from East Los Angeles who play Son Jarocho music. Cambalache, founded in 2009, promotes traditional Son Jarocho music that draws the audience in to participate in their performances in the spirit of the fandango.

• x Resources for Teachers Listening: • • • •

Ritchie Valens, “La Bamba” Cambalache, “El Siquisirí” Los Vega, “La Morena” Son del Centro, “La Caña”

Reading: • Faces and Voices of Son Jarocho by Alec Dempster • Mexican Americans in Los Angeles by Alex Moreno Areyan Videos: • Sounds of Los Angeles: César Castro’s Son Jarocho • Culture: Mexico’s Son Jarocho Los Angeles Resources: • El Sereno, is one of Los Angeles’ oldest mostly Latino neighborhoods, it turned 100 years old in 2015!

• Eastside Café in El Sereno, a community space dedicated to creating sustainable projects and collectives to empower one another through cultural arts classes and community dialogue.

• Plaza de Cultura y Artes is a cultural center that celebrates and cultivates an appreciation of Mexican-American culture in Los Angeles.

• Chicano Resource Center is a public library in East Los Angeles that contains information about Mexican-American experiences, biographies, folklore and Mexican history.

51

SG

19

Meet CĂŠsar and Xochi!

El

no e r Se

Hola Amigos, We are really happy to have this wonderful opportunity to share some music and dance with you.

The music we play is called Son Jarocho and we are excited for you to learn about it. We hope this music gets you on your feet and that you are able to use music to feel joy!

Musical Explorers

Saludos,

c/o Carnegie Hall

CĂŠsar and Xochi

881 Seventh Avenue New York, NY 10019

52

SG

20

We asked César and Xochi …

Where does Son Jarocho music come from?

Xochi: The music we play is called Son Jarocho and it comes from the state of Veracruz, which is in the southern part of Mexico. The music is a mix of sounds from around Europe, North Africa, West Africa and Mexico because lots of different people lived in Veracruz long ago.

What is your favorite thing about performing your style of music?

Xochi: I enjoy playing Son Jarocho because it has connected me with many friends and communities both here and in Veracruz. I also like that you can dance to Son Jarocho with zapateado.

César: I enjoy playing Son Jarocho music because I believe it is a music that everyone can participate in and that it makes people feel like they are a part of something really special.

Veracruz, Mexico Zapateado

5353

Lesson 1

Son Jarocho with César and Xochi

Lesson 1: Learning “El Colás” Aim: How can we play with tempo in Son Jarocho music?

Summary: Students will learn to sing the chorus of “El Colás”, explore fast and slow tempos and learn about the string instruments used in Son Jarocho music.

Materials: Musical Explorers CD, Musical Explorers Student Guide Standards: California VAPA Music 1.2, 1.3, 2.2 Vocabulary: tempo, accelerando, deccelerando

Sing “El Colás”

• •

Listen to “El Colás” on

•

Practice the chorus by singing along to “El Colás” on

Track 20.

Learn the chorus to “El Colás” on on Track 22.

Track 21 and practice the pronunciation of the lyrics to “El Colás” Track 20.

“El Colás” Colás Colás Colás y Nicolas Lo Mucho que te Quiero Y lo lejos que te vas

54

Colás Colás Colás and Nicholas I love you so so much But there’s lots of distance between us

Son Jarocho with César and Xochi

Lesson 1

Explore Tempo in “El Colás”

•

Listen to

•

Practice changing your tempo by singing faster or slower along with accelerando and slowing down is called decelerando.

•

Reflect on how it feels to change the tempo of a song.

• • • •

•

Track 23, which demonstrates how to change the tempo, or speed, of “El Colás”.

Track 23. Speeding up is called

How does the song sound different when the tempo is fast? How about when the tempo is slow?

What does it feel like to sing a song very fast and then very slowly?

Which one do you like better?

How could we show the difference in tempo with our bodies?

Learn about the stringed instruments in Son Jarocho by reading SG 21.

Musical Word Wall Add the words tempo, accelerando and decelerando to the Musical Word Wall.

Creative Extension: Make a shoebox stringed instrument



Explore the stringed instruments played in Son Jarocho on SG 21. Notice the different numbers of strings on each instrument and the way that each one has a hole in the body.

Make your own stringed instrument by following these steps.

• Collect eight rubber bands, one shoebox with a lid, one pencil and a pair of scissors.

• Draw a medium-sized oval shape in the middle of the lid of the shoebox and put the lid on the shoebox.

• Use scissors to carefully cut out the oval.

• Stretch all eight of the rubber bands around the entire box and arrange them so that they are evenly spaced across the oval hole.

• Slide the pencil between the rubber bands and the lid to create a bridge. Angle the pencil so that the eraser is closer to the outside edge of the box and the tip is closer to the hole in the center.

• Now, adjust the rubber bands so they are tighter or looser around the box, creating different sounds.

• Change the number of rubber bands to match the different instruments played in Son Jarocho.

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SG

21

Explore the Stringed Instruments in Son Jarocho Music

The jarana is an instrument shaped like a guitar that has eight strings: two single strings on the outside and three pairs of strings in the middle.

Jarana

Requinto

Bass

56

The requinto jarocho is a four- or five-stringed instrument that is plucked with a special pick.

The bass is the largest string instrument and has the lowest sound. In Son Jarocho music, it is played by plucking its four strings.

Son Jarocho with César and Xochi

Lesson 2

Lesson 2: Learning “La Guacamaya” Aim: How can we explore rhythmic patterns in Son Jarocho music?

Summary: Students will learn to sing the chorus of “La Guacamaya”, explore the rhythmic patterns in the song, and learn the basic elements of zapateado dance.

Materials: Musical Explorers CD, Musical Explorers Student Guide Standards: California VAPA Music 1.2, 1.3, 2.2, 3.4 Vocabulary: rhythm, zapateado, tarima, fandango, accent

Fandango is an integral part of many communities in Veracruz. A fandango is a community gathering where musicians, dancers, children and adults participate in musical exchange and express themselves.

It can also involve food, drink and other kinds of participatory art and discussion, opening up the fandango as a democratic space of participation.

Sing “La Guacamaya”

• •

Listen to “La Guacamaya” on

•

Practice the chorus by singing along to “La Guacamaya” on

Track 25.

Learn the chorus to “La Guacamaya” on Guacamaya” on Track 27.

Track 26 and pronunciation of the lyrics of “La Track 25.

“La Guacamaya” Vuela, vuela, vuela

Fly, fly, fly

como yo volé

Oh how I flew

Y si no sabes volar

But if you can’t fly

Haremos el viaje a pie

I will walk with you

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Lesson 2

Son Jarocho with César and Xochi

Explore• Rhythm in “La Guacamaya”

•

Listen to the chorus of “La Guacamaya” on Track 26 and sway left and right to the beat, changing directions on each “veula, vuela, vuela” and continuing throughout.

•

Once your students have this rhythm in their bodies, play the full song on same slow rhythm.

•

Add the count “1, 2 and 3” when you sway to the left and the counts “4, 5 and 6” when you sway to the right, making sure to change directions on the “1” and “4” counts.

Track 25 and sway in the

• This rhythm is called 6/8 and it is a common rhythm in Son Jarocho music.

Learn the Zapateado Dance in “La Guacamaya”

•

There is a special type of dance that goes with Son Jarocho music. It is called zapateado.

• Zapateado is performed by dancing on a tarima, a special stage that is built to resonate like a drum. The sound of the dancer’s feet is a main source of percussion in a song.

58

• • •

Remind students of the 6/8 rhythm and sway by practicing along with

•

Starting with your left foot following the pattern below, learn the 6/8 zapateado pattern in alternating feet each whole beat.

•

Notice which beats have accents, or extra emphasis, by the accent marks below the notes. Remind students to stomp harder when they get to those beats.

• •

Practice zapateado in “La Guacamaya” in

Track 28.

Substitute the words “slow, fast, fast, slow” for the counts within each sway.

Listen to the “slow, fast, fast, slow” rhythmic pattern of Xochi’s zapateado in corresponds to the 6/8 rhythmic pattern.

Track 28 and notice that it

Track 25.

Learn the other percussion instruments used in “La Guacamaya” by reading SG 22.

Track 28,

Son Jarocho with César and Xochi

Lesson 2

Creative Extension: Explore the Fandango



César and Xochi are part of regular fandangos at the Eastside Café in El Sereno, a community meeting space for artists and activists. As César says, “[A fandango] is a celebration of who we are, where we come from and the tradition we are upholding.”

Listen to “La Guacamaya” again on being performed at a fandango.

Track 25 and have your students imagine the song

• What else is going on at the fandango?

• Where is the fandango taking place? How many people are there? Who is there with you?

• Is there food there? What does it smell like? Taste like?

• What are you doing? Are you dancing, singing or talking with friends?

Literacy Extension: Pedro and the Coyote



Pedro and the Coyote, by Sandy Sepehri is a story based on Mexican folktales. After the coyote steals steals three chickens, Pedro tricks the coyote by convincing him that the reflection of the moon is actually a piece of cheese.

Musical Word Wall Add the words rhythm, zapateado, tarima, fandango and accent to the Musical Word Wall.

59

SG

22

Explore the Percussion Instruments in Son Jarocho Music

The tarima, or stage in Spanish, is a raised wooden platform used as a dance floor. The holes in the side allow the percussive sound of the dancer’s feet to accent the rhythm of the song.

Tarima

Quijada

The quijada, or jaw in Spanish, is a percussion instrument traditionally made from a donkey jawbone that is treated so that the teeth rattle when you strike or scrape it.

Pandero The pandero is a small hand drum, and often has small metal jingles around the frame.

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Concert Experience

Before the Concert

• • • • •

Review the three artists and their music.

Look at SG3–4 and have students find the countries represented on the map.

• What do you remember about the artists and their music?

Listen to each song.

Brainstorm with students about how to be active listeners, enthusiastic performers and successful audience members during the concert.

Prepare for the surprise songs.

• • •

•

•

At the concert, each of the artists will sing a surprise song that the students have not heard or studied. These songs are selected to complement the two songs in the curriculum and to provide students with an active listening experience as they encounter new music for the first time in a concert setting.

Explain to students that they are in for some exciting surprises during the concert because there will be three songs that they have never heard before. You can ask them to raise their hands or say, “Surprise!” when they hear a surprise song at the concert.

Ask students to guess what the surprise songs by each artist will be like.

• Will they be fast or slow? Quiet or loud?

• Will there be movement or dancing?

Explain that you will be seeing how much they remember about the surprise songs after the concert.

Get ready for your visit to The Broad Stage using SG23–25.

After the Concert

• •

• •

Discuss the overall concert experience.

Discuss the surprise songs.

• • • •

What surprise songs do you remember?

What do you remember about these songs? Were they slow or fast, long or short?

Was there movement to do? Was there any part that you sang along with?

Which was your favorite surprise song and why?

Reflect on your concert experience by completing the activities on SG26–27.

Share your students’ reflections by emailing them to education@thebroadstage.org.

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SG

23

Welcome to The Broad Stage!

Meet Violet!

Hi! I’m Violet, and I’m so excited to meet all of you at the Musical Explorers concert! Getting to spend time at The Broad Stage is my favorite part of the year, and I can’t wait to see what kind of adventures we have as we explore lots of great music from all over Los Angeles and the world together. See you soon!

Meet the ushers!

62

SG

24

This is The Broad Stage.

You will enter through this door.

Your ushers will meet you inside and guide you into the theater to be seated.

63

SG

25

It’s Concert Time!

Circle things you WILL do at The Broad Stage. Put an “X” through things you WON’T do at The Broad Stage.

Use all fo whispe ur kinds of vo ices: ring, ta lking, c alling, and sin ging

Dance

Sleep

Have fun!

Run

Get bored

Talk during the music

Move w Fo l l o

t i on c e r di

Liste n per to the form ers

Eat popcorn

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Ch ee r!

you n e p O ears

r Laugh

s Sing!

w the o h h Watc ns play ia music sing and

Cla p

SG

26

What Did You See and Hear at The Broad Stage?

Draw pictures of your trip to The Broad Stage below.

65

SG

27

Who Is Your Favorite Artist?

Write a letter to your favorite artist. Be sure to include your favorite part of the concert and your favorite song from the concert.

Dear

Your friend,

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Additional Information Glossary accelerando: a gradual increase in speed accent: a stronger emphasis or stress on a particular note accordion: a box-shaped musical instrument with a keyboard and bellows bandurria: a stringed instrument used in traditional Filipino songs bass: largest string instrument with the lowest sound. call and response: a musical form in which one person sings a musical phrase (call), and the group follows (response) with either an echo or another complementary phrase choir: a group of singers chorus: a musical section in a song with the same lyrics and melody that repeats after each verse composer: a person who writes music

jarana: a stringed instrument shaped like a guitar that has eight strings: two single strings on the outside and three pairs of strings in the middle lyrics: a person who uses his or her senses to learn something melodic contour: the direction and shape of a melody oral tradition: a community’s cultural and historical traditions passed down by word of mouth ostinato: continually repeated musical phrase or rhythm oud: a pear-shaped string instrument with a rounded back and a short neck pandero: a small hand drum, and often has small metal jingles around the frame piano: soft

crescendo: getting louder

requinto jarocho: is a four- or five-stringed instrument that is plucked with a special pick

decelerando: a gradual decrease in speed

rhythm: patterns of sound and silence

decrescendo: getting softer

scale: series of notes in ascending or descending order

dhol: a percussion instrument with a cylinder body and two heads

steady beat: the pulse in music

dynamics: different volumes at which a singer sings or a musician plays

tarima: special stage that is built to resonate like a drum when performing zapateado

explorer: a person who uses his or her senses to learn something

tempo: the speed at which a piece of music is performed

fandango: a community gathering where musicians, dancers, children and adults participate in musical exchange and express themselves

quijada: a percussion instrument traditionally made from a donkey jawbone that is treated so that the teeth rattle when you strike or scrape it

forte: loud harmony: the combination of simultaneously sounded musical notes

zapateado: is a dance from Son Jarocho culture performed by dancing on a tarima

Historic Filipinotown: a district of the city of Los Angeles that promotes and preserves the history of Filipinos 67

National Core Arts Standards for Music and California State Visual and Performing Arts Standards for Music

Unit

National Standards

California VAPA Music Standards

Filipino Folk Armenian Son Jarocho

1, 2, 6, 10, 11 1, 2, 6, 10, 11 1, 2, 10, 11

1.3, 2.1, 2.2, 3.1, 3.4, 4.2 1.3, 2.1, 3.3, 3.4, 4.2 1.2, 1.3, 2.2, 3.4

National Core Arts Standards for Music Common Anchor #1

Generate and conceptualize artistic ideas and work.

Common Anchor #2

Organize and develop artistic ideas and work.

Common Anchor #3

Refine and complete artistic work.

Common Anchor #4

Analyze, interpret, and select artistic work for presentation.

Common Anchor #5

Develop and refine artistic work for presentation.

Common Anchor #6

Convey meaning through the presentation of artistic work.

Common Anchor #7

Perceive and analyze artistic work.

Common Anchor #8

Interpret intent and meaning in artistic work.

Common Anchor #9

Apply criteria to evaluate artistic work.

Common Anchor #10

Synthesize and relate knowledge and personal experiences to make art.

Common Anchor #11

Relate artistic ideas and works with societal, cultural and historical context to deepen understanding.

Visual and Performing Arts Framework for California Public Schools (VAPA): Music 1.0 ARTISTIC PERCEPTION Processing, Analyzing, and Responding to Sensory Information Through the Language and Skills Unique to Music 1.1 Read, write, & perform simple patterns of rhythm and pitch, using beat, rest, & divided beat (two sounds on one beat).

1.3 Identify common instruments visually and aurally in a variety of music.

2.0 CREATIVE EXPRESSION Creating, Performing, and Participating in Music 2.1 Sing with accuracy in a developmentally appropriate range.

2.2 Sing age-appropriate songs from memory.

2.4 Improvise simple rhythmic accompaniments, using body percussion or classroom instruments.

3.0 HISTORICAL AND CULTURAL CONTEXT Understanding the Historical Contributions and Cultural Dimensions of Music 3.1 Recognize and talk about music and celebrations of the cultures represented in the school population.

3.3 Use a personal vocabulary to describe voices, instruments, and music from diverse culture.

3.4 Use developmentally appropriate movements in responding to music from various genres, periods, and styles (rhythm, melody, form).

4.0 AESTHETIC VALUING Responding to, Analyzing, and Making Judgments About Works of Music 4.1 Create movements that correspond to specific music.

4.2 Identify, talk about, sing, or play music written for specific purposes (e.e., work, song, lulluby).

5.0 CONNECTIONS, RELATIONSHIPS, APPLICATIONS Connecting and Applying What Is Learned in Music to Learning in Other Art Forms and Subject Areas and to Careers 5.1 Recognize and explain how people respond to their world through music.

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Common Core Capacities Through hands-on classroom activities and one culminating interactive performance, Musical Explorers helps to address Common Core Capacities for College and Career Readiness, empowering students through learning activities in which they • demonstrate independence • build strong content knowledge • respond to the varying demands of audience, task, purpose, and discipline • comprehend, as well as critique • value evidence • come to understand other perspectives and cultures The Musical Explorers curriculum focuses on building music performance skills, content knowledge, and creativity, while developing core capacities in English language arts and mathematics. Through active listening, describing and analyzing repertoire, writing activities, and a focus on the perspectives of other cultures and communities, Musical Explorers provides students with the opportunity to put these core capacities to use in a musical domain. Visit carnegiehall.org/MusicalExplorers for more information.

Acknowledgments Recordings “Carnegie Hall Musical Explorers Song,” by Daniel Eliot Levy. ©2007 and ASCAP. Performed by Shanna LesniakWhitney and Shane Schag.

“Tong Tong Tong,” traditional Filipino song. Performed by Giselle Tongi and Kayamanan Ng Lahi.

“Salidumay,” traditional Filipino song. Performed by Giselle Tongi and Kayamanan Ng Lahi.

“Gakavi Yerku,” by Gomidas Vardapet. Performed by Ara Dabandjian.

“Habrban,” traditional Armenian song. Performed by Ara Dabandjian.

“El Colás,” traditional Son Jarocho song. Performed by César Castro and Xochi Flores.

“La Guacamaya,” traditional Son Jarocho song. Performed by César Castro and Xochi Flores.

All scores reprinted with permission. Track 1-2 © 2017 The Carnegie Hall Corporation, Tracks 3-9 courtesy of Giselle Tongi and Kayamanan Ng Lahi, Tracks 10-19 courtesy of Ara Dabandjian, Tracks 20-28 courtesy of César Castro and Xochi Flores.

Photos Artist Photos: Giselle courtesy of Giselle Tongi, Ara courtesy of Ara Dabandjian, César and Xochi courtesy of Xochi Flores. SG 3: Everyday objects photos by Hillarie O’Toole. SG 5: Children playing tube trumpets by Stephanie Berger. Bucket drummer by Nan Palmero. Boy playing straw oboe by Stephanie Berger. SG 7: Musical Explorers hand motions by Anouska Swaray. TG 27-28 “Tong Tong Tong” dance by Mandy Matthews.

TG 31 “Salidumay” dance by Mandy Matthews. TG 46-47 “Habrban” dance by Mandy Matthews. SG 23: Violet and ushers by Mandy Matthews. SG 24: The Broad Stage by Ben Gibbs. Usher by Mandy Matthews. All other photos courtesy of Creative Commons.

Illustrations Page 32: Literacy Extension by Franciso Mora. Page 41: Literacy Extension by Marla Zalkina. Page 58: Literacy Extension by Brian Demeter. All other illustrations by Sophie Hogarth.

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Track List 1. “Carnegie Hall Musical Explorers Song” 2. “Carnegie Hall Musical Explorers Song” accompaniment 3. “Tong Tong Tong” 4. “Tong tong Tong” chorus 5. “Tong Tong Tong” pronunciation 6. Bandurria 7. “Salidumay” 8. “Salidumay” chorus 9. “Salidumay” pronunciation 10. “Gakavi Yerku” 11. “Gakavi Yerku” chorus 12. “Gakavi Yerku” pronunciation 13. “Gakavi Yerku” choir 14. Accordion 15. “Habrban” 16. “Habrban” chorus 17. “Habrban” pronunciation 18. Oud 19. Dhol 20. “El Colás” 21. “El Colás” chorus 22. “El Colás” pronunciation 23. “El Colás” tempo 24. Jarana 25. “La Guacamaya” 26. “La Guacamaya” chorus 27. “La Guacamaya” pronunciation 28. Zapateado pattern

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thebroadstage.org/musicalexplorers