Musical Explorers Teacher Guide 18-19 (Grades K-2)

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

Teacher Guide

2018 | 2019

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 Olivia Murray, Education & Community Programs Assistant

ADDITIONAL CONTRIBUTORS Alberto López Etsegenet Mekonnen Keali‘i Ceballos Shanna Lesniak-Whitney Amy Mereson Anouska Swaray ILLUSTRATIONS Sophie Hogarth AUDIO PRODUCTION Jeff Cook, 2nd Story Sound 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 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 Dwight Stuart Youth Fund

Musical Explorers is made possible nationally through Carnegie Hall’s Weill Music Institute and the generous support of its funders.

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 and JMCMRJ Sorrell Foundation.

Major funding for Musical Explorers has been provided by The Walt Disney Company.

Additional support has been provided by The Edwin Caplin Foundation, the Ella Fitzgerald Charitable Foundation, and KPMG LLP. Musical Explorers is also made possible, in part, by an endowment gift from The Irene Diamond Fund.

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2018 © The Carnegie Hall Corporation. All rights reserved.

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 Colombian with Alberto 22 Ethiopian with Etsegenet 34 Hawaiian with Keali’i 45 Concert Experience 59 Additional Information 65 Glossary 65 National Core Arts Standards for Music and California VAPA Music Standards 66 Common Core Capacities 67 Acknowledgments 67 Track List 68

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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 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.

Each lesson includes transcriptions in Western notation to assist in learning the music, but note that these are best approximations for diverse traditions that may use different tuning systems or emphasize improvisation. When learning the music, let your ears and the recordings be your guide and be prepared for live variations. 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 The Broad Stage website at www.thebroadstage.org/musicalexplorers.

• 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 Alberto López, Colombian Alberto López received his first music lessons as a child in a neighborhood music school in Medellín, Colombia. Alberto studied piano and percussion at the New England Conservatory in Boston, MA and The Juilliard School in New York City.

He has also studied Afro-Cuban drumming under master and legend Felipe García Villamil. He was part of the Oscar-nominated soundtrack for the 20th Century FOX animated film Rio and in 2013 received a Grammy Award (Best Latin Rock, Urban or Alternative Album) for his work on the Imaginaries album

by Quetzal. Alberto has also been an active educator, teaching privately as well as giving lectures and workshops in schools and universities, including UCLA, Loyola University, SDSU, Occidental College, LAMA, Plaza de la Raza and community centers throughout California, Arizona and Oregon.

Etsegenet Tadesse Mekonnen, Ethiopian Ethiopian musician, guitarist, bass player, singer-songwriter, and arranger Etsegenet Tadesse Mekonnen, was born in Addis Ababa, Ethiopia. She started her musical career at a young age and continued to pursue music at Mekane Yesus School of Jazz Music in Addis Ababa. In 2011, Etsegenet moved to Los Angeles to attend the Los Angeles College of Music (LACM) in Pasadena, CA on scholarship. While attending LACM, Etsegenet was fortunate to learn under great musicians such as: Art Renshaw, Dave Pozzi, Howie Shear, Jerry Watts, Jody Fisher, and Tariqh Akoniand. Etsegenet was part of Pharrell Williams Happy music video, and has performed with the bands Wondem and Alekesam. She has also performed at the Bonnaroo Music Festival, Joshua Tree Music Festival, The Roxy Theatre, Ford Theater, Grand Park Los Angeles, Natural History Museum LA, Record Surplus, Union Station LA, and many more.

Keali‘i Ceballos, Hawaiian Keali‘i Ceballos is a hula journeyman attributing his love for hula to his parents.

In 1991, Keali‘i founded Halau Hula Keali‘i o Nalani. In its 27th year, the Halau has performed in prestigious events nationally and internationally. In addition to his work with the halau, Keali‘i teaches in Nagoya and Tokyo, Japan, UCLA’s Department of World Arts and Cultures/Dance, and Santa Monica College.

In 2017 and 2018, in partnership between the Santa Monica College Dance Academy and the Santa Monica-Malibu Unified School District, Keali‘i taught selected styles of ballroom dance to 5th grade students in elementary schools.

His talent has led to associations with films such as Soul Surfer, Bedtime Stories, Dance with Me, Rapa Nui, and Salsa. In 2011, Keali’i was honored by the Los Angeles County Board of Supervisors for 20 years of cultural service to the Los Angeles community.

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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.

10

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

HAWAIIAN Hawai‘i Colombia

COLOMBIAN

Keali‘i

Alberto

12

SG

4

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?

Colombian Colombia Ethiopian Ethiopia Hawaiian Hawai‘i

Ethiopia

ETHIOPIAN

Etsegenet

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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?

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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-ups in order to establish a routine that fosters healthy vocal technique, kinesthetic learning, and active listening.

Each of the following warm-ups can stand alone or be combined at the discretion of the teacher to best meet the needs of each classroom.

Finding Your Breath Smooth and Bouncy Breath Smooth Breath: Students will explore how to breathe smoothly and steadily.

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

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

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

Bouncy Breath: Students will learn to control the breath by bouncing it.

• Taking the “O” from Smooth Breath, have students 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?

Vocal Warm-Ups In the following exercises, students will practice healthy singing technique by exploring posture, diction, and the full range of their voices.

Sirens: Students will explore the full range of their voices by pretending they are police cars on a chase with their sirens on.

• Model the vocal contour of the siren (going from a low pitch to a high pitch and back down again), while matching the vocal shape with your hand and arms.

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

• Once students are comfortable, choose a student leader to “conduct” the sirens with his or her body.

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Tongue Twisters: Tongue twisters are a fun way to warm up the lips, teeth, and tongue— our articulation tools. This will help encourage proper diction, making words easier to understand when singing.

• Here are some examples of tongue twisters: • Chester cheetah ate a chunk of cheap cheddar cheese.

• Mommy made me mash my M&Ms. • Daddy made me dump them down the drain.

• Ask the class to say a tongue twister slowly at first, and then try to speed up.

• Once the students are comfortable, have them sing the tongue twister on one pitch, starting on middle C and ascending by half steps.

• Once they are comfortable singing the tongue twister try varying it. For example: • Have the class try and sound like one voice as the tongue twister speeds up.

• Change the beginning consonant in the tongue twister.

• Have students write their own tongue twisters.

AScore Posture Song: Proper posture helpsFeet, keep the connected to the voice when singing. feet flatbreath on the floor When a body is hunched, the air gets stuck.

• Students perform the movements described in the lyrics of “Feet, Feet Flat on the Floor” as they sing.

 

    

    

     

Feet, feet flat on the floor back a-way from the chair,

Eyes up, shoul-ders down

    

al-ways sing with care!

Hoot Owl: Students will warm up their head and chest voices while exploring vocal range and legato singing. Head voice often refers to the upper vocal register and can be described as light, floating, and open. Exploring chest voice can help students easily find their head voices.

• Have students place a hand in the middle of their chest (between their sternum and collarbone) and say “huh” in a deep voice. This should produce vibrations in the chest. Explain that this is their chest voice.

• Next, ask students to hoot like an owl. They should no longer feel the chest vibration.

Explain that this is their head voice.

Score owl to sing the exercise “Hoot Owl” starting • Using their owl (head) voice only, ask Hoot students on middle C and ascending by half step to F (or as high as your class can continue while maintaining healthy singing).

   

Wal

-





king through





the woods

 I



hear

 a

 hoot



owl

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 …”)

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Body Warm-Ups Put Breath, Sound, and Imagination Together Using the following prompts, guide students through The Apple Tree.

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 (on a vocal siren from high to low), “Ewww, 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 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 1 2 3

Solfège do re mi

Body Part toes ankles knees

4 5

fa sol

hips waist

6 7 8

la ti do

shoulders head 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.

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 My Feet” after you.

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Score

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

 







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

          

         

     

Student RESPONSE:





       

The beat is like my heart beat

      



You can go fast or slow

3

rhy - thm is

Student RESPONSE:









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 ne - ver chan - ges

           

3

Teacher CALL:

The

               

beat is like my heart beat

Student RESPONSE:

  





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.). © warm-up, ask for volunteers to act as the • As the students become comfortable with 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 well as the accompaniment, Track 2.

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

Track 1 as

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!

21

Lesson 1

Colombian with Alberto

Colombian with Alberto • x Genre and Artist Overview Colombia is home to a rich diversity of musical influences, traditions, and rhythms, including its most famous style of music, cumbia. Cumbia was born when the indigenous musicians along the Magdalena River came together with people of African descent living in the area. A common language of music was developed that combined African percussion with the indigenous instruments such as the gaita. The lower Magdalena River area near the Caribbean coast gave rise to this music and the river allowed it to spread quickly along the river and throughout the country. Many themes in Colombian music are tied to the river; the water, tide, and land along the river are all used as metaphors for love. Multiple rhythms such as the musical style of porro, a subgenre of cumbia, developed in small towns along the coast and river creating the vast variety of Colombian music known today.

Alberto emigrated from Colombia, bringing Colombian music with him from his training as a child. He studied counterpoint, harmony and orchestral conducting in New York, and there, he came under the tutelage of Afro-Cuban drumming master and legend Felipe García Villamil.

With him, he learned not only the drumming and music, but also the religious and ceremonial aspects of Afro-Cuban culture. This deepened Alberto’s understanding of the broader musical landscape of which Colombian music is a part. In November 2004, Alberto founded Belú Music, a music production house and independent label, with the aim of developing and sharing the musical vision of artists around the world. Additionally, Alberto is a co-founder and partner of Artivist Entertainment, an independent entertainment company founded in conjunction with Aloe Blacc, Maya Jupiter, Quetzal Flores and Veronica Gonzalez dedicated to representing artists whose art and music inspire positive social change.

• x Resources for Teachers Listening: • Visit junglefiremusic.com to hear more of Alberto’s music.

• Los Gaiteros de San Jacinto Los Angeles Restaurants: • • • • •

22

El Meson Criollo in Van Nuys La María in North Hollywood Sazón Colombia in Northridge Sabor Colombiano in Downtown Los Angeles La Fonda Antiqueña Colombian restaurant on Melrose Ave.

SG

8

Meet Alberto!

! d o o w y l l o H East

fr G reetings

om...

Hola Musical Explorers! some of the many I am elated to be able to share m Colombia with beautiful musical traditions fro lombia, where you! I was raised in Medellín, Co e songs that you will music is heard everywhere. Th s along Colombia’s be learning are from the region approaches the longest river, Magdalena as it the influence of African Caribbean coast. They reflect ward to meeting you and Spanish cultures. I look for g these wonderful all in person so that we may sin songs together!

Abrazos,

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

Santa Monica, CA

Alberto

23

Georgian Folk with Ilusha SG

9

Lesson 1

We asked Alberto ‌ When did you start playing music?

I was seven when I began my formal music studies. Piano was my first instrument.

What do you love about Colombian music and culture?

I love that African and indigenous culture are woven together a Colombian musical and cultural identity unlike any other! Although it comes from people who had been oppressed, they survived, united and thrived together, which I find humbling and inspiring.

What are Colombians known for?

Colombians are known for their love of music, dancing, food, and ability to create joy in the smallest things in life!

What is your favorite Colombian dish?

I love sancocho because it is simple, practical, and delicious! Sancocho is a stew containing whatever foods are available in any particular region, which can vary greatly. In the inland regions, where farm animals are more common, it may contain chicken, pork, beef, and goat along with customary potatoes, carrots, and yuca (manioc root). In the coastal, lowland regions, where fish are plentiful, many types of fish are included in the dish. In the Caribbean region, suero (a yogurt-like liquid) is an important part of the dish. Delicious!

lombia Cartagena, Co

Sancocho Magdalena Riv er

24

Colombian with Alberto

Lesson 1

Lesson 1: Learn “Ay, Currura!”

Aim: How can we explore rhythm and percussion in Colombian music?

Summary: Students will sing the chorus of “Ay, Currura!,” learn rhythmic patterns, and explore the three percussion instruments used in Columbian music.

Materials: Musical Explorers CD, Musical Explorers Student Guide Standards: California VAPA Music 1.1, 1.3, 2.1, 2.2, 3.1 Vocabulary: melody, pitch, porro, tambora, alegre, llamador

The song, “Ay, Currura” is a porro, a type of Colombian music that is played on the Caribbean coast. It developed as a subgenre of cumbia that was originally a folk style that evolved into a ballroom dance.

Ay, Currura!

• Currura!”

Sing “Ay,

Antonio "Toño" Fernández

q = 82 Listen to “Ay, Currura!” on

° # ™4 • & Learn ™the 4 œchorus œ œ toœ“Ay, œ Currura!” œ œ œ ™ on •

Track 3.

with a finger.

•

# ™4 Ó ™4 & ¢

™ pitches œ œalong, œ œ tracing œ œhigh œ œ the œTrackœ 4 and sing œ œand low pitches

≈ œr ≈ r œ œ œ

Track 3, adding the ≈ œr ≈ r œ œ œ

Practice the melody of the chorus by singing along with “Ay, Currura!” on response “Ay, Currura!.”

° # & œ œ œ œ œ œ œ œ™ #Ó & ¢

° # ™ & ™œ œ œ 5

Le! Le! Le!

# ™Ó ™ & ¢

Ay!

œ œ œ

≈œr≈ r œ œœÓ Ay! Cu-rru- ra!

j ‰ ™™ œ œ

™ ≈ œr ≈ r œ œ œ ™

Ó

Ay!

Cu- rru- ra!

Le! Le! Le!

Cu- rru- ra!

œ œ œ œ œ œ œ œ™

≈ œr ≈ r œ œ œ

Œ

Ay!

Cu- rru- ra!

j ‰ œ œ

Ay!

Ó

Œ

œ œœœœ œ

Le la le la le

≈ œr≈œr œ Ó œ Ay! Cu-rru- ra!

Œ

≈œr≈œr œ

Cu- rru- ra!

œ œœœœ œ

Le la lela le

œ

Ay! Cu-rru- ra!

Ó

Œ

™™

≈œr≈œr œ ™™ œ Ay! Cu-rru- ra!

25

Lesson 1

Colombian with Alberto

“Ay, Currura!” Translation Cuando venga mi sombrero (2x) Ay, Currura!

Le voy a pegar un regaño (2x) Ay, Currura!

When my hat arrives Ay, Currura!

I will admonish it Ay, Currura!

Porque yo le tengo dicho (2x) Ay, Currura!

Que el sereno le hace daño (2x) Ay, Currura!

Because I have told him Ay, Currura!

That the morning dew is bad for his health Ay, Currura!

Le, le, le!

Ay, Currura!

Le, la, le, la, le!

Ay, Currura!

Le, le, le!

Ay, Currura!

Le, la, le, la, le!

Ay, Currura!

Si fueres a la montaña (2x) Ay, Currura!

Dile a la perdiz que cante (2x) Ay, Currura!

Si la encontrares dormida (2x) Ay, Currura!

Llámala a que se levanter Ay, Currura!

Que me muero por subirla Ay, Currura!

If you go to the mountain Ay, Currura!

Tell the partridge to sing Ay, Currura!

If you find her sleeping Ay, Currura!

Tell her to wake up Ay, Currura!

Because I’m dying to climb it Ay, Currura!

(chorus)

(chorus)

Morenita, dame un beso (2x) Ay, Currura!

Que mañana estoy de viaje (2x) Ay, Currura!

Dame uno bonito y grande (2x) Ay, Currura!

Que me sirve pa’l pasaje (2x) Ay, Currura!

Morenita, give me a kiss Ay, Currura!

Because tomorrow I will travel Ay, Currura!

Give me a beautiful and big one Ay, Currura!

That will last through my journey Ay, Currura!

(chorus)

(chorus) *“Ay!” is an exclamation, much like “Oh!” in English. A currura is a type of bird native to the Colombian Caribbean coast.

26

Colombian with Alberto

Lesson 1

Explore Rhythm in “Ay, Currura!”

•

“Ay, Currura!” is a musical style called porro. Listen to Track 5 to hear an example of the rhythmic pattern in porro.

• How does this music style make you want to move?

•

Listen again to

Porro

Track 5 and clap along with the porro rhythm.

• Can you hear and clap along to the rhythmic pattern below? q = 82 Maracón

Llamador Tambora

° 44 ¿. ¿ / ææ / 44 ‰

¿ ¿. ææ

¿ ææ

¿. ¿ ææ

¿ ‰ ¿ ‰ ¿ ‰ ¿ J J J J ≈ ≈ 4 / 4 ¿ ¿ ¿R ¿ ¿ ¿ ¿ ¿ ¿R ¿ ¿ ¿ RL

Alegre

¿.

L R LR

R

L

L R LR

¿. ‰

¿ ææ

¿.

Traditional

¿ ¿. ææ

¿ ææ

¿. ¿ ææ

¿ ‰ ¿ ‰ ¿ ‰ ¿ J J J J ¿ ¿≈¿ ¿ ¿ ¿ ¿ ¿ ≈¿ ¿ ¿¿ R R

RL

L R LR

R

L

L R LR

fij fij 4 ¢/ 4 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿¿ ¿ ¿ ¿ ¿ ¿ H T T H T B B T T oO O O O

O T H T T H T B B T T oO O O O

O T

R L R R L R R L L RL R L R

R L R L R R L R R L L RL R L R

R L

Explore the Percussion Instruments of “Ay, Currura!”

•

Use SG10 to explore the three drums used in “Ay, Currura!,” the tambora, the alegre, and the llamador.

•

Listen to Track 6, Track 7, and Track 8 to hear the different sounds of each drum.

• What words would you use to describe each sound?

• How are the pitches of each drum different?

• How would you move to the sound of each drum?

•

Listen to “Ay, Currura!” again on Track 3.

• Which drum is leading the song along with the singers?

Musical Word Wall Add alegre, llamador, melody, pitch, and porro to the Musical Word Wall.

27

SG

10

Explore Percussion in Colombian Music Llamador A high-pitched drum played with hands or sticks and carries the main accompanying rhythm.

Alegre A middle-pitched drum played with the hands. The alegre leads the song.

Tambora A two-headed drum played with sticks on the head and shell.

28

Colombian with Alberto

Lesson 2

Lesson 2: Learning “Cumbia Sampuesana” Aim: How can we move our bodies to a rhythm?

Summary: Students will learn the chorus of “Cumbia Sampuesana,” explore cumbia through dance, and learn about the gaita.

Materials: Musical Explorers CD, Musical Explorers Student Guide Standards: California VAPA Music 1.1, 1.3, 2.1, 2.2, 3.3, 3.4, 4.1 Vocabulary: chorus, cumbia, gaita

“Cumbia Sampuesana” is a very famous song that comes from the town of Sampués in Colombia. Many towns have their own unique rhythms and style of music because they can be isolated at different parts of the year based on the rising of the River Magdalena.

• Sing “Cumbia Sampuesana”

• •

Listen to “Cumbia Sampuesana” on

•

Look at the translation of the lyrics to “Cumbia Sampuesana”.

• What does it mean to dance with gusto?

• How does this music make you want to move?

Track 9.

Learn the pronunciation of the chorus to “Cumbia Sampuesana” on Track 11, and practice singing the chorus to “Cumbia Sampuesana” on Track 10.

Cumbia Sampuesana

q = 102

4 &4 Ó

‰™

Œ r œ œ œ œ œ œ œ

La Cum- bia Sam- pue- sa-

na

José Joaquín Betín Martínez

‰

≈ r œ œ œ œ œ

Pa' que bai- les con

& œ Œ ‰™ œr œ œ œ œ œ Œ ‰ ≈ œr œ œ œ œ œ Œ Ó œ œ œ

3

ga- nas

La Cum- bia Sam- pue- sa- na

Pa' que bai- les con ga- nas

29

Lesson 2

Colombian with Alberto

“Cumbia Sampuesana” Translation

La Cumbia Sampuesana The Cumbia from Sampués Pa’ que bailes con ganas!

So that you may dance with gusto!

Explore the Cumbia Rhythm

•

Listen to the cumbia rhythm on Track 12.

• How does this rhythm make you want to move?

• Is this movement different from the way you move to the full song?

• Clap or tap along with the beat of the cumbia rhythm. Cumbia is a style of music that developed when indigenous people and people of African descent played music together. It can now be found in many songs from all over Latin America.

•

Cumbia

Listen again to “Cumbia Sampuesana” in Track 9, and keep the cumbia rhythm by tapping along with the beat.

• Which drum is playing the cumbia rhythm?

Traditional

Maracón

Llamador

Tambora

° 44 ¿. ¿ ¿. ¿ ¿. ¿ ¿. ¿ / ææ ææ ææ ææ / 44 ‰ ¿J ‰ ¿J ‰ ¿J ‰ ¿J ≈ 4 /4¿ ¿¿¿ ¿¿¿ ¿¿ ¿¿ L

RR L

RR L

RR

L R

¿. ¿ ¿. ¿ ¿. ¿ ¿. ¿ ææ ææ ææ ææ

‰ ¿ ‰ ¿ ‰ ¿ ‰ ¿ J J J J ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ≈¿ ¿ L

RR L

RR L

RR

L R

S OO S S B OT S OO S S B OT S OO S S B OT S OO S S B OT 4 ¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ Alegre ¢ / 4 R L R L R L R L R L R L R L R L

30

R L R L R L R L R L R L R L R L

Colombian with Alberto

Lesson 2

Learn to Dance Cumbia

•

Cumbia has a special dance that goes along with the rhythm. Use the guide below to learn and practice the steps.

• Is this movement similar or different from the way you moved to “Cumbia Sampuesana” when you first heard it?

• Listen again to “Cumbia Sampuesana” in

Track 9, and dance along with the rhythm.

1

2

Lift your arms above your head with your elbows slightly bent. Walk forward for 8 counts, stepping forward with your left foot and bringing your right

Bring your right arm down behind your back and keep your left arm up with your elbow slightly bent.

Walk forward for 8 counts, leading with your left foot

foot forward to meet your left foot each time.

in the same way.

3

Bring your left arm down behind your back to join your right arm, keeping your elbows slightly bent.

Walk forward for 8 counts, leading with your left foot in the same way.

31

Lesson 2

Colombian with Alberto

Explore the Gaita • The other instrument in “Cumbia Sampuesana” is a type of flute called a gaita. This flute is indigenous to Colombia and was combined with the drums to make the unique ensemble that plays cumbia.

• Explore the gaita on SG11 and listen to the gaita on



Track 13.

Creative Extension: Create Your Own Community Dance In Colombia, different towns established their own rhythm and dance in order to unify the people who lived there. Create a class dance to promote community in your classroom.

• First, establish a rhythm. You can compose a rhythmic pattern as a class or choose between the porro and cumbia rhythmic patterns.

• Create a movement for your dance that moves with the established rhythm.

• Perform your new dance along with the other Colombian dances that you have learned.



Literacy Extension: My Name Is Gabito/Me Llamo Gabito: The Life of Gabriel Garcia Marquez/La Vida De Gabriel Garcia Marquez Can you imagine a shipwrecked sailor living on air and seaweed for eight days? Can you imagine a trail of yellow butterflies fluttering their wings to songs of love? Once, there was a little boy named Gabito who could. Gabriel Garcia Marquez is perhaps one of the most brilliant writers of our time. He is a tremendous figure, enormously talented, and unabashedly admired. This is his story, lovingly told, for children to enjoy.

Using the imagery from his novels, Monica Brown traces the novelist’s life in this creative nonfiction picture book from his childhood in Colombia to today.

Musical Word Wall Add the words chorus, cumbia, and gaita, to the Musical Word Wall.

32

SG

11

Explore the Gaita The gaita is a flute indigenous to Colombia and, along with drums is part of the unique ensemble that plays cumbia.

Gaita head

Body

Holes

33

Introduction

Ethiopian with Etsegenet

Ethiopian with Etsegenet Genre and Artist Overview Ethiopia is a large country in East Africa with many diverse ethnic groups, resulting in different sounds and styles of music and dance practiced throughout the country. The country is divided by the Great Rift Valley, and the musical styles reflect this divide. The music of the highlands generally has simpler melodic structures, while some southern areas have more complex traditions of polyphonic music. Across the country, much of the traditional musical forms are associated with community celebrations or religious rituals.

Etsegenet Tadesse Mekonnen was born in the capital of Ethiopia, Addis Ababa, and although she moved to Los Angeles in 2011, considers Ethiopia her home. Her music is based in the traditions of northern Ethiopia and has been influenced more recently by the diverse musical styles in Los Angeles. Her first album, Yimetal, is a spiritual and uplifting blend of melodies and lyrics based on her Ethiopian roots and sung in Amharic, the official language of Ethiopia. Her music is inspired by daily life, illuminating her own unique experience of two different locations and cultures.

Resources for Teachers Listening: • Visit https://www.etsegenetmusic.com/ to hear more of Etsegenet’s music.

• “Solomon Demle,” Mech Ayeshiwuna • Traditional Kebero Drumming and Dance of Tigray, Ethiopia (on YouTube) Los Angeles Resources: • • • •

34

Little Ethiopia Los Angeles Ethiopian Community Development Center Little Ethiopia Cultural and Resource Center Dankyra Ethiopian Culture School

SG

12

Meet Etsegenet!

a i p o i h t E e l Litt

Selam Musical Explorers, I am so excited to be sharing some traditional Ethiopian music with you all.

I was born and raised in Addis Ababa, Ethiopia. I moved to Los Angeles seven years ago where I studied music and had a chance to meet a lot of wonderful people. The songs you’ll be learning Musical Explorers to sing with me are very popular in Ethiopia, and they are also ancient c/o The Broad Stage songs which have been sung by many generations. I can’t wait to meet with you 1900 Pico Blvd. all!

Ke’selamta gar,

Santa Monica, CA 90405

Etsegenet

35

SG

13

We asked Etsegenet …

What was your first important musical experience?

When I played with a band for the first time.

What are some of your favorite childhood memories growing up in Addis Ababa, Ethiopia?

My favorite childhood memories would be the time I spent with my family mostly with my sisters. Also playing outside doing a lot of activities with my friends in the neighborhood.

What is your favorite Ethiopian holiday to celebrate?

My favorite Ethiopian holiday is the New Year. We celebrate by coming together with family members and singing a lot of New Year’s songs prior to the actual holiday through the entire season. Ethiopian culture is all about honoring our parents, eating good food, music, and dance; so when it is New Year’s celebration, we do that even more.

Celebration in A ddis Ababa

Addis Ababa, Ethiopia

36 36

Injera bread

Ethiopian with Etsegenet

Lesson 1

Lesson 1: Learning “Abeba’yehosh” Aim: What are some ways we can participate in a musical conversation?

Summary: Students will learn the call and response of “Abeba’yehosh,” explore the accompanying rhythmic pattern and learn about the kebero, a drum used in Ethiopian music.

Materials: Musical Explorers CD, Musical Explorers Student Guide Standards: California VAPA Music 1.2, 1.3, 3.1, 3.3, 5.1 Vocabulary: call and response, rhythm, kebero, Amharic

“Abeba’yehosh” is a song that is sung by children, especially young girls, on Enkutatash, the Ethiopian New Year, which takes place on or around September 11. Girls dress in white and walk from house to house singing this song and giving flowers to the people in each home.

Sing “Abeba’yehosh”

•

Listen to “Abeba’yehosh” on Track 14. This song is in call and response form, like a musical conversation.

• 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 call and response pattern in “Abeba’yehosh” on Track 16.

• The lyrics are in Amharic, which is the national language of Ethiopia.

• Score Practice singing the response to Estegenet’s call during “Abeba’yehosh” on Abeba'yehosh

Track 14. Invite one student to be the leader and sing the call with Estegenet while the rest of the class sings the response.

& 68 Œ ‰ ‰ # œ œ # œ œ œ b œ œj œ # œj ‰ # œ œ # œ œ œ œ œj œ # œj ‰ # œ œ a - be - b - a - yehosh lem

6

& #œ œ œ bœ

b - a - ye-hosh

-

lem

a- be - b - a -yehosh lem

j j‰ œ œ #œ #œ œ #œ œ œ œ lem

-

lem

a - be - b - a - ye-hosh

- lem

j jŒ œ œ #œ

lem

-

a - be

‰

lem

37

Lesson 1

Ethiopian with Etsegenet

“Abeba’yehosh” Translation Call Abeba’yehosh Have you seen the flowers Abeba’yehosh Hey my friends Bal enjeroche Come wait in order Gibu betera Till I collect the woods Enchet sebire And build a house Bet eskisera Forget the house Enkuan bet ena Forget the house Yelegnim ater I will stay out all night Edej adralehu Counting the stars Kokeb sikotir Response Lem lem Green green Lem lem Green green Lem lem Green green Lem lem Green green Lem lem Green green Lem lem Green green Lem lem Green green Lem lem Green green Lem lem Green green Lem lem Grean green

Explore Rhythm in “Abeba’yehosh”

•

Listen to

Track 17 to hear the clapping rhythm in “Abeba’yehosh.”

• Do the clapping and the lyrics happen at the same time as each other?

• How are the two having a musical conversation?

• Practice clapping the rhythmic pattern and singing the response in “Abeba’yehosh” on Track 17.

• Now, sing and clap along with the full song on

Track 14.

Explore the Kebero • In “Abeba’yehosh,” the rhythm is kept by the beat of the kebero, a two sided, conical drum. Use SG14 to explore the kebero and listen to Track 18 to hear what it sounds like.

Musical Word Wall Add Amharic, call and response, kebero, and rhythm to the Musical Word Wall.

38

SG

14

Explore the Kebero Kebero is a percussion instrument from Ethiopia. It can be played standing upright or on its side.

Body

Head

39

Lesson 2 Freedom with Imani Lesson 2 Songs Ethiopian with Etsegenet

Lesson 2: Learning “Seleme” Aim: How are pentatonic scales used in Ethiopian music?

Summary: Students will sing “Seleme,” play the associated movement game, and learn about two different pentatonic scales used in Ethiopian music.

Materials: Musical Explorers CD, Musical Explorers Student Guide Standards: California VAPA Music 1.2, 1.3, 3.1, 3.2, 4.2 Vocabulary: scale, major, pentatonic, masinqo

“Seleme” is a traditional, playful Ethiopian song that all children love to sing and dance to. When singing “Seleme,” they dance in one long line where the leader of the line chases the last person in the line. The line swerves and makes big circles so the leader can try and catch the last person. The first person in line usually sings the call and the rest of the children sing the response.

Sing “Seleme” • Listen to “Seleme” on Ethiopian music.

Track 22. This song is also in call and response form, like many songs in

• Learn the pronunciation of the response to “Seleme” on on Track 23.

Track 24 and practice the response

• Practice singing the response to Estegenet’s call during “Seleme” on

\\ E O & 1

seleme

3

& 6

OE

! .

se

seleme seleme

! .

se

40

le

. . . .

me

se

le

me

&O . . . . . . . oh ya se le me ha

7

E

4

! .

se

. . . .

oh

. . . . . . . . . . . . le me se le me oh ya se le me a ha a

40

.

2

5

ya

me

se

le

se

E

. . . . .

le

Track 23.

me

! .

se 8

le

.

me

1

. ha. a

. . . . .

le me se le me

. . . . . . . oh ya se le me a ha

40

Ethiopian with Etsegenet

Lesson 2

“Seleme” Translation Call Seleme seleme

Beautiful beautiful

Lijoch tesebsebu Nu enechawet Kuche sil kuche belu Erutu sirot

Come together friends Come let’s play Sit when you see me sitting Dance when you see me dancing

Seleme seleme

Beautiful beautiful

Response Oh ya seleme aha (x4)

Oh how beautiful (x4)

Oh ya seleme aha Oh ya seleme aha Oh ya seleme aha Oh ya seleme aha

Oh how beautiful Oh how beautiful Oh how beautiful Oh how beautiful

Oh ya seleme aha (x4)

Oh how beautiful (x4)

3

Explore Ethiopian Scales

Score

•

C Major Scale

Review using TG18 and sing the C-major scale – Do, Re, Mi, Fa, Sol, La, Ti, Do using Track 19.

• How many notes are there in a C-major Scale?

& 44 œ

Do

œ

Re

œ

Mi

œ

Fa

œ

œ

œ

œ

So

La

Ti

Do

41

Lesson 2 Freedom with Imani Lesson 2 Songs Ethiopian with Etsegenet • Listen to the two scales from Ethiopia. These scales are called the Tizita Major Scale and the Score

Tizita Major Scale

Bati Minor Scale. Both are pentatonic scales, which have five notes instead of eight.

• How do these scales sound different from the C-major scale?

Tizita Scale

Score

& œ

œ

œ

Bati Minor Scale

œ

œ

Bati Scale

& œ •

bœ

œ

œ

bœ

Sing along with the tizita major scale on Track 20 and the bati minor scale on • Can you hear the differences between the two scales?

• How does each scale make you feel?

• What are some words you would use to describe the sound of each scale?

Track 21.

“Seleme” Movement Game

42

•

Children in Ethiopia play a movement game as they sing “Seleme”.

• Step 1: Have students line up with their hands on the back of the person in front of them.

• Step 2: The leader sings the call and moves forward in a series of curves, trying to tag the person at the end of the line.

• Step 3: Students in the line follow the leader and sing the response.

•

Listen to “Seleme” on

Track 22 and play this game in groups of up to 10 students.

Ethiopian with Etsegenet

Lesson 2

Explore the Masinqo • The masinqo is a traditional Ethiopian single-string instrument played with a bow. Use SG16 to explore the masinqo and listen to Track 25 to hear what it sounds li.



Creative Extension: Create Your Own Five-Note Melody Using the Ethiopian Scales • Review the five notes in the tizita major and bati minor scales. Sing them up and down, using Tracks 20 and 21.

• Explain that you will be writing a new five-note melody as a class, using any or all of the five notes in any order you want. You can repeat notes more than once.

• Do you want your melody to move by step? By leap?

• When will it go up, when will it go down, and when will it stay the same?

• Divide the class into small groups. Each group can create a melody and then share it with the class.



Literacy Extension: The Best Beekeeper of Lalibela: A Tale from Africa Lucine Kasbarian’s story, Almaz, a young girl from the mountains of Ethiopia vows that one day her honey will be the best in the land.

But the other beekeepers laugh her away and tell her it’s men’s work. Determined in her goal, Almaz sets out to prove them wrong.

Musical Word Wall Add major, masinqo, pentatonic, and scale to the Musical Word Wall.

43

SG

15

Explore the Masinqo The Masinqo is from northern Ethiopia in the Amhara region and is played with a bow. It has one string that is made out of a horse’s tail and the body is made out of animal skin.

String

Head

Bow

44

Hawaiian with Keali‘i

Introduction

Hawaiian with Keali‘i • x Genre and Artist Overview Traditional Hawaiian music encompasses several forms, including chanting (oli) and the music meant to accompany stylized Hawaiian dance (hula). In its original form, Hawaiian music is functional and is used to express praise, family lineage, communicate mythology, and tell stories. Folk music melodies and rhythms tend to be simple, with complex poetry, vocal production, and stylized dance.

The instruments originally used in Hawaiian music are percussion instruments made from organic materials such as hollowed out gourds, tree trunks with stretched animal skin, river rocks, rattles and sticks. When Europeans arrived in Hawai‘i, they brought with them the stringed instruments that are now typically thought of as a central part of the sound of Hawaiian music, such as the u‘kulele. Hula is grounded in the oral history of storytelling about gods and goddesses, the ali’I (royalty), sacred and famous places of Hawai‘i, auspicious occasions, notable observations of nature, and family lineage.

Hula and Hawaiian music are deeply connected to native Hawaiian’s and their appreciation of the land and sea.

Keali‘i Ceballos is a hula journeyman attributing his love for hula to his parents. In 1991, Keali‘i founded, Halau Hula Keali‘i o Nalani in Los Angeles where he strives to perpetuate the Hawaiian culture through hula. Throughout its 27-year history, Halau Hula Keali‘i o Nalani has shared its aloha for hula and the Hawaiian culture with performances at numerous hula competitions, festivals and community events in California, Florida, Hawai‘i, Nevada, Washington, Japan, Mexico and Taiwan.

Keali‘i is also on faculty at Santa Monica College and teaches at UCLA’s Department of World Arts and Cultures. In 2011, Keali‘i received the Los Angeles County Board of Supervisors Proclamation for 20 years of cultural service to the Los Angeles community. Keali‘i strives to promote Hawaiian culture and tell the stories of his ancestors through music and hula.

• x Resources for Teachers Listening: • • • • •

Daniel Ho, http://www.danielho.com/ Israel Kamakawiwo ole Keola and Kapano Beamer Keali‘i Reichel Hawaiian Concert Guide Internet Radio Show, hawaiianconcertguide.com

Reading: • Eddie Would Go: The Story of Eddie Aikau, Hawaiian Hero and Pioneer of Big Wave Surfing

by Stuart Holmes Coleman • Travelers’ Tales Hawaii: True Stories by Rick Carroll Los Angeles Resources: • • • •

Halau Hula Keali‘i O Nalani Hawaiian Inter-Club Council of Southern California Community Resource Association King’s Hawaiian Bakery and Restaurant in Torrance Annual Pacific Islander Festival in Long Beach

45

SG

16

Meet Keali‘i!

S

M a t an

a! c i on

Aloha!

My name is Keali‘i and I am very happy to share with you some very special Hawaiian music and dances.

I was raised in Los Angeles, but my parents are from Hawai’i where music and dance was a very big part of their daily lives.

We will learn traditional Hawaiian oli, or chanting, along with using our body as a drum. In Hawaiian hula dancing, we tell stories with our hands. Together, let us bring to life these songs and dances with love, energy and fun!

Mahalo!

Keali‘i

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

Santa Monica, CA 90401

SG

17

We asked Keali‘i …

What is your favorite thing about Hawai‘i?

The food! I love how Hawaiian food includes flavors from other cultures. One of my favorites is called “Spam Musubi” which is spam and rice wrapped in seaweed. I also enjoy “Kalua Pork”! We prepare the pork in an underground oven called an imu, that makes the pork very soft and juicy.

When did you first learn how to hula?

I first learned to hula by watching my six older brothers hula with my mom. My mom was the local hula teacher where I grew up. When I was four I took my first hula class with my mom.

What is something that your mom taught you?

My mom taught me to not be afraid to use my voice, or leo, because your voice has power. I now use the power of my voice when teaching students how to chant and to stand up for what they believe in.

Spam Musub i

wai‘i a H , i u Ma

Keali‘i performing hula

47

Hawaiian with Keali‘i

Lesson 1

Lesson 1: Learning “Pineapple Mango” Aim: How do music and movement work together?

Summary: Students will learn to sing the chorus of “Pineapple Mango” and learn the basics of hula.

Materials: Musical Explorers Student Guide, Musical Explorers CD Standards: California VAPA Music 1.2, 1.3, 2.1, 2.2, 3.3 Vocabulary: chorus, storytelling, hula, ‘ili ‘ili, ipu heke, ‘uli ‘uli, pu‘ili

“Pineapple Mango” is a children’s song about breakfast and the fruits that are found in Hawai‘i. The accompanying hula tells the story of how to pick a pineapple and mango for breakfast. On the island O‘ahu, people’s yards are filled with mango trees. Make sure to visit Hawai‘i during the months of March through November for the ripest mangoes!

Sing “Pineapple Mango”

• •

Listen to “Pineapple Mango” on

Practice the pronunciation of the lyrics to “Pineapple Mango” on chorus to “Pineapple Mango” on Track 27.

•

•

The Breakfast Song

by Amy Stillman & Daniel Ho Practice on Ku'uleialoha Track 26. q = 164the chorus by singing along to “Pineapple Mango”

#

j œ & C .. ‰ œ œ œ œ

œ œ œ œ Œ ‰ jœ œ œ J J œ œ

G

C

D

ma - na ko

# œœ j & J œJ œ ‰ œj œj œ œ œ œ œ C

6

D

ma - na ko

&

48 19

Track 28 and learn the

A very important part of the Hawaiian language is the glottal stop. This is a sound produced (Pineapple Mango) by quickly stopping the air flow in speech, similar to the sound produced to distinguish between a word ending in a “t” followed by a word that starts with a “t” like in the phrase On preparing breakfast when you’re not yet fully awake. “not ten”.

Ha - la ka - hi -ki

13

Track 26.

#

'ai ka hu - a 'ai

E

Ha - la ka - hi -ki

G j œ œ œ œ Œ Œ œ œ œ Jœ œ J J

G

ma - na - ko

Ha la ka hi - ki

ukulele D

j j ˙ Ó .. œ . Jœ ‰ œ Œ Œ œ œ ‰ œj œ œ œ œ œ œ œ ‰ œ œ Ó

G

G

C

Pine - ap - ple

G

Man go

G G C 3 j j œ œ œ œ œj œ Œ . Ó œ. œ ‰ œ Œ Œ œ œ ‰ j œ ‰ Œ œ œ œ . œœ œ œ œœ œ J œ œ J J J

G

Pine - ap - ple

# DŒ

ukulele D

C

3

j œ œ œ

Man -go

œœ

G

Li - li - ko - 'i Pa - lao - a

j

Œ Œ

G

3

C œ œœ j ‰ j œ œ œ œ

'a pa

D

-

j

la - ni pa - 'a

j

œ œ

Hawaiian with Keali‘i

Lesson 1

“Pineapple Mango” Translation Hala kahiki, manakō Hala kahiki, manakō Hala kahiki, manakō E ‘ai i ka hua ‘ai

Pineapple mango Pineapple mango Pineapple mango Eat the fruit salad

Explore Movement in “Pineapple Mango”

•

Explore the translation of the lyrics in “Pineapple Mango”. Hawaiian music and dance has been used as a form of storytelling for hundreds of years. Hawaiian dance is called “hula”.

•

Learn and practice the hula movements to the chorus of “Pineapple Mango” by using the guide below.

• Lele is a basic hula step in which the dancer takes a step forward.

• Hela is a basic hula step in which the dancer’s knees are bent and one leg is extended forward.

•

Use Track 26 to perform the movements and the lyrics with the song or follow along with Keali‘i in the curriculum video on the Education & Community Programs YouTube Channel, ED&COM TBS.



Pineapple

1

Walk forward starting with your right foot (lele) and put your hands over your head to make a “pineapple.”

2

Mango

Walk forward with your left foot (lele) and put your hands n front of you as if you were holding a mango.

49

Lesson 1

3

Hawaiian with Keali‘i

On pahu drum beat

Bend your knees and extend the right leg in front of you (hela). Keep the right foot planted on the ground and bring your hands to your hips.

4

On pahu drum beat

Bring your feet together, bend your knees and extend the left leg in front of you (hela). Keep the left foot planted on the ground and bring your hands to your hips.

• Reflect on how music and movement work together in hula.

• How does the dance tell a story?

• Does the movement tell the same story as the lyrics?

• What does it feel like to use your body to tell stories?

Explore the Percussion Instruments of Hawaii • Keali‘i uses many different percussion instruments in Hawaiian music. Look at the instruments on SG19.

• How do you think these instruments are played?

• What do you think these instruments are made of?

• Percussion instruments make sound when two things are hit together. The instruments that Keali‘i uses are all made from natural objects that come from the land in Hawai‘i. Listen to Tracks 29, 30, 31 and 32 to hear how the ‘ili ‘ili (river rocks), ipu heke (gourd), ‘uli ‘uli (feathered rattle) and pu‘ili (split bamboo) sound different from each other.

• Listen to the recording of “Pineapple Mango” on Track 26 and see if you can hear the sounds of the ‘ili ‘ili (river rocks) and ipu heke (gourd).

Musical Word Wall Add the words chorus, hula, ‘ili ‘ili, ipu heke, pu‘ili, storytelling, and ‘uli ‘uli to the Musical Word Wall.

50

SG

18

Explore Percussion in Hawaiian Music

) ipu heke (gourd

pu‘ili (split bamboo)

‘ili ‘ili (river rocks)

‘uli ‘uli (feathered rattle) (stick kala‘au

s)

51

Lesson 2

Hawaiian with Keali‘i

Lesson 2: Learning “Ni‘ihau” Aim: What are some of the ways in which we can use our bodies to make music?

Summary: Students will learn traditional Hawaiian chant and body percussion with the chorus of “Ni‘ihau”.

Materials: Musical Explorers CD, Musical Explorers Student Guide Standards: California VAPA Music 1.1, 1.2, 1.3, 2.4, 3.1, 3.3, 4.2, 5.1 Vocabulary: oli, paiumuama, pahu

Ni‘ihau is the Western-most Hawaiian island, believed by Hawaiians to be the oldest of the seven Hawaiian islands. This song honors Ni‘ihau by praising the natural world in and around it.

Sing “Ni‘ihau

•

Listen to “Ni‘ihau” on Track 31.

• What words would you use to describe the sound of Keali‘i’s voice?

• How does this music sound different than other music you have heard?

•

“Ni‘ihau” is a chant, in which the lyrics have a rhythm, but no melody. In Hawaiian, the word for chant is “oli”.

•

Learn the first verse of “Ni‘ihau” on Track 33.

Track 32 and practice the pronunciation of the lyrics on

• Score Practice the first verse by chanting along to “Ni‘ihau” on

Ni'ihau

             Kahi kē - i - a o ni' ihau

52





Track 31.

            Kahi kē - i - a o ni' ihau





Hawaiian with Keali‘i

Lesson 2

“Ni‘ihau” Translation Kahi kēia o Ni‘ihau Lua ke kai waiho ka hela aupuni Na la like ‘ole he lehulehu ‘Oia nona pūpū kaulana, hi

Foremost is Ni‘ihau For the oceans that have surrounded Ni‘ihau For the many fish Indeed famous for the rare pūpū shells

Explore• Paiumuama in “Ni‘ihau”

•

Paiumuama, or using the body as drum, is an important part of traditional music and movement in Hawai‘i. This type of body percussion also helps to tell the story of the song.

•

Learn and practice the body percussion to the first verse of “Ni‘ihau.” You can also use the curriculum video on the Education & Community Programs YouTube Channel, ED & COM TBS.



kēia

Kahi 1

Sit at the edge of your seat with your feet planted. Bend your right elbow and bring your hand to a fist. Tap your left hand on the part of your arm right above your right elbow.

2

Bend your left elbow and bring your hand to a fist. Tap your right hand on the part of your arm right above your left elbow.

53

Lesson 2

3

Hawaiian with Keali‘i o

4

Extend both arms in front of you at shoulder height with your hands in fists.

Keep your arms extended and lengthen your fingers long.

hau 5

Keep your arms extended and rotate your palms to face the sky.

54

Ni‘i-

Hawaiian with Keali‘i •

Lesson 2

Next, learn the repeated body percussion that is performed between verses of “Ni‘ihau” using the guide below.

• What does the movement remind you of?

• Can you feel the sway of the trees and roll of the waves when you move?

• How does the body percussion help tell the story of an island?

1

Lean forward and pat your thighs twice to the beat.

3

Lean towards the left and extend your right arm to the right. Bring your left hand high on your chest and look towards the right.

2

Start to move your torso in a circle starting towards the right and roll your arms.

4

Lean towards the right and extend your left arm to the left. Bring your right hand high on your chest and look towards the left.

55

Lesson 2

Hawaiian with Keali‘i

Explore the Polynesian Pahu Drum • The pahu is an ancient drum used in traditional Hawaiian chants. Explore the pahu on SG 20.

• Listen to

Track 34 to hear the sound of the pahu.

• What words would you use to describe the sound of the pahu?

• How do you think the pahu is played?

• Listen to the recording of “Ni‘ihau” on together.



Track 31 to hear how Keali‘i’s voice and the pahu work

Creative Extension: Create Your Own Chant Read the translation of the four verses of “Ni‘ihau” below. This song honors the island of Ni‘ihau by describing the beautiful world around it.

• Can you close your eyes and imagine what Ni‘ihau looks like?

• How do the lyrics of the song help you imagine the island?

• What does it mean to honor something?

Kahi kēia o Ni‘ihau

Lua ke kai waiho ka hela aupuni

Na la like ‘ole he lehulehu

‘Oia nona pūpū kaulana, hi

Foremost is Ni‘ihau For the oceans that surrounded Ni‘ihau For the many fish Indeed famous for the rare pūpū shells

Using SG 21, ask students to describe or draw a place in nature that they would like to honor. Prompt students to think about three elements that make this place special, just like the lyrics that describe the oceans, fish and shells in “Ni‘ihau”.

• What is the land like in my place?

• What is the animal that lives in my place?

• What is something special that is only found in my place?



Literacy Extension: How Maui Slowed the Sun How Maui Slowed the Sun by Suelyn Ching Tune, recounts how Maui uses his magical powers to slow the path of the sun across the sky, thus allowing crops more time to grow, fishermen more time to fish, and children more time to play.

Musical Word Wall Add the words oli, pahu, and paiumuama to the Musical Word Wall.

56

SG

19

Explore the Pahu The body of the pahu is made of one section of tree trunk and the head is dried and stretched sharkskin.

Head

Rope

Body

57

SG

20

Create your own Chant

Draw a picture of a place in nature you would like to honor. Put a word in each box to describe the land, animals, and special things about your place to create your own chant.

My place

58

Land in my place

Animal in my place

Something only found in my place

Water in my place

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 SG21–23.

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 SG24-25.

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

59 59

SG

21

Welcome to The Broad Stage!

This is The Broad Stage.

Meet the ushers!

60

SG

22

You will enter through this door.

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

61

SG

23

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

62

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

24

What Did You See and Hear at The Broad Stage?

Draw pictures of your trip to The Broad Stage below.

63

SG

25

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,

64

Additional Information Glossary Amharic: the national language of Ethiopia

oli: rhythmic speaking of sounds or words

alegre: a middle-pitched drum played with the hands.

The alegre leads the song.

pahu: traditional Hawaiian drum used with chants

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

paiumuama: to use the body as a drum or instrument pitch: the level of a note pu‘ili: (split bamboo) a percussion instrument in Hawaiian music

chorus: a musical section in a song with the same lyrics and melody that repeats after each verse

rhythm: patterns of sound and silence

cumbia rhythm: a folkloric rhythm and dance from Colombia that developed as a combination of musical traditions of indigenous people and people of African descent

solfège: the use of sol-fa syllables to name each note in a musical scale

explorer: a person who uses his or her senses to learn something gaita: a flute indigenous to Columbia and was combined with the drums to make the unique sound of cumbia glottal stop: a sound produced by quickly stopping the air flow in speech

scale: a pattern of musical notes

steady beat: the pulse in music storytelling: to share a tale or series of events tambora: a two-headed drum played with sticks on the head and shell. ‘uli ‘uli: (feathered rattle) a percussion instrument in Hawaiian music

hula: traditional Hawaiian dance that is used to tell a story llamador: a high-pitched drum played with hands or sticks and carries the main accompanying rhythm. ‘ili ‘ili: (river rocks) a percussion instrument in Hawaiian music ipu heke: (gourd) a percussion instrument in Hawaiian music kebero: two-sided conical drum used to keep the rhythm in Ethiopian music major: commonly used pattern of notes especially in Western music masinqo: a traditional Ethiopian single-string instrument played with a bow melody: sequence of musical notes that sound good together 65

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

Unit

National Standards

California VAPA Music Standards

Colombian Ethiopian Hawaiian

1, 2, 6, 10, 11 1, 2, 8, 10 1, 2, 6, 10, 11

1.1, 1.3, 2.1, 2.2, 3.1, 3.3, 3.4, 4.1 1.2, 1.3, 3.1, 3.2, 3.3, 4.2, 5.1 1.1, 1.2, 1.3, 2.1, 2.2, 2.4, 3.1, 3.3, 4.2, 5.1

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).

1.2 Identify simple musical forms (e.g., phrase, AB, echo).

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.

3.2 Sing and play simple singing games from various cultures.

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 66

5.1 Recognize and explain how people respond to their world through music.

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.

“Ay, Currura!,” by Antonio “Toño” Fernández. Performed by Alberto López.

“Cumbia Sampuesana,” by José Joaquín Betín Martínez. Performed by Alberto López.

“Abeba’yehosh,” traditional Ethiopian song. Performed by Etsegenet Tadesse Mekonnen.

“Seleme,” traditional Ethiopian song. Performed by Etsegenet Tadesse Mekonnen.

“Pineapple Mango,” by Daniel Ho. Performed by Keali‘i Ceballos.

“Ni‘ihau,” traditional Hawaiian song. Performed by Keali‘i Ceballos.

All scores reprinted with permission. Tracks 1-2 © 2017 The Carnegie Hall Corporation, Tracks 3-13 courtesy of Alberto Lopez, Tracks 14-25 courtesy of Etsegenet Tadesse, Tracks 26-36 courtesy of Keali‘i Ceballos.

Photos Artist Photos: Alberto courtesy of Alberto López, Etsegenet courtesy of Etsegenet Tadesse Mekonnen, Keali‘i

by Mandy Matthews. SG3: Everyday objects photos by Hillarie O’Toole. SG5: Children playing tube trumpets

by Stephanie Berger. Bucket drummer by Nan Palmero. Boy playing straw oboe by Stephanie Berger.

SG7: Musical Explorers hand motions by Anouska Swaray. TG31 “Cumbia Sampuesana” dance by Mandy Matthews. SG11: Gaita by Alberto López. SG14: Kebero by Mandy Matthews. SG15: Masinqo by Mandy Matthews. TG49-50 “Pineapple Mango” dance by Mandy Matthews. SG18: Explore Percussion Instruments in Hawaiian Music by Mandy Matthews. TG54-55 “Ni‘iahu” dance by Mandy Matthews. SG20: Explore the Pahu

by Mandy Matthews. SG21: Violet and Ushers by Mandy Matthews. SG22: The Broad Stage by Ben Gibbs. Usher

by Mandy Matthews. All other photos courtesy of Creative Commons.

Illustrations TG9: Literacy Extension by Aliki. TG32: Literacy Extension by Raúl Colón. TG42: Literacy Extension by Leonard Jenkins. TG56: Literacy Extension by Robin Yoko Burningham. All other illustrations by Sophie Hogarth.

67

Track List 1. “Carnegie Hall Musical Explorers Song” 2. “Carnegie Hall Musical Explorers Song” accompaniment 3. “Ay, Currura!”

4. “Ay, Currura!” melody 5. “Ay, Currura!” porro rhythm 6. Tambora 7. Alegre 8. Llamador 9. “Cumbia Sampuesana” 10. “Cumbia Sampuesana” chorus 11. “Cumbia Sampuesama” pronunciation 12. Cumbia rhythm 13. Gaita 14. “Abeba’yehosh” 15. “Abeba’yehosh” pronunciation 16. “Abeba’yehosh” call and response 17. “Abeba’yehosh” response and rhythmic pattern 18. Kebero 19. C-Major scale 20. Tizita Major scale 21. Bati Minor scale 22. “Seleme” 23. “Seleme” call and response 24. “Seleme” pronunciation 25. Masinqo 26. “Pineapple Mango” 27. “Pineapple Mango” chorus 28. “Pineapple Mango” pronunciation 29. ‘ili ‘ili (river rocks) 30. ipu heke (gourd) 31. ‘uli ‘uli (feathered rattle) 32. pu‘ili (split bamboo) 33. “Ni‘ihau” 34. “Ni‘ihau” first verse 35. “Ni‘ihau” pronunciation 36. Pahu

68

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thebroadstage.org/musicalexplorers