LESSON GUIDE CREATED BY DIANE WALLS

Transcription

1 DELAWARE SYMPHONY PRESENTS PETER AND THE WOLF AND MOTHER GOOSE SUITE LESSON GUIDE CREATED BY DIANE WALLS 1

2 DSO Lesson Guide: Table of Contents Page Content 3 Orchestra Seating Chart 4 String Family 5 Woodwind Family 6 Brass Family 7 Percussion Family 8 State Standards (Music, Visual Arts, ELA) 9 Lesson 1 - Instruments of the Orchestra 11 Instrument Family Flash Cards 12 Meet the Composer: Sergei Prokofiev 13 Lesson 2 - Peter and the Wolf (Intro & listening) 14 Lesson 3 - Peter and the Wolf (Review) 15 Meet the Composer: Maurice Ravel 16 Lesson 3: Mother Goose Suite: Pavane for Sleeping Beauty & Little Tom Thumb 18 Pavane for Sleeping Beauty Melodic Phrase Cards 19 Lesson 4: Laideronnette: Empress of the Pagodas & Conversations of Beauty and the Beast 21 Lesson 5: Conversations of Beauty and the Beast The Fairy Garden 23 Lesson 6: ELA Writing Prompt 24 Sources 2

3 Orchestra Seating 3

4 The String Family Information and introductions As the largest family of the orchestra, all members are alike. They each have curved, hollow, wooden bodies with four strings. For a classical concert, the Delaware Symphony Orchestra typically uses 26 violins, 10 violas, 10 celli, and 8 double basses. violin viola bow cello double bass The violin and viola are held under the chin, and like all string instruments, the bow is drawn across the strings. The viola is a few inches longer (depending on the individual instrument) than the violin and has a lower, richer sound. The cello and double bass stand on the floor. The cellist sits on a chair to play, while the bassist usually stands to play his or her instrument. Because the bass is 6 feet tall and sounds low, it is sometimes called the grandfather of the orchestra. The violin and the cello are proportionate to each other the cello is a violin that s exactly twice as large. The viola and bass, however, are not proportionately sized the viola would be too large to be held, and the bass would be too large to be played (even standing up!). The bow is a wooden rod strung with hair from a horse s tail. Horse hair is specifically chosen because it has tiny breaks all over, like split ends in human hair, that allow it to make contact with the string. String players use rosin, a sticky brown substance that comes from tree sap (just like maple syrup) to make their bows move smoothly over the string much like lubricating a door hinge so it doesn t squeak. 4

5 The Woodwind Family Information and introductions This family s name was chosen because most of the instruments are made of wood, and it takes wind to play them. The tone is produced by air blown directly into a hollow tube or by vibrations caused by reeds. All woodwind instruments have systems of keys that can be opened and closed by a musician s fingers. Flute Clarinet Oboe Bassoon The flute is one of the oldest instruments and used to be made of wood. Today, it is usually made of silver, gold, or platinum. Blowing across a hole in the side creates sound. There are three parts: the head joint (top), the body (middle), and the foot joint (bottom). The Piccolo (little flute) is also used in the orchestra and has a sharp tone. The clarinet is made of hard woods, like ebony or grenadillo. The sound occurs when air vibrates across the single reed (thin slice of wood) attached to the mouthpiece. It can play a wide range of dynamics. The oboe is a double reed instrument that produces sound when the two reeds vibrate together. The oboe is the instrument that helps the orchestra tune, because its timbre is the easiest to hear (in that it cuts so well through the other instruments sounds). It plays its A (the tuning note) and all the other instruments play the same note on their instruments, adjusting their pitch to the oboe s. The French word for oboe is hautbois, which means loud wood. The oboe has a big brother called the english horn, which is longer and lower sounding than the oboe. The bassoon is the largest and lowest sounding in this family. A curved metal tube called a crook helps bring the double reed to the player s mouth. A strap goes around the player s neck and attaches to the instrument to help support the bassoon while it s being played. 5

6 The Brass Family Information and introductions All brass instruments are tubes made of brass or other metallic alloys. They have cup-shaped mouthpieces on which the player s lips vibrate. The vibrations players make sound very similar to a raspberry made with your lips. The air runs through the tubing and the sound is amplified in the bell of the instrument, which is wider and projects sound. (French) Horn Trumpet Tuba Trombone The trumpet makes the highest sound and is the smallest in this family. It was once used to frighten enemies in battle! It is at least 3500 years old and has even been found in ancient Egyptian tombs. The trombone is the only brass instrument that has a sliding part. There are seven different positions that a player uses to get distinctive notes. Trombonists slide their slide all the way to the end of the instrument when playing their lowest notes. The (French) horn is the curliest brass instrument; its tubing is almost 16 feet long! Some of the earliest horns were made from the horns of animals. It is the only instrument played with the hand inside the bell. Early horns did not have valves, which change the pitch, so musicians changed pitch by moving their hand within the bell. Now, players make smaller changes to the sound with their hands, including volume and tone. The tuba is the largest instrument in the brass family and can reach the lowest notes. It was designed in 1835, which makes it one of the youngest instruments! The marching tuba is called the sousaphone, which was invented by and named after the famous composer John Philip Sousa, also known as the march king. 6

7 The Percussion Family Information and introductions The percussion family includes instruments whose sounds are made by scraping, shaking, or striking. There are two kinds of percussion instruments: tuned and untuned. Tuned instruments can play a distinct note while untuned instruments always make the same sound every time they are hit. Examples of tuned instruments: Xylophone Glockenspiel Timpani Chimes Examples of untuned instruments: Cymbals Castanets Bass Drum (and mallet) Snare Drum Tambourine Triangle 7

8 Delaware Standards: Music Standard 6 - Standard 7 - Standard 8 - Standard 9 - Students will listen to, describe, and analyze music and music performances. Students will evaluate music and music performances. Students will make connections between music, the other arts, and other curricular areas. Students will understand music in relation to diverse cultures, times, and places. Visual Arts Standard 2: Using knowledge of structures and functions. Standard 3: Choosing and evaluating a range of subject matter, symbols, and ideas. Standard 6: Making connections between visual arts and other disciplines. ELA Common Core Standards (Grade 3) Text Type and Purposes: Write narratives to develop real or imagined experiences or events using effective technique, descriptive details, and clear event sequences. a. Establish a situation and introduce a narrator and/or characters; organize an event sequence that unfolds naturally. b. Use dialogue and descriptions of actions, thoughts, and feelings to develop experiences and events or show the response of characters to situations. c. Use temporal words and phrases to signal event order. d. Provide a sense of closure. Production and Distribution of Writing With guidance and support from adults, produce writing in which the development and organization are appropriate to task and purpose. With guidance and support from peers and adults, develop and strengthen writing as needed by planning, revising, and editing. 8

9 Lesson 1: Instruments of the Orchestra Objectives: The students will: Visually categorize instruments by family Gain understanding of how sound is produced on instruments Aurally identify recordings of each instrument family Materials: Photos/pictures of individual symphonic instruments Symphonic recording (to demonstrate instrument families; i.e. Young Person s Guide to the Orchestra by Benjamin Britten) Large representation of each instrument family Procedure: 1. Introduce the instrument families of the orchestra. Sometimes people in families resemble each other, or look-alike. The instruments of the orchestra are grouped into families too. Instruments belong to a particular family because of the way sound is made on the instrument but often those instruments have a similar appearance as well. 2. Using classroom resources, show students pictures of individual instruments. Have students sort them into family groups (not making corrections yet). Depending on class size and number of pictures you have, each student could have one instrument to sort or students could work in pairs. 3. Compare students instrument families to actual instrument families, make corrections as needed. 4. Listen to a recording of each family playing. (Suggested recording: specific excerpts from A Young Person s Guide to the Orchestra by Benjamin Britten.) After each recording give a brief explanation of how sound is produced on instruments from each family (Bonus opportunity if you have the resources, demonstrate at least one instrument from each family). String Family the strings on string instruments are either plucked or bowed causing the vibrations which create sound. Woodwind the oboe, clarinet, bassoon, English horn and contrabassoon all must have a reed or double reed attached in order to produce sound. When air is blown into the instrument the reed or double reeds vibrate causing sound. The flute and piccolo do not have reeds but fit into this family too because they also used to be made of wood and the sound is created by blowing across a hole (like blowing across the opening of a water bottle to make sound). 9

10 Brass Percussion - to make a sound on a brass instrument the player must buzz his or her lips together while blowing air into the mouthpiece. sound is produced on a percussion instrument by either hitting (like a drum), shaking (like maracas) or scraping it (like a guiro). 5. Play game: Instrument Family 4 Corners place a poster or large picture of each instrument family in 4 corners of the classroom. Play a recording of one of the families; students move to stand in the correct family s corner. If students have a competitive nature you could play so that students who choose the wrong family are out. 6. Additional/Alternate game idea: Instrument Family ID give students flash cards with the instrument family names. Divide class into 2 teams. Each student takes a turn for their team to listen and identify which family of instruments is playing. Student gets 2 points for their team if s/he can identify the family correctly without help. If student isn t sure, s/he may look to teammates who will hold up the flashcard with what they think the correct answer is. If the student gets the answer right after consulting team the team gets 1 point. Play until all students have had a least one turn representing their team. (SMART Board version of this game can be accessed at: 7. Multimedia extending activities: some fun games can be found at the following websites: - The garage game near the beginning is excellent for sorting instruments into families. Especially fun if you have a Smart Board! (Suggestion: teacher should register for game and play through it ahead of time in order to access the Safari Map at the bottom of the page anytime you like to jump to specific parts of the game). If you have access to multiple student computers students can play the Instrument Frenzy game on this site. 10

11 Instrument Family Flash Cards Brass Family Percussion Family String Family Woodwind Family 11

12 Meet the Composer: Sergei Prokofiev ( ) Sergei Sergeyevich Prokofiev was born and lived the early part of his childhood in the farming village of Sontsovka in what is now the Ukraine (was then Russia). His father was an agricultural engineer and his mother was a well-educated woman who loved music and played the piano well; Sergei often went to sleep at night to the sound of his mother playing Beethoven on the piano. His mother taught him to play piano and by the age of five Sergei had written his first composition. By the time he was eleven his mother recognized that Sergei needed some more formal training and enlisted Reinhold Gliere to teach him. At the age of 13, Sergei was the youngest person to ever be admitted to the St. Petersburg Conservatory. He and his mother moved to St. Petersburg to pursue his education. Sergei spent the next 10 years studying composition and piano at the conservatory. His compositions were not well-received by his professors and he gained a reputation as a musical rebel. He loved criticism, and enjoyed challenging the compositional styles that were popular at the time. Following his time at the conservatory he lived abroad in Paris and London where his interest in composing operas and ballets flourished leading to one of his most famous ballets: Romeo and Juliet. In 1936 Prokofiev moved back to Moscow and the Central Children s Theater asked him to write a new musical symphony for children. Intrigued by the idea he wrote the text, composed the music and scored Peter and the Wolf for orchestra in less than two weeks. Although the premiere performance didn t attract much attention, it quickly became popular and was first recorded in the United States by the Boston Symphony Orchestra in Prokofiev lived the rest of his life in Russia and continued to compose symphonies, ballets, operas and movies for films including Lieutenant Kijé. He died in 1953 and is considered one of the great composers of the twentieth century. 12

13 Lesson 2: Peter and the Wolf brief history and listening. Objectives: The students will: Gain knowledge about Sergei Prokofiev s life and music Become familiar with the character themes in Peter and the Wolf Listen to Peter and the Wolf Create movements to demonstrate the behavior of the characters in the story Brainstorm possible endings to the story Materials: Excerpts are provided online at: Illustrated book of Peter and the Wolf (if your school library doesn t have a copy, the DE State Library System does. You can access their online catalogue at: ) Open space in classroom for creative movement Procedure: 1. Using information from p.12 of lesson guide (Meet the Composer), share brief biographical information about Sergei Prokofiev. A brief history for kids can be found online at: 2. Explain to students that Prokofiev was hired to write a musical symphony that would help children learn about the instruments of the orchestra 3. Review instrument families by identifying the instruments used in Peter and the Wolf and have students sort them into their families. 4. Listen to the Introduction of Peter and the Wolf. Show a picture of each instrument as it plays its specific theme. 5. Have children sit on the floor far enough apart that they all have room to move. Listen to a recording (with narrator) of Peter and the Wolf. If possible, use an illustrated book of Peter and the Wolf to show illustrations as you listen to the musical story (if you have the technology like an ELMO or SMART Board you could take photos of each illustration and project them so all students can see them better.) While listening, direct students to move like the different characters when their theme is first heard. As the theme comes to an end direct the students to return to their seated positions for more listening. Themes for movement in the order they are heard: Peter ( move like Peter is talking a walk on a nice day ) Bird ( move like a bird ) Duck ( move like a duck remember, the music provides the duck sounds so we don t need to quack ) Cat ( move like a cat that is sneaking up on something Grandfather ( walk like a grumpy grandfather scolding a boy ) 13

14 Wolf ( remembering not to touch anyone, move like a hungry wolf ) Hunters ( move like hunters searching for a wolf ) Additional movement opportunities: Pretend to pull the rope with the musical cues after Peter has caught the wolf s tail During the Victory Parade have students move again like each of the characters as their themes recur. 6. The story ends with the Victory Parade taking the wolf to the zoo. Lead a brainstorming discussion as to what might happen to the characters after that: Peter did he remain a hero in everyone s eyes or did he get punished for disobeying his grandfather? Wolf did he live happily in the zoo? Did he escape? Duck at the zoo was the zoologist/veterinarian able to save the duck? Lesson 3: Peter and the Wolf Objectives: The students will: Review instrument families Review characters from Peter and the Wolf Become more familiar with the character themes in Peter and the Wolf Procedure: 1. Review Instrument Families and sort individual instruments into correct families. (SMART Board activity available). Write instrument family names on the board. Give each student a picture of one instrument then have students take turns coming forward to place their instrument in the correct family. After all instruments are placed ask class if they see any corrections that need to be made. Confirm correct answers and guide discussion to fix errors. 2. Review the characters of Peter and the Wolf: Who were Peter s animal friends? (Bird, Duck, Cat) What grown-up does Peter live with? (Grandfather) What does Peter meet when he returns to the meadow? (The Wolf) Who comes to help Peter after he s caught the wolf? (The Hunters) 3. Lead a listening/matching activity to correctly pair the musical themes/instruments with their characters. Listening excerpts available online at: (SMART Board activity also available at: *If you do not have a SMART Board, review by listening to each theme and asking students to identify which character they are hearing.) 14

15 4. Suggestion for extending activity watch a video of Peter and the Wolf. (I like the Disney version found on the DVD Make Mine Music). Explain to students that the music will be the same but they should watch for any differences they find in the story. Discuss differences after watching. (In the Disney version the duck doesn t actually get eaten, so it has a happier ending. Students often notice small differences usually comparing the illustrations from the book used to the animation/puppetry/costumes of the video.) Meet the Composer: Maurice Ravel ( ) Joseph-Maurice Ravel was born in the Basque region of France (near Spain). He began playing piano at the age of seven. Ravel was encouraged to pursue his musical interests when his parents sent him to the Conservatoire de Paris first as a preparatory student and later as a piano major where he studied with Gabriel Faure. Over the years, Ravel formed friendships with other contemporary composers of his time including Igor Stravinsky and Claude Debussy. Ravel s music was considered new and was not immediately accepted in Europe; however, when Ravel travel to the United States, the Americans loved his music. A concert tour of the US eventually made Ravel a rich man. During his visit he met American composer, George Gershwin, and went with him to hear jazz in Harlem. He also visited New Orleans, and often incorporated jazz elements into his music. Ravel was a great orchestrator meaning he had a special gift for taking music that he or others had written and pairing melodies and harmonies with the instruments whose character he thought would create the most color in the music. Bolero, perhaps his most famous piece, uses the same melody throughout, building only by the instrument changes and groupings, and their dynamics. To some, he was one of the two great impressionist composers (along with Claude Debussy,) but even Ravel himself did not want to be confined to such a narrow description of his own very personal style. Ravel s music often reflected the world of children. He is said to have loved toys, especially mechanical ones, and enjoyed interacting with children. Ravel wrote the Mother Goose Suite as a piano duet. It was a gift for Mimi and Jean Godebski the children of his friends Ida and Cipa Godebski. A year later he orchestrated the work for ballet. The Mother Goose Suite is based on the fairy tales: Sleeping Beauty, Little Tom Thumb, Laideronnette: Empress of the Pagodas and Beauty and the Beast 15

16 Lesson 3: Maurice Ravel Biography & Mother Goose Suite: Pavane for Sleeping Beauty Little Tom Thumb Objectives: The students will: Gain knowledge about the composer Maurice Ravel Visually identify pictures of specific instruments Listen to Movements I & II of Mother Goose Suite Aurally identify themes played according to instrumentation Move to music as story characters Materials: Excerpts are provided online at: If you choose to purchase a recording, the DSO will be performing the Suite (rather than the complete Ballet- which would have movements in a different order.) There is a student orchestra recording available online (for a free complete recording:) Pavane for Sleeping Beauty Theme Cards - p.18 of Lesson Guide Finger Cymbals or Triangle Procedure: Begin with a brief look at the biographical information of Maurice Ravel. (See p. 15 of Lesson Guide. Explain that Ravel wrote the Mother Goose Suite originally as a piano duet for two children whose parents he was friends with. The director of the Theatre des Arts asked him to orchestrate the piece for ballet. 1. Movement I:Pavane for Sleeping Beauty Explain that the music is supposed to make us think of how everyone in the kingdom felt when they discovered that Sleeping Beauty had pricked her finger and fallen into a deep, magical sleep. A Pavane is a slow, stately dance. 2. Hand out listening theme cards to students (or have students work in pairs). Look at each card. Ask: What instrument will we hear playing the theme on each card? What family of instruments are they from? (Don t tell them the order of the cards.) Star Theme Flute playing low (on the recording I have 0:00 0:19) Triangle Theme Flute playing high (on the recording I have 0:19 0:37) Square Theme Clarinet and Oboe (on the recording I have 0:37 0:58 ) Star Theme Flute playing low (on the recording I have 0:58 1:16) Triangle Theme Violins (on the recording I have 1:16 - end) 3. While listening to Pavane for Sleeping Beauty have students place a card down each time teacher directs them to (approximate timing guidelines above) by simply saying next card. 16

17 By the end of the piece all the cards should be in a lined up in front of the students. Don t make any corrections yet. 4. Tell students We are going to listen again. If you feel you need to make any changes in your cards you may do so. Listen one more time and reveal the correct answers while listening. This could be done by simply holding up the correct card for each part, placing the cards under an ELMO to project them or use the Power Point included with this guide. 5. Movement II: Little Tom Thumb. Explain that this story may remind them of the beginning of the story of Hansel and Gretel when they get lost in the forest. Little Tom Thumb goes for a walk in the woods and to help him find his way home later he decides to drop bread crumbs on the ground to show him his path home. Ask: What do you think will happen to the bread crumbs? (they get eaten by birds) 6. Listen to Little Tom Thumb. Ask students to raise their hands when they hear the birds. 7. For second listening, divide the class into two groups: one group will act out Tom Thumbs part the other will be the birds. Explain that as Tom is walking through the woods he gets more and more confused and lost. The composer, Maurice Ravel, used changing meter (number of beats per measure) to illustrate Tom s confusion. During the second listening the birds should sit off to the side until their music is played. The Toms will walk to the steady beat and change direction anytime the meter changes. The teacher should indicate the change with a sound (suggestion: play finger cymbals or triangle on beat 1 of a measure with a new meter). When the bird music is played Toms should drop and sit on the floor while birds swoop around them and pick up the pretend crumbs. After the birds leave, Tom continues his confused walk to the end of the piece. Meter breakdown by measures (read across rows; at end of row start next row on left): 2/4 3/4 4/4 5/4 3/4 2/4 2/4 2/4 2/4 3/4 2/4 2/4 2/4 2/4 2/4 2/4 2/4 2/4 2/4 3/4 2/4 2/4 2/4 3/4 2/4 3/4 2/4 2/4 2/4 2/4 2/4 2/4 2/4 2/4 2/4 3/4 2/4 2/4 2/4 2/4 2/4 2/4 2/4 2/4 2/4 2/4 2/4 3/4 2/4 2/4 BIRDS BIRDS BIRDS BIRDS 2/4 2/4 2/4 2/4 2/4 2/4 2/4 3/4 2/4 3/4 3/4 2/4 2/4 2/4 2/4 2/4 2/4 2/4 2/4 2/4 2/4 2/4 2/4 2/4 2/4 3/4 4/4 5/4 2/4 END 17

18 8. Listen again, have Toms and birds switch roles. Pavane for Sleeping Beauty Melodic Phrase Cards Phrase Phrase Playing high Playing low Phrase Phrase Playing low Phrase Lesson 4: Mother Goose Suite: 18

19 Lesson 4: Laideronnette: Empress of the Pagodas & Conversations of Beauty and the Beast Objectives: The students will: Listen to Movements III and IV of Mother Goose Suite Based on music create a story for Laideronnette Move to music as story characters demonstrating the changes in the music Create illustrations of Beauty, Beast and Prince characters Materials: Excerpts are provided online at: If you choose to purchase a recording, the DSO will be performing the Suite (rather than the complete Ballet- which would have movements in a different order.) There is a student orchestra recording available online (for a free complete recording:) ½ sheets of plain paper (2 half sheets per student) pencils, crayons (whatever drawing materials you have available) Procedure: 1. Movement III: Laideronnette: Empress of the Pagodas- Since this fairy tale is probably the least known of the suite, this provides an opportunity for the students to create their own story. Tell students the name of the piece. Ask if anyone knows what a pagoda is. Show them a picture (or several pictures) of a pagoda. (Search Google images and you will find many great examples!) Ask if students know where pagodas are most often found. (Asia) 2. Next, listen to Laideronnette: Empress of the Pagodas. Direct students to close their eyes and imagine what might be happening in the music. Can we create a story to go with the music? 3. After students share story ideas, brainstorm a (fairly simple) storyline that the class can develop. 4. Listen to sections of the music to decide what is happening. For organizing a story, break the music down into three simple sections. A B A. Write this form on the board for students. Listen to each section and use student ideas to develop story: A measures 1-69 (on my recording 0:00 1:04) B mm (on my recording 1:04 2:22 A mm end (on my recording 2:23 3:19) 5. Based on your created story, assign roles to students and have them move to the music while listening again. 19

20 6. Read the following description of the original fairy tale then ask students which story they like best. Once upon a time twin daughters were born to a happy king and queen. As it came to pass, a jealous fairy put a curse on one of the twins and she was made so ugly that none could look at her. She was named Laideronnette little ugly one. However, the princess was a sweet child, and in order not to cause distress to the rest of her family, she offered to go off and live alone in a remote castle by the sea. Roaming about the castle grounds one day she caught the interest of the Green Serpent who tried to engage her with kind words. Terrified of him, Laideronnette fled and was nearly drowned in the sea. Upon awakening, she discovered that she had been rescued and was in a bed in the most splendid palace in a faraway land the land of the Pagodas (tiny porcelain dolls with bodies made of jewels and instruments made of nutshells). Having been appointed Empress of the Pagodas, Laideronnette was treated with all due respect, and was provided with the most luxurious place to bathe and dress herself. Pagodas and Pagodinas began to sing and to play on musical instruments. In the end, the girl becomes a pretty princess again, and marries the serpent (who is transformed back into his original form, King of the Pagodas). 7. Movement IV: Conversations of Beauty and the Beast Ask students if they are familiar with the story of Beauty and the Beast (many will know the Disney version). Guide students in a review of the basic storyline. 8. Listen to music. Ask students to raise their hand when they think they hear the Beast. Later, ask them to raise their hand when they hear the magical moment when the Beast changes back into a prince. 9. Hand out paper (½ sheet for Beauty and another ½ sheet for Beast if you have access to a template of a hand mirror or frame you might want to copy that onto the ½ sheets) also provide pencils, crayons, colored pencils and any other drawing materials you feel appropriate. 10. While listening, students will draw their own illustration of Beauty (one card), the Beast (second card) and the Prince (back of second card). Explain that you will listen to the music again in your next lesson and use these illustrations. Collect their illustrations and store until next class. 20

21 Lesson 5: Mother Goose Suite: Conversations of Beauty and the Beast & The Fairy Garden Objectives: The students will: Listen to Movements IV and IV of Mother Goose Suite Aurally identify musical themes in Conversations of Beauty and the Beast Describe musical elements that support the story in The Fairy Garden Create and perform movements to tell the story of The Fairy Garden 1. Remind students of the character-based music they ve been hearing in class. What was the last story we heard? (Beauty and the Beast) 2. Review melodic themes by playing a bit of each for Beauty and for the Beast. What instruments do we hear in Beauty s theme? (Clarinet, oboe, flute) What do we hear in the Beast s theme? (Contrabassoon - at this time you may need to share information on the contrabassoon). Online info can be found at: (includes recording) 3. Hand out students illustrations from last lesson. Listen to music again and ask students to hold up their picture of Beauty when they hear her music, hold up the Beast picture when they hear his music, hold up both of them if they hear both at the same time, and when the Beast changes to the Prince have them show that by turning the card over to reveal their Prince illustration. 4. Movement V: The Fairy Garden (For this movement I followed the suggested storyline in the ballet version of Mother Goose): In this movement we can imagine over the many years the trees and brambles growing up around Sleeping Beauty s castle. The Prince works his way through the overgrown trees and brambles to find Sleeping Beauty. After he finds her and awakens her with a kiss, the Good Fairy blesses the couple in the Fairy Garden. 5. Listen to sections of The Fairy Garden. Talk about what s taking place in the suggested story. What in the music goes with the story? mm.1-22 (on my recording 0:00 1:37) Trees start small and grow bigger as the music grows. (Dynamics are growing louder and pitches are rising higher mimicking the growth of the trees and brambles) mm (on my recording 1:37-2:37) Moving violin solo illustrates the Prince working his way through the overgrown forest towards the castle. (Movement of the violin is fairly quick and has a searching quality) 21

22 mm (on my recording 2:37-3:23) The Prince awakes Sleeping Beauty and the begin their journey home. (There is a poignancy to the melody suggesting finding a lost love) m. 50-end (on my recording 3:23- end) Fairies (students who were Trees) fly around blessing the Prince and Sleeping Beauty. (The orchestration is very magical and celebratory) 6. Divide the class into three groups: Trees (later become Good Fairies), Sleeping Beauties, Princes. As the music plays have each group act out the story above. 7. If time permits students could trade roles and listen/perform again. 22

23 Lesson 6: ELA Writing Prompt Objectives: The students will: Review the use of musical themes representing characters Listen to music excerpts Brainstorm story ideas and characters Create a story map Write their own story inspired by musical themes Materials: Music excerpts Writing paper and pencils Procedure: 1. Briefly review how Prokofiev used specific musical themes to represent characters in the story Peter and the Wolf. 2. Listen to musical excerpts chosen to inspire creative story writing. (Suggested piece: Maurice Ravels String Quartet: First Movement. If you don t have a recording you can download one on itunes for as little as 99 cents. If you have another piece of music you prefer to use, that s fine too.) 3. Direct students to use their imaginations to come up with ideas of what might be going on in relation to how the music sounds. 4. Have students share their ideas. Write plot and character suggestions on the board. 5. Direct students to use their own idea or select something discussed during the brainstorming section for their story idea. 6. Students will outline their ideas: characters and events (beginning, middle, end) 7. Students write their first draft of their story. 8. Students pair up and share their first draft. Provide suggestions to partner. (Is story easy to follow? Does it have beginning, middle and end?) 9. Students revise their stories. 10. Teacher may choose to have students share their stories with the class. 23

24 Sources: Ravel_MotherGoose.pdf Online orchestral scores 24