Brett Mitchell Conducting - Cleveland Orchestra · Welcome to The Cleveland Orchestra’s ......

Brett Mitchell Conducting

2016/17 Education Concerts

Dear Teachers,

Welcome to The Cleveland Orchestra’s 2016/17 season of Education Concerts!

In order to ensure everyone’s comfort and enjoyment during the concert, we ask that you please follow these simple guidelines:

• Plan to arrive at the concert hall 30 minutes prior to concert time. The ushers seating your group will seat more than 2,000 students per concert, so ample

time is required and appreciated. All concerts take place at Severance Hall and the Maltz Performing Arts Center.

• University Circle Police will be providing a letter outlining the designated “Bus Route” for Education Concerts at Severance Hall and the Maltz Performing Arts Center.

Please make sure your transportation coordinator reviews this before getting on the road.

• School Group Leaders: (1) Have your Group Ticket ready which identifies your school and seat assignment; (2) Obtain a “dismissal number” (from Severance Hall bus greeters) which will be used during the Systematic Dismissal Process to ensure an orderly departure. We constantly refine the procedure based on your comments to make it faster and more efficient.

• No food, drink, gum chewing, cameras, audio or video equipment are allowed inside the concert hall.

• Have students visit the restrooms before the concert begins. This is extremely important. Since there is no intermission, it is not possible for students to visit the restrooms during the performance without disturbing others. If an emergency exists, please notify an usher. Students must be accompanied to restrooms by an adult.

• Chaperones are responsible for the conduct of their students and should plan to sit among the children rather than on the aisle or next to another adult. We recommend at least one chaperone for every 15-20 students. Students should know in advance that they will be required to sit quietly in their seats for a fairly long time.

Thank you for your cooperation! If you have questions about these or any other aspects of The Cleveland Orchestra’s Education Concerts, please feel free to call the Orchestra’s Education Department at (216) 231-7355. Enjoy the concert!

Joan Katz Napoli Sandra JonesDirector, Education and Community Programs Manager, Education and Family ConcertsThe Cleveland Orchestra The Cleveland Orchestra

Checklist to Prepare for Education ConcertsThe Cleveland Orchestra’s Education De part ment provides schools with teaching tools to assist in preparing students for and en hanc ing their en joy ment of Ed u ca tion Con certs. The Score stu dent newspaper and Teacher’s Guide are provided free to schools.

Pass out The Score Stu dent News pa per The Score, a spe cial news paper for stu dents at tend ing Ed u ca t ion Con certs,

pro vides fea ture sto ries about the Or ches tra, back ground in for ma tion on com pos ers, plus Fan Mail (student let ters).

Use the Spotify Playlists The Spotify Playlist of the concert music to be fea tured in Ed u ca t ion Con certs

pro vides a con ve nient way to fa mil iar ize stu dents with the con cert mu sic. To access resources online go to clevelandorchestra.com, click on Education & Community, then click on “For Schools & Teachers.” Scroll down to Classroom Resources for Educators.

Go to Spotify anytime, for example, in the morn ing be fore class be gins, dur ing re cess or lunch, or while students are pack in g up to go home. Any ex po sure will help kids become familiar with the music and enjoy the concert more.

Check out the Teaching Ideas and Orchestral Instruments

This Teacher Guide includes repertoire-specific and curriculum-linked teaching ideas and classroom activities, plus a 5-page spread on the instruments of the orchestra.

Surf the Web for Music Education Resources Here are a few sites that will be of interest – menc.org, dsokids.com, nyphikids.org, car n egie hall.org/orc,

cleve landorches tra .com.

© 2016, Musical Arts Association. Pages may be photocopied by schools for educational use.

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Reflection Section Language Arts Connection for Grades 3-5 – Ask students to send Fan Letters to The Cleveland Orchestra describing their Education Concert experience. (Which piece of music did you like best? How did the music make you feel? What was your favorite instrument?)

Visual Arts Connection for all grades – After the concert, have students draw or paint a picture of what they saw (orchestra musicians, conductor, Severance Hall) or how the music made them feel. We often showcase student artwork in displays or in our publications.

Writing Prompts For Middle and High School Students: Ask students to write their own music review of the Violins of Hope concert they attended. To help them reflect on the difference between fact writing and opinion writing pieces, they can analyze and compare the components and structure of a factual news story vs. a music review (visit www.cleveland.com/musicdance for articles and reviews of the latest arts and culture events around Cleveland). Students should use the following guidelines when writing their review:• Beginbystatingtheiroverallopinionoftheperformance• Includebasiceventinformation(who, what, where, when, why of the concert)• Identifyreasonstosupporttheiropiniondirectlyfromtheirexperienceasanaudiencemember• Maintainanobjectivetoneandcoherentlylinkreasonssupportingtheiropinion• Provideaconcludingstatement

Send fan letters, music reviews and artwork, Including name, grade, and school to: The Cleveland Orchestra, Education & Community Programs Department, Severance Hall, 11001 Euclid Avenue, Cleveland, Ohio 44106.

T H E C L E V E L A N D O R C H E S T R A

Education Concerts for Grades 3-5

Sounds the of the

Please Note: Education Concerts are approximately one hour in length. Programs are subject to change. Due to time constraints, the musical selections played on Cleveland Orchestra Education Concerts are, in many cases, excerpts from larger works. It is our goal to present a wide range of classical music of the highest artistic quality for you and your students within the time parameters imposed. We encourage you to enjoy the full works with your students whenever possible. Happy listening!2

The Cleveland Orchestra and associate conductor Brett Mitchell will explore the unique traits of the four families of musical instruments that make up “The Sounds of the Orchestra.” Students will experience the distinctive sounds of the string, woodwinds, brass, and percussion sections, and will learn how composers weave these individual groups into diverse musical soundscapes.

November 1-4, 2016The Cleveland OrchestraBrett Mitchell, conductor

Brett mitchell

ALL SHAPES AND SIZES (full orchestra vs. chamber orchestra)STRAUSS Introduction from Also sprach Zarathustra

MOZART Allegro from Eine kleine Nacthmusik (strings)

MUSIC IN STEREO (polyphony)DUKAS Fanfare from La PériDAUGHERTY “MXYZPTLK” from Metropolis Symphony

MUSIC FROM AFAR (offstage) BERLIOZ “ScenéauxChamps”fromSymphonie fantastiqueBEETHOVEN LeonoreOvertureNo.3

AN ORCHESTRA OF SOLOISTSRAVEL Bolero(percussion)

NEW SOUNDS FOR THE CONCERT HALL (technology)BATES Mothership for orchestra & electronica

Orchestra

(With your user name on Spotify, search for cleveorcheducation or go to www.clevelandorchestra.com/education-and-community/programs-for-schools-and-teachers/ and click on the link under Spotify)

Introduction from Also Sprach ZarathustraRichard Strauss (1864-1949)

1. Have you heard this music before? Where? What does it make you think of?

2. This is a piece for a very large orchestra. How many instruments do you think are playing? Which ones can you identify?

Allegro from Eine Kleine NachtmusikWolfgang Amadeus Mozart (1756-1791)

1. How does this music sound different from the last piece? Are there more or fewer instruments play-ing? What is the main family of instruments that you hear?

2. Eine Kleine Nachtmusik means “A little night music” in German. Does it sound like night to you? Why or why not?

Fanfare from La PèriPaul Dukas (1865-1935)

1. Which instrument family of the orchestra do you hear? Which instruments are members of that family?

2. A fanfare often announces an important person or event. What do you think this fanfare might be announcing?

“MXYZPTLK” from Metropolis SymphonyMichael Daugherty (b. 1954)

1. Michael Daugherty’s Metropolis Symphony is all about the character Superman. Where do you think the title comes from?

2. What is the first instrument you hear? How would you describe the shape of the sound?

“Scène aux Champs” from Symphonie FantastiqueHector Berlioz (1803-1869)

1. “Scène aux Champs” means “scene in the field” in French. What sounds do you hear that remind you of things in a field? What do you think the field looks like?

2. This piece begins with two instruments, the English horn and oboe, taking turns playing. Can you hear the moment when they start to play together?

Leonore Overture No. 3Ludwig van Beethoven (1770-1827)1. How does the trumpet you hear in this piece

sound different from the trumpets in the Fanfare from La Pèri?

2. This music is from an opera that tells the story of a daring rescue. What character do you think the trumpet might represent?

BoleroMaurice Ravel (1875-1937)

1. Listen to the rhythm played by the snare drum at the very beginning of the piece. This rhythm continues throughout the entire piece, with more and more instruments joining in. Can you tap it on your thigh or desk along with the music, or play it on percussion instruments?

2. On top of the distinctive rhythm, two melodies are also heard throughout, and they too are passed among different instruments. See how many of the instruments you can hear and identify as they join in.

3. A bolero is a type of Spanish dance. What do you think a dance to this music might look like?

Mothership for orchestra and electronicaMason Bates (b. 1977)

1. Why do you think this piece is called Mothership? Can you make up a story to go with the music?

2. Can you tell which sounds are the orchestra and which sounds are electronic?

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CLASSROOM TEACHING IDEAS FOR GRADES 3-5 the SouNdS of the orcheStra

Listening GuideBelow is a piecebypiece listeningguide to your Spotify playlist of concert selections (With your username on Spotify, search for cleveorcheducation or go to www.clevelandorchestra.com/education-and-community/programs-for-schools-and-teachers/ and click on the link under Spotify) with questions to lead your class in guided listening and discussion of the music. Start by reading about the composers and their music in The Score student newspaper, and then follow up by listening to the music together.

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Activities: Sound All AroundWhat’s the Beats per Minute?This concert explores the different ways that the orchestra can fill our ears with sound. You can emulate these techniques as a group by using your voices, rhythm instruments, or band/orchestra instruments if you have them. Choose a song that everyone knows (Happy Birthday, Twinkle,Twinkle, Little Star, etc.) and try singing/playing it in the following different ways. Then listen to the corresponding tracks to compare your version to the orchestra’s.

Full Orchestra vs. Chamber Orchestra: Have the whole class perform the song together, then divide into four groups and have each small group perform. Did each group sound the same? How did the small groups’ sound different from the whole class?

(Corresponding pieces: Also Sprach Zarathustra and Eine Kleine Nachtmusik)

In Stereo: Choose two individual students to stand on opposite sides of the room (the larger the space, the better) and have the rest of the class stand in the middle. On your cue, have the two students start performing the song while the rest of the class listens. How does it sound? For a more advanced variation, give the two students cues to start and stop singing/playing at different times. How does the sound change?

(Corresponding piece: “MXYZPTLK”)

Off-Stage: Have one student (or a small group) stand outside the classroom in a hallway or adjacent room. Assign the students in the hallway part of the song and students in the classroom the other (ex: students in hallway sing “Twinkle, twinkle little star,” then students in classroom sing “how I wonder what you are”). Try singing back and forth. Was it difficult to stay together?

(Corresponding pieces: “Scène aux Champs” and Leonore Overture No. 3)

Build It Up: Have one student start singing or playing the song, then point to each student to join in one at a time until the whole class is performing. What did you hear?

(Correspondingpiece:Bolero)

Add a Beat: Perform your song along with a variety of electronic accompaniment tracks (many websites have tracks you can play for free, like www.freesound.org). What do you have to change about the way you sing/play with each one?

(Corresponding piece: Mothership)

Online Resources• WatchvideoclipsfromtheNewYorkCityBallet’srecentstagingofMasonBates’Mothershipforeight dancers:

www.nycballet.com/Ballets/M/Mothership.aspx

•Watch theopeningof thefilm2001:ASpaceOdyssey with the music from Also Sprach Zarathustra:

www.youtube.com/watch?v=eQFj59PON4

• Learnmoreaboutthisconcert’slivingcomposersthrough their personal websites and compare their lives and careers:

• MichaelDaugherty www.michaeldaugherty.net

• MasonBates www.masonbates.com

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MUSIC: GRADES 3-5Perceiving/Knowing/Creating• Listen to, identify, and respond to music of

different composers, historical periods and world cultures

• Identify elements of music including tonality,dynamics, tempo and meter, using music vocabulary

• Describetherolesofmusiciansinvariousmusicsettings

Producing/Performing• Followandrespondtothecuesofaconductor

• Play a variety of classroom instruments withproper technique

• Sing, move and respond to music from worldcultures and different composers

• Demonstrate appropriate audience etiquette atlive performances

Responding/Reflecting• Explainhowtheelementsandsubjectmatterof

music connect with disciplines outside the arts

• Noticeanddescribewhat theyhear inselectedpieces of music and compare their responses to those of others

• Explainpersonalpreferencesforspecificmusicalselections using music vocabulary

• Describe the connection between emotion andmusic in selected musical works

Curriculum Connections: Ohio’s New Learning Standards

The Cleveland Orchestra Brett Mitchell, conductor

march 7-10, 2017

FINZI Prelude

PROKOFIEV Overture on Hebrew Themes

SHOSTAKOVICH “Allegro molto” from Chamber Symphony for String Orchestra

WILLIAMS Main Theme from Schindler’s List

BLOCH “Simchas Torah” (“Rejoicing”) from Baal Shem

BRUCH Kol Nidrei

ROSSINI Overture from La scala di seta (“The Silken Ladder”)

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You can break bodies. You can extinguish voices. You can even crush souls, temporarily. You cannot, however, silence music. Not with gas chambers. Not with firing squads. Not by means of starvation. Music always survives.

On these Education Concerts, music and drama will combine to give us a powerful new lens through which to view the important role of music in Jewish life before, during and after the Holocaust. The violin was deeply embedded in Jewish culture for centuries before World War II, but during the Holocaust (i.e., the systematic persecution and murder of six million Jews by the Nazis) the violin played an extraordinary role in fostering Jewish survival and hope. For some Jews, the instrument was a liberator; for others, it was a savior that spared their lives. For many, the violin provided comfort during one of the darkest periods in history. The music on this concert was selected to convey the themes of Jewish spirit, resistance, resilience…and hope.

Please Note: Education Concerts are approximately one hour in length. Programs are subject to change. Due to time constraints, the musical selections played on Cleveland Orchestra Education Concerts are, in many cases, excerpts from larger works. It is our goal to present a wide range of classical music of the highest artistic quality for you and your students within the time parameters imposed. We encourage you to enjoy the full works with your students whenever possible. Happy listening!

VIOLINS hOpeof

T H E C L E V E L A N D O R C H E S T R A

Education Concerts for Grades 6-12

(With your user name on Spotify, search for cleveorcheducation or go towww.clevelandorchestra.com/education-and-community/programs-for-schools-and-teachers/ and click on the link under Spotify)

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CLASSROOM TEACHING IDEAS FOR GRADES 6-12 “VioliNS of hoPe”

Finzi, Prelude

1. Instead of writing a distinct melody and harmony, this composer chose to create a landscape of sound, or a “soundscape.” Describe an imaginary landscape that you envision in your mind while listening to the piece, or draw or paint a scene inspired by the music.

2. This piece is meant to set the mood for the rest of the music on this concert. What kind of mood do you think this is setting up?

Prokofiev, Overture on Hebrew Themes, Op. 34

1. Prokofiev used two melodies, based loosely on Jewish folksongs, throughout this piece, one more lively and dance-like, played primarily by the clarinet, and one more sustained and singing, introduced by the strings and horns. See if you can pick out each instance of these two melodies throughout the piece. How many times do you hear each one and in what order? Do you hear any variations, or slightly different versions, of the main melodies? What other instruments do you hear playing each melody?

2. Try conducting each contrasting melodic line as if you were directing a live orchestra. How would you change your conducting style when the melody changes?

Shostakovich, “Allegro molto” from Chamber Symphony for String Orchestra, Op. 110a

1. How would you describe the style in which the strings are playing throughout the piece?

2. What emotions do you feel while listening to this piece? How are these emotions represented in the history of the Holocaust?

3. If you had to create a visual representation of the piece, what would it look like? What colors, shapes, or other artistic elements would you use? How would this visual representation compare to the one you created for the Finzi?

Williams, Main Theme from Schindler’s List 1. The movie Schindler’s List tells the true story

of Oskar Schindler, a German entrepreneur and Nazi party member who devised and successfully carried out a plan to save thousands of Jewish lives during the Holocaust. This piece from the movie soundtrack features a melody played by solo violin. Why do you think John Williams assigned a single violinist to play this melody? What emotions, people or events do you think the melody represents?

2. Later in the piece a countermelody, or a secondary melody, is played underneath the violin by several different wind instruments. What do you think these secondary melodies represent?

Bloch,“Simchas Torah” (“Rejoicing”) from Baal Shem

1. How is the overall feel of this piece markedly different from all of the other pieces you’ve heard so far?

2. “Simchas Torah” is a prayer read during a Jewish holiday that marks the end of the reading cycle of the Torah, or Jewish scripture, and the beginning of a new one. Discuss how musical elements such as rhythm, pitch, dynamics, tempo, instrumentation and overall style make this piece sound representative of a new beginning.

3. Dance is an integral part of many Jewish traditions. What do you think a dance to this music might look like?

Listening Guide BelowisapiecebypiecelisteningguidetoyourSpotifyplaylistwithquestionstoleadyourclassinguidedlistening and discussion of the music. Start by reading about the composers and their music in The Score student newspaper, and then follow up by listening to the music together.


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Bruch, Kol Nidrei, Op. 47 1. Meaning “All Vows” in Aramaic, Kol Nidrei

is a chant recited at the beginning of the evening service of Yom Kippur, or The Day of Atonement. Based on the way the musicsounds, do you think this is a joyful or a solemn holiday? Explain your answer.

2. The opening melody, played by the cello after a short orchestral introduction, is meant to sound like the sighs of the cantor reciting this chant. Describe how the melodic line achieves this effect.

3. The structure of the music is relatively simple. Try to “map out” the different melodies on the board or chart paper by assigning letters to each unique section. For example, every time you hear the “sighing melody,” assign that section the letter “A.” Assign different letters of the alphabet to different melodies.

4. Analyze the map that you just created: How many different melodies did you hear? How many times was each unique melody played? Which melody ended the piece, and what does this imply about the emotion that the composer wanted to leave you with?

Rossini, Overture to La scala di seta (The Silken Ladder)

1. This piece was featured on the first concert of the Palestine Symphony Orchestra (today’s Israel Philharmonic). Before listening, brieflyresearch the history of the Israel Philharmonic using an internet search. What else was happening historically in the years leading up WWII at the time this orchestra was formed?

2. This piece was an overture, or a musical introduction, to a comic opera with a storyline reflective of a modern-day romantic comedy. What do you hear that makes the piece sound “comedic?”

3. Imagine you are a screenplay writer and tasked with writing an original movie trailer to accompany this music. How many characters are there? What might they say to each other? What happens at the end of the trailer?

Classroom ActivitiesActivity: Music and the Holocaust: Resistance, Resilience and Reflection

A myriad of resources are available to teachers to help your students explore the role of music in Jewish culture before, during and after the Holocaust. After completing the following discussion questions with your students, either as a class or through individual writing time, consider exploring the online resources, movies, and curricula from the following partner organizations to create your own unit study on Jewish life and the Holocaust. Music teachers may consider programming Jewish music selections on their concerts this year in conjunction with this special project.

• What role does music play in your life? Whendo you want to listen to music, and what kind of music do you listen to in certain situations?

• Whatdothewords“resistance,”“resilience”and“reflection” mean to you? How do you think these ideas can be communicated through the use of music?

• After completing the activities in your ListeningGuide, decide which pieces from the Violins of Hope concert represent the themes of resistance, resilience and reflection and why.

Organizations & Holocaust Curriculum Guides• FacingHistory (www.facinghistory.org/topics/holocaust)

• Anti-DefamationLeague (www.adl.org)Sheet Music (for music ensemble teachers)www.jwpepper.com – Customize your sheet music search to include contemporary and more traditional Jewish music selections

Latham Music Enterprises – Features sets of Jewish Wedding Music that include a wide variety of tunes appropriate for concerts and smaller performances, with quartet and trio options


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Other Online Resources www.klezmershack.com – Information about Jewish music, Klezmer and more

www.sfi.usc.edu – Shoah Foundation (audio-visual interviews with survivors and witnesses of the Holocaust)

www.yadvashem.org – World center for documentation, research, education and commemoration of the Holocaust.

Facing History and Ourselves Holocaust Resources Collectionwww.facinghistory.org/for-educators/educator-resources/resource-col lections/holocaust-resource-collection/books.

History• TheChildrenofWillesdenLane• Friedrich• PaintedinWords• ParallelJourneys• SalvagedPages

Judgment• TheSunflower

Legacy• PaintedinWords

Rescue• TheChildrenofWillesdenLane

Survivor Testimony• Anton theDoveFancier andOtherTalesof the

Holocaust • IPromisedIWouldTell• Night• PaintedinWords• ParallelJourneys

Resource Books• HolocaustandHumanBehavior• IPromisedIWouldTell• TheJewsofPoland


Videos• AuschwitzDeathCamp:Oprah,ElieWiesel

• I’mStillHere:DiariesofYoungPeopleWhoLivedDuring the Holocaust

• Into the Arms of Strangers: Stories of theKindertransports

• Judgment: Nuremberg Remembered

• Rescue:WeaponsoftheSpirit

• Resistance: Daring to Resist: Three Women Face the Holocaust

• Survivor testimony: Swimming in Auschwitz

Movies

“The Boy in the Striped Pajamas” – available on Amazon Video and iTunes

During World War II, 8-year-old Bruno (AsaButterfield) andhis family leaveBerlin to takeupresidence near the concentration camp where his father (David Thewlis) has just become commandant. Unhappy and lonely, he wanders out behind his house one day and finds Shmuel (Jack Scanlon), a Jewish boy of his age. Though the barbed-wire fence of the camp separates them, the boys begin a forbidden friendship, oblivious to the real nature of their surroundings.

“Orchestra of Exiles” - available on iTunes

Celebrated Polish violinist Bronislaw Hubermansaves musicians from the Nazis, then goes on to create what would become the Israeli Philharmonic.

“Defiance” – available through Amazon Video, Amazon, iTunes – note R rating

2008 World War II film directed by Edward Zwick set duringtheoccupationofBelarusbyNaziGermany.The screenplay by Clayton Frohman and Zwick was based on Nechama Tec’s 1993 book Defiance: The BielskiPartisans,anaccountoftheBielskipartisans,a group led by Polish Jewish brothers who saved and recruited Jews in Belarus during the SecondWorld War. The film stars Daniel Craig as Tuvia Bielski,LievSchreiberasZusBielski,JamieBellasAsaelBielski,andGeorgeMacKayasAronBielski.

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TEACHERS: Use the “Violins of Hope” concert along with suggested activities and resources in this guide to address Ohio’s Learning Standards:

MUSIC: GRADES 6-12Perceiving / Knowing / Creating (CE)• Describedistinguishingcharacteristicsofmusical

form. (1CE)

• Identifymusicaltermsandsymbolsforarticulationand expression. (2CE)

• Listen to, analyze and describe various musicworks on the basis of their stylistic qualities and the historical and cultural contexts in which they were created. (3CE)

• Listentoandcomparevariousmusicalstylesfromthe Unites States, other cultures and historical periods. (4CE)

• Distinguish between and among the use ofdynamics, meter, tempo and tonality in various pieces through active listening. (5CE)

• Identifythesocialcontextsfromwhichmusicofvarious cultures evolved. (6CE)

• Describe how music reflects the social andpolitical events of history and the role of the musician in history and culture. (8CE)

Responding / Reflecting (RE)• Compare and contrast a varied repertoire of

music on the basis of how elements of music are used to create meaning and expression. (2RE)

• Communicate the importance of music ineveryday life. (3RE)

• Compare and contrast selected composers andtheir works. (3RE)

• Examinehowpeoplefromdifferentbackgroundsand cultures use and respond to music. (3RE)

• Discuss how the purpose, meaning and valueof music changes because of the impact of life experiences. (3RE)

• Describe ways that music relates to other artforms using appropriate terminology. (4RE)

• Explainhowandwhypeopleuseandrespondtomusic. (4RE)

• Evaluate the use of the elements of music asrelative to expression in a varied repertoire of music. (4RE)

• Compareandcontrastsubjectmattercommontomusic and other subject areas. (5RE)

ENGLISH LANGUAGE ARTS: GRADES 6-12Writing• Write arguments to support claims with clear

reasons and relevant evidence.

• Write narratives to develop real or imaginedexperiences or events using effective technique, relevant descriptive details, and well-structured event sequences.

• Conductshortaswellasmoresustainedresearchprojects to answer a question or solve a problem.

Speaking and Listening• Engageeffectivelyinarangeofcollaborative

discussions with diverse partners, building on others’ ideas and expressing their own clearly.

• Interpretinformationpresentedindiversemediaand formats and explain how it contributes to a topic or text, or issue under study.

• Presentclaimsandfindings,sequencingideaslogically and using pertinent descriptions facts and details to accentuate main ideas or themes.


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SOCIAL STUDIES: GRADES 6-8History: Historical Thinking & Skills• Primary and secondary sources are used to

examine events from multiple perspectives and to present and defend a position.

Geography: Human Systems• Political, environmental, social and economic

factors cause people, products and ideas to move from place to place in the Eastern Hemisphere in the past and today.

• Modern cultural practices and products showthe influence of tradition and diffusion, including the impact of major world religions.

• Culturalbiases,stereotypesandprejudiceshadsocial, political and economic consequences for minority groups and the population as a whole.

Government: Civic Participation and Skills• Differentperspectivesonatopiccanbeobtained

from a variety of historic and contemporary sources. Sources can be examined for accuracy.

• The ability to understand individual andgroupperspectives is essential to analyzing historic and contemporary issues.

GRADES 9-12Civil and Human Rights • Beliefs about human rights vary among social

and governmental systems.

• Modern instances of genocide and ethniccleansing present individual, organizational and national issues related to the responsibilities of participants and non-participants.

MATHEMATICS: GRADES 6-12Mathematical Practices• Lookforandmakeuseofstructure.

Harp

Violin ViolaCello

Double Bass

Saxophone

Piccolo

ContrabassoonBassoon Bass clarinet

Clarinet

English horn

Flute

Oboe

Trumpet

Trombone

French Horn

Gong

Maracas

SnareDrum

Bass Drum Cymbals

PianoCastanets

TriangleTimpani

THE INSTRUMENTS OF THE CLEVELAND ORCHESTRA

STRINGS

WOODWINDS

BRASS

PERCUSSION

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Tuba

Tambourine

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Historians think that the first instrument in the string family was developed from the caveman’s hunting bow. In the string family, sound is made by plucking, strumming or drawing a bow across the strings. The harp has 47 strings and pedals to add flats and sharps!

wooden bow

chin rest

finger boardneck

fancy scroll

horse hair

tail piece anchorsthe strings

bridge holdsstrings up sothey can vibrat efreely

hollow bodyamplifiesthe sound

strings vibrateto make sound(plucked or bowed) one tuning peg

for each string

violin viola cello double bass harp

pedals for flats and sharps

Sensational Strings!

Air-only Woodwinds

piccolo

flute

Single Reed Woodwinds

reed

ligature holds it on

first r eed

second reed

tied togetherwith thread

Double Reed Woodwinds

oboe English horn bassoon contrabassoon14

Wondrous Woodwinds!The first woodwind instrument may have been created by blowing through a blade of grass or an old animal bone. The first woodwinds had open holes that needed to be covered by your fingers. Eventually, inventors added a system of metal keys that would cover more than one hole at a time. The three types of woodwinds are (1) those which you blow across an open hole to make sound; (2) those with a single wooden reed on the mouthpiece; and (3) those with two small wooden reeds tied together called double reeds. In the last two kinds, the reeds vibrate to make sound.

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Ancientbrassinstrumentsweremadeofboneorananimal’shorn.Todaytheyaremadeofmetal.Brassplayers create sound by buzzing their lips into the metal mouthpiece. They play different notes by tightening and loosening their lips, and by pressing down valves (or in the case of the trombone, by moving the slide in and out!).

made of brassor other metalshiny

large bellat end amplifiesthe sound

hollow tubing

valves add extratubing to changepitch

player buzzes lipsthrough metal mouthpiece to start vibrationof the air inside

trumpet

Frenchhorn

slide moves tochange pitc

trombone

tuba

Brilliant Brass!

h

The percussion instruments provide the orchestra with accents, rhythms and special sounds. Force is required to make the instruments vibrate. Sound is produced by striking, hitting, scraping, shaking, rubbing or tapping the instruments with a stick, mallet, beater or a hand! There are two kinds of percussion instruments: 1) instruments like the timpani which can play a melody; and 2) those like the snare drum, which make only one pitch.

Tunable instruments that can play a melody

piano

chimes

xylophone

celesta

timpani

foot pedalto changepitch

Instruments that make one pitch

gong

triangle

snare drum

maracas

cymbals

castanets

bass drum

tambourine

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Power Packed Percussion!

TH

E C

LEV

ELA

ND

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The Cleveland Orchestra’s 2016-17 Education Programs are made possible by:EndOwMEnT FundErsHope and stanley I. AdelsteinKathleen L. BarberMr. roger G. BerkIn memory of Anna B. BodyIsabelle and ronald Browndr. Jeanette Grasselli Brown and dr. Glenn r. Brownroberta r. CalderwoodAlice H. Cull MemorialMr. and Mrs. Charles r. Emrick, Jr.Charles and Marguerite C. GalanieMr. david J. GoldenThe George Gund FoundationThe Hershey Foundationdorothy Humel HovorkaMr. James J. HummerFrank and Margaret HyncikJunior Committee of The Cleveland Orchestrawalter and Jean Kalberer FoundationAlfred M. Lerner In-school Performance FundLinda and saul LudwigMachaskee Fund for Community ProgrammingMr. and Mrs. stanley A. MeiselChristine Gitlin Miles, in honor of Jahja LingMr. and Mrs. david T. MorganthalerMorley Fund for Pre-school EducationThe Eric & Jane nord Family FundPysht FundThe Max ratner Education Fund, given by the ratner, Miller, and

shafran Families and Forest City Enterprises, Inc.The william n. skirball EndowmentAnonymous, in memory of Georg soltiJules and ruth Vinney Cleveland Orchestra Youth Orchestra

Touring Fund

PrOGrAM FundErsThe Abington FoundationAmerican Greetings CorporationEva L. and Joseph M. Bruening FoundationMary E. and F. Joseph Callahan FoundationConway Family FoundationCuyahoga County residents through Cuyahoga Arts & Culturedominion FoundationThe Harry K. Fox and Emma r. Fox Charitable FoundationThe Giant Eagle FoundationKeyBankThe Laub FoundationMacy’sMuna & Basem Hishmeh FoundationMartha Holden Jennings FoundationThe nord Family Foundationnordson Corporation FoundationOhio Arts CouncilOhio savings Bank, A division of new York Community BankPnC BankThe reinberger FoundationAlbert G. and Olive H. schlink FoundationThe sherwin-williams CompanyThomas H. white FoundationThe Edward and ruth wilkof Foundationwomen’s Committee of The Cleveland Orchestra

as of August 2016

Brett Mitchell Conducting - Cleveland Orchestra · Welcome to The Cleveland Orchestra’s ......

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