The Young Person`s Guide to the Orchestra

The Young Person’s Guide to the Orchestra
Concert Curriculum Guide
Grades 5-8
TEACHER’S
GUIDE
/ Young/People’s
Appalachian
SpringAppalachian
TEACHER’S
GUIDE
YoungConcert:
Table
of
People’s
your
Contents
Concert:
Spring
Table of Contents
From the Conductor
Introductory letter from Kelly Corcoran, the Associate
Conductor of the Nashville Symphony
3
Concert Program
Information on Benjamin Britten’s Young Person’s Guide to
the Orchestra
4
Curriculum Standard Equivalencies
A list of the Core Curriculum and Music Curriculum
5-6
standards met through this guide
Lesson Plan #1
Introduction to the Sounds and Members of an Orchestra–
Gather a basic understanding of the instruments and how
they are organized in the orchestra
7-9
Lesson Plan #2
Music History– Learn about the lives of Benjamin Britten and
Henry Purcell, and recognize different musical style periods
and themes.
10-12
Lesson Plan #3
12-14
Theme and Variation– Obtain a deep understanding of theme
and variation, and apply that to today’s culture
Lesson Plan #4
Fugues– Engage in the recognition of a fugue, and create a
fugue using the class as an ensemble
15-17
Resource Materials
Additional teacher resources, including a symphony diagram,
instrument descriptions, and concert etiquette
18-33
Nashville Symphony Education Department
Contact Information
34
Sponsor Recognition
35
2
TEACHER’S
GUIDE
/ Young/People’s
Appalachian
SpringAppalachian
TEACHER’S
GUIDE
YoungConcert:
From
the
People’s
Conductor
Concert:
Spring
Dear Teachers and Parents:
Thank you for joining us for the Nashville Symphony’s presentation of Benjamin Britten’s A
Young Person’s Guide to the Orchestra!
During this renowned educational concert, students will experience the magic of the
symphony, as we explore the tones, colors, and dynamics of the full orchestra, as well as individual
instruments. Guided by a narrator, this concert has been a favorite for educators, listeners, and
music lovers since it was composed by Britten in 1946. I know you will find many opportunities to
use this concert, and the concert-going experience, as an educational tool.
The Education and Community Engagement department at the Nashville Symphony has put
together this study guide to help you prepare for the concert. We have worked to develop activities
and lesson plans that directly correspond with the music and themes of the concert. In order to
maximize the experience for your students, I encourage you to use the resources in this guide before
and after the concert. Please let us know if there is anything that we can do to enhance your
concert experience. Our goal is to educate and inspire in all that we do.
It is truly exciting to hear a full orchestra of talented musicians perform together. I can’t wait
to share this experience with you!
Wishing you all the best,
Kelly Corcoran
Associate Conductor
3
TEACHER’S
GUIDE
/ Young/People’s
Appalachian
SpringAppalachian
TEACHER’S
GUIDE
YoungConcert:
Concert
People’s
Program
Concert:
Spring
Written in 1946, Benjamin Britten’s “The Young Person’s Guide to the Orchestra” was
originally commissioned for an educational documentary film called “The Instruments of
the Orchestra.” This is one of Britten’s most famous pieces and is often used in children’s
music education. The structure of the piece makes it ideal for teaching many musical
terms and ideas. The theme of the composition is based on Henry Purcell’s “Abdelazar”
and incorporates many variations highlighting a different instrument or instruments
family in the orchestra.
The Young Person’s Guide to the Orchestra, Op. 34
“Variations and Fugue on a Theme of Purcell”
Theme: Allegro maestoso e largamente
Tutti, Woodwinds, Brass, Strings, then Percussion
Variation A: Presto
Piccolo and Flute
Variation B: Lento
Oboes
Variation C: Moderato
Clarinets
Variation D: Allegro alla marcia
Bassoons
Variations E: Brillante: alla polacca
Violins
Variation F: Meno mosso
Violas
Variation G
Cellos
Variation H: Cominciando lento ma poco accel. Al Allegro
Double Basses
Variation I: Maestoso
Harp
Variation J: L’istesso tempo
Horns
Variation K: Vivace
Trumpets
Variation L: Allegro pomposo
Trombones and Tuba
Variation M: Moderato
Percussion (Timpani, Bass Drum & Cymbals, Tambourine & Triangle, Snare Drum & Wood Block, Xylophone,
Castanets & Gong, Whip, Percussion Tutti)
Fugue: Allegro molto
Tutti, statement of original theme
4
TEACHER’S GUIDE/ Standard Equivalencies
Nashville Symphony’s Young People’s Concert
Britten’s Young Person’s Guide to the Orchestra
Standard Equivalencies
The Nashville Symphony strives to integrate the concert going experience into the classroom. Below, please
find a reference of how each activity corresponds with multiple standards, both in core and music curriculum.
Lesson #1: Introduction to the Orchestra (pages 7-9)
Activity #1: The Conductor: Follow the
Leader Exercise
Core Curriculum: Listening and Speaking: uses active listening skills to follow non-verbal
directions.
Music Curriculum: Standard 2.0 Playing Instruments, SPI 2.1.2 Imitate a steady beat using
body percussion or instruments, 3.0 Improvising melodies, variations, and
(page 7-8)
accompaniments.
Core Curriculum: Listening and Speaking: uses active listening skills to follow non-verbal
directions, Math GLE 0006.5.1 Sort objects and use one or more attributes to solve
Activity #2: Make-up of an Orchestra:
problems,
Reading 7.0 Integrate and evaluate content presented in diverse formats and
Orchestra Coloring Diagram
media, including visually and quantitatively, as well as in words.
(page 8)
Activity #3: The Instrument
Concentration Game
(page 9)
Music Curriculum: Standard 6.0 Listening and Analyzing, SPI 6.2.1 Identify, by sight and
sound, classroom instruments and classify into families.
Core Curriculum: Listening and Speaking: uses active listening skills.
Music Curriculum: Standard 2.0: 2.3 Perform rhythmic and/or melodic accompaniments
using correct technique.
Lesson #2: Music History (10-12)
Activity #1: The Life of Benjamin Britten
Core curriculum: History 1.1 Identify instances in which language, art, music, belief
systems, and other cultural elements facilitate an understanding or create
misunderstanding, Writing 3.15 Use language that conveys the writer’s point of view,
Writing 2.0 Write informative/explanatory texts to examine and convey complex
ideas and information clearly and accurately , Language 1.0 Demonstrate command of
the conventions of standard English grammar and usage when writing or speaking.
(page 10-11)
Music Curriculum: Standard 8.0 Interdisciplinary Connections: 8.2 Explain the
relationship between music and another academic discipline, Standard 9.0 Historical and
Cultural Relationships: 9.1 Explore the characteristics of music genres and style within
their historical and cultural settings.
Core Curriculum: Listening and Speaking: Uses active listening skills, Reading 7.0 Integrate
and evaluate content presented in diverse formats and media, including visually and
quantitatively, as well as in words, Reading 2.0 Determine central ideas or themes of a
Activity #2: Henry Purcell and Themes
text and analyze their development; summarize the key supporting details.
(page 11)
Music Curriculum: Standard 1.0 Singing 1.2 Demonstrate the ability to sing in an ensemble
selected musical examples, 6.0 Listening to, analyzing, and describing music, Standard 7.0
Evaluating 7.2 Listen to and analyze a music performance using teacher given criteria.
5
TEACHER’S GUIDE/ Standard Equivalencies
Activity #3: Musical Styles Though the
Ages
(page 12)
Core Curriculum: History Standard 1.0: 1.2 Identify examples of how language, literature,
the arts, architecture, traditions, beliefs, values or behaviors contribute to the
development and transmission of culture.
Music Curriculum: Standard 6.0 Listening and Analyzing: 6.1 Listen to a varied repertoire
of music representing diverse genres and cultures, 6.2 Analyze aural examples of a varied
repertoire of music representing diverse genres and cultures, 6.3 Describe listening
examples using music vocabulary, Standard 9.0 Historical and Cultural Relationships: 9.1
Explore the characteristics of music genres and styles within their historical and cultural
settings.
Lesson #3: Theme and Variation (pages 12-14)
Activity #1: What is a Theme and
Variation?
(page 13)
Core Curriculum: Standard 2.0 Language Arts: GLE 0601.2.8 Participate in work teams and
group discussions, Reading 7.0 Integrate and evaluate content presented in diverse
formats and media, including visually and quantitatively, as well as in words, Language 1.0
Demonstrate command of the conventions of standard English grammar and usage when
writing or speaking.
Music Curriculum: Standard 7.0 Evaluating: 7.2 Listen to and analyze a music performance
using teacher given criteria.
Activity #2: Three Changes Game
(page 13-14)
Activity #3: Popular Music Variations
(page 14)
Core Curriculum: Listening and Speaking: Displays an understanding of subject matter.
Core Curriculum: Writing: 0502.3.16 Use precise language, including vivid words and
figurative language, Reading 7.0 Integrate and evaluate content presented in diverse
formats and media, including visually and quantitatively, as well as in words, Writing 2.0
Write informative/explanatory texts to examine and convey complex ideas and
information clearly and accurately , Language 1.0 Demonstrate command of the
conventions of standard English grammar and usage when writing or speaking.
Music Curriculum: Standard 6.0 Listening and Analyzing: 6.3.3 Compare and contrast
music examples using appropriate music vocabulary.
Lesson #4: Fugues (pages 17-19)
Activity #1: What is a Fugue?
(page 15)
Activity #2: J.S. Bach Fugue Game
(page 16)
Activity #3: Student Performance of
a Fugue
(page 16-17)
Core Curriculum: Writing: Domains (Creative), Reading 7.0 Integrate and evaluate content
presented in diverse formats and media, including visually and quantitatively, as well as in
words.
Music Curriculum: Standard 6.0 Listening and Analyzing: Students will listen to, analyze,
and describe music.
Core Curriculum: Listening and Speaking: Uses body language and behavior appropriate to
the listening situation, Reading 7.0 Integrate and evaluate content presented in diverse
formats and media, including visually and quantitatively, as well as in words.
Music Curriculum: Standard 6.0 Listening and Analyzing: Students will listen to, analyze,
and describe music.
Core Curriculum: Listening and Speaking: Participates respectfully in the exchange of
ideas, Language 1.0 Demonstrate command of the conventions of standard English
grammar and usage when writing or speaking.
Music Curriculum: Standard 1.0 Singing: 1.2 Demonstrate the ability to sing in an
ensemble selected musical examples.
6
TEACHER’S GUIDE/ Lesson Plan #1
Lesson Plan #1: Introduction to the Sounds and Members of an Orchestra
Overview of Lesson

Activity 1- The Conductor: Follow the Leader Exercise (10 minutes)

Activity 2- Make-up of an Orchestra: Orchestra Coloring Diagram (20 minutes)

Activity 3- The Instrument Concentration Game (20 minutes)

Lesson Plan #1 Comprehension Check
Time needed
35-45 minutes
Materials needed
“The Conductor” pg. 23
Orchestra Coloring diagram pg. 19
Crayons or markers
Listening excerpts
Sound Pyramid
Objective
Students will gather a basic understanding of the make-up of a symphony orchestra, the role the
conductor plays, and the classification of instruments by use of visual, aural and kinesthetic skills.
Activity #1: The Conductor: Follow the Leader Exercise
Time needed
10 minutes
Materials needed
No materials are needed for this activity
Objective
To highlight the role of the conductor in an orchestra
To enrich students’ understanding of rhythm
To engage students in listening and taking direction
This is a “get up and move” activity
7
TEACHER’S GUIDE / Lesson Plan #1, Activities #1-2
1. Review page 23 (The Conductor) of the Resource Materials. You can also print copies for your class to review.
2. With the children standing, explain you are the conductor "and that students should follow what you do.
3. Divide the students into different “instrument families.” In this exercise, each family will be represented by a
different mode of body rhythm (clapping, snapping, lap patting). Show the students with conducting gestures how you
will signal increasing or decreasing the tempo, as well as the dynamics of getting louder and softer.
4. Begin with a steady rhythm, which you will set with conductor gestures. Students must follow you as you speed up,
slow down, get louder, and get softer.
5. Once students understand the exercise, choose a student to lead the activity. Explain that this student is now the
conductor. Several different students can be given the opportunity to conduct.
Activity #2: Make-up of an Orchestra: Orchestra Coloring Diagram
Time needed
20 minutes
Materials needed
One copy of the Orchestra Seating Diagram (page 20) for each
student listening excerpts
Objective
To recognize the different families within the orchestra aurally
To identify where each instrument family sits in the orchestra
This is a participatory, sit-down activity
1. Review pages 24-30 (Meet the Instruments) of the Resource Materials. You can print copies of these pages for your
students.
2. Play the violin sound excerpt from www.NSOkids.org, under “Our Instruments” (the instruments are arranged
alphabetically in the scrolling bar). Ask students to identify to which family the instrument sound belongs. Have
students make a case supporting their answer. Welcome a friendly debate if the opportunity presents itself.
3. Once the correct answer has been given, move on to the next instrument example and repeat the process, being
sure to pick at least one instrument from each family (strings, woodwinds, brass, and percussion).
4. Make sure students are using the diagram as an aid in identifying the instruments and where they are located in the
orchestra.
5. Play the first 2 minutes from this listening example of Benjamin Britten’s Young Person’s Guide to the Orchestra and
allow students to watch as each instrument family is illuminated in a different color when it plays. Invite the students
to color the corresponding section on their Orchestra Coloring Diagram.
8
TEACHER’S GUIDE / Lesson Plan #1, Activity #3
Activity #3: The Instrument Concentration Game
Time needed
20 minutes
Materials needed
Instrument pictures or paper labeled with instrument names
Instrument Gestures Guide, p. 20, which contains movement ideas
Objectives
To identify individual instruments and increase focus and concentration
This is a “get-up and move” activity.
1.
Place 16 chairs in a circle leaving one chair designated as the conductor's chair and continuing in order with the violin as the
first chair all the way around through the instrument families, with harp as last. Either copy individual orchestral instrument
pictures and tape one to each chair back, or just write the instrument names on paper.
2. Demonstrate a gesture specific to each instrument that represents how it is played (this gets tricky with clarinet, oboe, and
bassoon, so be clear when demonstrating gestures). For suggestions, see “Instrument Gestures Guide” on p. 20. Practice the
gestures together as a class. To play the game, the conductor starts each round with two leg pats and a thumbs up, repeating
this twice (titi ta titi ta).
3. When everyone's got the rhythm, the conductor puts his gesture in place of the first thumbs up, then an instrument gesture
on the 2nd thumbs up, like the violin. The control is passed to the violin, who does pats his or her own gesture and then
someone else’s of his or her choosing. For example: pat pat conductor, pat pat violin. Then the person assigned to violin
goes: pat pat violin, pat pat clarinet (or another instrument of their choosing). The players must also say the instrument
name as they do each gesture.
4. Try to keep a steady beat. If anyone flubs by breaking the rhythm, messing up a gesture, or not doing a gesture, they move to
the last seat in the orchestra and everyone behind him in the seating moves up. That means their instruments change (so
they can look on the chair back to see what they are). If more than 16 participants exist then the player that is disqualified is
replaced by a new player.
Lesson Plan #1 Comprehension Check
 Did students understand the status of conductor as the “leader?” Did students
follow directions effectively?
 Were students able to correctly identify instrument families by their sounds? If
not, were students able to give reasons as to why they chose incorrectly?
 Did students grasp an understanding of individual instruments and how they look
when played?
9
TEACHER’S GUIDE / Lesson Plan #2: Music History
Lesson Plan #2: Music History
Overview of lesson:

Activity #1– The Life of Benjamin Britten (15 minutes)

Activity #2– Henry Purcell and Themes(15 minutes)

Activity #3– Musical Styles through the ages (10 minutes)

Lesson Plan #2 Comprehension Check
Time
40-45 minutes
Materials
Listening excerpts, “Abdelazer” music, p. 20
Objective
Students will gain a knowledgeable background in history for the life of Benjamin Britten and Henry Purcell, as
well as gather a broad understanding of the different musical styles and how periods of history shaped them.
The student will also recognize and be able to point out musical and literary themes.
Activity #1: The Life of Benjamin Britten
Time
15 minutes
Materials
Pencil and paper for notes
This is a sit-down activity
1.
Begin by giving a brief lecture on Benjamin Britten’s life:
 Benjamin Britten was born on November 22, 1913 in England. He composed in a style known as modern. This particular style
began is thought to have begun during the 1920s. Other composers who wrote during that time were Aaron Copland, George
Gershwin, and Igor Stravinsky.
 Britten began composing at the age of five! First, he studied piano and viola, then began formal composition lessons. By the
age of 18 he had written a number of full length compositions. After graduating school, he made his living as a composer. He
wrote music for many documentary films and plays such as Night Mail in 1936. Britten moved to America during the
beginning of World War II, during the years of 1939-1942, but returned to England after the war was over.
 Upon his return to England, he composed his famous War Requiem. It was written in 1962 for the newly reconstructed
Coventry Cathedral in England, since the first cathedral was destroyed during World War II. He was the first musician to be
given the title “Lord” by the Queen of England.
 Britten’s “Young Person’s Guide to the Orchestra” is one of his best-known pieces. It showcases each instrument family
(string, woodwind, brass, percussion) as a section as well as solo instruments. This piece was composed for a documentary
film as a way to show the tone colors and abilities of the various sections of the orchestra.
 Some American historical events that occurred during Britten’s lifetime include The Great Depression, the assassination of
President John F. Kennedy and the astronaut’s first landing on the moon.
10
TEACHER’S GUIDE / Lesson Plan #2, Activities #2-3
2. After this brief explanation of Britten’s life, ask students the following:
 Britten started composing when he was younger than you are now. If you were to start writing music, what style would you
choose, and why? Some styles include Classical, Rock, Country, Hip Hop, R&B.
 Britten wrote a piece called War Requiem inspired by World War II. If you could compose a musical piece that honors,
memorializes, or celebrates an historical event, which event would you choose and why? Would the piece be happy or sad?
Fast or slow? Which instruments would be featured during the piece?
 Britten wrote for orchestras and for operas. What are some differences between these two styles? If you could choose
between composing for a musical band or composing for a film, which would you choose and why?
3. Once they have written down their answers, ask for volunteers to share their answers with the class.
Activity #2: Henry Purcell and Themes
Time
15 minutes
Materials
Purcell’s Theme, Listening excerpts
This is a participatory, aural sit-down activity
1. Explain to students that Henry Purcell is a Baroque composer of the 17th century, which
is different from Britten’s modern style. The reason he is important to Britten’s “Young
People’s Guide to the Orchestra” is because Britten’s work is based on the “Rondeau”
from Abdelazar, which Purcell wrote. Purcell’s theme is so prominent in Britten’s piece
that it is subtitled “Variations and Fugue on a Theme of Purcell.”
2. Provide each student with a copy of Purcell’s Theme from page 21. Play the first minute of Britten’s “The Young Person’s Guide
to the Orchestra” multiple times. An online version is available here: Britten’s The Young Persons Guide. Ask the children to
follow along with the sheet music to help identify all occurrences of the theme. Play the excerpt one more time and ask
students to sing along with the theme.
3. Once students have a good grasp of Purcell’s theme, explain that a musical theme is similar to a literary theme. In books, a
theme is a message that one can take from the overall story, such as a moral lesson. For instance, the theme in children story
The Boy Who Cried Wolf is that you should never lie, because then people will not trust you. Similarly, in music there are
typically musical phrases that a piece revolve around. Often times, the theme remains with the listener, and he or she is able to
sing the theme after the piece ends, just like a reader is able to state the overall theme of a book after completion.
4. To confirm students’ understanding of musical and literary themes provide them with the short story, such as “The Lion and the
Mouse” from page 22 and ask them to identify the theme. Or reference a story your class has read together. Then, play
listening excerpt from Edvard Grieg’s Peer Gynt Suite No. 1., In the Hall of the Mountain King and ask students to sing back the
musical theme. You may access the listening example by clicking here: Grieg’s Peer Gynt.
11
TEACHER’S GUIDE / Lesson Plan #2, Lesson Plan #3: Theme and Variation
Activity #3: Musical Styles Through the Ages
Time
10 minutes
Materials
Listening Excerpt
This is a participatory, active listening, sit down activity
1. Refer to page 30 of Resource Materials. Describe the different style periods to the students and play a
portion of the corresponding excerpt for each category.
2. Play the excerpts out of order and ask students to identify to which style periods the excerpts fit. Ask the
students which style period they like the best, and why?
3. Remind students that Britten worked in the modern style, while Purcell, who composed the theme, wrote in
the Baroque style.
Lesson Plan #2 Comprehension Check
 Do students have a basic knowledge of the lives of Benjamin Britten and Henry
Purcell?
 Are the ideas of a musical themes and literary themes clear to the students? Are
students able to successfully identify each?
 Can students recognize which style different musical works fall into?
Lesson #3: Theme and Variation
Overview of Lesson
 Activity 1– What is a theme and variation?
 Activity 2– Three Changes Game
 Activity 3– Popular Music Variations
Time needed to complete lesson
50-55 minutes
Materials
Listening excerpts
Objectives
To establish a deep understanding of the musical term theme and variations
To allow students to connect the term “theme and variation” to today’s pop culture
12
TEACHER’S GUIDE / Lesson Plan #3, Activity 1-2
Activity #1: What is a Theme and Variation?
Time
25 minutes
Materials
Listening Excerpt
TV/Computer, Projector, Speakers
Objectives
To introduce the term theme and variation
To relate theme variation to other arts
This is a participatory, discussion-based sit down activity.
1. Explain to students that, in music, a theme is a melody that serves as the main idea for a composition. When the
theme is altered, a variation occurs. Such alterations can be a change in rhythm, different harmonies, different keys, or
added notes. In Britten’s The Young Person’s Guide to the Orchestra each instrument family (strings, woodwind, brass,
and percussion) plays the theme and then individual instruments present a variation on that theme.
2. Access a recording and visual guide of Britten’s piece here: Britten’s Young Person’s Guide. Project the website onto
a screen or TV where the students can see. Ask students to be actively listening and watching as the theme is stated
and variations begin with the woodwinds. A little red arrow will guide you through the piece. Press play! Stop the
recording when it reaches the end of each section.
3. Engage in a guided discussion through the following questions:
Were you able to identify the theme? The theme is easily identifiable in Britten’s piece because of its
reoccurrences. The whole orchestra plays it and then the individual families play it.
What alterations to the theme did you notice in the variations? There were many added notes, changes in
rhythm, dramatic tempo changes from fast to slow and vice versa, dynamic changes, etc. The
possibilities for variation are endless.
Were you able to sing the theme after all of the variations? All the variations included the theme, but some
may have been more recognizable than others. Some may have found the percussion variation to be
particularly hard to follow. Why do you think that is?
Activity #2: Three Changes Game
Time needed
10 minutes
Materials
None
Objectives
To apply the idea of theme and variation to sources outside the realm of music
This is a “get-up and move” activity
13
TEACHER’S GUIDE / Lesson Plan #3, Activity #2-3
1. One at a time, have students go outside the classroom and change three things about their appearance.
When they come back in, have the class try to guess the three things that changed. Allow a number of
students to take a turn with respect to time.
2. Point out to students that before they leave the room they represent the theme. After they return, they
represent a variation.
Activity #3: Popular Music Variations
Time
15-20 minutes
Materials
Pencil and Paper
Listening excerpts
Objectives
To recognize theme and variations in today’s pop culture
Use aural skills to analyze two similar works
To think creatively about a theme and individually develop a variation
This is a “sit down” activity
1. Ask students if they can think of any examples of theme and variations in today’s music culture. Explain
that a cover song or a mash-up is similar to a variation because it takes the original song (theme) and
alters it to make a new version (variation).
2. Allow students to listen to “Little Boxes” by Malvina Reynolds . Direct students to listen closely to the
next selection, “Little Boxes” by Walk off the Earth, and determine the differences from the first
selection. Ask students what differences they heard in the second version. An alternative listening
example that may be used is “Somebody that I used to know” by Goyte and “Somebody that I used to
know” by Pentatonix.
3. Tell students to choose a song that they are particularly familiar with and create a variation on that song
by writing down specific details conveying what they would change or add to the song. Look for changes
in tempo, dynamics, key, instrumentation, and performer. Students should feel free to be as creative as
they desire with this activity.
4. Once students have completed their variation have a select few share their ideas for
compositions with the class.
14
TEACHER’S GUIDE / Lesson Plan #4 - Fugues, Activity #1
Lesson Plan #4: Fugues
Overview of Lesson

Activity 1- What is a fugue?

Activity 2– J.S. Bach Fugue Game

Activity 3– Student Performance of a Fugue
Time Needed
35-45 minutes
Materials
Listening Excerpts
Objective
To engage students’ understanding of a fugue
To put the definition of a fugue into performance practice
Activity #1: What is a Fugue?
Time Needed
10 minutes
Materials
Listening Excerpts
Objective
To challenge students to analyze and extract different musical elements from a selection of music aurally
This is a participatory “sit down” activity
1. Explain to students that a fugue is a composition with two or more voices or parts, in which the melody
(called the subject), is played by one voice or instrument and then replayed and modified by the other
voices or instruments. Between statements of the subject, an episode may be heard. An episode is a
connecting passage developed from previously heard material. The listener must be careful not to get the
subject and episode confused.
2. Play the concluding section from “Young Person’s Guide to the Orchestra” for the students from Britten
YPG site. Explain to students that this section is a fugue and that the piccolo states the subject first and is
followed by the flute. See if students can guess which instrument states the subject next and so on
throughout the concluding section (flute, then oboe, then clarinet and finally bassoon).
15
TEACHER’S GUIDE / Lesson Plan #4, Activity #2-3
Activity #2: J.S. Bach Fugue Game
Time needed
10 minutes
Materials
Listening Excerpt
Objectives
To deepen students’ understanding of a fugue
1. This game promotes the active search for pattern and structure, which not only increases musical enjoyment, but
is also a great brain exercise. Students will be focusing on one of the most basic elements of the fugue– the
repetition of the subject (main theme) in different voices (e.g. sometimes high, sometimes low). In a sense, this
game is a musical version of Where’s Waldo, and you must spot the subject no matter how hidden it is! Click on
“Listen to Subject” from Bach Fugue Game so that students may hear the subject of the piece. Play this example a
couple of times so that students are very familiar with it.
2. Explain to students that you are now going to play the whole fugue. Whenever they hear the subject they should
raise their hand, but they must be careful! Don’t let Bach trick you– there are “episodes” throughout the piece that
sound like the subject, but are actually just short snippets of the subject interspersed with other material. Have
students keep track of how many times they raise their hand.
3. At the end of the fugue collect a count of how many students heard the subject 1-4 times, 5-8 times, and 9 times.
Congratulate those that heard it nine times. This is how many statements of the subject there are in Bach’s piece.
Activity #3: Student Performance of a Fugue
Time needed
15 minutes
Objectives
Students engage in their own performance of a fugue while developing group interactive skills
Materials
None needed
This is a participatory, sit-down activity
1. Divide students into 3 groups, and make sure the groups are sitting together. Assign a number to each group
from 1-3.
2. Explain to students that they are going to create a fugue of their own with the subject being “Row, Row, Row Your
Boat.”
16
TEACHER’S GUIDE / Lesson Plan #4, Activity #3
3. Have the whole class sing “Row, Row, Row your Boat” one time through. Assign Group 1 to sing in high voices,
Group 2 to sing in very low voices, and Group 3 to sing in normal voices. The reason the groups sing the subject in
different ranges is because, unlike a round, voices in a fugue enter on higher and lower pitches. They also
continue to play new material (known as episodes) while the other voices make their entrance.
4. Explain that Group 1 will begin with the statement of the subject (“Row, Row, Row Your Boat”). Once they sing it
one time through they are to sing “Twinkle Twinkle Little Star” to represent the playing of an episode. Group 2 will
then enter with one statement of the subject (“Row, Row, Row Your Boat”). After completion of the subject,
Group 2 will sing “Twinkle, Twinkle Little Star” to represent another entrance of an episode. Group 3 then enters
with a statement of the subject as soon as Group 2 finishes singing the subject. After one statement of the subject,
Group 3 ends by singing “Twinkle, Twinkle Little Star.” Once all three groups have sung the subject, have children
stop singing.
5. Begin an open discussion with students talking about their performance of the “Row, Row, Row Your Boat” fugue.
Lead the discussion with the following questions:

What made your version of “Row, Row, Row Your Boat” a fugue?

What was it like trying to work together as a small group within a larger ensemble?

Was it obvious when the subject was being stated?

Were you actively listening to your peers around you?

6. If there is time left in class, visit: Lady Gaga Fugue and play this popular culture example of a fugue. The students will
get a kick out of this! (Please note, the video is not actually of a symphony performing the piece, but a very convincing
illusion).
17
RESOURCE MATERIALS/ Table of Contents
Student Activity Sheets
The Conductor
The Instruments of the
Orchestra
19-22
23
24-30
Musical Style Periods
31
The Schermerhorn Symphony
32
Center
Concert Etiquette
18
33
RESOURCE MATERIALS/ Student Activity Sheets- Orchestra Coloring Diagram
19
RESOURCE MATERIALS/ Student Activity Sheets- Instrument Concentration Game
Instrument Gestures Guide (for activity on pg. 9)
Conductor (finger conducting)
Violin (using your right hand, move an imaginary bow across your bent left arm)
Viola (using your right hand, move an imaginary bow across your straight left arm)
Cello (using your right hand, move an imaginary bow across the front of your body)
Bass (using your right hand, move an imaginary bow across the front of your body
while elongating your left arm above you)
Flute (twiddle your fingers to the right of your head)
Clarinet (twiddle your fingers out in front of your body)
Oboe (fingers extended but frozen out in front of body like “jazz hands” with palms to belly
and chest)
Bassoon (jazz hands like oboe, but off to the right side)
Trumpet (fist near mouth, other hand fingering valves)
Trombone (fist near mouth, other hand moving the slide)
French Horn (fist near mouth, other arm in arched shape as if hand is placed inside horn)
Tuba (fist near mouth, other arm extended away from body as if holding a beach ball)
Snare (index fingers tapping)
Cymbals (bring both hands together in a crashing gesture)
Harp (wave hands toward and away from body as if stroking the strings)
20
RESOURCE MATERIALS/ Student Activity Sheets- Purcell Theme sheet music
(Taken from “Share the Music –Grade 4, p. 269” Copyright 2000, McGraw-Hill School Division)
21
RESOURCE MATERIALS/ Student Activity Sheet-The Lion and the Mouse
The Lion and the Mouse
Once upon a time, when a Lion was asleep, a little Mouse began
running all around him, up and down and over him. This woke up the
sleeping Lion, who placed his huge paw upon the Mouse and opened his big
jaws to swallow him.
“Pardon, my King!” cried the little Mouse, “Forgive me this time. I shall
never repeat it and I shall never forget your kindness. And who knows, I may
be able to do something for you in return someday.”
The Lion was so tickled at the idea of the Mouse being able to help
him, that he laughed out loud and lifted up his paw to let the Mouse go.
Sometime later, a few hunters captured the Lion King and tied him
down with ropes while they went in search of a wagon to carry him away.
Just then, the little Mouse happened to pass by, and seeing the sad
plight of the Lion, ran up to him and began gnawing away at the ropes that
bound the Lion to the ground. “Was I not right?” said the little Mouse.
Amazingly, one of the smallest animals in the forest had set the Lion free!
22
RESOURCE MATERIALS/ The Conductor
The Conductor
Have you ever wondered who the person is standing in front of the orchestra during a concert? That
person is the conductor, and he or she is in charge of interpreting the music and keeping the orchestra
together as they play. The conductor serves as the orchestra’s leader or guide. He or she will study the music
score, making certain adjustments and clearly relaying ideas to the musicians. The conductor also plans
rehearsals, chooses guest artists and, most importantly, decides what the orchestra will play! He or she must
know about all the instruments in the orchestra and be able to direct all of the musicians. The conductor’s
job is very challenging and very important!
Reflection Questions Before the Concert

Have you ever seen a conductor of an orchestra or
marching band? What were they doing?

How would you feel if you were in front of a whole
orchestra? Would you be excited or nervous? Or
maybe both?

Can you think of another job where you must be able
to lead or direct a big group of people?
Reflection Questions After the Concert

Why do you think the job of the
conductor is important? What do you
think would happen if the conductor
were not there?

What did you think of the conductor?

How would you describe the
conductor? Were they expressive,
passionate, controlled, excited? How
do you think it feels to stand in front of
80 musicians and conduct them?
23
RESOURCE MATERIALS/ Instrument Families of the Orchestra
Instrument Families
There are many different instruments in the orchestra, each with a different sound.
When we talk about musical instruments, we often talk about them as being part of a family.
That's because, just like in human families, the instruments in a particular family are related to
each other. They are often made of the same types of materials, look similar to one another,
and produce sound in comparable ways. Below is general information on each of the main
instrument families in the orchestra. The following pages discuss individual instrument in
more detail.

Strings: violin, viola, cello, and bass. The string family makes up half of the orchestra. Although
many of the string instruments look similar in shape and color, they vary greatly in size and
sound. To produce a sound on a string instrument the player draws a bow across the strings. The
player can also pluck the strings with his or her finger, which is a style of playing called pizzicato.

Woodwinds: flute, piccolo, clarinet, oboe, English horn, and bassoon. Woodwinds produce a
sound by blowing air through the instrument. The flute and piccolo blow air across the
mouthpiece while the other woodwinds use a thin piece of wood called a “reed.” The clarinet
uses a single reed which is one thin piece of wood. The oboe, English horn, bassoon, and
contrabassoon use a reed made of two pieces of wood joined together called a double reed.
When air is blown across the reed, the wood vibrates and a sound is produced.

Brass: trumpet, trombone, tuba, and French horn. All members of the brass family are made of
brass. They all produce sound the same way– the musician vibrates his lips together and against
the mouthpiece forcing air through the instrument. The trombone is the only brass instrument
that uses a slide instead of valves to change tones.

Percussion: snare drum, timpani, bass drum, cymbals, marimba, glockenspiel, vibraphone,
triangle, and more. The percussion family includes many instruments, from small to large , from
simple to complex. To create a sound on a percussion instrument, the player typically strikes,
bangs, shakes, or scrapes it. Percussion instruments can typically be played with the hands or
with mallets.
24
RESOURCE MATERIALS/ String
The String
Family!
Family
The String Family: This family includes four instruments that may look and sound similar, but are
very different in size and playing style. All string instruments are made of wood, have four strings,
and a bow that is made of wood and horsehair. They have many parts in common– the belly
(front), soundboard (top), the neck, the fingerboard, the scroll, and the f-holes (sound holes). Each
instrument has four strings which are tuned to four different pitches. A bow is a curved piece of
wood with a band of stretched horsehair held tightly between both ends. Sound is produced when
the bow is drawn across the strings, causing the strings to vibrate. The player can also pluck the
string, which is a style of playing called pizzicato. Where the player puts his or her left-hand
fingers on the string determines what note is produced, and how the player moves the bow with
his or her right arm (slow or fast, rough or smooth, etc.) determines the quality of the sound.
The violin is the smallest and highest-pitched string
instrument. The violin has the ability to be both slow
and lyrical or fast and daring. This makes it one of
the most versatile instruments in the orchestra.
The viola, slightly larger than the violin, is used
almost exclusively for classical music. Its sound is
richer and warmer than the violin, but more focused
than the cello’s.
The cello is even lower than the viola and is played
between the legs while sitting down. There is a
small, retractable metal rod (known as the
endpin) at the base of the instrument and allows the
player to secure the instrument in front of them and
adjust distance between the cello and the floor.
The double bass is the lowest member of
the string family and one of the largest
instruments in the orchestra. The bass is
played like the cello, but due to its size,
players often stand or lean on a tall stool
instead of sitting in a chair.
25
Did you know?
Originally violin strings
were made from
sheep’s intestines;
however, they broke
rather easily, so most
violinists today use
metal or steel strings.
Some of the first celli
(that’s plural for cello),
were crafted in the mid1500’s by a craftsman
named Andrea Amati in
Italy. The whereabouts
of only 3 of his celli are
still known today!
Edgar Meyer, one of the
world’s best bassists,
lives in Nashville, TN!
He has premiered two
double concertos with
the Nashville Symphony,
both double bass and
banjo, in 2003, and
double bass and violin,
in 2013.
TEACHER’S MATERIALS/
GUIDE / The Wonderful World of Woodwinds!
RESOURCE
The Woodwind Family: At one time, the instruments in this family were all made of wood, which
gives them their name. Today, they are made of wood, metal, and even plastic. These instruments
are narrow cylinders or pipes with holes. They include an opening at the bottom end of the
instrument and a mouthpiece at the top. You play these instruments by blowing air through or
across the mouthpiece (that's the "wind" in "woodwind"). The mouthpieces for some woodwinds,
including the clarinet, oboe and bassoon, use a thin piece of wood called a reed, which vibrates
when you blow, creating the sound.
Flutes used to be made out of wood, but today they
are made out of metal. A flute player makes sound
by blowing air over a hole on the head section of
the instrument. It is similar to blowing air across the
top of a bottle.
The piccolo is very similar to the flute, but it is
smaller and makes a much higher pitched sound.
The piccolo is usually made of wood, just as old
flutes were made. The piccolo’s highest notes can
be heard over the entire orchestra!
The clarinet is made from wood, or sometimes
plastic, and makes a beautiful, rich sound. A clarinet
player makes sounds by blowing air into the top of
the clarinet and making a single reed vibrate. The
player changes notes by moving their fingers over
the holes and keys in the clarinet. There is also a
bass clarinet plays in a lower register and is slightly
larger than the clarinet.
The oboe looks a little like the
clarinet, but uses a double
reed. Oboe players make their
own reeds, carving them out
of cane. The oboe is the first
instrument you hear when the
orchestra is tuning. See the
sidebar to find out why!
26
History Connections
Piccolo is actually the
Italian word for small. It
was originally called a
flauto piccolo, meaning
small flute. But over
time, the flauto portion
was dropped and now it
is simply called the
piccolo.
The bass clarinet and
saxophone look very
similar. That’s because
of a Belgian instrumentmaker named Adolphe
Sax. In 1838, he
redesigned the bass
clarinet into the shape
we know today, with an
upturned bell. Then in
1846, he invented the
saxophone!
Because the oboe has a
pure sound and its pitch
is not really affected by
temperature, all other
instruments tune to its
pitch.
TEACHER’S MATERIALS/
GUIDE / Woodwinds,
cont’d.
RESOURCE
Woodwinds,
Cont’d.
The Woodwind Family, Cont’d.
The bassoon is actually part of the oboe family, even though
it is much bigger and makes much lower pitched sounds! It is
made out of wood and is four feet long, however if you
unwound the instrument it would be eight feet. Because it is
so big and heavy, it is one of the more difficult woodwind
instruments to play. Children usually wait until they are at
least 12 years old to start learning to play the bassoon.
In addition to the standard bassoon, there is also a
contrabassoon, which is considered the “bass” of the oboe
family. It is very similar to the bassoon except it is much lower
and twice as big. If you unwound the contrabassoon, it would
have 16 feet of tubing!
The English horn is almost identical to the oboe except for
three main points. First, it is a slightly larger instrument.
Second, unlike the body of the oboe which ends in a small flat
bell, the English horn’s body ends in a small bulb-like bell.
Finally, the English horn has a much deeper, rich and exotic
sound than the oboe. As with the oboe, the English horn
employs a double reed and a collection of holes and keys that
are combined to produce varying pitches.
Did you know?
What is a reed?
The name 'English horn' is somewhat controversial,
as the instrument is neither English nor a horn. It
comes from a part of Europe that is now Poland, and
shares more in common with an oboe than a horn.
Nevertheless, the name has stuck!
Reeds are thin strips of material made out of cane.
They are attached to woodwind instruments.
When a player blows, the reed vibrates and
creates sound. Musicians spend hours each week
making and preparing their reeds for playing.
27
TEACHER’S MATERIALS/
GUIDE / BrassBrass
Bash!
RESOURCE
Bash!
The Brass Family: All the instruments in this family are made out of a metal called brass. Like the
woodwind family, brass players use their breath to produce sound, but instead of blowing into a
reed, brass players vibrate their lips by buzzing them into a mouthpiece. The mouthpiece helps to
amplify the buzzing of the lips. That sound travels through the tubing of the instrument to come
out a large bell, which amplifies the sound. The brass family is the loudest family in the symphony.
The trumpet is the highest pitched brass
instrument. It has three keys, or valves, that
the player uses to change pitches. If you
unwound all the trumpet’s tubing, it would
be 4 feet long!
The French horn makes lower pitched
sounds than the trumpet, but higher sounds
than the trombone or tuba. It is made of a
very long tube that is coiled, like a snake, into
a tight circular shape. The horn can make
both loud sounds like a trumpet or soft,
mellow sounds. See the sidebar for some of
the French horn’s earliest uses!
The trombone is the only “slide” instrument
in the brass family. The other instruments in
this family are made up of wound tubing
with keys, or valves, but the trombone is
bent more into a long “S” shape. A trombone
player “slides” a part of the trombone back
and forth to play different notes.
The tuba is the lowest-pitched brass instrument and the newest brass
instrument to find its way into the orchestra. It often plays a similar role in the
brass section as the double bass plays in the string section. The tuba typically
has 3 – 5 valves and is formed by a large tube that is wound around and
around, eventually ending in a large flat bell which points towards the ceiling.
28
History
Connections
The earliest trumpets
were found in Egypt
more than 3,500 years
ago! Throughout its
history, the trumpet
has often been used for
military purposes. In
fact, trumpet players
were highly guarded on
the battlefield as they
relayed messages
between troops.
The earliest French
horns were small and
round and were used
to communicate while
hunting on horseback.
The horn could sit on
the knee of the rider
and be played with only
one hand, allowing the
other hand to steer the
horse as the player
galloped through the
woods.
TEACHER’S MATERIALS/
GUIDE / The Percussive
Percussion
Family
RESOURCE
The
String Family
Hits!
The Percussion Family: This is one of the most diverse and interesting families in the orchestra.
percussion instruments encompass a wide variety of tones, textures, sounds and shapes. To create
a sound on a percussion instrument, the player typically strikes, bangs, shakes, or scrapes it.
Some percussion instruments are tuned and can produce different notes, and some are untuned
with no definite pitch. Percussion instruments serve many different functions in the orchestra.
They can keep the rhythm, make special sounds, and add excitement and color.
Timpani consist of a copper or brass base and a
membrane (normally calf skin or plastic) that is stretched
over the top of that base. Each instrument is capable of
a range of pitches that are determined by the size and
specific tuning of the instrument’s drum head. The basic
pitch of each timpani is adjusted by a foot pedal, which
stretches the drum head to raise the pitch or loosens it
to lower the pitch. In the orchestra, there can be 2-5
timpani drums, each producing a different note or tone.
The bass drum is the biggest drum in the family. In the
orchestra it is normally mounted vertically on a stand.
Bass drums are also used in marching bands and
traditional drum sets. The main function of the bass
drum is to keep the beat of the piece.
The snare drum is made of two drum heads attached to
either side of a round shell. The top head is known as the
batter head and the bottom head is known as the snare
head. Attached to the snare head, there are 8 – 10
snares, or wire-bound strings. It is the snares that give
this drum its unique sound.
The marimba is huge percussion instrument made of
wooden bars, suspended on a frame. The bars are
arranged like the keys of a piano, with a row of naturals
and an overlapping row of sharps and flats. Beneath the
bars there are metal tubes called resonators. The
resonators assist in amplifying the sound.
29
Did you know?
The snare drum is
probably the most versatile of all the drums
and can be found in all
types of music including
classical, pop, jazz, rock
and roll, samba, and
heavy metal, as well as
military and marching
bands.
Some scholars think
that percussion
instruments were the
first instruments ever
created! After all, hand
clapping is percussion!
TEACHER’S MATERIALS/
GUIDE / The Percussive
Percussion
Family
RESOURCE
The
String Family
Hits!
The Percussion Family, Cont.’d
Cymbals are round, dish-shaped instruments made of
brass or a special metal. The cymbals are played by
crashing two of them together, usually at a very
important and loud moment in the piece. There are
also small finger cymbals which can be attached to a
person’s fingers and struck together.
The triangle consists of a steel, tubular rod that is bent
into an equilateral (equal length on all sides) triangle
shape, but with one corner left open. Sound is produced
by striking a small metal rod against the outside of the
instrument or by moving the small rod around the inside
of the instrument.
The Glockenspiel, which is German for 'play of bells,'
consists of tuned metal bars, suspended on a small
frame. Just as with the marimba, the bars are arranged
like the keys of a piano, with a row of naturals and an
overlapping row of sharps and flats. Often called the
orchestra bells, the sound produced by striking the bars
produces a very bright, shimmering sound.
The Vibraphone is another keyboard percussion
instrument that has metal bars, resonators, and
uniquely has a motor that powers a fan to vibrate the
tones. The vibraphone, affectionately referred to as
‘vibes’ produces a softer, mellower tone when
compared with the glockenspiel.
History Connection
A pair of ancient
cymbals, just 5 inches
wide, were found in the
Egyptian tomb of
Ankhhape, a sacred
Egyptian musician. They
currently reside in the
British Museum.
No one knows exactly
when the triangle was
invented, or by whom,
but paintings from as
far back as the Middle
Ages, depict people
playing them.
Chimes are a series of metal tubes where the length of each tube determines the pitch
of each chime. Orchestral chimes are suspended vertically from a stand and are
ordered in a similar fashion to the keys on a piano. Sound is produced when the top of
the chime is struck by a plastic or wooden hammer. In the orchestra, they are often
used to mimic the sound of church bells.
30
RESOURCE MATERIALS/ Musical Style Periods
Renaissance 1450-1600 – The word “Renaissance” is defined as a “rebirth” or “reconstruction.” This
period marked the revival of cultural achievements in all forms of art and the rebirth of humanism, a
philosophy that focuses on human values and concerns. Musical works displayed more artistic freedom and
individuality than the previous period, which was called the Medieval Period. New printing techniques were
established and this allowed music to be preserved and distributed. Instrumental music began to flourish as
composers used instruments to accompany choral music more and more. The compositional technique of
imitation also came into common practice. Imitation is a method where one melodic line shares, or
“imitates,” the same material from a previous melodic line.
Listening example: Giovanni Pierluigi da Palestrina: Agnus Dei
Baroque 1600-1750 – Baroque music features spontaneous expression, whereas the period of
Renaissance music was more rigid and structured. One of the most important musical characteristics
established in the Baroque period was the concept of contrast. Music could be loud and soft, fast and slow,
and could feature solo instrument or larger ensembles. Music written in this period commonly features a
melodic line, a keyboard part, and a bass line called basso continuo. Musical instruments were enhanced in
this era to allow greater ranges and dynamics. There were also new compositions written for new
instruments, such as the French horn and clarinet. Instrumental music rose to great heights and began to
rival vocal music.
Listening Example: Antonio Vivaldi: Spring, 1st movement from The Four Seasons
Classical 1750-1820 – The Classical period is known for its structural clarity. Long unbroken melodies
found within the Baroque Period were replaced by phrases and themes that were much shorter musical
fragments. Often these phrases appear in an antecedent (question) and consequent (answer) relationship.
Many different moods are portrayed in a Classical piece of music allowing the listener to be both entertained
while experiencing a wide array of emotions.
Listening Example: Ludwig van Beethoven: Symphony No. 6, Movement 4
Romantic 1820-1910 – The Romantic Period is characterized by increased expression and deepened
emotion. It was an era of championing the new, the curious, and adventurous features of music. The length
and size of the symphony was extended, often substantially, in the Romantic Period. Key features of the
period are dramatic passion, movement, and pursuit of the unattainable. The Romantic period in music
coincides with the Romantic Movement in all arts. There was an increase in tone colors, rhythmic complexity,
and a heightened emotional intensity.
Listening Example: Richard Wagner: Ride of the Valkyries
Modern 1920-Present– This musical period, in which we currently live, is hard to define due to the
many different styles and diverse array of new sounds within this period. Modern music broke free of the
styles and traditions of the previous periods by exploring new ways to produce sound, both acoustically and
electronically. Apart from the atonality and serialism that dominated the early to mid- 1900’s, no single style
has dominated this period. As a result there are many styles of music that are each labeled ‘Modern’. Wide
and varying influences expressed in new previously unheard sounds may well be the lasting description of
the music of this period.
Listening Example: Igor Stravinsky, The Rite of Spring, Sacrificial Dance
31
RESOURCE MATERIALS/ The Schermerhorn Symphony Center
The Schermerhorn Symphony Center, which opened in
September 2006, was named after Maestro Kenneth Schermerhorn who conducted the Nashville Symphony for 22 years,
until 2005. The Symphony Center is also home to the Nashville Symphony’s administration– the people responsible for
selling tickets, planning events, and even writing this
curriculum.
The Symphony Center provides all kinds of performances including classical, popular, jazz, and blues. There are
The Martha Rivers Ingram Garden Courtyard fea- multiple performance spaces
tures a fountain and a statue of former conductor in the Symphony Center, but
Kenneth Schermerhorn, after whom the Symphony the largest facility is the
Center is named. On a sunny day, this is a great
Laura Turner Concert Hall.
place to eat a lunch from the Symphony Café!
This concert hall has a concert
organ, custom-made for the
Symphony Center.
The Laura Turner Concert Hall is specially designed to make the
instruments and music sound beautiful and clear no matter where you sit in
the hall. Whether you’re in the front row, the back of the balcony, or even
behind the stage, the music sounds spectacular. From the wood on the
floor to the fabric on the chairs, the materials used in the hall are designed
with sound in mind. We hope you enjoy your visit!
The pipe organ in Laura Turner Concert Hall has over 3,000 pipes.
ONLINE RESOURCE
Online tours of the Schermerhorn
Symphony Center are available on the
www.NSOkids.org website, under
“Visit the Symphony”!
The floor in Laura Turner Concert Hall is very
special because the seats can actually go into
the basement to make a flat floor. At the Schermerhorn, this is called “flipping the floor,” and
you can click here to watch a video of the
change.
32
TEACHER’S MATERIALS/
RESOURCE
GUIDE / Concert
Concert
Etiquette
Etiquette
Discovering Concert Etiquette
You and your classmates are about to embark on a great adventure to the Schermerhorn Symphony
Center to hear the Nashville Symphony perform. Making this trip the best it can be requires each person to
display certain types of behaviors or etiquette. Read the information below before you come to visit Schermerhorn Symphony Center and talk about it with your teachers and friends. As you enter the concert hall,
this is the time to chat with your friends, read the concert program (if provided), make a last minute run to
the restroom and turn off cell phones or pagers (you don’t want yours to go off in the middle of the concert!). Look around, what do you see?
 How many seats do you think there are in Laura Turner
Concert Hall?
 How many musicians are there on the stage?
 Where are the emergency exits?
 Where do the violin players sit? The French horn players,
the tuba player, etc.
Just before the concert begins, the lights in the
concert hall will dim and the stage lights will become
brighter. Many times, you will also hear safety or concert announcements made at this time, so listen up. It
is important to remember, too, that you, as an audience member, are a vital part of the performance. What
you do and don’t do during a concert, not only affects you, but also those round you and the musicians on
the stage. Here are some points to remember:
 Once the lights dim, or the safety/concert announcement ends, it’s time to stop talking. Not only does talking
disturb the people around you, but it can be distracting to the musicians on the stage. Even the quietest whisper can carry easily throughout a concert hall (remember concert halls are specifically designed to enhance and
relay sound).
 If you need to get up during the performance, try to wait to do so between pieces. Think how distracting it is
when you are at the movies, and all of a sudden someone gets up in front of you, and you get distracted
watching them shuffle through the aisle. It’s the same thing at a symphony concert. Timing is everything!
 Applause is welcome at the end of each musical selection, but how do you know when that is? Sometimes
when you think a piece is over, it really is just a pause or quiet section. Here’s a hint- keep an eye on the
conductor and 1st violin player (the concertmaster). At the end of a piece you will see the conductor lower his/
her hands and the concertmaster will lower his/her instrument. When you see both these things happen, it is a
good sign the piece is over and you can applaud.
However, once the concert is over, clap away. Performers love the sound of applause! Sometimes
you might even see an audience stand up and give a standing ovation. This is something the audience does
to tell the performers that they really, REALLY liked the performance. As you leave the Laura Turner Concert
Hall, make sure to gather your belongings and look to the adults for any special exiting information.
33
TEACHER’S GUIDE / Contact Information
Nashville Symphony Education Department
Blair Bodine
Director of Education and Community Engagement
Andy Campbell
Education and Community Engagement Program Manager
Kelley Bell
Education and Community Engagement Assistant
2012 Summer Interns
Ann Goodrich
Eleni Miller
Lynn Nakazawa
The YPC Curriculum Guides are researched and compiled
by the 2012 Summer Interns.
Website: NashvilleSymphony.org/Education
Email: Education@NashvilleSymphony.org
Phone: 615.687.6398
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TEACHER’S
GUIDE
/ Young/People’s
Appalachian
SpringAppalachian
TEACHER’S
GUIDE
YoungConcert:
Sponsor
People’s
Recognition
Concert:
Spring
The Nashville Symphony would like to thank
its Young People’s Concert sponsor:
Nashville Symphony education programs are funded in part by:
The Ann & Monroe Carell Family Trust
Metropolitan Government of Nashville and Davidson County
AT&T
The Mike Curb Family Foundation
Bank of America
Nashville Symphony Orchestra League
Bridgestone Americas Trust Fund
NAXOS
The Community Foundation of Middle TN
Neal & Harwell
Cracker Barrel Foundation
Nissan North America, Inc.
Dollar General Corporation
The Elizabeth Craig Weaver Proctor Charitable Foundation
Ford Motor Company Fund
Publix Super Market Charities
The Frist Foundation
Anne* & Dick Ragsdale
Gannett Foundation / The Tennessean
Regions
The HCA Foundation
The Starr Foundation
The Hendrix Foundation
SunTrust
The Houghland Foundation
Tennessee Christian Medical Foundation
KHS America
The Vandewater Family Foundation
Loews Vanderbilt Hotel, Nashville
VSA Tennessee
The Martin Foundation
Wells Fargo
The Memorial Foundation
* denotes donors who are deceased
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