jazz reach featuring metta quintet hangin’ with the...

2011-2012 WELLS FARGO PERFORMING ARTS SERIES FOR STUDENTS MONTALVO ARTS CENTER

Jazz Reach featuring METTA QUINTET

Hangin’ With The Giants

Tuesday, January 31, 2012 | 9:30am & 11:30am Recommended for Grades: K-6 Curriculum Connections: History-Social Science: African American History; VAPA: Music

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Hangin’ with the GiantsWednesday, October 26, 2005

A Performing Arts Series for Students

Study Guide



ABOUT OVERTURE CENTER FOR THE ARTSOverture Center for the Arts fills a city block in downtown Madison with world-class venues for the performingand visual arts. Made possible by an extraordinary gift from Madison businessperson W. Jerome Frautschi, thecenter presents the highest-quality arts and entertainment programming in a wide variety of disciplines fordiverse audiences. Offerings include performances by acclaimed classical, jazz, pop, and folk performers;touring Broadway musicals; quality children’s entertainment; and world-class ballet, modern and jazz dance.Overture Center’s extensive outreach and educational programs annually serve thousands of Madison-arearesidents including youth, older adults, people with limited financial resources and people with disabilities. Thecenter is also home to nine independent resident organizations.

Internationally renowned architect Cesar Pelli designed the center to provide the best possible environment forartists and audiences, as well as to complement Madison’s urban environment. Performance spaces rangingfrom the spectacular 2,250-seat Overture Hall to the casual and intimate Rotunda Stage. The renovated CapitolTheater seats approximately 1100 and Playhouse designed for live theatre will seat 350. In addition, threemulti-purpose spaces provide flexible performance, meeting and rehearsal facilities. Overture art exhibitionspaces include Overture Galleries I, II and III, which display works by Dane County artists. Wisconsin Academy ofSciences, Arts and Letter’s Watrous Gallery displays works by Wisconsin artists and the Madison Museum ofContemporary Art offers national and international artists.

Resident organizationsKanopy Dance Company Madison Repertory TheatreMadison Ballet Madison Symphony OrchestraMadison Family Theatre Wisconsin Academy of Sciences, Arts and LettersMadison Museum of Contemporary Art Wisconsin Chamber OrchestraMadison Opera

Credits:Executive Editor: Beth RacetteWritten by: Ted Petith, JazzReach, and Beth Racette. Sections are adapted from

The Groove Project by Ted Petith and Beth Tryon (www.smartgroove.com)Overture Education Intern: Megan DambeckDesigner: Ross CattelanSpecial Thanks: Ted Petith and Beth Tryon of Groove Merchants, Amy Bethel and Nancy Birmingham

Teachers have permission to copy any and all parts of this guide



S T U D Y G U I D E

TABLE OF CONTENTS

JazzReach .......................................................................2

A Brief History of Jazz ............................................2-5

Jazz and Democracy...................................................4

Hangin’ Jazz Giant’s Biographies .......................5-8

Improvisation................................................................8

Music Layers ...............................................................11

Jazz Rhythm................................................................11

Traditional Jazz Instruments.................................12

Simple and Found Instruments...........................13

Make Music! ...............................................................14

CD Listening Suggestions .....................................15

Jazz Vocabulary .........................................................18

Resources.....................................................................19

Academic Standards................................................20

Theater Etiquette and Experiences....................21

Dear Educator,

Thanks for bringing your students to this Overture Onstage presentation of JazzReach’s Hangin’ With the

Giants. We hope this guide will offer you valuable information and activities that you can easily use in your

classroom. Much of the guide was written to be read aloud to students. Language and terminology are

primarily geared for K-5 students. Feel free to photocopy sections for your students.

We’ve also included a CD of music selections highlighting many historically significant jazz musicians and

styles. This CD should be available in your school library – feel free to make a copy for your classroom!

To learn about jazz is to learn about the history of the United States from a unique artistic, cultural, social and

economic perspective. An understanding of improvisation, a central component of jazz, also gives students a

window into their own inherent creativity, which is applicable in many areas of their lives.

To help you meet your classroom’s curricular goals we’ve included the Wisconsin Academic Standards that can

apply to this performance. ENJOY!Overture Center for the Arts

If you would like more in-depth information on jazz download the JazzReach Stolen Moments Study Guide atwww.overturecenter.com/guides

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2

JazzReach’s Mission and HistoryEstablished by musician H. Benjamin Schuman in 1994,

JazzReach is a nationally recognized New York City-

based not-for-profit organization committed to fostering a

greater appreciation and awareness of jazz music.

JazzReach has quickly established itself as one of our

nation’s leading arts-education organizations. Its

programs have successfully served over 80,000 young

people nationwide, and have been presented by some of

America’s most distinguished performing arts venues.

“Jazz” is an exciting and varied type of music. All

Americans can be proud of this original American

classical music. Jazz developed by combining African

drum rhythms, African American spirituals, and blues

with European classical and marching music. These

elements came together in New Orleans around 1900,

and the music called “Dixieland” jazz was born.

Dixieland jazz was known for its bouncy beat and lively

tunes. Groups of musicians would often lead street

parades. Dixieland bands were also part of the

entertainment on the paddlewheel boats that carried

people up and down the Mississippi River.

The music quickly became popular. Many bands

marched in parades through the streets of towns, even

for funerals. At first they used marching band

instruments: trumpet, clarinet, trombone, tuba, drums,

and sometimes saxophone. African Americans were the

first Jazz musicians, but Jazz quickly expanded to

include musicians of all ethnic backgrounds working

and playing together.

Changes in New Orleans made it hard to get hired

for concerts (or “gigs” as they were called) so many

musicians moved their bands north to Chicago to play

for dances and in nightclubs. The first jazz record was

made there in 1917 by the Original Dixieland Jazz

Band. In the 1920s, musicians from all over the

country migrated to Chicago to join in playing the

“Chicago Jazz” style. The music quickly developed

more sophistication, and the 1930s and ‘40s became

known as the “Big Band Era.” Some bandleaders, like

Count Basie, centered their activities in Kansas City,

where bands played late into the night. The Kansas City

style was known for its joyous swing beat and

shouting-style rhythms.History of Jazz continued on next page

Count BasieCredit: William P. Gottlieb/Ira and Leonore S. Gershwin Fund

Collection, Music Division, Library of Congress.

For more information on JazzReach visitwww.jazzreach.org



www.jazzreach.org

3

Jazz orchestras played

all over the country with

as many as 25 members.

Wind and brass

instruments (mostly

saxophones, trumpets

and trombones)

dominated the sound,

but sometimes violins

were used, as well as

piano, guitar, drums and

bass. Incredible singers like Ella Fitzgeraldand Billie Holiday sometimes performed with the

bands. Many of the Big Bands traveled throughout the

country playing in all types of dance halls. These dance

bands played in big cities and small towns because this

“Big Band Swing Jazz” was the most popular music

of the day.

Big band musicians were famous in their time. CabCalloway, often seen on Sesame Street and

characterized in the movie “The Blues Brothers,” was a

famous Big Band leader. Duke Ellington toured with his

Big Band all over the world.

Woody Herman had so many different musicians play

in his band over the years that they became known as

Woody’s ‘herds.’ If you played in a Herman band, you’d

tell someone that you’d been a member of the 3rd

Herd—or 4th or 5th or 6th! Televisions weren’t in

people’s homes yet, and crowds flocked to see these

bands when they came to town because dancing was

one of the favorite forms of entertainment.

Unfortunately, people were not treated equally during

this period of American history, and there are many

disappointing stories about how Black musicians were

treated when they performed in clubs and dance halls

that were reserved for ‘Whites only.’ Black jazz bands

were often forced to stay in dirty rooming houses and

enter the clubs through the back door, while White jazz

bands were treated with respect. Some White

bandleaders helped to fight this discrimination by

inviting Black musicians to join their bands and

demanding equal treatment of their band members.

Jazz helped people understand that Jim Crow laws and

other anti-Black attitudes were ridiculous and hateful. It

was a hard road with unfair twists and turns for Black

musicians.

History of Jazz continued on next page

History of Jazz continued

Billie Holiday (top)

Ella Fitzgerald (right)

Cab Calloway (bottom)

Photo Credit: William P. GottliebLibrary of Congress.

Duke Ellington Orchestra, 1929Credit: www.redhotjazz.com



4

Many of these Big Band members were talented

improvisers and wanted to have more solo performance

time to showcase their musical skill and creativity. Their

interest in having more solo time also made sense

economically. Big Bands had many musicians to pay and

were expensive to take on tour —it was easier for clubs

to pay for a small group of musicians. During the 1940s

and ‘50s many jazz musicians began playing in small

groups of four or five musicians, called quartets or

quintets, just like in traditional classical music. Instead of

detailed, written music, most of the song was left

unplanned, which allowed the musicians to create music

on the spot, or improvise.

One new ‘small-group’ style that developed during this

period was called “Bebop.” Bebop songs were often

played very fast and mirrored the fast pace of New York

City, where Bebop began. BeBop musicians were moving

away from the entertaining dance style of the Big Band

Era. They wanted to assert their intellectual ideas and

emotional complexities and did so through the complex

rhythms of Bebop.

Cool Jazz was small group

style that developed in

response to the high energy

and emotional intensity of

BeBop. Cool Jazz was a

more laid-back jazz style

and developed—not

surprisingly—in a more

laid-back setting, California.

During and after Bebop and Cool, jazz developed in all

kinds of directions. It mixed with music from Latin

America to be called Latin Jazz, music from

contemporary Africa to become Afro-Jazz, and even

with rock music, to become Fusion. Other jazz styles

developed with names like Post Bop, Hard Bop, Avant

Guard, Modal, Free and Smooth. More recently new

musical developments blend Middle Eastern and Indian

music with improvised jazz. All these musical forms have

various rhythms and melodies associated with them, but

they all share a common emphasis on creating with

improvisational ideas.

The magnificence of jazz music is due to a rich blending

of different cultural influences. In the very beginning of

Jazz the musicians were all African American, blending

their heritages with European instruments and musical

forms. At this time in history many people in the United

States thought that “races” should remain separate, and

as Jazz styles developed, black and white musicians

began sharing musical ideas with each other. Black and

White jazz musicians were performing together 10 years

before professional sports teams were integrated! Jazz

introduced White people to the beauty of African

American culture, and it helped people understand that

we are all human beings and share many of the same

emotions and needs. Black and White musicians playing

beautiful and creative music together was visible proof

that people could live and work together. These

experiences called for more democratic treatment of

Blacks in American society.

New forms of jazz music continued to help bridge

cultural divides. As an example, in the past ten years a

growing number of music groups combine Middle

Eastern and American jazz musicians. These musicians

from very different cultures come together and form

‘hybrid’ (or blended) bands and music styles. They learn

from each other and build lasting friendships as a

result—and produce some great sounding music!

Jazz and DemocracyJazz can teach us how to function in ademocratic society. As a jazz musicianyou have freedom and responsibility.You must contribute to your musicalsurroundings— sometimes listeningto other musicians and supportingthem and sometimes comingforward and making a statementwhile always being sensitive tothose around you.

Cool Jazz musician Dave BrubeckCredit: Carl Van Vechten photographcollection Library of Congress.

History of Jazz continued on next page




Louis “Satchmo” ArmstrongGrowing up in New Orleans, Louis Armstrong heard all kinds of music. At a very young

age, Louis had to work to help support his family, who were very poor. To earn extra

money, some of his jobs included singing on street corners, cleaning graves, and

selling coal. These jobs took Louis all around New Orleans, where he was exposed to

many different music styles. Some of these musical styles included classical blues and

New Orleans brass band music, which often accompanied parades and funerals.

Already a natural musician with a truly remarkable voice, Louis taught himself how to play

cornet, a brass instrument much like the trumpet. Soon, Louis gained national attention and moved to

New York to perform and record his songs. He performed in theaters and concert halls, on the radio,

and in over 50 movies. Louis was considered the most important figure in jazz because he helped

create a wider audience for jazz music by playing popular songs in the jazz style. Some of his

most well-known recordings include those with pianist Duke Ellington and a song called “Hello

Dolly.”

Louis sang and played his trumpet constantly. He had the opportunity to travel all around the

world. During one trip to Africa, he was greeted by more than 100,000 people who came to

hear his music. With his big smile, cheerful personality and instantly recognizable voice,

Louis Armstrong captured the hearts of people everywhere. He spread his love of jazz around

the world and for this reason is known as “Ambassador Satch.”

Listening to many different styles of music

helps us to understand the ideas and customs

of people from various cultures. It is amazing

how people from around the world have more

similarities than differences. Even if we dress

differently, eat different types of food, write

different types of books, make different forms of

art—or compose different musical sounds—we

all share a basic desire to express our ideas and

emotions. This is what really defines us as

human beings.

West 52nd Street in New York was a hot spot for Bebop

Credit: William P. Gottlieb/Ira and Leonore S. GershwinFund Collection, Music Division, Library of Congress.

5

Animations of the following musicians will appear in the

performance. Read through their biographies and listen to

their music prior to attending the performance.

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Hangin’ with the Giants continued on next page




Edward “Duke” EllingtonEdward “Duke” Ellington began playing piano when he was just seven years old. Like

many pianists of his time, Duke was influenced by ragtime. But Duke combined many

styles of music such as ragtime, the blues, and classical music to create his own

unique blend.

By age 19, Duke was playing piano professionally and had made a name for

himself in his hometown of Washington, DC. By 30, he was leading his own

orchestra at New York’s legendary Cotton Club. Duke assumed that if

something sounded good to him, then it was good. He tried many different

instruments in combinations that no jazz musician had used before. Duke

wrote some of America’s most cherished songs, including “Mood Indigo”

and “Take the A Train.”

Duke experimented with compositions, and his orchestra toured all over the

world. His travels often served as the inspiration for much of his music. For over

60 years, Duke Ellington wrote some of jazz music’s most memorable songs and

symphonies—almost 2,000!—and demonstrated to all what happens when

there are no limitations put on music.

6

Hangin’ with the Giants continued

Charlie “Bird” ParkerRecognizing his unique gift for music, Charlie Parker’s mom bought him a saxophone

when he was 11 years old. By the time he was 15, Charlie decided he wanted to

become a professional musician. He played all over his hometown of Kansas City,

Missouri, performing with a variety of blues and jazz groups.

Charlie was very determined to become the best musician he could be, but he

suffered several setbacks. Once when he was still a teenager, Charlie was jamming

in a local Kansas City club. He decided to try to play the ballad, “Body and

Soul,” at a faster tempo. Everyone in the club fell out laughing. Another

time, he sat in with the well-known pianist Count Basie. Charlie

started out playing well but fell out of key, then lost the rhythm of

the song. The band’s drummer stopped playing and threw one of

his cymbals at Parker’s feet! Charlie, humiliated, packed up his horn and left the club.

But Bird was determined. He later showed up playing his saxophone in Chicago and then in

New York. In New York, Bird met Dizzy Gillespie, and together they helped invent a new style

of jazz called bebop. Bird made many wonderful recordings including “Groovin’ High,” “Now’s

The Time,” and “Koko.” Charlie “Bird” Parker was a legendary figure in his own lifetime and

inspired generations of jazz musicians to come.

Credit: William P. GottliebLibrary of Congress.

Credit : William P. Gottlieb/Ira andLeonore S. Gershwin Fund Collection,Music Division, Library of Congress.




7

Thelonious Sphere MonkThelonious Monk was such an original that sometimes it’s hard to find words to

describe him. His parents must have thought he’d be something special—after all

they named him Thelonious Sphere Monk!

Monk is often credited an one of the original musicians who helped create bebop

with Charlie Parker and Dizzy Gillespie, but in many ways, Monk’s music was

different. His music had a lot of stops, starts, turns, twists, and sudden silences. His

stop-and-go playing style left big “holes” in his music, something that made Monk’s piano

playing stand out. Some of his most famous compositions include “Round About Midnight,”

“Ruby My Dear” and “Little Rootie Tootie.” Many of his songs were about his family and

his everyday life.

Monk’s songs became so popular that in 1964 he was featured on the cover of Time

magazine, an honor that had only been given to three other jazz musicians. Thelonious

Monk is most remembered for his eccentric style and mysterious personality, but his

music lives on in the hearts of people worldwide.

John Birks “Dizzy” GillespieWhen Dizzy Gillespie was 15, he won a scholarship to the Laurinburg Institute in North

Carolina, where he learned to play both trumpet and piano. In later years, Dizzy

would advise young horn players to learn the piano because it forced them to learn

chords and harmony, elements very important to writing good songs.

Dizzy, who always loved a challenge, started out playing his trumpet by

copying Roy Eldridge, the fastest, highest-playing trumpeter around. Diz

got so good that he eventually replaced Roy in a local swing band

when Roy left. Later, Diz left swing bands because he wanted

to play a more advanced kind of music.

In the 1940s, Diz, Charlie “Bird” Parker, and Thelonious Monk, along with a few others, put

together some music that became known as bebop. The songs that Dizzy and Bird made

together were some of the most innovative in jazz. Some notable ones included “Salt Peanuts”

and “A Night in Tunisia.”

Dizzy not only had a very unique sound, he had the look to go with it. When he played his

trumpet, his cheeks bulged out like balloons—an image, along with his exceptional sound, that

made him recognizable around the world.

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Credit: Carl Van Vechten photographcollection. Library of Congress.




8History and Evolution continued on next page

Miles Dewey DavisMiles Davis was born in St. Louis, Missouri. When he took up the trumpet at age 13,

his parents nudged him toward classical music but Miles preferred jazz. Miles left

St. Louis and enrolled at the prestigious Julliard School of Music in New York City,

but once he got to New York he became obsessed with the music of saxophonist

Charlie Parker. Miles and Charlie eventually became good friends and started

to play music together.

Miles ultimately joined Charlie Parker’s band and replaced the trumpeter Dizzy

Gillespie. While Dizzy had played high and fast, Miles developed his own style,

low and slow. In 1949, Miles formed a new group, a nonet, which featured a

“laid-back” style. His group, which was making music like no other jazz artist,

recorded an album entitled Birth of the Cool. This record started a new style of

jazz called “cool jazz.”

Later in the 1960s, Miles would combine jazz and rock music, which resulted

in a new style called “fusion”. After his “cool” period, he changed jazz

forever with the record Kind of Blue. He also teamed up with an orchestra to

create large-scale compositions and arrangements.

Miles would go through many changes in his music career, which spanned over

50 years. He even blended jazz music with hip-hop! Next to Louis Armstrong,

Miles is considered one of the most influential jazz musicians of all time.

Credit: William P. GottliebLibrary of Congress.

Improvisation means making it up as you go along. People improvise all the time in their

daily lives. For instance, you may be improvising when you choose a different way to travel home from

school on a particular day. Cooks often improvise when they are preparing a meal. The Drew Carey show

“Whose Line Is It Anyway?” provides great examples of improvisation. The actors get a line or idea from the

audience, and then they spontaneously create a skit or a song. Listening carefully makes it possible to

respond to each other in interesting and funny ways.

Jazz musicians do the same thing with music. Instead of using words and actions, they develop their

improvisations using instruments and vocals. Jazz musicians start with a basic idea, usually a tune that

has a melody and some repeating chords. Essentially the musicians are ‘talking’ to each with notes, rhythms,

melodic ideas and other sounds as their ‘language.’ A musician’s success at improvising is influenced by

how much they have practiced and studied the music forms they are playing. Musicians listen very

carefully to how and what the other members of the group are playing in order to create something

that sounds good as a whole.



9

Introduction to Improvisation

Visual Improvisation to MusicPlay selected music and provide students with a variety

of art supplies. Create visual images in response to the

music. Notice the tempo, tension, feelings, harmony, and

how the musical elements convey emotion or ideas.

How did you decide what to paint, draw or sculpt? Was it

planned? Was it spontaneous?

Extension:Make collaborative improvised artwork by passing a

drawing or painting around the classroom.

Group Story Improvisation Sit in a circle and tell a collective short story. One

student begins the story and then students take turns in

order around the circle adding a sentence or two. Give

the story a beginning, middle and end and a consistent

flow of voice. Try new topics. As students become

comfortable, add a pulse to the delivery using simple

percussion instruments or clapping, etc. Students can

contribute their lines in rhythmic patterns. The short

stories can be recorded, listened to, and evaluated the

flow of content, divergence from the original topic, etc.

How did it feel to speak without time to prepare?

Did the percussion element make theimprovisation easier or more difficult?

What are the prerequisites forimprovisation? (E.g., know the language, learn the formal structure,

listen well, let go of inhibiting criticism)

Musical Improvisation Introduce improvisation using a common short phrase,

such as a name. Turn this into a musical phrase based on

the natural rhythm of it, the tonal inflection inherent in

the way a person says it, etc. From there, try more

concrete musical structures, such as a piece already

familiar to the students, for example,“Twinkle, Twinkle,

Little Star.” Encourage students to modify the melody,

introduce new elements, create counterpoint, and “call

and response” with another student.

Building an Ensemble Ask one student to tap a rhythm on a found object or

percussion instrument and ask others to copy it. Another

student can introduce a complementary beat. When the

rhythm is strong, students can take turns creating

variations on top of the steady rhythmic theme. Ask

each student in the group to take a turn as soloist.

How does one learn to improvise? Improvisation is usually learned the same way we learn to speak—byimitation. First, a person observes and mimics to learn the basic language. Through knowing the formalstructure, a person obtains greater freedom to create his or her own personal style. Experimentation is acrucial element —trying things out, discovering what is pleasing and what is not, what succeeds, and whatfeels right. The following activities can give students an introduction to improvisation.



10

JazzReach

Listening Listening is a basic concept that is vital

and important to the process of creating

and appreciating all types of music. On

one level ‘listening’ is simple, just notice

and pay attention to what you are

hearing. But it’s not always easy—it takes

focus of mind and concentration. Think

about what you are hearing. Musicians

do this all the time when learning to

play a piece of music.

Have a discussion after listening to amusical selection. Use some of the

questions to the right as a guide.

Compare your answers and discuss your

observations. There are often different

ways to interpret a piece of music.

Musicians have various ways of

approaching their creative thoughts,

especially in jazz, which keeps the music

interesting and fresh!

For more listening ideas, borrow the

accompanying CD from the library and

refer to the listening suggestions on

page 15.

The following tips and questions can help developlistening skills:

• For some people closing their eyes can help focus.

• How does the piece start?

• What instruments do you hear?

• Notice the different sound qualities of instruments.

• Do you hear a melody in the music? Does it change?

• Is the music fast or slow?

• Find the pulse and notice other rhythms.

• Identify layers at the beginning of a piece—listen for the main

melody, pulse and basic musical ideas that are used

throughout the piece.

• Listen for layers being added or removed.

• Are there any solos?

• Can you recognize improvised sections?

• What instruments do you hear playing a solo?

• What is the mood of the piece, or moods? How does the music

make you feel?

• How do the layers weave together to complement each other?

• Notice how the music moves from one section into another.

• Notice dynamics—does it move from loud to soft or

calm to energized?

• How does the piece end?

What else do you notice in the music?

Ask students what they want to listen for.



11

Musical LayersAdapted from “The Groove Project Workshop” by Ted Petith and Beth Tryon (www.smartgroove.com).

All music is the result of layering sound ideas together – some have many layers to hear (a Big Band or orchestra) and

others have only a few (a Bebop group or a string quartet).

Think of music as a sandwich—sandwiches have layers too! Notice how instruments overlap and each other and

weave together. Instrument can form different layers in the course of a single piece of music. For instance, a

saxophone can be part of the melody (one layer), then play an improvised solo (another layer), then play a

background part behind another solo (still another layer!).

Big (or primary) layers often repeat the same idea over and over again to ‘anchor’ the overall movement of the music.

Musicians develop layers by using variations (slightly different versions) of the original ideas. Most pieces of music—

whether jazz, classical, blues, rock, or hip hop—begin with only a few layers of ideas and then add more as the song

progresses. Listen to some of the jazz selections and identify the different instruments producing the musical layers.

Sometimes big layers are changed in the middle of a tune to dramatically change the sound or mood!

Listen to tracks on the accompanying CD. Identify musical layers or ideas and try to copy what you hear. Use your

voice, your hands and feet, a percussion instrument, or anything else you can find—this can be really fun!

RhythmRhythm defines and divides musical space. Rhythms are most recognizable when they are played by percussion

instruments (drums, wood sticks, shakers, etc.), but they happen in melodies also.

Rhythm is one of the identifying characteristics of jazz. In jazz, a rhythm grows out of a simple, steady rhythm like

that of a heartbeat. This pulse creates the foundation for the music and usually remains constant. Sometimes a

pulse is very slow (like in a ballad) and sometimes it is very fast (like a bebop tune). Regardless of the speed

(tempo), the pulse helps to anchor the music and provides a basic contrast for other, more

interesting, rhythms that occur in the tune.

In some musical styles, the beat is subdivided into two equal parts. But in jazz, the beat is

divided unevenly in a bouncy fashion, that implies three, rather than two, subunits.

Much of the energy in jazz lies in this irregularity of its rhythm and the

deliberately unexpected accents. This is known as syncopation. Syncopation

involves the shifting of accents from stronger beats to weaker ones.

Lettuce and tomato - Guitar solo (scale and chord)

Slice of cheese - Piano (chord, rhythm & scale)

Meat - Bass (root note, chord & rhythm)

Bread - Drums (primary rhythm)



Traditional Jazz Instruments Acoustic Bass (Double Bass or Upright Bass):Part of the string family, which also

includes the violin and guitar. Notes

are produced when the strings vibrate.

The double bass was first used in

symphony orchestras. In a jazz group,

the bass anchors the low notes that

go along with the melody and

helps keep the tempo steady.

The electric bass is also used in

jazz groups that play more

contemporary jazz styles.

Percussion: Drums, tambourines,

wood blocks, triangles, and other

instruments. The grouping of drums

and cymbals used in a jazz group are

called a trap set or ‘kit.’ Percussion

basically means to ‘hit things together.’Your hands become a percussion instrument when you clap.

The drums also cooperate with the bass to help keep the tempo steady.

12Jazz Instruments continued on next page

An introduction to SyncopationAdapted from the Kennedy Center’s Cuesheet “What is Jazz?”

1 “Happy Birthday” is usually accented with the stress on

the strong beats like this: HAP-py BIRTH-day

But if we syncopated these words, we’d choose

different syllables to stress, so we might pronounce it:

hap-PY birth-DAY

As a class, chant “happy birthday” with the usual

accents, then change it by placing unexpected,

syncopated accents into the words.

2 Now clap your hands and move your body to the beat.

Are you keeping a steady rhythm, or are you clapping

each time you use a syncopated beat?

3 Try this activity with other phrases or with the names

of your classmates.

4 Try singing a syncopated version of “Happy Birthday”

or other familiar tunes by choosing unusual syllables

to accent.

Follow-up:How does changing the accents/syncopation change

the mood? The tempo?

Define “syncopation” for the class. Syncopation is a type of rhythm in which accents and stress are shiftedfrom what are normally strong beats to the weak beats. To illustrate syncopation, try this simple exercise:

JazzReach



Piano (includes electronic keyboard): The piano is a member of the percussion family. If you look inside a piano,

you’ll see many wire strings. The piano is a percussion instrument, because notes are made when the felt hammers

hit the piano strings. The piano can play groups of notes called chords. These chords blend with the low notes played

by the bass, and the steady rhythms produced by the drum set, to produce the rhythm section sound.

Guitar: Another member of the string family, the guitar also plays chords and is featured in some jazz groups along

with a piano. Sometimes the guitar is the only chord-making member of the group.

Brass Instruments: Trumpet and trombone are members of the brass

family. Brass players make sounds by blowing and buzzing their lips in

a mouthpiece that looks like a small cup. Pressing buttons open and

close different sections of the brass tube which creates different

pitches. A trumpet may look short, but it is actually made up of many

feet of brass tube! Louis Armstrong played both trumpet and cornet.

The cornet looks like a short trumpet and is easier to march with in

New Orleans street parades. A trombone player slides a long piece of

brass tube up and down to sound different notes.

Wind Instruments: Saxophone and Clarinet are members of the

woodwind family. Woodwinds make their sounds with the help of

a ‘reed,’ which is a piece of cane wood strapped to the

mouthpiece. Sound is produced when the player blows into the

mouthpiece, which causes the reed to vibrate. To make the

different note sounds, the woodwind player then presses on keys

that open and close holes on the sides of the instrument.

13

Jazz Instruments continued

Charlie Parker wailing on the saxophoneCredit : William P. Gottlieb/Ira and Leonore S. Gershwin FundCollection, Music Division, Library of Congress.

Simple and Found InstrumentsAdapted from “The Groove Project Workshops” by Ted Petith and Beth Tryon (www.smartgroove.com).

Ask students to collect objects from around the house or yard and experiment making sounds. Kitchens andgarages are a great place to look! (A few examples: bottles, pots, bottles, keys, hubcaps, buckets.)

Simple instruments to makeShakers: Find an empty plastic container (such as a yogurt tub or anything with a tight-

fitting lid). Fill it partway with small objects (dried beans, rice, pennies or other small objects).

Close the lid and shake it! Notice the sound that each material makes. What quantity of

the material makes the best sound? When you are satisfied with the sound, tape the lid

on. You can also cover the container with heavy paper and draw designs or pictures on it.

Wooden claves and bolt bells: Cut 3/4 or 1 inch diameter dowel rod into 7 inch sections. (36 inch dowels are

available at hardware stores) Hit them together in different rhythms. Thicker dowels will make lower pitches. While at

the hardware store, hit bolts of different sizes together (some are 12 inch long!). See how you like the sound of each

size. Buy the ones you like best.

Juice bottle drum: Wash and dry an empty Tropicana Twister™ juice bottle. Plastic Tropicana bottles are the most

durable and best-sounding, but any plastic bottle will work. Use a dowel rod or wooden spoon to beat it. Hit it on the

side, rim, and bottom to make different sounds. You can also use the bottle like a Latin music guiro (sometimes called

a ‘fish’) by scraping along the bumps.



14

Experiment ~ Make Music!When playing with any percussion instrument, first explore the ‘sounds’ that the instrument makes. Is the instrument

primarily percussive or melodic? In other words, do you primarily hit or shake it, or does it play different pitches or

notes? Many instruments have both qualities.

How many ways might you play the instrument to get a variety of different percussive and/or melodic sounds? Try

various strikers and methods of hitting. Alter dynamics (volume) and methods of playing —make it fun!

Take some of the sounds from these ‘exploration’ sessions and play along with the major rhythms you hear in a sound

recording. Start by finding the pulse (or ‘heartbeat’) of the music. Then branch out to another sound. Many cool-

sounding rhythms often have two main sounds that ‘outline’ the rhythm. For example, a Hip Hop or Jazz-Rock groove

on a juice bottle is made with 2 big phat hits on the side, followed by a short ‘rim’ beat. Rhythms that have steady,

contrasting ‘sounds’ really move!

After you can hold the pulse and other steady beats, take a solo and make up an improvisation. Use some of the

tracks on the accompanying CD for inspiration, and play music with some jazz greats! Or just find a piece of music

that you like to listen to—any style will do—and develop some groovy layers of improvisation.

Improvise with Melody and ChordsJazz musicians don’t just guess about which notes might sound good. The melody of a song is is made up of a

specific notes and these notes are parts of groups called chords which create harmonies together. The melody of the

tune is supported by these chords.

Chords are easy to see on a piano. Here are some simple chords played on the white keys of the piano.

Play each note of a chord separately and then play the notes together and listen to the harmonies that are created.

Notice the rich sounds of the total chord when it is played together.

If you have access to a piano or keyboard, play some notes on the white keys along with the Groove Merchant song

on the CD that accompanies this study guide. The Groove Merchant’s tune cycles between the G chord and F chord.

Try slowly playing up and down all the white piano keys to see how they sound with the tune. Experiment with

rhythms and melodies —you are the improviser—have fun improvising!

C major chord. G chord F chord



NOTES AND IDEAS FOR LISTENING SELECTIONS1 & 2 - Louis ‘Satchmo’ Armstrong – (Also see bio on page 5) He

was one of the earliest and most influential figures in the history of jazz.

His wife, Lil, was also an accomplished jazz pianist and composer! The first

clip,“Struttin’ With Some Barbecue” (1927 – composed by Lil), features

them both playing in their group called “The Hot Five.”The second

selection,“Mack the Knife,” from the mid-1950s, is one of his favorite

songs borrowed from the “Three Penny Opera” by Kurt Weill and Bertolt

Brecht. It’s a European tune mixed with ‘Dixieland’ improvisations.

“Struttin’ With Some Barbeque”—Louis Armstrong from The Best of Louis Armstrong: TheHot Five and Hot Seven Recordings, 2002 Sony Music Entertainment Inc (Columbia Records).“Mack the Knife”—Louis Armstrong from “Greatest Hits”, 1994 Retro Music—SLD13252.

3 & 4 - Duke Ellington - (Also see bio on page 6) These are clips from

his “Jungle Band”of 1929-31. One of the most influential Big Band composers,

Ellington used distinct sounds that musicians could make on their instruments

to accent his complex jazz rhythms. Duke composed and performed for

many decades and continued to discover new ways of using his band as a

creative sound machine! In the first clip,“Jungle Jamboree” (1929), notice

the baritone sax solo—a low sound—followed by the band, and then a

clarinet solo. In the second,“Rockin’ In Rhythm” (1931), Duke’s piano as the

first ‘layer’ sets the stage for the band to come in with the melody.

“Jungle Jamboree” and “Rockin’ In Rhythm”—Duke Ellington from The Jungle Band-TheBrunswick Era (Vol. 2) 1929-31, 1990 MCA Records (Decca)—MCAD42348.

5 - Woody Herman - A clip of a very solid Big Band tune,“The Good

Earth” (1945). Do your hear the different types of instruments in the band?

There are saxophones, trumpets, trombones, a clarinet (Woody)—also

piano, upright bass and drums (the rhythm section).

“The Good Earth”—Woody Herman and His Orchestra from The Jazz Arranger—Volume 2,1990 CBS Records Inc (Columbia)—CK45445.

6, 7 & 8 - Charlie Parker - (Also see bio on page 6) One of the creators

of Bebop and a great alto saxophonist. These are recordings made in the

mid-to-late 1940s as Charlie was first revolutionizing jazz with the Bebop

style. In the first cut,“Koko” (1945), he is featured playing a main melody with

Dizzy Gillespie, who is considered the other creator of the Bebop style.

Notice how they include little improvisations in the melody section. In the

second number,“Cheryl” (1947), he is paired with Miles Davis. The third cut,

“Bird Gets The Worm” (1947), features his classic Bebop ‘blowing’

(improvising).

“Koko”, “Cheryl” and “Bird Gets the Worm”—C. Parker from Timeless Charlie Parker, 2002Savoy Jazz—SCD 17107.

15CD for Suggested Listening continued on next page

There should be a copy available

in your school library –feel free

to make a copy for your

classroom. (If you can’t findyour school’s copy, callOverture Center’s EducationDepartment at 258-4169).

The CD of music selections

that accompanies this guide

highlights several historically

significant jazz musicians and

performances. A few selections

highlight basic music theory.

Read the ‘discography’

information to your class to

give context, and use the

questions here (see also the

“Listening” section on page

10) as a springboard for

classroom discussions. Notice

that jazz performers and jazz

styles overlap. Musicians

played with each other at

different times, developing

different styles. Some

contemporary jazz styles

are also featured, which

are more rhythmically and

culturally current.

Due to copyright restrictions, theseselections are short clips. When possiblewe encourage you to find completerecordings— or ask your music teachersfor recordings.



16

CD for Suggested Listening continued

Notes and Ideas continued on next page

9, 10 & 11 - Stan Getz - He was a master of the ‘Cool’ jazz style that developed on the

West Coast. First, he is featured with his tenor sax on a clip from “Flamingo” (1954), which

includes a nice trombone solo by Bob Brookmeyer. Next he’s featured on the really fast

tune,“Shine” (1955). Notice how similar the soloing sounds to Bebop—still fast, just a bit

more laid back. Can you tell that Stan’s improvising has a ‘smoother’ and less ‘jumpy’

sound than Charlie’s? Stan also experimented with Latin jazz tunes written in the Bossa

Nova and Samba styles. The third cut,“Desafinado” (1962), is one of these Latin hybrids.

“Flamingo”, “Shine” and “Desafinado”—Stan Getz from The Best of the Verve Years, Vol. 1, 1991 Polygram RecordsInc (Verve) 314511468-2.

12 & 13 - John Coltrane - The first selection,“Blue Train” (1957), showcases Coltrane’s

unique saxophone sound and improvisational style. Notice how his sound is different from

the other saxophonists. The second cut,“Moment’s Notice” (1957), highlights the

transition between three improvised solos. First, listen for part of a trumpet solo (Lee

Morgan), followed by a bass solo by Paul Chambers (hear the rest of the rhythm section

in the background?), and finally a few bars by Kenny Drew (piano).

“Blue Train” and “Moment’s Notice”—John Coltrane from Blue Train, 1985 Manhattan Records (CapitolRecords Inc) Blue Note D103164.

14, 15 & 16 - Ella Fitzgerald - An incredible singer and performer, she mesmerized

audiences when she ‘scatted.’ Scatting is the term used for the sounds and syllables used

by a vocalist to make an improvised solo. In the first cut,“Oh, Lady Be Good” (1957), hear

her increase intensity as she builds her scat improvisation. In the second cut,“Cool

Breeze” (1959), hear the different voice sounds that she uses to make up her

improvisations. Try mimicking some of them yourself (at a slower tempo). The third cut,

“A-Tisket, A-Tasket” (1961), is her hip remake of an old children’s song. Do you hear the

Latin rhythm behind her vocal?

“Oh, Lady Be Good”, “Cool Breeze” and “A-Tisket, A-Tasket”—Ella Fitzgerald from The Essential Ella Fitzgerald-the Great Songs, 1992 Polygram Records Inc (Verve)—314-517-1702.

17 - Thelonius Monk - (Also see bio on page 7) This selection from his tune “Nutty” (1963) features his great and

unique approach to composing and improvising. Notice how his piano sounds different? These were the type of

sounds that he liked to work with in his compositions and improvisations. Notice how he uses these sounds very

effectively to layer this piece together.

“Nutty”—Thelonius Monk from Miles Davis & Thelonius Monk - Live at Newport 1958 & 1963, 1994 Sony Music Entertainment, Inc (ColumbiaLegacy) C2K 53585.

18 & 19 - Miles Davis - (Also see bio on page 8) The first selection by Miles (on trumpet) is one of the first

examples of the Modal jazz style, which developed after Bebop. The tune “All Blues” (1959) is based on a modified

Blues form. Cannonball and Coltrane are also playing. Do you hear how the beginning of the tune is layered? The

second selection by Miles features a band of his thirty years later (1989). Notice the big difference in styles between

the two tunes? Do you hear the Rock and electronic music influences?

“All Blues”—Miles Davis from Kind of Blue, Columbia Records CK40579. “Hannibal”—Miles Davis from Amandla, 1989 Warner Bros. Records Inc 925873-2.

Photo Credit: William P. GottliebLibrary of Congress.



17

CD for Suggested Listening continued

20 & 21 - Herbie Hancock - Herbie is a piano and keyboard player, as well as a composer.

He began by playing more traditional jazz styles but expanded his sounds as he developed

new ideas, much like Miles Davis. Here are two examples of his composition “Watermelon

Man.” Compare the original version recorded in 1962 to a later version recorded in 1973.

The second version is one of the first examples of Rock and Funk rhythms mixing

together with jazz. Notice the different sounds used for the musical layers. The second

version became super-popular, and has remained one of the most listened to examples

of any jazz style!

“Watermelon Man”—Herbie Hancock from Cantaloupe Island, 1994 Blue Note Records (Capitol Records Inc) CDP 7243 8 29331 2 0. “Watermelon Man”—Herbie Hancock from Headhunters, 1973 Columbia Records/Sony Music Entertainment Inc (Columbia Legacy) CK65123.

22 - Chico Freeman - The melody is from an old Bebop tune by Sonny Rollins called

“Oleo”—that’s the part you hear Freeman playing at the beginning of the selection.

Notice the unique female vocalist who sings and ‘scats.’ Notice the many layers,

improvised solos, and sound ideas.

“Oleo”—Chico Freeman from Threshold, 1993 In + Out Records IOR7022-2.

23- Eddie Palmieri - An example from 1994 of Latin Jazz performed by one

of the great masters of Puerto Rican ‘Salsa’ music. Mr. Palmieri is both a piano

player and composer. Notice how the instruments form

the layers of the tune. The instrument layers are

inventive and support the improvised solos. Try to

pick out the improvised solos from the rest of the

composition—raise your hand when you think you

hear the beginning of a solo.

“Slowvisor”—Eddie Palmieri from Palmas, 1994 Electra Entertainment,division of Warner Communications Inc 961649-2.

24 - Marie Daulne of Zap Mama- An amazing vocalist, Ms. Daulne lives in Belgium but

traces her roots back to the Congo in Africa. Zap Mama was originally an all-female singing group

that has grown to include other sound layers. She often makes up her lyrics and voice sounds by blending the words

from many different languages, including Pygmy. What interests her most is the rhythm of the syllables!

“Gissie’”—Zap Mama from Amazone, 1999 Luaka Bop 72438-48412-2-5

25 - Groove Merchants - Recorded in 1999, this is another jazz hybrid that borrows sounds and rhythms from

different sources, blending them with lots of improvisation. Listen to the musical layers being added one by one at

the beginning. Notice how the layers change as the tune progresses and how the dynamics (volume) build during a

solo and then pull back to introduce the next solo or other musical idea.

“Cosmic Chaos”—Groove Merchants (Ted Petith & Beth Tryon) from Chaos Theory, 1999 Waterfall Music 1546CM.

*This Groove Merchant selection can be used as a background for playing with percussion instruments andfor experimenting with note improvisations. Just use the white keys on a piano or keyboard. Or use the notesfrom a C major scale on a marimba, recorder or other instrument.

Credit: National Endowments of the Arts

Credit: www.chicofreeman.com



18

Ballad - a slow song, sometimes with lyrics that tell a story.

Bebop - the jazz style developed during the late 1930sand early 1940s, characterized by very fast tempos,complex melodies and harmonies, and difficult chordstructures. Bebop, which emphasized the inventivenessof soloists, is usually played in small groups.

Blues - a non-religious, deeply emotional folk music thatrose among African Americans during the late 19thcentury, evolving from black spirituals and slave worksongs and featuring several African influences: a call-and-response pattern, blue notes, and imitation of the humanvoice by musical instruments.

Blue note - any note that is bent or smeared, generally ahalf step away from the obvious note.

Blues scale - a musical scale based on the pentatonic(five-note) scale.

Brass band - a band made up of brass instrumentsincluding trumpet, trombone, tuba and French horn.

Call-and-Response - a musical ‘conversation’ in whichplayers answer one another; exchanges betweeninstrumentalists. It originates from traditional African musicand has been used extensively in all forms of jazz music.

Composition - a ‘road map’ for a piece of music.

Cool Jazz - a jazz style that developed during the late1940s and throughout the 1950s in reaction to bebop.Cool jazz has a smooth sound, complex textures, andmore harmonic tones, often with a slight lagging behindthe beat. Also identified with “West Coast Jazz.”

Dynamics - how loud or soft a piece of music is.

Fusion - a mix of different musical styles, like jazz androck or jazz and R&B.

Gig - a job, usually a paid one, to play music.

Harmony - the sound that results when two or morenotes are played at the same time.

Improvisation - music played without written notation;an “instant composition” that is central to jazz, oftenbased on melody or chord structure. Usually,improvisation occurs in solos after the melody of thesong is played, picking notes and rhythms that fit thetune. Improvisors have to pay attention to all parts of themusic—how fast or slow it is, how loud or soft—anddecide how they are going to blend in their ideas.

Jam Session - an informal gathering of musiciansimprovising.

Melody (head) - a succession of notes that together forma complete musical statement; a tune.This is the part ofthe jazz piece that is written down or composed ahead oftime.The head melody establishes the framework that thesoloists improvise over. Sometimes it comes from atraditional song and sometimes it is a completely newtune. Musicians sometimes point to their heads to makesure that everyone knows when to play the melody again.

Nonet - a group of nine musicians.

Note(s) – musical sounds that can be arranged to formmelodies. Western musical tradition (classical, pop, rock,and jazz) officially only has 12 separate tones, but theygo together in hundreds of different chords and scales

Pulse – often just feels like a steady heartbeat that goesin time with the music, following the tempo.

Ragtime - the music that came before jazz and mixedEuropean classical music with the syncopated rhythms ofAfrican-American music; created by pianist Scott Joplin

Rhythm - divides ‘time’ or musical space in verydistinctive, but amazingly flexible ways.

Riff - a repeated brief musical phrase used as backgroundfor a soloist or to add drama to a musical climax.

Scatting - this is the term for how vocalists improvise ina jazz setting. They choose words, syllables or sounds tomake up their creative ideas.

Standard - the repertoire most commonly known byjazz musicians.

Swing - the commercial dance music associated with the1930s and early 1940s and played by the Big Bands; also,the basic rhythmic attitude of jazz that propels the musicforward and is a defining characteristic of jazz.

Syncopation - the shifting of a regular musical beat toplace emphasis on a normally unaccented beat.

Tempo - the rate at which the music is played.

Tension (and release) - a natural process that helpsgive rhythms, melodies, harmonies (and basically allother aspects of music) a feeling of motion or moving.Arguments often have tension & release. So do things innature, like the cycles of the ocean waves.

Texture - the instrumentation of a musical passage orthe sound and qualities of an instrument or voice.

Jazz Vocabulary



19

ResourcesPrimary & Elementary GradesHip Cat by Jonathan London, Woodleigh Hubbard (Illustrator)

Mysterious Thelonius by Chris Raschka

The Jazz Fly by Matthew Gollub, Karen Hanke (Illustrator)

Ella Fitzgerald: A Young Vocal Virtuoso by Andrea Davis Pinkney

Duke Ellington: The Piano Prince and his Orchestra by Andrea Davis Pinkney

The Sound That Jazz Makes by Carole Boston Weatherford

John Coltrane’s Giant Steps by Chris Raschka and John Coltrane

Charlie Parker Played Bebop by Chris Raschka

DJ and the Jazz Fest by Denise Walker McConduit

The Jazzy Alphabet by Sherry Shahan

Who Bop? by Johnathon London

Bring on That Beat by Rachel Isadora

Upper Grades and Teacher ResourcesJazz Makers: Vanguards of Sound by Alyn Shipton

American Jazz Musicians (A Collective Biography) by Stanley Mour

Jazz and Its History (Masters of Music) by Giuseppe Vigna

The Golden Age of Jazz by William Gottleib

Louis Armstrong- A Self Portrait by Richard Meryman

The Art of Jazz by Martin Williams

The New Grove Dictionary of Jazz by Berry Kernfeld

The Music of Black Americans by Eileen Southern

The Duke Ellington Reader by Mark Tucker

WebsitesPBS Jazz Website: www.pbs.org/jazz/Jazz at Lincoln Center online curriculum: www.jalc.org/educ/curriculum/launcher.htmlInternational Association for Jazz Education www.iaje.org www.allaboutjazz.com/timeline.htmwww.aadl.org/whatsha/Jazz/Jazzweb.htm (numerous links)

www.pbs.org/jazz/kids/time (really fun for kids!)

www.jazzinamerica.org

Portions of this text were developed by Ted Petith and Beth Tryon, who coordinate the Madison-based Groove

Project Workshops (www.smartgroove.com). Contact them to schedule an improvisational concert or workshop

session for your students [email protected].



www.jalc.org/educ/curriculum/launcher.html

www.iaje.org

www.allaboutjazz.com/timeline.htm

www.aadl.org/whatsha/Jazz/Jazzweb.htm

www.pbs.org/jazz/kids/time

www.jazzinamerica.org

www.smartgroove.com

20

Wisconsin Academic StandardsMusic

B.4.1 Play on pitch, in rhythm, with appropriate dynamics and timbre, andmaintain a steady tempo

B.4.4 Echo short rhythmic and melodic patterns

C.4.1 Improvise in the same style answers to given rhythmic and melodicquestions

C.4.2 Improvise simple rhythmic and melodic ostinato accompaniments

C.4.3 Improvise simple rhythmic variations and melodic embellishments ongiven pentatonic melodies

C.4.4 Improvise short songs and instrumental pieces, using a variety ofsound sources, including traditional sounds, sounds available in theclassroom, body sounds, and sounds produced by electronic means

F.4.1 Identify phrases and sections of music that are the same, similar,and/or different

F.4.2 Identify simple music forms upon listening to a given example

F.4.3 Demonstrate perceptual skills by listening to, answering questionsabout, and describing music of various styles representing diversecultures

G.4.1 Devise criteria for evaluating performances and compositions

G.4.2 Explain, using appropriate music terminology, personal preferencesfor specific musical works and styles

G.4.3 Evaluate the quality of their own and others performances and offerconstructive suggestions for improvement

H.4.1 Identify similarities and differences in the meanings of commonterms used in the various arts

H.4.2 Identify ways in which the principles and subject matter of otherdisciplines taught in the school are interrelated with those of music

I.4.1 Demonstrate audience behavior appropriate for the context and styleof music performed

I.4.2 Listen to and identify, by genre or style, examples of music fromvarious historical periods and world cultures

I.4.3 Describe in simple terms how elements of music are used in musicexamples from various cultures of the world

I.4.4 Identify various uses of music in their daily experiences and describecharacteristics that make certain music suitable for each use

I.4.5 Identify and describe roles of musicians in various music settings andworld cultures

English Language Arts

A.4.3 Read and discuss literary and nonliterary texts in order to understandhuman experience

A.4.4 Read to acquire information

B.4.1 Create or produce writing to communicate with different audiencesfor a variety of purposes

C.4.1 Orally communicate information, opinions, and ideas effectively todifferent audiences for a variety of purposes

C.4.2 Listen to and comprehend oral communications

C.4.3 Participate effectively in discussion

D.4.2 Recognize and interpret various uses and adaptations of language insocial, cultural, regional, and professional situations, and learn to beflexible and responsive in their use of English

E.4.3 Create products appropriate to audience and purpose

E.4.4 Demonstrate a working knowledge of media production anddistribution

F.4.1 Conduct research and inquiry on self-selected or assigned topics,issues, or problems and use an appropriate form to communicatetheir findings

Social Studies

B.4.1 Identify and examine various sources of information that are used forconstructing an understanding of the past, such as artifacts,documents, letters, diaries, maps, textbooks, photos, paintings,architecture, oral presentations, graphs, and charts

B.4.2 Use a timeline to select, organize, and sequence informationdescribing eras in history

B.4.3 Examine biographies, stories, narratives, and folk tales to understandthe lives of ordinary and extraordinary people, place them in timeand context, and explain their relationship to important historicalevents

B.4.4 Compare and contrast changes in contemporary life with life in thepast by looking at social, economic, political, and cultural roles playedby individuals and groups

B.4.7 Identify and describe important events and famous people inWisconsin and United States history

B.4.9 Describe examples of cooperation and interdependence amongindividuals, groups, and nations

E.4.2 Explain the influence of factors such as family, neighborhood,personal interests, language, likes and dislikes, and accomplishmentson individual identity and development

E.4.4 Describe the ways in which ethnic cultures influence the daily lives ofpeople

E.4.6 Give examples of group and institutional influences such as laws,rules, and peer pressure on people, events, and culture

E.4.11 Give examples and explain how language, stories, folk tales, music,and other artistic creations are expressions of culture and how theyconvey knowledge of other peoples and cultures

E.4.13 Investigate and explain similarities and differences in ways thatcultures meet human needs

Art and Design

A.4.3 Learn about basic styles of art from their own and other parts of theworld

A.4.4 Learn about styles of art from various times

A.4.5 Know that art is one of the greatest achievements of human beings

A.4.6 Know that art is a basic way of thinking and communicating aboutthe world

B.4.1 Understand that artists and cultures throughout history have used artto communicate ideas and to develop functions, structures, anddesigns

B.4.2 Recognize that form, function, meaning, and expressive qualities ofart and design change from culture to culture and artist to artist

B.4.3 Know that works of art and designed objects relate to specificcultures, times, and places

B.4.4 Know that art is influenced by artists, designers, and cultures

C.4.1 Explore the elements and principles of design

C.4.2 Explore what makes quality design

C.4.3 Know how the design of art changes its meaning

C.4.8 Explore the natural characteristics of materials and their possibilitiesand limitations

C.4.9 Be aware of their creative processes to better understand their work

C.4.10 Develop personal responsibility for their learning and creativeprocesses

G.4.1 Know that art communicates ideas

G.4.2 Know that artwork has meanings

G.4.3 Talk and write about the meanings of artworks and design

J.4.3 Learn that different cultures think about art differently

J.4.8 Know that different cultures have different concepts of beauty



THEATER ETIQUETTE AND EXPERIENCES

We have a wonderful opportunity at this performance to help youth learn about attending liveperformances.

Please discuss the following with your students:1. Sometimes young people do not realize how a live performance differs from watching a movie or

television show. A live presentation has not been pre-recorded with the mistakes edited out. Thismakes it riskier for the performer and more exciting for the audience. It also means the audiencehas a real contribution to make to the overall event. Each audience member affects those aroundhim/her as well as the performer. Concentrate to help the performers. The audience gives energyto the performer who uses that energy to give life to the performance.

2. An usher will show you where to sit. Walk slowly and talk quietly as you enter the theater.

3. For safety’s sake, do not lean over or sit on the balcony railings or box ledges. Please be careful onthe stairs, avoid horseplay and running throughout the building.

4. If necessary, use the restroom before the performance begins. Adults need to accompany youngstudents.

5. You may talk quietly to the people next to you until the performance begins.

6. When the lights in the theater begin to dim, it is the signal that the performance is about tobegin. Stop talking and turn your attention to the stage.

7. Stay in your seat throughout the entire performance.

8. During the performance, listen quietly and watch closely. Talking during the performance willdistract other audience members and performers. Try not to wiggle too much and don’t kick the seat in front of you. These disruptions make it hard for others around you to concentrateon the show.

9. Sometimes during a performance you may respond by laughing, crying, or sighing. By all meansfeel free to do so! LAUGHING IS APPROPRIATE. (Teachers, please do not hush the students whilethey are laughing.) If something is funny, it’s good to laugh. If you like something a lot, applaud.This will let the performers know that you are enjoying the show.

10. At the end of the show, applaud to say thank you to the performers. The performers will bow toacknowledge your appreciation and say thank you for coming.

11. When the lights get brighter in the theater, the show is over. Stay in your seats until the OnstageCoordinator dismisses your school.

11. Please remember:• Taking photographs and using recording devices are strictly prohibited• Beverages and food, including gum, or candy are not allowed in the theater• You are only one person among several hundred in the audience • Please respect the performers and your fellow audience members

Please inform your adult chaperons that ushers will be available throughout the performance ifthere are any difficulties.



OVERTURE CENTER FOR THE ARTSSusan Crofton, Director of Education and Community OutreachBeth Racette, Education and Community Outreach Coordinator

Rae Atira-Soncea, Education and Community Outreach Coordinator

© 2005 Overture Center for the Arts

American Girl’s Fund for Children

Funding for this study guide and theOnStage Performing Arts Series forStudents is provided by a generousgrant from American Girl’s Fund forChildren, a philanthropic foundationcreated to support programs andservices for school-age children inDane County. Since its founding in 1992, American Girl’s Fund forChildren has supported programs inthe arts, culture, and environment.

201 State Street, Madison, WI 53703 ■ [email protected] ■ www.overturecenter.comPDF compression, OCR, web optimization using a watermarked evaluation copy of CVISION PDFCompressor


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