El Paso Electric Young People’s · PDF fileAmy Mereson, Assistant Director, Learning &...

El Paso Electric Young People’s Concerts January 31, February 1 & 2, 2018

10:30am and 12:30pm

Abraham Chavez Theatre El Paso Symphony Orchestra James O. Welsch, conductor

“THE ORCHESTRA SWINGS”

“Come to Play” – Thomas Cabaniss Slavonic Dance No. 1 – Antonin Dvorak

“Duke’s Place” – Duke Ellington “I Got Rhythm” Variations – George Gershwin

“Riffs” from Prelude, Fugues, and Riffs – Leonard Bernstein “It Don’t Mean a Thing If It Ain’t Got That Swing” – Duke Ellington

“Do Your Thing” – Courtney Bryan “When the Saints Go Marching In” - Traditional

This year’s El Paso Electric Young People’s Concerts are being presented in collaboration with the Weill Music Institute at Carnegie Hall. They have chosen the El Paso Symphony Orchestra

as a regional orchestra to partner with to provide music, materials, and curriculum to make this year’s concerts an exciting and interactive event for all the students in the audience. At

different points in the concert, students will be asked to participate from their seats in the auditorium – through singing or playing a recorder (if available) – and get the opportunity to

make music along with the musicians of the EPSO.

This multi-media concert explores elements of swing within orchestral and jazz music. Through the Link Up repertoire, students explore melody, rhythm, and style through listening,

composition, and performance, and play and sing alongside the El Paso Symphony Orchestra in a culminating, interactive concert experience.

Dr. James O. Welsch

A Florida native, James O. Welsch earned a Doctor of Musical Arts

in Orchestral Conducting in May from the University of Texas at

Austin.

He earned a Bachelor’s of Music in Theory and Composition at

Stetson University, DeLand, Florida, and a Master’s of Music in

Orchestral Conducting at Syracuse University, where he

subsequently taught in the NASM-accredited Setnor School of

Music before pursuing a doctorate under the mentorship of Maestro Gerhardt Zimmermann. At Setnor,

Dr. Welsch was named Faculty Member of the Year in 2007 – 2008, his first year of teaching.

While a graduate student and assistant professor at Setnor School of Music, he was assistant and cover

conductor of the Syracuse Symphony Youth Orchestra; conductor of the New Directions Ensemble;

founding conductor of the Setnor Brass Choir, and leader of other student ensembles. He also served as

conductor for the Syracuse University Opera in fully-staged annual productions.

As Director of Music Ministries for a Syracuse suburban church, he organized performances of major

works that involved inner-city singers and instrumentalists along with musicians from the church,

community, and area high schools. He has been a guest conductor for Syracuse Symphony Orchestra,

Syracuse Society for New Music, The Orlando Philharmonic, Syracuse University Wind Ensemble, Stetson

University Symphonic Band, The Greater Syracuse Ecumenical Choir and Orchestra, and the Syracuse

University Oratorio Society.

In Austin, Dr. Welsch conducted the Cedar Park High School musical “Ragtime,” and he was co-music

director/conductor of “Oklahoma!” at Zilker Park Summer Theater. He was a faculty member and

Chamber Orchestra conductor for the U. T. String Project, directed by Laurie Scott and Music Director of

The University of Texas University Orchestra. He served as assistant conductor/conductor of The

University of Texas Symphony Orchestra and Camerata and conductor of the Engineering Honors

Orchestra (EcHO). He assisted Maestro Kelly Kuo on numerous Butler Opera Center productions as both

assistant conductor/conductor and was assistant conductor with The Austin Symphony Orchestra,

Maestro Peter Bay - Music Director.

In Fall 2016 he was appointed Music Director and General Manager of the El Paso Symphony Youth

Orchestras, Assistant Conductor of the El Paso Symphony Orchestra, and most recently, Music Director

of the United States/Mexico Youth Philharmonic Orchestra (based out of El Paso, TX and Ciudad Juarez).

He is the recipient of artist grants for individual creative work and community arts projects. His

compositions, original orchestrations and arrangements, have been performed in concerts and contests.

Link UpWeill Music Institute

A Program of Carnegie Hall’s Weill Music Institute for Students in Grades Three Through Five

Student Guide

The Orchestra

S W N G S

Second Edition

Link UpWeill Music Institute

A Program of Carnegie Hall’s Weill Music Institute for Students in Grades Three Through Five

Second EditionStudent Guide

The Orchestra

S W N G S

WEILL MUSIC INSTITUTEJoanna Massey, Director, Learning & Engagement ProgramsAmy Mereson, Assistant Director, Learning & Engagement ProgramsHillarie O’Toole, Manager, Learning & Engagement ProgramsMatt Frey, Associate, Learning & Engagement Programs

PUBLISHING AND CREATIVE SERVICES Natalie Slack, Senior Editor, WMIKat Hargrave, Senior Graphic Designer

CONTRIBUTORSMichele Schroeder, Curriculum Writer Thomas Cabaniss, Artistic ConsultantChris Washburne, Artistic ConsultantSophie Hogarth, IllustratorScott Lehrer, Audio Production

Carnegie Hall’s Weill Music Institute881 Seventh Avenue, New York, NY 10019Phone: 212-903-9670 | Fax: 212-903-0758Email: [email protected]/LinkUp

Lead support for Link Up is provided by Fund II Foundation.

Additional funding for Link Up is provided by The Ambrose Monell Foundation, JJR Foundation, The Barker Welfare Foundation, and Joan and Sanford I. Weill and the Weill Family Foundation. Link Up in New York City schools is made possible, in part, by an endowment gift from The Irene Diamond Fund.

© 2017 The Carnegie Hall Corporation. All rights reserved.

Weill Music Institute

ICON KEYThe Singing Icon indicates that you can sing the piece at the culminating concert.

The Recorder and String Instrument Icon indicates that you can play the piece on soprano recorders or string instruments at the culminating concert. Optional bowings (

New World

DvorakRecorder

Star Icon

New World

DvorakRecorder

Star Icon

) are shown on the applicable music.

The Recorder Star Icon indicates that the piece is geared toward more experienced recorder players. Advanced string players can also play these parts.

S G 1

Thomas Cabaniss, Our GuideHi, I’m Tom, a composer and your host for The Orchestra Swings. I am excited to invite you along with some of my talented musician friends to explore what it means to swing. “Swing” is many things, and though it is characteristically played by jazz musicians, an orchestra can also swing. We encourage you to investigate the many rich meanings of “swing,” from the distinctive rhythmic ideas to the larger concept of musicians who listen deeply to one another and truly play together. All of these ideas contribute to the magical moment when music starts to swing.

S G 2

Hi, I’m Courtney, a composer and pianist.Music is a wonderful vehicle for self-expression and community engagement. When we “swing” with the music, we include our own personal voice with the collective voice. We are all part of the whole, working together to create uninhibited beauty. For The Orchestra Swings, I composed a new piece for orchestra and jazz ensemble called “Do Your Thing” that you will hear at the final Link Up concert. I look forward to swinging with you!

Hi, I’m Chris, a jazz musician and trombonist.I have played music for many years, and I love all genres, from classical and rock to hip-hop and salsa. My favorite genre is jazz, because you get to improvise and play whatever you want, whenever you want. It is total freedom! Most importantly, you get to do this with other musicians. When everyone is playing well together and really having fun, that is when the music swings. Improvisation is the key to my happiness, and I think it will be the key to yours, too.

S G 3Come to Play

Thomas Cabaniss, arr. by Chris Washburne

Recorder Notes Needed:Part 1 (Advanced): D, E, F#, G, A, B, C, High D

Part 2 (Basic +): G, A, B, C, D (opt. D, E, F#)Part 3 (Advanced): D, E, F#, G, A, B, C, High D, High E

Part 1

Part 2

Part 3

Steadily

Winds blow

1

2

3

4

Trum pets sound ing

- -

1

2

3

7 Strings sing

Drum mers p p p p p p pound ing

- -

Come to PlayThomas Cabaniss arr. by Chris Washburne

Tracks XX-XX

Recorder Notes Needed:

Part 1(Advanced): D,E,F#, G, A,B, C, High D

Part 2 (Basic +): G, A, B, C, D (opt. D, E, F #)

Part 3 (Advanced) D, E, F#, G, A, B, C, High D, High E

Recorder Star Icon

Recorder/Violin Icon

Singing Icon

S G

1

2

3

10

Drum mers p p p p p p pound ing

Come to play, Join

- -

1

2

3

13

sound with sound

come to sing we'll

shake the ground with

1

2

3

16

song

Come to play, Join

Come to play, Join

4

S G 5

1

2

3

19

sound with sound

sound with sound

Come to sing we'll

Come to sing we'll



1

2

3

22

song with

song with

song

song

LEADER

What do you do with time?

1

2

3

25 Make it groove make it move

Make it groove make it move

Make it groove make it move

AUDIENCE

make it rhyme

make it rhyme

make it rhyme

What do you do with song?

LEADER

S G 6

1

2

3

28 Make it sing make it ring

Make it sing make it ring

Make it sing make it ring

AUDIENCE

make it strong make it



long

long

long

1

2

3

31

What do you do with sound?

LEADERAUDIENCE Make it cry make it fly

Make it cry make it fly

Make it cry make it fly

1

2

3

34 make it gleam

make it gleam

make it gleam

Make it your

Make it your

Make it your

dream

dream

dream

S G 7

1

2

3

37

swing feel

Winds blow

finger snaps

finger snaps

trum pets swing ing

- -

1

2

3

53

Strings sing drums play

ding ding ga ding ding ga

ding ding ga ding

1

2

3

56

Winds blow

Come to swing, Join

trum pets swing ing

sound with sound


Come to swing we'll

- -

Jazz Interlude

S G 8

1

2

3

59



ding ding ga ding

song

Winds blow

Come to swing, Join

Come to swing Join

1

2

3

62 trum pets swing ing

sound with sound

sound with sound


Come to swing we'll

Come to swing we'll




- -

1

2

3

65

ding ding ga ding

song with

song with


song, with

song, with

song!

song!

song!

S G 9Duke’s Place

Duke Ellington, Ruth Roberts, Bill Katz, and Robert ThieleRecorder Notes Needed:G, C

& 44 12

& ..13

œ≥ œ≤ Œ ÓBa

Sax

1.

2.

by!

es

œ≥ œ≤ Œ œ≥ œ≤ Œdo

Take me

their tricks

down to

at

.œ≥ Jœ≤ ÓDuke's

Duke's

Place.

Place.

∑-

-

&17

œ≥ œ≤ Œ ÓWild

Drum

est

mers

œ≥ œ≤ Œ œ≥ œ≤ Œbox

swing

in

their

town

sticks

is

in


Duke's

Place.

Place.

∑-

-

& ..21

œ≥ œ≤ Œ ÓLove

Come

that

on

œ≥ œ≤ Œ œ≥ œ≤ Œpia

get

no

your

sound

kicks

in

in


Duke's

Place.

Place.

∑-

S G

& # 44 8 Œ œ≥ jœ .œ≤I got

.œ≥ jœ≤ œ Œrhy thm

Œ œ≥ jœ .œ≤I got

.œ≥ jœ≤

œ Œmu sic--

& #13 Œ œ≥ jœ .œ≤I got

.œ≥ jœ≤ jœ œ≥ jœ≤my friend Who could

œ≥ œ≤ œ≥ œ œ≤ask for an y thing

w≥more?- -


.œ≥ jœ≤ œ Œdais ies

Œ œ≥ jœ .œ≤in green

.œ≥ jœ≤

œ Œpas tures- -




w≥more?- -

& #25 Œ œ≥ Jœ .œ≤Old man

.œ≥ Jœ# ≤ œ Œtrou ble

Œ œ≥ Jœ .œ≤I don't

.œ≥ jœ≤ œ Œmind him-

& #29 Œ œ≥ jœ .œ≤You won't

.œ≥ Jœ≤ œ Œ

find him

Œ œ≥ jœ .œ≤round my

≥̇ Ódoor


.œ≥ jœ≤ œ Œstar light-


.œ≥ jœ≤

œ Œsweet dreams



& #39 œ≥ œ≤ œ≥ œ œ≤ask for an y thing

≥̇ ‰ œ≥ jœ≤more? Who could


w≥more?- -- -

10I Got Rhythm

George and Ira GershwinRecorder Notes Needed:D, E, G, A, B, C, C#, high D

S G 11I Got Rhythm

George and Ira GershwinRecorder Notes Needed:G, A, B

13

17

21

25

29

33

37

I Got RhythmGeorge and Ira Gershwin

Recorder/Violin IconTrack XXRecorder Notes Needed: G, A, B

S G 12

& bbb 44 7 Ó Œ œIt

& bbb9

˙ œ œdon't mean a

˙ œ œthing if it

˙b jœ œ jœain't got that swing

w

& bbb13 Œ œ œ œ œ œdoo wah doo wah

jœ œ jœ œ œ œdoo wah doo wah doo wah

œ œ œ jœ œ jœdoo wah doo wah doo

œ Œ Œ œwah It

& bbb17


˙ ‰ œb ‰ œthing all you

œb œ œ œ œgot to do is sing

w




œ Œ Œ œwah It

& bbb25

œ œ jœ œ jœmakes no differenceif

œ œ jœ .œit's sweet or

whot

Ó Œ œJust

œ œ jœ .œgive thatrhy thm

œ œ jœ .œev ry thing you

wgot- - -

& bbb32 Ó Œ œIt


˙ œ œthing if it

˙b jœ œ jœain't got that swing

w




œ Œ Ówah

It Don't Mean a Thing(If It Ain't Got That Swing)

Duke Ellington and Irving MillsSinging Icon

Tracks XX-XXIt Don’t Mean a Thing

(If It Ain’t Got That Swing)Duke Ellington and Irving Mills

S G

“It Don’t Mean a Thing (If It Ain’t Got That Swing)” Choreography

13

B SectionsA Sections“The Charleston”High and Low Snaps

Strike a Pose“Shorty George”

First, step forward with your right foot, then kick forward with your left foot. Next, step

backward with your left foot, then point backward with your right foot.

Bring both hands to your chest, then extend your arms and snap your fingers on the off-beats.

Bring your arms to your sides and point your fingers downward in opposition with your steps.

S G 14When the Saints Go Marching In Traditional

Recorder Notes Needed:C, D, E, F, G

Oh when the

saints

go march ing

in-

8

Oh when the

saints go

march ing

in-

12

Oh how I

want to

be in that

num ber-

16 When the

saints go

march ing

in-

When the Saints Go Marching InTraditional

Singing IconRecorder Star IconTrack XX

Recorder Notes Needed: C, D, E, F, G

S G 15When the Saints Go Marching In*

Traditional

*This is the counter-melody.

Recorder Notes Needed:G, A, B, C

1

9

16

When the Saints Go Marching InTraditional

Track XXRecorder Notes Needed: G, A, B, C

Recorder/Violin Icon

S G 16

Brass (metal tubes, buzzed lips)

Sounds like: Sounds like:

Sounds like:Sounds like:

French Horn

Trumpet

Trombone

Tuba

Instrument Family Portraits

Clarinet

Woodwinds (wooden or metal tubes, blown)

Sounds like: Sounds like:Sounds like:

Sounds like:

Sounds like:

BassoonFlute

Oboe

Clarinet

Piccolo

high and light

S G 17

Sounds like:


Sounds like:

Sounds like:

Strings (wooden bodies with strings that are bowed or plucked)

Violin

Bass

CelloHarp

Viola

Percussion (struck, shaken, or scraped)

Sounds like:

Sounds like:


Sounds like:

Timpani

Bass Drum

Triangle

Snare Drum

Xylophone

S G

The Orchestra Map

ViolinsConductorHarp

Flutes

Clarinets

French Horns

Snare Drum

Bass Drum

Timpani

Xylophone

18

Trumpets

S G

Conductor

Violas

Cellos

Oboes

Bassoons

Trumpets

Trombones

Basses

Tubas

19

S G 20Instrument Identification (Visual)

Look at the pictures below and write each instrument’s name and family. In the last column, list one musical fact about the instrument. An example is given for you below.

Instrument Name Instrument Family Musical Fact

clarinet woodwindsMakes sound by blowing on a single reed

S G 21Instrument Name Instrument Family Musical Fact

S G 22

Instrument Name Instrument Family

1

2

3

4

5

6

7

8

Listen carefully to each instrument example. Write the name and family of the instrument that you hear. You may use the Word Walls for clues. An example is given for you below.

Instrument Family Word Wall

brass

percussion

strings

Instrument Word Wall

bass

bassoon tuba

cello

clarinet

flute

French horn

harp

oboe

timpani

trumpet

trombone

violin

viola

xylophone

Instrument Identification (Audio)

woodwinds

trumpet brass

My Own Orchestra

S G 23My Own Orchestra

Name of orchestra:

Type of music:

Instruments included:

Reasons for instrumentation:

Stage setup (draw):

S G 24The Jazz Ensemble

The rhythm section of a jazz ensemble typically consists of piano, bass, and drums.

Big Band Quartet

Jazz ensembles with less than 10 members are referred to by the number of musicians in the group:

Duo = two musiciansTrio = three musiciansQuartet = four musiciansQuintet = five musicians

Sextet = six musiciansSeptet = seven musiciansOctet = eight musiciansNonet = nine musicians

Jazz ensembles with more than 10 members, who are divided into sections, are often called big bands.

S G 25My Own Jazz Ensemble

You have been given a rhythm section that consists of piano, bass, and drums. Now, you can select up to six more instruments from the instrument family portraits, or other instruments that you are familiar with, to create an ensemble. List or draw them below:

Add together the total number of instruments, including the rhythm section.

What do we call that number of musicians when they are grouped together? (e.g. quartet, quintet, etc.)

Create a name for your ensemble. (e.g. Courtney’s Septet!)

S G

“Duke’s Place”

Slavonic Dance No. 1

“Come to Play”

“I Got Rhythm” Variations

“I Got Rhythm”

“Riffs” from Prelude, Fugue, and Riffs

“It Don’t Mean a Thing (If It Ain’t Got That Swing)”

“Do Your Thing”

“When the Saints Go Marching In”

Singing Playing Listening or Moving

My Repertoire List My Letter to the Orchestra

26

S G

My Letter to the Orchestra

Dear ,

Your friend,

Date

27

ABOUT THE COMPOSERSLeonard Bernstein (1918–1990), the celebrated American composer and conductor, started taking piano lessons at an early age. During his childhood and adolescence in Massachusetts, he played in public regularly. He studied music at Harvard University and the Curtis Institute of Music in Philadelphia. At age 25, he made his conducting debut with the New York Philharmonic at Carnegie Hall, and went on to work as a guest conductor for orchestras around the world. In 1958, Bernstein became the music director of the New York Philharmonic, a position he held for more than a decade. He earned special acclaim for his Young People’s Concerts, which were broadcast to television viewers around the country. (Fun fact: The first of these televised concerts was recorded at Carnegie Hall!) Bernstein also composed music for symphonies, small ensembles, musical theater, opera, film, and dance.

Courtney Bryan (b. 1982) is a pianist and composer, and a New Orleans native. Her music ranges from solo works to large ensembles in the new music and jazz idioms, film scores, and collaborations with dancers, visual artists, writers, and actors. She works within various musical genres, including jazz and other types of experimental music, as well as traditional gospel, spirituals, and hymns. She performs around the New York City area, and is the director of the Institute of Sacred Music at Bethany Baptist Church of Newark, New Jersey. Bryan holds degrees from the Oberlin Conservatory of Music (BM), Rutgers University (MM), and Columbia University (DMA) with advisor George Lewis. Recent commissions include original compositions for The Dream Unfinished orchestra and chorus, the guitar ensemble Duo Noire, the New York Jazzharmonic, the Colorado Springs Philharmonic, and a new work for orchestra and jazz septet, “Do Your Thing,” which premiered at the Link Up: The Orchestra Swings concert in 2017.

Thomas Cabaniss (b. 1962) lives in New York City and composes music for opera, theater, dance, film, and concerts. He worked with choreographer Hilary Easton to create a series of dance-theater works, and his music for theater has appeared in shows on and off Broadway. He has written an opera based on E. T. A. Hoffmann’s The Sandman, and he scored an Oscar–winning short film, The Lunch Date. His choral works include Behold the Star, available on New World Records and published by Boosey & Hawkes. He is a member of the faculty of The Juilliard School.

Antonín Dvořák (1841–1904) was born in a small village in Bohemia, which is now part of the Czech Republic, a country in central Europe. He was one of seven children. His parents recognized his musical talent, and at the age of six he began his musical training. He studied music in Prague and graduated as an accomplished violinist and violist before he was 20 years old. Dvořák is known for integrating elements of folk music from his native Bohemia into his works. The composer’s Slavonic Dances utilize the rhythms of folk music, but were written with his own melodies. Dvořák moved to the US to accept a position as head of the National Conservatory of Music in 1892. He wrote his Symphony No. 9, “From the New World,” during his time in the US, and the New York Philharmonic premiered the work at Carnegie Hall in 1893.

Duke Ellington (1899–1974) is considered to be one of the most important figures in jazz history. Born in Washington, DC, he began studying classical piano when he was around eight years old. As a teenager, he became interested in ragtime and jazz and began playing in dance bands at clubs and parties. (Fun fact: The young Edward—Ellington’s real first name—had an elegant sense of style, which earned him the nickname “Duke” from his friends.) He moved to New York City as a young man and began his career as a bandleader and composer. Ellington was hired to lead the house band at the Cotton Club, a famous jazz club in Harlem. He went on to form the Duke Ellington Orchestra—which became known all over the country thanks to radio broadcasts and popular recordings—and toured the world for more than 50 years. Over the course of his long career, Ellington collaborated with many other jazz greats, including Billy Strayhorn and Ella Fitzgerald, and wrote nearly 2,000 compositions.

George Gershwin (1898–1937) is one of the most famous American composers of the 20th century. Born in Brooklyn, he began studying music as a boy when his parents—who were Russian immigrants—bought a piano for his older brother, Ira. Gershwin left high school to work in Tin Pan Alley in New York City as a “song plugger,” playing the piano to help publishing houses advertise and sell new music. After that, he worked as a rehearsal pianist for musical theater. Gershwin used these early experiences to build a career as a composer. Eventually he began working with his brother Ira—a lyricist—forming a legendary partnership. Gershwin was fluent in composing many styles of music, from solo piano and orchestral works to musical theater, opera, and film. His best-known works include Rhapsody in Blue and An American in Paris, and the score for the opera Porgy and Bess. Gershwin died at the early age of 38 in Hollywood, California.

COMPOSER TIMELINE1850 1875 1900 1925 1950 1975 2000 2016

Leonard Bernstein

1918–1990

Duke Ellington

1899–1974

George Gershwin

1898–1937

Courtney Bryan

b. 1982

Thomas Cabaniss

b. 1962

Antonín Dvořák

1841–1904

2016

GLOSSARYaudience: a group of people who attend an event such as a concert

bar line: a vertical line on a staff that divides the measuresbig band: a jazz ensemble with more than 10 musicians who are divided into sectionsblues: a unique form of musical communication that gives musicians freedom to improvise and swingbridge: the contrasting, or B section, within A-A-B-A formcall and response: the form in which musicians play, listen, and respond to each other in a musical dialoguechord: a group of (typically three or more) notes sounded together, as a basis of harmonychorus: 1. a group of singers 2. in jazz, the A-A-B-A form is repeated multiple times; one time through the full form is called a chorusclef: a sign placed at the beginning of a musical staff to determine the pitch of the notesconductor: a person who leads a group in making musiccomposer: a person who writes musicdiction: the pronunciation and enunciation of words in singingdynamics: volume (loud or quiet)ensemble: a group of musicians who perform togetherform: the order of phrases or sections in musicharmony: multiple pitches played or sung at the same timeharmonic changes: a pattern or series of chords that repeats itself

head voice: the high register of the voice, from which vibrations can be felt in the head

humming: singing without opening one’s lipsimprovisation: to make up something on the spotmeasure: a group of beats framed by bar lines on a staff (can also be referred to as a bar)

note head: the round part of a musical note which indicates the note value

note stem: the vertical line extending from the head of a note

orchestra: a large group of musicians who play together using various instruments, usually including strings, woodwinds, brass, and percussionpitch: how high or low a sound isposture: the position of the bodyrepertoire: a French word referring to the set of musical pieces you learn over a period of timerest: a rhythmic symbol that represents silencerhythm: patterns of sound and silencerhythm section: the instruments in a jazz ensemble—typically piano, bass, drums, and sometimes guitar—which form the foundation for the melody, harmony, and improvisationride pattern: a distinctive swing rhythm which the drummer plays on the ride cymbalriff: a short melodic phrase that is played over and over again by a soloist or group of musiciansroot: a single note upon which a chord is builtscale: a sequence of notes that follows a set pattern going up or down (e.g. in a C scale, the scale begins on a C and ends on the C an octave higher)scat singing: a jazz technique in which vocalists use syllables to improvise on a melodysolo: one singer or instrumentalist performing alonestaff: the set of lines and spaces on which musical pitches are written

steady beat: the pulse in musictempo: the speed of musictime signature: a symbol used in music to indicate metertrading fours: a dialogue in which each musician takes turns playing four measures at a timetuning: to adjust a musical instrument to the correct or uniform pitch (most orchestras tune their instruments to an A first played by the oboe) vibrations: the movement of air

Scores“Come to Play” music and lyrics by Thomas Cabaniss. Published by MusiCreate Publications. Arranged by Chris Washburne. Play-along tracks performed by Sarah Elizabeth Charles, Chris Washburne, Bruce Barth, Ugonna Okegwo, Vince Cherico, Ole Mathisen, John Walsh, and Tali Rubenstein.

“Duke’s Place” words and music by Duke Ellington, William Katz, Robert Thiele, and Ruth Roberts. Sony/ATV Harmony (ASCAP) © 1942, 1943, 1957, 1958 (Copyrights renewed). 1957 Sony/ATV Music Publishing LLC and EMI Robbins Catalog Inc. in the US. All rights on behalf of Sony/ATV Music Publishing LLC. Administered by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219. Exclusive print rights for EMI Robbins Catalog Inc. administered by Alfred Music. This arrangement © 2016 EMI Robbins Catalog Inc. and Sony/ATV Music Publishing LLC. Rights for the world outside the US administered by EMI Robbins Catalog Inc. (Publishing) and Alfred Music (Print). International copyright secured. All rights reserved. Reprinted by permission of Hal Leonard Corporation and Alfred Music. Performed by Louis Armstrong and Duke Ellington. Courtesy of Capitol Records under license from Universal Music Enterprises. Student tracks arranged by Chris Washburne. Play-along tracks performed by Sarah Elizabeth Charles, Chris Washburne, Bruce Barth, Ugonna Okegwo, Vince Cherico, Ole Mathisen, John Walsh, and Tali Rubenstein.

“It Don’t Mean a Thing (If It Ain’t Got That Swing)” words and music by Duke Ellington and Irving Mills. Sony/ATV Harmony (ASCAP) and EMI Mills Music Inc. (ASCAP) © 1932 (Renewed). Sony/ATV Music Publishing LLC and EMI Mills Music, Inc. in the US. This arrangement copyright © 2016 Sony/ATV Music Publishing LLC and EMI Mills Music, Inc. in the US. All rights on behalf of Sony/ATV Music Publishing LLC. Administered by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219. Exclusive print rights for EMI Mills Music, Inc. administered by Alfred Music. This arrangement © 2016 EMI Mills Music, Inc. and Sony/ATV Music Publishing LLC. Rights for the world outside the US administered by EMI Mills Music, Inc. (Publishing) and Alfred Music (Print). International copyright secured. All rights reserved. Reprinted by permission of Hal Leonard Corporation and Alfred Music. Performed by Louis Armstrong and Duke Ellington. Courtesy of Capitol Records under license from Universal Music Enterprises. Student tracks arranged by Chris Washburne. Performed by Sarah Elizabeth Charles, Chris Washburne, Bruce Barth, Ugonna Okegwo, Vince Cherico, Ole Mathisen, John Walsh, and Tali Rubenstein.

The Young Person’s Guide to the Orchestra by Benjamin Britten. © 1947 by Hawkes & Son (London) Ltd. Courtesy of Boosey & Hawkes. Instrument excerpts performed by The Fountain Ensemble and narrated by Hillarie O’Toole. Theme performed by London Symphony Orchestra and Steuart Bedford. Courtesy of Naxos of America.

“I Got Rhythm” by George and Ira Gershwin © 1930 (Renewed) WB Music Corp (ASCAP) and Ira Gershwin Music Corp (ASCAP). Performed by Ella Fitzgerald. Courtesy of Capitol Records under license from Universal Music Enterprises. All rights administered by WB Music Corp. This arrangement © 2016 WB Music Corp. and Ira Gershwin Music Corp. Used by permission of Alfred Music. All rights reserved. Student tracks arranged by Chris Washburne. Play-along tracks performed by Sarah Elizabeth Charles, Chris Washburne, Bruce Barth, Ugonna Okegwo, Vince Cherico, Ole Mathisen, John Walsh, and Tali Rubenstein.

“I Got Rhythm” Variations by George Gershwin and Ira Gershwin. WB Music Corp. (ASCAP) and Ira Gershwin Music (ASCAP). All rights administered by WB Music Corp. Performed by Buffalo Philharmonic Orchestra. Courtesy of Naxos of America, Inc.

“Riffs” from Prelude, Fugue, and Riffs by Leonard Bernstein. Performed by: Benny Goodman and Columbia Jazz Combo. Originally released 1964 Sony Music Entertainment. Leonard Bernstein Music Publishing Co., administered by Universal Polygram Int. Publishing, Inc. (ASCAP), One Hundred Percent (100%) on behalf of Leonard Bernstein.

“When the Saints Go Marching In,” American folk song. Arranged by Chris Washburne. Play-along tracks performed by Sarah Elizabeth Charles, Chris Washburne, Bruce Barth, Ugonna Okegwo, Vince Cherico, Ole Mathisen, John Walsh, and Tali Rubenstein.

Slavonic Dance No. 1 in C Major, Op. 46, No. 1 by Antonín Dvořák, performed by Zdeněk Košler, Slovak Philharmonic Orchestra, Courtesy of Naxos of America, Inc.

PhotosSG1: Thomas Cabaniss by Jennifer Taylor. SG24: Billy Taylor Trio photo by Jimmy Katz; Miles Davis Nonet photo © PoPsie Randolph/Getty Images.

IllustrationsRhythm Section artwork by Suzanne Cerny.

Special ThanksSpecial thanks to Alee Reed for her choreography to “It Don’t Mean a Thing (If It Ain’t Got That Swing)” and the students of the Dancing Classrooms Youth Dance Company for their participation in video resources for Link Up: The Orchestra Swings. Special thanks to Courtney Bryan for creating a new commission for Link Up: The Orchestra Swings concerts.

ACKNOWLEDGMENTS

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El Paso Electric Young People’s · PDF fileAmy Mereson, Assistant Director, Learning &...

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