Introducing Prokofiev's "Peter and the Wolf" to Young Kids!
any colours or emotions while listening When Tamino and Papageno finally reach Sarastro's . other woodwinds have a reed or a double reed attached to the. instruments are divided into families: woodwind, brass, percussion and string. . colouring page, watch the YouTube clip 'George meets the Orchestra' or look at. During this program, students will learn about instruments of the woodwind family . Students will get . Review pages (Meet the Instruments) of the Resource . Materials in Playing an excerpt from each family, instruct children to color.
Play the recording and ask the children to freely move to the music let the children use scarves or streamers, if desired. It is an amazing sight to watch children moving to Peter and the Wolf.
It is an expressive activity that will allow the children time to feel and incorporate the music in their own way. After the movement activity, ask the children how they felt as the music played. Help the children to find words for their movements skipping, fluttering, prowling, waddling, floating, flying, stomping, crawling, marching, twirling, etc.
Read each of the strips to the children the strips contain the corresponding instrument as a visual aid. Have the children try to retell the story by placing the sequencing strips in the appropriate order. The children could also retell the story in their own words. We digitally record the children as they retell the story to play it back for our group as we continue learning.
Musical Creations and Rhythms Ask the children to free draw or paint while listening to Peter and the Wolf. It is fun to watch the children draw as the different themes are introduced. Some children will choose black for the wolf and lighter colors for the bird. Painting and drawing can help the children express the emotions felt by listening that they do not have the vocabulary for quite yet.
Have the children use Wikki Stix to make a quarter note. Have the children use Wikki Stix t o create a half note.
Ask the children to clap and hold the clap for two counts. Have the children use Wikki Stix to create a whole note. Ask the children to clap and hold the clap for four counts. Ask the children to do different movements while learning music note values: After the Renaissance, families of instruments were not generally made, and expressive playing was largely in demand in the soprano range.
The English hornor alto oboe, was adopted about but made no great impact. The instrument was curved as a horn in its early form and covered with leather.
Bach called it oboe da caccia and used it occasionally for its dark, smooth tone colour. The bassoon The bassoon underwent far-less-radical changes in the hands of Hotteterre than the oboe. The standard bassoon for most of the 18th century had four keys, but six were common by the end of the century.
kinenbicounter.info | 62 coloring pages of Musical Instruments
As with the curtal, whose sound was mellow, the bassoon was praised for its tone and compared to the human voice, the ultimate in contemporaneous praise. Such comments testified to its success in playing expressively, and a considerable solo literature, rare among low-pitched instruments, bears further witness to its flexible melodic capabilities. Its service as a wind bass was indispensable.
Some small bassoons, notably the tenoroon and the fagottino, were built in the century but remained obscure. More important was the contrabassoon, whose sporadic appearance in scores probably reflected on its rarity more than its usefulness.
The flute The Renaissance recorder blended well in consort but was weak in its upper register and needed modification to meet the demand for an expressive melodic style. The very nature of the instrument, with its lack of lip control, prevented much dynamic control, but the Baroque changes nevertheless went far toward producing an expressive instrument.
It is to be remembered that throughout the Baroque period, the Italian term flauto referred to the recorder; the cross flute was normally called transverso or flauto traverso and was so indicated on scores. Although many ambiguous cases exist, the recorder was the type of flute called for in much of Baroque music.
The redesigned recorder was built in three sections with an inverse conical bore in the middle and foot. The transverse flute was also built in three sections with an inverse conical bore, and this flute, as well as the recorder, spoke better in the upper register. Intonation on the flute was nevertheless difficult. The necessary cross-fingerings closing one or more holes below an open one caused a somewhat muffled quality.
Consequently, the flute sounded best and its technique was most facile in the key of D major.Woodwind instruments
Only rarely did Baroque composers of flute music venture far from the keys in one, two, or three sharps i. To alleviate some of those problems and to adapt to the varying pitches at that time, after the middle section was often divided. Then the flute could be provided with from three to six different lengths for the upper of these sections corps de rechange. In spite of these difficulties, the one-keyed flute had a lovely tone, softer than the modern flute.
Keys were soon added to solve difficulties of intonation and tuning. The tone quality of the instrument changed little, and its versatility improved. The clarinet One of the most significant contributions to Western art music in the 18th century was the addition of the clarinet.
The various cane instruments with a single reed and stemming from antiquity still remained in the area around the Mediterranean as folk instruments.
Introducing Prokofiev’s “Peter and the Wolf” to Young Kids!
Furthermore, the bagpipe had adapted the single-reed pipe as its chanter. The chalumeauone of those single-reed folk instruments, occasionally emerged in art music when the two oboists of the orchestra would use chalumeaux to imitate the sound of trumpets.
The clarinet had then emerged. Again, those describing the instrument compared its virtues to those of the human voice, and the instrument was adopted wherever players were available. Compared with the instruments of today, the cylindrical bore was narrow and the reed smaller to fit the long, narrow mouthpiece. Furthermore, the mouthpiece was inserted so that the reed, attached with cord, was on the upper side of the instrument. Small F clarinets were available for use in bands, but, as with the other woodwinds of the time, a pair of treble clarinets were sufficient for the orchestra.
A more important auxiliary instrument than, say, the tenor oboe was the basset hornwhich provided an extension of the bore to take the chalumeau range down to c. The orchestral horn Another major contribution in the 18th century was the emergence of the horn sometimes called french horn as an orchestral instrument. Early in the century, the tone of the horn was appropriate for its use in signaling during the hunt.
By mid-century, the mouthpiece had been altered and the hand inserted in the bell to provide the warm, mellow quality in midrange that Classical composers found so useful. Consequently, much experimentation to increase its usefulness ensued, resulting in the crooks and in hand stopping. Even with its severe limitations, the horn of the Classical period became an essential colour.
The trumpet After the midth century, high melodic parts in the trumpet appeared less necessary to an aesthetic that spurned the majestic for a simpler style.