natalie macmaster and leahy (grades 4 - 12), november 2007
Post on 03-Jan-2017
220 Views
Preview:
TRANSCRIPT
The National Arts Centre Orchestra presents
CCeellttiicc CCeelleebbrraattiioonn:: NNaattaalliiee MMaaccMMaasstteerr && LLeeaahhyy
Teacher Study Guide Grades 4 to 12
2007-2008 Student Matinee Concerts
Table of Contents
Welcome Teachers! Page 3
Concert Programme Page 4
About the Centre and the Performers Page 5 The National Arts Centre Page 5 The National Arts Centre Orchestra Page 6
Stéphane Laforest, conductor Page 7 Natalie MacMaster Page 7 Leahy Page 8
Programme Notes and Suggested Classroom Activities Page 9 A Short History of the Celtic Civilization Page 9 Information about Cape Breton Island Page 9 Classroom Activity ~ Geography Page 10 Music of Cape Breton Page 11 Classroom Activity ~ Composition Project #1 (easy) Page 12
Classroom Activity ~ Composition Project #1 (advanced Page 12 Step Dancing Page 13
Classroom Activity ~ Dance Page 14 Fun Facts about the Performers Page 14 Celtic Music for School Ensembles Page 15 How to Speak Gaelic Page 16 Resources and Links Page 17
Elements of Music Page 18
Performance Hall Etiquette Page 19
A Day in the Life of an Orchestra Musician Page 20
All about the Orchestra Page 21
Map of the NAC Orchestra Sections Page 22
Bibliography of Resources Available at the Ottawa Public Library Page 23 Nova Scotia Page 23 Prince Edward Island Page 24 Newfoundland and Labrador Page 24 East Coast Page 25
Acadians Page 26 Fiddles and Fiddling Page 27
Other available NAC Teacher Study Guides Page 28
This programme is made possible in part by the National Youth and Education Trust, which is supported by Founding Partner TELUS, Sun Life Financial, Bruce Power, Michael Potter and Véronique Dhieux, supporters and patrons of the annual NAC Gala and the donors of the NAC Foundation’s Corporate Club and
Donors’ Circle.
Teacher Study Guide Celtic Celebration: Natalie MacMaster & Leahy – Page 2
Teacher Study Guide Celtic Celebration: Natalie MacMaster & Leahy – Page 3
Music is a powerful force – one that enriches the lives of our children by opening their minds to the world around them. Music teaches us to work together cooperatively and encourages creativity and imagination. We at the National Arts Centre strongly believe that music is an essential component of a child’s education and should be a core subject in Canada’s schools. I hope you will enjoy the programs we’ve created for you and your students this year and thank you for making music a part of your teaching curriculum. Sincerely,
Pinchas Zukerman Music Director, National Arts Centre Orchestra
About this guide As a support to your classroom work, we have created this guide to help introduce you to the program and content of the performance. In it you will find:
Programme notes for the pieces you will hear at concert
Biographical information about the conductor, the performers and the NAC Orchestra
Classroom activities for you to share with your students
We hope this study guide is helpful in preparing you for your concert experience. The level of difficulty for the activities is broad, so please assess them according the grade level you teach. If you have any comments about the study guide or the performance please write to us at mused@nac-cna.ca. See you at the NAC!
DDeeaarr TTeeaacchheerrss aanndd PPaarreennttss,,
Should you have any questions regarding
music education at the National Arts Centre,
please contact us:
General information Tel: 613-947-7000 x 390 Email: mused@nac-cna.ca
www.nac-cna.ca
www.music.artsalive.ca
Teacher Study Guide Celtic Celebration: Natalie MacMaster & Leahy – Page 4
((ssuubbjjeecctt ttoo cchhaannggee))
Concert Programme
Concert Dates: Thursday, November 29, 2007 11:00 – 12:00 (bilingual) Friday, November 30, 2007 11:00 – 12:00 (bilingual)
Location for all concerts: Southam Hall, National Arts Centre
Running time for all concerts: 60 minutes without intermission
Celtic Celebration:
Natalie MacMaster & Leahy
The National Arts Centre Orchestra Stéphane Laforest, Conductor
FEATURING:
Natalie MacMaster Leahy
This guide is written to provide a resource for intermediate and senior music teachers. It contains cross‐curricular music activities related to the National Arts Centre’s CELTIC CELEBRATION student matinee concerts (Nov.29 and 30, 2007). It provides a diverse set of ideas, links and activities for classroom use which may help to prepare your students for the concert experience. The ideas and activities can be taken as presented or modified for the individual class. The material provided includes music theory, history, elements of music, creative compositional activities, and cultural studies. All of these areas are contained in the current Ministry of Education curriculum documents. Have fun with this guide and enjoy the concert! In this Student Matinee, students will hear excerpts from:
NATALIE MacMASTER & LEAHY Jessie’s Polka
NATALIE MacMASTER & LEAHY Wedding Day Jig
LEAHY King’s Dance
LEAHY Cape Breton Medley
NATALIE MacMASTER If You Were Mine
NATALIE MacMASTER Three Jigs
LEAHY Seamus
NATALIE MacMASTER Devil’s Dream/Bach
LEAHY Skater (or Maddness)
LEAHY The Call to Dance
About the Centre and the Performers
Canada’s National Arts Centre
Situated in the heart of the nation's capital across Confederation Square from Parliament Hill, the National Arts Centre is among the largest performing arts complexes in Canada. It is unique as the only multidisciplinary, bilingual performing arts centre in North America and features one of the largest stages on the continent.
Officially opened on June 2, 1969, the National Arts Centre was one of the key institutions created by Prime Minister Lester B. Pearson as the principal centennial project of the federal government. Built in the shape of a hexagon, the design became the architectural leitmotif for Canada's premier performing arts centre.
Teacher Study Guide Celtic Celebration: Natalie MacMaster & Leahy – Page 5
Designed by Fred Lebensold (ARCOP Design), one of North America's foremost theatre designers, the building was widely praised as a twentieth century architectural landmark. Of fundamental importance to the creators of the NAC was the belief that, beautiful and functional as the complex was, it would need more than bricks and mortar and, in the words of Jean Gascon, "it would need a heart that beats." A programme to incorporate visual arts into the fabric of the building has resulted in the creation of one of the country's most unique permanent art collections of international and Canadian contemporary art. Pieces include special commissions such as, Homage to
RFK (mural) by internationally acclaimed Canadian contemporary artist William Ronald, The Three Graces by Ossip Zadkine and a large free standing untitled bronze sculpture by Charles Daudelin. In 1997, the NAC collaborated with the Art Bank of the Canada Council of the Arts to install over 130 pieces of Canadian contemporary art. The NAC is home to four different performance spaces, each with its own unique characteristics.
Southam Hall is home to the National Arts Centre Orchestra, the largest film screen in the country and the Micheline Beauchemin Curtain.
Today, the NAC works with countless artists, both emerging and established, from across Canada and around the world, and collaborates with scores of other arts organizations across the country. The NAC is strongly committed to being a leader and innovator in each of the performing arts fields in which it works ‐ classical music, English theatre, French theatre, dance, variety, and community programming. It is at the forefront of youth and
educational activities, supporting programmes for young and emerging artists and programmes for young audiences, and producing resources and study materials for teachers.
The National Arts Centre Orchestra
Consistent praise has followed this vibrant orchestra throughout its history of touring both nationally and internationally, recording, and commissioning Canadian works. Canada’s National Arts Centre Orchestra, now under the direction of renowned conductor/ violinist/violist Pinchas Zukerman, continues to draw accolades both abroad and at its home in Ottawa where it gives over 100 performances a year.
The NAC Orchestra was founded in 1969 as the resident orchestra of the newly opened National Arts Centre, with Jean‐Marie Beaudet as Music Director and Mario Bernardi as founding conductor and (from 1971) Music Director until 1982. He was succeeded by Franco Mannino (1982 to 1987), Gabriel Chmura (1987 to 1990), and Trevor Pinnock (1991‐1997). In April 1998, Pinchas Zukerman was named Music Director of the NAC Orchestra.
Pinchas Zukerman has led the Orchestra on tours within Canada in 1999, 2002, 2004, 2005 and 2006, to Europe and Israel in 2000, and the United States and Mexico in 2003, with educational activities ranging from masterclasses and question‐and‐answer sessions to sectional rehearsals with youth and community orchestras and student matinees.
In addition to a full series of subscription concerts at the National Arts Centre each season,
tours are undertaken to regions throughout Canada and around the world. Since the arrival of Pinchas Zukerman, education has been an extremely important component of these tours. Teacher Resource Kits have been developed for distribution to elementary schools in the regions toured and across Canada, and the public has been able to follow each tour through fully interactive websites which are now archived on the NAC’s Performing Arts Education Website at www.artsalive.ca. The Orchestra’s tour of Quebec in November 2006 included 65 education events. The NAC Orchestra has 40 recordings to its name, six with Pinchas Zukerman: Haydn, Vivaldi, Beethoven, Schubert and two of Mozart (a CD of flute quartets, and a CD of orchestral music and string quintets). The commissioning of original Canadian works has always been an important part of the National Arts Centre’s mandate with over 70 works commissioned to date.
The NAC Orchestra offers a number of programmes dedicated to fostering a knowledge and appreciation of music among young people. In addition to a highly popular subscription series of Family Adventures (formerly known as Young People’s Concerts) for families, the Orchestra presents a variety of opportunities for schools to learn about classical music: Student Matinees, Open Rehearsals, and specially priced concerts to allow students to hear the Orchestra perform in its
home at the NAC. In addition, Musicians in the Schools programmes including ensemble performances and instrument sectionals take the music to the students in their schools.
Teacher Study Guide Celtic Celebration: Natalie MacMaster & Leahy – Page 6
Stéphane Laforest - conductor Stéphane Laforest has built an impressive reputation as a conductor, having performed with orchestras throughout Canada. Stéphane Laforest is artistic director and conductor of the Orchestre symphonique de Sherbrooke since April 1998, of the Symphony New Brunswick since September 2006 and of La Sinfonia de Lanaudière orchestra that he founded in 1994.
Teacher Study Guide Celtic Celebration: Natalie MacMaster & Leahy – Page 7
Mr. Laforest was awarded first prizewinner of the Conservatoire in conducting for only the second time in the history of the Conservatoire du Québec. During his studies at the Conservatoire de musique du Québec in Montréal, he received several prizes in chamber music and for his skill as a clarinettist. As a conductor, he won several awards including ‘’ Un des GRAND PRIX DU CONSEIL DE LA CULTURE DE LANAUDIÈRE ‘’ (November 1999), ‘’THE HEINZ UNGER AWARD ‘’ for conductor given by the Ontario Arts Council in collaboration with Orchestras Canada (May 2000) and ‘’LE PRIX OPUS’’ (November 2000). On July 1st 2003 , Stéphane Laforest received “ Le certificat de citoyen émérite “ given
by Celebrations Canada in the Sorel region. As a guest conductor, Stéphane Laforest has been invited all over the country to conduct orchestras such as: l’Orchestre symphonique de Montréal, National Arts Centre Orchestra, Orchestre Métropolitain du Grand Montréal, Orchestre symphonique de Québec, Orchestra London Canada, Kitchener‐Waterloo Symphony Orchestra, Calgary Philharmonic Orchestra, Edmonton Symphony, New Brunswick Symphony, Nova‐Scotia Symphony Orchestra, Thunder Bay Symphony Orchestra, Orchestre symphonique de Laval, Les Violons du Roy (Québec), Niagara Symphony Orchestra, Windsor Symphony Orchestra, le Philharmonique de l’Isle (Lachine Qué.), Orchestre symphonique de Trois‐Rivières, Orchestre symphonique de Ville Mont‐Royal, Orchestre symphonique du Saguenay‐Lac‐St‐Jean, Orchestre symphonique de la Montérégie (Longueuil ), Orchestre symphonique du Conservatoire de musique du Québec à Montréal (tour in France, 1997), the 1997 Canadian band, Orchestre des Jeunes du Québec and Festival of Quebec Youth Orchestra Association. He also conducted the orchestra for the General Governor awards for the arts in November 2003‐2006. Natalie MacMaster With a talent that remains both raw and wondrously refined, and backed by a band any top musician would be proud of, Natalie Mac Master continues to stun crowds around the globe with her feverish fiddling and mesmerizing step dancing. Well‐known to international audiences as one of Canada’s major talents, Natalie has been an ambassador for traditional East Coast music, and is credited with lifting the style to its contemporary prominence. While acclaimed for taking Celtic music to new heights, each album Natalie releases displays a creativity and range that constantly expands the boundaries of the genre. Natalie first picked up the fiddle at age nine and hasn’t looked back. The niece of famed Cape Breton fiddler Buddy MacMaster (with whom she recorded a tribute album in 2005), Natalie quickly became a major talent in her own right. After winning numerous awards for her early traditional recordings, Natalie’s subsequent releases have been boldly ground‐breaking and received with abundant accolades.
Leahy A family. A musical group of brothers and sisters, a sound, a style of music, a way of life, a volcanic explosion of talent and energy, intense emotion, and feral passion. Leahy is a Canadian powerhouse of eight musical brothers and sisters who have been playing together their entire lives. The band’s three acclaimed CDs—Leahy, Lakefield, and In All Things—have world‐wide sales of over half a million copies.
The family continues to move forward as musicians and performers. Winter 2007 saw them release their first ever live DVD and CD. PBS audiences are currently watching Leahy’s third television special. They are also in the midst of working on their second DVD and live CD, which are to be released in 2008. On their recent American tour, new audiences learned that this family of instrumentalists, singers, and dancers brings a rare level of originality and musicianship to the stage. This originality includes music that Leahy writes, arranges, and produces. Known for their unique blend of musical styles and genres, their repertoire is more distinct than ever. All that audiences need to do to understand the style that has come to be known as “Leahy” is look at their awards—Junos for Best New Group, Best Country Group, and Best Instrumental Album, the most played folk/roots song in Canada in 2004 and the Socan award for Folk/Jazz instrumentalist the following year. Their self‐titled album rose to number four on the Billboard world music charts and found its way onto the soundtrack of the award‐winning movie The Hanging Garden. On stage Leahy brought 175 audiences to their feet when they opened for pop‐star Shania Twain on her inaugural world tour. Leahy brings their whole being to each and every performance. Their life story reads like a Hollywood movie; a large family raised without a television on a farm in the small town of Lakefield, Ontario, Canada. In fact, their life story was so compelling that it became the subject of an Oscar winning documentary—The Leahys: Music Most of All. The film foretold the success that would follow. Pure, authentic—Leahy continues to be one of Canada’s most sought after exports.
Teacher Study Guide Celtic Celebration: Natalie MacMaster & Leahy – Page 8
Prepared by Heather Flinn
Programme Notes and Classroom Activities
A SHORT HISTORY of the CELTIC CIVILIZATION Although there is a dispute among various scholars and archaeologists as to the validity of naming the Celtic peoples as a “civilization”, those scholars who are in favour of the Celtic civilization say that these people were the first real Europeans. Around 1000 BCE their culture and influence developed and spread all over what is now Europe, the British Isles, and even as far as Turkey. The Romans and Greeks knew them to be successful farmers, road builders, fine artisans, and powerful warriors. The “Keltoi” as they called them were also known for their Druidic religion and their laws which forbade them to write anything about that religion even though they were a literate society. Their Gaelic languages are linked to the other Indo European languages such as Latin, Greek, Hittite, and Sanskrit. Their societies were organised into kingdoms and chiefdoms. They left a legacy of cultural and spiritual influences which still exist today in the form of Celtic arts, music, dance, myths and legends. Their great culture remained in the British Isles and parts of Brittany and it is from here that their influence spread to our present day culture.
INFORMATION ABOUT CAPE BRETON ISLAND • Cape Breton Island is a part of NOVA SCOTIA, one of the
MARITIME provinces
• The island is separated from mainland Nova Scotia by the Strait of Canso
• There are three main cultures, Scottish‐English‐Irish, M’ikmaq, and Acadian
• Traditional industries are coal (Sydney and Inverness Coal fields), steel, and fishing
• Modern industries are tourism (Celtic Colour Festival), call centres, shipping
• Bras D’or Lake is actually a saltwater estuary
• There are approximately 148,000 residents of Cape Breton (2002)
• The area was discovered by John Cabot in 1497
• Ownership of the island went back and forth over the centuries between Britain and France.
• Acadian colonies were established at St. Anne and Louisburg (Fortress Louisburg)
• During the Highland Clearances (late 18th century) in Scotland, many Scottish farmers were forced off their land, and so large numbers of Scottish settlers came to Cape Breton. This is why the Gaelic culture is so strong in Cape Breton.
• The Gaelic College of Celtic Arts and Crafts is the official caretaker of this cultural heritage. http://www.gaeliccollege.edu/
• Marconi and Alexander Graham Bell both ran famous scientific experiments in Cape Breton.
Teacher Study Guide Celtic Celebration: Natalie MacMaster & Leahy – Page 9
CLASSROOM ACTIVITY - GEOGRAPHY Organize an imaginary (or REAL) Musical Tour of Cape Breton. Using a map (try http://en.wikipedia.org/wiki/Image:Cape_Breton_Island.png ) find some of the places listed below, and chart a route that your group could travel. Discuss the various concerts (plus repertoire) you could give or what activities you could attend at each place, and the sights and places you would like to visit.
• Natalie MacMaster’s birthplace Troy, near Port Hastings • Canso Strait • Bras D’or Lake • Gaelic College in St.Anne’s • the Big Fiddle in Sydney [ http://www.cbc.ca/arts/story/2005/01/26/bigfiddle050126.html ] • Fortress of Louisburg • Glace Bay • Judique Celtic Music Interpretive Centre
Teacher Study Guide Celtic Celebration: Natalie MacMaster & Leahy – Page 10
MUSIC of CAPE BRETON Cape Breton has a strong tradition of Fiddle music. This was brought to the island by the Scottish immigrants. Here are a few facts:
• Inverness County (Mabou and Judique)supports lots of musical
activities
• music is closely associated with step dancing
• Fiddle style contains many up‐bows, grace notes, and double stops.
• Traditional forms include reels (4/4), jigs (6/8), clogs or
hornpipes (swung eighth 4/4), Strathspeys (dotted 4/4), slow airs.
• The musical style may have developed from puirt‐a‐beul or
'mouth music', which is essentially a song with nonsense syllables. The Celtic instruments imitate the sound of the Gaelic language.
• music tends to 16 bar groupings, eight bars for one foot and
eight for the other
• strong downbeat often accompanied by a stomp of the player’s foot
• Tunes are often learned by ear, but there are many
books of tune collections drawn from Scottish and Irish musical heritage.
Teacher Study Guide Celtic Celebration: Natalie MacMaster & Leahy – Page 11
• Harmonies are homophonic and usually follow simple chord progressions.
• Fiddlers are often accompanied by other instruments such as piano, bodhran (a simple flat drum with a beater), bagpipes, guitar, tin whistle, harmonica, and celtic harp
• Celtic Colour Festival showcases Celtic musical and arts all
over Cape Breton every October.
• ceilidhs (Celtic jams sessions) are an important part of traditional Cape Breton culture
Composition Project # 1 (easy)
1. Listen to several examples of reels and jigs. Try these web sites for Mp3s and actual notated examples:
http://www.cranfordpub.com/index.htm (this publisher specializes in Cape Breton Celtic Fiddle music) http://www.cranfordpub.com/tunes/CapeBreton/FatherJohnAngus.htm (many MP3, sound clips and notation samples)
Also try any of the Natalie McMaster CDs or Leahy CDs (see discography)
2. Discuss the music using the ELEMENTS OF MUSIC (see page 18)
3. Using FINALE NOTEPAD (free at http://www.finalemusic.com) compose a simple reel or jig. To be authentic, try to follow the forms, time signatures, styles, and elements you have discovered through your listening.with one student working on the first 8 bars and the other on the second 8 bars, then getting together to unify their work as one 16 bar dance piece. Have the students perform their
Students could work in pairs
. compositions for the
omposition Project #2 (advanced) or 4
ral samples of traditional Celtic tunes (with chords). Try the two sites above
oup to choose a tune.
such as a Celtic Band, goes about the process
simple chord progressions
Sen a ne and their arrangement. Every member should
t this project will take a fair amount of time to develop and that they
If you have the resources you could
4class.
C
1. Divide the students into “Celtic Ensembles” of 3instruments and/or voices. These can incorporate any combination of instruments and do not have to be traditional Celtic instruments.
Print out seve2.for sources.
Allow each gr3.
4. Discuss the way an improvisational ensemble,of making and playing an arrangement. You should address such areas as:
• What key is best…how does the transposition work for everyone? • Everyone should be able to play the tune • Understand the structure and notes of the• Decide who plays what role…lead (melody), harmony, bass, rhythm • Does the lead have to play the melody all of the time? • Is there room for improvisation?
5. d e ch group off to work on their tuchoose a function within the group such as musical leader, group manager, librarian/ organizer, etc.
Remind them tha6.should keep things simple and ask for lots of help.
Set a performance date and record the performances.7.even make a CD for each member of the class.
Teacher Study Guide Celtic Celebration: Natalie MacMaster & Leahy – Page 12
STEP DANCING Canadian step dancing is a blend of various dance styles brought over by immigrants from the British Isles and Europe. The style involves rocking, tapping and stomping the feet and swinging of the legs from the knees with very little in the way of arm movements. It is believed that the lack of arm movements made this type of dancing more acceptable to church leaders. The dance is usually confined to a small area as it was often performed on tabletops or in tiny pioneer kitchen areas. The shoes of the modern step dancers have metal taps which allow the dancers to perform intricate rhythm patterns that can be heard as well as seen. Below you will find an outline of the most common dances and an overview of regional dance styles. The Ottawa Valley Style
• The dance style is energetic and involves more height off the floor than other styles • Some influences from Scottish and Irish styles • More arm movement • Highly intricate, busy step patterns • Costumes are not usually worn • The favoured dances are “clogs” and “2‐steps”
The Cape Breton Style
• Arms and upper body are kept straight • Dance steps are close to the floor and are repeated several times in a row • Favoured dances are jigs, reels, and strathspeys.
The French Canadian Style
• This dance style came out of the logging and lumber camps • Steps are intricate and close to the ground and can feature short bursts of highly energetic
step combinations • Arms are held at the side in a loose fashion • The reel is the favoured dance style • Traditional costume consists of white shirt, black pants with a long sash tied around the
waist. Typical Dance Styles
• The TWO STEP is of course in 2/4 time and is somewhat slower than other styles
• The CLOG is a short, slower dance with the accents on 1 and 3
• The JIG is a great Cape Breton favourite in 6/8 time and lasts for 48 bars
• The REEL is very fast, long, and energetic. All dancers love this style. It makes a great closer for a routine
• The STRATHSPEY comes from Scotland and is gentler in manner. Also it is danced to a lilting 6/8 music.
Teacher Study Guide Celtic Celebration: Natalie MacMaster & Leahy – Page 13
CLASSROOM ACTIVITY - DANCE Here’s a lively activity suitable for a “Fun Friday” class. 1. Watch some short video clips of step dancing. Try resources such as http://www.irish‐
dancer.co.uk/ (Go to THE DANCING on the side bar and look for LEARN A BASIC REEL.) or http://www.expertvillage.com/videos/irish‐dance‐shuffle‐treble.htmor http://memory.loc.gov/ammem/dihtml/divideos.html#vc049 (watch clip 49)
2. Put your students into groups of 4‐8.
3. Play an audio clip from a jig or a reel you have selected beforehand. Put it on repeat mode as the class will need to listen to it over and over.
4. Each group needs to make up a short (15 seconds approx) STEPDANCE CHOREOGRAPHY. They should make up a few simple steps that everyone can learn and repeat over and over for their big PERFORMANCE. Perfection is not important but participation is. If you have a few students who can’t participate have them accompany their group with some CELTIC DRUMMING.
5. Creativity and fun should be your goal. FUN FACTS about the PERFORMERS LEAHY Visit the website for tremendous information on the band and their music (discography) http://www.leahymusic.com/
• Leahy is a family Celtic Band from Lakefield Ontario, which is halfway between Ottawa and Peterborough in the Kawartha Lakes area. Check out the map at: http://www.lakefieldontario.com/maps.php
• Their home studio, called THE FARM, is where they have recorded some of their Cds
• Their mother and father are well known for their championship fiddling and stepdancing
• There are 11 Leahy children and eight are currently in the band
• They all sing, step dance, fiddle and play the piano NATALIE MACMASTER Excellent website for information, links and discography: http://www.nataliemacmaster.com/
• Born June 13, 1972 Troy, Inverness County, Nova Scotia
• Started step dancing at 5 (by mother Minnie) and violin at 9yrs old • Niece of Buddy MacMaster • Cousin of Ashley McIsaac • Married to Donnell Leahy from the group Leahy • Is a member of the Order of Canada
Teacher Study Guide Celtic Celebration: Natalie MacMaster & Leahy – Page 14
CELTIC MUSIC for SCHOOL ENSEMBLES
ENSEMBLE LEVEL OF TYPE TITLE COMPOSER PUBLISHER DIFFICULTY
Jazz band Celtic Air Fred Sturm Lorenz Publishing Medium
Junior Band Celtic Air and Dance M. Sweeney Hal Leonard Easy
Glog Dance E. delBorgo Kendor Easy
Intermediate A Longfor Legend R. Sheldon Alfred Pub. Medium Band Tir Na Nog Carl Strommen Alfred Pub Medium/difficult
The Jig is Up D. Kallman Boosey +Hawkes Medium
Senior Band Country Dances Greg Danner Alan/Mclaren Prod Advanced Scotch Strathspey and Reel Grainger Trn Music Pub Advanced
Choir Go Lassie Go M. Sirett Boosey +Hawkes SSA
String Danny Rocks B.Phillips Alfred Pub. Medium Orchestra
Guitar Celtic Guitar Song Book Hal Leonard
Teacher Study Guide Celtic Celebration: Natalie MacMaster & Leahy – Page 15
Teacher Study Guide Celtic Celebration: Natalie MacMaster & Leahy – Page 16
HOW TO SPEAK GAELIC (from Gaelic College)
Gaelic English Phonetic English Ciamar a tha thu? Kimmer uh ha oo? How are you? (singular/informal) Ciamar a tha sibh? Kimmer uh ha shiv? How are you? (plural/polite) Tha gu math Ha goo ma Fine A bheil Gàidhlig agad? Uh vil gah‐lick ackut? Do you speak Gaelic? Tha beagan Ha beckan A little Chan eil móran Chan yil moe‐ran Not much Chan eil mi ‘tuigsinn Chan yil mee took‐sheen I don’t understand Dé thuirt thu? Jae hoerst oo? What did you say? An abair sin a‐rithist thu? Un aber shin uh ree‐eeshtch oo? Can you say that again? Móran taing Moe‐ran ta‐eeng Many thanks Tha sin glé mhath Ha shin glae va That’s very good Tha mi duilich Ha mee dooleech I’m sorry Gabh mo leisgeul Gav mo lishk‐yal Excuse me Chan eil e gu diofar Chan yil eh goo jiffer I doesn’t matter Chan eil fhios ‘m Chan yil iss um I don’t know Chan eil mi cinnteach Chan yil mee keentchoch I’m not sure Dé tha thu ‘g iarraidh? Jae ha oo g‐ee‐urry? What do you want? Tha mi ‘g iarraidh Ha mee g‐ee‐urry I want… Seo dhuit Shaw ghoot Here you are Tha sin gu leòr Ha shin goo l‐yawr That’s enough Greas ort Gress orsht Hurry up Feumaidh mi falbh Fae‐mee mee fawav I must go Madainn mhath Madeen va Good morning Feasgar math Fesskur ma Good afternoon Slàinte mhath Swahntchuh va Good health Oidhche mhath Uh‐eechyuh va Good night Dé tha ‘dol? Jae ha dow? What’s up? Dé ’saoghal a th’ agad? Jae seuw uh haghut? How’s the world treating you? Saoghal math Seuw ma Well Saoghal bochd Seuw bochk Poorly ‘Se là breagha a th’ann Sheh wah bree‐a‐uh ha‐oon It’s a beautiful day Tha e blàth Ha eh bwah It’s warm Tha e fuar Ha eh four It’s cold Tha e grianach Ha eh gree‐annoch It’s sunny Fàilte fal‐tchuh Welcome Ceud Mìle Fàilte Kee‐ut mee‐luh fal‐tchuh A Thousand Welcomes Beannachd leat Bown‐nochk leh‐ut Good‐bye (singular/informal)
RESOURCES AND LINKS
WEBSITES: Excellent site on the ELEMENTS OF MUSIC http://cnx.org/content/col10218/1.7 A source for Cape breton “tunebooks” : http://www.mapleleafmusic.com/tunebooks Information on the big music festival: http://www.celtic‐colours.com Information on language and culture in Cape Breton: http://www.gaeliccollege.edu/ Information on Celtic music and arts: http://www.ceolas.org Cape Breton Celtic Fiddle music: http://www.cranfordpub.com/index.htm MP3 sound clips: http://www.cranfordpub.com/tunes/CapeBreton/FatherJohnAngus.htm A source for Cape Breton “tunebooks”: http://www.mapleleafmusic.com/tunebooks Archived Cape Breton radio programs and music; http://www.capebretonlive.com BOOK: P.B.ELLIS. A Brief History of the Celts. Robinson Press, London, 2003 – concise and easy to read COURSE: Ottawa Folklore Centre: course in BODHRAN, FIDDLING, and CELTIC SINGING
Teacher Study Guide Celtic Celebration: Natalie MacMaster & Leahy – Page 17
Teacher Study Guide Celtic Celebration: Natalie MacMaster & Leahy – Page 18
ELEMENTS OF MUSIC Add notes and descriptions of your own below each element to help you describe your music
RHYTHM • The Greek term "rhythmos" means "an
ordered pattern. • a pattern of sounds of varying
durations • the way music moves through time • tempo‐fast‐slow‐accelerando‐rit &
rallentando
• time signature‐strong or weak beats‐pulse‐bars/measure
• note values‐whole‐quarter‐eighth‐sixteenth
• syncopation‐displaced accents • regular‐repetitive‐irregular‐
asymmetrical
MELODY • the Greek word "melos" means song • a series of pitches following one after
another and • Perceived as a unified musical idea. • melody combines PITCH and RHYTHM • in songs, words are combined with
melody to convey
• ideas • theme‐phrase‐question and answer • rising‐falling‐stepwise‐jumps‐leaps • patterns‐complex‐simple • major‐minor‐scales‐altered notes
HARMONY • the Greek word "harmonia" means
fitting together • harmony happens when two (or more)
different • pitches occur at the same time
• consonant‐dissonant‐major‐minor • simple‐complex‐chords‐triads‐I‐IV‐V‐I • tonality‐atonal‐altered notes • cadence‐tension‐release
TIMBRE • refers to TONE COLOUR • brightness‐high frequencies‐happy‐light • ark‐mellow‐low frequencies‐warmth‐
sad‐heavy
• mood‐special effects‐orchestration • dynamics‐loud‐soft‐changes
TEXTURE • how THICK or THIN the music sounds • can refer to a single sound/instrument
(frequencies/harmonics/electronic effects)
• can refer to the number of instruments playing
• can refer to the complexity of orchestration
• monophonic‐one line • homophonic‐vertical patterns of
movement/chords • polyphonic‐many lines‐fugues‐
contrapuntal
FORM • the architecture of the music • sound events‐large and small patterns • the whole picture‐musical motifs • movements‐historical forms‐large
compositions
• songs‐chorus‐verse‐bridge • binary 2part‐ternary‐3part • fugue‐rondo‐da capo aria • concerto‐symphony‐tone poem
P
Teacher Study Guide Celtic Celebration: Natalie MacMaster & Leahy – Page 19
Peerrffoorrmmaannccee HHaallll EEttiiqquueettttee
Teachers: Help us ensure that everyone enjoys the performance! As a teacher bringing your students to a performance at the National Arts Centre, please keep in mind that you are responsible for the behaviour of your students. It is up to you to ensure that the students behave in a respectful and attentive manner towards the performers on stage as well as NAC staff. Use the guidelines below to brief your students about behaviour in the performance hall before you attend your NAC performance.
✓ Performers on stage rely on the audience for the energy to perform: audiences need to be attentive, quiet and respectful in order to help create the magic of live performance.
✓ Performers can see and hear everything that you do, just as you can see and hear everything that they do, so:
❏ Please save your snacks, drinks, candies and gum for another time - the performance hall is no place for eating and drinking.
❏ Please discuss what you like and dislike about a performance - but definitely do it after you leave the hall, not during the performance.
❏ It is important that you be comfortable in your seat in the hall - but please don’t leave your seat once the performance has started. It’s distracting to those on stage.
❏ Be sure to turn off cell phones, pagers and anything that beeps before you enter the hall.
❏ Cameras and video recording devices are strictly prohibited in the concert hall.
✓ Musicians love to have their performance acknowledged by your applause, but remember to wait until the whole piece is over. Some composers choose to write music in several movements. It may seem like the end of the piece when the performers come to the end of a movement, but often a piece of music is made up of several movements. If you get confused about when a piece of music is finished, watch the performers on stage—you’ll be sure to know when the piece is over when the conductor turns and faces the audience.
✓ Remember that there are a lot of people who work very hard to put on a performance: not just actors, dancers and musicians, but administrators, front-of-house and technical staff. Everyone will have a different opinion of what they see on stage, but consider that constructive criticism is always appreciated more than purely negative criticism.
✓ Through the performing arts we can explore other points of view, learn new and different things about ourselves and about others. Everyone who views a performance will experience it in a different way. It is important to respect this process of exploration in yourselves and those around you.
Teacher Study Guide Celtic Celebration: Natalie MacMaster & Leahy – Page 20
The Rehearsal
The musician: ♪ Arrives early, before the start of the rehearsal, to warm up and organize the music ♪ Sits on stage, in an assigned chair, ready to for the start of the rehearsal ♪ Waits for the concertmaster, or first violinist of the orchestra, to stand to ask the oboe
player for the tuning note, “A” ♪ Tunes with the orchestra to this note ♪ Watches the conductor for a downbeat to begin the rehearsal ♪ Rehearses with the orchestra until the orchestra break that usually occurs 60 or 70
minutes into the rehearsal ♪ Breaks for 25 minutes, often taking a refreshment in the Green Room (the cafeteria
backstage for the artists) ♪ Returns to the stage after the break to finish the rehearsal
There are up to five rehearsals for a “premier” series concert. The final rehearsal is called the “dress” rehearsal and is normally on the day of the concert. Each rehearsal is two and a half hours long with one 25‐minute break in the middle. Rehearsals always start on time.
The Performance
The musician: ♪ Dresses in a black tuxedo (with tails) for men and all black (pants, shirt, dress) for
women ♪ Arrives early to warm up and organize the music ♪ Tunes with the orchestra on hearing the “A” note ♪ Performs on the downbeat of the conductor ♪ Breaks approximately one hour into the performance for an intermission ♪ Returns after 25 minutes to finish the concert
Performances generally begin at 8:00pm and end at 10:00pm. There is one break in the middle so the audience and musicians can stretch their legs and refresh themselves. The NAC Orchestra performs over 100 concerts each year from the Premier, Pops and Young People’s Concerts series. Additionally, the Orchestra performs on tour within Canada and abroad, plays in the orchestra pit for ballet and opera, records and performs in summer concerts as part of the NAC Great composer’s Festival. The NAC Orchestra in concert
AA DDaayy iinn tthhee LLiiffee ooff aann OOrrcchheessttrraa MMuussiicciiaann
Teacher Study Guide Celtic Celebration: Natalie MacMaster & Leahy – Page 21
What is an orchestra? An orchestra is a group of musicians playing different musical instruments under the direction of a conductor. It can be large or small, depending on the pieces that are performed. Orchestras are comprised of instruments from four different families (also known as sections):
♪ Strings ♪ Woodwinds ♪ Brass ♪ Percussion
Strings: Violin, viola, cello, and double bass All string instruments of the orchestra have four strings. The vibration of the strings produces the sound. A string player either draws a bow made of horsehair across the strings, or plucks the strings with his or her fingers to produce sound. The larger the instrument, the lower the sound – violins make the highest sounds and double basses the lowest. Every string instrument is constructed of pieces of wood carefully glued together and covered with several coats of varnish – no nails or screws are used.
Woodwinds: Flute, oboe, clarinet, and bassoon Woodwind instruments are simply tubes pierced with holes. The musician blows through or across the tube while covering some holes to produce different notes. Many wind instruments are played with reeds. A reed is a thin piece of cane that is set in motion as the musician blows across it. The oboe and bassoon use a double reed while the clarinet uses a single reed. Most wind instruments are made from wood, like ebony, except for the flute, which is almost always made of silver. Flutes create the highest notes, bassoons create the lowest.
Brass: Trumpet, French horn, trombone, and tuba The Brass Section has the most resounding instruments in the orchestra. They are metallic loops of tubing of different lengths, with a mouthpiece at one end and a bell shape at the other. The longer the length of tube, the lower the sound of the instrument will be. The vibration of the musician’s lips produces the sound as air is blown in the mouthpiece. Most brass instruments have valves that the players press and release in order to change and produce different notes. The trombone has a slide that moves to change notes.
Percussion: Timpani, bass drum, cymbals, triangle Percussion instruments are made of naturally resonant materials like skin, wood, and metal. The sound is produced when the instrument is struck. The percussion provides rhythm and character to the orchestra. Different pitches are produced on the timpani by changing the skin tension either by tightening or loosening screws fixed to the shell, or by using the pedal.
Visit the Instrument Lab on ArtsAlive.ca to tweak, tinker and listen to all your favourite instruments of the orchestra!
AAllll aabboouutt tthhee OOrrcchheessttrraa
Teacher Study Guide Celtic Celebration: Natalie MacMaster & Leahy – Page 22
MMaapp ooff tthhee NNAACC OOrrcchheessttrraa SSeeccttiioonnss
Teacher Study Guide Celtic Celebration: Natalie MacMaster & Leahy – Page 23
OOff RReessoouurrcceess AAvvaaiillaabbllee aatt tthhee OOttttaawwaa PPuubblliicc LLiibbrraarryy Bibliography
Compiled by Janis Perkin Children’s Services
Ottawa Public Library
NOVA SCOTIA BOOKS: Grade 4‐8 Ashby, John Sea gift Clark, Joan The hand of Robin Squires Cook, Lynn Flight from the fortress Kellerhals‐Stewart, Heather Brave Highland Heart MacKinnon, Christy Silent observer Muir, Paddy Love from Katie Sauer, Julia Fog Magic Trottier, Maxine There have always been foxes Wallace, Ian Boy of the Deeps Wilson, Budge A Fiddle for Angus Grade 7‐12 “And now the fields are green”: a collection of coal mining songs of Canada Carter, Anne Last Chance Bay Fitch, Sheree The gravesavers: a novel MacAdam, Pat Big Cy and other characters: Pat MacAdam’s Cape Breton MacDonald, Andy Tell Pa I’m dead Sound‐Recordings: MacIsaac, Ashley Helter’s Celtic MacMaster, Natalie In My Hands MacNeil, Rita Mining the Soul / Rita MacNeil with the Men of the Deeps Men of the Deeps Buried treasures Men of the Deeps Diamonds in the rough: 25 years with the Men of the Deeps Traditional Music from Cape Breton Island Video recordings: A day underground (Men of the Deeps) Cape Breton piano accompaniment lesson Cape Breton Island: the Video Men of the Deeps (NFB)
Teacher Study Guide Celtic Celebration: Natalie MacMaster & Leahy – Page 24
PRINCE EDWARD ISLAND BOOKS: Grade 4‐8 Manuel, Lynn Lucy Maud and the Cavendish Cat Montgomery, Lucy Maud Anne La maison aux pignons verts Montgomery, Lucy Maud Anne of Green Gables Weale, David The True Meaning of Crumbfest Grade 7‐12 Acorn, Milton The island means Minago (poetry) McLennan, Rob Red earth (poetry) Montgomery, Lucy Maud Spirit of place: Lucy Maud Montgomery and Prince Edward Island Pratt, T.K. Prince Edward Island sayings Weale, David A long way from the road: the wit and wisdom of Prince Edward Island Sound recordings: Barra MacNeils Racket in the Attic Connors, Stompin’ Tom KIC along with Stompin’ Tom Video recordings: Anne of Green Gables (video recording [DVD]) Green Gables House In search of Anne: Prince Edward Island
NEWFOUNDLAND & LABRADOR BOOKS: Grade 4‐8 Davidge, Bud The Mummer’s Song Harlow, Joan Hiatt Star in the storm Killilea, Marie Newf Mowat, Claire The Girl From Away Pittman, Al Dans la mer de Gros‐Pierre: vers pour enfants et jeunes poissons (poésie) Simpson, Catherine There are no Polar Bears Here! Wallace, Ian Duncan’s Way Walsh, Alice Heroes of Isle aux Morts
Teacher Study Guide Celtic Celebration: Natalie MacMaster & Leahy – Page 25
Grade 7‐12 Clark, Joan The word for home Falcone, L. M. The mysterious mummer Gough, William The art of David Blackwood Lehr, Genevieve Come and I will sing you: a Newfoundland songbook Major, Kevin Ann and Seamus Major, Kevin Hold fast McKay, Sharon E. Charlie Wilcox McKay, Sharon E. Charlie Wilcox’s Great War Pratt, Christopher Christopher Pratt: de ma propre main Pratt, Christopher Christopher Pratt : all my own work Sound recordings: Figgy Duff Weather out the storm Great Big Sea Sea of No Cares Rawlins Cross Celtic Instrumentals Smith, Christina August Gale Video recordings: Rain, Drizzle and Fog (NFB) Rigs, Jigs and Songs from the Heart
EAST COAST Books: Barron, John Reflections of Canada (3 volumes) Fleming, Lee Rock, Rhythm and Reel: Canada’s East
Coast Musicians on Stage Sound recordings: Rawlins Cross Living river Rogers, Stan Fogarty’s Cove Rogers, Stan Remembering Stan Rogers: an East Coast Tribute Video recordings: Rise again!: the Making of the First Stan Rogers Folk Festival
Teacher Study Guide Celtic Celebration: Natalie MacMaster & Leahy – Page 26
ACADIANS / ACADIENS Books: Grade 4‐8 Carter, Anne Bless this house Dessureault, Guy Jacou d’Acadie Downie, Mary Alice A proper Acadian Gallant, Melvin Ti‐Jean‐le‐Fort: contes acadiens Hébert‐Collins, Sheila Jean‐Paul Hébert was there / Jean‐PaulHudak, Heather C.
Hébert était là Acadians
Pétard : roman
ie: Angélique Richard, fille d’Acadie lique Richard
rade 7‐12 ona Histoire des Acadiens
ia
eople’s story of exile and triumph en Wadsworth
adow
ound recordings:
Léger, Diane Carmel La butte àMoody, Barry M. The Acadians Stewart, Sharon Adieu, ma patrStewart, Sharon Banished from our home: the Acadian diary of Angé GArsenault, BDoucet, Clive Lost and found in AcadGallant, Melvin The country of Acadia Gallant, Melvin Le pays d’Acadie Jobb, Dean The Acadians: a pLongfellow, H ry Evangeline: a tale of Acadia Quesnel, Christian La quête des oubliés Savard, Félix‐Antoine Le barachois Scanlan, Lawrence The horse’s sh S
rsenault, Eddy Party Acadien musi l)
ideo recordings:
ABarachois (groupe ca Barachois V
he Acadian connection (NFB)
for whose ears
TL’Acadie retrouvée (ONF) Evangeline en quête (ONF)Evangeline’s quest (NFB) My brand new life: Music
Teacher Study Guide Celtic Celebration: Natalie MacMaster & Leahy – Page 27
FIDDLES AND FIDDLING Books: Duncan, Craig You can teach yourself fiddling Whitcomb, Ed Canadian fiddle music: what is it?, who plays it? (2000) Sound recordings; Beaton Family of Mabou (musical group) Cape Breton fiddle and piano music Dawson, Peter For Pete”s sake Duhks (musical group) Your daughters & your sons East Coast Fiddles Rosin the bow Feintuch, Burt Heart of Cape Breton Harrington, Dennis Old time Canadian fiddling Leahy (musical group) In all things Leahy (musical group) Leahy Lederman, Anne Fiddlesong MacMaster, Natalie Fit as a fiddle Verch, April Fiddelicious Verch, April From where I stand
Teacher Study Guide Celtic Celebration: Natalie MacMaster & Leahy – Page 28
top related