Student Matinee Study Guide
The Hillbenders
Tuesday, April 11, 2017
1:00-1:45 PM
Who will love it: fans of rock and bluegrass
The dynamic bluegrass quintet from Springfield, Missouri
have selected materials that defy any hillbilly stigmas. “Our
music appeals to anyone that can enjoy a fun performance,”
says guitarist Jim Rea. Your classes will love experiencing
this cool American musical tradition with The Hillbenders.
Students are invited to dress up in paper beards, plaid shirts,
or other items that reflect the country/bluegrass style.
Contents:
The Hillbenders will play from their bluegrass set for this student
matinee.
Preparing for your visit………………1
Learning about Bluegrass…………….5
Music Activities……………..…….....10
The Public Performance is Apr 11, 7:30 PM
Just for Fun……………………..…....13
This performance was made possible through generous contributions by the following:
Matinees will be held in the Ellen Eccles Theatre, 43 S. Main Street in Logan, UT. Questions? 435-752-0026.
1 Theater Etiquette
Welcome to the Theater!
Cache Valley Center for the Arts welcomes you to the historic
Ellen Eccles Theater. Student Matinees of nationally touring
performing artists cost CacheArts between $14 and $27 per
attending student, so each student’s dollar is matched many times
over by funds from generous public and private sponsors. Thank
you for investing in Cache Valley and the Arts.
Photos may be taken by CacheArts personnel to document event
occurrence and attendance.
Bus parking will be reserved along 100 South between Main and
100 West in Logan.
Theater Etiquette:
Please review the following information with your students.
Audience members have an important role at a live performance. Your attention helps the performers do
their best. Laughter and applause in appropriate places helps and encourages the performers. Here are
some tips to make the performance enjoyable for everyone:

Show respect for others before, during, and after the performance.

EVERYONE should turn cell phones, pages, and electronic devices OFF before the show. Lighted screens
are distracting to audience members for many rows back. Just sit back and enjoy the show.

Leave backpacks at school.

Do not bring food, gum, soda, or candy into the theater.

Cameras, recorders, and laser pointers are not allowed.

Keep your feet on the floor and to sit properly in the seats. Treat public facilities gently.
* * * Please arrive 20-30 minutes before the start of the show. * * *
2 LEARN - CREATE - SHARE
The Cache Valley Center for the Arts facilitates broad community access to the arts as a coordinative
and collaborative partner with all local arts organizations as well as enhances cultural experiences by
presenting, exhibiting, teaching and fostering quality fine arts with special stewardship of the Ellen
Eccles Theatre, Thatcher-Young Mansion and Bullen Center. Experience live performances on the
stage of the Ellen Eccles Theatre through public performances and free student matinees. Work with
professional artists from around the world in your classroom. Learn from local professionals at the
Bullen Arts Center and Thatcher-Young Mansion.
What can I do at the Bullen Arts Center?
Visit The Artists’ Gallery
Join the Photographer’s Adventure Club
Participate in Gallery Walk
Tour the facilities and learn about local history
Develop Creativity through classes in

Painting & Drawing

Pottery

Children’s Theater

Modern Dance

Performing Shakespeare’s Plays

Magic

Music Lessons

Orchestra Music (age 40+)

Photography The Bullen Arts Center stands for excellence in arts education and is proud to serve the community of
Cache Valley. Classes are offered for all ages and talent levels. Inquire about scholarship availability.
Find out more at www.CacheArts.org or call 435-752-0026.
3 Meet Core Standards
USOE CORE STATE STANDARDS for the FINE ARTS
Note: Activities have been prepared for grades 2-4, but activities may be suitable for K-5.
 Standard 2/3/4.M.P.5 Respond to visual representations of melodic contour and simple melody
patterns.
 Standard 2/3/4.M.P.7 Perform and identify beat versus rhythm, patterns of strong and weak
beats, and short, simple rhythm patterns. Identify rhythm patterns in two-, three-, and four-beat
meters using body percussion or voice.
 Standard 2/3/4.M.R.1 Listen to and interact with a variety of contrasting music while recognizing
form, meter, beat versus rhythm, timbre, mood, dynamics, tempo, and melody.
 Standard 2.M.R.2 Describe imagery conveyed by a music selection, identify elements in a music
selection that elicit feelings or inspire imagery, show feelings conveyed by music through
movement or drawing, and predict the use of a music selection.
 Standard 3/4.M.R.2 Recognize form, meter, beat versus rhythm, timbre, mood, dynamics,
tempo, melody, texture and harmony/tonality.
 Standard 3/4.M.R.3 Demonstrate audience etiquette appropriate for the context and venue.
 Standard 3/4.M.R.4 & 6 Describe feelings or imagery conveyed by a music selection & Explore/
express feelings conveyed by a music selection through movement or drawing.
 Standard 3/4.M.R.5 Identify and describe elements that make contrasting music selections
different from each other.
 Standard 2/3.M.R.3/8 Choose, individually or as a class, which piece is most interesting, and
identify elements that elicit interest in music selections.
 Standard 4.M.R.8 Describe elements and characteristics evident in a meaningful, enjoyable, well
-performed piece of music, and apply teacher-provided criteria to evaluate musical works or
performances.
USOE CORE STATE STANDARDS for SOCIAL STUDIES
Third Grade Standard II
Objective 1: Evaluate key factors that determine how a community develops
B. Describe how stories, folktales, music, and artistic creations serve as expressions of
culture.
D. Identify and explain the interrelationship of the environment and community development.
E. Examine changes in communities that can or have occurred when two or more cultures
interact.
F. Explain changes within communities caused by human invention.
Fourth Grade Standard II
Objective 1.C Explore cultural influences from various groups found in Utah today.
Objective 3.E Identify the factors which bring about economic changes (new technologies,
new market development, globalization).
Resources:
http://bluegrassheritage.org/history-bluegrass-music/
https://libres.uncg.edu/ir/asu/f/Mills_Susan_2009_Bringing_the_Family_Tradition.pdf
http://bluegrassfoundation.org/programs/bluegrass-lesson-plans/
4 About the Artist: The Hillbenders
Instrumentation
Mark Cassidy—Banjo
Gary Rea—Bass
Jim Rea—Guitar
Nolan Lawrence—Mandolin
Chad “Gravy Boat” Graves—Dobro
Discography
Apr 2010—”Down To My Last Dollar” Compass Records
Sep 2012—”Can You Hear Me?” Compass Records
Jun 2015—”Tommy: A Bluegrass Opry” Compass Records
The dynamic bluegrass quintet from Springfield, Missouri, with their high-octane shows, tight
harmonies and stunning instrumental prowess, have been winning fans and making waves at every
festival they have been invited, and consequently re-invited to since their formation in 2008. “We
share a passion for the music, a passion to perform,” says guitarist Jim Rea, “It’s evident we have
fun on stage, People come to us and say sarcastically, ‘liven up!’”
The band hesitates to take up the bluegrass genre distinction. “Bluegrass is where we found our
voice as performers, so we feel like we owe a lot to it. We have one foot in bluegrass all the time
while the other is reaching out and exploring our interests in rock and roll, jazz, funk and Americana,”
says Dobroist Chad “Gravy Boat” Graves. “A lot of people, even at the more traditional festivals, tell
us that it is really refreshing to see something new. At the same time we’re not afraid to be looked
down upon—all of that formality melts away when we just be ourselves.”
The Hillbenders recognize their ability to bridge the gap between the common music consumer and
the bluegrass genre, selecting material that defies any hillbilly stigmas. Lead singer and mandolinist
Nolan Lawrence comments, “With our widely varied influences, we’re all trying to bring in songs that
unify. We wanted to pair bluegrass with the other American music we grew up with—rock and roll!”
5 Brief History of Bluegrass
The various types of music brought with the
people who began migrating to America in the
early 1600s are considered to be the roots of
bluegrass music—including dance music and
ballads from Ireland, Scotland and England, as
well as African American gospel music and
blues. (In fact, slaves from Africa brought the
design idea for the banjo—an instrument now
integral to the bluegrass sound.)
As the early Jamestown settlers began to spread
out into the Carolinas, Tennessee, Kentucky and
the Virginias, they composed new songs about
day-to-day life experiences in the new land.
Since most of these people
lived in rural areas, the
songs reflected life on the
farm or in the hills and this
type of music was called
“mountain
music”
or
“country
music.”
The
invention of the phonograph
and the onset of the radio in
the early 1900s brought this
old-time music out of the
rural Southern mountains to
people all over the United
States.
Good singing became a more important part of
country music. Singing stars like Jimmie
Rodgers, family bands like the Carter family from
Virginia and duet teams like the Monroe Brothers
from Kentucky contributed greatly to the
advancement of traditional country music.
The Monroe Brothers were one of the most
popular duet teams of the 1920s and into the
1930s. Charlie played the guitar, Bill played the
mandolin and they sang duets in harmony.
When the brothers split up as a team in 1938,
both went on to form their own bands. Since Bill
was a native of Kentucky, the Bluegrass State,
he decided to call his band “Bill Monroe and the
Blue Grass Boys,” and this band sound birthed a
new form of country music.
“Bill Monroe and the Blue
Grass
Boys”
first
appeared on the Grand
Ole Opry in 1939 and
soon became one of the
most
popular
touring
bands out of Nashville’s
WSM studios. Bill’s new
band was different from
other traditional country
music bands of the time
because of its hard
driving and powerful sound, utilizing traditional
acoustic instruments and featuring highly
distinctive vocal harmonies. This music
incorporated songs and rhythms from string
band, gospel (black and white), work songs and
“shouts” of black laborers, country and blues
music repertoires. Vocal selections included
duet, trio and quartet harmony singing in addition
to Bill’s powerful “high lonesome” solo lead
singing. After experimenting with various
instrumental combinations, Bill settled on
mandolin, banjo, fiddle, guitar and bass as the
format for his band. The guitar originally came
from Spain. The mandolin, as well as the fiddle
and acoustic bass (both from the violin family),
originally came from Italy.
Bluegrass music is now performed and enjoyed
around the world. In addition to the classic style
born in 1945 that is still performed widely,
bluegrass bands today reflect influences from a
variety of sources including traditional and fusion
jazz, contemporary country music, Celtic music,
rock & roll (“newgrass” or progressive
bluegrass), old-time music and Southern gospel
music—in addition to lyrics translated to various
languages.
6 Brief History of Bluegrass Worksheet
Whose cultural traditions influenced the development of the bluegrass sound?
Bluegrass developed out of old-time music in what states and geographical areas?
Why do you think was it called “mountain music” or “country music”?
Bluegrass was affected by what technologies in the early 1900s? How did it change the
mountain music?
Who is credited with defining the specific bluegrass style within the country music tradition?
What makes the bluegrass band different from other country bands?
Name the instruments typically used in bluegrass music:
Name any related musical styles in Utah that were probably enjoyed by settlers and may still
be enjoyed today:
7 Instrumentation
Bill Monroe,
the Father of
Bluegrass,
played the
mandolin, but
he always
had a
GUITAR in
the band to
provide the
backup and
rhythm.
Today, the
guitar
functions well
as both a lead
and rhythm
instrument in
bluegrass
bands.
The resophonic
guitar, or
DOBRO, is
often included in
bluegrass band
formats today.
The Dobro was
invented in the
United States by
the Dopyera
Brothers,
immigrant
musicians/
inventors
originally from
the Slovak
Republic. The
brand name,
“Dobro,” comes
from DOpyera
BROthers.
MANDOLIN plays a
very important role in a
bluegrass band, both as
a lead and as a rhythm
instrument. As,
traditionally, there are no
drums in bluegrass
music, the mandolin
provides the very
important “chunk” on the
2nd and 4th beat as a
compliment to the bass
line on the 1st and 3rd
beat, much as a snare
drum would provide.
The mandolin is played
with a flatpick and the
lead parts are very
melodic. Other common
mandolin techniques are
trilling and crosspicking.
Tracing roots back
nearly 4500 years to
ancient Egypt, the
BANJO eventually
was brought to the
American South by
African slaves. It took
hold and spread in
country and mountain
music. Mountain
craftsmen built smaller
and softer-sounding
banjos using a
groundhog hide for the
“head” or “skin” of the
banjo. Factory-made
banjos began to be
produced as early as the
1870s and sold in Sears
and Montgomery Ward
mail order catalogs.
The standard
instrument to
carry the bass
line in
bluegrass
bands is the
BASS
FIDDLE. It is
actually the
three-quarter
size bass that
is the
standard of
the bluegrass
band. A full
size bass is
just too large
to be practical
for most
bands.
Other instruments you might find in a Bluegrass Band:
Fiddles, Dulcimers, Lap Steels, Autoharps, Accordions, and Harmonicas.
8 Appalachian Children’s Literature
Books for Ages 5-8
When I was Young in the Mountains by Cynthia Rylant, illustrated by
Diane Goode
“An evocative remembrance of the simple pleasures in
country living; splashing in the swimming hole, taking
baths in the kitchen, sharing family times, each is
eloquently portrayed here in both the misty-hued
scenes and in the poetic text.” - Association for
Childhood Education International
Appalachia: The Voices of Sleeping Birds by
Cynthia Rylant, Barry Moser
Lyrical prose and warm watercolor illustrations bring a
“certain part of the country called Appalachia” alive for
young readers. Two award-winning artists, forever
touched by their experiences growing up in this unique landscape, have
teamed to create a quietly powerful and beautifully crafted portrait of life in
a timeless place.
That Book Woman by Heather Henson, pictures by David Small
The Pack Horse Librarians, known as “Book Women” brought library books
to the Appalachian Mountains of Kentucky like clockwork, every two weeks,
in any kind of weather. This beautifully illustrated picture book depicts the
true story and captures the dialect of the area.
Folktales
The Jack Tales by Richard Chase; Herbert Halpert; R.M. Ward
Polly Vaughn by Barry Moser
Novels
Shiloh series by Phyllis Reynolds Naylor
Come Sing Jimmy Jo by Katherine Paterson
Bridge to Terabithia by Katherine Paterson
Missing May by Cynthia Rylant
Knox County, Tennesee Library’s Bibliography of
Appalachian Children’s Literature
http://www.knoxlib.org/calendar-programs/programs-and-partnerships/reading-appalachia-voiceschildrens-literature/reading
9 Music Activities
Storytelling through Music
Learning Objectives:
To respond to music; To describe imagery using language
Age Group:
8+
Participants:
individual project or group discussion
Recommended time:
20 minutes
Listen to a song without words (such as an un-narrated movement from Peter and the Wolf by
Prokofiev or Carnival of the Animals by Saint-Saens). Write a story based on what you hear.
Questions:
Describe the characters and give them names?
Where might they be?
How do they feel? What happens when they interact with others?
Describe what you think is happening at the beginning, middle, and end of the piece of music.
Draw to Music
Learning Objectives:
To respond to music; To represent musical imagery through art
To interact with and visually compare responses to contrasting music
Age Group:
5+
Participants:
whole group
Recommended time:
10-15minutes
Listen to two contrasting examples of music and encourage students to create a picture based on
their interpretation of each musical example.
You’ll need blank paper, art supplies, and two different types of music. Encourage children to listen
to the rhythm and melody of the music as he or she draws or colors. When your students are done,
change the music and provide paper for them to do a second drawing. Talk about the music and the
drawings. How do they compare?
Melody Drawing
Learning Objectives:
To develop awareness of melody contour;
To create a representation of the melody through drawing
Age Group:
5+
Participants:
whole group
Recommended time:
5-10 minutes
Review melodic steps, skips, and leaps and discuss how you could represent them in a line drawing.
Have students “draw” the melody in the air with their hands or with a pencil and paper as they listen
to a song.
10 Identify & Describe Music
Learning Objectives:
Age Group:
Participants:
Recommended time:
To develop listening skills; To develop music vocabulary;
To develop the ability to analyze and discuss elements of music
8+
whole group
30-60 minutes
Music can be identified and described using several common musical terms.
Dynamics (loud/soft)
Pitch or Range (high/low)
Duration (short/long piece or phrase)
Tempo (fast/slow)
Timbre (identify instrument family)
String instruments produce sound from vibrating strings. Strings can vibrate by being
plucked, strummed, struck, or bowed.
Brass instruments produce sound through vibrations of the lips through a mouthpiece.
Vocal music is created through use of the vocal chords. A singer can be categorized as
male, female, or child, and also by various ranges such as soprano, alto, tenor, or bass.
Woodwind instruments:
-Reed instruments produce vibrations by blowing through a reed attached to a tube.
-Flute instruments produce sound by blowing across the edge of a hole in a cylindrical
tube. The edge splits the airstream and causes the hollow tube to vibrate.
Percussion instruments sound by being struck, scrapped, or rubbed.
Function (Melody, Harmony/Countermelody, Rhythm)
Melody—a series of pitched notes that move in step, skip, or leaps. Rhythm determines how
fast the notes move.
Countermelody—a phrase of music that is easily identifiable though not as loud or prominent
as the primary melody, yet compliments it.
Harmony—several pitches or notes can sound at the same time which complement the
melody. The beginning and ending of phrases can be defined by the harmony.
Rhythm—the rhythm section sets the pulse or beat, and rhythmic pattern of the music.
Rhythm helps to drive the music forward. There are strong beats and weak beats.
11 Identify & Describe Music Worksheet
Listen to a musical selection a number of times and describe it using the following terms:
First listen:
Dynamics Was it loud, moderate, or soft?
Pitch or Range Were the instruments high, mid-ranged, or low?
Tempo & Duration Was the music fast, moderate, or slow?
Were the musical phrases short, medium, or long?
Second listen:
Timbre Circle the instrument families you hear:
Voice
Strings
Brass
Woodwind
Percussion
Circle what kind of ensemble (group) it is:
Band
Choir
Orchestra
Chamber Ensemble
Soloist
Third listen:
Function
Draw the melody—indicating whether it travels up or down in pitch and how far (steps vs leaps)
Can you hear Countermelodies or Harmonies? Yes or No
Fourth listen:
Do you hear a pattern in the underlying rhythm? If you do, draw it out using dots (short
notes), dashes (long notes), and spaces (rests).
Fifth listen:
Consider the pulse of the music. Clap the beat as a class. Identify the strong beats and the
weak beats together.
What do you think the meter could be?
Would it be better to sing along with this music or dance to it?
Sing
or
Dance
What do you think are the most interesting or significant elements of this example?
12 Just for Fun
How to Be a Hillbender—Dress up for the show
1-Let the music move you, 2-Tap your foot, 3-Get a plaid shirt, 4-Get a cool hat,
5-Kick it up a notch, 6-Grow a sweet beard, 7-Live in the Moment, 8-Love the fans,
9-Leave it all on the stage, 10-Jump.
Your class is invited to dress up for the Student Matinee. Kids can make and
decorate their own paper beards (see the following page) to wear to the show.
Students may want to wear a plaid shirt or other items that reflect country
style. Those who dress up may be invited to stand and be recognized before the
start of the show.
13 14 2 Numbers:
&
1 Adjective
4 Plural Nouns
,
,
,
2 Singular Nouns
,
,
1 Verb (past tense)
1 Noun naming a place:
Grandma’s Feather Bed—Mad Lib
When I was a little bitty kid just up off the floor
We used to go down to grandma’s house every month end or so
We’d have chicken pie, country ham
Homemade butter on the bread
But the best old thing about grandma’s house
Was the great big feather bed
It was ________ feet high and _________ feet wide
number
number
And ___________ as a ___________
Adjective
Noun
It was made from the __________ of forty ‘leven _________
Plural Noun
Plural Noun
Took a whole bolt of cloth for the tick
It could hold eight ________ and four _____________
Plural Noun
Plural Noun
And a _________ we _________ from the __________
Noun
Verb
Noun Place
We didn’t get much sleep but we had a lot of fun
On grandma’s feather bed
15