16 Junior/Intermediate
17 Study Guide
The Toronto Symphony Orchestra’s Student Concerts are generously
supported by Mrs. Gert Wharton and an anonymous donor.
IN PARTNERSHIP WITH
Table of Contents
Concert Overview
Concert Preparation
Program Notes
3
4-6
7 - 19
Lesson Plans
Artist Biographies
Musical Terms
Glossary
20 - 28
29 - 30
31 - 32
Instruments in
the Orchestra
Musicians
of the TSO
Teacher & Student
Evaluation Forms
33 - 44
45 - 48
49 - 50
The Toronto Symphony Orchestra gratefully acknowledges Andy Luck
for preparing the lesson plans included in this guide
Concert Overview
Lights, Camera...Orchestra!
Junior/Intermediate: Suitable for students in grades 4–8
Earl Lee, RBC Resident Conductor
TIFF, concert partner
Lights, camera, orchestra! Join us for a fun film-themed concert as the Toronto Symphony
Orchestra joins forces with the TIFF to explore the magic of movies and music, including
a newly commissioned short film (Kjell Boersma) and accompanying live orchestral score
(Erica Procunier) entitled DAM! The Story of Kit the Beaver.
Program to include excerpts from*:
Lalo SchifrinTheme from Mission: Impossible
Richard Wagner"Ride of the Valkyries" from Die Walküre
Pyotr TchaikovskyRomeo and Juliet Fantasy-Overture
Leonard Bernstein"Mambo!" from West Side Story
Ludwig van Beethoven
Excerpt from Symphony No. 6, Opus. 68
John Williams, arr. Mitch Clarke
Main Theme from Star Wars
(RECORDER PLAY-ALONG)
Hector Berlioz
"Dreams of a Witches' Sabbath" from Symphonie fantastique
Johann Strauss Jr.
The Blue Danube Waltz
John WilliamsMain Theme from Jaws
Erica Procunier DAM! The Story of Kit the Beaver
*Program subject to change
GENEROUSLY SUPPORTED BY
IN PARTNERSHIP WITH
3
Concert Preparation
Let's Get Ready!
Your class is coming to Roy Thomson Hall to see and hear the Toronto Symphony Orchestra!
Here are some suggestions of what to do before, during, and after the performance. Whether
it’s your first symphony concert or you’re a seasoned audience member, there’s always
something new to learn and experience!
Before Listen and Read
Listen to the pieces of music
• Have you heard any of these pieces before?
• Which one is your favourite and why?
• Do you hear anything new or interesting?
• Try out one of our listening journals and record your observations
Read the biographies and program notes
• Were there any composers you had never heard of before?
• Did you learn anything new or interesting about one of the pieces, composers,
instruments or TSO musicians?
During Look and Listen
Look around the orchestra and the hall
• Have you been to Roy Thomson Hall before?
• Are there any instruments you haven’t seen before?
• Do you notice anything interesting about the orchestra?
Listen to the orchestra and conductor
• Is it different listening to the live orchestra versus a recording?
• Think about how the different pieces make you feel.
• Is there a particular instrument or part of the piece that you like listening to the best?
• What instruments are used to create different sound effects?
4
Concert Preparation
After Discuss and Reflect
Discuss and reflect with your classmates
• Was there anything that surprised you during the concert?
• What was your favourite/least favourite piece and why?
• Was your experience different from your classmates?
• Fill out our Student Feedback form and let us know what you think!
Review Rules and Reminders
Review these rules and reminders with your classmates
• No outside food or drink allowed inside Roy Thomson Hall
• No flash photography or recordings
• Please visit the bathroom before the concert. Audience members walking in and out
during the concert can be distracting
• We encourage you to applaud and show appreciation. The orchestra relies on your
energy to perform
• If you’re unsure when the piece of music is over, look to the conductor and performers on stage. The conductor will turn and face the audience once the piece of music is over
Have fun and enjoy your experience!
5
Concert Preparation
Listening Journals
Name: ____________________________
Date: _________________________
Name of the piece
___________________________________
Composer ___________________________________
1) What kind of instruments do you hear? What type of group or ensemble is playing?
2) What different dynamics do you hear? Do the dynamics stay the same or change?
(pp, p, mp, mf, f, ff, crescendo, diminuendo, etc.)
3) How would you describe the mood of the piece? Why?
4) What tempo marking would you give this piece?
(ex. Largo, Adagio, Andante, Allegro, Presto)
5) What type of key is this piece in?
Major
Minor
Both
Other
6) How does the music make you feel? Why do you think the composer wrote this piece?
7) What two words would you use to describe this piece of music?
6
Program Notes
Lalo Schifrin Biography
Lalo Schifrin is an extremely talented pianist, composer, and
conductor. He has composed over 100 scores for both television
and film such as the Theme from Mission: Impossible, Cool Hand
Luke, Bullitt and Starsky and Hutch. His music is a unique blend
traditional and 20th century classical techniques and jazz.
During his career, Schifrin has received four Grammy Awards and
six Oscar nominations.
Born into a musical family, Lalo Schifrin started studying piano at
a very young age. His father, Luis Schifrin was the concertmaster
of the Philharmonic Orchestra of Buenos Aires. After studying
sociology and law at the Buenos Aires University, he continued
his musical training at the Paris Conservatory. In the mid 1950s,
Schifrin returned home to Buenos Aires and formed his own
16 piece big band. During one of his performances, he was
noticed by jazz legend Dizzy Gillespie who invited him to
become his arranger and pianist. In 1958, Schifrin moved to
the United States, where his career really took off.
Theme from Mission: Impossible
The theme for Mission: Impossible is one of the most iconic themes in TV history. Before Tom Cruise, Mission:
Impossible was first a famous TV series in the 60s and 70s. The series tells the story of a group of spies and
inventors who travel the world solving extremely difficult and dangerous missions. It is written in 5/4 time
which helps add a level of energy and excitement. It features a repeated two bar bass riff that helps provide a
solid foundation over the melody. It hits nine out of the possible twelve notes of the chromatic scale which is
far more than most melodies. Almost every bar of the melody starts off with the same two short notes followed by a held note. The held melodic notes follow a pattern, falling down in semitones, making each bar a
response to the previous one. Listen to the driving bass riff as the melody is traded between different sections
throughout the piece.
Did you know?
Watch & Listen
As a jazz pianist, Schifrin has performed
with jazz greats such as Ella Fitzgerald, Stan
Getz, Sarah Vaughan and Count Basie.
7
Program Notes
Richard Wagner Biography
Richard Wagner is considered one of the world’s most influential
composers and is most well known for his operas such as the
18-hour Ring Cycle. Born in Germany, Wagner was greatly inspired by
composers such as Beethoven and Mozart. He developed the use of
the leitmotif – a recurring melodic phrase or figure associated with
a certain person, place or situation which helped provide thematic
unity in his pieces. This technique is now greatly used by many
modern film composers such as Bernard Herrmann, John Williams
and Jerry Goldsmith. Wagner was an innovator in both harmony
and the structure of his works, implementing his own concept of
the Gesamtkunstwerk, the total work of art which synthesize all
elements of music, art, drama, spectacle and dance.
Quick Facts
"Ride of the Valkyries"
from Die Walküre
Born
May 22, 1813
Died
February 13, 1883
The “Ride of the Valkyries” opens Act Three of Die Walküre, the second
of the four operas that make up Wagner’s epic Ring cycle. It tells the
story of Wotan’s warrior daughters, the Valkyries with their winged
helmets and steeds, transporting fallen soldiers to Valhalla. In this piece,
the brass play the main exciting theme and the woodwinds and strings
play arpeggiated figures representing the flying Valkyries. This excerpt
is one of the most popular excerpts from the world of opera and has
been used in many films, cartoons and television series.
Nationality
German
Full Name
Wilhelm Richard Wagner
Did you know?
Watch & Listen
The Bayreuth Festspielhaus (Festival Theatre) is a unique opera
theatre which was designed by Wagner to stage his elaborate operas.
Wagner’s unique designs include: Only tiered rows - no boxes or
galleries; the orchestra hidden under the stage on a staircase; a large
opening between the stage and the audience to allow the music to
travel. Video Guide Tour of the Bayreuth Festspeilhaus
8
Program Notes
Pyotr Ilyich Tchaikovsky Biography
Considered one of the most popular Russian composers, Pyotr
(Peter) Ilyich Tchaikovsky was born in a small town called
Kamsko-Votkinsk in Russia’s Ural Mountains. He began taking
piano lessons when he was five years old. Despite showing an
early passion for music, his parents wanted him to pursue a career
in civil service. Tchaikovsky attended a boys-only boarding school
and went on to complete his law studies and work at the Ministry
of Justice.
Finding he was unable to express himself, Tchaikovsky resigned
from his post at the Ministry of Justice in 1863 to study music at
the new St. Petersburg Conservatory – now named after
Tchaikovsky. He studied with the director of the conservatory,
Anton Rubenstein, and was later offered a position as professor
of composition.
Tchaikovsky composed nearly 170 pieces and some of his most
well-known works include the 1812 Overture, Romeo and Juliet Fantasy Overture, The Nutcracker, Swan Lake, and
Symphony No. 6. His ballets remain incredibly popular to this day. It is not unusual for The Nutcracker to be
performed every December all over the world!
Romeo and Juliet Fantasy-Overture
Composer Mily Balakirev, leader of Russian Group of Five,
befriended Tchaikovsky and encouraged him to compose a
symphonic poem based on Shakespeare’s Romeo and Juliet. He
suggested not only the subject matter but the possible themes
and a general outline for the piece. Tchaikovsky kept some of
the suggestions but otherwise followed his own instincts. He
created a variety of melodies to represent different characters
and moods instead of telling the story in chronological order.
The overture opens with a reflective clarinet and bassoon
melody that represents Friar Lawrence. The reflective melody
shifts to a hectic theme to represent the violence between the
Montague and Capulet families. The famous soaring love theme
soon appears to represent the star-crossed lovers. At the end of
the piece, the love theme returns in a minor key that suggests the
lovers have met their doomed fate. The overture’s love theme is
considered an iconic melody and has been used countless times in
television and film scores to represent love.
Did you know?
Tchaikovsky had a wealthy patron
named Nadezhda von Meck for many
years who provided him with a monthly
allowance that allowed him to compose
full time. Their arrangement stipulated
that they would never meet.
Watch & Listen
9
Program Notes
Leonard Bernstein Biography
Celebrated worldwide as one of the greatest musical talents to
ever hit the stage, Leonard Bernstein is best known for his
genuine and charismatic presence on the conductor’s podium.
His longest standing post was as Music Director of the New
York Philharmonic from 1958 - 1969.
Passionate as an educator, Bernstein and the New York
Philharmonic revolutionized music education with the first
ever televised Young People’s Concerts. Bernstein became
widely known for this sixty-three part series which was
broadcast nationwide on CBS and syndicated in over 40
countries across the globe.
He was a major advocate of American composers and would
regularly conduct and record works by composers such as
Aaron Copland and George Gershwin. These American
composers had a profound influence on Bernstein’s compositions, which are imbued with classical, theatre and America jazz
elements. With such eclectic sources of inspiration, Bernstein’s voice carries strong though all mediums,
including works for: orchestra, jazz ensemble, opera, musical theatre and film.
"Mambo!" from West Side Story
Bernstein’s West Side Story is a modern day musical adaptation of Romeo and Juliet by William Shakespeare.
The story explores the conflict between two gangs known as the Sharks and the Jets. The plot follows the
forbidden love shared between Tony, a Jet member, and Mara who is the sister of Bernardo, leader of the
Sharks. Although lives are taken throughout the story, it is because of those deaths that the two gangs are
able to recognize their shared humanity and compassion for one another. Symphonic Dances from West Side
Story was adapted for orchestra following the successful, 1961 film
version, which won ten Academy Awards including Best Picture.
The Overture to West Side Story is a short piece heard before the
musical which introduced many of the melodic themes throughout
the entire show. The TSO Student Concerts will feature the short
“MAMBO!” section from the overture.
Watch & Listen
10
Program Notes
Ludwig van Beethoven Biography
Often called “the father of Romanticism,” Beethoven’s music
bridged the Classical and Romantic eras. As he abandoned the
styles of the Classical era, his music became more dramatic and
expressive. His symphonies came to be seen as models that all
other composers would follow and many of his works are still
felt to be strongly relevant to audiences today.
Born in Bonn, Germany, Beethoven was first educated in music
by his father, Johannes, who was a court tenor. Through his father,
he learned the piano and violin, giving his first performance at
the age of seven. Seeing his son’s remarkable talent, Johannes
soon sought out other teachers for his son, one of whom,
Christian Gottlob Neefe, introduced Beethoven to the
music of Bach, which remained a lifelong influence on his music.
Beethoven first became known for his tremendous abilities as a
performer on the piano. By the age of 32, Beethoven had written
32 piano sonatas, 2 symphonies, 18 string quartets, and 3 piano
concertos. The deafness that he had noticed 5-6 years previously was beginning to take its toll, and Beethoven
entered a period of despair. Despite this, he continued to write music and produced symphonies 3 through 8,
his violin concerto, and piano concertos 4 and 5.
In the years following 1816, he was extremely productive, producing his 9th symphony, a set of string quartets,
and 7 more piano sonatas. Upon his death in Vienna in March, 1827, Beethoven was buried with honours, in a
funeral that attracted over ten thousand people who adored his music.
Symphony No. 6, Opus. 68
Known as the “Pastoral Symphony,” Beethoven's Symphony No. 6 in F major (Op. 68) was completed in the
year 1808. A lover of nature, Beethoven spent much of his time going for walks in the Vienna countryside,
notebook in hand, sketching ideas and pictures of things that inspired him. It was these kinds of impressions
that gave shape to “The Storm”, the fourth movement from his Symphony No. 6.
The Storm movement is an excellent example of programme music.
At the beginning of this movement you will hear an approaching storm
in the strings - light gusts of wind and the first droplets of rain are
portrayed by the first and second violins. Next you will hear thunder,
high winds, and sheets of rain. In this movement, Beethoven describes
not only the image of the storm itself, but also the emotions that are
brought about by a fierce storm - feelings of awe and even fear. The
storm slowly fades, with the occasional roll of thunder being heard
in the distance.
Watch & Listen
11
Program Notes
Hector Berlioz Biography
A progressive figure in the Romantic period, Berlioz was
extremely influential in the development of the symphonic
form, instrumentation and program music. His well-known
pieces include the Symphonie fantastique and Grande messe des
morts. The son of a medical doctor, Berlioz initially studied
medicine before going on to study composition at the Paris
Conservatory. In 1830, while still a student, he won the coveted
Grand Prix de Rome. Extremely imaginative, Berlioz introduced
new colours and sounds into his works. He often increased the
size of the orchestra and introduced imported instruments that
had previously been heard in opera houses and military bands.
Despite being unappreciated in his native France because of
his unconventional compositions, he received great acclaim in
Western European countries. In addition to composing, Berlioz
was also a critic, a conductor and a writer. His book “Treatise
of Intrumentation and Orchestration” became an important
orchestration resource well into the 20th century.
"Dream of the Witches' Sabbath" from
Symphonie fantastique
After attending a production of Hamlet, Berlioz became infatuated with the Irish actress Harriet Smithson. He
wrote her several love letters which went unanswered. This new romantic obsession inspired him to compose
his influential work Symphonie fantastique.
Divided into five movements rather than the traditional four, Symphonie fantastique tells the story of an artist’s
self-destructive love for a beautiful woman. The beautiful woman, Smithson, is represented by the idée fixe, a
recurring melody that appears every movement. Berlioz even wrote detailed program notes to accompany
the symphony to help tell the artist’s story. His orchestration was extremely unique using four bassoons, four
different types of clarinets, large bells and both cornets and trumpets. An extremely descriptive and passionate
piece, Symphony fantastique has been used countless times in cartoons, tv and
films such as The Shining.
Watch & Listen
The fifth movement depicts the artist’s hallucination of his own ghoulish funeral.
The idée fixe melody returns again but this time it’s a much scarier version. All
throughout the movement, Berlioz references the Dies Irae (ancient chant for
the Day of Wrath) to help establish the mood and atmosphere. See if you can
hear the gathering witches, bubbling cauldrons and monsters in the music.
12
Program Notes
Johann Strauss Jr. Biography
One of the most famous and successful composers of
Viennese dance music in the 19th century, Johann Strauss
Jr. was known as “The Waltz King”. The Strauss family held
the musical dynasty in Vienna and while his composer father
didn’t want him to go into music (he wanted him to be a
banker!), Johann Jr. was determined to follow his passion. He
was the big dance music star of his day (much like a pop star
of today), and successfully developed popular dances like the
waltz, polka, and quadrille to the point that they were just
as commonly heard in the concert hall as they were on the
dance floor. The Blue Danube, Tales from the Vienna Woods, Die
Fledermaus and The Gypsy Baron are just a few of his more
than 250 works.
Quick Facts
The Blue Danube Waltz
The Blue Danube was originally written as a choral work and was
commissioned by the Vienna Men’s Choral Society. Strauss soon
arranged it into an orchestral version and premiered it at the 1867
Paris World’s Fair. The orchestral version became an instant sensation
and was soon performed all across Europe. A tone poem in waltz
form, it celebrates the Danube river that runs through Vienna. The
famous opening notes are an arpeggiated D major chord. The piece
consists of five different melodies followed by a coda. It has been
used numerous times in cartoons, tv and films such as Stanley
Kubrick’s 2001 Space Odyssey.
Born
October 25, 1825
Died
June 3, 1899
Nationality
Austrian
Nickname
The Waltz King
The Younger
Johann Strauss the Younger
Did you know?
The Blue Danube waltz became so popular that it is often
considered the unofficial second national anthem of Austria.
Watch & Listen
13
Program Notes
John Williams Biography
John Williams is considered one of the most successful
composers of film and orchestral music of our time. Raised
in New York City, he moved with his family to Los Angeles
to attend UCLA and study composition privately with Mario
Castelnuovo-Tedesco. Williams later moved back to New
York City to attend the Julliard School. While in New York, he
worked as a jazz pianist and a studio musician before ultimately starting to compose for television and film. He’s created some of the most unforgettable film scores of all time
including Jaws, ET, Star Wars, Superman, Jurassic Park, the first
three Harry Potter Films, and Indiana Jones.
He has received five Academy Awards, four Golden Globes,
seven BAFTAs and 21 Grammys. From 1980 to 1993,
Williams served as conductor of the Boston Pops Orchestra
and now holds the title of Laureate Conductor. In addition to
film scores, Williams has composed numerous works for the
concert stage, among them two symphonies, and concertos
commissioned by several of the world’s leading orchestras.
Main Theme from Jaws
Based on a novel by Peter Benchley, Jaws is a 1975 thriller directed by
Steven Spielberg. The film tells the story of a giant man eating great white
shark attacking beachgoers on Amity Island, a fictional New England
town. The local police enlist the help of a marine biologist and
professional shark hunter to hunt down the shark.
Jaws was only Stephen Spielberg’s second feature as a director and
become the highest-grossing film of its time. John Williams’ Theme from
Jaws is one of the most terrifying pieces of film music. In consistently
ranks among the top 10 of most memorable film scores in history. The
film became a global phenomenon scaring people out of the water and
demonizing sharks for years to come. The main shark motif is a simple
alternating patter of two notes, E & F, with the surprising introduction of
a third note, D, to unsettle the listener. The shark motif is heard whenever the shark is approaching and helps build a great deal of tension and
suspense. The shark motif is the most famous part of the score and has
become an easily recognizable musical motif for impending danger.
Did you know?
John Williams doesn’t own
a computer. He composes
using pencil and paper!
Watch & Listen
14
Program Notes
Erica Procunier Biography
Erica Procunier is a Canadian film composer and pianist. She has
written film scores for the feature films Burns Point (2016), Cold Deck
(2015), Scratch (2015), Barn Wedding (2015), and And Now A Word From
Our Sponsor (2013).
Erica has written music for films, television shows, cartoons, advertisements, theatre, and games. Her most recent short film, Mariner, is an
official selection at the Toronto International Film Festival in 2016. Her
short films Little Whispers: The Vow and The Golden Ticket have screened
and won awards at celebrated festivals around North America. In 2014
Erica received two SOCAN Foundation Awards for Young Audio/Visual
composers for her work on the short films Avalanche and Fist Plus Face.
Erica's music has been licensed to a variety of shows worldwide on
television networks such as TLC, Animal Planet, Food Network, and
WE TV.
Erica was selected for the prestigious 2013-2014 Slaight Family Music
Residency at Norman Jewison’s Canadian Film Centre, an institute for
advanced training and production in film, television and new media.
There she worked with top Canadian composers and filmmakers
honing the craft of scoring to picture. Erica holds a Masters of Music Composition from Western University.
Erica is a SOCAN artist and on the board of the Screen Composers Guild of Canada.
Interview with Erica Procunier
What inspired you to become a composer?
In my youth I immersed myself in as much music as I possibly could. I studied piano, flute, alto sax, acoustic
guitar, and got involved with school musicals. I began composing while experimenting and improvising at the
piano. I started to teach myself by ear how to play music that I had heard in concert or in films, and it grew
from there. It was a really natural progression into composing my own pieces. To be expressing myself through
writing music is such a great creative outlet and I’m so glad I discovered it early on.
How did you get into composing for film and television?
My motivation to become a film composer has existed basically since I started composing. I have always loved
listening to film scores because they have this inherent power over the emotions and the music has fantastic
visual stories already built into it. I was also a ballet dancer in my youth and music’s fundamental relationship
to movement translates to film as well. When I decided to study composition at school, it was always with film
scoring in the back of my mind. At Western University I made friends with the students studying film and that’s
where I wrote my first scores.
15
Program Notes
Tell us a little about your process composing for this film? Did you watch the film
first or look at storyboards?
I have been reading the story of Kit the Beaver and looking at the artwork since the TSO selected the project
back in April. The story and the images are all crucial for giving me inspiration to begin writing ideas for the
film. It has been really great to be involved so early in the filmmaking process because sometimes I don’t work
on a project until everything else is essentially finished. The first thing I do is I write a lot of possible
melodic themes and harmonic textures to use as my building blocks. Then my goal is to create a blueprint for
the shape of the score and decide when the important moments will be to bring back the themes. Based on
the emotional content of a scene or the personality of a character, I can answer questions like “What
instruments should I use? ” or “How fast should the tempo be?”
DAM! The Story of Kit the Beaver is an animated film, with a large creative team.
Is working on an animation different than working on a live action film?
Yes! Animated films are very different simply because of the time it takes for the animation to be completed.
It’s very time intensive to animate and there are a lot of artists working on each moment of the film for many
many weeks. Because of this, I don’t usually get to score a completed animation. I get to look at what is called
a Leica Reel or an Animatic. It’s a collection of storyboards images made into a video mock-up with the proper
timing. It does it’s best to show me how the finished product will be edited and how the characters will move.
Sometimes I can only take a guess at what the final animation will be like while composing to a scene (with
good descriptions from the director).
How collaborative was the composition process with the filmmaker? Did you work
together or by yourself?
A film is all around a very collaborative process and though it starts off as the work of one writer, it grows to
become a collection of contributions from many artists. A film isn’t ever just one person’s decisions or ideas
for a scene. Kjell and I both come to the table with how we want approach a particular scene and then we
come to a consensus. In the end, most of the writing work will be done on my own and then I will create
musical mock-ups with my computer to show him. We can then discuss what is working for a scene and what
isn’t.
What are some of the challenges composing for film?
Scoring a film is like completing a giant puzzle – your table is made of time and the puzzle pieces are made
of music. Everything I write has to match with the movie exactly. That’s the main difference between writing
for screen and writing a concert piece. Sometimes that means I have to come up with interesting and original
musical solutions to problems that arise. For instance, I might have to speed up the tempo to fit in my musical
theme, or I might change the time signature suddenly so I can hit a beat on a particular moment in the film. The
best film composers can write music that is perfectly timed but also really outstanding music on it’s own.
16
Program Notes
How do you choose the instrumentation for your compositions? Are you inspired
by aspects of the film (visuals, plot, character qualities) or are there certain
instruments you feel relate specific qualities better than others?
I am most definitely inspired by the characters and the visuals in regards to how to choose my instruments.
Also I’m thinking about what each instrument is capable of and what conventions have been established
surrounding each instrument. For example, in DAM! The Story of Kit the Beaver there are going to be a number
of wolf howls created by the orchestra. I am really drawn to the ability of the strings to bend their pitch by
sliding their fingers along the strings because they don’t have a fret board. It’s going to make the howling very
effective! Also some instruments bring more power and volume (like the brass) and some are naturally more
gentle and whimsical (like the woodwinds). But in the end, the character and emotion rely on how you choose
to use the instrument’s sound qualities and blend them with each other.
What is it like to hear your piece performed live by an orchestra? Does having it
performed live ever change your original intent or creative concept?
Hearing your work performed by an orchestra is one of the most exhilarating and special moments you can
ever experience! I think orchestras in general are a spectacular feat of human intellectual and creative
achievement and we are so lucky to be in the audience when they perform. This film is in quite a unique
situation because it is going to premiere with a live orchestra. This hardly ever happens! I’ve spoken with Earl
Lee (the conductor) and we aren’t going to approach scoring it any differently than we would a regular film
score. It might mean that we could have some difficult transitions and he will probably have to listen to a click
track (a metronome), but we know we are working with fabulous world-class performers and they will be able
to handle anything!
What is your favourite film score and why?
One of my absolute favourite scores is the Jurassic Park film score by John Williams. He does such an
amazing job at creating a thrilling score, but the best moments are the ones expressing the absolute majesty of
the island and reflecting on the awesome power of nature.
Who is your favourite composer and why?
This one is such a hard question to answer. How can I pick just one! I have a really soft spot for Tchaikovsky,
most likely because of my background in ballet. His memorable melodies have always captured my heart and I
think it’s because the drama and the passion just poured out of him into his music. I know he was really
focused on the emotional catharsis of his audiences. I love so many late-romantic era pieces, and Tchaikovsky’s
works definitely stand out for me. musical solutions to problems that arise. For instance, I might have to speed
up the tempo to fit in my musical theme, or I might change the time signature suddenly so I can hit a beat on a
particular moment in the film. The best film composers can write music that is perfectly timed but also really
outstanding music on it’s own.
17
Program Notes
Kjell Boersma Biography
Kjell Boersma originally hails from deep in the woodlands of
South River, ON, where, as a child, he could often be found
cavorting in streams and ponds with wild animals. As a graduate
of Ryerson University's Film Studies program, Kjell has since
worked on broadcast animation and feature documentaries, as
well as a plethora of music videos, experimental modern dance
films, and more commercial endeavours. In 2010 he abandoned
Toronto for the desolate wastes of New Mexico, settling in
Gallup: a small but bustling frontier town on the border of the
Navajo Nation. While in Gallup, Kjell collaborated with National
Geographic Photographer Adriel Heisey, shooting aerial video
for the United States National Park Service, as well as a variety
of archaeologists, environmentalists, and documentary filmmakers. Over the next four years, Kjell worked with local artists
and cultural organizations to co-found the arts council gallupARTS, and direct his most recent film,
Monster Slayer, a contemporary retelling of the Navajo story of the Hero Twins. Kjell is now a filmmaker and
animator residing in the concrete forest of Toronto, ON, where he lives with two cats and one human.
DAM! The Story of Kit the Beaver
for Film and Orchestra
DAM! The Story of Kit the Beaver is an animated film that’s not about your average beaver. It’s the tale of Kit, a
very independent (and easily distracted) young beaver who loves to explore the sounds of the forest she lives
in.
While Kit is busy discovering the world, her clan is busy building a dam. According to Papa Beaver, working on
a dam is the most important thing a beaver can do, because...well...just because!
Kit tries hard to fit in and to help with the dam’s construction by gathering wood from the forest, but each
time she starts off on a new task something goes wrong!
During her adventures, Kit teaches her clan about the value of working with others and learns that progress
can come in many forms. Through generosity and empathy, we can build relationships that strengthen and grow
in ways that we could never imagine.
The creative process of this film is truly collaborative. Writer and Director Kjell Boersma and Producer Josh
Clavir joined forces with Seneca College, working directly with select students from their Summer Animation
Institute to develop and animate this project with Artistic Direction from acclaimed children's illustrator Julie
Flett. Toronto-based composer, Erica Procunier worked directly with the creative team to create all the music
and sounds effects that we will hear in the film. DAM! The Story of Kit the Beaver is a TSO commission, in
partnership with TIFF, and is generously funded by the Government of Canada.
18
Program Notes
Sneak Peek!
Papa & Kit by Rachel Joseph
Waterfalls by Lucy Ray
19
Lesson Plans
Lights, Camera… Orchestra!
The following mini-unit has been developed for the Toronto Symphony Orchestra’s Lights,
Camera… Orchestra concert series for students grades 4 – 8. This mini-unit includes two
lessons and summative assignment that can easily align with specific music expectations in the
Ontario Arts Curriculum, Grades 4 – 8.
Unit Overview
Lesson One
Exploring the Relationship Between The Elements of Music and Music in Film
In this lesson, students will use the Critical Analysis Process (see Ontario Arts Curriculum pg. 23 – 28)
and the Creative Process (see Ontario Arts Curriculum pg. 19 – 22) to develop their understanding of the
Elements of Music as they explore the relationship between the Elements of Music and composing music
for film.
This lesson is split into three main parts that can be spread over a number of classes.
• In Part One (Minds On / Activating Prior Knowledge), students will review the Elements of
Music and describe how they can connect to the visual imagery in film.
• In Part Two (Action / Activity), students will explore how a composer might apply his or her
knowledge and understanding of the Elements of Music when composing music for a film.
• In Part Three (Consolidation / Creation), students will apply their own knowledge and
understanding of the Elements of Music as they work in groups to compose their own short
pieces of music.
Lesson Two
Exploring the influence of Western Classical Music in Film
This lesson is shorter and less complex compared to the first lesson. However, it can vary depending
on the age/grade level of the students to which it is being delivered.
In this lesson, students will listen to a number of well-known Western symphonic works that have been
featured in modern films, as well as some well known movie musical themes. Students will apply their
knowledge and understanding of the Elements of Music to discuss why these pieces of music might
work well in film.
20
Lesson Plans
Summative Assignment
In this activity students use The Creative Process (see Ontario Arts Curriculum pg. 19 – 22) and the
Critical Analysis Process (see Ontario Arts Curriculum pg. 23 – 28) to apply their own knowledge and
understanding of the Elements of Music as they work in groups to compose new music to accompany a
short (3 – 5 minutes) clip from a movie of their choosing.
Assessment and Evaluation
While the range of musical understanding and ability between students in grades 4 – 8 may be significant,
the following lesson plans and activities can be adapted for any grade level as they rely more broadly on
The Creative Process (see Ontario Arts Curriculum pg. 19 – 22), The Critical Analysis Process (see Ontario
Arts Curriculum pg. 23 – 28) and on student knowledge and understanding of the Elements of Music (see
Ontario Arts Curriculum pg. 106, 116, 128, 138, and 154) – areas of the curriculum that remain consistent
throughout each grade level but vary in depth and complexity depending on the grade level.
For example, the specific expectations for Grades 4 and 8 outlined below can be assessed through these
lessons and activities are nearly identical in that they both rely on the student application of their
knowledge and understanding of the Elements of Music when using The Creative Process and Critical
Analysis Process. Aside from differing complexities relating to musical terms, symbols and notation, the
main variance between grade levels is the depth and complexity of the Elements of Music – outlined at
the start of each grade level.
Curriculum Expectations
Grade 4
C1.2 apply the elements of music when singing and/or playing, composing, and arranging music to create a
specific effect
C1.3 create music compositions for specific purposes and audiences
C2.2identify the elements used in the music they perform, listen to, and create, and describe how they are
used
Grades 8
C1.2 apply the elements of music through performing, composing, and arranging music for a specific effect
or clear purpose
C1.3 create musical compositions in a variety of forms for specific purposes and audiences
C2.2 analyse, using musical terminology, ways in which the elements of music are used in various styles and
genres they perform, listen to, and create
Other curricular expectations that can be assessed through the Action/Activity and Summative Assignment
in all grades 4 through 8 are: C1.1, C1.4, C1.5, C2.1, and C2.3.
Teachers are encouraged to vary the depth and complexity of the following lessons to suit the level/needs
of the students to which these lessons are being delivered. Please enjoy.
21
Lesson Plans
Lesson One
Exploring the Relationship Between The Elements of Music and Music in Film
Minds On...
Materials
• Music Player / Video Player (YouTube)
Activating Prior • Music Recording: Night on Bald Mountain by Modest Mussorgsky arr. Rimsky-Korsakov
Knowledge:
• Post-It Notes
Reviewing the • Chart Paper
Elements of
• Pencils
Music
• Coloured markers
Lesson Progression
• As a class, listen to the recording of Night on Bald Mountain.
• After listening to the piece of music partner students into groups of 2 – 3, distributing
the Post-It notes to each group (2 – 4 Post-It notes per group). Encourage students to
discuss with their group members their reactions to this piece of music and to record
these reactions onto the Post-It notes.
• Use questions like these to guide student thinking:
o What did you notice about instruments being used?
o What type of mood or feeling would best describe this music?
o What did you notice about the dynamics?
• Bring the class back together and have students share their group or their own
personal reactions with the class.
• After half of the groups have shared their reactions, review the Elements of Music and
then look back at the reactions that have already been shared. As a class, try to
determine which Elements of Music connect best with the reactions that have already
been expressed.
• Use the coloured markers to indicate which Elements of Music each Post-It note
refers to by putting a coloured dot in the upper corner of each Post-It note
– use a different coloured dot for each separate Element of Music.
• Now that students are thinking of the Elements of Music , have the remaining groups
share their responses and also determine which Elements of Music their responses
are connected to.
• Remind students to include their names on their Post-It notes, as these can be used
for your assessments.
• Now, listen to the same piece of music again, only this time, pair it with the video.
• Facilitate a class discussion about how the music connects with the visuals in the film.
Encourage students to connect their ideas to the Elements of Music .
Action
Materials
• Pencils
Activity:
• Coloured Post-It notes (one for each Elements of Music )
Connecting the • Action! Cards (see Appendix A)
Elements of
Music to Film
22
Lesson Plans
Action (cont.)
Lesson Progression
• Based on the discussion in the Minds On/Activating Prior Knowledge activity, briefly
discuss how music might be chosen or composed for movies? Encourage students to
share examples from movies and/or music that they already know.
Use this guiding question:
o How do you think a composer might use his/her understanding and mastery
of the Elements of Music to compose music for a film? Again, encourage students
to connect their responses to the Elements of Music.
• Using one of the Action! Cards, read the description and ask for student responses as
to how a composer might use the Elements of Music when composing music for the
description on the Action! Card.
• Spread out the remaining Action! Cards throughout the teaching space. With each
Action! Card, include a number coloured Post It notes.
• In groups of 3 – 4 students, groups will ‘carousel’ through each Action! Card. At each
station, students will read the description on the Action! Card and then, choosing one
Elements of Music describe with examples how a composer might connect that
Elements of Music to the description on the Action! Card. Remember that each Element
of Music should have its own coloured Post-It note.
• As the groups of students circulate through the Action! Cards, encourage them to
choose Elements of Music that have not yet been used for that particular Action! Card.
• Remind students to include their names on their Post-It notes, as these can be used
for your assessments.
• Collect the Action! Cards and discuss some of the examples
• As an extension for older grades, encourage students to include musical terms and
symbols in their responses.
Consolidation
Materials
• Musical Instruments
• Action! Cards (see Appendix A)
Creation:
Applying the
Elements of
Music
Lesson Progression
• Review all of the descriptions on the Action! Cards. Knowing each description is
essential for the ending of this activity.
• Partner the students into groups of 3 – 4. Provide each group with an Action! Card,
and the connected Post-It notes from the previous activity. Make sure that separate
groups do not share their Action! Cards with each other. They will need to remain
secret for the ending of this activity.
• Using the ideas provided by their peers as a guide, groups will take time to compose
their own short pieces of music to accompany the descriptions on the Action! Cards.
• Provide students with access to level appropriate instruments and sufficient time to
create their compositions.
• Bring the groups back together and have students share their compositions. After
each performance, see if other students can guess which Action! Card inspired the
composition.
23
Lesson Plans
Lesson Two
Exploring the Influence of Western Classical music in Film
Minds On...
Materials
• Music Players
Activating Prior • Musical Recordings
Knowledge:
o Ride of the Valkyries by Richard Wagner
Have you heard o The Planets: Mars,The Bringer of War by Gustav Holst
it before?
o Star Wars:The Imperial March by John Williams
Lesson Progression
• As a class, listen to two selections of music:
o Ride of the Valkyries by Richard Wagner
o The Planets: Mars,The Bringer of War by Gustav Holst
• Afterwards, discuss how the Elements of Music are used in these pieces
highlighting the similarities and differences. As well, discuss the types of images
that these pieces of music put into our imaginations.
• Try to guide the students towards ideas surrounding power, the army, and
military strength.
• Now listen to The Imperial March by John Williams from Star Wars.
• Afterwards, discuss with students the similarities between the music in Star Wars
compared to Ride of the Valkyries and Mars,The Bringer of War and why these
pieces of music are so good for representing military power?
Action
Materials
• Music Players and Headphones (5 – 8)
Activity:
• Musical Recordings (examples)
Connecting the o Carmina Burana: O Fortuna by Carl Orff
Elements of
o Tacotta and Fugue in D Minor by J.S. Bach
Music to Film o Also sprach Zarathustra by Richard Strauss
o Flight of the Bumble Bee by Nikolai Rimsky-Korsakov
o Theme for Jaws by John Williams
o Symphony No. 5 in C Minor by Ludwig von Beethoven
o Prelude to the Afternoon of a Faun by Claude Debussy
o Theme from Harry Potter by John Williams
• Student Worksheets (see Appendix B)
Lesson Progression
• Set up a variety of listening stations (5 – 8). At each listening station leave a
different piece of music.
24
Lesson Plans
Action
(cont.)
Consolidation
• Partner students into groups of 3 or 4. Give each group a worksheet. As each group
moves through the Symphonic Carousel, listening to each example, have them record
their reactions to each piece describing what type of imagery or feeling the
composer is trying to describe using the Elements of Music
(see appendix B for more detail).
• Bring the students back together to share and discuss their responses.
• As an extension for students in Grade 8, compare the music made by Beethoven,
Orff and Debussy to modern music that is composed for movies today. A good
example of modern film music might be from the movie Tron: Legacy by Daft Punk
Materials
• Student Worksheet
Reflection:
Me! The Motion Lesson Progression
Picture
• Students can complete a written response to the following question:
• If your life were made into a movie, what would the music for that movie sound like?
Be sure to include connections to the Elements of Music in your response.
Summative
Assignment
Materials
• Video Player
• Grade/Level appropriate instruments
Assignment Instructions
• Partner students into groups of 3 – 4. Have students compose their own music for
a short (3 – 5 minute) clip from a movie of their choosing.
o In groups of 3 or 4, compose your own music for a short (3 - 5 minute) clip
from any movie that you like. Make sure you choose a section of the movie
that you believe can accurately be described using only the Elements of Music.
o Prepare your composition for performance for your peers with the video clip
playing in the background.
• Have each group present their pieces to the class accompanying the video clip.
After the performance is complete, the students can explain their musical choices.
• Use a written reflection for additional assessment information
25
Lesson Plans
Appendix A: Action! Cards
The following Action! Cards are intended to serve as inspiration for quick pieces of music.
3, 2, 1, Action!
“10, 9, 8, 7…”
“Which wire should I cut?!?! The red or the blue?!?!?”
“6, 5, 4…”
“Oh my gosh!”
“3, 2…”
(snip)
3, 2, 1, Action!
The sun rises over a calm sea. Not a cloud in
sight. The wind, slowly begins to wisp up and over the
deck, gradually filling the cloth sails. About twelve
more days. Only twelve more days and I will
be home again!
26
Lesson Plans
3, 2, 1, Action!
“Shhh!!! They’ll hear us! We need to stay hidden!
There is no telling what they will do to us if they find
us.”
(foot steps are heard dragging further down the hall)
“They’re coming! “
(dead voices groaning and coming closer)
“I’m scared!”
3, 2, 1, Action!
Crack! The ball rockets off the bat high into the
night sky. Up, up, above the lights, and higher still…
The crowd begins to roar loudly. This is it. Cubs win!
Cubs win!
3, 2, 1, Action!
Water trickles slowly down the gentle stream and
past my toes. If only summer could last forever.
27
Lesson Plans
3, 2, 1, Action!
Just like that, she was gone. I’ll never see those
droopy ears again. Or feel her wet nose would nuzzle
into my hand in the morning when I would wake up
late for school. I’ve never felt so sad…
3, 2, 1, Action!
(honking cars, people yelling, sounds of construction)
The stinkin’ city! Another day, another dollar! Just
once, I’d like to be up high in those towers. A big
shot! Just once, I’d like to be the one lookin’ down
instead-a up.
3, 2, 1, Action!
In groups of 12 they shot across the sky. Never
breaking formation. I could hear the explosions in
the distance. Booming like an ominous thunder in
the distance. A warning. A storm was coming.
A big one.
28
Artist Biographies
Toronto Symphony Orchestra
Every year, over 33,000 young
students experience the TSO in
performance. In consultation with
Music Coordinators from the
Boards of Education, TSO staff
design School Concerts to help
teachers deliver the Ontario
Music Curriculum at each level.
The concerts are entertaining yet
firmly based on educational
concepts. Four different programs
address the learning needs of
Primary (Kindergarten to Grade 4),
Junior/Intermediate (Grades 4 to 8),
Peter Oundjian conducting Debussy's La Mer
Intermediate/Senior (Grades 7 to
12), and French-language students (Kindergarten to Grade 5). We’ve created free Study Guides
and podcasts, available on our website, to help students prepare for the concert.
Download these free resources here.
Founded in 1922, the Toronto Symphony Orchestra is one of Canada’s most important
cultural institutions, recognized internationally. Peter Oundjian, now in his 12th season as the
TSO’s Music Director, leads the Orchestra with a commitment to innovative programming and
audience engagement through a broad range of performances that showcase the exceptional
talents of the Orchestra along witha roster of distinguished guest artists and conductors. The
TSO also serves the larger community with TSOUNDCHECK, the original under-35 ticket
program; the Toronto Symphony Youth Orchestra; and music education programs that reach
tens of thousands of students each year.
29
Artist Biographies
Earl Lee, RBC Resident Conductor
Korean-born Canadian musician Earl Lee is the Toronto Symphony
Orchestra’s RBC Resident Conductor since January 2015 and Conductor of the Toronto Symphony Youth Orchestra beginning September 2016. He was the recipient of the 2013 Felix Mendelssohn
Bartholdy Scholarship to study with Kurt Masur in Leipzig, and was
also awarded a 2013 Ansbacher Fellowship for Young Conductors by
the American Austrian Foundation. In February 2014, he participated
in the 5th International Conducting Masterclass with David Zinman
and the Tonhalle Orchestra Zurich. Recent conducting appearances
include leading the Manhattan School of Music (MSM) Chamber
Sinfonia at The Kennedy Center as a part of the Millennium Stage
series, as well as with the Leipziger Symphonieorchester, and the
Riverside Orchestra at New York’s Trinity School. He also conducted
the MSM Symphony Orchestra at the Manhattan School of Music,
sharing his podium time with Kurt Masur as a participant of the Kurt
Masur Conducting Seminar. Mr. Lee is a passionate promoter of new
music and has led premières of numerous works by contemporary
composers.
An accomplished cellist, Mr. Lee was a former member of the
Toronto Symphony Youth Orchestra. He has since performed at
many prestigious festivals including Marlboro, Ravinia’s Steans Institute, Music from Angel Fire, and Caramoor. He has also appeared with the Sejong Soloists and is currently an
active member of the East Coast Chamber Orchestra (ECCO). In 2012, Mr. Lee completed a North American
tour with legendary pianist Chick Corea and vibraphone player Gary Burton, as a guest cellist of the acclaimed
Harlem String Quartet. Previously, he toured throughout the United States as a member of the Koryo Quartet, as well as with Musicians from Marlboro. Mr. Lee has appeared frequently on radio programs such as Saint
Paul Sunday, and as a former musician on the Astral Artists’ roster, he is passionate about community outreach
through music.
A graduate of the Curtis Institute of Music and The Juilliard School with degrees in cello performance, Earl
began his conducting studies in 2010 with Ignat Solzhenitsyn. He went on to study with George Manahan at the
Manhattan School of Music, from where he recently graduated, as well as with Hugh Wolff at the New England
Conservatory of Music.
30
Musical Term Glossary
A cappella: music sung without instrumental accompaniment. In Italian, a cappella means “in the style of the
chapel.”
Accented Beats: these are the beats in a rhythm pattern that are stronger because they are emphasized or
stressed. Accented notes are indicated using a “>” symbol which goes above or below the note to indicate
that that note should be stressed or accented.
Amplify: to make a sound stronger or louder. The hollow body of an instrument amplifies its sound.
Arco: to play a stringed instrument using a bow.
Bar: another name for a measure
Bar line: a vertical line on a musical staff that divides the beats into small groups or bars.
Baton: a small stick used by the conductor to beat time. A stick helps to make the motion more easily
visible to the members of the orchestra.
Beat: a beat is a regular pulsation. It is a basic unit of length in musical time.
Clef: a sign at the beginning of the staff to fix the position of one note. The most common are the treble
and bass clefs.
Chord: a series of notes, usually three or more, that are sung or played together to create harmony.
Col legno: Italian for “hit with the wood”, this is a bowing technique where players strike the string with the
stick of the bow, rather than by drawing the hair of the bow across the strings.
Concertmaster: the leader of the first violin section who tunes the orchestra and works closely with the
conductor.
Conductor: leader of the orchestra who makes decisions about how the music will be played with respect
to tempo and dynamics, and keeps the musicians together during a performance.
Crescendo: gradually increasing in loudness.
Decrescendo: gradually decreasing in loudness
Double-stop: a technique on string instruments in which two notes are played simulaneously. Triple stops
and quadruple stops can also be played, in which three and four (respectively) notes are played simultaneously.
Dynamics: the intensity, or loudness and softness, of music.
Embouchure: the way the mouth is held to play a woodwind or brass instrument.
Fingerboard: the strips of wood on a stringed instrument’s neck over which the strings are stretched and
fingered to change the pitch.
Harmony: the sound created when two or more notes are played at the same time.
Improvise: to make up music as you go, without using scores or musical notation that is written down. Many
jazz musicians incorporate improvisation into their performance.
Legato: notes played smoothly and in a connected manner, without any noticeable break or articulation
between them.
Lietmotif: a phrase or melodic cell that signifies a character, place, plot element, mood, idea, relationship or
other specific part of an opera of symphonic work.
Measure: the notes and rests between two bar lines.
Metre: a regular pulse made up of strong and weak beats.
31
Musical Term Glossary
Melody: a sequence of musical notes that make up a tune.
Movement: a section of music which contains certain musical ideas, much like a chapter in a book.
Notes: representation of musical tones using written symbols.
Octave: the distance between one tone of a scale and the next higher or lower tone of the same pitch; for
example, middle C and C above middle C are an octave apart.
Pitch: the highness or lowness of a sound.
Pizzicato: to play a stringed instrument by plucking the strings with the fingers.
Pluck: to pull up or down on a string with your finger, thumb or a pick.
Podium: the raised platform in front of the orchestra on which the conductor stands.
Reed: a thin piece of cane or other material, attached to an instrument at one end and free to vibrate at the
other. Found on oboes, clarinets, saxophones and bassoons.
Resonator: the part of an instrument, usually the body, that amplifies the sound caused by vibrating strings
or air column.
Rests: a pause or interval of silence between two tones.
Rhythm: patterns of sound and silence in a piece of music.
Scale: music arranged in ascending or descending pitches.The C major scale consists of the notes c,d,e,f,g,a,b,c.
Score: music in written form with all the parts set down in relation to each other.
Sound Wave: when something vibrates, or moves quickly back and forth, it causes molecules in the air to
move, creating sounds that move in waves in your ear.
Spiccato: a bowing technique that uses a semi-off-the-string style to produce a light “bouncing” sound.
Watching the musicians it looks like the bow is bouncing up off the string the second it makes contact.
Spiccato is usually performed at the balance portion of the bow. The balance portion of the bow refers to
the area of the bow where weight is distributed evenly on both sides, allowing for maximum control.
Staff: five parallel horizontal lines, on which notes are written in the spaces, on the lines, or above and below
the staff using ledger lines.
Strum: to play long strokes across all the strings of a string instrument, one after another very quickly using
your thumb, fingers or a pick.
Symphony Orchestra: a large group of musicians, led by a conductor, who perform together on string,
woodwind, brass and percussion instruments.
Tempo: the speed at which a piece of music is played.
Time Signature: appears at the beginning of the staff.The lower figure shows the kind of notes taken as the
unit of measure, while the upper figure shows the number of these notes that can fit in a measure.
Tone: the tone is the quality of musical sound, such as rich, mellow, harsh, brilliant, etc.
Tremolo: a rapidly repeated note.
Unison: two or more instruments sounding the same note.
Valves: the mechanisms on some brass instruments that make it possible for the musician to change pitches
and play all the notes of the scale.
32
Instruments of the Orchestra
The String Family
Jonathan Crow
Concertmaster
Teng Li
Principal Viola
Joseph Johnson
Principal Cello
Jeffrey Beecher
Principal
Double Bass
Heidi Van
Hoesen Gorton
Principal Harp
The string family is the largest family of instruments in the orchestra. The violin, viola, cello,
and bass are made of carefully carved wood and have a set of four strings stretched across
them. The strings themselves are made of nylon, steel and sometimes gut. The bow is made
of wood and the strings of the bow are either synthetic or horsehair from actual horse
tails! The harp is very different from the other string instruments and has a set of 47 strings.
It is one of the oldest string instruments and is often considered part of the string family.
Sound is produced by plucking the strings or drawing the bow across them causing them to
vibrate. The bodies of string instruments are hollow inside to allow sound to vibrate within
them. Players apply a substance called rosin to their bows to help the strings vibrate. Rosin
is primarily made up of pine sap and helps the hairs on the bow grip the strings. The harp
doesn't use a bow but sound is also produced by plucking or strumming the strings.
Players can tune the violin, viola, cello and bass strings using either tuning pegs or fine
tuners. To change pitch, players use their left hand to press down their fingers on the
fingerboard while their right hand moves the bow or plucks the strings. Players tune the
harp using a tuning key to adjust the tuning pegs. The harp is played with both hands and
feet! There are seven foot pedals that are used to add accidentals or sharps. The violin, viola,
cello, double bass and the harp make up the large string family.
33
Instruments of the Orchestra
The String Family
Violin
The violin is the smallest member of the string family and has the highest voice.
There are more violins in the orchestra than any other instrument (up to 30!).
The four strings of the violin from the lowest to highest are G, D, A, and E. In an
orchestra, the violins are divided into two groups: first violin and second violin.
The first violins usually play the melody and the second violins support them by
playing intricate harmonies and rhythms. They work together as a team to create
complex inner voices and harmonies. The concertmaster is the leader of the first
violins.
Viola
The viola looks like a slightly bigger violin. It has thicker strings and produces a
lower and warmer sound. The four strings of the viola from the lowest to the
highest are C, G, D, and A. The viola is a perfect fifth lower than the violin.
Although the violin and viola share three strings (G, D, A), the tone and sound are
very different. Music for viola is usually written in the alto clef (also known as the
viola clef or C clef). In the alto clef, Middle C is on the third line of the staff. In
an orchestra there are usually between ten and fourteen violas.
Cello
The cello looks like a very large violin or viola. It is around 4 feet long and has
thicker strings than either the violin or viola. The four strings of the cello from
the lowest to the highest are C, D, G and A—same as the viola! However the
cello is tuned an octave below the viola. The cello is held between the knees
instead of being held under the chin like the violin and viola. The cello rests on
the ground and is supported by a metal peg called the end pin. The cello has the
closest range to the human voice—which is why people find it so calming to
listen to. In an orchestra, there are usually between eight and twelve cellos.
34
Instruments of the Orchestra
The String Family
Double Bass
The double bass is the largest and lowest voice of the string family. It is
over 6 feet long and has the longest strings. The four strings of the double
bass from lowest to the highest are E, A, D and G. To increase their range,
bassists will occassionally add a fifth string or install a mechanical extension
to help lower their bottom string to C. The double bass is the only string
instrument tuned in fourths (though some players will tuned in fifths). The
double bass is so big that a player must stand or sit on a high stool in order
to play it. Like the cello, the double bass also has a metal spike (or end pin)
at the bottom, which allows it to rest on the floor. In an orchestra, there
are usually between six and eight double basses.
Harp
The harp is one of the oldest instruments. The concert harp stands about
two metres tall and covers a range of over 6 ½ octaves. It has 47 strings
and seven foot pedals, and is played by strumming or plucking the strings
with both hands, and by pressing the pedals with your feet. The pedals
are used to add accidentals (sharps and flats) so that the harp can play
in different keys. The harp is usually considered part of the String Family
because the strings create the sound. However, it is very different from all
other stringed instruments and isn’t played with a bow, so it can sometimes
be classified in a separate category all on its own.
35
Instruments of the Orchestra
The Woodwind Family
Julie Ranti
Associate
Principal Flute
Sarah Lewis
Oboe
Joaquin Valdepeñas
Principal Clarinet
Catherine Chen
Associate
Principal Bassoon
Many of the earliest woodwind instruments were originally made of wood. Today’s modern
woodwind instruments are made of variety of different materials such as wood, metal, and
plastic. All woodwinds are played with mouthpieces and share a similar shape (a narrow
cylinder or tube with holes). Sound is produced by blowing air through the instrument.
The mouthpieces for some woodwinds, including the clarinet, oboe and bassoon, use a
thin piece of wood called a reed, which vibrates when you blow across it. The clarinet uses
a single reed made of one piece of wood, while the oboe and bassoon use a double reed
made of two pieces of wood joined together.
The pitch is changed by opening or closing the holes with your fingers. Metal caps called
keys cover the holes of most woodwind instruments. Similarly to string instruments, the
smaller sized woodwinds play higher pitches and the longer and larger instruments play
lower pitches. The flute, oboe, clarinet and bassoon make up the woodwind family.
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Instruments of the Orchestra
The Woodwind Family
Flute
The flute was originally made from wood, stone, clay or bamboo. Today’s modern flutes are made of silver, gold or platinum.
The flute is held sideways and to the right of the musician’s
mouth. Sound is produced by blowing across a hole in the
mouthpiece of the flute which causes the air inside to vibrate.
The smaller version of the flute, called the piccolo, is half the
size of the flute and is one of the highest sounding instruments
in the orchestra. In an orchestra, there are usually between two
and four flutes.
Oboe
The oboe is the first instrument you hear at an orchestra concert. It plays a single note (an “A”), and all other instruments
tune their instruments to the oboe’s pitch. Sound is produced
by blowing air throw a double reed at the top of the instrument.
This double reed is made up of two very thin pieces of wood
that are tied together and vibrate when air passes through them.
In an orchestra, there are usually two to four oboes. It often
plays important melodies because of its distinctive sound.
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Instruments of the Orchestra
The Woodwind Family
Clarinet
The clarinet is very similar to the oboe in shape and size. Its
mouthpiece however, uses a single reed instead of a double
reed. The clarinet is made of wood or molded plastic and has a
smooth, mellow tone. They can come in a variety of sizes from
the small, e-flat clarinet to the large, bass clarinet. In an
orchestra, there are usually between two and four clarinets.
Bassoon
Like the oboe, the bassoon is another woodwind instrument
that uses a double reed. The modern bassoon can be made
from wood or plastic. The bassoon is second the largest
woodwind instrument followed by the contrabassoon, which
has the lowest voice in the orchestra. If you took apart the
bassoon and laid the different pieces from end to end, it would
measure 2 ½ metres long and the contrabassoon would be 5
metres long! In an orchestra, there are usually between two
and four bassoons and they have a similar range to the cello.
Most woodwind instruments don’t require much use of the
thumb; however, the bassoon is unique in that it has 13 keys
which are only played by the thumb.
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Instruments of the Orchestra
The Brass Family
Audrey Good
French Horn
Steven Woomert
Associate
Principal Trumpet
Gordon Wolfe
Principal Trombone
Mark Tetreault
Principal Tuba
Early ancestors of the brass family were made of materials such as animal horns, tusks,
wood or even shells. Today’s modern brass instruments are made of brass, gold and
silver. Brass instruments are made up of a very long pipe which has been curved and coiled
into different shapes. This makes them easier to hold and play. Did you know that if you
stretched out a French Horn is would measure more than 6 metres in length?
To make a sound, players buzz their lips together into the mouthpiece. The trumpet, french
horn, and tuba have valves attached to their long pipes. To change the pitch, players can press
down different combinations of valves, or change the pressure and shape of their lips. Brass
players sometimes use a combination of these techniques to change the pitch. Instead of
valves, the trombone uses a slide to change pitch by pushing the slide in or out. The trumpet,
french horn, trombone, and tuba are most commonly used in an orchestra.
39
Instruments of the Orchestra
The Brass Family
French Horn
The very first horns were made from the horns of animals and
were used to send signals to people beyond calling distance.
The hunting horn is the French Horn’s ancestor and was
designed so that the tubing wrapped around in a circle, making
it easier to carry over the hunter’s shoulder.Valves were added
to the instrument in the 1800s, increasing the range of the
instruments. In an orchestra, there can be anywhere between
two and eight French Horns at a time. The player uses their left
hand to press the valves, and inserts their right hand into the
bell of the instrument to change the quality of the sound.
Trumpet
Famous for sounding alarms, calls to war, or hunting, the trumpet as
a musical instrument has had a long and rich history. Its ancestors
were made of conch-shell, animal horn, wood or metal. The trumpet is the smallest and highest pitched member of the brass family.
Today’s modern trumpet has three attached valves which creates a
wider range of notes than its ancestors. There are typically between
two and to four trumpets in an orchestra.
40
Instruments of the Orchestra
Trombone
Invented in the 15th century, the trombone was first called a sackbut.
It is the only instrument in the brass family to use a slide instead of
valves to change pitch. Two U-shaped pipes are linked at opposite
ends to form an “S”. One pipe slides into the other so you can extend
or shorten the total length of the pipe. Players use their right hand to
change pitch by pushing the slide in or out. In 1808, Beethoven helped
popularize the trombone in orchestral music after writing a trombone
part in the finale of his Fifth Symphony. The trombone family is made up
of three trombones: alto, tenor and bass. In an orchestra, there are
typically two tenor trombones and one bass trombone.
Tuba
The tuba is the biggest and lowest pitched
instrument of the brass family. Invented in 1835,
the tuba is the youngest member of the brass
family! It has a very rich, deep sound and if you
stretched the tuba out into one long piece, it
would measure about 5 ½ metres. Typically,
there is only one tuba in an orchestra and it
usually plays harmony rarely the melody. The
tuba is related to the euphonium (a smaller,
high-pitched tuba) and the sousaphone (an
instrument invented by John Philip Sousa, and
used a lot in marching bands).
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Instruments of the Orchestra
The Percussion Family
John Rudolph
Principal Percussion
Patricia Krueger
Principal Keyboard
David Kent
Principal Timpani
The percussion family traditionally includes any instrument that produces sound when
struck, shaken or scraped. Percussion instruments can be classified into different
categories: pitched or unpitched. Pitched instruments, such as the xylophone, timpani, or
piano, play specific pitches just like the other instrument families. Unpitched instruments,
such as the bass drum, tambourine, or cymbals, produce no definite pitch. Percussionists
will often play many different instruments in one piece of music. In the orchestra, the
percussion section is one of the most versatile sections and provides a huge range of
timbres, rhythms, unique sound effects and textures. The snare drum, bass drum,
glockenspiel, xylophone, triangle, tambourine, cymbals, timpani, and piano are the most
commonly used percussion instruments in an orchestra.
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Instruments of the Orchestra
The Percussion Family
Timpani
Snare Drum
The timpani, sometimes called kettledrums, are made of
a large copper bowl with a drumhead stretched across
the top. These large, pitched drums are used frequently in
orchestral music. The pitch of each timpani depends on the
size of the bowl, as well as the tension of the drum head; the
tighter the skin, the higher the note. The range of timpani
is approximately two octaves. To change notes, players use
a foot pedal located at the base of the timpani. Timpani
were the first drums to be used in the orchestra, with most
orchestras using three or four in their setup.
The snare drum has a crisp, and bright sound. It has two heads stretched over a hollow
metal or wood frame. The top head is struck with two wooden drum sticks. The bottom
head has strings of wire or gut stretched across it called snares. The snare produces a
rattling sound as it vibrates across the head. The snares are loosened for softer notes and
tightened for a crisper or sharper tone.
Bass Drum
The bass drum is the largest drum in the orchestra and has a low, deep sound. It is
constructed like the snare drum but without snares. The bass drum is played on its side so
that both sides can be played. The bass drum is played with a bass drum beater which is
a large wooden stick with sheep’s wool or felt covering one end. Both the snare and bass
drums were originally used in the military before they became members of the orchestra’s
percussion section.
Tambourine
A tambourine is a small frame drum with a calfskin or plastic head stretched across one
side. Inside the frame, there are several small metal discs attached that jingle when moved.
Sound is produced by shaking, rubbing, or striking the head.
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Instruments of the Orchestra
The Percussion Family
Triangle
A triangle is a piece of metal bent into a triangle shape. It is commonly
made out of steel and is suspended on a nylon loop. It is played by
striking it with a metal beater.The triangle produces a shimmering,
tinkling sound similar to a bell.
Cymbals
Cymbals are two slightly curved brass plates, which are held
with leather straps. When hit together they produce a resounding ring. Cymbals come in a
variety of sizes and can produce a wide range of sound effects. A single cymbal can also be
suspended from a stand and struck with drumstick or padded mallet.
Piano
The piano is a pitched keyboard instrument with 88 black and
white keys. It has the largest range of any instrument in the
orchestra. When a player presses the keys it causes a small
hammer to strike the corresponding strings inside the instrument.
The piano is often classified as a percussion instrument because
sound is produced by hammers striking the strings.
Xylophone
The xylophone is a pitched mallet instrument consisting of tuned wooden bars mounted
on a metal frame. The wooden bars are usually made of rosewood but can also be made
of synthetic materials. The bars are arranged in two rows similar to the keys of a piano.
The xylophone produces a bright, sharp, short tone. Sound is produced by striking the bars
with hard mallets. The xylophone sounds one octave higher than written. The origin of the
xylophone is unclear, but similar instruments were known in Africa and Asia, dating back to
the 14th century.
Glockenspiel
The glockenspiel is a pitched mallet instrument and is often called "bells". It is made of
tuned steel bars that are arranged in two rows like the keys on a piano. The glockenspiel has
a very bright and piercing tone. The range is generally two and half octaves and it sounds
two octaves higher than written. Sound is produced by striking the steel plates with hard
mallets.
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Members of the Orchestra
STRINGS
VIOLINS
Jonathan Crow,
CONCERTMASTER
Mark Skazinetsky,
ASSOCIATE
CONCERTMASTER
Marc-André Savoie,
ASSISTANT
CONCERTMASTER
Etsuko Kimura,
ASSISTANT
CONCERTMASTER
Paul Meyer,
PRINCIPAL SECOND
VIOLINS
Wendy Rose,
ASSOCIATE PRINCIPAL
SECOND VIOLINS
Eri Kosaka
ASSISTANT PRINCIPAL
SECOND VIOLINS
Atis Bankas
Sydney Chun
Carol Lynn Fujino
Amanda Goodburn
Terry Holowach
Bridget Hunt
Amalia Joanou-Canzoneri
Mi Hyon Kim
Shane Kim
Leslie Dawn Knowles
Sergei Nikonov
Hyung-Sun Paik
Young-Dae Park
Semyon Pertsovsky
Peter Seminovs
Jennifer Thompson
Angelique Toews
James Wallenberg
Virginia Chen Wells
Arkady Yanivker
VIOLAS
Teng Li,
PRINCIPAL
Eric Nowlin,
ASSOCIATE PRINCIPAL
Theresa Rudolph
ASSISTANT PRINCIPAL
Daniel Blackman
Gary Labovitz
Diane Leung
Charmain Louis
Mary Carol Nugent
Christopher Redfield
Kent Teeple
CELLOS
Joseph Johnson,
PRINCIPAL
Emmanuelle Beaulieu
Bergeron
ASSOCIATE PRINCIPAL
Winona Zelenka,
ASSISTANT PRINCIPAL
Igor Gefter
Marie Gélinas
Roberta Janzen
Britton Riley
Kirk Worthington
DOUBLE BASSES
Jeffrey Beecher,
PRINCIPAL
Theodore Chan
Timothy Dawson
Charles Elliott
David Longenecker
Paul Rogers
WOODWINDS
FLUTES
Nora Shulman,
PRINCIPAL
Julie Ranti,
ASSOCIATE PRINCIPAL
Leonie Wall
Camille Watts
PICCOLO
Camille Watts
OBOES
Sarah Jeffrey,
PRINCIPAL
Keith Atkinson,
ASSOCIATE PRINCIPAL
Cary Ebli
Sarah Lewis
ENGLISH HORN
Cary Ebli
CLARINETS
Joaquin Valdepeñas,
PRINCIPAL
YaoGuang Zhai,
ASSOCIATE PRINCIPAL
Joseph Orlowski
E FLAT CLARINET
YaoGuang Zhai
BASS CLARINET
Amy Zoloto
BASSOONS
Michael Sweeney,
PRINCIPAL
Catherine Chen,
ASSOCIATE PRINCIPAL
Samuel Banks
Fraser Jackson
CONTRABASSOON
Fraser Jackson
BRASS
HORNS
Neil Deland,
PRINCIPAL
Christopher Gongos,
ASSOCIATE PRINCIPAL
Audrey Good
Gabriel Radford
TROMBONES
Gordon Wolfe,
PRINCIPAL
Vanessa Fralick
ASSOCIATE PRINCIPAL
BASS TROMBONE
Jeffrey Hall
TUBA
Mark Tetreault,
PRINCIPAL
PERCUSSION
TIMPANI
David Kent,
PRINCIPAL
PERCUSSION
John Rudolph,
PRINCIPAL
Patricia Krueger
KEYBOARD
Patricia Krueger,
PRINCIPAL
HARP
Heidi Van Hoesen Gorton,
PRINCIPAL
LIBRARIANS
Gary Corrin,
PRINCIPAL
Kim Gilmore
PERSONNEL
David Kent,
PERSONNELMANAGER
TRUMPETS
Andrew McCandless,
PRINCIPAL
Steven Woomert,
ASSOCIATE PRINCIPAL
James Gardiner
James Spragg
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Members of the Orchestra
46
Members of the Orchestra
47
Members of the Orchestra
48
Student Evaluation Form
Date you attended:
__________________________________________
Name of school (optional):__________________________________________
1. What was your favourite part of the concert and why?
2. What was your least favourite part of the concert and why?
3. Describe how you felt during one of the pieces on the program. Why do you think you felt that way?
4. Was there anything that surprised you during the concert?
5. If you were given the task of putting together a concert for the TSO, what two pieces would you
recommend and why?
Other comments ...
PLEASE RETURN TO:
(Mail or Email)
MAIL: School Concerts - Toronto Symphony Orchestra, 212 King St W, 6th Floor, Toronto ON M5H 1K5
EMAIL: [email protected]
49
Teacher Evaluation Form
Date you attended:
__________________________________________
Name of school (optional):__________________________________________
1. Please circle the appropriate rating:
Audience Response
Educational Value
Conductor’s Rapport with
the Students
Teachers’ Study Guide
Excellent
Excellent
Very Good
Very Good
Good
Good
Fair
Fair
Poor
Poor
Excellent
Excellent
Very Good
Very Good
Good
Good
Fair
Fair
Poor
Poor
2. Was this the first time you brought a group to the TSO School Concerts ? Yes
If not, how long have you been bringing students to the TSO School Concerts ?
No
3. What did your students like most?
4. Did you use the Teachers’ Study Guide? Yes
If so, which section did you find most useful?
No
5. Did you use the podcast? If so, did you find it useful?
Yes
No
6. Is there anything you’d like to share with the generous donors who support the TSO School Concerts?
Any additional comments? We greatly value teacher feedback and would love to hear from you!
PLEASE RETURN TO:
(Mail or Email)
MAIL: School Concerts - Toronto Symphony Orchestra, 212 King St W, 6th Floor, Toronto ON M5H 1K5
EMAIL: [email protected]
50