Peter and the Wolf January 24th - 28th, 2020 TEACHER GUIDE
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Peter and the Wolf
January 24th - 28th, 2020
TEACHER GUIDEPreparing for the Concert
CONCERT POLICY
Here are a few policy details to share with you. Please review and reach out if you have any questions.
Please review all reservation information to verify that it is correct. Direct any corrections to:
Mady Steffen, msteffen@grsymphony.org | 616.454.9451 x145.
All persons attending the performance must be accounted for in your reservation numbers,
including drivers, chaperones, and aides. Additional tickets are not available at the door.
Join me in letting the chaperones know that infants and toddlers are not permitted at the school
performances.
There are no refunds or exchanges on extra or unused reservations, including cancellations due
to weather and other circumstances preventing a school or groups from attending their reserved
performance.
In cases of severe weather:
Please ensure that your young concert goers are dressed appropriately for the weather
they will encounter. They may have to wait in the outdoors momentarily.
Unfortunately, changes in drop-off/pick-up procedures are not possible to accommodate
inclement weather.
In rare instances, the GRS has canceled concerts due to weather. Cancellation information due to
severe weather will be available on the GRS website on the day of the performance.
On the day of the performance, all Education Department staff will be at the concert venue.
Therefore, they will be unavailable to answer e-mails or phone calls. Don’t hesitate to find last
minute answers by visiting the GRS website, GRSymphony.org
All concerts, dates, times, locations, programs, and performers are subject to change without notice.Day of the Concert
DATES: January 21st - 24th, 2020
TIMES: Tuesday 1/21/20 @ 9:30-10:15AM
Tuesday 1/21/20 @ 10:45-11:30AM
Wednesday 1/22/20 @ 9:30-10:15AM
Wednesday 1/22/20 @ 10:45-11:30AM
Thursday 1/23/20 @ 9:30-10:15AM
Thursday 1/23/20 @ 10:45-11:30AM
Friday 1/24/20 @ 9:30-10:15AM
Friday 1/24/20 @ 10:45-11:30AM
Arrive no more than 20 minutes prior to the start time listed on your ticket.
LOCATION: Dan Heintzleman Fine Arts Center
2587 Boulevard
Wyoming, MI 49519
ARRIVING BY BUS
- All buses must enter on Boulevard Dr. SW and pull in front of door 8 for drop-off.
- Then proceed to the football field parking lot until end of performance. Volunteers
will be on site to direct all traffic.
- All buses will depart via Shannon Ave. NW
ARRIVING BY CAR
- All cars can park in front of door 8. Enter building through door 8. Volunteers will be on site to
direct you to your seats.Day of the Concert
DATES: January 28th, 2020
TIMES: Tuesday 1/28/20 @ 9:30-10:15AM
Tuesday 1/28/20 @ 10:45-11:30AM
Arrive no more than 20 minutes prior to the start time listed on your ticket.
LOCATION: Hudsonville Fine Arts Auditorium
3370 Allen St.
Hudsonville, MI 49426
ARRIVING BY BUS
- All buses use Allen St. entrance. Volunteers will direct buses to the loading lot.
- Volunteers will be on site to direct you to your seats.
- Walk to/from bus and enter/exit building though door D. Volunteers will be on
site to direct all traffic.
ARRIVING BY CAR
- All cars use Allen St. entrance and park in lot in front of door A.
- Volunteers will be on site to direct you to your seats.
- Enter/exit building through door A.How to Use this Guide
Included in this guide are a few suggested activities to help students prepare and reflect on the
Lollipop Concert they are attending. Please note that this is a general guide written for teachers with
many different abilities and backgrounds. Also, since this concert is for students grades K-2, the
suggested activities are intentionally conceptual to make them easily adaptable to specific grade
levels. We hope that you will find this information helpful in your preparations for your trip to the
Symphony.
What to know when coming to the concert
• Prepare the students for what they will hear and see! Not only will your students be able to
experience the Grand Rapids Symphony, but this year we are pleased to also feature members
of 61Syx Teknique. 61Syx is a collective of dancers who believe in empowering the community
through the different styles of Street Dance. 61Syx uses HipHop’s “In the now – movement”
mentality to build character, confidence and individuality. The group believes in passing down the
legacy of Breakin’(breakdance).
• The concert will be 45 minutes long.
• Please use restrooms before you leave your school. Restroom space at the concert venue is
limited and we request that restrooms only be used in case of emergency.
• At the concert, adults should model appropriate concert behavior by listening quietly and not
distracting other people by grading papers, talking, or coming and going from the concert area.
Content Standards and Activities
It is the purpose of the Lollipops Concert to reinforce music classroom learning by presenting a story
involving music from the modern symphony orchestra for the students to see and hear,
thereby strengthening student learning and understanding for the following Arts Content Standards
and Benchmarks (Michigan Department of Education).
We have supplied multiple activities that include many content standards. These are found on the
following pages.
Using the Listening Maps
We have provided a listening map that represents the melodic content for each character in the
story. Recordings of the music will include the introduction, which demonstrates the music for each
character. Invite students to have a discussion about how the music for each character helps create
an aural picture of each character.
1. Once the students are familiar with the map for each character, invite students to create a story
board using the maps.
2. In the story, not all melodies are used in their entirety.
• Use the maps to talk about how the composer uses melodic fragments to tell the
story.Music GLCEs Suggested Ac?vi?es
All students will analyze, describe, and evaluate works of
ANALYZE—Standard 3:
art.
ART.M.III.(K) (1) (2).3 • Invite students to establish how “good” is qualified.
Describe the music performed and presented by • Invite students to explore if all people share the same
moving, drawing, or through other appropriate idea of “good”.
responses. • Develop an method for evalua2ng the concert they will
hear.
ART.M.III.(K) (1) (2).4 Introduce music vocab- Use the evalua2on tool to asses the concert. Chart/graph
ulary emphasizing opposites; i.e. fast and slow, their responses. Compare and contrast their results with oth-
loud and soD (K); melody, harmony, rhythm, tone er classes that may have a;ended the performance.
color/Imbre, form (1); Introduce music vocabulary
to describe the qualiIes of music of various styles Ac?vity: Aaer the concert, invite the students to share if they
(2). liked or disliked the performance, paying special a;en2on to
why they have that opinions.
ART.M.III.(K) (1) (2).6 Devise student-created
criteria for objecIve valuaIon of performances Guiding Ques?ons: Can we graph any common opinions,
and composiIons. characteris2cs, etc.? What does the graph show about our
musical preferences? Who else can we interview for their
ART.M.III.(K) (1) (2).7 IdenIfy and support preferences? (parents, office staff, siblings, other
personal reacIons to a musical selecIon. classrooms) How do these graphs differ from our classroom
graph?
Understand, analyze, and describe the arts in their historical,
ANALYZE IN CONTEXT—Standard 4:
social and cultural context.
• Before listening to the musical selec2ons for each charac-
ter in the story, invite students to first: describe what
each character looks like using words; second: invite stu-
dent to describe what they might expect the music for
each character to sound like.
ART.M.IV.(K) (1) (2).1 IdenIfy and describe
disInguishing characterisIcs of starkly con-
Ac?vity: Create a chart of the descrip2ve words that the stu-
trasIng styles.
dents chose for both the musical, and non-musical character-
is2cs of each character in the story. One by one, listen to
each musical selec2on and invite the students to graph how
their expecta2ons were supported/unsupported by the com-
poser’s music.
3Using Melody Maps
Just like we use maps to find our way around an unfamiliar city, musicians use their printed
music as a map to create the music the audience hears. Young listeners can create their
own map of the music to help direct their listening to elements of the music. Just remember a
few guidelines:
• The simpler the better
• Your map doesn’t have to represent every note, or every phrase. If your
class is familiar with a song that uses a verse-refrain form (like Jingle Bells),
consider making the map for the refrain only, or even just one phrase of the
refrain.
• Reinforce shapes and symbols that your students know, or create all new
shapes—whatever best represents the music to your students.
• The shapes do not have to be placed on the map to mirror the melodic con-
tour (such as putting symbols for high notes high on the page, and symbols
for low notes low on the page, etc.).
Here’s how to do it:
1. Invite students to discuss how different sounds could be represented by a shape or sym-
bol. For example, a series of short notes might look like this:
By making the dots start small and gradually get larger, students could also be representing
music that starts quietly and gets louder, or starts with a few instruments and adds more and
more.
2. Create a map (such as the one above) and invite students to use classroom instruments
or found objects to “play” how the map might sound.
3. Create a map to share with the students using a small portion of a well-known and familiar
song like Happy Birthday, or Mary Had a Little Lamb. Using an overhead projector, trace
the symbols and shapes on the map with the music. Provide the students with their own
copies of the map so that they can trace along, or encourage them to use their fingers and
trace in the air.
4. Using the same or a different song, create a melody map as a class, with students contrib-
uting what shapes should be used. Be sure to sing the song through a few times before
you start creating, then break the song up into small portions to be mapped.
Other Ideas:
• Use a keyboard that has different sounds pre-programmed and create sym-
bols for those sounds. String the symbols (and therefore sounds) together to
create a piece of music.
• Play music that you will be mapping and have students move to the music
first, so that their movements represent what they are hearing. Now create
your map.
3Activities for Use with Melody Maps
and Stick Puppets
Melody Maps—Activity 1:
Separate the characters melody maps from one another. Distribute to the class for discus-
sion of each character.
• Invite the students to list adjectives to describe what each character might sound
like. For example the bird is small, flies quickly, chirps short notes. The cat slinks,
and rubs up against things, etc.
• Play the musical excerpt for each of the characters. Invite students to evaluate
whether their image of each character matches what Prokofiev’s image of each
was. If it differs, invite students to list adjectives as to what Prokofiev’s image of the
characters was.
• Using the maps, invite students to follow along to the introductory music for each
character. Repeat as necessary to familiarize the students with each character and
their map.
Melody Maps—Activity 2:
Using the melody maps once more, invite students to arrange all the maps on their desk or
table.
• Play the music through once with students just listening.
• The second time through, invite students to follow the melody maps one more time.
As appropriate, invite the students to follow the maps for each character throughout
the story. The teacher may want to pause the recording to discuss where the mu-
sic diverges from the original theme.
Melody Maps—Activity 3:
Either individually or in small groups with one group per character—invite students to create a
new map. Maps can be drawn free-hand, created out of found objects, magazines, greeting
cards, pictures from the internet, etc.
• Invite the students to share their new maps.
• Invite students to demonstrate their maps with the music.
Stick Puppet Listening Activity:
Using the stick puppet images included in the packet. Distribute one of each to students and
have them assemble the image to a craft stick (or other).
• Play the music through once with students just listening.
• The second time through, invite students to hold up the appropriate stick puppet for
the music that is being played.
4Melody Maps for Peter and the Wolf
Following are examples of melody maps that can be used for Peter and the Wolf. There is a
map for the musical material that represents each character in the story. Read the maps from
left to right. Larger elements (like circles or rectangles) usually refer to longer notes. For the
Bird’s music, the feet that are grouped together in a square represent one note. The feet out-
side the square are two quick notes. In the music for the Cat, the pictures of the cats repre-
sent the longer notes.
Peter (played by the violins)
The Bird (played by the flute)
The Duck (played by the oboe)
5The Cat (played by the clarinet) The Grandfather (played by the bassoon) The Wolf (played by the French horns) The Hunters (played by the timpani) 6
The Characters in Peter and the Wolf
Duck
Cat
Bird
Peter Wolf
Hunter Grandfather
5This is a . It plays the music that we hear for 6
This is a .
It plays the music
that we hear for
7This is an . It plays the music that we hear for 8
This is a .
It plays the music
that we hear for
9This is a . It plays the music that we hear for 10
This is the .
It plays the music
that we hear for
11This is a Violin . It plays the music that we hear for 8
This is a Flute .
It plays the music
that we hear for
9This is an Oboe . It plays the music that we hear for 10
This is a Clarinet .
It plays the music
that we hear for
11This is a Bassoon . It plays the music that we hear for 12
This is the Timpani .
It plays the music
that we hear for
13Peter and the Wolf Matching
Draw a line from each character to the instrument in the orchestra that plays their theme
CAT FLUTE
PETER OBOE
WOLF CLARINET
BIRD
STRING SECTION
BASSOON
DUCK
FRENCH HORNS
GRANDFATHER
HUNTERS TIMPANI DRUMSPeter and the Wolf Matching - Answers
Draw a line from each character to the instrument in the orchestra that plays their theme
CAT FLUTE
PETER OBOE
WOLF CLARINET
BIRD
STRING SECTION
BASSOON
DUCK
FRENCH HORNS
GRANDFATHER
HUNTERS TIMPANI DRUMSAbout the Orchestra
GRAND RAPIDS SYMPHONY
The Grand Rapids Symphony was founded in 1929 by a volunteer group of community musicians.
In 1972, the Orchestra became fully professional, which means that everyone who rehearses and
performs with the orchestra is paid. The Grand Rapids Symphony has 50 musicians whose only job
is to play in the orchestra. The other 30+ musicians also teach private lessons, serve as professors at
one of the many local colleges and universities in the Grand Rapids area and some teach band and
orchestra students like yourselves in public and private schools in and around Grand Rapids.
The Grand Rapids Symphony is a source of pride for the community because it is nationally
recognized as being a top-ranked orchestra. Each year, the Grand Rapids Symphony spends over
$9 million giving concerts! We perform for more than 180,000 people each year and over 80,000 of
them are students, just like you!
ORCHESTRA MEMBERS
Most orchestra members start their musical careers by playing in their elementary school bands
or orchestras. Only a few musicians come from schools where there were no instrumental music
programs.
The Grand Rapids Symphony consists of string instruments (violins, violas, cellos, basses),
woodwind instruments (flute, oboe, clarinet, bassoon), brass instruments (French horn, trumpet,
trombone, tuba) and percussion instruments (timpani, drums, gongs, xylophone, marimba,
piano). Different pieces of music require different combinations of these instruments, so not all
of the musicians are needed for each piece. While you’re watching the concert, you will often
see musicians put their instruments down while they’re not playing. Some will even exit the stage
when they are not needed.
The people who sit in the first chair of each section are called
Principals. They are in charge of leading their sections, just like
the Principal at your school is in charge of leading your school.
The person who is the Principal first violinist has the additional
title of Concertmaster. The Concertmaster is responsible for
making sure that the orchestra tunes to a specific note given
by the Principal oboe at the beginning of each rehearsal and concert. He/she also makes sure
that all the members of the string section move their bows in the same direction—first violins all
together, second violins all together, violas, cellos and basses, too. The Concertmaster has to
hand write the bowing directions into the music, since it isn’t written in the music to begin with.About the Orchestra
THE MUSIC DIRECTOR
The Music Director is the artistic supervisor for all the orchestra’s
activities. Imagine...a team without a coach...an army without a
general...or a symphony orchestra without a Music Director! The
name of the Grand Rapids Symphony’s Music Director is Marcelo
Lehninger, and he is originally from Brazil. In addition to
conducting the orchestra for most of its rehearsals and concerts,
it’s his job to pick all of the music that the orchestra will be
playing and selecting who the guest soloist will be. He also likes
to go out into the community to tell people about the orchestra
and all the wonderful concerts it gives each year.
THE CONDUCTOR
The Conductor for the Lollipop Concerts is John Varineau. He is the Associate Conductor of the
Grand Rapids Symphony. Mr. Varineau has been the Associate Conductor since 1985 and also serves
as Music Director of the Grand Rapids Youth Symphony. In addition to conducting most of the
Symphony’s education performances, such as the Fifth Grade Concerts and Lollipop Concerts, Mr.
Varineau also conducts Pops Concerts and performances with the Grand Rapids Ballet.
The conductor has a very important job. He/she gives the
members of the orchestra many instructions, including when to
start, when to slow down or speed up, when to play loud or soft
and when to stop. The conductor is able to tell all of this to the
orchestra through their hand movements. In their right hand, the
conductor holds the baton and uses it to signal the beat. The
beat is the pulse of the music. Every piece of music has a beat.
You’ve probably clapped or tapped your toe to the beat of the
music on the radio. The conductor is doing the same thing with their baton.
The conductor uses a baton because it is easier for the orchestra to see than if they only used their
hand. The conductor uses their left hand to give all the other signals such as dynamics (loud and
soft) as well as cues (when to come in).Instruments of the Orchestra
Click on the
speaker to
next to each
instrument to
listen to it!
Instrument information from https://www.mydso.com/dso-kids/learn-and-listen/instruments
Violin: The violin is the soprano voice in the string family. It is held
under the chin, resting on the shoulder. The violin has a lovely tone
that can be soft and expressive or exciting and brilliant.
Viola: The viola is the alto voice in the string family. Like the violin, it
is held under the chin, resting on the shoulder. Unlike the violin, the
viola is slightly larger and is tuned five notes lower. It has a darker and
warmer tone quality than the violin, but is not as brilliant.
Cello: The violoncello or cello is the tenor voice in the string family.
While shaped like a violin, the cello is much larger and is held between
the player’s knees. Because it can produce beautiful sounds from its
lowest to its highest notes, it is a popular instrument.
Bass: The double bass, or string bass, is the largest and lowest
instrument of the string family. The double bass has sloping shoulders,
instead of rounded shoulders like the other string instruments. This
allows the player to have more room to move his or her arms, hands,
and fingers in front of the instrument. Because of its size, the player
stands or sits on a high stool to play the double bass.
Flute : Originally made of wood, the flute is now made from silver
or gold and is about 2 feet in length. It looks like a narrow tube with
a row of holes covered by keys along one side. The player blows air
across the small hole in the mouthpiece to produce a sound that can
be either soft and mellow or high and piercing. During the 5th grade
concert, you will also hear the alto flute, which produces a slightly
lower sound than the flute.
Piccolo: The piccolo is exactly like the flute except that it is much
smaller and is usually made of silver or wood. The pitch of the piccolo
is higher than that of a flute.Instruments of the Orchestra
Oboe: The oboe is similar to the clarinet in many ways. Both are made
from wood and have metal keys that can produce many notes rapidly.
Unlike the clarinet, the oboe does not have a mouthpiece, but has two
reeds tied together. By placing them between one’s lips and blowing
air through them, the reeds vibrate and produce a sound.
English Horn: The English horn is another double-reed instrument in
the woodwind family. Although much like the oboe, it is larger than the
oboe and its sound much lower.
Clarinet: Made from wood, the clarinet produces a fluid sound when
air is blown between a single reed and the mouthpiece. By pressing
metal keys with the fingers of both hands, the player has the ability to
play many different notes very quickly.
Bass Clarinet: The bass clarinet is a larger and lower sounding relative
of the clarinet. Like the clarinet, the bass clarinet is a single-reed
instrument and is made of wood.
Saxophone : Conically shaped, the saxophone is the only woodwind
instrument made of brass. Although it is found only occasionally in the
symphony orchestra, it is considered a member of the woodwind
family because it has a single reed like the clarinet.
Bassoon: The bassoon is a large double reed instrument with a
lower sound than the other woodwind instruments. Its double reed
is attached to a small curved tube called a bocal which fits into the
bassoon. When the player blows air between the reeds, the vibrating
column of air inside the instrument travels over nine feet to the bottom
of the instrument, then up to the top where the sound comes out.Instruments of the Orchestra
Contrabassoon: The contrabassoon is another double-reed instrument
in the woodwind family. Although much like the bassoon, it is larger
and its sound is much lower.
French Horn: The horn or French horn consists of about 12 feet of
narrow tubing wound into a circle. The player obtains different notes
on the horn with a clear mellow sound by pressing valves with the left
hand and by moving the right hand inside of the bell.
Trumpet: The trumpet is the highest sounding member of the brass
family. The brilliant tone of the trumpet travels through about 6 - ½
feet of tubing bent into an oblong shape. The player presses the three
valves in various combinations with the fingers of the right hand to
obtain various pitches.
Trombone: The mouthpiece of the trombone is larger than that of a
trumpet, and gives the instrument a more mellow sound. Instead of
valves, the trombone has a slide which changes the length of its
approximately 9 feet of tubing to reach different pitches.
Tuba: Made of about 16 feet of tubing, the tuba is the lowest
sounding member of the brass family. The tuba has three to five valves
and is held upright in the player’s lap.
Harpsichord: The harpsichord is an early relative of the piano.
Although it looks like a piano, it sounds much different. Small hooks
called quills pluck the strings when the player’s hand presses a key on
the keyboard.
Piano: Sound is produced on the piano when a player presses the
keys, which causes small hammers to strike the strings inside the
instrument. It is the vibrations of the piano’s strings which produces its
musical sound.Instruments of the Orchestra
Organ: When an organist presses the keys of an organ, air is allowed
to flow into corresponding pipes. The vibration of the air in the pipes
creates the sound of the organ.
Bass Drum: The composer Mozart added the deep, booming,
untuned sound of the bass drum to the orchestra in 1782. Constructed
like a snare drum, but without snares, the bass drum is much larger
and is played on its side, so that either head may be struck. The beater
or mallet for a bass drum is large with a soft material such as sheep’s
wool covering the end.
Cymbals: Made from two large, slightly concave brass plates, cymbals
are fitted with leather hand straps and are shaped so that when they
are crashed together, only the edges touch. Although cymbals are
untuned instruments, different sized cymbals produce a wide range
of sound effects. Some are so small that they are played with just the
fingers. Cymbals are also played by being struck with drumsticks or
mallets while suspended on a string or stand.
Snare Drum: The snare drum joined the orchestra nearly 200 years
ago. It has two calfskin or plastic drumheads stretched tightly over a
hollow metal frame. The top head is struck with wooden drumsticks,
and is called the batter-head. The bottom head, or snare-head has
catgut or metal wires, called snares, stretched tightly across it. When
this untuned drum is struck on the top head, the snares produce a
characteristic sharp rattling sound as they vibrate against the bottom
head.
Tambourine: The tambourine is a shallow, handheld drum made of a
circular wooden frame with a calfskin or plastic drumhead stretched
across the top. The tambourine has small discs called jingles set into
its circular frame which produce sound when the tambourine is shaken,
rubbed, or struck on the drum head with the knuckles. Early
tambourines were played by Turkish army musicians known as
“Janissaries.” Mozart first used the tambourine in his music in 1782.Instruments of the Orchestra
Timpani: Timpani, also called kettledrums, were the first drums to
be used in the orchestra over 300 years ago. They are constructed
of a large copper bowl with a drumhead made of calfskin or plastic
stretched across the top. When struck with felt-tipped wooden sticks,
or mallets, timpani produce a specific pitch that is determined by the
drum’s size. That pitch is fine-tuned by tightening the drumhead with
keys and foot pedals. Most orchestras use three or four timpani of
varying sizes.
Triangle: The triangle is made from a small round steel tube, and is
played by striking it with a steel beater. Its bright shimmering sound
is untuned and resembles that of a bell. The triangle first joined the
orchestra in the late 1700s.
Xylophone: First used in the orchestra just over a century ago, the
xylophone is a tuned instrument made of hardwood bars in graduated
lengths set horizontally on a metal frame. With the larger,
lower-sounding bars on the left, the notes of the xylophone are laid
out much like a piano keyboard. Striking the bars with hard mallets
produces a bright, sharp sound. The xylophone was originally
modeled after an African instrument and its name is Greek, meaning
“wood sound”.
Gong: Gongs (also known as Tam-tams) are large disc-shaped pieces
of brass that are hit with a large soft mallet. In China, gongs were used
to make announcements and send signals. In the orchestra, the gong’s
untuned sound can be a loud crash or a low rumble. Their size can
range from just a few inches to huge ones that are larger than a
person. The gong always adds drama whenever it is played.
Glockenspiel: Also called orchestra bells, the glockenspiel resembles
a small xylophone, but it is made of steel bars. The glockenspiel is
typically played with wooden or plastic mallets, producing a high
tuned sound that is bright and penetrating. The name glockenspiel
comes from the German language and means “to play the bells.”You can also read
