A Bohemian Rhapsody - Brott Music Festival
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Boris Brott, Artistic Director
National Academy Orchestra of Canada
TEACHER SUPPORT PACKAGE
A Bohemian Rhapsody
FirstOntario Concert Hall
1 Summers Ln, Hamilton
Wednesday, November 6, 2019
9:45 | 11:30
905-525-7664—INFO@BROTTMUSIC.COM
Sponsored by:
William and Heather Walker
Mr. Sam M. Cino
Support Package for A Bohemian Rhapsody Page | 1
Table of Contents
Welcome Educators 3
Program 4
Program Notes 5-9
Performance Hall Etiquette 10
About the Orchestra 11-18
String Family 11
Woodwind Family 13
Brass Family 15
Percussion Family 16-17
Map of the Orchestra 19
Classroom Activities
Musical Glossary and Listening Questions 20
Listening Log 221
Lesson Plans 22-33
Sing-along Lyrics 34
About the National Academy Orchestra 35
Boris Brott, conductor, NAO Orchestra 36
Our Artists 37-40
Additional Resources 41
Support Package for A Bohemian Rhapsody Page | 2
Welcome Educators
Dear Educator, Message from Boris Brott, conductor
The Brott Music Festival and the A concert to inspire and educate through the magic of music!
National Academy Orchestra are
We celebrate freedom of expression and fantasy. We will together explore wildly
delighted you have chosen one of
different musical voices from Queen to Rent composer, Jonathan Larson to Johan-
our programs to aid in the musical
nes Brahms.
education of your students. This
support package is to aid you in pre- The NAO will be augmented by young artists from the Glendale Program of the Arts
paring your students for this educa- and BR Xpression Choir. Ten year-old violinist, Emrick Revermann, winner of world-
tional and musical experience. wide competitions will wow us with one of the most brilliant pieces of the violin
repertoire. Join all our performers as members of our 2,000 voice choir and sing
You must be congratulated on taking
your hearts out!
an important step in the humanistic
development of your students. Ex- Sincerely,
ploring the arts is vital in the overall
education of a child. Independent
studies have shown that exposure to
music and arts encourage emotional
and intellectual development. Be Boris Brott
assured you are providing a vital Music Director,
experience to these students.
National Academy
We truly thank you! Orchestra
About this guide
As a support to your classroom work, we have created this guide to help introduce you to the program and content of the
performance. In it you will find:
→Program notes about the music you will hear at the concert
→Biographical information about the conductor, the performers and the National Academy Orchestra
→Classroom activities for you to share with your students
We hope this support package is helpful in preparing you for your concert experience. If you have any questions or comments
about the study guide or the performance please write to us at education@brottmusic.com.
See you soon!
Support Package for A Bohemian Rhapsody Page | 3
Program
A Bohemian Rhapsody
Concert Dates:
Wednesday, November 6, 2019
The National Academy Orchestra 9:45am – 10:45am
11:30am -12:30pm
Boris Brott, Conductor
Location:
Emrik Revermann, violin FirstOntario Concert Hall
BR XPression Choir 1 Summers Lane
David Tabone, Director Hamilton, ON
Students of the Glendale Program of the Arts
PROGRAM
Queen Bohemian Rhapsody
Traditional Happy Birthday
Smetana Ma Vlast: The Moldau
Brahms Hungarian Dance No. 5
Sarasate Zigeunerweisen
Smetana Dance of the Comedians
Rent Rent: Seasons of Love
Queen We are the Champions (Sing-along)
WATCH: YouTube Playlist of Program
Support Package for A Bohemian Rhapsody Page | 4
Program Notes Queen British rock band, Queen formed in 1971 and released their first album in 1973 and was one of the most popular groups of the 1970’s. The band has released 15 studio albums to date and is still touring with new two new mem- bers. Truly unique, their music has covered a variety of genres, from heavy metal to pop and musicians in different generations and music genres count Queen’s music as being an influence. Queen has also inspired both a Broad- way musical (We Will Rock You) and the 2018 film “Bohemian Rhapsody.” “Bohemian Rhapsody” Considered one of the greatest rock songs of all time, “Bohemian Rhapsody” was accompanied by a ground-breaking promotional video, which predated PBS Newshour—8 Things MTV by seven years. The song combines several musical styles and is quasi- You Didn’t Know About operatic in nature, with aria-like solos and excessive emotion. The meaning Bohemian Rhapsody of the song has been widely speculated. It could be about a Faustian deal with the devil or possibly pertaining to its author, Freddy Mercury’s personal issues. Officially, the band has said that it is about “relationships.” “We are the Champions” According to scientific research, “We are the Champions” is the catchiest song in the history of pop music, although it never hit #1 on the charts. It is a unifying and positive song that is often heard as an anthem for victory at sporting events. Although the lead vocal part is very demanding, the song is a perfect sing-along for a large crowd and was inspired by a rowdy audience at one of Queen’s concerts. Support Package for A Bohemian Rhapsody Page | 5
Program Notes
Johannes Brahms (1833-1897)
Pianist and composer, Johannes Brahms is considered one of the most important
composers of the Romantic era. At a young age, he made money playing the pi-
ano in rough inns in the dock area of Hamburg. His friend, violinist Joseph Joachim
introduced him to Robert Schumann, who praised Brahms’s compositions in the
periodical Neue Zeitschrift für Musik. This publication gave him a lot of publicity.
Brahms became close with Robert and his wife, Clara, even assisting her in house-
hold matters when Robert fell ill. At age 30, Brahms accepted the directorship of
the Vienna Singakademie and eventually moved to Vienna. He finished some of
his most significant works after this, including the German Requiem in 1868.
Brahms composed nearly every type of classical music, including chamber, piano
and four symphonies. He gave his final public performance in March 1897 died of cancer in April 1897.
WATCH: Classic FM’s Fast and Friendly Guide to Brahms
Hungarian Dance No. 5
Early in his career, Brahms accompanied Hungarian violinist and ref-
ugee, Edouard Reményi on a number of recitals. This was his first
exposure to the Roma folk music that served as inspiration for his
Hungarian Dances. Originally composed for piano four-hands, this
dance is one of a set of 21 dances. Many of these works were later
orchestrated and were very successful compositions for Brahms.
WATCH: Clarinet arrangement of Brahms Hungarian Dance No. 5
FUN FACT: Remenyi House of Music in Toronto was
established by a descendant of Edouard Remenyi
and is currently operated by the founder’s
grandson.
Support Package for A Bohemian Rhapsody Page | 6
Program Notes
Pablo de Sarasate (1844-1908)
Celebrated Spanish violin virtuoso and composer, Pablo de Sarasate began violin
studies at age 5, gave his first recital at age 8 and later studied at the Paris Conserva-
tory. He was gifted a Known for his flawless technique and perfect intonation, many
prominent composers of the time wrote pieces for him, including Lalo’s Symphonie
Espagnol and Saint-Saëns’ Introduction and Rondo Capriccioso. A world-famous vio-
lin virtuoso, he also composed showpieces for his own performances, including
Zigeunerweisen and the Carmen Fantasy, which are now considered standard reper-
toire for virtuosic violinists. In 1904, he recorded Zigeunerweisen and other pieces.
In 1908, he died at age 64 of bronchitis and his two Stradivarius violins were donated, one to the Paris Conservatory and the oth-
er to the Conservatory of Madrid.
FUN FACT: First published in Germany, Zigeunerweisen has always
been known by its German title, meaning “Gypsy Tunes.”
Zigeunerweisen (1878)
This composition for violin and orchestra is based on themes of the Roma people. The composition is in one movement with four
distinct sections and uses many different techniques of violin playing, including pizzicato with both hands, harmonics, and soft
muted passages.
Additional information and recordings available at Rhapsody in Words
Support Package for A Bohemian Rhapsody Page | 7
Program Notes
Bedřich Smetana (1824-1884)
Although Dvořák popularized Czech music, Smetana is known as the father of the Czech national
style of music, and was inspired by nationalism, realism and romanticism. Born in Habsburg-
ruled Bohemia, Smetana was the son of a brewer/amateur musician. He studied piano and violin
and gave his first public performance at age six. After finishing his schooling, he taught piano
lessons and began to compose his first major orchestral work. During a pro-democracy move-
ment in 1848, Smetana briefly participated in an uprising and joined A Citizens’ Army for which
he composed a series of patriotic works, but the Habsburgs crushed the uprising. He avoided
imprisonment and in that same year, he founded a Piano Institute in Prague and married his
childhood friend, Katerina. Though he previously held revolutionary sentiments, he became a
court pianist for former emperor Ferdinand. After a series of personal setbacks, he left Prague for Gothenburg in 1856. In 1859
the Habsburg empire was weakened and an enlightened atmosphere overtook Prague. Because of this better future for Czech
nationalism, Smetana returned to Prague and composed the opera, “The Brandenburgers in Bohemia,” which was a huge suc-
cess and began a canon of Czech opera where none previously existed. He became the conductor of the Provisional Theatre,
the home of Czech opera, and then its Artistic Director. After an infection led to complete deafness, he resigned this appoint-
ment, but continued to compose music, including his best known work, Má Vlast, which was first performed in its entirety in
1882. However, his health and mental state deteriorated over the following years and he died in 1884.
FUN FACT: Smetana was educated in German
WATCH: Dance of the
and was not proficient in the Czech language
until later in life. Comedians full scene
The Bartered Bride: “Dance of the Comedians”
“Dance of the Comedians” was added after revisions of Smetana’s comic opera, The Bartered Bride.” This dance takes place in
Act III when a circus troupe arrives in the village. The comedians run around trying to get people to come to the show by intro-
ducing the other performers: acrobats, clowns, a beautiful dancer and a dancing bear. The music is a Slavic skocna, a jump
dance in 2/4 meter.
Má Vlast: “The Moldau”
Vltava or The Moldau is the most popular symphonic poem from the suite, Má vlast (My
Country). Má Vlast is comprised of six self-standing symphonic poems that evoke
“musical pictures of Czech glories and defeats.” The music evokes the emergence of the
Moldau River as it begins in the mountain spring and combines to become a river. The
listener travels downstream with the river past hunters, a village wedding and into a
gorge with water nymphs. The music is dissonant as the river enters the St. John’s Rap-
ids and grand as it reaches Prague. After fading to a trickle, the piece ends with a loud
two-chord cadence.
WATCH: Google Doodle animation of the Moldau
Support Package for A Bohemian Rhapsody Page | 8
Program Notes
Rent
Written and composed by Johnathan Larson (1960-1996), Rent is a rock musical
loosely based on Puccini’s La Bohème and premiered on Broadway in 1996. It
closed in September 2008, making it one of the longest-running shows on Broad-
way. It has had numerous national tours and has been performed in 25 different
languages around the globe. Included among its awards are the Tony for Best Mu-
sical in 1996 as well as the Pulitzer Prize for Drama. Many of the characters and
plot elements are inspired by La Bohème, with updates for the 1990s, such as the
setting (New York) and the disease (HIV/AIDS instead of Tuberculosis). Like
Bohème, it tells the story of a group of impoverished artists struggling to survive in
a large city. They sing about living a Bohemian lifestyle in the song “La vie
Bohème,” which lists Bohemian ideals, such as hating convention and the need to
express and communicate.
FUN FACT: While she is now known for giving voice to Elsa in Disney’s Frozen,
Idina Menzel also played Maureen Johnson in the Original Broadway Cast of Rent.
“Seasons of Love”
Although much of the music from Rent is too explicit for radio-use, “Seasons of Love” became a successful pop song
outside of the show. The song is often performed at school holiday programs and graduations. In the musical, it be-
comes a unifying theme in the second act. The final iteration of the song happens in the background of a eulogy for
the character, Angel, so “Seasons of Love” is also sung to pay final respects to individuals. Most recently, it was per-
formed by the students of the drama department of Marjory Stoneman Douglas Highschool at the 2018 Tony
Awards. Overall, the song asks how to measure the value of a year in human life (five hundred twenty-five thou-
sand, six hundred minutes) and concludes that one must measure it in love.
WATCH: Seasons of Love
at the 2018 Tony
Awards
Support Package for A Bohemian Rhapsody Page | 9
Performance Hall Etiquette
As a teacher bringing your students to a performance at FirstOntario Concert Hall, please keep in mind that
you are responsible for the behaviour of your students. It is up to you to ensure that the students behave
in a respectful and attentive manner towards the performers on stage as well as all staff and fellow audi-
ence members. Use the guidelines below to brief your students about behaviour in the performance hall
before you attend your NAO performance.
• Performers on stage rely on the audience for the energy to perform: audiences need to be attentive, qui-
et and respectful in order to help create the magic of live performance.
• Performers can see and hear everything that you do, just as you can see and hear everything that they
do, so:
• Please save your snacks, drinks, candies and gum for another time ‐ the performance hall is no
place for eating and drinking.
• Please discuss what you like and dislike about a performance ‐ but definitely do it after you leave
the hall, not during the performance.
• It is important that you be comfortable in your seat in the hall ‐ but please don’t leave your seat
once the performance has started. It’s distracting to those on stage.
• Be sure to turn off cell phones, pagers and anything that beeps before you enter the hall.
• Musicians love to have their performance acknowledged by your applause, but remember to wait until
the whole piece is over. If you get confused about when a piece of music is finished, watch the perform-
ers on stage— you’ll be sure to know when the piece is over when the conductor turns and faces the au-
dience.
• Remember that there are a lot of people who work very hard to put on a performance: not just actors,
dancers and musicians, but administrators, front‐of‐house and technical staff. Everyone will have a differ-
ent opinion of what they see on stage, but consider that constructive criticism is always appreciated more
than purely negative criticism.
• Through out the performing arts we can explore other points of view, learn new and different things
about ourselves and about others. Everyone who views a performance will experience it in a different
way. It is important to respect this process of exploration in yourselves and those around you.
Have fun and enjoy!
WATCH: Classical MPR
explains concert Etiquette
Support Package for A Bohemian Rhapsody Page | 10About the Orchestra
What is an orchestra?
An orchestra is a group of musicians playing different musical instruments under the direction of a
conductor. It can be large or small, depending on the pieces that are performed.
Orchestras are comprised of instruments from four different families (also known as sections):
Strings, Woodwinds, Brass, and Percussion
The String Family
The four major instruments in the string family, the violin, the viola, the cello and the double bass, are built
the same way. The instruments are made of many pieces of wood which are glued - never nailed - together.
The body of the instrument is hollow, thus becoming a resonating box for the sound. Four strings
(sometimes five on the double-bass) made of animal gut, nylon, or steel are wrapped around pegs at one
end of the instrument and attached to a tailpiece at the other. They are stretched tightly across a bridge to
produce their assigned pitches.
Violin Viola
The violin is the soprano voice in the The viola is the alto voice in the
string family. It is held under the chin, string family. Like the violin, it is
resting on the shoulder. The violin has held under the chin, resting on the
a lovely tone that can be soft and shoulder. Unlike the violin, the
viola is slightly larger and is tuned
expressive or exciting and brilliant.
five notes lower. It has a darker
and warmer tone quality than the
violin, but is not as brilliant.
Cello Double Bass
The violoncello or cello is the tenor The double bass, or string bass is the
voice in the string family. While shaped largest and lowest instrument of the
like a violin, the cello is much larger string family. The double bass has
and is held between the player’s knees. rounded shoulders instead of square
Because it can produce beautiful shoulders like the other string
sounds from its lowest to its highest instruments. Because of its size, the
notes, it is a popular instrument. player stands or sits on a high stool
to play it.
Support Package for A Bohemian Rhapsody Page | 11String Section Meme Support Package for A Bohemian Rhapsody Page | 12
About the Orchestra
The Woodwind Family
The three branches of the woodwind family have different sources of sound. Vibrations
begin when air is blown across the top of an instrument, across a single reed, or across two
reeds. Reeds are small pieces of cane. A single reed is clamped to a mouthpiece at the top
of the instrument and vibrates against the mouthpiece when air is blown between the reed
and the mouthpiece. Two reeds tied together are commonly known as a double reed. This
double reed fits into a tube at the top of the instrument and vibrates when air is forced
between the two reeds.
Flute Clarinet
Originally made of wood, the flute Made from wood, the clarinet
is now made from silver or gold produces a fluid sound when air
and is about 2 feet in length. It is blown between a single reed
looks like a narrow tube with a row and the mouthpiece. By pressing
of holes covered by keys along one metal keys with the fingers of
side. The player blows air across both hands, the player has the
the small hole in the mouthpiece to ability to play many different
produce a sound that can be either notes very quickly.
Oboe Bassoon
The oboe is similar to the clarinet The bassoon is a large double reed
in many ways. Both are made instrument with a lower sound than
from wood and have metal keys the other woodwind instruments. Its
that can produce many notes rap- double reed is attached to a small
idly. Unlike the clarinet, the oboe curved tube called a bocal which fits
does not have a mouthpiece, but into the bassoon. When the player
has two reeds tied together. By blows air between the reeds, the vi-
placing them between one's lips brating column of air inside the instru-
and blowing air through them, ment travels over nine feet to the
Support Package for A Bohemian Rhapsody Page | 13Woodwind and Brass Memes
FACT:
All Woodwind
instruments except
the flute and
piccolo use reeds
to make sound.
Although it is not a woodwind,
the French Horn is a part of the
traditional woodwind quintet.
Woodwind quintet: Flute, Clarinet,
Oboe, Bassoon, French Horn
Support Package for A Bohemian Rhapsody Page | 14About the Orchestra
The Brass Family
Brass family instruments produce their unique sound by the player buzzing his/her lips
while blowing air through a cup or funnel shaped mouthpiece. To produce higher or lower
pitches, the player adjusts the opening between his/her lips. The brass family can trace its
ancestry back to herald French horns, hunting horns, and military bugles.
The main instruments of the brass family include the trumpet, trombone, French horn, and
tuba. A brass instrument with shorter tubes will produce a higher sound than one with
longer tubes.
French Horn Trumpet
The horn or French horn con-
The trumpet is the highest sound-
sists of about 12 feet of nar-
ing member of the brass family.
row tubing wound into a circle.
The brilliant tone of the trumpet
The player obtains different
travels through about 6 ½ feet of
notes on the horn with a clear
tubing bent into an oblong shape.
mellow sound by pressing The player presses the three valves
valves with the left hand and in various combinations with the
by moving the right hand in- fingers of the right hand to obtain
side of the bell. various pitches.
Trombone Tuba
The mouthpiece of the trombone is larger than that of Made of about 16 feet
a trumpet, and gives the instrument a more mellow of tubing, the tuba is
sound. Instead of valves, the trombone has a slide the lowest sounding
which changes the length of its approximately 9 feet of member of the brass
tubing to reach different pitches. family. The tuba has
four to five valves and
is held upright in the
player’s lap.
Support Package for A Bohemian Rhapsody Page | 15About the Orchestra
The Percussion Family
With a name that means, "the hitting of one body against another," instruments in the
percussion family are played by being struck, shaken, or scraped. In the orchestra, the
percussion section provides a variety of rhythms, textures and tone colors. Percussion
instruments are classified as tuned or un-tuned. Tuned instruments play specific pitches or
notes, just like the woodwind, brass and string instruments. Un-tuned instruments produce
a sound with an indefinite pitch, like the sound of a hand knocking on a door. The
percussion instruments are an international family, with ancestors from the Middle East,
Asia, Africa, the Americas and Europe representing musical styles from many different
cultures.
Bass Drum Chimes
Chimes are a tuned instrument con-
The composer Mozart added the
deep, booming, un-tuned sound sisting of a set of 12 to 18 metal tubes
of the bass drum to the orches- hung from a metal frame. The metal
tra in 1782. Constructed like a tubes range from 1 to 2 ½ inches in di-
snare drum, but without snares, ameter and from 4 to 6 feet in length.
the bass drum is much larger
The chimes, or tubular bells, are struck
and is played on its side, so that
either head may be struck. The with a mallet and sound like church
beater or mallet for a bass drum bells when played. The longer the
is large with a soft material such length of tube that is struck the lower
as sheep's wool covering the end. the pitch that is created.
Cymbals The Triangle
Made from two large, slightly concave brass plates, The triangle is made from a small
cymbals are fitted with leather hand straps and are round steel tube, and is played by
shaped so that when they are crashed together, striking it with a steel beater. Its
only the edges touch. Although cymbals are un- bright shimmering sound is un-tuned
tuned instruments, different sized cymbals produce and resembles that of a bell. The
a wide range of sound effects. Some are so small triangle first joined the orchestra in
that they are played with just the fingers. Cymbals the late 1700s.
are also played by being struck with drumsticks or
mallets while suspended on a string or stand.
Support Package for A Bohemian Rhapsody Page | 16About the Orchestra
The Percussion Family continued ...
Gongs are large disc-shaped piec- The tambourine is a shal-
es of brass that are hit with a low, handheld drum made
large soft mallet. In China, gongs of a circular wooden frame
were used to make announce- with a calfskin or plastic
ments and send signals. In the drumhead stretched across the top. The tambou-
orchestra, the gong's un-tuned sound can be a loud rine has small discs called jingles set into its circular
crash or a low rumble. Their size can range from just a frame which produce sound when the tambourine
few inches to huge ones that are larger than a person. is shaken, rubbed, or struck on the drum head with
The gong always adds drama whenever it is played. the knuckles.
Timpani were the first drums to The snare drum has two calfskin
be used in the orchestra over 300 or plastic drumheads stretched
years ago. They are constructed of a tightly over a hollow metal frame.
large copper bowl with a drumhead The top head is struck with wood-
made of calfskin or plastic stretched en drumsticks and is called the
across the top. When struck with felt batter-head. The bottom head, or
-tipped wooden sticks, or mallets, snare-head, has catgut or metal
timpani produce a specific pitch that is determined by wires called snares stretched tightly across it. When
the drum's size. That pitch is fine-tuned by tightening the this un-tuned drum is struck on the top head, the
drumhead with keys and foot pedals. Most orchestras snares produce a characteristic sharp rattling sound
use three or four timpani of varying sizes. as they vibrate against the bottom head.
The xylophone is a
Also called orchestra bells,
tuned instrument made
the glockenspiel resembles a
of hardwood bars in
small xylophone, but it is
graduated lengths set
made of steel bars. The
horizontally on a metal
glockenspiel is typically
frame. With the larger,
played with wooden or plas-
lower-sounding bars on
tic mallets, producing a high
the left, the notes of the xylophone are laid out much
tuned sound that is bright
like a piano keyboard. Striking the bars with hard mal-
and penetrating.
lets produces a bright, sharp sound.
Support Package for A Bohemian Rhapsody Page | 17Percussion Memes
FUN FACT: Though the kettle is hollow, using a timpani to store a
pizza (or anything else) would adversely the instrument’s sound.
WATCH: How Timpani are Made
Support Package for A Bohemian Rhapsody Page | 18About the Orchestra
Map of the Orchestra
Below is a diagram showing you where all the instruments of the orchestra sit.
See if you can spot these instruments in the concert.
Visit the Dallas Symphony Orchestra website to hear sample
sounds of each instrument!
Play Explore the Orchestra at Classics for Kids
Support Package for A Bohemian Rhapsody Page | 19Musical Glossary and Listening Questions
Beat – the regular pulse of music. Meter/Time Signature – Measure of time; the
Q: Is there a strong pulse (like walking), or little grouping of beats into regular patterns; 2/4, 3/4,
sense of a beat, (like floating)? Is the speed 4/4, 6/8 are most common.
(tempo): fast (allegro), medium (moderato), or Q: Listen for the strong beat, then find the group-
slow (adagio)? ing of beats in 2s, 3s 4s. Try conducting in 2 (down/
up) or 3 (triangle) to feel duple or triple time.
Dynamics – The loudness and softness of a composi-
tion. The music terms (and symbols) are: Rhythm – The subdivision of a space of time into a
pianissimo (pp) – very soft defined, repeated pattern; the controlled movement
piano (p) – soft of music in time.
mezzo piano (mp) - medium soft Q: Are the sound patterns simple, or complex? Are
mezzo forte (mf) – medium loud they fast patterns (like eighth notes) or long notes
forte (f) – loud (like whole notes)? Is the rhythm jazzy and synco-
fortissimo (ff) – very loud pated (on the off‐beat)?
Q: How dramatic is the music? Are there loud and
soft sections? Texture – describes the density of sound; how many
voices, their configuration and how they interact:
Form – The structure of a composition which is one sound (thin), or two sounds layered, or many
based on repetition, contrast and variation. sounds layered, performed simultaneously (thick).
Examples: Binary (ABA), Sonata-allegro, Theme and Polyphonic music has many layers, sometimes
Variations, Rondo starting at different times, like singing the round,
Q: Is the music in a recognizable form? Which form Frère Jacques.
fits best? Q: Describe the texture of the music—thin or thick?
Harmony – The combination of notes sounded sim- Timbre – The quality of a sound; the component of
ultaneously to produce chords or countermelodic a tone that causes different instruments to sound
notes to accompany a tune. different from each other.
Q: Are the combined sounds modern, jazzy, more Q: Can you identify what is making the music: voice
traditional? (male/female, adult/child), woodwinds, brass,
strings, or percussion?
Melody – A tune; a succession of tones comprised of
rhythm and pitches arranged to achieve musical
shape. Where harmony is present, the melody is
the dominant tune.
Q: Is the tune memorable? Does it have leaping
from high to low (disjunct) or notes moving in close
steps (conjunct)? Is the playing smooth (legato) or
detached playing, like hot potato (staccato)?
Support Package for A Bohemian Rhapsody Page | 20Listening Log
Use the Listening Log to teach students to listen for details and to learn music vocabulary. Keep listening
samples short and intriguing to start. Select music you love from your own collection or from the library.
Use music illustrating contrasting moods, styles of music, historical periods of music, and cultural back-
grounds. When the students realize that there is interest in and respect for music of many time periods
and a wide variety of cultures, this will encourage students to appreciate different tastes, show toler-
ance and respect, and be proud of their cultural background. Ask each student to take a turn being re-
sponsible for the “listening selection of the day”, encouraging them to bring music from home that is
appropriate for school and that others might not have heard before… to “stretch” the ears of their class-
mates. Make a music certificate for “most original and interesting selection of the week”. Ensure that all
selections are listened to carefully and with respect.
Listening Log
Name: ____________________________ Date:___________________________
Circle the best answer
1. Describe the beat: Steady Changing Hard to find
2. The time signature is: Duple (Groups of 2) Triple (Groups of 3)
1 2, 1 2 or 1 2 3 4, 1 2 3 4 1 2 3, 1 2 3 or 1 2 3 4 5 6, 1 2 3 4 5 6
3. What is the tempo (speed)? Allegro (fast) Moderato (medium) Adagio (slow)
4. Does the tempo change? Accelerando (speeds up) Ritardando (slows down)
5. Which dynamic levels are used? Forte (loud) Mezzo-forte (medium) Piano (soft)
6. Which elements are featured? Strong Memorable Interesting
Rhythm Melody Harmony
7. What timbres are featured?
Instruments strings brass woodwinds percussion electronic
Voices child woman man solo duet choir
8. What is the mood of the piece? In your imagination, what is happening when you hear this music?
Support Package for A Bohemian Rhapsody Page | 21Lesson Plan No. 1
Course Unit: A Bohemian Rhapsody
Lesson 1: Time Periods in Western Classical Music
Main Objective: Students will identify different musical periods in western classical music and elements
of music that are characteristic of each period
Learning Goals Music Curriculum Expectation
Overall
C2. Reflecting, Responding, and Analysing: apply the critical analysis
process to communicate their feelings, ideas, and understandings in
response to a variety of music and musical experiences;
C3. Exploring Forms and Cultural Contexts: demonstrate an under-
standing of a variety of musical genres and styles from the past and
present, and their social and/or community contexts.
Specific
C2.1 Students can discuss their likes, dislikes, and C2.1 express detailed personal responses to musical performances
overall descriptions of classical music from various in a variety of ways
eras C2.2 identify the elements of music in the music they perform, lis-
C2.2 Students can identify the elements of music in ten to, and create, and describe how they are used
pieces they listen to from different time periods C3.2 see curriculum for grade-specific expectations
C3.2 Students can distinguish and identify music for
different historical periods
Materials:
Computer or other technology with speakers to play selections
Different musical periods worksheets
Introduction:
5 What do you think of when you imagine classical music? (may say “boring,” but there are lots of different styles
minutes of classical music!)
Classical music is quite varied, but pieces written in each period tend to have some shared characteristics. Certain
features come in or out of style just like how painters use similar style of artwork or architectural features can
identify the time period in which a building was designed. We are also going to explore some language to more
precisely describe what we are hearing.
Core Learning:
20 Hand out worksheets. Use Classics for Kids for musical selections or use CDs on hand.
minutes
Choose at least one selection from each time period of baroque, classical, romantic, impressionistic, and modern.
For each excerpt, ask students to note their overall impression of the music as an initial response and then to
analyze specific elements of music used. Use the list of supplied descriptors or older students may provide their
own terms from their previous education.
Support Package for A Bohemian Rhapsody Page | 22Lesson Consolidation:
25 Ask students to share their answers. Did they choose similar descriptors? Do some of the descriptors apply to mul-
minutes tiple eras?
Below is a summary of the characteristics of each period, but there are many other aspects that students may have
noted.
Baroque (1600-1750): Highly ornamented and elaborate. Rhythm drives forward and harpsichord continuo is often
present. Abrupt changes in dynamics, often achieved by adding or removing instruments. A single movement of
music usually conveys only one mood.
Classical (1750-1825): Pieces are orderly, balanced, and organized into clear structures. Musical phrases are short
and clearly defined. Rhythm is regular, and the harmonies often predictable.
Romantic (1825-1900): Music from this era is often programmatic, telling a story. The orchestra is larger and highly
expressive with more varieties in tone colour and instrumentation. Form is less rigid and phrases less distinct than
in earlier periods. Changes in tempo, time signatures, and key within a given movement demonstrate changing
expressions of feeling.
Impressionistic (late 19th c.-early 20th c.): This music might sound fuzzy to the ear as harmonies and rhythmic beats
are blended. Delicate instrumentation and tones suggest a scene, rather than painting each detail.
Modern (1900-?): Contemporary composers experiment with less lyrical melodies, dissonant harmonies, complex
rhythms, novel approaches to sound production, and incorporating technology.
Play a new set of excerpts and have students assign each one to a time period. Younger students could discuss in
groups after each example. Which key elements led to their choices?
Extension:
Does current popular music share any characteristics with the time periods studied today? Use the given de-
scriptors. What’s different?
What period of music do you like the sound of best? Why? How could you recreate a piece to sound like it came
from that time?
Success Criteria:
Check student worksheet for understanding.
Support Package for A Bohemian Rhapsody Page | 23Descriptors Elements of Music
Angular Fast
Angry Slow
Dramatic Steady beat
Driving Changing beat
Elaborate Time signature
Epic
Floating Stepping Melody (conjunct)
Happy Leaping Melody (disjunct)
Jagged
Ornamental Loud
Peaceful Soft
Sad Changing dynamics
Sweet
Smooth Form (recognizable sections)
Sweeping
Timbre – identify the instruments
Pitch
Support Package for A Bohemian Rhapsody Page | 24Time Period Worksheet
Name ____________________________ Date: ____________________________
Time Period Description Elements of Music
Baroque
(1600-1750)
Classical
(1750-1825)
Romantic
(1825-1900)
Impressionistic
(late 19th c. – early 20th c.)
Contemporary
(1900-current)
Time Period Identifying Features
1.
2.
3.
Support Package for A Bohemian Rhapsody Page | 25Lesson Plan No. 2
Course Unit: A Bohemian Rhapsody
Lesson 2: Musical Evolution
Main Objective: To use the critical analysis process to develop and express an informed point of view regarding a piece of classi-
cal music
Learning Goals Music Curriculum Expectation
Overall
C2. Reflecting, Responding, and Analyzing: apply the critical anal-
ysis process (see pages 23–28) to
communicate their feelings, ideas, and understandings in re-
sponse to a variety of music and musical
experiences;
C3. Exploring Forms and Cultural Contexts: demonstrate an un-
derstanding of a variety of musical genres and styles from the
past and present, and their social and/or community contexts.
Specific
C2.1 Students will use personal and musical terminol- C2.1 express detailed personal responses to musical performanc-
ogy to describe their reaction to a piece of music es in a variety of ways
C2.2 Students will identify and describe the elements C2.2 identify the elements of music in the music they perform,
of music in a specific piece listen to, and create, and describe how they are used
Materials:
Technology with internet access and speakers or music CD
Critical Analysis Process Diagram
Black/whiteboard, smartboard, overhead, or chart paper
Introduction:
10 Play the piece to be studied today (only audio or also video, as preferred). Beethoven’s 5th symphony, 1st mvt.
minutes is recommended (Beethoven 5 - Line Rider)
Record students’ initial reactions in a visible location.
• What is your first impression?
• What does this work bring to mind?
• What do you feel? What emotions does this work evoke?
Today we are going to look at reasons why people might write songs that sound angry, or happy, or terrifying,
etc.
Support Package for A Bohemian Rhapsody Page | 26Core Learning:
20 Using the critical analysis process, analyze one of the pieces from the concert and demonstrate how this process
minutes helps students to express an informed point of view. With class input, model how to go through and fill in each sec-
tion with personal ideas and researched information. Refer to the Critical Analysis Process Diagram as you go.
You may choose to divide the class in half and have two “teams” volunteer answers. The guiding questions below
can be used to generate discussion.
Describing Reactions:
• What grabs your attention in the work?
• What stands out for you? What do you notice (e.g., elements)?
• What “qualities” or description words do you hear or see in this work?
Analysis and Interpretation: You may choose to focus students on particular elements based on grade level and
what has been studied in recent classes
• How are the elements of music used in this work? (duration, pitch, dynamics and expressive controls, timbre, tex-
ture, harmony, form)
• Which instruments are prominent? Why would the composer make this choice?
• In your opinion, what is the composer’s view of the world?
• What do you think the artist worked particularly hard at while he or she created
this work? What might have been easy?
Consideration of Cultural Context: This stage will require research using web searches or library.
• Who wrote this piece? When? Where? Is there something about the composer that we should know to under-
stand the meaning of the piece? Are there any major events that might have influenced the composition?
• Was this piece written for a specific audience? Who were they?
• What did audiences and critics think of the work when it was premiered?
Lesson Consolidation:
10 Expression of an Informed Port of View: Students use information from all areas to establish a refined point of view
minutes • How did the composer effectively use the elements of music in this piece?
• Have your thoughts or feelings about the work changed since your first impressions? In what way? Are you now
able to explain your initial reaction more precisely?
• Is this an important work? Why?
How was the critical analysis process useful? How did going through the process give you insight into the piece?
Extension:
• How might the piece be understood differently by another audience in the same time period or by a modern audi-
ence?
Further Consideration:
Success Criteria:
Students reported information for each of the critical analysis process segments.
Support Package for A Bohemian Rhapsody Page | 27Critical Analysis Process Support Package for A Bohemian Rhapsody Page | 28
Lesson Plan No. 3
Course Unit: A Bohemian Rhapsody
Lesson 3: Group Research Project
Main Objective: To identify, reflect on, and discuss the styles of music and sociohistorical context of the pieces from the Brott
Education Concert
Learning Goals Music Curriculum Expectation
Overall
C2. Reflecting, Responding, and Analysing: apply the critical analysis
process (see pages 23–28) to
communicate their feelings, ideas, and understandings in response
to a variety of music and musical
experiences;
C3. Exploring Forms and Cultural Contexts: demonstrate an under-
standing of a variety of musical genres and styles from the past and
present, and their social and/or community contexts.
Specific
C2.1 Students will use personal and musical terminol- C2.1 express detailed personal responses to musical performances
ogy to describe their reaction to a piece of music in a variety of ways
C2.2 Students will identify and describe the elements C2.2 identify the elements of music in the music they perform, lis-
of music in a specific piece ten to, and create, and describe how they are used
C3.1 Students will identify key social movements and C3.1 identify and describe some of the key influences of music
the interconnectedness of musical evolution and so- within contemporary culture
cial reform C3.2 see curriculum for grade-specific expectations
C3.2 Students will compare aspects of music from
different cultural periods
Materials:
Technology with internet access and speakers or music CD
Access to library or technology for research
Introduction:
10 Today we are going to listen to some of the pieces that we will hear at the Brott Education Concert. After de-
minutes scribing our initial response to the piece, we are going to think about:
What was happening in music at the time?
What was happening in society at the time?
How are these trends reflected in this piece?
Review critical analysis process from Lesson 2.
Support Package for A Bohemian Rhapsody Page | 29Lesson Plan No. 1
Core Learning:
30 Divide students into small groups and assign each a piece of music from the upcoming Brott Education Concert (not all
minutes pieces must be covered). Instruct each group to use the critical analysis process to direct their thought, discussion and
research. For longer selections, the first few minutes should suffice.
Below are internet links to listen to each piece (or chose other pieces for which recordings are readily available):
Brahms: Hungarian Dance No. 5
Sarasate: Zigeunerweisen
Smetana: Ma Vlast: Vltava “The Moldau”
Smetana: Dance of the Comedians
Rent: Seasons of Love
Dvorak: Slavonic Dance No. 2
Bob Dylan: Like A Rolling Stone
Steppenwolf: Born to be Wild
Queen: We are the Champions
Queen: Bohemian Rhapsody
Lesson Consolidation:
20 Each group will present their most interesting findings to the class. Were they surprised by anything they discovered?
minutes
How have these pieces influenced and been influenced by the culture of their time and location, or other pieces or
genres of music?
Map out a timeline of the composition of these pieces to explore the evolution of classical and popular music. Note
similarities in developments.
Extension:
What music is attached to a current cultural revolution?
Musically, what is reflecting existing traditions vs. developing?
Prediction: what is the next musical revolution in popular or classical music?
Further Consideration:
Success Criteria:
After researching one piece from the Brott Education concert, students can identify and discuss the time period, culture, and
place in which it was composed. Students can reflect on how musical styles are influenced by earlier and contemporary music
and culture.
Support Package for A Bohemian Rhapsody Page | 30Lesson Plan No. 4
Course Unit: A Bohemian Rhapsody
Lesson 4: Music Remix
Main Objective: Investigate how elements of music from different genres or eras can be combined.
Learning Goals Music Curriculum Expectation
Overall
C1. Creating and Performing: apply the creative process (see pages 19
–22) to create and perform music for a variety of purposes, using the
elements and techniques of music;
C2. Reflecting, Responding, and Analysing: apply the critical analysis
process (see pages 23–28) to
communicate their feelings, ideas, and understandings in response to
a variety of music and musical
experiences;
C3. Exploring Forms and Cultural Contexts: demonstrate an under-
standing of a variety of musical genres
and styles from the past and present, and their social and/or commu-
nity contexts.
Specific
C1.1 Students can perform with either their voice or C1.1 sing and/or play, in tune, from musical notation, unison and two-
instrument alongside their composed beat part music with accompaniments, from a wide variety of cultures,
C1.3 Arrange additional rhythmic elements to suit an styles, and historical periods
existing piece C1.3 create musical compositions for specific purposes and audiences
C2.1 Students will describe their impression of adding C2.1 express detailed personal responses to musical performances in a
modern beats to an existing piece of music variety of ways
C2.3 Students can demonstrate and self-evaluate their C2.3 identify and give examples of their strengths and areas for growth
skills as performers, creators, and audience members. as musical performers, creators, interpreters, and audience members
C3.1 Students can examine the effect of mixing genres C3.1 Identify and describe some of the key influences of music within
contemporary culture
Materials:
Student instrument, voice, or recorded music
Access to student sheet music, if desired
Support Package for A Bohemian Rhapsody Page | 31Introduction:
10 Sometimes evolution in music comes from borrowing elements from across different styles e.g. disco from funk,
minutes salsa and soul. jazz takes elements from blues, ragtime, brass band music, spirituals, and work songs.
Here is an example of a traditional instrumentalist mixing in contemporary beatboxing elements (Beatbox Tuba—
Dr. Richard White)
All sorts of body percussion can be used to create rhythmic elements (Body Percussion).
Walk off the Earth covers songs using household items for the rhythmic elements (Hello—Walk off the Earth)
Students will examine their own lives in group discussion and see if they personally encounter music which is a mix-
ture of genres or time periods.
Core Learning:
30 Choose any appropriate song or piece of music with a regular 4/4 meter. Divide the class in two groups. One group
minutes claps on 1 and 3, the other on 2 and 4. Add the beat to the song. Experiment with the different “feels” of having
each group louder than another. Rock tends to emphasize beat 3, whereas jazz feel is stronger on 2 and 4.
Optional: Beatboxing is a technique where the voice is used to emulate the sound of percussion. Use CBC Kids to
learn how to beatbox or have a student who has this skill already developed demonstrate. One simple variation is
simply to say “boots ‘n’ cats ‘n’ boots ‘n’ cats ‘n’…”
Students will work in small groups to create a live performance or recording (depending on resources available) add-
ing a beat, beatboxing or electronic drums to an existing piece of music. Have a subsection of each group play or
sing a song they know play a recording, depending on resources available.
Lesson Consolidation:
20 Invite student groups to share their performance with the class.
minutes
Have class demonstrate good performance hall etiquette (most rowdy to silence):
How do we show appreciation at a football game?
How do we show appreciation at a rock concert?
How do we show appreciation at a classical concert?
How do we show appreciation in a monastery?
Students fill out Music Remix Exit Card. Do the students prefer the original version or their remix? Does the feel of
the piece change? Which types of music fit well with a new beat?
Extension:
What sort of genre might evolve from the combinations made today?
What other additions could be made to existing music to change the mood or expression?
Further Consideration:
Success Criteria:
Each student can fill out an exit card reflecting on his or her experience.
Support Package for A Bohemian Rhapsody Page | 32Music Remix Exit Card
Name: _________________________ Date:__________________________
Music Remix Exit Card
1. What was your role in creating the musical remix?
2. What changes did you have to make to the original piece to combine it with the new
beat?
3. How did your remix effect the mood of the song? Which version do you like better?
4. What did you do well as an audience member?
5. What could you improve as an audience member?
Support Package for A Bohemian Rhapsody Page | 33Sing with the NAO
"We Are The Champions" I've taken my bows,
And my curtain calls.
I've paid my dues You brought me fame and fortune, and everything
Time after time. that goes with it.
I've done my sentence I thank you all.
But committed no crime.
But it's been no bed of roses,
And bad mistakes‒ No pleasure cruise.
I've made a few. I consider it a challenge before the whole human
I've had my share of sand kicked in my face race,
But I've come through. And I ain't gonna lose.
And I need just go on and on, and on, and on.
And I need to go on and on, and on, and on.
We are the champions, my friends.
We are the champions, my friends. And we'll keep on fighting 'til the end.
And we'll keep on fighting 'til the end. We are the champions.
We are the champions. We are the champions.
We are the champions. No time for losers
No time for losers 'Cause we are the champions of the world. (repeat )
'Cause we are the champions of the world.
WATCH: Lyrics video available on YouTube
Support Package for A Bohemian Rhapsody Page | 34About the NAO The National Academy Orchestra of Canada provides an extraordinary opportunity for emerging young Canadian pro- fessional musicians to work as apprentices alongside established professionals from some of Canada's finest orches- tras. The NAO just celebrated its 31st Anniversary Season in 2019. The National Academy Orchestra of Canada was founded in 1989 by conductor Boris Brott and is primarily based in Hamilton, Ontario. It is recognized as a Canadian National School for professional training, and each winter over 450 potential applicants from across Canada audition for a position in the orchestra. Since its inception, the NAO has been the orchestra-in-residence for the acclaimed Brott Music Festival, Canada's largest orchestral music festival. Each sea- son features guest concertmasters and mentors from across the country, guest conductors, and internationally- renowned soloists, with performance opportunities ranging from full orchestra to opera to chamber music. Performances are not the only aspect of the NAO's activities: students also take part in mock auditions, seminars, lectures, performance classes, repertoire reading sessions, and masterclasses with guest soloists and mentors. The sea- son begins with an intense chamber music session where weekly concerts are coached and prepared by some of Cana- da's finest pedagogues. The NAO places particular emphasis on entrepreneurial skills and practical topics through the seminars, focusing on issues that affect the everyday life of the professional orchestral musician. The NAO also incorpo- rates a real-to-life rehearsal and performance schedule as part of its training program, producing over 30 performances each spring and summer. The National Academy Orchestra of Canada is Canada's only professional training orchestra, and one of the few of its unique concept in the world. Graduates from the NAO hold, or have held, positions with virtually every major orchestra across Canada and orchestras across North America and around the world. Support Package for A Bohemian Rhapsody Page | 35
About Boris Brott Boris Brott is one of the most internationally recognized Canadian conductors, holding major posts as Music Director and Principal Guest Conductor in Canada, Europe and the United States. He enjoys an in- ternational career as guest conductor, educator, motivational speaker and cultural ambassador. Currently, Mr. Brott is Artistic Director of the Orchestre Classique de Montreal. Maestro Brott is Artistic Director of the Brott Music Festival, which was established in 1988 as Ontario’s principal classical music festival and is home to the National Academy Orchestra of Canada, Canada’s unique professional training Orchestra. Internationally, Mr. Brott has served as Assistant Conductor to the New York Philharmonic under Leonard Bernstein, and as Music Director and Conductor of the Royal ballet, Covent Garden (two years), Northern Sinfonia (five years) and the BBC Welsh Symphony (seven years). In June 2000, Mr. Brott conducted Leonard Bernstein’s Mass for Pope John Paul II at the Vatican as part of Jubilee 2000. In May 2014 he conducted a concert at the Vatican for Pope Francis, celebrating the 97th birthday of Cardinal Domenico Bartolucci, Music Director of the Sistine Chapel for 45 years. Mr. Brott has received many awards, accolades and distinctions throughout his career. In 1987, Mr. Brott was award- ed Canada’s highest civic honour, Officer of the Order of Canada. He was awarded an Honourary Doctorate of Law in 1988 at McMaster University, was made a Knight of Malta in 1990, selected as “International Man of the Year” by the International Biographical Centre, in Cambridge England in 1992 and was elected a Fellow of the Royal Society of Arts of Great Britain in 1996. In December 2006 he was inducted into the Order of Ontario, Canada, the province’s highest civilian decoration and in November 2007, the National Child Day Award for introducing over 2 million young people to classical music. In November 2013 he was awarded an Honorary Doctorate in Music from his alma mater, McGill University. In June 2014 he was inducted by Premier Phillipe Couillard as an Officer in the Order National du Quebec, his native Province. Boris Brott has a commitment to the development of new audiences and young artists. In 2015 Boris Brott and the NAO joined local rock group the Arkells at their live performance at the Juno Awards. He also introduced a program called Orchestrate Hamilton which involves collaborating with local artists and orchestrating their original music for performance. He has developed a corollary career as a motivational speaker giving presentations annually to Fortune 500 compa- nies around the world linking music and business. The speeches centre on the teamwork, creativity and leadership. Mr. Brott just completed the 32nd Anniversary (2019) of his highly acclaimed Brott Music Festival this summer. Mr. Brott is married to Ardyth Webster Brott an attorney and author of several children’s books, including The Loneliest Piano, Jeremy’s Decision and Pepe’s Journey. The Brotts have three adult children, four grandchildren and reside in their home in Hamilton. Support Package for A Bohemian Rhapsody Page | 36
About Emrik Revermann
10-year-old Emrik Revermann began studying the violin at the age of 3 ½ at the Royal Conservatory of Mu-
sic in Toronto. He was recently named one of CBC’s “30 Hot Canadian Classical Musicians Under 30” – the
youngest person on the list. He made his solo orchestral debut at the age of 9 with the Canadian Sinfonietta
in Toronto. In May 2018, he was named “Absolute Laureate” at the Kocian International Violin Competition
in the Czech Republic, after coming in 1st place in his age category. In June 2017, Emrik won a Grand Prize
at the Canadian Music Competition for achieving the highest mark in the 7-10 age group, across all instru-
mental categories. He also won the Canadian Music Competition in 2016, and received the highest mark of
all string players of any age. He has won numerous prizes at local Toronto music competitions and festivals.
For the past 3 summers, Emrik has studied violin at the Summer Academy at the Mozarteum University in
Salzburg, Austria with esteemed pedagogues such as Christian Altenburger, Ernst Kovacic, Paul Roczek, and
Zakhar Bron.Emrik is currently studying with Conrad Chow at the Phil and Eli Taylor Academy at the Royal
Conservatory of Music. When he is not playing the violin or going to school, he loves playing soccer and
tennis. He is thrilled to be performing Zigeunerweisen with the National Academy Orchestra!
WATCH: Franck: Sonata in A major, Mvt IV
From the Concours Musical International de Montreal
Support Package for A Bohemian Rhapsody Page | 37You can also read
