ME Teacher Guide Program 3 and 4 v2

Weill Music Institute
Teacher
Musical
Guide
Explorers
My City, My Song
A Program of the Weill Music Institute at
Carnegie Hall for Students in Grades K–2
2018 | 2019
Teacher
Musical
Guide
Explorers
My City, My Song
A Program of the Weill Music Institute at
Carnegie Hall for Students in Grades K–2
2018 | 2019
WEILL MUSIC INSTITUTE
Joanna Massey, Director, Learning & Engagement Programs
Amy Mereson, Assistant Director, Learning & Engagement Programs
Anouska Swaray, Manager, Learning & Engagement Programs
Hannah Santisi, Coordinator, Learning & Engagement Programs
ADDITIONAL CONTRIBUTERS
Magda Giannikou
Juan Gutiérrez
Julia Gutiérrez-Rivera
Shanna Lesniak-Whitney
Fabiana Masili
Falu Shah
Yacouba Sissoko
Brianna Thomas
PUBLISHING AND CREATIVE SERVICES

Eric Lubarsky, Senior Editor
Ephrat Seidenberg, Graphic Designer
ILLUSTRATIONS
Sophie Hogarth
AUDIO PRODUCTION
Jeff Cook, 2nd Story Sound
Weill Music Institute at Carnegie Hall

881 Seventh Avenue | New York, NY 10019
Phone: 212-903-9670 | Fax: 212-903-0758
[email protected]
carnegiehall.org/MusicalExplorers
Lead funding for Musical Explorers has been provided by Ralph W. and Leona Kern.
Additional lead funding for Musical Explorers has been graciously provided by JJR Foundation and JMCMRJ Sorrell Foundation.
Major funding for Musical Explorers has been provided by The Walt Disney Company.
Additional support has been provided by The Edwin Caplin Foundation, the Ella Fitzgerald Charitable Foundation, and KPMG LLP.
Musical Explorers is also made possible, in part, by an endowment gift from The Irene Diamond Fund.
© 2018 The Carnegie Hall Corporation. All rights reserved.
2
Table of Contents
Foreword 4
Introduction to Musical Explorers 5
How to Use the Teacher and Student Guides 5
Pathways for Teachers 6
Active Listening Tips 7
Meet the Artists 8
Becoming Musical Explorers—Student Activities 10
Welcome to Our Musical Trip! 11
Explore the Sounds of Our City 12
Discover Music in Everyday Objects 13
Musical Explorers Around the World Map 14
Create a Postcard 16
Vocal and Body Warm-Ups 17
Carnegie Hall Musical Explorers Song 21
Semester 1 23
Greek Folk with Magda 23
Malian Traditional with Yacouba 35
Indian Classical with Falu 47
Concert Experience: Fall 59
Semester 2 65
Jazz with Brianna 65
Bomba and Plena with Juan and Julia 77
Brazilian with Fabiana 89
Concert Experience: Spring 103
Additional Information 107
Glossary 107
National Core Arts Standards for Music and New York City
Department of Education Blueprint for Teaching
and Learning in Music 108
Common Core Capacities 109
Acknowledgments 109
Track List 111
3
Foreword
Welcome to Musical Explorers!
Musical Explorers is designed to connect students in grades K–2 to New York City’s rich and diverse
musical community as they build fundamental music skills through listening, singing, and moving
to songs from all over the world. During the next year, you and your students will meet New York
City–based artists who represent six different musical genres and cultural traditions; many have
reinvented these deeply rooted traditions to make them their own. Together, you will learn songs
and dances that you will perform along with the artists during culminating interactive concerts at
the end of each semester.
The Musical Explorers curriculum encompasses skills-based and creative activities that can be
integrated into both general and music classrooms. This Teacher Guide includes lesson plans,
background information about the artists and their featured musical styles, and additional
resources in New York City and beyond. Digital resources include the songs from each unit
performed by our artists, as well as supporting learning tracks and videos. Each student will
receive a Student Guide full of hands-on activities, photographs, and illustrations that will
support active learning.
We thank you for joining our expedition and hope you enjoy the journey!
4
Introduction to Musical Explorers
Musical Explorers are students and teachers who will
• meet artists representing diverse musical styles and cultures from around the world
• sing and move to the artists’ songs
• make connections among the artists’ music, their cultures, and New York City’s diverse
communities
• learn fundamental musical concepts
How to Use the Teacher and Student Guides
This Teacher Guide (TG) contains six units, each devoted to one of our Musical Explorers genres.
Every unit contains two lessons, each focusing on a song; the lessons guide you through the process
of learning the songs, as well as teaching relevant musical concepts and exploring the cultural
context. Each lesson includes transcriptions in Western notation to assist in learning the music, but
note that these are best approximations for diverse traditions that may use different tuning systems
or emphasize improvisation. When learning the music, let your ears and the recordings be your
guide and be prepared for live variations. There are multiple activities within each lesson; you can
choose among them to best suit the needs of your classroom. The complementary Student Guide
(SG) pages are incorporated within the Teacher Guide. Additional features that can be found within
each lesson include:
• Audio Tracks:  Audio tracks can be found online on each artist’s resource page.
• Videos:  Introductory videos for the artists and their music can be found on each
artist’s resource page.
• Resources for Teachers: Each unit starts with a page of resources that provides
background information about the musical genre and culture. Some of these resources are
intended to be shared with students; others are for teachers who may want to explore further
on their own.
• Creative Extensions:  Creative extensions are designed to deepen the exploration of
repertoire, culture, and musical concepts.
• Literacy Extensions:  Each unit identifies picture books related to the artist’s music
and culture that you can read with your students.
• Musical Word Wall: We encourage you to build a word wall and add vocabulary words
as they are introduced in the lessons. A glossary of terms can be found in the back of this
Teacher Guide.
The Teacher Guide, Student Guide, artist resource pages, and additional digital resources
related to each genre are available through the Musical Explorers webpage
 carnegiehall.org/MusicalExplorers.
5
Music Educators Toolbox
Carnegie Hall’s digital Music Educators Toolbox provides additional activities, worksheets, audio
and video resources, and assessments to supplement your teaching. You can browse the Toolbox by
grade level or concept, and all activities are tied to national music standards and the New York City
Blueprint. These materials are free for use at carnegiehall.org/toolbox.
Options for Teachers of Students with Special Needs

• Students can participate in Musical Explorers in a variety of ways and may learn the songs by
singing, moving, and clapping. You may also want to focus on smaller sections of the songs.
Since you know your students best, allow them to participate in ways that will help them feel the
most successful.
• Encourage students to engage with the music using tangible objects, such as handmade
instruments (e.g., cups with beans for shakers), rhythm sticks, and drums.
• Allow time for students to experience the music and repeat as often as necessary. The lessons
outlined in this curriculum may take additional time and span more than one class period.
Use one-step directions and visuals as often as possible to help students understand the concepts.
• Some visual aids are provided within the curriculum and at the Musical Explorers concerts,
but you may wish to provide additional resources to help your students engage with the
material. If you have ideas for elements to include in future curricula, please send them to
[email protected].
Pathways for Teachers
There are three suggested pathways for teaching the Musical Explorers curriculum, depending on
the age and level of your students and the amount of time you can dedicate to the program. Teachers
may present the three units within each semester in any order that fits their curriculum.
Explore Enhance Discover

(Minimum requirements (If you have more time) (If you have a lot more time)
for concert participation)
Meet the artists by using Try out some of the Go deeper! If there is a
your teacher and student additional activities genre that your students
guides and the Meet the provided in each unit. There particularly love, listen to
Artist videos found at are musical activities as some of the additional music
 carnegiehall.org/
MusicalExplorers.
well as activities focused
on visual art, social studies,
suggested by the artists or go
on a related field trip; you’ll
literacy, etc. Choose the find additional resources
Listen to both songs of each activities that speak to you on the Introduction page
artist. and fit your classroom needs. at the beginning of each
unit. You can also dig into
Learn the parts of the songs the activities highlighted in
that the students will sing at Becoming Musical Explorers,
the concert along with any TG10, by going on sound-
movements that accompany discovery walks or creating
the songs. an everything-but-the-
kitchen-sink orchestra.
6
Active Listening Tips
One of the goals of Musical Explorers is to develop habits of active and engaged listening. You can
support your students on this journey by using the following strategies.
Make the Invisible Visible

Look for ways to make the invisible world of music visible and, whenever possible, kinesthetic.
These methods include
• counting, clapping, and tapping rhythms (body percussion)
• drawing or painting to music
• connecting the music to narrative ideas
• dancing and moving to music
• connecting cultural ideas with music
Ask Open-Ended Questions

Here are some general suggestions to inspire discussion as students encounter new songs and new
sounds. We include additional scripted prompts in blue italics throughout the Teacher Guide as a
starting point for further learning and exploration.
• What do you hear in this music?
• How would you move to this music?
• What words can you use to describe this music? For example, is it busy or calm, loud or soft,
high or low, smooth or bumpy?
• How does this music make you feel?
• What do you think the musicians are feeling? What makes you think that?
• What are the instrumentalists doing? What is the singer doing?
7
Meet the Artists
Magda, Greek Folk

Composer, arranger, producer, and vocalist Magda Giannikou was born in
Athens, Greece. After studying classical piano for 15 years, she attended
Berklee College of Music to hone her love for film scoring, jazz improvisation,
arranging, and music production. Magda is the founder and leader of the
world music group Banda Magda and has toured the world, performing at
such renowned venues as The John F. Kennedy Center for the Performing
Arts and such acclaimed festivals as the Vancouver Jazz Festival. Magda has
also collaborated on several projects with two-time Grammy Award–winning
group Snarky Puppy. She is part of the Sundance Composers Lab and was
commissioned to compose a work for and perform with the Kronos Quartet,
celebrating the group’s 40th anniversary at Lincoln Center. Magda is also
committed to music education with artist residencies at various institutions
around the world.
Yacouba, Malian Traditional

Yacouba Sissoko was born in Kita, Mali to a long line of jelis. When he was
nine, he began playing the kora and learning centuries-old oral traditions from
his grandfather; by the time he was 15, he was performing with prominent
African bands, which brought him to the US. Yacouba has toured and recorded
with well-known African musicians, such as Amy Koïta, Baaba Maal, Sekouba
“Bambino” Diabate, and Kerfala Kanté, and also with American musicians
including Harry Belafonte, Paul Simon, Lauryn Hill, and Regina Carter. He
effortlessly blends Malian traditions with a range of musical styles. In 2017, he
released his first solo album SIYA.
Falu, Indian Classical

Falguni “Falu” Shah is internationally recognized for her rare ability to
seamlessly blend a signature inventive style with a formidable voice trained
in the Indian classical tradition. Originally from Mumbai, India, Falu moved
to the US in 2000 and was appointed as a visiting lecturer at Tufts University.
Since then, she has collaborated with a range of outstanding artists, including
Yo-Yo Ma, Wyclef Jean, Philip Glass, Ricky Martin, Blues Traveler, and
A. R. Rahman. Her first album Falu was featured in the Smithsonian Asian
Pacific American Center exhibit Beyond Bollywood as representative of the
voice of an Indian American trendsetting artist. In 2009, Falu performed at
the White House for President Barack Obama and First Lady Michelle Obama.
In 2015, she was named one of the 20 most influential global Indian women by
the Times of India.
8
Brianna, Jazz
Born and raised in Peoria, Illinois, Brianna Thomas made her singing debut at
age six with her father’s band, performing a duet rendition of the jazz classic,
“What a Wonderful World.” Since graduating college in 2011, Brianna has
performed with many jazz greats including Clark Terry, Wycliffe Gordon,
Houston Person, Mulgrew Miller, Wynton Marsalis, The Legendary Count
Basie Orchestra, Michael Feinstein, and her longtime hero, Dianne Reeves.
Brianna also continues to perform worldwide at venues such as Jazz at Lincoln
Center, Smoke Jazz & Supper Club, Ginny’s Supper Club, Minton’s Playhouse,
Jazz at Lincoln Center Doha, the Apollo Theater, and the prestigious Montreux,
Umbria, Bern, and Sochi jazz festivals. Brianna was a 2014 musical ambassador
for American Music Abroad, as a guest vocalist with The Amigos Band, singing
folk, bluegrass, gospel, and jazz. She teaches with Jazz at Lincoln Center’s Jazz
for Young People program to educate students in New York City schools about
the importance of jazz in American history and today.
Juan and Julia, Bomba and Plena

Puerto Rican–born percussionist, composer, and arranger Juan Gutiérrez
was instrumental in helping to bring bomba and plena music to New York
City and the rest of the US. In 1983, he met master plena practitioner Marcial
Reyes in New York; together they created Los Pleneros de la 21. Juan has
remained at the helm of Los Pleneros de la 21 ever since, masterminding its
ongoing success, including a 2005 Grammy nomination. For his vision and
contributions, Juan was named an NEA National Heritage Fellow. Julia
Gutiérrez-Rivera is Juan’s youngest daughter. As Los Pleneros de la 21 formed
when she was 10 months old, Julia was weaned on bomba and plena, and is now
a guiding member of the group and respected bomba and plena dancer
and educator.
Fabiana, Brazilian
Fabiana Masili is a vocalist and songwriter who plays a range of Brazilian
music, including bossa nova, samba, maracatu, and forró, as well as jazz and
rock. Since moving to New York City in 2003, she has worked with a diverse
roster of artists, including Claudio Roditi, Cidinho Teixeira, Dom Salvador,
Slide Hampton, Jeremy Pelt, and Nation Beat, and created an all-female
psychedelic rock band called As Lolas. She has performed at such venues as
Dizzy’s Club Coca-Cola, SummerStage, Joe’s Pub at The Public, and Lincoln
Center Out of Doors. She is also dedicated to her work as a teaching artist,
sharing Brazilian music and culture with New York City’s students.
9
Becoming Musical Explorers—Student Activities
On SG2–3, you will find two activities to use throughout the year to engage students in discovering
music in the world around them. These activities are designed to work individually—both inside the
classroom and at home—and as classroom projects (e.g., taking a sound discovery walk or making
DIY instruments out of found objects in your classroom).
• Explore the Sounds of Our City, SG2, gives your students an opportunity to act as musical
detectives outside of the classroom, listening for sounds and music in their everyday lives
and recording them in the “journal” provided.
• Discover Music in Everyday Objects, SG3, highlights common objects found at home or in
the classroom that can be used to create DIY musical instruments. For example, a cardboard
box can be strung with rubber bands of different sizes to create a string instrument; a set
of drinking glasses filled with different amounts of water can be struck with a spoon or a
chopstick to create a xylophone-like instrument; and two pot lids can be struck together
like cymbals. Encourage your students to discover other objects that can yield interesting
sounds.
The Musical Explorers Around the World Map, SG4–5, illustrates the geographic roots of the music
you will be studying this year.
Create a Postcard, SG6, gives your students an opportunity to share what’s special about their
neighborhoods as they are learning about the New York City neighborhoods associated with each of
the genres.
Literacy Extension: The Listening Walk
 In Paul Showers’s The Listening Walk, get immersed in all the

sounds around you as you join a girl walking her dog throughout the
neighborhood. You may even hear sounds you wouldn’t expect!
10
SG 1
Welcome to Our Musical Trip!

Our subway conductor, Melody,
will take us to neighborhoods all
over New York City, where we’ll
discover the music and cultures
that we will be studying.
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Subway Map © 2018 and MTA New York City subway logo ™ Metropolitan Transportation Authority. Used with permission.
Map current as of June 2018.
A current subway map is available at any subway station booth and at the MTA website, MTA.info.
11
SG 2
Explore the Sounds of Our City

Music is everywhere! Let’s go on a sound exploration. All you need are
your ears. You can use this explorer’s journal to record what you hear,
including car horns and sirens, people singing, the chimes for the
subway doors, and even silence.
What did you hear? When and where?
12
SG 3
Discover Music in Everyday Objects

Music is waiting to be found in everyday objects!
Experiment and see what kinds of sounds you can make with
these objects.
What other objects can you find that make interesting musical sounds?
13
SG 4
GREEK
FOLK
Magda
New York
City
BOMBA
AND PLENA Greece
New
JAZZ Orleans
Puerto Mali
Rico West
Africa
Juan and Julia
MALIAN
Brianna TRADITIONAL
Brazil
BRAZILIAN
Yacouba
Fabiana
14
SG 5
Musical Explorers
INDIAN Around the World Map
CLASSICAL
We can hear music from all around
the world in New York City. Where do
these types of music come from?
Greek Folk
Falu Greece
Malian Traditional
Mali
India Indian Classical
India
Jazz
New Orleans and New York City
Bomba and Plena
Puerto Rico and West Africa
Brazilian
Brazil and West Africa
15
SG 6
Create a Postcard
Use the space below to draw or paste pictures of some of your favorite
things about your neighborhood. Then write a message to one of our
Musical Explorers artists describing your neighborhood.
Greetings from .. .
Dear ___________________
,
______________________
___________
______________________
___________
______________________
___________ (Artist’s name)
______________________ c/o Carnegie Hall
___________
881 Seventh Avenue
Your friend,
New York, NY 10019
______________________
__
16
Vocal and Body Warm-Ups
Teachers are encouraged to start each lesson with warm-ups in order to establish a routine that fosters
healthy vocal technique, kinesthetic learning, and active listening. Each of the following warm-ups can
stand alone or be combined at the discretion of the teacher to best meet the needs of each classroom.
Finding Your Breath
Smooth and Bouncy Breath

Smooth Breath: Students will explore how to breathe smoothly and steadily.
• Using both hands, have students create an “O” shape by touching index finger to index finger and
thumb to thumb.
• Instruct them to put the “O” around their bellybutton and take slow, silent, and deep breaths
pushing the “O” out in a smooth motion while keeping their shoulders still.
• Add a “sh” or “th” sound to the breath.
Bouncy Breath: Students will learn to control the breath by bouncing it.
• Taking the “O” from Smooth Breath, have students bounce the “O” in short motions. Add a “sh,”
“th,” or “t” sound to the breath.
• What is different or the same when you add different letter sounds while you exhale?
• What is happening inside your body as you breathe?
• Is anything moving? What is moving?
Vocal Warm-Ups
In the following exercises, students will practice healthy singing technique by exploring posture,
diction, and the full range of their voices.
Sirens: Students will explore the full range of their voices by pretending they are police cars on a chase
with their sirens on.
• Model the vocal contour of the siren (going from a low pitch to a high pitch and back down
again), while matching the vocal shape with your hand and arms.
• Ask students to echo you so that they can begin to feel and understand the difference between
high and low pitches by using their bodies and voices.
• Once students are comfortable, choose a student leader to “conduct” the sirens with his
or her body.
Tongue Twisters: Tongue twisters are a fun way to warm up the lips, teeth, and tongue—our
articulation tools. This will help encourage proper diction, making words easier to understand when
singing.
• Here are some examples of tongue twisters:
• Chester cheetah ate a chunk of cheap cheddar cheese.
• Mommy made me mash my M&Ms.
• Daddy made me dump them down the drain.
• Ask the class to say a tongue twister slowly at first, and then try to speed up.
• Once the students are comfortable, have them sing the tongue twister on one pitch, starting on
middle C and ascending by half steps.
17
• Once they are comfortable singing the tongue twister, try varying it. For example:
• Have the class try and sound like one voice as the tongue twister speeds up.
• Change the beginning consonant in the tongue twister.
• Have students write their own tongue twisters.
AScore
Posture Song: Proper posture helps keep the
Feet, breath
feet connected
flat on the floor to the voice when singing. When a body
is hunched, the air gets stuck.
• Students perform the movements described in the lyrics of “Feet, Feet Flat on the Floor” as they
sing.
                 
    
Feet, feet flat on the floor back a-way from the chair, Eyes up, shoul-ders down al-ways sing with care!
Hoot Owl: Students will warm up their head and chest voices while exploring vocal range and legato singing.
Head voice often refers to the upper vocal register and can be described as light, floating, and open. Exploring
chest voice can help students easily find their head voices.
• Have students place a hand in the middle of their chest (between their sternum and collarbone) and
say “huh” in a deep voice. This should produce vibrations in the chest. Explain that this is
their chest voice.
• Next, ask students to hoot like an owl. They should no longer feel the chest vibration. Explain that
Scorethis is their head voice. Hoot owl
• Using their owl (head) voice only, ask students to sing the exercise “Hoot Owl” starting on
middle C and ascending by half step to F (or as high as your class can continue while maintaining
healthy singing).
   
        
Wal - king through the woods I hear a hoot owl
Explore Different Voices

• Lead a discussion with the class about the four different ways they can use their voices—whispering,
talking, calling, and singing.
• Where would we use our whispering voice? (e.g., library or movie theater)
• Where would we use our talking voice? (e.g., classroom, telephone, or dinner table)
• Where would we use our calling voice? (e.g., baseball game, playing sports, or leading a group)
• Where would we use our singing voice? (e.g., Musical Explorers concert, car, or shower)
• Have students explore each vocal quality by using the same sentence and pretending they are in
some of the places identified above. (e.g., “Hi, my name is …”)
18
©
Body Warm-Ups
Put Breath, Sound, and Imagination Together

Using the following prompts, guide students through The Apple Tree.
The Apple Tree: Have students imagine they are picking apples.
• Look up to the ceiling and imagine a big apple tree.
• Stretch your right hand up and pick the most beautiful apple you can find.
• Clean your apple on your shirt using your breath. Use short, low breaths with a “huh”
sound.
• Take a huge bite, and make biting and chewing sounds—the more obnoxious the better.
• Tell me how delicious the apple is by making “mmm” sounds. The higher the sound, the
more delicious the apple is!
• Swallow the apple with a gulping sound.
• Look at the apple and exclaim (on a vocal siren from high to low), “Ewww, there’s a worm!”
• Throw the apple and shake your body out to rid yourself of the gross idea of eating a worm.
• Repeat the warm-up with the left hand.
Explore Scales and Melodic Contour

• Have students sing the notes of a major scale while touching the corresponding points on
their bodies indicated below. This scale can be sung using scale degrees, solfège, or the names
of the corresponding body part.
Scale Degree Solfège Body Part

1 do toes
2 re ankles
3 mi knees
4 fa hips
5 sol waist
6 la shoulders
7 ti head
8 do hands in the air
• Reverse the scale direction, starting from the top and going down the scale.
• You can also try this out with different scales, including minor and pentatonic scales.
Explore Rhythm and Feel the Beat

• Have students count to four in a repeated pattern.
• As they count, have them step in place on beats 1 and 3, maintaining a steady beat.
• As they keep the beat with their feet, have students repeat each phrase of “The Beat Is in
My Feet” after you.
19
Score
The Beat Is In My Feet
The Beat Is in My Feet: Lead students through different rhythms.
   
                    
Teacher
CALL:
The beat, the beat, the beat is in my feet The
               
 
Student
  
RESPONSE:
The beat, the beat, the beat is in my feet
  
Teacher
CALL:                  
beat is like my heart beat The beat ne - ver chan - ges
                 
Student
  
RESPONSE:

The beat is like my heart beat The beat ne - ver chan - ges
          
3
      
Teacher
CALL:
You can go fast or slow but the beat stays the same The
              
Student
RESPONSE:
3
You can go fast or slow but the beat stays the same
         
Teacher
CALL:
rhy - thm is in my hands, (here we go now ...)
  
Student
RESPONSE:
Begin rhythmic patterns for students to
echo back, while everyone continues to
keep the steady beat in their feet.
• While the students continue to keep the steady beat with their feet, create simple rhythmic patterns with
your hands (e.g., chest patting, clapping, snapping, etc.). Ask the students to echo them back to you.
• Continue to explore other kinds of body percussion (e.g., hissing, clucking, etc.).
• As the students become comfortable with the warm-up, ask for volunteers to act as the leader,
creating their own rhythms for the class to echo back. ©
Sing the “Carnegie Hall Musical Explorers Song”
• Teach students the “Carnegie Hall Musical Explorers Song” on SG7, using  Track 1 as well as the
accompaniment, 
Track 2.
• This song can become a staple in your warm-up.
Musical Word Wall
Add the words explorer, melodic contour, scale, solfège, and steady beat to the Musical Word Wall.
20
Carnegie Hall Musical Explorers Song
Music and lyrics by Daniel Levy

       
G A m7
          
Ev' - ry song tells a sto - ry. Ev' - ry tune
G/F 
D 7sus 4  
4
     
G Em
      
 
tells a tale. Ev' - ry rhy - thm has a rea -
 A m7   

7
 
F D 7sus 4 D7 A m7
            
 
- son. Don't you want to know? Don't you want to know what
 B m7
            
11
    
A m7 D 7sus 4 D7
       
makes the mu - sic go? Come a - long and see. Make your dis - co - ver - y. I can
E

                            
14 G G/F C/E G
sing it. I can say it. I can dance it. I can play it. I can sing it. I can
 G/F E  
                   
19
      
C/E C add9 G
say it. I can dance it. I can play it. I can go ex - plore the
C add9

  

         
23
         
G C add9 G
 
world of mu - sic at my door. My ci - ty and my neigh - bor - hood,
C add9
 
25
      
G F
            
 
sing - in' songs and feel - in' good. I can know what makes the mu - sic grow.
27
   
          
D 7sus 4 D7 A m7 A m7/D G
   
I can know what makes the mu - sic go!
Copyright © 2007 Daniel Eliot Levy ASCAP
21
SG 7
Carnegie Hall Musical Explorers Song

Every song tells a story, every tune tells a tale.
Every rhythm has a reason, don’t you want to know?
Don’t you want to know what makes the music go?
Come along and see, make your discovery.
(x2)
I can go explore the world of music at my door.

My city and my neighborhood, singing songs and feeling good.
I can know what makes the music grow.
I can know what makes the music go!
22
Greek Folk with Magda Introduction
Greek Folk with Magda

•x
Genre and Artist Overview
Greece is a country of islands and, as such, has developed many different forms of folk music over hundreds of
years. Across all these variations, music and dance are closely intertwined; many Greek folk songs accompany
dancing and are performed when people come together in social situations and celebrations. This unit focuses on
two of the most popular Greek dances—sirtos and kalamatianos—found in multiple regions of the country. Both
are circle dances, with somewhat similar movements. What makes them different are their meters: Sirtos is in
4/4, and kalamatianos 7/8.
Composer, arranger, producer, and vocalist Magda Giannikou was born near Athens in the quiet coastal town
of Voula, Greece. Music became paramount in Magda’s life because she is the daughter of a music collector and
a music educator. Having grown up by the Mediterranean Sea, she plays a lot of music inspired by the water,
including the two songs in this unit. Now that she lives in New York City, she created the group Banda Magda,
which brings together musicians from all over the world, including Greece, Argentina, Japan, Colombia, and
the US. The band’s music combines South American rhythms, jazz improvisation, cinematic arrangements, and
lyrics sung in seven different languages.
•x
Resources for Teachers
Direct links to these resources can be found at  carnegiehall.org/MusicalExplorers.

Listening:
• Visit bandamagda.com to hear more of Magda’s music.
• Alexandros Xenofontos, “Xekina Mia Psaroboulla”
• Manos Hadjidakis, “Gioconda’s Smile”
• Petros Klampanis Trio, “Thalassaki”
Videos:
• “Trata,” Banda Magda (Live Performance)
• “Yerakina,” Banda Magda
• “Trata” (Sirtos) Dance
• “Thalassaki Mou” (Kalamatianos) Dance
• Geography Now!: Greece
New York City Resources:
• Astoria, Queens has a large Greek population.
• Onassis Cultural Center in Midtown East, Manhattan
• Greek Cultural Center in Astoria, Queens
• New York City Greek Film Festival, an annual event in locations across the city
23
SG 8
Meet Magda!
Gr e e t i n g s f r o m
, q u e e n s !
as t o r i a
Hi Musical
Explorers,
My name is
Magda Gian
was born in nikou, and
the coastal I
near Athen area of Vou
s, Greece. I la,
day and sp would swim
end hours a every
the piano a nd hours pla
nd singing! ying
Magda
vastness of The beauty
the Greek se and
been a big as always h
part of my av
influenced life and gre e
my music. I atly
singing, clap look forward Musical Explorers
ping, and d to
on some of ancing with
my favorite you c/o Carnegie H
songs! all
Me polli aga
pe (with lot
s of love)! 881 Seventh Ave
nue
Magda New York, NY
10019
24
SG 9
We asked Magda …
What was your first experience with music?
I used to listen to my mother play piano, and I would watch her hands as she played. It
made me want to play too, and I started playing when I was five years old.
What is your favorite story from childhood?

The most magical memory of my childhood is the first time I swam at night in the
waters of the Greek island of Chios. I was around eight years old, and a group of 20
or so friends jumped in the water under a full moon. It was a dream.
Tell us about the food in Greece.

Some signature foods are a salad called choriatiki, which means “from a village,” and
moussaka, which is a combination of potatoes, eggplant, ground meat, tomato, and feta
cheese baked in the oven. My favorite Greek food is mayiritsa, a lemon soup we eat on
Easter. When I visit home, my mother prepares it regardless of the season!
Moussaka Acropolis
Voula, Greec
e
Arriving at
Astoria, Queens
25
Greek Folk with Magda Lesson 1
Lesson 1: Learning “Trata”

Aim: How can
Summary: we use rhythm
StStandards: and voice
National 1, 5, 9,qualities
10; NYC to create
1, 2, 3 a song?
Summary: Students will sing and dance to “Trata,” and learn about different voice qualities and rhythmic
Vocabulary: accordion, call and response
layering.
Materials: Musical Explorers digital resources, Musical Explorers Student Guide
Standards: National 1, 5, 9, 10; NYC 1, 2, 3
Vocabulary: accordion, call and response
A “trata” is a boat used for fishing. During the Easter season, the trata dance is
traditionally performed by the women of Megara, a town near Athens, Greece.
This dance is performed to wish the fishermen luck on their catch for the day.
Sing “Trata”
• Listen to “Trata,”  Track 3.

• Learn the lyrics to the chorus using “Trata” pronunciation,
Score Track 4. 
• Sing the chorus using “Trata” chorus, 
Track 5. Note that the chorus is sung in call and response, with
the leader calling out and the group responding.

                   
Call
oprano 1
 
E -   ra mia E - vi - ra thio E - vi - ra tris
  Response    
oprano 2           
     
sta pa - nia sto ya - lo sto spi - ti tis
26
“Trata” Translation
I trata masi kourelou Our wretched boat

I hiliobalomeni Which we have patched a thousand times
Olo tin ebaloname We would always mend it
Ki olo itan ksilomeni But it would always have holes
(x2) (x2)
Chorus: Chorus:
Evira mia, sta pania Heave-ho one, on the sails
Evira thio, sto yalo Heave-ho two, on the coast
Evira tris, sto spiti tis Heave-ho three, at her house
An to’ksere i mana mou If my mother knew

Pos thouleva stin trata That I worked on the boat,
Tha moustelne ta rouha mou She would send me my clothes
Ke tin palia mou vraka And my old breeches
(x2) (x2)
(Chorus) (Chorus)
Explore Different Voice Qualities in “Trata”
• Explain that “Trata” is a song that women traditionally sang as the fishermen head out to sea. The chorus of
the song simulates a group of fishermen working together to pull in their nets.
• Which part of the song sounds like they are working together to bring in their nets?
• What about the music in that part would help people work together as a team?
• In “Trata,” the word “evira” is loosely translated as “heave-ho,” a word that fishermen use as a command
when pulling a heavy net full of fish out of the water.
• Discuss the four voice qualities—singing, calling, whispering, and speaking—and how to use them. Refer
back to Explore Different Voices, TG18, in the Vocal and Body Warm-Ups section for more on this activity.
• Which voice quality is being used in the chorus of “Trata”?
• Experiment with performing the chorus of “Trata” with different voice qualities. You can also brainstorm
different kinds of voices (i.e., animal voices, baby voices, etc.)
• How does using different voice qualities change the feeling of the music?
27
Dance to “Trata”
• The traditional Greek dance movements to “Trata” simulate fishermen hauling in their nets. The dance is
performed in a circle; the dancers interweave their hands to simulate the fishing net.
• Learn the steps to “Trata” at carnegiehall.org/MusicalExplorers.
• Stand side by side in a circle. Instruct your students to hold the hand of every other person, as follows:
• Reach your right hand under the arm of the person to your right and take the left hand of the
next person over.
• Reach your left arm over the arm of the person to your left and take the right hand of the next
person over.
• Step on each beat, as follows:
• Beat 1: Step to the right with your right foot.
• Beat 2: Cross your left foot in front of your right foot, slightly bending your left knee.
• Beat 4: Point your left toe.
• Beat 1: Step to the left with your left foot.
• Beat 2: Cross your right foot in front of your left foot, slightly bending your right knee.
• Beat 3: Step to the left with your left foot.
• Beat 4: Point your right toe.
• Repeat the full set of movements; note that the full set covers two measures.
• Using “Trata,”  Track 3, perform the traditional Greek dance movements during the verses. During
the chorus, stop and sing the call and response, with a designated leader singing the call and the class
responding.
Creative Extension: Explore the Accordion
 • On SG10 your students will have an opportunity to explore the accordion. Note the
similarity to the harmonium, a cousin of the accordion, played in Indian Classical with
Falu. Using the listening examples under Resources for Teachers, TG23, play some
additional examples of the accordion in Greek music. Ask your students to raise their
hands when they hear the accordion being played.
Musical Word Wall
Add the words accordion and call and response to the Musical Word Wall.
28
SG 10
Explore the Accordion

The accordion is a box-shaped instrument that is played by pushing and
pulling apart bellows to pump air, while pressing the bass buttons and
the keys to play different pitches. It is sometimes called a squeezebox,
but the first name for the instrument was harmonika, which is related
to the word harmony.
KEYBOARD BELLOWS
BASS BUTTONS
29
Lesson 2: Learning “Thalassaki Mou”

Aim: How are meter and rhythm expressed in a folk dance?
Summary: Students experience 7/8 meter in the song “Thalassaki Mou,” and explore patterns of strong and
weak beats.
Standards: National 1, 2, 4, 8, 11; NYC 1, 2, 3, 4
Vocabulary: meter, strong beat, weak beat
“Thalassaki Mou” tells a story from two perspectives. The first half of the song is in the voice of a sailor’s
family praying for the seas to be kind when he goes off. The latter half of the song is in the voice of the sailor,
wondering if he will make it home to see his family again.
Sing “Thalassaki Mou”
• Listen to “Thalassaki Mou,” 

Track 6.
Thalassaki Mou Refrain

• Learn the lyrics to the chorus using “Thalassaki Mou” pronunciation, Track 7.
• Learn the melody for the refrain to “Thalassaki Mou,” which is sung at the end of every verse.

          

Tha - las - sa - ki mou
Thalassaki Mou Chorus

• Learn the melody for the chorus to “Thalassaki Mou,” which is sung only at the end of the song.
• Sing the chorus using “Thalassaki Mou” chorus, 
Track 8.
 
                              
Tha - las - sa ki'al - mi - ro ne - ro, Na se kse - ha - so then bo - ro. Na se kse -
  
                    
ha - so then bo - ro, Tha - las - sa ki'al - mi - ro ne - ro.
30
“Thalassaki Mou” Translation
Thalassa, thalassa, tous Sea, sea

Thalassinous, thalassaki mou The sailors, my darling sea
Mi tous thalassothernis. Don’t beat them with your waves.
Thalassonoume I’m out at sea
Ya sena ksimeronoume. I stay awake all night thinking of you.
Rothostamo, rothostamo Turn into rosewater

Na yinese, thalassaki mou My darling sea
Tin porta tous na renis To sprinkle on their hair
Thalassaki mou My darling sea
Ke fere to poulaki mou. Bring my bird back to me.
Helithona, xelithonakia ke poulia, Swallows and birds,

Pou hamilpetate, You who fly close to the ground,
Ke fere, to poulaki mou. Bring my bird back to me.
An thite tin, an thite tin If you see, if you see

Agapi mou, thalassaki mou My love, my darling sea
Na mou tin heretate Give her my greetings
Ke fere to poulaki mou. Bring my bird back to me.
Chorus: Chorus:
Thalassa ki almiro nero, Sea and salt water,
Na se ksehaso then boro. I cannot forget you.
Na se ksehaso then boro, I cannot forget you,
Thalassa ki almiro nero. Sea and salt water.
(x2) (x2)
31
Explore the Distinctive Meter and Rhythm in “Thalassaki Mou”
• Explain that in music, the meter is the number of beats in each measure determined by the pattern of strong
and weak beats. In “Thalassaki Mou,” there are seven beats in every measure.
• Listen to “Thalassaki Mou” 7/8 rhythm,  Track 9. Explain that there is a pattern of strong beats and weak
beats that form a distinctive meter.
• The strong beats fall on beats 1, 4, and 6, and sound like this: 1 2 3 4 5 6 7.
Thalassaki mou rhythm
• Another way to think about it is in three groups of notes, as follows: 1 2 3 1 2 1 2.
• Perform the rhythm together, using “Thalassaki Mou” 7/8 rhythm,  Track 9, and clapping on
the strong beats.
        
1 (2) (3) 1 (2) 1 (2)
•Divide
  the class into two groups and have one group
rhythm.
 count out beats 1–7 while
 the other group claps the
• Perform
1 with “Thalassaki
(2) Mou”(3)
instrumental,1  Track 10, and
(2)switch the1groups. (2)
Dance to “Thalassaki Mou”
• In the traditional dance for “Thalassaki Mou,” all the steps are on the strong beats.
• Form a circle and pick a leader. Everyone holds hands except for the leader, who keeps one hand free
to hold and wave a scarf. The leader can add improvisation to his or her movement while continuing to
move in a circle. Step on the strong beats, as follows:
• Beat 4: With a slight hop, cross your left foot behind your right foot.
• Beat 1: With a slight hop, cross your left foot in front of your right foot.
• Beat 6: With a slight hop, cross your left foot in front of your right foot.
• Repeat the movements. Note that the full pattern covers two full measures.
• Perform the traditional Greek dance using “Thalassaki Mou,”  Track 6. Try starting the dance to the
left as well; at the concert, we will be changing direction.
32
Explore the Greek Language
• Using SG11, your students will learn about the Greek language. They will discover that Greek has its own
alphabet and that many English words originated from Greek words.
Literacy Extension: The Classic Treasury of Aesop’s Fables
 The Classic Treasury of Aesop’s Fables provides the beautiful collection of

fables from Aesop, an Ancient Greek storyteller, whose stories of animals
and morals have been told for generations.
Musical Word Wall
Add the words meter, strong beat, and weak beat to the Musical Word Wall.
33
SG 11
Explore the Greek Language

The Greek language has its own alphabet with 24 letters. Many English
words come from Greek words. Here are some of those words. Trace the
words below in Greek and then draw a picture of the word in each box.
astronaut helicopter
Αστροναύτης Ελικόπτερο
(astronáftis) (elikóptero)
elephants xylophone
Ελέφαντες
(eléfantas)
ξυλόφωνο (xylófono)
34
Malian Traditional with Yacouba Introduction
Malian Traditional with Yacouba

For centuries, jelis—also called griots in French—have been the musical storytellers in West Africa, respected as
keepers of history, interpreters of current events, advisers to rulers, and connectors of social groups and families.
Yacouba Sissoko was born in Kita, Mali to a well-known jeli family; his grandparents, mother, siblings, and many of
his cousins are all jelis.
Yacouba started learning the kora and the oral traditions associated with it from his grandfather at the age of nine.
When he was 13, he moved to the capital city of Bamako. He eventually went on to attend the National Institute
of the Arts. In Bamako, he captured the attention of the music world and began touring with noted international
African artists. In 1998, he settled in the US, sharing the music and culture of his ancestors while also learning
from the many cultures and styles of music he encountered here, developing his own singular style.
•x

Listening:
• Visit yacousiskora.com to hear more of Yacouba’s music.
• Oumou Tounkara (Yacouba’s mom), “Muso La Ka Lu”
• Ballaké Sissoko, “Famaden”
• Toumani Diabaté, “Kaïra”
• Ali Farka Touré, “Awa dololo”
• Boubacar Traoré (also known as “Kar Kar”), “Kanou”
• Habib Koité, “N’Teri”
• Kassé Mady Diabaté, “Siran Mônia”
• Oumou Sangaré, “Néné”
• Nahawa Doumbia, “Siki Kurun”
Documentaries:
• The Last Song before the War, Kiley Kraskouskas
• Mali Blues, Lutz Gregor
• Little Senegal in Central Harlem, Manhattan includes many different West African peoples and cultures;
the Malcolm Shabazz Harlem Market; and many shops that sell traditional African crafts and textiles.
• African Day Parade and Festival, an annual event in Harlem each September
35
SG 12
Meet Yacouba!
gs fr o m n hatta n
G reetin deH ei g hts, Ma
rn i n g s i
Mo
' h,
ie
Awou ni T an
c ou ba S is soko. You c
Y a H koo).
My name is (p ro n ounced: YA
c ou t
call me Ya , in W e st Africa, bu 20
Mali for almost
I’m from n h a t ta n
in Ma ily of
have lived w a s b o rn into a fam s. My
years now.
I ed jeli
tellers call
a n d st o ry
were famo
us Explorers
musicians a n d m om Musical
randma, my siblings
and
grandpa, g a n d a ll gie Hall
singers in
Mali,
u si c . I grew up wit
h my c/o Carne
m a
cousins ma
ke
w a s lu c ky to learn nth Avenue
ts, an d ora from 88 1 Seve
grandparen e n t c a lled the k s nine
m
special inst
ru when I wa ngs NY 10019
ather st a rt in g
the so New York,
my grandf a n ’ t w a it to share
I c
years old. u.
m y fa m ily with yo
of
,
Ka An Ben
Yacouba
Leaving from
Astoria, Queens
36
SG
SG 13
We asked Yacouba …
What is your favorite Malian food?
People in Mali mainly eat dishes made from rice, or a special grain we have called
fonio. My favorite food is niu-goona, a sauce for rice made of peanut butter and
spinach.
What was it like growing up in Mali?

I was a little bit spoiled. I grew up with my grandparents, and I was their favorite.
They used to take me everywhere, and trusted me with the stories (and some secrets!)
of our ancestors. My grandparents were my best friends.
Were there special traditions in Mali?

When we were kids we had a three-month summer vacation. Two weeks before school
would begin again, we would gather outside the city and have a big party and feast.
Niu-goona
Arriving at
M anhattan
Morningside Heights,
37
Malian Traditional with Yacouba Lesson 1
Lesson 1: Learning “Kelefaba”

Aim: How does an instrument accompany a melody?
Summary: Students will sing “Kelefaba,” and learn how a simple, two-note pattern on the kora provides the
foundation for the song.
Standards: National 1, 2, 4, 7, 10, 11; NYC 1, 2, 4
Vocabulary: accompaniment, jeli, kora, steady beat
“Kelefaba” is the first song that jelis generally learn on the kora, because of its simple, two-note
accompaniment pattern. The lyrics also reflect one of the key roles of a jeli, which is to be a peacemaker
within the community.
•
Sing “Kelefaba”
• Listen to “Kelefaba,”  Track 11.

• Learn the words using “Kelefaba” pronunciation, 
Track 12, and sing along to “Kelefaba” chorus,
 Kele faba
Track 13, starting with the refrain and adding the rest of the melody if your students are ready.
• Note that the melody changes each time Yacouba repeats it. Below is the opening of the song.


                  
1. 2.
x4
 
Kel - e mag - ni den Ahh ke - le mag - ni
      
       
den Ba - li - ma fu - la la, Ke - le mag - ni den
38
“Kelefaba” Translation
Kele magni den Fighting will lead to no good

(x4) (x4)
Ahh, kele magni den Ahh, fighting will lead to no good

Balima fula la, Two best friends fighting leads to no good,

(x4) (x4)
Teri ma fula la, Two countries fighting leads to no good,

Djamana fula la Two siblings fighting leads to no good
• Read and discuss the lyrics to “Kelefaba.”

• What is this song about? Have you ever had a fight with anyone? If so, how did it make you feel? Were you
able to make up? If yes, how did you do it?
• What’s the difference between fighting and disagreeing?
• When we have a conflict with someone, how can we make things better? How can we bring about peace?
• Using the box below, explain that a jeli is a peacemaker, a very special role in Malian culture.
• Who are the peacemakers in your school, your family, and your community?
Yacouba is a jeli (pronounced JAY lee), a person who comes from an ancient line of
musicians and storytellers. Jelis have been the keepers of the history and fables of
Mali for centuries. Highly respected within their communities, jelis are responsible
for making the stories of the past relevant to contemporary audiences. The kora is
one of the traditional instruments that jelis play to accompany their songs.
39
Explore the Two-Note Accompaniment Pattern in “Kelefaba”
• Using SG14, explore the kora with your students.

• Listen together to “Kelefaba” simple accompaniment,  Track 14.
• How many different notes do you hear? How would you describe them? For example, are the pitches close
together or far apart? Do they move quickly or slowly?
• Notice that the accompaniment establishes a steady beat, or pulse.
• Ask your students to move around the room as they listen to the two-note accompaniment and notice their gait.
• Are you walking, skipping, or running?
• Listen together to “Kelefaba” full accompaniment,  Track 15, in which the space between the two notes is
filled in.
• What is different about this accompaniment?
• Ask your students to move around the room to the full accompaniment.
• How are the added notes reflected in your movement?
• Note that the accompaniment is a repeated pattern that stays the same, providing a structure or foundation
for the melody as it changes and moves.
Score
Kora
 Patterns for Kele faba
• Listen again to “Kelefaba,” Track 11, moving and singing through the verses. During the kora solos, have
your students stay in place and do their own expressive movement.
       
Simple Accompaniment

   
    
Full Accompaniment
    
40
Creative Extension: Compose Your Own Peacemaking Song
 This activity will guide you through writing a peacemaking song.

• Using the box on TG39, explain that a jeli is a peacemaker in Malian society, and
“Kelefaba” is a song that promotes peace and helps people to resolve conflicts.
• Brainstorm the message of your class peacemaking song.
• What would you like the message of your song to be?
• Work together to create a short phrase (similar to “fighting will lead to no good”) that
conveys your message.
• What is a phrase that you can use to encourage people to live in harmony with each other?
• Using classroom instruments or voices, create a two-note accompaniment
for your song.
• What pattern of notes gives you a feeling of peace and togetherness? Will you use
notes that are close together or far apart? Will they move quickly or slowly, evenly or
unevenly?
• Going back to your phrase, clap out the rhythm of the words together, counting the
number of syllables.
• Now create a melody that uses the rhythm of the words. The melody can use the two
notes of the accompaniment, plus any notes surrounding those two notes.
• What kind of melody gives you a feeling of peace and togetherness? Does the melody
move one step at a time, or leap up or down? Is it smooth or jagged, soft or loud?
• To perform the song, divide the class in half. One group can play or sing the
accompaniment while the other half sings the melody.
Explore the Kora
• On SG14, your students will have an opportunity to explore the kora, the instrument that Yacouba plays.
Musical Word Wall
Review the word steady beat, and add the words accompaniment, jeli, and kora to the Musical Word Wall.
41
41
MalianFolk
Greek Traditional
with Magda
with Yacouba
Lesson 2 Lesson 2
SG 14
Explore the Kora

The kora is an instrument made of a hollowed
gourd covered in animal hide. It has 21 strings
made from fishing wire. Leather rings around
the neck are used to tune the strings. The strings NECK
are played with the first finger and thumb of
each hand. The other fingers hold the pegs.
Like all jelis, Yacouba makes his own koras!
FISHING WIRE
STRINGS
TUNING RINGS
PEGS
ANIMAL GOURD
HIDE
42
42
Lesson 2: Learning “Wawanko”

Aim: How are movements used to express the message of the lyrics in “Wawanko”?
Summary: Students will learn to sing in call and response and create their own movements.
Standards: National 1, 4, 6, 8, 11; NYC 1, 2, 3
Vocabulary: call and response, improvisation
•
Sing “Wawanko”
• Listen to “Wawanko,”  Track 16.


Wawanko
• Learn the lyrics using “Wawanko” pronunciation, Track 17, and the call and response using
“Wawanko” call and response, Track 18.
• Divide the class into two groups. Have one group sing the call and the other group sing the response.
     
      
Call Response
   
A - ma lai lai ko lo, Si - ko lai ko, Wa - wan - ko, Si - ko lai ko
“Wawanko” Translation
Ama lai lai ko lo, I’m going to choose my best friend,

Siko lai ko, Best friend for eternity,
Wawanko, We’ll do the most fun things together,
Siko lai ko Fun things for eternity
Explore the Lyrics to “Wawanko”
• Discuss the lyrics of the song.

• “Wawanko” is about long-lasting friendship. Think of a special friend.
• What makes this friend special?
• What fun things do you like to do together?
• Why are friends important?
• How can you be a good friend?
43
Explore Instrumental Improvisation in “Wawanko”
• Listen to “Wawanko,”  Track 16. Ask your students to raise their hands each time they hear an
instrumental break, when just the instruments are playing and no one is singing.
• Note that each section of singing is followed by an instrumental section, in which one instrument plays
a solo.
• Is the instrumental part the same every time, or different each time?
• Explain that the musicians improvise their solos, making up music on the spot based on the accompaniment
to the song.
• Raise your hand when you hear an instrument’s solo.
• Which instrument is playing?
• Which solo do you like the best and why?
Creating Movement to “Wawanko”
• Teach your students the simple clapping pattern for “Wawanko.”
Wa wan ko
siko lai ko
44
• As a class, walk to the steady beat of “Wawanko,”  Track 16, while singing the call. On the response, stop
and sing while performing the clapping pattern.
• Discuss how there are two movements for “Wawanko.” The first movement is something you do by yourself,
and the second movement connects each person to both their neighbors.
• Guide your students in creating their own two-part movement to perform during the response.
• The first part of the movement is something you do by yourself, like the hand claps in the original
movement pattern.
• The second part of the movement requires a partner, like the “patty cake” motion in the original
movement pattern.
Creative Extension: Communicating in Bambara
 • On SG15, your students will have an opportunity to learn a few phrases in Bambara,
which have some interesting cultural significance. While French is the official language
of Mali, only a small percentage of Malians speak French. Bambara is the first language
for the vast majority of Malians.
• In addition to the phrases on SG15, another interesting tradition to explore is
“sinankuya,” loosely translated as “joking cousins.” It is a tradition of good-natured
teasing that can happen between family groups or between individuals. The most
common joke: “You love to eat beans.”
Literacy Extension: I Lost My Tooth In Africa
 Losing a tooth in Mali brings a whole new adventure for Amina!

In I Lost My Tooth in Africa—written by Amina’s sister, Penda
Diakité, and illustrated by her father, Baba Wagué Diakité—
Amina visits her family in Mali and learns about new traditions.
Musical Word Wall
Review call and response, and add improvisation to the Musical Word Wall.
45
SG 15
Communicating in Bambara
Bambara is the most common language spoken in Mali.
When you say good morning to a

man in Bambara, he responds
“n ba,” which means “my mother,”
to thank his mother for being born.
When you say good morning to a woman,

she says “n’séy,” which means “my power.”
When you ask for directions, the word for right is “kini bolo,”
which means “rice hand,” and the word for left is “numan bolo,”
which means “nose hand.” So turning right means going
in the direction of the hand you eat rice with; left is the
direction of the hand that you wipe your nose with!
And here’s a fun Bambara word: Bele bele ba

(pronounced: BILLY BILLY BA), which means
“big”! Elephants live in the desert in Mali.
They’re bele bele ba!
46
Indian Classical with Falu Introduction
Indian Classical with Falu

•x
There are two primary traditions in Indian classical music: Hindustani from northern India, and Carnatic from
southern. Falu is trained in the Hindustani tradition, which places a special emphasis on improvisation. Both
traditions are based on the concepts of raga and tala. Raga is the melodic structure, a series of notes akin to modes
or scales, which establishes the color and the mood of a piece. There are hundreds of ragas; several dozen are used
most widely. Tala (“clap” in Sanskrit) encompasses meter and rhythm, defining how the music moves through time.
Changes to harmony are not as important in this tradition as they are in Western classical music. Instead, Indian
classical music explores changing melodic shapes and ornaments, and the moods and feelings associated with
different ragas.
Falu began her formal musical studies at the age of three in her home town of Mumbai, India. In her early years, Falu
trained rigorously under the late sarangi and vocal master Ustad Sultan Khan, and later with the legendary Kishori
Amonkar. She came to the US in 2000, and began to integrate her formidable Indian classical training with a range
of styles and genres, resulting in a singular sound. Her original songs and reimagining of Indian classics combine the
contemporary with the ancient.
•x

Listening:
• Visit falumusic.com to hear more of Falu’s music.
• Falu’s Bazaar is an album that Falu created specifically for children in three languages—English, Hindi, and
Gujarati—to introduce them to Indian culture in New York City (it is available on her website).
• Ustad Sultan Khan, “Yaman”
• Kishori Amonkar, “Alhaiya Bilawal”
Videos:
• Filmmaker Satyajit Ray is considered one of the great filmmakers of his time.
• Raga: A Journey to the Soul of India (1971), Ravi Shankar
• Jackson Heights, Queens has a thriving Indian community.
• Little India, Manhattan has many Indian restaurants and stores.
47
47
SG 16
Meet Falu!
FR O M
DIA,
T IN G S
GR EE
TL E I N D
L I T T TA N
MA N H A
Namaste!
My name is Falu
, and I grew up
where music was in India
incorporated into
moment of our every
day. I started
Indian music wh sin ging
en I was three
and then went years old
to college to stud
classical music y Indian
in Mumbai. I sp
sing in seven dif eak and
ferent language
Hindi, Gujarati, s: Sanskrit,
Urdu, Marathi,
and English. I Bengali,
also play a few
instruments,
Musical Explorers
including the h
armonium, tanpu
percussion. It wi ra, and c/o Carnegie Hall
ll be so much fu
the songs, rhyth n to share
ms, and languag
country with you! es of my 881 Seventh Avenu
Sending you all
a big hug.
e
Pyaar se (with lo New York, NY 100
ve), 19
Falu
Leaving from
M anhattan
Morningside Heights,
48
SG 17
We asked Falu …
What is your earliest musical memory?
When I was very little I sang a children’s song in a Bollywood movie. I was so small that I
could not reach the microphone, and they had to give me a step stool to stand on.
What musical instruments do you play?

I play the harmonium, the tanpura (an Indian stringed instrument), and percussion. But my
main instrument is my voice. It’s a very delicate, soft, and tender instrument. I can use
it anytime because it is a part of my body. I sing in everything I do except when I am
sleeping. I walk singing, talk singing, play singing, and work out singing.
What are your favorite holidays?

Diwali and Holi are my two favorite holidays. Diwali is our New Year, and Holi is a spring
holiday where we play with watercolors and balloons and eat lots of desserts.
Holi
India
Mumbai,
Arriving at
an
Little India, Manhatt
49
49
Indian Classical with Falu Lesson 1
Lesson 1: Learning “Rabba”

Aim: How can melodies be transformed through ornamentation?
Summary: Students will sing “Rabba,” and learn how melodies can be modified using ornamentation.
Materials: Musical Explorers digital resources, Musical Explorers Student Guide, chart paper, colored
pencils or markers, collage materials, scarves
Standards: National 1, 2, 3, 5, 9, 10; NYC 1, 2, 4
Vocabulary: improvisation, melody, ornamentation
Sing “Rabba” Rabba Melody

• Listen to “Rabba,” Track 19. Learn the lyrics using “Rabba” pronunciation,  Track 20.
• Learn “Rabba” unornamented chorus melody, Track 21. 
                    
Haa - yo rab - ba haay rab - ba Haa - yo rab - ba haay rab - ba
    
            
• Listen to “Rabba” ornamented chorus melody, Track 22. 

• Explain that when a musician decorates a melody by adding more notes (called ornaments) it is called
ornamentation. Rabba Ornamented
• Listen to “Rabba,”  Track 19 again, and sing along to the ornamented melody on the chorus.
                          
3

 
                
3

50
“Rabba” Translation
Tere kaaran, tere kaaran, tere kaaran For you, for you, for you
Tere kaaran, tere kaaran, tere kaaran For you, for you, for you
Main to ho gayi jogan re tere pyaar mein I have become a wanderer searching for your love
Main to ho gayi jogan re tere pyaar mein I have become a wanderer searching for your love
Mere humdum mere humdum mere humdum, My beloved, my beloved, my beloved

Mere humdum mere humdum mere humdum, My beloved, my beloved, my beloved
Maine dekh li duniya re tere pyaar mein I have seen the world searching for your love
Maine dekh li duniya re tere pyaar mein I have seen the world searching for your love
Mhaaro dhola mhaaro dhola, mharo piya My sweetheart, my love
Chorus: Chorus:
Haayo rabba haay rabba O Lord help me
(x2) (x2)
Mere dilbar mere dilbar mere dilbar My beloved, my beloved, my beloved

Mere dilbar mere dilbar mere dilbar My beloved, my beloved, my beloved
Maine paali duniya re tere pyaar mein I have gained the world in your love
Maine paali duniya re tere pyaar mein I have gained the world in your love
Mhaaro dhola mhaaro dhola mhaaro piya My sweetheart, my love
(Chorus) (Chorus)
(x4) (x4)
Discover Melodic Ornamentation in “Rabba”
• Listen to “Rabba” unornamented chorus melody,  Track 21.

• Guide the students as they illustrate the melody with movement. They can use hand gestures, scarves,
or full body movement.
• Listen to “Rabba” ornamented chorus melody,  Track 22.
• Guide the students as they illustrate the melody with movement. They can use hand gestures, scarves,
or full body movement.
• How are the two melodies different? How are they the same?
• Which do you like better and why?
51
Explore Improvisation through Ornamentation
• Explain again that when a musician decorates a melody by adding more notes (called ornaments) it is called
ornamentation.
• Explain that in Indian music, singers like Falu add different ornaments to the melody each time they
perform. This is a form of improvisation, in which musicians make up music on the spot.
• Investigate how Falu ornaments the melody.
• Notice that she adds extra notes or pitches.
• Do the extra notes go up or down? Are they fast or slow? Smooth or spiky?
• Demonstrate the process of ornamenting a long note, leading your students through call and response.
Experiment with notes that go up and down from the long note. Start with slow, simple ornaments, and get
faster and more intricate as your students gain confidence.
• Invite students to make up their own ornaments, exploring their own voices.
• How does your voice feel when you are singing an ornament?
• Experiment with ornamenting the melody of the “Rabba” chorus, first demonstrating and then asking for
volunteers to give it a try. The rest of the class can add movement to illustrate the ornamentation.
Creative Extension: Visual Ornamentation
 • Start with some simple shapes on chart paper. Invite students to come up one at a
time and add ornaments to the shapes, using different colors, patterns, and collage
materials.
• Observe and discuss how ornamentation has transformed the basic shapes.
• Using My Paisley Design, SG18, guide students in creating their own paisley designs,
using ornamentation.
• Explain that Indian fabrics often use a traditional shape called paisley.
• Research and share samples of Indian paisley fabrics.
• Encourage students to add ornamentation both inside each paisley shape and between
the shapes, as demonstrated in the fabric.
Musical Word Wall
Review the word improvisation, and add the words melody and ornamentation to the Musical Word Wall.
52
SG 18
My Paisley Design
Make your own Indian paisley fabric,
ornamenting each paisley shape and the
space in between.
53
Lesson 2: Learning “Allahoo”

Aim: How are scales used in Indian music?
Summary: Students learn “Allahoo,” understand the scale used in the song, and compose melodies
using the sargam, a form of Indian solfège.
Vocabulary: drone, harmonium, sargam, scale, solfège, tabla
Sing “Allahoo”
Allahoo
• Listen to “Allahoo,”  Track 23.
• Learn the chorus to “Allahoo” using  Track 24.

               
 
     


Al - la - hoo, al - la- hoo, al - la - hoo al - la - hoo, al - la -hoo, al - la - hoo. Al - la
54
“Allahoo” Translation
Chorus: Chorus:
Allahoo, allahoo, allahoo The ultimate power
Allahoo, allahoo, allahoo. The ultimate power.
(x4) (x4)
Yeh zameen jab na thi, yeh jahaan jab na tha When this earth and world did not exist
Yeh zameen jab na thi, yeh jahaan jab na tha When this earth and world did not exist
Chaand suraj na the, aasman jab na tha When there was no moon, sun, or sky
Chaand suraj na the, aasman jab na tha When there was no moon, sun, or sky
Raaz-e-haq bhi kisi par, ayaan jab na tha When the secret of the truth was still unknown
Raaz-e-haq bhi kisi par, ayaan jab na tha When the secret of the truth was still unknown
Tab na tha kuch yahaan, tab na tha kuch yahaan When there was nothing, when there was nothing
Tab na tha kuch yahaan, tab na tha kuch yahaan When there was nothing, when there was nothing
Tha magar tu hi tu There was you
(Chorus) (Chorus)
(x2) (x2)
Laa ilaahaa teri shaan ya wahdahoo My beloved, you are the splendor you promised
Laa ilaahaa teri shaan ya wahdahoo My beloved, you are the splendor you promised
Tu khayaal-o-tajassus tu he aarzoo You are the curiosity, you are the desire
Tu khayaal-o-tajassus tu he aarzoo You are the curiosity, you are the desire
Aankh ki roshni dil ki awaaz tu The light of my eyes, the voice of my heart
Aankh ki roshni dil ki awaaz tu The light of my eyes, the voice of my heart
Tha bhi tu! Hai bhi tu! Tha bhi tu! Hai bhi tu! You were! You are! You were! You are!
Tha bhi tu! Hai bhi tu! Tha bhi tu! Hai bhi tu! You were! You are! You were! You are!
Hoga bhi tu hee tu! And will be only you!
(Chorus) (Chorus)
55
Discover the Sargam Scale
• Explain that a scale is a set of musical pitches or notes, going up and coming down, that are used to build the
melody of a song.
• Solfège uses the syllables do, re, mi, fa, sol, la, ti, and do to name the steps of the scale.
• Indian sargam uses sa, re, ga, ma, pa, dha, ni, and sa.
• Compare the major scale to the specific scale used in “Allahoo.”
Solfege/Sargam Scale
   
    

do re mi fa sol la ti do
      

sa re ga ma pa dha ni sa
Solfege Patterns Falu

• Note that the first five notes are the same for both. Sing them up and down using solfège and then sargam
syllables. Practice the sargam syllables until they feel very familiar.
• Using call and response, experiment by singing different musical phrases using the sargam syllables.
For example:
   
sa re pa
  
ga ma pa
  
ga ma sa
• If your students are ready, you can add the rest of the scale, including the D-flat for the pitch ni, explaining
that this is the one note that is different than the major scale.
• Explain that Indian musicians improvise using the sargam syllables, making up melodies on the spot.
Listen to “Allahoo,”  Track 23, where the singers demonstrate this practice.
56
Explore Instruments from India
• Using SG19, learn about the harmonium and tabla, two Indian instruments featured in Falu’s band.
• Listen to “Rabba” and “Allahoo” and see if your students can identify the harmonium and tabla in these songs.
• In “Allahoo,” the harmonium maintains a drone on the pitch sa, the root of the sargam scale, while also
playing the melody. You can have your students experiment with singing that drone as they listen to the
song. You will have an opportunity to explore drones further in the Creative Extension below.
Creative Extension: Create Your Own Five-Note Melody with Sargam Syllables
 • Review the five sargam notes from “Allahoo.” Sing them up and down, using the sargam
syllables.
• Explain that you will be writing a new five-note melody as a class, using any or all of the
five notes in any order you want. You can repeat notes more than once.
• Do you want your melody to move by step? By leap?
• When will it go up, when will it go down, and when will it stay the same?
• Have the class establish a drone by singing and holding sa. If your students are ready,
have half the class sing sa and half sing pa.
• Explain that a drone is a note or notes continuously sounded throughout the piece.
• As the class holds the drone, have students sing the melody using the sargam syllables.
For an extra challenge, students can ornament their melodies, as they learned in
Lesson 1.
• Divide the class into small groups. Each group can create a melody and then share it
with the class.
Literacy Extension: My Mother’s Sari
 In My Mother’s Sari by Sandhya Rao, children write an ode to the

garment worn by their mothers.
Musical Word Wall
Review the words scale and solfège, and add the words drone, harmonium, sargam, and tabla to the Musical Word Wall.
57
Indian
ConcertClassical with Falu
Experience Lesson 1
SG 19
Instruments from India

The tabla is a set of two hand drums of slightly different sizes and shapes.
The daya, or right-hand drum, is tuned to the pitch sa (or do). The baya,
left-hand drum, is tuned lower. The pitch changes depending how hard you
press on the drum heads with your hands.
The harmonium is a kind of reed organ. It has a keyboard like a piano and
a set of bellows that pump air through the reeds, creating the sound. The
player uses one hand to play the keyboard and one to pump the bellows.
Some harmoniums have special knobs that play the drone.
TABLA
HARMONIUM
58
58
Concert Experience: Fall
Semester 1
Before the Concert
• Review the three artists and their music.

• Look at SG4–5 and have students find the countries represented on the map.
• What do you remember about the artists and their music?
• Listen to each song.
• Brainstorm with students about how to be active listeners, enthusiastic performers, and successful audience
members during the concert.
• Prepare for the surprise songs.
• At the concert, each of the artists will sing a surprise song that the students have not heard or studied.
These songs are selected to complement the two songs in the curriculum and to provide students with
an active listening experience as they encounter new music for the first time in a concert setting.
• Explain to students that they are in for some exciting surprises during the concert because there will be
three songs that they have never heard before. You can ask them to raise their hands or say, “Surprise!”
when they hear a surprise song at the concert.
• Ask students to guess what the surprise songs by each artist will be like.
• Will they be fast or slow? Quiet or loud?
• Will there be movement or dancing?
• Explain that you will be seeing how much they remember about the surprise songs after the concert.
• Get ready for your visit to Carnegie Hall using SG20–21.
After the Concert
• Discuss the overall concert experience.

• Discuss the surprise songs.
• What surprise songs do you remember?
• What do you remember about these songs? Were they slow or fast, long or short?
Was there movement to do? Was there any part that you sang along with?
• Which was your favorite surprise song and why?
• Reflect on your concert experience by completing the activities on SG22–23.
• Share your students’ reflections by emailing them to [email protected].
59
SG 20
Welcome to Carnegie Hall’s Zankel Hall!
This is
Carnegie Hall.
Meet the
ushers!
60
SG 21
You’ll enter here

and go down
the escalator.
Your ushers will meet

you at the bottom of the
escalator and guide you
into beautiful Zankel Hall.
Everyone will get a
great seat!
61
SG 22
What Did You See and Hear at

Carnegie Hall?
Draw pictures of your trip to Carnegie Hall below.
62
SG 23
Who Is Your Favorite Artist?

Write a letter to your favorite artist. Be sure to include your favorite part
of the concert and your favorite song from the concert.
,
Dear

Your friend,

63
Jazz with Brianna Introduction
Jazz with Brianna

•x
Jazz is a quintessentially American art form. It is a hybrid created by the convergence of African traditions brought
by slaves with western European traditions brought by colonists in the new world—and specifically in the ethnic
and cultural melting pot that was New Orleans at the turn of the 20th century. The essence of jazz is swing, the
inimitable rhythmic lilt that lends jazz its distinctive feel and underlying groove. Jazz spread to cities throughout
the US during the Great Migration, the movement of black Americans leaving the southern states after the Civil
War. It was during the Harlem Renaissance in the 1920s that jazz established its foothold in New York City; in time
New York became the jazz capital of the world.
Brianna grew up surrounded by music. Her father, Charlie Thomas, was a vocalist and percussionist, and Brianna
began appearing with his band at the age of six. At eight, she won the first of 13 trophies in area talent shows. Before
she reached her teens, she was touring Europe with the Peoria Jazz All-Stars. Brianna’s soulful singing is deeply
enriched by an understanding of the masterful voices of jazz history. It incorporates the sass, emotionalism, and
deep instrumental knowledge of Sarah Vaughan; the coyness of Nancy Wilson; the scatting of Ella Fitzgerald; and
the stylistic breadth and vocal grandeur of Dianne Reeves.
•x

Listening:
• Visit briannathomas.com to hear more of Brianna’s music.
• Ella Fitzgerald and Louis Armstrong, “Don’t Be That Way”
• Sarah Vaughan, “Autumn Leaves”
• Count Basie Orchestra, “Every Day I Have the Blues”
• Louis Armstrong and Duke Ellington, “In a Mellow Tone”
• Billie Holiday, “Pennies from Heaven”
• Louis Armstrong, “Where the Blues Were Born in New Orleans”
• Fats Waller, “Ain’t Misbehavin’” and “It’s a Sin to Tell a Lie”
• Billie Holiday and Louis Armstrong, “Do You Know What It Means to Miss New Orleans”
Videos:
• “What’s Jazz?,” Ella Fitzgerald and Mel Thormé at the 1976 Grammy Awards
• “Exploring Jazz Vocals and Scat Singing,” Jazz at Lincoln Center’s Jazz Academy
• “Now You Has Jazz,” Louis Armstrong, Live in Australia (1964)
• National Jazz Museum, in Harlem, Manhattan • Jazz Standard, in Murray Hill, Manhattan
• Louis Armstrong House, in Corona, Queens • Village Vanguard, in the West Village, Manhattan
• Jazz at Lincoln Center, in Midtown, Manhattan • Cotton Club, in Harlem, Manhattan
• Smoke Jazz & Supper Club, in the Upper West • Ginny’s Supper Club, in Harlem, Manhattan
Side, Manhattan
65
SG 24
Meet Brianna!
m
Greetings fro hat tan!
a n
Harlem, M
Dear “Youn
g Lions” of
Jazz!
I’m Briann
a,
of music ca and I sing an Ameri
lled jazz! I can style
household, grew up in
as my dad a musical
my first m was also a
usic teache musician a
to scat wh r. nd
en I was y I started learning
records by our age by
my favorite listening to
and Sarah singers, Ell
Vaughan! N a Fitzgerald
New York C ow I sing
ity and th jazz all ov
which is a e er
n importan world. I live in Harle
African Am t neighborh m,
erican histo ood in jazz
jazz is stil ry and wh and
l performed ere a lot of Musical Explo
can’t wait
to take a
today. My
band and
rers
you and sw trip on the I
ing, sing, a jazz train
with
c/o Carnegie
nd do tha
t thing! Hall
Hugs and
much love, 881 Seventh
Brianna Avenue
New York, N
Y 10019
Leaving from
Little India, Man
hattan
66
SG 25
We asked Brianna …
What was one of your first experiences with music?
I remember being three years old, watching my father rehearse with his band in our
home. I would sing along by listening and repeating what I heard. I made my singing
debut with my father’s band when I was six years old, singing Louis Armstrong’s “What
a Wonderful World.”
Tell us about the instruments that you play.

My first instruments were the drums and my voice. Today, my voice is my main
instrument, but I also use the piano to write my own songs.
What is your favorite thing about performing jazz?

My favorite thing about performing jazz is the freedom involved in it. When jazz
musicians improvise, or make up melodies on the spot, we enjoy a great deal of freedom
and self-expression.
Arriving at
Harlem, Manhattan
67
Jazz with Brianna Lesson 1
Lesson 1: Learning “Blue Skies”

Aim: How are melodic contour, form, and improvisation used in jazz?
Summary: Students will sing “Blue Skies,” learning about some of the key musical elements
found in jazz.
Materials: Musical Explorers digital resources, Musical Explorers Student Guide, flash cards,
glockenspiel or other pitched instrument
Vocabulary: form, improvisation, lyrics, melodic contour, soloing
Irving Berlin (1888–1989) is considered one of the greatest songwriters in

American history. He was born in Russia and came to the US when he was five.
Berlin wrote more than 1,500 songs, including hundreds of hits. “Blue Skies”
was composed as part of a musical called Betsy. Audiences loved the song so
much they demanded 24 encores of it on the show’s opening night!
•
• Skies”
Sing “Blue
• Listen to “Blue Skies,” 

Track 25.
• Sing along to “Blue Skies,” 
Track 25.
• Discuss the lyrics to “Blue Skies.” Blue Skies
• What is the song about?
• How does it make you feel?

         
        
3 3
   
Blue skies smil - ling at me

Noth - ing but blue skies, Do I see
  
  

    

3 3
    
Blue - birds sing - ing a song, Noth - ing but blue - birds all day long
68
Unit 2 Lesson 1
SG 2
18
Find the Pattern

“Blue Skies”
Blue skies smiling at me

Whatbut
Nothing doblue
you notice
skies, about
Do I see
the buildings in the New York skyline?
Bluebirds singing a song,
Nothing but bluebirds all day long,
Never saw the sun shining so bright

Never saw things going so right
Noticing the days hurrying by
When you’re in love, my how they fly
Blue days all of them gone

Nothing but blue skies from now on.
Explore Melodic Contour in “Blue Skies”
• Explain that melodic contour is the shape and direction a melody makes in music.
•What
Listen do
to “Blue
youSkies”
noticemelody vocals,
about 
Track 26. As you listen, use the New York City skyline below to
this skyline?
trace the melodic contour.
skies me blue
smil- at Noth- but

-ing -ing see
Blue I
skies, Do
Follow
• Howthe skyline as you listen
of thisto the melody!
14
would you describe the shape melody? Is it smooth, jumpy, curvy, jagged, etc.?
& 4 • Invite volunteers

œ œ to come œ drawœthe shape
œ of theœ melodic œ
œ contour.
• When does the melody move by steps? By leaps?
œ œ up and
œ œcan singœalongœand trace
• Listen to “Blue Skies” melody vocals,  Track 26, again; this time your students
the melodic
Blue skies contour
smi - inling
the air.at me Noth - ing but blue skies, do I see
• Your students will have an opportunity to create their own melodies based on melodic contour in the
Creative Extension, My Own Skyline Melody, TG71.
œ œ œ œ œ œ œ œ œ œ œ œ
œ œ 47
Blue skies smi - ling at me Noth - ing but blue skies, do I see 69
Explore Form in “Blue Skies”
• Explain that musical form is the way music is organized; it is like a map or a plan for a piece of music.
• Explain that “Blue Skies” consists of four parts. Three of those parts have the same basic melody; those
three parts are called A.
• Listen again to “Blue Skies” melody,  Track 27, letting your students know that this melody will be heard
in the A sections of the song.

• Now, listen to “Blue Skies,” Track 25. Ask students to identify the A section each time it occurs and make
up a movement to represent it. When they hear a section that is different from A, ask them to indicate that by
making up a different movement.
• How did you know that there was a new section in the song?
• The part in the middle has a different melody; we call that part B.
• What about the B section makes it different from the A section?
• Explain that this form is called AABA, a common form in jazz and other styles of music.
• Listen again to “Blue Skies,” Track 25, with your students performing their movements for each section.
Discover Soloing in “Blue Skies”
• Explain that an important part of jazz is improvisation, in which the musicians make up variations on the
melody and rhythm of a song on the spur of the moment.
• Explain that in “Blue Skies,” several of the musicians improvise (called “soloing”) at different points in the
song while the rest of the band supports them. You can reflect back on the use of improvisation in the Indian
classical and Malian units from the previous semester.
• Listen again to “Blue Skies,” Track 25.
• Ask students to raise their hands when they hear the musicians soloing, and identify the instrument
(or voice) that is soloing.
70
Creative Extension: My Own Skyline Melody
 • Using SG26, have your students draw a new skyline with buildings at different levels of
their choosing.
• Ask your students to trace the melodic contour of their new skyline.
• Where does it go up? Where does it go down? Where are there leaps? Where are there
steps? When is the movement curvy, and when is it sharp and jagged?
• Assist your students in creating a new melody following their melodic contour by singing
or playing glockenspiels or another pitched instrument.
• Your students can try out the lyrics from “Blue Skies” with their new melody, write their
own lyrics, or try improvising.
Musical Word Wall
Review the words improvisation and melodic contour, and add the words form, lyrics, and soloing to the Musical
Word Wall.
71
Find the Pattern
Jazz with Brianna
What do you notice about
Lesson 2 the buildings in the New York skyline?
SG 26
My Own Skyline Melody

It’s your turn to create your own What do you notice about this skyline?
“skyline melody.” Draw a skyline skies me blue
with buildings that are as tall or smil-

-ing
at Noth-
-ing
but
see
short as you like. Then trace the Blue I
melodic contour, and perform the

skies, Do
melody you created. You can sing

the lyrics from “Blue Skies,” write Follow the skyline as you listen to the melody!
your own lyrics, or just improvise! 14
&4 œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
Blue skies smi - ling at me Noth - ing but blue skies, do I see
& œ œ œ œ œ œ œ œ œ œ œ œ
œ œ 47
& œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
72
Lesson 2: Learning “Take the A Train”

Aim: How is scat used in jazz improvisation?
Summary: Students learn “Take the A Train” and how to scat, imitating instruments and
creating their own musical language.
Materials: Musical Explorers digital resources, Musical Explorers Student Guide, classroom
instruments
Standards: National 1, 2, 3, 6, 10, 11; NYC 1, 2, 3, 4
Vocabulary: rhythm section, scat, soundscape
Billy Strayhorn (1915–1967) was an American jazz composer, pianist, lyricist,

and arranger who was a primary collaborator of the legendary bandleader Duke
Ellington. When Ellington first met Strayhorn, he wrote Strayhorn directions to
his office in Harlem. These directions later became the lyrics for “Take the A Train.”
•
Sing “Take the A Train”
• Listen to “Take the A Train,”  Take the A train

Track 28.
• This song is about a subway line called the A train, which runs from Queens to the northern tip of
Manhattan and stops in the Sugar Hill neighborhood in Harlem.
• Sing along to “Take the A Train” using 
Track 28.
## 4 j œ. œ œ. j
& 4 w œ œ #œ ˙ w
## œ œ
You must take the A train
& w œ #œ œ œ bœ œ œ
œ ˙. w
j œ. œ.
go
## j
To to Su - gar Hill way up in Har - lem
w œ œ œ #œ ˙ w
&
# œ œ
If you miss the A train
œ
& # w œ #œ œ œ bœ œ œ ˙. w
You'll find you've missed the quick - est way to Har - lem
73
“Take the A Train”
You must take the A train

To go to Sugar Hill way up in Harlem
If you miss the A train
You’ll find you’ve missed the quickest way to Harlem
Hurry, get on, now it’s comin’

Listen to those rails a-hummin’
All aboard get on the A train
To go to Sugar Hill way up in Harlem
The rhythm section is the core of most jazz ensembles. Made up

of piano, bass, and drums, it establishes the underlying rhythm,
harmony, and beat of the music, laying the foundation for the melody
and improvisation, and giving different jazz styles their distinctive feel.
Explore Scat Singing in “Take the A Train”
• Explain that scat singing is a technique in jazz in which singers improvise using wordless syllables.
Often, they are mimicking with their voice the sounds of the instruments in the jazz ensemble.
• Listen to “Take the A Train” Brianna trumpet scat,  Track 29. Note that Brianna uses scat syllables to
imitate the trumpet solo.
• Which syllables and sounds did you hear Brianna use to imitate the trumpet?
• Create a list as a class of the scat syllables that were heard. Then add some others that could also mimic the
trumpet.
• Using “Take the A Train” trumpet call and response,  Track 30, have students take turns echoing the
trumpet using their scat syllables.
• Try the same activity, this time imitating a different instrument.
• What instrument do you want to be?
• What scat sounds would that instrument make?
• Listen to “Take the A Train” scat conversation,  Track 31. Note that this time, Brianna and the trumpet
are having a conversation, in which the trumpet calls, and Brianna responds with her own improvisation.
Have students listen for the syllables.
• Add any additional scat syllables heard in this recording to your list.
• Using “Take the A Train” trumpet call and response,  Track 30, have students take turns having a scat
conversation with the trumpet.
74
Create Your Own Soundscapes
• Listen to “Take the A Train,”  Track 28.

• How do you know the song is about a train?
• Which instruments do you hear?
• Explain that this has a soundscape, which is the section of sounds that portray or characterize a specific
environment.
• As a class or in small groups, have your students pick a place in your school that has distinctive sounds, for
example, the copier running or telephones ringing in the reception office; the squeaks made by feet and
bouncing balls in the gym; or the scrapes of food trays in the cafeteria.
• Ask them to close their eyes and listen for the sounds around them for a few minutes. You can have your
students use Explore the Sounds of Our City, TG12, to help them record what they have heard.
• Back in the classroom, try to replicate the sounds that were heard by asking them to use their voices,
classroom instruments, or additional sound-making items.
• Here’s a tip: If your students do this activity in small groups, when you bring the class together, you can ask
the rest of the class to guess the location of the soundscape of each group.
Creative Extension: Jazz Directions
 Using SG27, have your students fill in the blanks in the “Take the A Train” lyrics with a
special place in their neighborhood, the name of their neighborhood, and the mode of
transportation to get there. Then have them draw a map or a picture of their special place
to accompany their lyrics.
Literacy Extension: Duke Ellington: The Piano Prince and
 His Orchestra
Andrea Davis Pinkney’s Duke Ellington: The Piano Prince and His
Orchestra gives us a snapshot of the famous jazz musician’s life.
Explore his musical journey from his first piano lesson to his concert
at Carnegie Hall!
Musical Word Wall
Add the words rhythm section, scat, and soundscape to the Musical Word Wall.
75
SG 27
Jazz Directions
How would you help a friend come visit you? Fill in the blanks to give
directions to get to a special place in your neighborhood. Then draw a
map or picture to help your friend find the way there.
You must take the to go to
(mode of transportation) (favorite place)
in . If you miss the ,

(neighborhood) (mode of transportation)
you’ll find you’ve missed the quickest way to .

(neighborhood)
76
Bomba and Plena with Juan and Julia Introduction
Bomba and Plena with Juan and Julia

•x
Bomba and plena stand at the core of Afro–Puerto Rican music. They are often grouped together, but each has its
own trajectory and musical identity. Bomba is said to be one of the oldest musical expressions of the Americas,
dating back 500 years with direct connection to the African ancestry of slaves. Plena is a product of the early 20th
century, growing amid a developing sense of Puerto Rican national identity. Both have been used to voice freedom,
individuality, cultural affirmation, and even labor reform. As such, bomba and plena are considered to be the main
vehicles that express Puerto Rican resistance, resilience, and pride.
Juan is the founder of Los Pleneros de la 21. Since 1983, the group has been fusing the traditional rhythms and
dance of bomba and plena with contemporary and urban styles, like son, salsa, jazz, and hip-hop. The group
inspired the creation of dozens of bomba and plena bands in the US. Julia is Juan’s youngest daughter. She has
dedicated herself to continuing this tradition and has become a well-respected bomba and plena dancer and
educator.
•x

Listening:
• Visit losplenerosdela21.org to hear more of Juan and Julia’s and music.
• Los Pleneros de la 21 albums • Bomba
• Para Todos Ustedes • Traditional, “Bámbulae Sea Allá”
• Somos Boricuas • Plena
• Puerto Rico Tropical • Marcial Reyes Arvelo, “Puerto Rico,
• Puerto Rico, Puerto Rico Puerto Rico”
• Catalino “Tite” Curet Alonso, “El Leon”
Videos:
• Bomba: Dancing the Drum, directed and photographed by Ashley James
• Raíces, directed by Paloma Suau
• Puerto Ricans are the longest standing Latinx group in New York City. There is not one Puerto Rican
neighborhood but many, and they are often referred to differently in Spanish than in English.
• El Barrio (Spanish Harlem), Manhattan • El Sur del Bronx (South Bronx), Bronx
• Loisaida (Lower East Side), Manhattan • Los Sures (Brooklyn Navy Yard), Brooklyn
• Julia de Burgos Cultural Center, Los Pleneros de la 21’s headquarters with weekly events
• El Museo del Barrio
• Caribbean Cultural Center African Diaspora Institute
• Casita Rincón Criollo (also known as La Casita de Chema)
• Pregones Theater Puerto Rican Traveling Theater
• BomPlenazo Fest, biennial festival by the Hostos Center for Arts and Culture
• Clemente Soto Velez Center / Teatro SEA
77
SG 28
Meet Juan and Julia!
s fr o m a n !
e e tin g at t
G r anh
i o , M
a r r
El B Saludos M
usical Exp
lorers! Juan
We are so
excited to
plena to introduce
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la 21, has
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e’re so ho usic, song lorers
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Leaving from
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7878
SG 29
We asked Juan and Julia …

What are some of your earliest memories with music?
Juan: I first started playing music at age eight, when my father bought me a pair of
timbales. So instead of playing with cars and in the park like a lot of my friends, I was
busy playing timbales!
What is your favorite holiday or tradition to celebrate?

Julia: Christmas celebrations in Puerto Rico run from Thanksgiving through February 2.
The best ritual during that period is the parrandas. You and a bunch of friends surprise
people in their homes at any time of the night, playing music very loudly until they let
you in. You eat all their food and then the homeowners go with you to the next home.
This is done all night long. The parrandas are officially done when the homeowners make
an asopao de pollo (chicken stew); then it’s off to bed!
What is your favorite thing about performing bomba and plena?

Juan: It is the feeling that I am touching my soul, in some sort of trance, and being able
to connect with other musicians.
Julia: Music is like medicine for me. I can be very tired, sad, or even angry, but once I
hear the music, and I am surrounded by people that are like family, everything is OK!
Puerto Rican
Day Parade in
NYC
erto Rico
San Juan, Pu
Arriving at
El Barrio, Manhattan
79 79
Bomba and Plena with Juan and Julia Lesson 1
Lesson 1: Learning “Estoy Buscando un Árbol”

Aim: What elements make up a bomba song? What is the relationship between music and dance
in bomba?
Summary: Students will learn about the rhythms and instruments used in a bomba song, and learn
about the relationship of dance to music.
Vocabulary: barril, bomba, buleador, cua sticks, maraca, subidor
Bomba is a traditional style of Puerto Rican music initially created

by enslaved Africans and their descendants in the context of the
plantation and post-plantation life in early colonial Puerto Rico. It
encompasses anywhere from 47 to 56 rhythmic patterns that can be
organized within five main rhythmic families. The key to bomba is the
way that music and dance intertwine: When improvising, it is the
dancer who takes the lead and the musician who responds.
•
Sing “Estoy Buscando un Árbol”
• Listen to “Estoy Buscando un Árbol,” Track 32.

• Learn the lyrics to the refrain using “Estoy Buscando un Árbol” pronunciation,  Track 33.
Estoy Bucando Un
 Árbol
• Sing the refrain using “Estoy Buscando un Árbol” refrain, Track 34.
& 68 œr œ œ œ œ œ œ œ #œ œ œ œ Œ.
Es - toy bus - can - do'un ár - bol que me de som - bra
80
“Estoy Buscando un Árbol” Translation
Estoy buscando un árbol que me de sombra I’m in search of a tree for some shade
Que me de sombra que me de sombra To bring me shade, to bring me shade
Porque es que tengo calor a mi me da Because I am so tired and hot
¡Ay! Que si está lindo que me deje besar And if it’s a nice tree, may it let me hug it
¡Ay! Que si está bueno en mi soledad And it’s a good tree for my solace
¡Ay! Que sea muy lindo como el Guilán Guilán For it to be pretty like the Guilán Guilán
Que no me deje que tenga piedad One that will not leave me and will be pious*
Que de el sol me pueda tapar One that will be able to shelter me from the sun
*This can also mean to have pity.
Explore the Lyrics in “Estoy Buscando un Árbol”
• Read the lyrics aloud. Explain that lyrics in bomba songs often have deep meaning about people’s feelings,
hopes, and dreams, and that they often use imagery from nature to illustrate or represent their feelings.
• What do you think the mood of the singer is? How do you think the singer is feeling?
• What is the singer looking for? What else do you think the singer might need or want?
Bomba Instruments
In bomba music, the rhythms are played by large, barrel-shaped drums

called barriles, which play two roles: the buleador role and the subidor
role. The buleador plays the foundational rhythm while the subidor
improvises. Additional instruments that add rhythmic layers include
cua sticks, played on the sides of a smaller barril, and the maraca,
typically played by the lead singer. On SG30, students will have an
opportunity to compare and contrast these bomba instruments
with the instruments used in plena.
81
1
Perform Rhythm and Dance Conversation in “Estoy Buscando un Árbol”
• One of the signature aspects of bomba is that it is a conversation, or call and response, between dancers
and musicians; and—in a bit of a role reversal—it is the dancer who leads the way. The dancer improvises
movements, challenging the subidor, or lead drummer, to respond with rhythmic interpretations.
• Learn the movements for “Estoy Buscando un Árbol” at  carnegiehall.org/MusicalExplorers.
• Using “Estoy Buscando un Árbol,”  Track 32, try out each of the movements.
• Once students are comfortable with the movements, form a circle and ask for a dancer to go into the middle.
Ask the dancer to perform one of the movements from the dance vocabulary or improvise a new movement.
Demonstrate the role of the subidor, responding to the movement by drumming or clapping a rhythmic
phrase. It can be the same rhythm that the dancer performed, or a complementary rhythm.
• Ask for volunteers to take turns playing the role of the dancer and the subidor.
• When your students are comfortable, play “Estoy Buscando un Árbol,”  Track 32, giving students an
opportunity to try out the roles of dancer and subidor.
Musical Word Wall
Add the words barril, bomba, buleador, cua sticks, maraca, and subidor to the Musical Word Wall.
82
Lesson 2: Learning “Ola de la Mar”

Aim: What elements make up a plena song?
Summary: Students will explore the rhythms and instruments utilized in a plena song, and learn about the
social context of plena music.
Materials: Musical Explorers digital resources, Musical Explorers Student Guide, classroom instruments
Standards: National 1, 2, 3, 5, 10, 11; NYC 1, 2, 3, 4
Vocabulary: güícharo, pandereta, plena, rhythmic layers, seguidor, segundo
Plena originated among urban workers of Puerto Rico’s coastal areas, mainly in Ponce and Mayagüez, shortly
after Spain lost political control of the island, and thus during the early period of US colonial rule. Like
bomba, plena is sung in a call and response style. In plena, the singer, rather than the dancer and drummer,
does the improvising. Lyrics are often inspired by current events. Thus, plena has sometimes been called
“el periódico cantado” (the sung newspaper). More broadly, the songs relay oral history, and reflect the
singer’s own perspectives, beliefs, hopes, and feelings.
Sing “Ola de la Mar”
• Listen to “Ola de la Mar,” 

Track 35.
Ola de la Mar  Track 36.
• Learn the lyrics to the chorus using “Ola de la Mar” pronunciation,
• Sing the chorus using “Ola de la Mar” chorus, 
Track 37.
#4 œ œ œ.
& 4 œ œ œ. œ œ œ. Œ œ œ œ. œ œ œ. Œ œ œ œ.
Œ
O - la de la mar, O - la de la mar, Trái - ga - me la paz,
#
& œ œ œ œ œ œ œ œ œ œ œ. œ œ œ. Œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ.Œ
Trái - ga - me la paz que mi ple - na va'a so - nar Trái - ga - me la paz que mi ple - na va'a so - nar
83
“Ola de la Mar” Translation
Chorus: Chorus:
Ola de la mar, ola de la mar Wave of the sea, wave of the sea
Tráigame la paz, Bring me peace,
Tráigame la paz que mi plena va a sonar Bring me peace that my plena will sound
(x2) (x2)
Entre ola y ola, entre ola y ola In between the waves, in between the waves
Mi plena va sonar My plena will start to ring
Ola de la mar, tráigame la paz Wave of the sea, bring me peace
Tráigame la paz que mi plena va a sonar Bring me peace that my plena will sound
(Chorus) (Chorus)
Siempre cuento contigo, siempre cuento contigo I always count on you, I always count on you
A la hora de la verdad At the moment of truth
Cuando tengo tristeza o si no felicidad. When I am sad or when I am happy
Cuando tengo tristeza o si no felicidad. When I am sad or when I am happy
(Chorus) (Chorus)
Saquen los panderos, saquen los panderos Take out the panderos, take out the panderos
Y vamos a tocar And we will begin to play
Ola de la mar tráigame la paz Wave of the ocean bring me peace
Tráigame la paz que mi plena va a sonar. Bring me peace that my plena will sound.
(Chorus) (Chorus)
Siempre que oigo la plena, siempre que oigo Every time I hear the plena, every time I hear
la plena the plena
Me dan ganas de bailar I feel like dancing
Ola de la mar tráigame la paz Wave of the ocean bring me peace
Tráigame la paz que mi plena va a sonar. Bring me peace that my plena will sound.
(Chorus) (Chorus)
(x2) (x2)
The core rhythm instruments in plena are a series of three panderetas—hand drums similar to tambourines
without the jingles—and a güícharo or güiro (scraped gourd). In order from largest to smallest, the
panderetas are the seguidor, the segundo, and the requinto. The seguidor, segundo, and güícharo play a
foundational rhythm that remains constant throughout a plena song. The requinto improvises more intricate
rhythms on top of the established base rhythm.
84
Explore Rhythmic
Score Layering in “Ola de la Mar”
Plena Rhythms (Consolidated)
• The foundational rhythm in “Ola de la Mar” is made of three rhythmic layers played by the seguidor,
segundo, and güícharo. The rhythmic layers are as follows:
Seguidor                  

Segundo                
Güícharo                                    
• Using Panderetas layer 1 seguidor,  Track 38; Panderetas layer 2 segundo,  Track 39; and Panderetas
layer 3 güícharo, Track 40, listen to the three different layers separately, and hear how they
come together.
• Using classroom instruments or body percussion, have your students try out each of the rhythms. If they are
ready, try layering two or even three of the rhythms together.
• Explain that the smaller pandereta, called the requinto, improvises over the foundational rhythm.
• Demonstrate how the requinto would improvise over one or more of the foundational rhythms.
• As your students get comfortable, have them take turns playing the requinto and improvising while the rest
of the class maintains the base rhythm.
• For an added challenge, try adding the chorus to “Ola de la Mar” to the rhythmic layers. You can sing the call,
while your students sing the response.
Compare and Contrast Bomba and Plena Instruments
• The instruments played in bomba and plena are distinct for each genre.
• Explore each set of instruments using SG30.
• Discuss the similarities and differences between the two sets, focusing in particular on the differences
between the two sets of drums.
• Using some of the listening examples found under Resources for Teachers, TG77, see if your students can
identify whether the sample is bomba or plena, based on the instruments.
©
85
Creative Extension: The Sung Newspaper
 • Plena music is sometimes referred to as “the sung newspaper,” because singers improvise
lyrics about current events or their own personal experiences, punctuated by an
established refrain.
• In this activity, your students will create their own plena song using SG31.
• As a class, decide on a subject for your plena song.
• What is an important event that you’d like to tell the world about? Is it something in the
news, something that happened in school, or something in your own life?
• If you were writing a story about that event in a newspaper, what would the headline be?
The headline will be just a few words, and will become the refrain of the plena song.
• Using SG31, students can create their own “sung newspaper” by filling in the headline,
writing a short story, and then illustrating their story.
• Work with the class to create a chant or melody for the headline. Start with the rhythm of
the words and then add pitches if desired, using classroom instruments as available. You
can use Panderetas layer 1 seguidor,  Track 38; Panderetas layer 2 segundo,
 Track 39; and Panderetas layer 3 güícharo,  Track 40, to establish the underlying
rhythm for the chant.
• If your students are ready, you can complete your plena song by adding an improvised
response to the refrain: A student can read or chant a line or phrase from their story, and
the rest of the class will respond with the headline refrain.
Literacy Extension: Juan Bobo Goes to Work: A Puerto Rican
 Folk Tale
Folk tales about Juan Bobo are Puerto Rican classics. Juan Bobo,
or Simple John, is a naïve young boy who can’t seem to follow
instructions, leading to lots of funny misadventures. In Juan Bobo
Goes to Work: A Puerto Rican Folk Tale retold by Marisa Montes,
Juan Bobo encounters all sorts of obstacles as he tries to find
work on a farm and at a grocery store.
Musical Word Wall
Add the words güícharo, pandereta, plena, rhythmic layers, seguidor, and segundo to the Musical Word Wall.
86
SG 30
Bomba and Plena Instruments

Both bomba and plena use percussion instruments, the family of
instruments that are played by striking, shaking, or scraping. In what
way are the two sets of instruments the same? How are they different?
Bomba Instruments Plena Instruments
Panderetas are hand drums

Barriles are large, that look like tambourines
barrel-shaped drums. without the jingles. From
largest to smallest, they are
the sequidor, the segundo,
and the requinto.
Cua sticks are any wooden

sticks played on the sides
of a smaller barril drum.
The güícharo, or güiro,

is a gourd that is scraped
on its side with a stick.
The maraca is a shaker,

typically played by
the lead singer.
87 87
SG 31
The Sung Newspaper

Plena is sometimes called “the sung newspaper” because people sing
about the events happening in their lives. You can create your own
newspaper, and then sing it to make a plena song. Put your headline—the
refrain for your song—at the top in big letters. Write three sentences to
tell your story. Then, draw a picture to illustrate your story.
8888
Brazilian with Fabiana Introduction
Brazilian with Fabiana

•x
The many interconnected styles of Brazilian popular music emerged from different regions of the country,
building on musical traditions brought to Brazil by enslaved Africans with European elements introduced by the
Portuguese in colonial times. The two songs in this unit focus on the samba, the most iconic of Brazilian musical
styles, which is closely associated with Brazil’s Carnival parades.
Originally from Rio Claro, near São Paulo in eastern Brazil, Fabiana started out as a flutist and pianist, learning
first from her mother who played the organ. Fabiana studied voice at the prestigious University of Campinas in
Brazil, then came to the US in 2001 to study at the California Jazz Conservatory in Berkeley, California. Two years
later, she moved to New York and has been performing ever since with a range of artists in many Brazilian styles,
including samba, bossa nova, forró, and axé, as well as jazz and rock.
•x

Listening:
• Samba
• Djavan, “Maçã”
• Ivan Lins, “Abre Alas”
• Vinicius de Moraes, Arca de Noé (samba canção)
• Bossa Nova
• João Gilberto, “Corcovado”
• Forró
• Gilberto Gil, “O Canto da Ema”
• Dominguinhos, “Eu Só Quero um Xodó”
• Morena Tropicana, “Alceu Valença”
• Axé
• Daniela Mercury, “Você Abusou”
• Ilê Aiyê, “O Mais Belo dos Belos”
Readings:
• Bossa Nova Songbook, Almir Chediak
• Bossa Nova: The Story of the Brazilian Music that Seduced the World, Ruy Castro
• While Brazilians live throughout New York City, Astoria, Queens has a concentration of Brazilian
restaurants and businesses. The Rio Market and Grill on 36th Avenue, a supermarket, gift shop, and
restaurant, acts as a center of the community.
• newyorklatinculture.com/Brazilian, an up-to-date list of Brazilian events in New York City
89
SG 32
Meet Fabiana!
o m
,
s f r
Gre eting
T O R I A
AS N S
Q U E E
Oi, tudo
bem Music
al Explore
rs!
My name
is Fabian
raised in a,
a small c and I was born
near the ity called an
ea Rio Claro d
always su stern coast of B
rrounded razil. I
My mom b was
used to p y nature and mu
that’s wh la sic.
at enhan y organ for us a
Did you ced my lo nd
kn ve
Por tugue ow that in Brazil for music.
se? I ca , we spea
bit of m n’ t wait k
y culture to share
with you! an a little
Hope you’r d sing beautiful Musical Ex
plorers
some dan e also re songs
ce moves. ady to le
Oba! arn c/o Carne
Sua amig gie Hall
a,
881 Sevent
Fabiana h Avenue
New York
, NY 10019
Leaving from
El Barrio, Manhattan
90 90
SG 33
We asked Fabiana ...

When did you start playing music?
My mom played the organ, and I used to sing with her when I was really little. My
parents also got me a microphone and an amp so I could sing along with all my favorite
songs. I joined the school choir when I was eight, and soon I got my first solo. I had a
really good musical memory, so I could learn songs super fast! By the time I was 15, I
was traveling around Brazil, performing with different bands.
How did you celebrate Carnival in Brazil?

Carnival is like a big party all over Brazil. When I was little, we would close down our
street and have a big block party with music and dancing and lots of food. Everyone
dressed up in costumes, and my mom used to make all of my costumes. One of my
favorites was when I was a cancan dancer.
What do you like to do when you’re not singing?

Animals are my favorite thing in the world (besides music of course!)—especially horses
and dogs. I grew up riding and training horses. When I moved to New York, I learned
to be a dog trainer. I love working with people and their dogs! I have two 11-year-old
Chihuahuas of my own—a sister and brother named Chloe and Ludlow. They’re the best.
a
Fabian
Arriving at
Astoria, Queens
91 91
Brazilian with Fabiana Lesson 1
Lesson 1: Learning “Mas Que Nada”

Aim: What are the rhythmic and cultural elements that define the samba?
Summary: Students learn a samba song and the underlying samba rhythms, and are introduced to
the cultural context for the genre.
Materials: Musical Explorers digital resources, Musical Explorers Student Guide, drum,
tambourine, desktops, metronome
Vocabulary: pandeiro rhythm, samba, samba school, syncopation
“Mas Que Nada,” written in the 1960s by esteemed pop singer-songwriter

Jorge Ben, is a classic samba. Samba is rooted in the musical and religious
traditions of Afro-Brazilians in Bahia, and grew up in the favelas (extremely poor
neighborhoods) of Rio de Janeiro more than 100 years ago. Many subgenres have
evolved in the decades since.
• Sing “Mas Que Nada”

Learn to
• Listen to “Mas Que Nada,”  Track 41.

Mas Que Nada

• Learn the chorus lyrics using “Mas Que Nada” pronunciation, Track 42.
• Learn to sing the chorus using “Mas Que Nada” chorus, 
Track 43.
                   
                   
O - a - ri á rai - ô O - bá O - bá O - bá
92
“Mas Que Nada” Translation
Chorus: Chorus:
Oariá raiô Oariá raiô
Obá Obá Obá Obá Obá Obá
Oariá raiô Oariá raiô
Obá Obá Obá Obá Obá Obá*
Mas que nada, sai da minha frente Oh come on! Get out of my way
Eu quero passar pois o samba está animado I want to pass because the samba is exciting
O que eu quero é sambar. What I want is to samba.
Este samba que é misto de maracatu This samba which is a mix of maracatu
É samba de preto velho It’s an old black man’s samba
Samba de preto tu. Black man’s samba.**
Mas que nada, um samba como esse tão legal Oh, come on! A samba like this, so nice
Você não vai querer que eu chegue no final. You won’t want me to come to the end.
(Chorus) (Chorus)
*This is believed to be an incantation for the orixá, or spirit, Obá.

*The preto velho is the spirit of an old, black slave, which is an archetype of
the wise old man.
93
Learn to Play the Pandeiro Rhythm in “Mas Que Nada”
Your students will learn about the pandeiro rhythm, and will explore how it is played on the pandeiro.
Note that playing this pattern at tempo is a challenge, and it is not expected that most students will achieve
that goal. Instead, the aim is for them to experience the act of drumming using different parts of the hand,
and to provide a fun challenge.
• One of the basic samba rhythms is a constant stream of eighth notes that establish the steady beat. This
rhythm is played on the pandeiro, a frame drum that is unofficially referred to as the national instrument of
Brazil. It is similar to the tambourine, with jingles that make a drier, crisper sound.
• The pandeiro is held in one hand and played with the other, using four different parts of the hand:
Fingers
umb
Th
Heel
Mas Que Nada pandeiro pattern

• The pandeiro rhythm is played as follows:
   
2) Fingers 4) Fingers 2) Fingers

4) Fingers
      
  
1) Thumb 3) Heel 1) Thumb 3) Heel
• You can do this activity on a drum or tambourine if you have one. If percussion instruments are not
available, the activity can easily be done on a desktop.
Mas Que Nada Pandeiro pattern half-speed
• Start out playing the rhythmic pattern slowly, as follows:
    
2) Fingers 4) Fingers 2) Fingers 4) Fingers
      
1) Thumb 3) Heel 1) Thumb 3) Heel
94
• As your students master the pattern, they can gradually get faster. You can clap the quarter notes or use a
metronome to set a clear tempo.
• When the class is ready, try playing along with “Mas Que Nada,”  Track 41, using the slower, quarter note
version, and attempting the full speed version as well.
• If your students are comfortable with the pandeiro rhythm, there are two additional samba rhythms that
Score
Additional Samba Rhythm (1)
can be layered on top, using different percussion instruments or clapping.
• The first rhythm simply outlines beats 1 and 3, which are the strong beats in samba.
           
Additional Samba Rhythm (2)
• The second rhythm adds syncopation—the “and” of the beat.
                   
Samba Schools: The samba school is a quintessentially Brazilian phenomenon.

There are more than 100 neighborhood-based samba schools in Rio de Janeiro alone,
and some of the biggest ones have several thousand participants. All year long, these
volunteer-led guilds prepare for their appearance in the Carnival parade. At the
same time, they function as multidimensional community centers, providing
services such as educational programs and medical care; engaging in political
activity; and bringing neighbors together.
Creative Extension: Design Your Own Samba School Flag
 On SG34, your students will have an opportunity to name their own samba school and create
a samba school flag. They can do this activity individually, in small groups, or as a class.
Musical Word Wall
Add the words pandeiro rhythm, samba, samba school, and syncopation to the Musical Word Wall.
95
SG 34
Design Your Own Samba School Flag

Every samba school in Brazil designs its own flag to carry in the
Carnival parade. Most of the flags include the shape of a sun. To make
your own, pick a name and create a symbol for your samba school.
Then choose two colors for the rays of your flag. The name and the
symbol of your samba school go in the center.
96 96
Lesson 2: Learning “Requebra”

Aim: How is dance integrated with music in the samba?
Summary: Students will learn basic samba movements and create their own dance. They will also
explore the cultural context of Carnival in Brazil.
Vocabulary: Carnival, samba reggae
“Requebra” was written by the samba school Olodum in Bahia, Brazil. In the middle of the 1980s, the group’s
head drummer, Neguinho do Samba, mixed Afro-Caribbean rhythms with the traditional Brazilian samba.
The result was a new style of samba that came to be known as samba reggae, and it ultimately came to
dominate the Bahian Carnival.
•
Sing “Requebra”
• Listen to “Requebra,”  Track 44.

• Learn the lyrics to the different parts of the song using “Requebra” pronunciation, 
Track 45.
• Learn to sing the chorus using “Requebra” chorus,  Track 46.
• Requebra

Learn the clapping pattern using “Requebra” claps, Track 47, and add the claps when singing
the full song.
        
                   
Re - que-bra, re - que-bra, re - que - bra assim Pode fa - lar, pode rir de mim
97
“Requebra” Translation
Chorus: Chorus:
Requebra, requebra, requebra assim Swing it, swing it, swing like this
Pode falar, pode rir de mim You can talk, you can laugh at me
Requebra, requebra, requebra assim Swing it, swing it, swing like this
Pode falar, pode rir de mim You can talk, you can laugh at me
Requebra! Swing it!
(x2) (x2)
Deusa de marron, jeito sensual Brown goddess sensual way

Quando ela passa agita a cidade When she passes by she, excites the whole town
Pois é carnaval Because it’s Carnival
(x2) (x2)
Eu já falei que te quero, I’ve told you I want you

Não tenho vergonha de te assumir I’m not ashamed to assume my love for you
Pois o homem não vive Because a man doesn’t live
Se o seu sentimento não admitir If he can’t express his feelings
(x2) (x2)
Pode Requebra! Pode Requebra! Swing it! Swing it!

(Chorus) (Chorus)
(x2) (x2)
Faça o que quizer, You can do whatever you want

Mas eu não vou te esquecer But I will never forget you
Quero você, amor! I want you my love!
(x2) (x2)
Requebra Swing it
Até no chão! Down to the ground!
Embaixo, embaixo, embaixo, ô Down, down, down, oh

Em cima, em cima, em cima, ô Up, up, up, oh
(x2) (x2)
(Chorus) (Chorus)
(x2) (x2)
Pode Requebra! Pode Requebra! Swing it! Swing it!
98
Learning to Dance the Samba
• Learn the steps for the samba at carnegiehall.org/MusicalExplorers.

• Once students have learned the steps for the samba, use “Requebra,” 
Track 44, to dance the samba.
Create Your Own Dance
In this activity your students will create their own dance, including “instructions” in the lyrics just as they are
included in the lyrics of “Requebra.”
• Review the lyrics, noting that “requebra” means to swing or wiggle. Notice how the song practically
commands people to get up and dance!
• Note that, at the end of the song, the instructions get more specific, instructing people to move down
(“embaixo”) and up (“em cima”).
• Using “Requebra,”  Track 44, ask your students to follow the instructions as they dance along to the song,
swinging and wiggling each time Fabiana sings the word “requebra,” and going up and down when directed
in the last verse.
• Using “Requebra,”  Track 44, stand in a circle, and ask for a volunteer to lead from the center. The leader
will call out and demonstrate different movements (jump, hop, wave your arms, etc.) in place of “requebra.”
The rest of the students will follow the lead. When they get to “embaixo” and “em cima,” they can choose to
go in different directions.
Carnival in Brazil is a national party—a six-day festival leading up

to the start of Lent, a solemn season in the Catholic church. There are massive
parades through the streets with music, dance, costumes and revelry; percussion
bands can number in the hundreds of players! Community groups and samba
schools spend the entire year preparing—writing songs, creating dances,
rehearsing, making costumes, and building floats. Each city or region has its own
customs and traditions for Carnival, from Bahia, where Afro-Brazilian roots
predominate, to Rio de Janeiro, where the Portuguese influence is stronger.
99
Creative Extension: Design a Carnival Float
 On SG35, your students will have an opportunity to choose their own Carnival theme and
imagine what their parade float might look like. Brazilian Carnival themes run the gamut;
recent examples include everything from the beauty of Rio de Janeiro, to the origins and
mystery of life, to personal hobbies, to criticism of the Brazilian government.
This activity can be done individually or in small groups. You can share some examples of
Carnival floats, as well as Carnival costumes on carnegiehall.org/MusicalExplorers.
Brainstorm ideas with your students about the different ways they could represent their theme,
from costumes to props to setting.
Literacy Extension: The Dancing Turtle: A Folktale from Brazil
 Along the Amazon River, a clever turtle befriends local children with her
flute playing and dancing in The Dancing Turtle: A Folktale from Brazil by
Pleasant DeSpain and illustrated by David Boston.
Musical Word Wall
Add the words Carnival and samba reggae to the Musical Word Wall.
100
SG 35
Design a Carnival Float

Every samba school picks its own theme
for the Carnival parade. The theme can
be about absolutely anything—from your
favorite animals, to today’s news, to an
important person that you respect. Draw
your Carnival float below. What is the
scene? Who is on the float? What costumes
are they wearing? Don’t forget to include
some musicians on your float!
My Carnival theme is
101101
Concert Experience: Spring
Semester 2
Before the Concert
• Review the three artists and their music.

• Look at SG4–5 and have students find the countries represented on the map.
• What do you remember about the artists and their music?
• Listen to each song.
• Brainstorm with students about how to be active listeners, enthusiastic performers, and successful audience
members during the concert.
• Prepare for the surprise songs.
• At the concert, each of the artists will sing a surprise song that the students have not heard or studied.
These songs are selected to complement the two songs in the curriculum and to provide students with
an active listening experience as they encounter new music for the first time in a concert setting.
• Explain to students that they are in for some exciting surprises during the concert because there will be
three songs that they have never heard before. You can ask them to raise their hands or say, “Surprise!”
when they hear a surprise song at the concert.
• Ask students to guess what the surprise songs by each artist will be like.
• Will they be fast or slow? Quiet or loud?
• Will there be movement or dancing?
• Explain that you will be seeing how much they remember about the surprise songs after the concert.
• Do the It’s Concert Time! activity on SG36.
After the Concert
• Discuss the overall concert experience.

• Discuss the surprise songs.
• What surprise songs do you remember?
• What do you remember about these songs? Were they slow or fast, long or short?
Was there movement to do? Was there any part that you sang along with?
• Which was your favorite surprise song and why?
• Reflect on your concert experience by completing the activities on SG37–38.
• Share your students’ reflections by emailing them to [email protected].
103
SG 36
It’s Concert Time!

Circle things you WILL do at Carnegie Hall. Put an “X” through things
you WON’T do at Carnegie Hall.
Use all
fou
whisper r kinds of voic
Dance ing, talk e
ing, call s:
and sing ing,
Sleep ing
Run
Have
fun!
Get bored
Talk during
yo ur ears
the music
Che Open
er! Laugh
Move
ections
w dir
Follo Sing!
Liste
n
perf to the
orm ho w the
ers Watc h
sic ia ns play
mu g
and sin
Eat popcorn
Clap
104
SG 37
What Did You See and Hear at

Carnegie Hall?
Draw pictures of your trip to Carnegie Hall below.
105
SG 38
Who Is Your Favorite Artist?

Write a letter to your favorite artist. Be sure to include your favorite part
of the concert and your favorite song from the concert.
,
Dear

Your friend,

106
Additional Information
Glossary
accompaniment: a musical part that supports or pandeiro rhythm: characteristic samba rhythm played
partners a solo instrument, voice, or group on the pandeiro drum
accordion: a box-shaped instrument with a keyboard pandereta: hand drum similar to tambourines without
and bellows the jingles
barril: large, barrel-shaped drum plena: Afro–Puerto Rican genre of music played with
bomba: Afro–Puerto Rican genre of music played several panderetas and primarily featuring a lead singer
by several barril drums and primarily featuring an improvising the lyrics, often inspired by current events
improvised exchange between the dancer and the rhythmic layers: different rhythmic parts that happen
lead drummer simultaneously
buleador: barril drum that plays the foundational rhythm section: the instruments in a jazz ensemble,
rhythm throughout bomba typically piano, bass, drums, and sometimes guitar, that
Carnival: an annual national six-day festival in Brazil, form the foundation for the melody, harmony,
leading up to the start of Lent and improvisation
call and response: musical form in which one samba: Brazil’s most iconic musical style, most closely
person sings a musical phrase (call), and the group associated with Brazil’s Carnival parades
follows (response) with either an echo or another samba reggae: traditional Brazilian samba mixed with
complementary phrase Afro-Caribbean rhythms
cua sticks: percussive instruments played on the side samba school: Brazilian community center where
of a barril drum in bomba music neighbors prepare all year for their appearance in the
drone: a note or notes continuously sounded Carnival parade
throughout a piece sargam: in Indian classical music, the syllables used to
explorer: a person who uses his or her senses to learn name the steps of the scale
something scale: a pattern of musical notes
form: the order of phrases or sections in music scat: improvising with the voice using wordless
güícharo: a hollowed gourd that is scraped syllables
harmonium: a reed organ with a keyboard and a set of seguidor: largest pandereta that plays the foundational
bellows that pump air through the reeds to create sound rhythm in plena
improvisation: a technique in which music is made up segundo: medium sized pandereta that plays the
on the spot foundational rhythm in plena
jeli: a West African storyteller and peacemaker who solfège: the use of syllables to name each note in a
shares the oral tradition and history of a village or musical scale
family soloing: one singer or instrumentalist performing alone
kora: a 21-stringed harp-like instrument from soundscape: the sounds that portray or characterize a
West Africa specific environment
lyrics: the words in a song steady beat: the pulse in music
maraca: gourd-shaped container filled with beans, strong beat: a beat that is emphasized or accented
pebbles, or similar objects, that one shakes to create subidor: lead drummer in bomba music who responds
sound to the bomba dancer with rhythms
melodic contour: the direction and shape of a melody syncopation: stressing a beat that is normally
melody: the main tune of a piece of music unaccented
meter: the number of beats in a measure combined tabla: a set of two hand drums of slightly different sizes
with the pattern of strong and weak beats and shapes, in which the pitches change depending how
ornamentation: decoration that is added to the notes hard the drums’ heads are pressed
of the melody weak beat: a beat that is not emphasized or accented
107
National Core Arts Standards for Music and New York City Department of Education Blueprint
for Teaching and Learning in Music
Unit National Standards NYC Blueprint Strands

Greek Folk 1, 2, 4, 5, 8, 9, 10, 11 1, 2, 3, 4
Malian Traditional 1, 2, 4, 6, 7, 8, 10, 11 1, 2, 3, 4
Indian Classical 1, 2, 3, 4, 5, 7, 9, 10, 11 1, 2, 3, 4
Jazz 1, 2, 3, 4, 6, 7, 10, 11 1, 2, 3, 4
Bomba and Plena 1, 2, 3, 4, 5, 6, 10, 11 1, 2, 3, 4
Brazilian 1, 2, 6, 7, 9, 10, 11 1, 2, 3, 4
National Core Arts Standards for Music

Common Anchor #1 Generate and conceptualize artistic ideas and work.
Common Anchor #2 Organize and develop artistic ideas and work.
Common Anchor #3 Refine and complete artistic work.
Common Anchor #4 Analyze, interpret, and select artistic work for presentation.
Common Anchor #5 Develop and refine artistic work for presentation.
Common Anchor #6 Convey meaning through the presentation of artistic work.
Common Anchor #7 Perceive and analyze artistic work.
Common Anchor #8 Interpret intent and meaning in artistic work.
Common Anchor #9 Apply criteria to evaluate artistic work.
Common Anchor #10 Synthesize and relate knowledge and personal experiences to make art.
Common Anchor #11 Relate artistic ideas and works with societal, cultural and historical context
to deepen understanding.
New York City Department of Education Blueprint for Teaching and Learning in Music
Strand 1 usic Making: By exploring, creating, replicating, and observing music, students build their technical
M
and expressive skills, develop their artistry and a unique personal voice in music, and experience
the power of music to communicate. They understand music as a universal language and a legacy of
expression in every culture.
Strand 2 Developing Music Literacy: Students develop a working knowledge of music language and aesthetics,
and apply it to analyzing, evaluating, documenting, creating, and performing music. They recognize
their roles as articulate, literate musicians when communicating with their families, schools, and
communities through music.
Strand 3 Making Connections: By investigating historical, social, and cultural contexts, and by exploring
common themes and principles connecting music with other disciplines, students enrich their
creative work and understand the significance of music in the evolution of human thought and
expression.
Strand 4 Working with Community and Cultural Resources: Students broaden their perspective by working
with professional artists and arts organizations that represent diverse cultural and personal
approaches to music, and by seeing performances of widely varied music styles and genres.
Active partnerships that combine school and local community resources with the full range of
New York City’s music and cultural institutions create a fertile ground for students’ music
learning and creativity.
Strand 5 Exploring Careers and Lifelong Learning: Students consider the range of music and music-related
professions as they think about their goals and aspirations, and understand how the various
professions support and connect with each other. They carry physical, social, and cognitive skills
learned in music, and an ability to appreciate and enjoy participating in music throughout their lives.
108
Common Core Capacities
Through hands-on classroom activities and two culminating interactive performances, Musical Explorers helps
to address Common Core Capacities for College and Career Readiness, empowering students through learning
activities in which they
• demonstrate independence
• build strong content knowledge
• respond to the varying demands of audience, task, purpose, and discipline
• comprehend, as well as critique
• value evidence
• come to understand other perspectives and cultures
The Musical Explorers curriculum focuses on building music performance skills, content knowledge, and
creativity, while developing core capacities in English language arts and mathematics. Through active listening,
describing and analyzing repertoire, writing activities, and a focus on the perspectives of other cultures and
communities, Musical Explorers provides students with the opportunity to put these core capacities to use in
a musical domain. Visit carnegiehall.org/MusicalExplorers for more information.
Acknowledgments
Recordings
“Carnegie Hall Musical Explorers Song,” by Daniel Eliot Levy. © 2007 and ASCAP. Performed by Shanna
Lesniak-Whitney and Shane Schag.
“Trata,” traditional Greek folk song, arranged by Magda Giannikou. Performed by Magda Giannikou, Ignacio
Hernandez, Marcelo Woloski, and Petros Klampanis.
“Thalassaki Mou,” traditional Greek folk song, arranged by Magda Giannikou. Performed by Magda Giannikou,
Panayotis League, Matt Aronoff, and Mavrothi Kontanis.
“Kelefaba,” traditional Malian folk song, arranged by Yacouba Sissoko. Performed by Yacouba Sissoko.
“Wawanko,” traditional Malian folk song, arranged by Yacouba Sissoko. Performed by Yacouba Sissoko, Audrey
Hayes, Boubacar Diabate, and David Rajaonary.
“Rabba,” by Falu Shah and Borahm Lee. Performed by Falu Shah, Gaurav Shah, Borahm Lee, Mark Tewarson, Greg
Gonzalez, Justin Wallace, and Taoufiq Ben Amor.
“Allahoo,” traditional Indian classical arranged by Falu Shah. Performed by Falu Shah, Gaurav Shah, Deep Singh,
Bryan Vargas, and Greg Gonzalez.
“Blue Skies” from Betsy. Words and Music by Irving Berlin. © 1927 by Irving Berlin. Copyright Renewed. This
Arrangement © 2015 by the Estate of Irving Berlin. International Copyright Secured All Rights Reserved.
Reprinted by Permission of Hal Leonard LLC. Performed by Brianna Thomas, Wayne Tucker, Conun Pappas, Eric
Wheeler, and Darrian Douglas.
“Take the A Train,” Words and Music by Billy Strayhorn. Copyright © 1941 Reservoir Media Music and Billy
Strayhorn Songs, Inc. Copyright Renewed. This arrangement Copyright © 2020 Reservoir Media Music and Billy
Strayhorn Songs, Inc. All Rights in the US and British Reversionary Territories Administered by Reservoir Media
Management, Inc. All Rights Reserved Used by Permission. Reprinted by permission of Hal Leonard LLC. Performed
by Brianna Thomas, Wayne Tucker, Conun Pappas, Eric Wheeler, and Darrian Douglas.
“Estoy Buscando un Árbol” by Rafael Cepeda Atiles. Copyright © 1979 by Southern Music Publishing Co., Inc.
Copyright Renewed. This arrangement Copyright © 2018 by Southern Music Publishing Co., Inc. International
Copyright Secured All Rights Reserved. Reprinted by permission of Hal Leonard LLC. Performed by Los Pleneros
de la 21.
109
“Ola de la Mar,” by Pedro Ruiz. Performed by Los Pleneros de la 21.
“Mas Que Nada” by Jorge Ben. © 1963 Copyright (c) 1963 by Peermusic do Brasil Edições Musicais Ltda. Copyright
Renewed. This arrangement Copyright (c) 2018 by Peermusic do Brasil Edições Musicais Ltda. All Rights
Administered by Peer International Corporation. International Copyright Secured All Rights Reserved. Reprinted
by permission of Hal Leonard LLC. Performed by Fabiana Masili, Wesley Lima De Amorim, Itaiguara Brandao, and
Fernando Saci.
“Requebra,” by Jose Carlos Conceicao do Nascimento and Pierre Onasis Ramos. © 1993 Warner/Chappell Edicoes
Musicais Ltda. (ABRAMUS) This Arrangement © 2018 Warner/Chappell Edicoes Musicais Ltda. (ABRAMUS) All
Rights Reserved including Public Performance. All rights administered by WB Music Corp. Performed by Fabiana
Masili, Wesley Lima De Amorim, Itaiguara Brandao, and Fernando Saci.
Photos
Artist Photos: Magda Giannikou, childhood photo courtesy of artist; publicity photo by Shervin Lainez. Yacouba
Sissoko publicity photo by Tom Ehrlich. Falu Shah, childhood photo courtesy of artist; publicity photo by Dima
Volkov. Brianna Thomas, childhood photo courtesy of artist; publicity photo by Jonelle Bain. Juan Gutiérrez
and Julia Gutiérrez-Rivera, childhood photos courtesy of artists; publicity photos by Martin Cohen. Fabiana
Masili, childhood photo courtesy of artist; publicity photo by Tiba Vieira. TG13: Children playing tube trumpets
by Stephanie Berger; bucket drummer by Nan Palmero; boy playing straw oboe by Stephanie Berger; kitchen
supplies by Hillarie O’Toole. TG24: Greek coffee cups by Great Big Story. TG25: Moussaka photo by Margarita
Lopez Barbat; Acropolis photo by Kirk F; Voula photo by Melissa Cross, A Traveler’s Heart Photography,
atravelersheartphoto.com. TG26: Greek boat photo by Samuel Loannidis. TG37: Niu-goona by Phil Denton;
Malian dancers by Mark William Brunner. TG39: Kora by Babili Kanouté, © 1996 Canadian Museum of History,
2000.139.9, IMG2008-0231-0001-Dm. TG44: Yacouba motions by Rigdzin Pema Collins. TG48: Mithai by Krista.
TG49: Mumbai by Vidur Malhotra; Holi by India Picture. TG58: Tabla by NBaturo; harmonium by Volra.
TG60: Carnegie Hall Jeff Goldberg/Esto; Ushers by Rigdzin Pema Collins. TG61: Escalator Google Maps; Zankel
Hall Jeff Goldberg/Esto. TG62: Audience by Jeff Goldberg/Esto. TG66: Detail, Spirit of Harlem, Louis Delsarte
2005 © Courtesy of DPS/Atlanta, GA, photo by Trish Mayo, 2018. TG67: Apollo Theater by RemotelyBoris; Lenox
Lounge by Ryan Davis. TG73: Billy Strayhorn photo by William P. Gottlieb. TG78: Car photo by Lee Kowarski.
TG79: San Juan by Erik Larson; Puerto Rican Day Parade by Boss Tweed; TG80: Los Pleneros de la 21 by Tom
Ehrlich. TG81: Los Pleneros de la 21 by Tom Ehrlich. TG87: Barriles, maracas, and panderetas by Division of Home
and Community Life, National Museum of American History, Smithsonian Institution; cua sticks by Uryah and
Chris Down/Asenine; güiro by Miguel Andrade. TG90: Brazilian Day Festival by WENN Ltd. TG91: Red Dress by
Pixabay; performance photo by Tiba Vieira. TG92: Jorge Ben by Cássio Abreu. TG94: Hand by NYStudio.
TG95: Carnival by CP DC Press. TG96: Samba Flags by Gonzales photo, carnaval.com Studios, and CP DC Press.
TG99: Samba school parade photo by Alan Betensley. TG101: Carnival photo by Wigder Frota. TG105: Audience by
Jeff Goldberg/Esto.
Illustrations
TG10: Literacy Extension by ALIKI. TG33: Literacy Extension by Don Daily. TG45: Literacy Extension by Baba
Wagué Diakité. TG57: Literacy Extension by Nina Sabnani. TG74: Jazz painting by Suzanne Cerny,
jazzsketches.net. TG75: Literacy Extension by Brian Pinkney. TG86: Literacy Extension by Joe Cepeda.
TG100: Literacy Extension by David Boston. All other illustrations by Sophie Hogarth.
Special Thanks
Special thanks to Sarah Cullen and Tyler Cunningham.
110
Track List
1. “Carnegie Hall Musical Explorers Song” 24. “Allahoo” chorus
2. “Carnegie Hall Musical Explorers Song” 25. “Blue Skies”
accompaniment 26. “Blue Skies” melody vocals
3. “Trata” 27. “Blue Skies” melody
4. “Trata” pronunciation 28. “Take the A Train”
5. “Trata” chorus 29. “Take the A Train” Brianna trumpet scat
6. “Thalassaki Mou” 30. “Take the A Train” trumpet call and response
7. “Thalassaki Mou” pronunciation 31. “Take the A Train” scat conversation
8. “Thalassaki Mou” chorus 32. “Estoy Buscando un Árbol”
9. “Thalassaki Mou” 7/8 rhythm 33. “Estoy Buscando un Árbol” pronunciation
10. “Thalassaki Mou” instrumental 34. “Estoy Buscando un Árbol” refrain
11. “Kelefaba” 35. “Ola de la Mar”
12. “Kelefaba” pronunciation 36. “Ola de la Mar” pronunciation
13. “Kelefaba” chorus 37. “Ola de la Mar” chorus
14. “Kelefaba” simple accompaniment 38. Panderetas layer 1 seguidor
15. “Kelefaba” full accompaniment 39. Panderetas layer 2 segundo
16. “Wawanko” 40. Panderetas layer 3 güícharo
17. “Wawanko” pronunciation 41. “Mas Que Nada”
18. “Wawanko” call and response 42. “Mas Que Nada” pronunciation
19. “Rabba” 43. “Mas Que Nada” chorus
20. “Rabba” pronunciation 44. “Requebra”
21. “Rabba” unornamented chorus melody 45. “Requebra” pronunciation
22. “Rabba” ornamented chorus melody 46. “Requebra” chorus
23. “Allahoo” 47. “Requebra” claps
111
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Weill Music Institute

PUBLISHING AND CREATIVE SERVICES

Weill Music Institute at Carnegie Hall

© 2018 The Carnegie Hall Corporation. All rights reserved.

How to Use the Teacher and Student Guides

Options for Teachers of Students with Special Needs

Pathways for Teachers

Explore Enhance Discover

Make the Invisible Visible

Ask Open-Ended Questions

Magda, Greek Folk

Yacouba, Malian Traditional

Falu, Indian Classical

Juan and Julia, Bomba and Plena

Literacy Extension: The Listening Walk

 In Paul Showers’s The Listening Walk, get immersed in all the

Welcome to Our Musical Trip!

in English or for help in all other

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