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Dear Educators, For over 90 years, tri-state area teachers and students have joined the Cincinnati Symphony Orchestra to experience great music and explore musical concepts through Young People’s Concerts. We believe access to the arts is important for every student, and that the skills developed through the study of music are easily related to other content areas and to life experiences. We are pleased to share this Curriculum Guide, which aims to promote an appreciation of the orchestra and develop and 21st Century Skills through music. We hope these materials provide a flexible but comprehensive resource that can be tailored to suit the needs of your students. In the following pages you’ll find information for teachers and chaperones, printable texts, worksheets and/or resources for students, and standards-based lesson plans. We believe music and the concert experience can enhance learning across the curriculum. These lesson plans and extensions are provided with the idea that classroom teachers can work along with arts specialists to make connections between music and other content areas, thus providing a more integrated teaching/learning experience for children. The plans are intended to suggest activities we believe most teachers will be comfortable presenting, utilizing the concert music as a catalyst for the activity. If you are the music specialist, you may want to share these plans with an interested classroom colleague. Please visit our website (www.cincinnatisymphony.org/youngpeople) to access the listening tracks and additional resources. A link on the program page will take you to a password protected page where you can download specific tracks for each concert. You can also choose to download a .zip file which contains all the pieces for a particular concert. All audio files are in .mp3 format and may be played through iTunes or other media players or burned to a CD. You should have received a password with your order confirmation or in a follow-up email. If you have any questions about any of the CSO’s education programs, please email, call, or check our website for additional details. Finally, please don’t hesitate to let us know how we’re doing! We will send a short evaluation survey link after each concert, but please feel free to send your comments to us throughout the year so we can make our concerts and events the best they can be. Thank you for sharing the Cincinnati Symphony Orchestra with your students, and thank you for the job you do each day to share knowledge and the love of learning with the young people in our community. We look forward to seeing you and your class at the Taft Theatre this season! Sincerely, Logan Kelly Manager of Education Programs lkelly@cincinnatisymphony.org 513.744.3347

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CONTENTS

4 From The Conductor

5 Concert Program

6 Music on the Concert

8 LESSON: The Orchestra Lab

9 LESSON: Fast and Loud...or Soft and Fast?

10 LESSON: Beethoven Symphony No. 5

11 LESSON: Bumblebee Contour

13 Your Trip to the Taft Theatre

The Cincinnati Symphony Orchestra

The Taft Theatre

LESSON: Concert Etiquette

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A NOTE FROM

GENE CHANG ASSISTANT CONDUCTOR

Dear Friends,

My name is Gene Chang, and I am the Assistant Conductor for the Cincinnati

Symphony Orchestra. The musicians of the orchestra and I are so excited to

welcome all of you to the Taft Theatre for our performance of “The Orchestra Lab.”

You may want to bring your lab coat and goggles, because we’re really going to dig

into the science of music as we investigate the orchestra and dissect the music we

hear together! We’ll observe and compare the different sounds an orchestra can

make, and we’ll find the answer to questions like, “What are all those instruments

on stage, and why do we have so many?” We’ll build an orchestra from the ground

up, from an elegant string orchestra in Mozart’s Eine Kleine Nachtmusic to the

mighty brass fanfare of Strauss’ Also Sprach Zarathustra, and then we’ll explore the

physics of music as well - from the various shapes of instrument sound waves

resulting in a dazzling array of orchestral “colors” in Shostakovich’s Tahiti Trot to

observing how composers like Beethoven can take a single “atom” of music to build

one of the most powerful orchestral works ever written - his 5th Symphony.

Boy, that’s a lot of science! And to help make all of these scientific concepts clear,

we may have a certain famous scientist on hand to help explain each of these ideas

and show how science can explain why music can be such a thrilling and moving

experience.

We can’t wait to see you soon at the Taft Theatre!

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Wolfgang Amadeus Mozart Eine kleine Nachtmusik (Serenade in G Major), K. 525 I. Allegro Gioachino Rossini Overture from Il barbiere di Siviglia (excerpt) Richard Strauss Also Sprach Zarathustra Maurice Ravel Alborada del Gracioso Dmitri Shostakovich Tahiti-Trot Nikolai Rimsky-Korsakov Flight of the Bumblebee from The Tale of Tsar Salton Sergei Prokofiev Montagues and Capulets from Romeo and Juliet Aram Khachaturian Sabre Dance"from Gayane Ludwig Van Beethoven Symphony No. 5 in C Minor, Op. 67 I. Allegro con brio John Williams Olympic Fanfare and Theme

November 2, 2016 at 10:30am November 22,2016 at 10:30am

Taft Theatre

GENE CHANG conductor

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WOLFGANG AMADEUS MOZART Mozart was born on January 27, 1756 in Salzburg, Austria. His father Leopold was a well-known violinist, teacher and author. As a child, Mozart and his sister traveled throughout Europe to perform. As a young man, Mozart wrote hundreds of pieces, some of the most beautiful music in the world. “Eine Kleine Nachtmusik” is a serenade, an instrumental piece composed of several shorter pieces. This work, nicknamed “A Little Night Music” features the strings. It is cheerful and light. You will hear shifting tonality from major to minor in the middle section, called the development. RICHARD STRAUSS The German composer Richard Strauss was born on June 11, 1864 and died on September 8, 1949. He was known for his very melodic large works for orchestra. Also Sprach Zarathustra is a tone poem, an extended musical work that often describes an emotion or event, and was written in 1896. The music is about 30 minutes long, but the orchestra will only be performing the very strong beginning part. It might remind you of a sunrise. This music was used for the movie 2001, A Space Odyssey. Listen for the very important percussion instrument that you will hear shortly after the music starts. Describe the sound. Is it friendly? GIOACCHINO ROSSINI Rossini’s mother was an opera singer and his father was a trumpet player in the same opera company. Growing up in this musical environment, he began singing with the company at the age of 13. When he was 14, Rossini was asked to write his first opera for the company! One this concert, we will be performing the Overture to the opera The Barber Of Seville. An overture is the music that begins an opera. They are popular choices for opening orchestra concerts. The traditional purpose of the overture was to set the mood and provide the proper atmosphere for the upcoming action of the opera. It is common for overtures to begin with a slow introduction, almost as if waiting for everyone to settle down to focus on the music. MAURICE RAVEL Maurice Ravel was born in France in 1875. His mother, who was from Spain, loved to sing Spanish folk songs to him when he was growing up, which inspired Ravel throughout his life. Ravel began piano lessons at the age of 6. When he was older, he was expelled from the music school he attended because he could not meet their competitive requirements. That didn’t stop Ravel from composing music! He joined a group of other musicians called the Apaches and became one of the most important and influential French composers from the romantic era. Alborada del Gracioso is one of the pieces Ravel composed that is obviously inspired by his connection to the Spanish culture - in fact, the title is in the Spanish language. An alborada is a song sung in the morning, and a gracioso is a humorous or entertaining person. DMITRI SHOSTAKOVICH Dmitri Shostakovich was born on September 25, 1906 in Russia. Shostakovich had many interests, including boxing, soccer, and hockey. Music, though, was his special talent. Dmitri's parents, both musicians, noticed his musical talent early. When he was 5 years old, he attended the performance of an opera. The next day his parents were surprised when he was able to sing several of the songs from the opera. He began piano lessons at the age of 9 and composed his first symphony when he was 19 years old. Shostakovich used his special talent in music to compose Tahiti Trot. After hearing the piece at a friend’s home, he was challenged to rewrite the piece for full orchestra from memory in under an hour. He finished in 45 minutes!

MUSIC ON THE CONCERT

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NIKOLAI RIMSKY-KORSAKOV Nikolai Rimsky-Korsakov was born on March 18, 1844 in Russia. He was a naval officer before he decided that he preferred writing music to navigating ships. In addition to being one of the most important Russian composers of the 19th century, he also was a well-respected teacher. Rimsky-Korsakov especially enjoyed composing music based on folk and fairy tales. “Flight of the Bumblebee” is a famous orchestral interlude written by Rimsky-Korsakov for his opera The Tale of Tsar Saltan, The piece closes Act III, right after the magic Swan-Bird gives Prince Gvidon Saltanovich (the Tsar's son) instructions on how to change into an insect so that he can fly away to visit his father (who does not know that he is alive).

SERGEI PROKOFIEV Russian composer and pianist Sergei Prokofiev was born in 1891 in Sontsovka, a small village in Ukraine. Prokofiev was quite fond of setting stories to music and composed music for a ballet version of Romeo & Juliet. In addition to the full length ballet, Prokofiev arranged two orchestral suites featuring many excerpts from the ballet. This has become one of the composer’s favorite audience pieces. The excerpt on this concert is “Montagues and Capulets.” It introduces the two warring families in the story. First one hears is a solemn, dark slow-moving melody. It then is followed by a strong rhythmic melody that suggests a serious march.

ARAM KHACHATURIAN Aram Khachaturian was born on June 6, 1903 in Russia. Unlike many famous musicians who got their start at an early age, Khachaturian did not begin the formal study of music until he was nineteen. As a child he did play the tuba and taught himself piano. Khachaturian was especially interested in folk music, and collected folk songs and write music based on them. Some of these folk songs inspired the music of Sabre Dance. In the original ballet, dancers danced to this piece of music with sabres, a type of sword.

LUDWIG VAN BEETHOVEN Ludwig van Beethoven was born in Bonn, Germany into a poor family. At an early age Beethoven was expected to help support his family. When he was 11, Beethoven became the assistant organist in the court chapel in Bonn. He continued to work as a musician and compose music for the rest of his life. Symphony No. 5 was composed from 1805-1807 when Beethoven was almost totally deaf. The opening movement, marked Allegro con brio (lively, with vigor) contains one of the most famous theme in all Western classical music. “Three shorts and a long” describes the very simple yet powerful opening idea. It consists of only four different notes and you can find it throughout the entire movement. With this simple idea, you can hear how classical music works – you’ll hear it repeated, extended, echoed, paired with other ideas and then a return to the beginning. These techniques are ones that Beethoven perfected and used to create wonderful music. JOHN WILLIAMS John Williams is one of the most well-known and successful composers of music for movies in the last 50+ years. He was born on February 8, 1932 in Long Island, New York. Williams has composed music for almost 80 films including Star Wars, Superman, and Harry Potter, and been nominated over 40 times for an Oscar! He also wrote Olympic Fanfare & Theme for the 1984 Olympic Games in Los Angeles, California.

MUSIC ON THE CONCERT

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INSTRUCTIONAL OBJECTIVE(S): Students will identify the orchestral instruments in each family Students will move appropriately to music MATERIALS: Young People’s Concert mp3s STANDARDS: NATIONAL MUSIC STANDARDS

PLAN: 1. The premise behind The Orchestra Lab" is to demonstrate how the four instrument families combine to create the full orchestra. The first four pieces on the concerts demonstrate the addition of a new instrument family with each new piece. Mozart "Eine Kleine Nachtmusik" (strings) Rossini "The Barber of Seville Overture" (strings + woodwinds) Strauss Also Sprach Zarathustra (strings + woodwinds + brass) Shostakovich "Tahiti Trot" (strings + woodwinds + brass + percussion) 2. Ask the children if they know/remember what the instrument families of the orchestra are, and the names of the instruments that are in each family. Post the names of the families/instrument on the board, and perhaps use pictures to aid in the discussion. 3. Play the Mozart piece, and allow the children to move while they listen. During the beginning, encourage them to pretend they are playing a violin, viola, 'cello, or a bass. As the piece continues, encourage them to move any way they choose. Remind them to respond to the music. 4. For the Rossini piece, the woodwinds have been added to the strings. So divide the children into two groups; one groups will be strings players and the other will be woodwind players (review the instruments in each family after the children have been divided). Again, have the children pretend they are playing their respective instruments in the beginning, but as the piece progresses, allow them to move creatively and freely. 5. Continue in this way for the last two pieces; divide the children into three groups (strings, woodwinds, and brass) for the Strauss, and four groups for the Shostakovich (strings, woodwinds, brass, and percussion).

ASSESSMENT: The children will participate in a conversation about the instrument families and will move appropriately to music that they hear.

EXTENSION: Have the various groups of children/instrument families move differently for each section of music, in order to teach form. For example, the string and percussion sections demonstrate locomotor movement during the A section while the woodwind and brass families demonstrate non-locomotor movement. They can switch on the B sections of the music, etc.

Anchor Standard 4: Select, analyze, and interpret artistic work for presentation. Enduring Understanding: Performers’ interest in and knowledge of musical works, understanding of their own technical skill, and the context for a performance influence the selection of repertoire

MU:Pr4.1.1a With limited guidance, demonstrate and discuss personal interest in, knowledge about, and purpose of varied musical selections. (MU:Pr4.1.2) a Demonstrate and explain personal interest in, knowledge about, and purpose of varied musical selections. (MU:Pr4.1.3) a Demonstrate and explain how the selection of music to perform is influenced by personal interest, knowledge, purpose , and context . (MU:Pr4.1.4a Demonstrate and explain how the selection of music to perform is influenced by personal interest, knowledge, context, and technical skill .

Enduring Understanding: Performers make interpretive decisions based on their understanding of context and expressive intent (MU:Pr4.3.1) a Demonstrate and describe music’s expressive qualities (such as dynamics and tempo). (MU:Pr4.3.2) a Demonstrate understanding of expressive qualities (such as dynamics and tempo) and how creators use them to convey expres-sive intent . (MU:Pr4.3.3) a Demonstrate and describe how intent is conveyed through expressive qualities (such as dynamics and tempo). (MU:Pr4.3.4) a Demonstrate and explain how intent is conveyed through interpretive decisions and expressive qualities (such as dynamics, tempo, and timbre ) .

LESSON PLAN: THE ORCHESTRA LAB

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INSTRUCTIONAL OBJECTIVE(S): Students will be able to listen to and describe the similarities and differences between the three Russian pieces MATERIALS: Young People’s Concert mp3s Board or bulletin board paper with writing utensils STANDARDS: NATIONAL MUSIC STANDARDS

COMMON CORE LANGUAGE ARTS STANDARDS

PLAN: 1. Without giving the title of the piece, have the students listen to each of the pieces. Allow them to move around the room while they listen. 2. Have a discussion about what the students hear after they listen to each piece. Ask them why they chose to move their bodies in a particular way while they were listening. 3. Create a Venn Diagram on the board or on a sheet of bulletin board paper. The most obvious characteristics are:

Rimsky-Korsakov-Flight of the Bumblebee: Fast and soft Prokofiev-Montagues and Capulets: Slow and Loud

Khatchaturian-Sabre Dance: Loud and fast 4. The children can add additional characteristics. If the children are old enough, it may be helpful to break them into groups to discuss the pieces, or one of the pieces. Then each group can report back to the class about what they heard.

ASSESSMENT: As a class and/or in small groups, students are able to appropriately describe music be moving to it and can accurately distribute information into a Venn Diagram.

Anchor Standard 4: Select, analyze, and interpret artistic work for presentation. Enduring Understanding: Analyzing creators’ context and how they manipulate elements of music provides insight into their intent and informs performance.

MU:Pr4.2.1) a With limited guidance, demonstrate knowledge of music concepts (such as beat and melodic contour ) in music from a variety of cultures selected for performance.

Enduring Understanding: Performers make interpretive decisions based on their understanding of context and expressive intent. (MU:Pr4.3.1a Demonstrate and describe music’s expressive qualities (such as dynamics and tempo). MU:Pr4.3.2) a Demonstrate understanding of expressive qualities (such as dynamics and tempo) and how creators use them to convey expres-sive intent . (MU:Pr4.3.3) a Demonstrate and describe how intent is conveyed through expressive qualities (such as dynamics and tempo). (MU:Pr4.3.4) a Demonstrate and explain how intent is conveyed through interpretive decisions and expressive qualities (such as dynamics, tempo, and timbre ) .

LESSON PLAN: FAST AND LOUD...OR SOFT AND FAST?

CCSS.ELA-LITERACY.RI.1.6 Distinguish between information provided by pictures or other illustrations and information provided by the words in a text. (Music) CCSS.ELA-LITERACY.RI.2.9 Compare and contrast the most important points presented by two texts (Pieces of Music) on the same topic. CCSS.ELA-LITERACY.RI.3.9 Compare and contrast the most important points and key details presented in two texts (Pieces of Music) on the same topic. CCSS.ELA-LITERACY.RI.4.7 Interpret information presented visually, orally, or quantitatively (e.g., in charts, graphs, diagrams, time lines, anima-tions, or interactive elements on Web pages) and explain how the information contributes to an understanding of the text in which it appears.

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INSTRUCTIONAL OBJECTIVE(S): Students will accurately play the rhythm from the Beethoven Symphony No. 5 in c minor Students will compose a piece, in small groups, that is based on the Beethoven rhythm MATERIALS: Young People’s Concert mp3s Various non-pitched classroom instruments STANDARDS: NATIONAL MUSIC STANDARDS

PLAN: 1. Listen to the Beethoven movement. Have the children move around the room while the music plays. Have them put the beat "in their feet." There is a lot of dynamic variation in this piece; encourage them to change levels (high-middle-low) and/or direction every time there is a change in the music. 2. After they have listened, ask them to clap the opening rhythm with you (ti-ti-ti-ta). Point out that this rhythm is repeated throughout the piece in various instruments, softly, loudly, etc. Have them listen again while seated, and ask them to raise their hand every time they hear it. Perhaps it could be a game; keep a tally of the number of times the rhythm is heard, which will hopefully, keep the children engaged as they listen. 3. Discuss how Beethoven uses this rhythm in the composition. Is it always played by the same instrument? Is it always played at the same tempo (speed)? Dynamic Level? Can you hear more than one instrument playing it at the same time? 4. Use the rhythm as a basis for a classroom composition. Give each child a non-pitched percussion instrument (drum, woodblock, rhythm sticks, tambourine, etc.), and have each child play the rhythm (ti-ti-ti-ta) individually, one after the other. 5. Use the class performance as a forum for discussion that is similar to the one that occurred after the children listened to the piece: Did everyone play it at the same tempo (speed)? Did some instruments sound higher than others? What else did you notice? 6. After the class has played the rhythm as a large ensemble, break the children into small groups of four or five and have them bring their non-pitched percussion with them to their group. Give the children some time to compose a piece using the rhythm from the Beethoven Symphony (ti-ti-ti-ta). There are no rules for their composition, yet the parameters are tight enough so that it is not an intimidating task. They must use the Beethoven rhythm and they must use the instruments that they were given. 7. Have the children perform their compositions for one another.

ASSESSMENT: Students are able to perform the Beethoven rhythm on an instrument and are able to compose in small groups.

Imagine: Generate musical ideas for various purposes and contexts Enduring Understanding: The creative ideas, concepts, and feelings that influence musicians’ work emerge from a variety of sources.

MU::Cr1.1.3b Generate musical ideas (such as rhythms and melodies) within a given tonality and/or meter. MU:Cr2.1.3a Demonstrate selected musical ideas for a simple improvisation or composition to express intent, and describe connection to a specific purpose and context.

LESSON PLAN: BEETHOVEN SYMPHONY NO. 5

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INSTRUCTIONAL OBJECTIVE(S): Students will be able to listen to and describe the contour of the melodic line in The Flight of the Bumblebee through movement and/or drawing. MATERIALS: Young People’s Concert mp3s Register Tape Drawing utensils Scarves / Streamers STANDARDS: NATIONAL MUSIC STANDARDS

PLAN: 1. Without giving the title of the piece, have the students listen to The Flight of the Bumblebee. 2. Have a discussion about what the students hear when they listen to this piece. Tempo? Dynamics? Pitch? What might this piece be describing? Be sure to discuss the idea of contour! 3. Using the register tape or bulletin board paper and a writing utensil, have the students listen to the music and trace the contour of the melody as it is heard. It may be helpful to explain that their line is showing the flight path of the bee. 4. Additionally, you may choose to have the students demonstrate the contour of the melody through body movement. Scarves or streamers can be used to help the children express the contour. Make sure that students are using different levels (standing and stretching = high, bending/squatting= low). Have students assess whether the movements should be legato or staccato.

ASSESSMENT: Students are able to accurately describe the contour of the melodic line in The Flight of the Bumblebee thorough movement and/or drawing.

Anchor Standard 4: Select, analyze, and interpret artistic work for presentation. Enduring Understanding: Analyzing creators’ context and how they manipulate elements of music provides insight into their intent and informs performance.

MU:Pr4.2.1) a With limited guidance, demonstrate knowledge of music concepts (such as beat and melodic contour ) in music from a variety of cultures selected for performance.

Enduring Understanding: Performers make interpretive decisions based on their understanding of context and expressive intent. (MU:Pr4.3.1a Demonstrate and describe music’s expressive qualities (such as dynamics and tempo). MU:Pr4.3.2) a Demonstrate understanding of expressive qualities (such as dynamics and tempo) and how creators use them to convey expres-sive intent . (MU:Pr4.3.3) a Demonstrate and describe how intent is conveyed through expressive qualities (such as dynamics and tempo). (MU:Pr4.3.4) a Demonstrate and explain how intent is conveyed through interpretive decisions and expressive qualities (such as dynamics, tempo, and timbre ) .

LESSON PLAN: BUMBLEBEE CONTOUR

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VISUAL ART EXTENSION PLAN: For the original story of Tsar Saltan written by Aleksandr Pushkin, the artist Ivan Bilibin created a set of illustrations to describe the story. Bilibin would later design sets for some of Rimsky-Korsakov’s other works. Check out http://en.wikipedia.org/wiki/The_Tale_of_Tsar_Saltan_(Rimsky-Korsakov) to see some of the illustrations that Bilibin created. 1. Look at the artwork by Ivan Bilibin. Discuss the various art elements that Bilibin used in his portrayal of the “Flight of the

Mosquito” (this is the closest to the “Flight of the Bumblebee”) and other portions of the story.

2. Discuss other parts of the story and how they would have looked if Bilibin had drawn them also. Use art element vocabulary to describe the artwork.

3. Have the students create their own version of Bilibin’s work using a part of the story as the inspiration. A variety of media can be used (paint, crayon, pastels, etc on paper, or a diorama scene in a shoebox, a clay representation, etc…). Display the finished products.

BUMBLEBEE CONTOUR cont.

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YOUR TRIP TO THE

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The Cincinnati Symphony Orchestra has called Cincinnati’s Music Hall it’s home for 120 years. During the 2016-2017 season, Music Hall is being renovated in order to preserve this amazing building for many more years of performances. All of the Cincinnati Symphony Orchestra’s 2016-2017 Young People’s Concerts will be performed in the Taft Theatre, our “Home Away From Home”. Opened in 1928, the Taft Theatre is a marvelous display of the ne-classical/art deco architecture that was popular during the time it was built. The Taft Theatre was designed by architects Architects Harry Hake, Sr. and Charles H. Kuck, who are also responsible for many other buildings in downtown Cincinnati including The Western & Southern Life building, The Queen City Club, and the Engine Company #45 Fire Station (now the Fire Museum). Today, the Taft Theatre hosts many different kinds of events including rock concerts, symphony concerts and theatre performances. When you arrive at the Taft Theatre, take a few moments before the concert starts to notice the history & beauty of the art and architecture of the Taft Theatre!

THE TAFT THEATRE

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LESSON PLAN:

CONCERT ETIQUETTE

INSTRUCTIONAL OBJECTIVE(S): Students will demonstrate appropriate concert behavior during performances.

STANDARDS: NATIONAL MUSIC STANDARDS

PLAN: 1. Allow the children to choose a piece that they would like to perform for the rest of the class and/or another audience.

They can perform in groups or individually and should have the freedom to choose anything they want. This can be something that have worked on in class, or have rehearsed elsewhere, but it should be "performance ready."

2. Give the children a short period of time to polish their piece. 3. After all groups are prepared, review the Rules of Concert Etiquette:

4. Discuss the rules with the students. 5. Find a formal setting, with chairs, for the kids to perform. The school auditorium, cafeteria, or other public space is a

good option for this, but the children need to be able to sit in chairs. This is so that when they attend a concert at Music Hall, they are familiar with the expectations.

6. Remind the children to follow the Rules of Concert Etiquette guidelines that were discussed in class while they watch their classmates perform.

7. The same expectations are in place for the children at Music Hall for the YPC concerts, so review the etiquette rules with the children prior to arriving at the venue.

ASSESSMENT: Students will be observed for appropriate behavior during school and CSO concerts.

CONNECTING

Connect #11: Relate musical ideas and works with varied context to deepen understanding..

MU.:Pr6.1.6b Demonstrate performance decorum (such as stage presence, attire, and behavior) and audience etiquette appropriate for venue and purpose..

Refrain from talking or whispering during the performance. The first and greatest rule! The musicians are work-ing hard on stage to perform well for you - you’ll want to be able to hear them.

No singing or tapping fingers or feet unless the conductor tells you to! Like talking during the performance, other body movements can make a lot of noise. There will be parts of the performance where we ask you to move and sing. Please save extra movements and sounds for those moments!

Applaud at the end of each piece. This lets the musicians know you enjoyed the music! Watch the conductor - he will lower his arms and face the audience when the Orchestra has finished playing.

Do not leave the performance space during the music. If needed, wait for a break in the concert to visit the rest-room.

Follow the rules of the concert hall. Food, gum, beverages, cameras, mp3 players and other electronic devices are not allowed in Springer Auditorium

Be on your best behavior. Remember that you are representing your school and teachers at Music Hall!