1415 ypc 3 billy the kid teacher's guide complete...

2014-2015 Young People’s Concert Series Presents

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MAY 5, 6 &&& 7, 2015, 9:45 AM &&& 11:10 AM H-E-B Performance Hall at the Tobin Center for the Performing Arts

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2014-2015 Young People’s Concert Series Concert and Education Program Sponsors and Supporters

Alfred S. Gage Foundation Ann and Gordon Getty Foundation

Howard and Betty Halff Fund of the SAAF Louis J and Millie M Kocurek Charitable Foundation

Minnie Stevens Piper Foundation David and Betty Sacks Foundation Saint Susie Charitable Foundation

Music on the Move Transportation Scholarship Program Supporters

Ms. Candy Gardner Tuesday Musical Club

Mr. and Mrs. Michael Mann Mr. and Mrs. Steven Tye Mr. Jeremiah Williams Ms. Martha Jordan Mr. Otis Baskin Ms. Margo D. Griffin Mr. Daniel Markson Mr. and Mrs. Stanley Faye Mr. Ronald Perloff Friend of the San Antonio Symphony

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2014-2015 Young People’s Concert Series

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TEACHER’S GUIDELINES (1 page) 4 CONCERT PROGRAM (1 page) 5 COMPOSER BIOGRAPHY Aaron Copland (1 page) 6 Copland Biography Quiz 7 CONDUCTOR BIOGRAPHY Akiko Fujimoto, Associate Conductor (1 page) 8 FOCUS ARTICLES Copland’s Billy the Kid (8 pages) 9‐16 Copland’s Rodeo (4 pages) 17‐20 PREPARATORY CLASSROOM ACTIVITIES Activity: Who was Billy the Kid? (5 pages) 21‐26 Concert Etiquette Activity (2 pages) 27‐28 ADDITIONAL RESOURCES Cowboy Songs and other Folk Songs in Copland (6 pages) 29‐34 Orchestra Map Worksheet (1 page) 35 Four Families of the Orchestra (1 page) 36 Instrument Families (2 pages) 37‐38 Sources and Additional Resources (1 page) 39

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Education San Antonio Symphony Orchestra Fax: 210‐554‐1008 PO Box 658 Email: [email protected] San Antonio, TX 78293‐0658

Before the Concert:

♪ Please prepare students using these Teacher Guide materials.

♪ You will receive an electronic ticket message via email approx. 1‐2 weeks before the concert.

♪ Students should be briefed on concert etiquette in advance (see concert etiquette activity).

♪ Please contact Jeremy Brimhall at (210) 554‐1006 at least ONE WEEK before the concert if you have any students that require special accommodations.

Day of the Concert (please read carefully!):

♪ Before leaving school, please allow time for students to visit the restroom.

♪ Clearly mark buses or cars for quick identification and memorize bus numbers.

♪ Know your bus driver’s name and be sure you can recognize him/her. TIP: exchange cell numbers!

♪ If possible, plan to arrive at the Tobin Center at least 30 minutes before the concert time.

♪ For any last‐minute problems or questions please call:

a. Jeremy Brimhall, Director of Education, on his cell phone at (210) 441‐2858 Upon Arrival at the Tobin Center

♪ Busses for the 9:45 am performance should approach the Tobin Center from 4th STREET and turn onto AUDITORIUM CIRCLE for drop off onto the main Performing Arts Plaza.

♪ Busses for the 11:10 am performance should approach the Tobin Center from NAVARRO STREET and turn onto AUDITORIUM CIRCLE for drop off in front of the West Doors.

♪ There is a designated parking area for concert attendees not arriving by bus.

♪ For maps and bus plans, please visit http://www.sasymphony.org/2012/06/teachers-lounge/

♪ Check‐in with a volunteer outside the building. The volunteer will guide you to your entrance.

♪ All students should be in their seats at least five minutes before the start of the program!

♪ No food or drink, including chewing gum is permitted in the concert hall. During the Concert

♪ The use of cameras and recorders is prohibited; please turn off your cell phones.

♪ Students and teachers should remain in their seats for the entire concert.

♪ Restrooms are located on select levels only and should be used for urgent need only.

♪ If a student must visit the restroom, please have an adult accompany him or her.

♪ Students not maintaining acceptable behavior may be asked to leave. After the Concert

♪ Please remain in your seats until your school is dismissed.

♪ You MAY NOT be exiting the same doors you entered.

♪ Upon dismissal, listen carefully and follow instructions for departing the building. Back At School

♪ Please fill out the YPC online evaluation (to be sent by email following each concert)

♪ Student letters/artwork expressing reactions to the concert are greatly appreciated. Send Any Young People’s Concert related student work or Teacher evaluations to:

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FOUR DANCE EPISODES FROM RODEO (BALLET)

IV. Hoe-Down I. Buckaroo Holiday

BALLET SUITE FROM BILLY THE KID

I. Introduction: The Open Prairie II. Street in a Frontier Town III. Mexican Dance and Finale IV. Prairie Night: Card Game at Night V. Gun Battle VI. Celebration: After Billy’s Capture VII. Billy’s Death VIII. The Open Prairie again

COMPOSER: AARON COPLAND (1900-1990)

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MMMUUUSSSIIICCC CCCOOONNNTTTEEESSSTTT Selections

What is a ballet? A ballet is a large work for stage performance that involves dancers, music and scenery. The word ballet comes from French and means “to dance.” Many composers have written original music for specific ballet productions. The music is usually performed live by an orchestra in a pit beneath the stage while dancers dance on the stage above. Every year, the San Antonio Symphony performs a famous ballet in collaboration with Ballet San Antonio: Tchaikovsky’s The Nutcracker. A total of 13 performances were presented this season!

What is a ballet suite? Composers who write ballet music often go back later and arrange the music so that it can also be performed in the concert hall – without the dancers and scenery. They do this by organizing the music into a set of several independent movements, called a suite or ballet suite. Doing this helps the composers to reach a larger audience with their music. Examples of famous ballets that have been arranged into suites include Tchaikovsky’s The Nutcracker, Prokofiev’s Romeo and Juliet and of course, Copland’s Rodeo and Billy the Kid.

For more about Aaron Copland, see the Aaron Copland biography page!

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Aaron Copland was one of the most influential American

composers of 20th century classical music. Thanks to his

mother, who was a singer and a pianist, Copland began

taking music lessons at an early age. He was already

composing by age 11 and was sure he wanted to be a

composer at 15. After receiving lessons from some of the

finest teachers in New York during his teenage years,

Copland left for Paris, France in 1921. There he studied

with the famed composition teacher Nadia Boulanger for

three years. Returning to New York in 1925, Copland was

determined to support himself as a full‐time composer. A

new friend, photographer Alfred Stieglitz, turned Copland

on to the belief that American artists should reflect “the

ideas of the American Democracy.” Here Copland found

real success – through his depictions of American

landscapes, people and cultures. Among these is his

famous Appalachian Spring for orchestra, which was based

on an American folk melody and won a Pulitzer Prize in

1945; Billy the Kid, Fanfare for the Common Man, Lincoln

Portrait with its narration from the words of President

Abraham Lincoln; John Henry and the great “cowboy

ballet”: Rodeo. These works and others brought Copland

national and international attention and would inspire

American composers for generations to come. One such

composer and friend in particular, Leonard Bernstein,

helped to champion Copland’s music through his frequent

programming of it as conductor of the New York

Philharmonic. The two remained friends throughout their

lives and passed away in the same year. Today Copland is

sometimes referred to as the “Dean of American Music.”

Composer Stats: Aaron Copland Born: Nov. 14, 1900 (115 years ago)

Died: Dec. 2, 1990 (25 years ago)

Nationality: American

Mostly lived in: New York City

Famous works: Lincoln Portrait,

Appalachian Spring, Billy the Kid,

Fanfare for the Common Man, Rodeo, Symphony No. 3

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Name ___________

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Instructions: Your teacher will hand out a sheet with a brief biography of composer Aaron

Copland. Read the biography carefully and then answer the questions below.

1. Which of the following is a famous work by Aaron Copland?

a. Men and Mountains. b. An American in Paris. c. Rodeo. d. Showboat.

2. Who encouraged Copland to take

music lessons as a child? a. his mother. b. Alfred Stieglitz. c. Leonard Bernstein. d. Nadia Boulanger.

3. Which work by Copland won a Pulitzer Prize in 1945?

a. Fanfare for the Common Man. b. John Henry. c. Billy the Kid. d. Appalachian Spring.

4. Copland studied with which important composition teacher in Paris?

a. his mother. b. Alfred Stieglitz. c. Leonard Bernstein. d. Nadia Boulanger.

5. What informal title is sometimes used in reference to Copland today?

a. “Western Classical Composer” b. “Billy the Kid” c. “Dean of American Music” d. “The Truly American Composer”

6. Who convinced Copland that his work should reflect “the ideas of the American Democracy”?


7. In what subject matter did Copland find real success as a composer?

a. American landscapes, people and cultures. .

b. planets of the solar system. c. ancient Greek dramas. d. non‐programmatic music.

8. Where did Copland spend most of his life?

a. Paris. b. in the Appalachian Mountains. c. in the Old West. d. New York City.

9. Which friend championed Copland’s music by frequently programming it to be performed by the New York Philharmonic?


10. How long did Copland live?

a. 100 years. b. 90 years. c. 80 years. d. 70 years.


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Akiko Fujimoto is the Associate Conductor of the San Antonio Symphony, where she conducts over 40 concerts annually including classical, baroque, ballet, pops, and education concerts and leads pre-concert lectures for the Classics series. Previously, Fujimoto was the Conducting Associate for the Virginia Symphony Orchestra where she made her debut on their Classics series conducting the world premiere of Behzad Ranjbaran’s Double Concerto for Violin, Viola and Orchestra. A passionate advocate for young musicians, Fujimoto has served as the music director of orchestras at Harvard University, Stanford University and the College of William & Mary. She was also the Music Director of the Williamsburg Youth Orchestras in Virginia. Outside of the U.S., Fujimoto conducted the National Arts Center Orchestra in Canada as part of their Young Conductors Programme, as well as the BBC Scottish Symphony Orchestra as part of St. Magnus Festival’s Orkney Conducting Institute. She also recently attended the Conductors Lab® in France and conducted members of the Berlin Philharmonic. Born in Japan, Fujimoto graduated from Stanford University with a Bachelor of Arts in Music and Psychology and holds graduate degrees in conducting from the Boston University and the Eastman School of Music.


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From “Notes on a Cowboy Ballet” “When Lincoln Kirstein, director of

the Ballet Caravan, asks you to write

a ballet for him, it is a foregone

conclusion that you are going to

tackle an American subject. Still,

when he suggested Billy the Kid as a

proper hero for a native ballet, I had

certain misgivings. Not about Billy

the Kid, of course—for where could

on find a better protagonist for an

American work,–but about my own

capabilities as a ‘cowboy composer.’

… It wasn’t long before I was

convinced that fate had chosen me

and none other to compose this folk‐

ballet about a young desperado of

the Wild West.” –Aaron Copland

In 1938, a wealthy New York impresario named Lincoln Kirstein invited composer Aaron

Copland to write music for a new ballet. Kirstein and his choreographer Eugene Loring had

already developed the idea for it to be a “cowboy ballet.” Copland’s thoughts had already been

turned to American folk music and to composing music about

American subjects, but he wasn’t sure at first that that he would

make a good “cowboy composer” (see sidebar). He later wrote,

“Lincoln tempted me with several books of western tunes, and

Loring wrote a scenario about the notorious bandit of the

Southwest.” Soon after was born the great American ballet

classic, Billy the Kid.

The ballet’s storyline of course is based on the legend of the

great outlaw and gunslinger of the Old West, William Bonney,

whom the people called Billy the Kid (see Who was Billy the Kid?

on page 21). Its first performances were so successful that

Copland later said, “I cannot remember another work of mine

that was so unanimously received.” A year later, the composer

arranged the music into a ballet suite so that it could be

performed by orchestras in the concert hall, too. Copland

divided the suite into eight short

sections, or movements. Let’s explore

each movement of the suite below.

INTRODUCTION: THE OPEN PRAIRIE

Both the first and last movements of the suite are called “The Open

Prairie.” In his article “Notes on a Cowboy Ballet,” Copland writes

“The action begins and closes on the open prairie.” Here Copland

paints the scene for the story of Billy the Kid. The prairie of the Old

West is a vast and seemingly endless grassland. There are still very

What is a prairie?A prairie is a large, mostly flat area of land in North America that has few trees and is covered in grasses.

"Prairie." Merriam‐Webster.com. Merriam‐Webster, n.d. Web. 8 Dec. 2014.

The Prairie of New Mexico

few roads or fences to speak of; the land is yet untamed. Trees and people are scarce, but birds

and wild animals can found in the empty places: deer, prairie dogs, even wild horses. The sky is

a big bright blue, and summer days are long and sunny. On a clear day, one can see for miles

and miles off into the distance. Sometimes you can spot a train of covered wagons struggling

across the prairie, or a grazing herd of buffalo. To the west, the jagged outline of the Rocky

Mountains stands out on the horizon.

In the music to this introductory

movement, Copland captures the

loneliness of the great empty stretches of

land that make up the prairie. He

balances this feeling however with a

sense of wonder and awe at the majestic

beauty of these stark American

landscapes.

The movement opens with just three

instruments playing: an oboe and two

clarinets. Copland creates an unusual sound color by having the oboe play low notes while the

clarinets play higher notes. The intervals played by the two clarinets are open fifths, and the

wide space between the oboe’s sound and that of the clarinets lends a sense of emptiness to

the sound [YPC 3 playlist, track 1].

A plodding, offbeat bass line played by the piano, timpani and double bass [0:35] might suggest

the slow and difficult pace of the pioneers as they moved westward across the plains. This

would almost be a slow march but becomes trudging and lopsided in the movement’s

¾ meter.

A lone flute plays the opening melody now [0:51] followed by what might be far‐

away bird calls in the clarinets and oboe [1:11]. More instruments eventually

Tin Whistle

join in on the bass line as the melody passes to the oboe, piccolo and violins [1:30]. The music

continues to build steadily in solemn fashion as other instruments jump in

and begin to mimic each other. In a loud moment of climax [2:21], Copland

creates a repeated chord by stacking three intervals of an open fifth on top

of each other:

The effect is a powerful sound, one where some notes clash against each other and yet still

come together to create an “open” sound.

STREET IN A FRONTIER TOWN

In his “Notes on a Cowboy Ballad,” Copland writes, “The first scene is a street in a frontier town.

Familiar figures amble by. Cowboys saunter into town, some on horseback, others with their

lassos.” Billy the Kid is known to have grown up in Silver City, New Mexico, so probably this is

the frontier town that Copland had in mind. The suite movement begins with the melody of a

traditional cowboy song called “Great Grandad,” although Copland has changed the melody

somewhat from the original. In the ballet version, Copland actually

asks for a tin whistle to play the part, although in the suite it is played

by the piccolo. One might imagine a child at sunrise piping in the street

on a shiny tin whistle.

Copland follows with a jaunty melody based on another real cowboy song “Whoopie ti yi yo, Git

Along, Little Dogies,” to which he adds a number of “wrong” notes [0:29], possibly to hint at the

mischiefness of young men joking and playing in the streets. The “right” notes are first played

by the angular sounds of muted horn and viola, while the “wrong” notes appear in the bassoon

and cello.

There is the sense that the town is waking up as more instruments join in. Copland

begins to play around with this jaunty melody by having the trumpet, trombone and violins cut

“wrong” notes

Bassoon and cello

Muted horn and viola

[YPC 3 playlist, track 2]

A Quiet Day in Utica by Charles M. Russell

it up into snippets [0:59]. The music dies into silence, only to be interrupted by a sort of

fanfare [1:43], probably announcing the arrival of the sheriff or some important person to the

town. A spirited rendition of another cowboy song, “The Old Chisholm Trail” [1:54] leaves little

doubt that there are now men on horseback racing up and down the street. Two trombones

enter with a short interlude that might be reminiscent of the traditional cowboy song “Streets

of Laredo,” also known

as “Cowboy’s Lament”

[2:11]. Copland brings

back the jaunty melody

based on “Git Along,

Little Dogies” with its

wrong notes, this time

played by the oboe and

trumpet [2:27]. This in

turn transitions into

“Great Grandad,” with

the piccolo solo now

accompanied by sleigh

bells and leaping

sounds in the piano and strings [2:44]. Energy continues to build until the end of the

movement, which flows without a break into the next section: “Mexican Dance and Finale.”

MEXICAN DANCE AND FINALE

The scene is still the street of a frontier town, but now a few Mexican women begin to dance a

jarabe [ha – RAH – bae]. Traditional jarabe dance music usually has several meter changes, as

does Copland’s. But Copland’s jarabe in this section is unusual in that it is mostly written in 5/8

meter, meaning there are 5 beats in each measure as opposed to the traditional 2, 3 or 6.

Typical of Mexican dance music, the trumpet leads the way [YPC 3 playlist, track 3].

Accompaniment includes woodblock and muted horn.

Eventually the violins take over, followed by the oboe, with the melody from a cowboy song

called “Goodbye, Old Paint” [0:44]. In the ballet, Billy is seen here for the first time as a boy of

twelve with his mother. The “Old Paint” melody gathers steam and its harmony part becomes

Slapstick

Colt Model 1873 Revolver, of the kind used by Billy the Kid

increasing dissonant as a fight breaks out “between two drunks... The brawl turns ugly, guns are

drawn,…” and suddenly the music stops with a loud gunshot [2:22]. To help make this effect in

the music, Copland uses a

percussion instrument called a

slapstick. A slapstick or clapper

is a simple instrument made of

two flat wooden boards

connected by a hinge. The

player slaps the two boards

together quickly to make a loud

whip noise. Two more gunshots

follow. In this tragic moment of

the ballet, Billy’s mother has accidentally been shot. In his “Notes on a Cowboy Ballad,”

Copland writes, “…in some unaccountable way, Billy’s mother is killed. Without an instant’s

hesitation, in cold fury, Billy draws a knife from a cowhand’s sheath and stabs his mother’s

slayers. His short but famous career had begun.” Billy runs away and the movement ends

mournfully with the tune from the open prairie, played by a lonely solo oboe [2:44].

PRAIRIE NIGHT: CARD GAME AT NIGHT

The story fast‐forwards now to this scene of Billy as a teenager playing cards around a campfire

with his outlaw friends. The prairie is quiet with stars shining brightly in the night sky, and the

music is peaceful. The movement is written in 12/8 time, and offbeat accompaniment in the

flute and clarinet give the sense of a gentle rocking back and forth, perhaps from a light breeze

on the prairie [YPC 3 playlist, track 4].

The melody, played by muted violins and violas [0:13], is based loosely on the cowboy song

“Bury Me Not on the Lonesome Prairie,” also known as “The Dying Cowboy.” Later, a lone

trumpet takes over with three short solo entrances that sound almost like improvisation [2:02].

The peaceful mood of the card game is broken by the sudden realization that they are being

watched by a posse – a group of men who have

been looking to bring Billy in – led by Sheriff Pat

Garrett! [3:14].

GUN BATTLE

Billy and his friends quickly grab their guns as the

Sheriff’s men start shooting. This time the guns are

played by two groups of instruments in the orchestra. The first group includes the timpani,

bass drum, harp, piano and lower strings playing pizzicato (plucked). The rat‐tat‐tat sound of

another set of guns is played by muted trumpet and snare drum [YPC 3 playlist, track 5].

Between gunshots, the woodwinds, trumpet, xylophone, piano and upper strings contribute

frantic and angular sounds that might suggest men yelling and scrambling for cover [0:27].

Copland uses clashing rhythms and contrary melodic lines to enforce the idea of

two opposing groups. In the end, Billy and his friends are defeated and Billy is

captured alive.

CELEBRATION: AFTER BILLY’S CAPTURE

The town begins to celebrate and dance in the streets at the news of the outlaw’s capture.

While the people are excited to be free now from their fear of Billy the Kid, there is something

uneasy about their celebration. Although Billy had been seen by many as a cold‐blooded

murdered, others thought of him as a misunderstood hero and only a reluctant killer. Copland

hints at this from the beginning of the movement. While the melody introduced by the piccolo

and oboe might seem cheerful enough, the harmony part is wrong: it’s in a different key! [YPC 3

playlist, track 6].

pizz.

When a composer writes music in two different keys at the same time, it’s called bitonality.

Author Beth Ellen Levy describes Copland’s hinting at the uneasiness or disagreement over

Billy’s capture with the use of “stilted rhythms, shrieking piccolos, and wrenching bitonality.”

Later Copland recreates the tinny sound of honky‐tonk saloon piano. Here the “wrenching

bitonality” is even more apparent. As in the beginning, the bass notes are a half step higher

than they should be. The resulting sound might give the listener the sense that not everything

is as it should be with this “celebration” [0:30]. Then the raucous melody of the beginning

comes back in a new key, this marked “crudely” in the musicians’ parts [1:10]. Now come the

“shrieking piccolos” – that is, two piccolos playing the same melody at the same time – but a

step apart from each other in the scale. The result is a hideously dissonant sound [1:23].

This wild and crazy dance becomes even louder and more frenetic as we approach the end of

the movement, which terminates in a series of uncertain chords.

BILLY’S DEATH

As the story goes, Billy is put into a makeshift jail at the courthouse, but soon makes a

legendary escape. He hides out with his sweetheart in a stone house in the desert. Soon,

however, Sherriff Pat Garrett tracks him down and surprises him. In an instant, he kills Billy

with a single shot. So ends the short life of Billy the Kid at the age of only 21. While this part of

the story is not included in the orchestral suite, Copland does insert a short movement titled

“Billy’s Death.” Miss Jacobson sums this movement up nicely on her webpage blogspot about

“Billy the Kid”:

Billy’s death is represented by a quietly mournful passage for the outlaw’s death; a gentle statement of rich descending chords in the strings with occasional accompaniment by upper winds that conveys nostalgia for the slain outlaw.

The rich harmonies of the chords seem almost reminiscent of Prokofiev’s music to his Romeo

and Juliet ballet. Perhaps Billy’s sweetheart is Juliet in this movement, whose hushed sobs for

her lost love can be heard in a part for solo violin marked “quasi tremolando” (“almost

trembling”) [YPC 3 playlist, track 7].

THE OPEN PRAIRIE AGAIN

To finish out the story, Copland brings back the music from the opening movement: “The Open

Prairie.” As in the beginning of the ballet, dancers representing pioneers move slowly from

right to left across the stage, led by the Sheriff. About these two movements, Copland writes,

that the events that take place on the open prairie are, “merely typical of many such episodes

on the long trek to the Pacific.” Author Wilfrid Mellers writes:

At the very end, the World comes into its own again; the final march returns to the dignity of the opening, though we cannot hear it with the same ears, now that we know what is at stake.

This time it’s the horns that start the prairie theme, which gradually builds to an ending that

expresses both triumph and heartbreak [YPC 3 playlist, track 8].


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The Tenderfoot, painting by Charles M. Russell

When Germany invaded France during World War II, the French ballet company Ballet Russe de

Monte Carlo moved their operations to the United States. In New York,

they contracted a young dance choreographer named Agnes de Mille

to create a new ballet production that they could tour with. She had

the idea to create a ballet about a rodeo, which she described as

follows:

Throughout the American Southwest, the Saturday afternoon rodeo is a tradition. On the remote ranches, as well as in the trading centers and the towns, the ‘hands’ get together to show off their skill in roping, riding, branding and throwing. Often, on the more isolated ranches, the rodeo is done for an audience that consists only of a handful of fellow-workers, women-folk, and those nearest neighbors who can make the eighty or so mile run-over. The afternoon’s exhibition is usually followed by a Saturday night dance at the Ranch House.

Having seen the success of his previous ballet, Billy the Kid, De Mille asked composer Aaron

Copland in 1942 to write

the music for her new

“rodeo ballet.” Copland

wasn’t sure at first about

composing “another

cowboy ballet” so soon,

but De Mille convinced him

that it would be different

enough from Billy the Kid

to be worth his while.

Their collaboration, simply

called Rodeo, loosely

follows the story of a

young Cowgirl at “Burnt

Ranch” who tries to earn

the respect and attention of local cowboys. The ballet had its first performance at the

What is a rodeo?The English word rodeo comes from the Spanish word rodeo [ro – THEY –oh], which roughly translates as “round‐up.” Modern rodeos are public spectacles in which people compete in events like horse and bull riding, steer wrestling and calf roping.

WHAT IS A BUCKAROO? The word buckaroo in English most

probably comes from the Spanish word

vaquero, which literally means cow‐

handler or cowboy (vaca = cow). The

word originated in Spain among

livestock herders. In the 16th century,

the Spanish brought horses and their

cattle‐raising traditions to America.

New traditions of horse mastery and

cattle herding developed in Mexico and

the United States, spreading as far as

Argentina and Canada. American

buckaroos in the 19th century were

known for their long and difficult cattle

drives through the open country,

especially from Texas to Kansas. One

important trail for cattle drives, the Old

Chisholm trail, started in San Antonio!

Metropolitan Opera House in New York City on October 16, 1942. De Mille played a lead role

as the Cowgirl in the ballet’s premiere, and the applause at the end of the performance lasted

long enough for her to be called back to take a bow 22 times! While Ballet Russe took Rodeo

on a successful tour of the U.S., Copland arranged the music into an orchestral suite titled Four

Dance Episodes from Rodeo. The four “Dance Episode” movements are “Buckaroo Holiday,”

“Corral Nocturne,” “Saturday Night Waltz,” and “Hoe‐Down.” At the Young People’s Concerts

in May 2015, the San Antonio Symphony will perform two of these movements: “Buckaroo

Holiday” and “Hoe‐Down.” Let’s explore them below.

BUCKAROO HOLIDAY

The first scene of the ballet takes place in a corral on the ranch where a number of cowboys are

hanging out and later, practicing their art. Among the men

is a young Cowgirl who tries to earn the approval of the

men, particularly the Head Wrangler. Copland gives

“Buckaroo Holiday” a tempo marking of “Allegro con

spirito” (“fast and lively with spirit”). The movement begins

in cut time with a descending scale‐like motive in the strings

and woodwinds. The brass then answer with a set of

energetic chords in a jumpy, syncopated rhythm [YPC 3

playlist, track 9]. A slower, “Meno mosso” (“Less motion”)

section [0:45] opening with flutes and horns marks the place

in the music where the curtain first opens to the corral

scene. A number of cowboy “buckaroos” and a Cowgirl are

standing around idly observing the sunset. The buckaroos

begin to walk away, followed by the Cowgirl. Twice they

turn around to stare at her as if she’s not invited, to which

the Cowgirl backs away [1:20]. Here Copland uses different

groups of instruments to represent the cowboys and the

Cowgirl: brass for the cowboys and woodwind instruments

for the Cowgirl. Left alone in the corral, the Cowgirl makes

motions as if to mount a wild horse – a bronco – which she begins to ride around the corral

[1:41]. The ride is bumpy one, illustrated by Copland with offbeat cymbal crashes and

woodblock, and by jumping motives in the clarinet and flute.

Suddenly the buckaroos return thunderously to the tune of an old railroad work song called “Sis

Joe.” Apparently on horseback now, they are accompanied by the whole orchestra [2:16].

Loud cracks from the buckaroos whips are played by rim‐shots of the snare drum, followed by

slapstick and bass drum. The rodeo theme from the opening returns with its scale‐like motive

cello and double bass [7:11].

and syncopated responses from the brass [2:30]. The men show off their various cowboy skills

but suddenly stop as the orchestra cuts to just bassoon and horns [3:13]. Seeing her

opportunity, the Cowgirl sidles up to the Head Wrangler and tries to get his attention, but she is

interrupted by the entrance of a group of girls in dresses. The girls’ entrance is accompanied by

the tune to a real cowboy song: “If He’d Be a Buckaroo,” played by a solo trombone [3:29].

A solo trumpet takes over the “Buckaroo” melody as one of the cowboys, the Champion Roper,

shows off for the girls [3:56]. Soon all of the cowboys join in the dance as the theme passes to

piccolo, oboe and bassoon [4:22]. Suddenly the whole orchestra explodes with a three‐part

canon on the “Buckaroo” melody as the wranglers continue their rough‐rider dance, now joined

by the Cowgirl [5:01]. The first canon voice is played by the flutes, horns and strings; next the

bass clarinet, bassoon and trombone enter, followed by oboes, clarinets in trumpets. Each

entrance of the canon is only a half note or half bar apart. The cowboys stop dancing as the

canon dies away, but the Cowgirl continues until the girls approach and make fun of her. This

happens as a sadder theme takes over in the violins and clarinet [5:18].

The Cowgirl’s pride isn’t wounded for long – soon she is back on her horse, gallivanting among

the men as the horns, trumpet and strings play a jaunty theme [5:52]. This leads to a recap of

the rodeo scale theme from the beginning of the movement [6:14] and another rendition of

“Sis Joe” [6:27]. The male buckaroos become increasingly annoyed with the Cowgirl’s attempts

to fit in with them, and in a

grand pause for the whole

orchestra – a moment of

silence – the Head Wrangler

gestures for her to leave the

corral [7:06]. In a powerful

final dance, Copland brings

both the “Sis Joe” and “If He’d

Be a Buckaroo” song melodies

together, with “Sis Joe” played

by the lower instruments: bass

clarinet, bassoon, trombone,

solo (with humor)

“Buckaroo”

“Sis Joe”

HOE-DOWN

“Hoe‐Down” is the last section of the Rodeo ballet and the last movement of Copland’s Four

Dance Episodes from Rodeo. A hoedown is a type of American folk dance or square dance in a

fast duple meter. Hoedown music was popularized by the American tradition of fiddle playing.

In fact, Copland’s “Hoe‐down” movement opens with the full orchestra railing away to a fiddle

tune called “Bonyparte” or “Bonaparte’s Retreat,” [YPC 3 playlist, track 10]. Some may

recognize this music from the TV commercial: “Beef. It’s What’s For Dinner.”

Having had no luck in catching the Head Wrangler’s attention in the previous dance episodes,

the Cowgirl at this point in the ballet has ditched her cowgirl getup in favor of putting on a

dress and a bow in her hair. Her new appearance inspires the Champion Roper to challenge her

to dance the hoedown, and they are joined in the square dance by the other ranch house

guests. The dance is tireless, and the music bursts at the seams with energy. Copland supports

the melody by giving it a certain backbone on the important notes with the hollow sound of the

xylophone [0:36].

The dance transitions into another borrowed fiddler’s tune called “Miss McLeod’s Reel,”

although Copland has cut out some notes, leaving halted spaces in the melody [1:31].

A short interlude led by the oboe, clarinet and solo violin might be reminiscent of another folk

tune called “Gilderoy” [1:39]. Copland may have loosely adapted yet another tune according to

some sources: “Tip Toe, Pretty Betty Martin.” Later, the music begins to slow to a halt with a

descending trombone line [2:22]. This marks the moment in the ballet where the Head

Wrangler finally takes notice of the Cowgirl and waltzes over to give her a kiss. Triumphant, the

Cowgirl resumes the dance [2:40], which leads a breathless finish.

Today, with its unique combination of American folk music, jazz influences, cinematic sounds

and older European styles, Copland’s music for Rodeo is considered to be one of the great

works of American classical music.


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Interdisciplinary Themes: Social Studies, History, Economics

Preparatory Activity: Ask students if they have ever seen a movie or read a book where the main character wasn’t always

a hero – sometimes they were a hero but maybe sometimes they were a villain too. Solicit

examples such as the 2014 film Maleficent. Ask students if they have heard of Billy the Kid and what

they have heard about him. Was he a hero, or a villain, or was he maybe some of both? What made

him a hero, or what made him a villain?

Culminating Activity: Hand out copies of the following “Who was Billy the Kid?” article, which includes biographical

information about Billy the Kid, the Lincoln County War of 1878 and also about the law of supply

and demand. Give students an appropriate amount of time to read through the article carefully, or

read through it together in class. Then hand out the following multiple choice quiz page. Have

students answer the questions individually or in class. Students should be able to refer back to the

article to look for answers.

Answer Key: 1:c, 2:a, 3:b, 4:c, 5:d, 6:a, 7:d, 8:b, 9:c, 10:a

Evaluation: Were students able to answer the questions using information from the handout? What did

students learn about Billy the Kid in the process of reading the article and answering the questions?

Did they understand the concept of supply and demand?

Activity TEKS Objectives: (b) Knowledge and Skills 3rd Grade – Social Studies: (1) History. The student understands how individuals, events, and ideas have influenced the history of various communities. The student is expected to: (A) describe how individuals, events, and ideas have changed communities, past and present;

(8) Economics. The student understands how businesses operate in the U.S. free enterprise system. The

student is expected to: (B) explain how supply and demand affect the price of a good or service;

(continued on the following page)

3rd Grade – ELA and Reading:

(3) Reading/Fluency. Students read grade‐level text with fluency and comprehension. Students are expected

to read aloud grade‐level appropriate text with fluency (rate, accuracy, expression, appropriate phrasing) and

comprehension.

(4) Reading/Vocabulary Development. Students understand new vocabulary and use it when reading and

writing. Students are expected to: (B) use context to determine the relevant meaning of unfamiliar words or

distinguish among multiple meaning words and homographs;

(13) Reading/Comprehension of Informational Text/Expository Text. Students analyze, make inferences and

draw conclusions about expository text and provide evidence from text to support their understanding.

Students are expected to: (A) identify the details or facts that support the main idea; (B) draw conclusions

from the facts presented in text and support those assertions with textual evidence; (C) identify explicit cause

and effect relationships among ideas in texts; and (D) use text features (e.g., bold print, captions, key words,

italics) to locate information and make and verify predictions about contents of text.

4th Grade – ELA and Reading:


to read aloud grade‐level stories with fluency (rate, accuracy, expression, appropriate phrasing) and

comprehension.


writing. Students are expected to: (B) use the context of the sentence (e.g., in‐sentence example or

definition) to determine the meaning of unfamiliar words or multiple meaning words;



Students are expected to: (D) use multiple text features (e.g., guide words, topic and concluding sentences)

to gain an overview of the contents of text and to locate information.

5th Grade – Social Studies:

(4) History. The student understands political, economic, and social changes that occurred in the United

States during the 19th century. The student is expected to: (C) identify reasons people moved west;

(12) Economics. The student understands the impact of supply and demand on consumers and producers in a

free enterprise system. The student is expected to: (A) explain how supply and demand affects consumers in

the United States;

5th Grade – ELA and Reading:


to read aloud grade‐level stories with fluency (rate, accuracy, expression, appropriate phrasing) and

comprehension.


writing. Students are expected to: (B) use context (e.g., in‐sentence restatement) to determine or clarify the

meaning of unfamiliar or multiple meaning words;



Students are expected to: (D) use multiple text features and graphics to gain an overview of the contents of

text and to locate information;


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It seems like everyone’s heard of him, but who was he? Was

he a cold‐blooded killer, a liar and a murderer? Or was he a

disadvantaged and misunderstood youth, who lost his way as

a teenager? Sadly, many of the facts and personal accounts

about the person known as Billy the Kid have been lost to

history. He is believed to have been born to Irish immigrants

in New York City in the year 1859; his actual birthday is

unknown, but his name at birth was William Henry McCarty,

Jr. It is uncertain what happened to William’s father, but his

mother Catherine cared for him until her death.

Like many other that left the cities to move west in the

1800s, Catherine McCarty left New York for a number of

reasons. Poverty, foul living conditions, poor treatment of

immigrants and news of work opportunities out west all

convinced her to move 8‐year‐old William and his brother to

Indianapolis, Indiana in 1868. There she met William Antrim,

who would become young William’s stepfather. The family

continued west, eventually settling in Silver City, New

Mexico. Antrim turned out to be a poor father figure who

was rarely home and squandered the family’s money on

gambling. When young William’s mother died shortly

afterwards of tuberculosis (not by a gunshot in the street, as

in the ballet story), Billy was taken to a boarding house.

Living conditions were not good there either, and he soon got

into trouble with other boarders for stealing food and

clothing. He was arrested for stealing at 15 and put in jail,

where he made his first great escape by shimmying up a

chimney. He escaped to Arizona Territory where he fell in

with horse thieves and became known as “Kid Antrim.”

There he shot a man who insulted him and had thrown him

Personal Stats: William Bonney Born: late 1859 (155 years ago)

Died: July 14, 1881 (133 years ago)

Nationality: American

Mostly lived in: New Mexico

Famous for: fearlessness, several

daring escapes, fighting in the

Lincoln County War of 1878, being a legendary outlaw.

THE LINCOLN COUNTY WAR

The conflict known as the Lincoln County War arose out of

a problem of supply and demand. Until the time of Billy’s

arrival, there had been only one general store in all of

Lincoln County – only one store where people could buy

everything they needed! The store was run by two rich

partners named Lawrence Murphy and James Dolan. They

had a monopoly on the sale of all dry goods in the area.

The store’s products were in high demand to support the

growing needs of everyone in the county. By controlling

the supply, however, Murphy and Dolan could charge high

prices to the locals for their goods, and they made a

fortune doing it. In 1876 a businessman named John

Tunstall tried to open a competing store. Murphy and

Dolan didn’t like Tunstall partly because he was English

and they were Irish (there was a lot of enmity between the

English and the Irish at that time). They also knew they

would have to lower their prices in order to compete with

Tunstall’s store, and this made them upset. So they tried

to run him out of town. In 1878 Tunstall was shot and

killed by Murphy and Dolan’s henchmen. This made the

townspeople angry because they had liked Tunstall and his

store. They were also angry because the sheriff was in

cahoots with Murphy and Dolan and did nothing about it.

Persuaded by the people of Lincoln, the County Justice of

the Peace formed a group of special deputies called the

“Regulators” to track down Tunstall’s killers. Included in

the Regulators was one William Bonney, known as Billy

the Kid. The formation of the Regulators made the sheriff

angry, and he started building up his own army of former

gangsters. A series of bloody battles followed, in which

the Governor of New Mexico got involved. The governor

sided with the Murphy, Dolan and the sheriff, and

eventually sent in US Army soldiers. In a five day battle for

the town of Lincoln, most of the Regulators will killed or

arrested. Only Billy the Kid and few others escaped.

SUPPLY &&& DEMAND The law of supply and demand is a basic foundation of economics. If demand for a particular product increases – more people want to buy it – then the price will go up until there is enough of the product to meet the demand. If the supply of a product increases – how many are available – then the price will go down until there is enough demand for the product to meet the supply.

to the ground one day. Billy returned to New

Mexico to escape being arrested. After a

short period of riding with gangs of cattle

thieves, he began to refer to himself as

“William H. Bonney.” He moved to Lincoln

County, NM in 1877 at age 17 to work in a

cheese factory. As luck would have it, the

bloody Lincoln County War of New Mexico,

broke out shortly afterwards. Billy had

gotten back into rustling in Lincoln and was

arrested for stealing horses from a store and

ranch owner named John Tunstall. Instead of

pressing charges, Tunstall hired Billy to help

protect his cattle from other rustlers.

Tunstall was murdered soon after, and this

started the Lincoln County War. Billy joined a

group of deputies called the “Regulators” to

avenge Tunstall’s death. The Regulators had

the support of the people, who even saw Billy

the Kid and a few others as heroes – heroes

who were fighting against the monopoly of

Murphy and Dolan. The Governor of New

Mexico disagreed however, and decreed the

Regulators to be outlaws and wanted men.

After a number of bloody battles, the Regulators were defeated with the help of the US Army,

and only Billy and a few others escaped. In 1878, a newly appointed Governor tried to offer

amnesty to Billy and others – legal forgiveness for their involvement in the Lincoln County War.

Billy accepted, but was held in jail beyond the agreed upon time by the district attorney. He

escaped and went on the run. The new Sheriff of Lincoln, Pat Garrett, tracked him down and

BILLY THE KID: A FOLK SONG

I’ll sing you a true song of Billy the Kid, I’ll sing of the desperate deeds that he did, Way out in New Mexico long, long ago, When a man’s only chance was his own 44. When Billy the Kid was a very young lad, In old Silver City he went to the bad; Way out in the West with a gun in his hand At the age of twelve years he first killed his man. Fair Mexican maidens play guitars and sing A song about Billy, their boy bandit king, How ere his young manhood had reached its sad end Had a notch on his pistol for twenty‐one men. ‘Twas on the same night when poor Billy died He said to his friends: “I am not satisfied; There are twenty‐one men I have put bullets through And Sheriff Pat Garrett must make twenty‐two.” Now this is how Billy the Kid met his fate: The bright moon was shining, the hour was late, Shot down by Pat Garrett, who once was his friend, The young outlaw’s life had now come to its end. There’s many a man with a face fine and fair Who starts out in life with a chance to be square, But just like poor Billy he wanders astray And loses his life in the very same way. Lomax, John A. and Alan Lomax. “Billy the Kid.” American Ballads and Folk Songs. New York: Macmillan, 1934. 137‐8. Print.

Sheriff Pat Garrett

The Lincoln County Courthouse and Jail, where Billy the Kid made a famous escape

Sherriff Pat Garrett

managed to arrest him. He was taken to Las Vegas where a jury found him guilty of murder,

and the judge sentenced him to death by hanging. Billy was taken back to the courthouse jail in

Lincoln, where he escaped again, this time killing two lawmen. Billy hid out in the house of a

friend, Pete Maxwell. On July 14, 1881, Sheriff

Pat Garrett tracked him down again and

managed to surprise him at Maxwell’s house,

where he killed Billy the Kid with one shot. He

was buried next to two of his fallen friends at

Fort Sumner, NM. In 2010, Governor Bill

Richardson of New Mexico considered issue a

pardon – legal forgiveness for his crimes – for

the long dead William Bonney, a.k.a. Billy the

Kid. Without more accurate historical

information however, Governor Richardson

announced his decision not to pardon the Kid

on his last day in office.

NAME ___________

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Instructions: Read through in class or individually the article “Who Was Billy the Kid?” Then answer the questions below.

11. What was Billy’s full name at his birth? a. Billy the Kid. b. William Bonney. c. William Henry McCarty, Jr. d. Billy Joel McCarty.

12. Where is Billy believed to have been

born? a. New York, NY. b. Indianapolis, IN. c. Silver City, NM. d. Lincoln County, NM.

13. Which is NOT a reason for which people like Billy’s mother moved west in the 1800s?

a. Poor living conditions. b. An invasion from Spain. c. Work opportunities in the west. d. Poor treatment of immigrants.

14. Billy’s mother actually died from _____. a. a gunshot during a street fight. b. a heart attack. c. tuberculosis. d. old age.

15. Which does NOT describe one of Billy the Kid’s famous escapes?

a. From a house in Lincoln under attack by the U.S. Army.

b. From the courthouse jail. c. By shimmying up a chimney. d. By jumping off a moving train.

16. What started the Lincoln County War? a. The murder of John Tunstall. b. Billy’s escape from jail. c. Low prices for dry goods. d. An invasion of Mexican

immigrants.

17. What is the law of supply and demand? a. A tax on goods from Mexico. b. A new health care system. c. A way to punish cattle thieves. d. A basic foundation of

economics.

18. If demand for a product remains the same, what happens if the supply of it increases?

a. Prices will stay the same. b. Prices will go down. c. Prices will go up. d. Prices will up, then down.

19. If supply of a product remains the same, what happens if demand for it increases?

a. Prices will stay the same. b. Prices will go down. c. Prices will go up. d. Prices will up, then down.

20. Billy the Kid is NOT typically

remembered in history as _____. a. A western circus clown. b. A misguided youth. c. A murderous outlaw. d. An American folk hero.


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TEACHING OBJECTIVE: Students will examine, discuss and practice appropriate concert behavior in different settings.

PREPARATORY ACTIVITIES: 1. Ask the students to list places or situations where they might be part of an audience. Solicit

examples such as a rock concert, tennis match, football game, golf tournament, sitting at home

watching television with the family. Create a list of answers where everyone can see them.

2. Discuss the way audience behavior in various settings would be different. Discuss how

different venues or activities have different expectations for audience behavior. Discuss how an

audience can positively or negatively affect the performer/athlete.

TEACHING SEQUENCE: 1. Assign a group of two or more students to act out behavior that would occur at various

venues at the front of the classroom. For example, have two students pretend to be playing

tennis.

2. Instruct the rest of the class to pretend that they are the audience for the event being

portrayed. Instruct the “audience” to show their appreciation for the performers/athletes

pretending in front of the class.

3. Critique the “audience” behavior and discuss why certain behavior was appropriate or

inappropriate for the situation. Talk about audience reactions such as applause, yelling or

whistling and when it is appropriate or inappropriate.

4. Ask the performers to tell the class how the “audience” behavior affected their efforts.

CULMINATING ACTIVITY: Talk to the students about the upcoming San Antonio Symphony concert. Discuss with them

what they should expect to happen and how they can appropriately show their appreciation for

the symphony.

EVALUATION: Were students able to understand how and why audience behavior might be different in

different settings and venues? Did they understand the importance of their role as an audience

member?

ACTIVITY TEKS OBJECTIVES: (b) Knowledge and Skills

3rd Grade – Music: (6) Response/evaluation. The student responds to and evaluates music and musical performance. The student is expected to: (B) exhibit audience etiquette during live performances. 3rd Grade – Theatre: (2) Creative expression/performance. The student interprets characters, using the voice and body expressively, and creates dramatizations. The student is expected to: (A) demonstrate safe use of movement and voice; (B) participate in a variety of roles in real life and imaginative situations through narrative pantomime, dramatic play, and story dramatization; 4th Grade – Music: (6) Response/evaluation. The student responds to and evaluates music and musical performance. The student is expected to: (C) practice concert etiquette as an actively involved listener during live performances. 4th Grade – Theatre: (2) Creative expression/performance. The student interprets characters, using the voice and body expressively, and creates dramatizations. The student is expected to: (A) demonstrate safe use of the voice and body; (5) Response/evaluation. The student responds to and evaluates theatre and theatrical performances. The student is expected to: (A) identify and apply appropriate audience behavior at performances; 5th Grade – Music: (6) Response/evaluation. The student responds to and evaluates music and musical performance. The student is expected to: (C) exhibit concert etiquette as an actively involved listener during varied live performances. 5th Grade – Theatre: (1) Perception. The student develops concepts about self, human relationships, and the environment, using elements of drama and conventions of theatre. The student is expected to: (F) portray environment, characterization, and actions. (5) Response/evaluation. The student responds to and evaluates theatre and theatrical performances. The student is expected to: (A) analyze and apply appropriate audience behavior at a variety of performances;


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He was a citizen tough and grim. Danger was duck soup to him. He ate corn pone and bacon fat. Great-grandson would starve on that. Great-granddad was a busy man; Cooked his grub in a frying pan. He picked his teeth with his hunting knife, He wore the same suit all of his life. Twenty-one children came to bless The old man's home in the wilderness. But great-granddad didn't lose heart, The boys hunted rabbits and they ketched right smart.

Twenty-one boys and how they grew, Tall and strong on the bacon, too. Slept on the floor with the dogs and cats, And hunted in the woods with their coonskin caps. Twenty-one boys and not one of them bad; They never got fresh with their great-granddad. If they had, he'd have been right glad To tan their hides with a hickory gad. They grew strong in heart and hand, Firm foundation of our land. Twenty-one boys and a great-grandson, He has a terrible time with that one.

GREAT GRANDAD

Taken from: White, John and George Shackley. The Lonesome Cowboy: Songs of the Plains and Hills. New York:

Worth & Co., 1930. “In this song as in many others it will be found necessary to insert extra notes in the melody as

the lyric of the different verses change in rhythm.”

WHOOPEE TI YI YO, GIT ALONG LITTLE DOGIES

CHORUS

Early in the Spring we round up the dogies; Mark and brand and bob off their tails; Round up the horses, load up the chuck wagon, Then throw the dogies upon the long trail. – Chorus Some boys go up the trail for pleasure, But that’s where they get it most awfully wrong; For you haven’t any idea the trouble they give us While we go driving them all along. – Chorus

Your mothers were raised away down in Texas, Where the jimpson weed and sand-burrs grow, Now we’ll fill you upon prickly pear and cholla Till you are ready for the trail to Idaho. – Chorus I ain’t got no father, I ain’t got no mother, My friends they all left me when first I did roam; I ain’t got no sisters, I ain’t got no brothers, I’m a poor lonesome cowboy and a long way from home. – Chorus

STREETS OF LAREDO (COWBOY’S LAMENT)

I see by your outfit that you are a cowboy These words he did say as I boldly stepped by Come sit down beside me and hear my sad story Got shot in the breast and I know I must die. Get six jolly cowboys to carry my coffin Get six pretty maidens to carry my pall Put bunches of roses all over my coffin Roses to deaden the clods as they fall.

Oh, beat the drum slowly and play the fife lowly Play the death march as you carry me along Take me to the graveyard and lay the sod over me For I’m a young cowboy and I know I’ve done wrong. We beat the drum slowly and played the fife lowly And bitterly wept as we bore him along For we loved our comrade, so brave, young & handsome We all loved our comrade although he’d done wrong.

Taken from websites http://www.joe‐offer.com and http://traditionalmusic.co.uk [online] Dec. 29, 2014.

Taken from: White, John and George Shackley. The Lonesome Cowboy: Songs of the Plains and Hills. New York: Worth & Co., 1930.

CHORUS

I was born in Texas in the year ’89, I can ride anything this side the state line. – Chorus On a ten dollar hoss and a forty dollar saddle, And I’m goin’ to punchin’ Texas cattle. – Chorus Went down to San Antone and went to workin’ cattle, And here come the sheep men and we had a battle. - Chorus Old Ben Bolt was a blamed good boss, But he’d go to see the girls on a sore backed hoss. – Chorus It’s cloudy in the west, a-lookin’ like rain, And my darned old slicker’s in the wagon again. – Chorus Crippled my hoss, I don’t know how, Ropin’ at the horns of a 2-U cow. – Chorus No chaps, no slicker, and it’s pourin’ down rain, And I swear, by God I’ll never night-herd again. – Chorus Last night I was on guard and the leader broke the ranks, I hit my horse down the shoulders and I spurred him to the flanks. – Chorus

Taken from: Lomax, John A. and Alan Lomax. American Ballads and Folk Songs. New York: Macmillan, 1934.

The wind commenced to blow and the rain began to fall, It looked, by grab, like we was goin’ to lose ‘em all. – Chorus I jumped in the saddle and I grabbed holt the horn, Best darn cowpuncher ever was born. – Chorus I went to my boss to draw my roll, He figured me out nine dollars in the hole. – Chorus So I’ll sell my outfit as fast as I can, And I won’t punch cows for no darn man. – Chorus I hadn’t been at home but some days two or three When I put off my gal for to see. – Chorus “If you’ve made up your mind to quit the cowboy life, I have fully decided to be your little wife.” – Chorus Farewell, old Blue Dog, I wish you no harm, I’ve done quite the business to go on the farm. – Chorus No more a cowpuncher to sleep at my ease, ‘Mid the crawlin’ of the lice and bitin’ of the fleas. – Chorus

CHORUS

Old Paint’s a good pony, he paces when he can; Good-bye my little Annie I’m off to Montan’. – Chorus Oh hitch you up your horses, and feed ‘em some hay; And seat yourself beside me, so long as you can stay. – Chorus

THE OLD CHISHOLM TRAIL

My horses ain’t hungry, they won’t eat your hay; My wagon is loaded, and a-rollin’ on its way. – Chorus My feet are in the stirrups, my bridle’s in my hand, Good mornin’ young ladies, my horses won’t stand. – Chorus


GOODBYE, OLD PAINT

CHORUS

VERSE

Take a mule, take a jack, take a lining bar, for to line. Take a mule, take a jack, take a lining bar, for to line. - Chorus

On the mud line, on the sand, on the mud line, get a man. On the mud line, on the sand, on the mud line, get a man. - Chorus

Taken from: Lomax, John A. and Alan Lomax. Our Singing Country: Folk Songs and Ballads. New York: Dover, 1941.

SIS JOE

OH BURY ME NOT (THE DYING COWBOY)

“Oh bury me not on the lone prairie, Where the coyotes howl and the wind blows free; In a narrow grave just six by three, Oh bury me not on the lone prairie.” “It matters not, I’ve oft been told Where the body lies when the heart grows cold; Yet grant, oh grant, this wish to me, Oh bury me not on the lone prairie.” He wailed in pain, as over his brow, Death’s shadows fast were gathering now, And he thought of his home and the loved ones nigh, As the cowboys gathered to see him die.

“Oh bury me not,” – and his voice failed there, But we took no heed to his dying prayer; In a narrow grave just six by three We buried him there on the lone prairie. Yes, we buried him there on the lone prairie, Where the owl all night hoots mournfully; And the blizzard beats and the wind blows free Over his lowly grave on the lone prairie. We buried him there on the lone prairie, Where the wild rose blooms and the wind blows free; And the buffalo roams over the grassy sea. Oh – we buried him there on the lone prairie.


IF HE’D BE A BUCKAROO

If he’d be a preacher by his trade, I’d have him a pulpit ready-made, And I’d hold fast to his snubbing post While he goes at me with his Holy Ghost. – Chorus

CHORUS

If he’d be a sheepherder by his trade, I’d have him corrals all ready-made, And when he goes to separate Then he can use my dodging gate. – Chorus

If he’d be a sailor by his trade, I’d have him a ship all ready-made, With him to row and me to steer We’d bring a cargo once a year. – Chorus


BONYPARTE’S RETREAT (ACROSS THE ROCKIES)

D.C., etc.

VIOLIN

Pratter line (to be recited as spoken text while violin is playing): “Did you ever read the history of Napoleon the Bonyparte? It must have been a few hundred years or so ago, I couldn’t tell you. He was a great warrior, and I tell you what he used to do. If some country like Germany would try to take some poor little country that was defenseless and make ‘em do as they wanted ‘em to do – you know, work for’ em and all that – well, he’d go and he’d fight for that country, and he’d lick Germany. He had an army of his own, you know. And that country would pay him, and Germany also would have to pay him for his expenses. His army was located in France. He was a Frenchman – not the King of France, he went out for himself. That’s all he ever done, was just watchin’ countries and makin’ his money that way.”


VIOLIN

Adapted from website http://www.abcnotation.com/tunes[online] Dec. 29, 2014.

VIOLIN


MISS MCLEOD’S REEL

GILDEROY

VIOLIN TIP TOE, PRETTY BETTY MARTIN



Orchestra Map Worksheet Can you match each instrument with where they sit in the orchestra? Draw lines to connect each instrument to their place in the orchestra. Use RED for woodwinds, GREEN for strings, BLUE for percussion, ORANGE for

brass, and PURPLE for the conductor

Woodwinds

Strings

Percussion Brass

Conductor

FOUR FAMILIES OF AN ORCHESTRA

Brass Family Woodwind Family

String Family Percussion Family

Snare Drum

Trumpet

Trombone

Tuba

Clarinet

Flute

Bassoon

Oboe

Violin

Viola

Harp

Cello Bass

Timpani

Bass Drum

Triangle

Xylophone

French Horn


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The BRASS family is one of the oldest families of the orchestra and includes the trumpet, French horn,

tuba, trombone, which are all made of brass! Sound is produced when a brass player buzzes his or her lips into a cup‐shaped mouthpiece to produce vibrating air. The vibrating air then travels through a long metal tube that modifies and amplifies the vibrations. In order to change pitch, brass players use two techniques. One is to change the speed that they buzz their lips. The other is

to change the length of the tubing that they are blowing air through. They are able to change the length of tubing either by pressing a key to open a valve, as with a trumpet, or using a slide to physically increase or decrease the length of tubing, as with a trombone. Brass instruments have a very sweet and round sound. Then can also play very loudly and are often used in the most exciting parts of a piece.

The Woodwind family includes the flute, clarinet, oboe and bassoon. This family produces sound by blowing a vibrating column of air inside some form of tube. In the past,

woodwind instruments were all made out of wood, but now some instruments, such as the flute, are made out of metal. Woodwinds create the vibrating column of air in different ways. Flutes blow across the top of an open hole. Clarinets blow between a reed – usually a small, flat piece of bamboo – against a fixed surface. That is why clarinets are sometimes called “single‐reed” instruments. Bassoons and

oboes blow between two reeds that vibrate against each other. That is why bassoons and oboes are sometimes called “double‐reed” instruments. Woodwinds usually change the pitch of their instruments by changing the length of the tube they are blowing the vibrating air through. They most often change the length by opening and closing holes using keys on their instruments. Woodwind instruments have very a beautiful, singing sound. They are often used to play solo parts during symphonies when their unique tonal qualities can be heard even if the entire orchestra is playing.

The String family is made up of the violin, viola, cello and bass. Instruments in this family produce sound by (you guessed it!) vibrating strings! The strings are vibrated in two ways. One way to produce vibrations is to use a bow made out horsehair stretched on a wood stick, to rub the strings and produce vibrations. The other way is to pluck the string, usually with the hand. This is called “Pizzicato.” String instruments change pitch by adjusting the length of the string. This is usually accomplished by putting fingers down at some point on the string to shorten the length of the vibrating string. String instruments have a very

mellow, rich round. There are many string players in an orchestra because each instrument alone does not have a very loud sound compared to other instrument families. Often strings will play a beautiful melody, but sometimes the strings play the harmony parts.

The Percussion family is probably the most varied family in the orchestra. Percussion instruments create sound by physically hitting, rubbing or shaking either a solid material, like a metal triangle, or a membrane, like the top of a snare drum. The membranes used to be made out of animal skins, but today most drums use a synthetic material. Only a few percussion instruments produce a specific pitch. Pitched percussion instruments that use a solid material, like a xylophone, change pitches by hitting different sized materials. Pitched percussion

instruments that use a membrane, like a timpani, change pitch by changing the tension of the membrane. There are many different kinds of percussion instruments used in an orchestra, including the snare drum, maracas, and even sometimes even metal parts from a car! Percussion instruments produce many different types of sounds, but they are usually used in an orchestra to provide rhythm for the music. Often at the most exciting part of a piece there are many percussion instruments playing.


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♪ New York Philharmonic Teacher’s Guide for School Day Concerts – Billy the Kid and Rodeo – An excellent PDF guide booklet with lots of resources and activities. https://www.nyphil.org/~/media/pdfs/education/1213/schools/SchoolDayConcerts2012.ashx?la=en

♪ Miss Jacobson’s Music Blogspot: Billy the Kid – A wonderful page with lots of pictures, educational video links and analysis of the music and story to Billy the Kid. http://missjacobsonsmusic.blogspot.com/2014/11/monday‐november‐3‐2014.html

♪ Library of Congress: Manuscript Scan of “Notes on a Cowboy Ballad” by Aaron Copland – An excellent resource for getting an insight into the composer’s ideas regarding Billy the Kid. http://www.loc.gov/resource/copland.writ0018/?sp=1

♪ Discovery Education: Billy the Kid – Concise Teacher’s Notes for Billy the Kid. http://store.discoveryeducation.com/images/sites/42/pdf/DC984773TG.pdf

♪ About Billy the Kid – Comprehensive biographical information, photos and other resources about Billy the Kid. http://www.aboutbillythekid.com/index.html

♪ PBS Special Feature: The Life and Legend of Billy the Kid – A timeline of events for the life of Billy the Kid. http://www.pbs.org/wgbh/americanexperience/features/timeline/billy/

♪ Classics for Kids: Copland’s Rodeo – Teacher’s resources for Rodeo. Activity Sheet http://www.classicsforkids.com/activitysheets/August2013.pdf Quiz http://www.classicsforkids.com/shows/showdesc.asp?id=147

♪ Youtube: Opening Scene to Rodeo Ballet – See what happens in the ballet section that corresponds to “Buckaroo Holiday” in the suite following Agnes de Mille’s original choreography. https://www.youtube.com/watch?v=8PGkJkpK1yU

♪ Youtube: “Beef, It’s what’s for dinner” commercial – Famous use of Copland’s “Hoe‐down” music from Rodeo. https://www.youtube.com/watch?v=tviyAIS9c_U

♪ Youtube: The Ballad of Billy the Kid – A fun folk song about Billy the Kid. https://www.youtube.com/watch?v=OXR5q3aWD1g

♪ Dallas Symphony Orchestra Kids (DSO Kids) – http://www.dsokids.com/

♪ Arts Alive Canada–See tabs for music resources, instrument lab, great composers, activities and games. http://www.artsalive.ca/en/mus/instrumentlab/

BOOKS ♪ Burns, Walter Noble. The Saga of Billy the Kid. Albuquerque, NM: University of New Mexico Press, 1926.

♪ Levy, Beth Ellen. Frontier Figures: American Music and the Mythology of the American West. Oakland, CA: University of California Press, 2012.

♪ Mellers, Wilfrid. Music in a New Found Land: Themes and Developments in the History of American Music. New York, NY: Transaction Publishers, 1975.

♪ Pollack, Howard. Aaron Copland: The Life and Work of an Uncommon Man. Champaign, IL: University of Illinois Press, 2000.

1415 ypc 3 billy the kid teacher's guide complete...

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