Why do you think harp makers placed the shorter strings closer to the player and not the other way around?

Have a look at this idea you can use to demonstrate the workings of the harps pedals.

Background information: The double-action pedal harp has seven pedals. What happens is each pedal changes all the strings of one note name. Each pedal has three positions: top (flattens pitches by a semitone), middle (no change), and bottom (raises pitches by a semitone).There are three positions for each pedal: In the top position it lowers the pitch by a semitone, in the middle there is no change, and in the bottom it raises the pitch be a semitone. If all the pedals are in their centre position, the harp plays a C major scale

Procedure: On the whiteboard, draw seven pedals laid out from left to right (simple ovals or rectangles will do), and label them with the note names from C to B. You can then have the students follow along the whiteboard while you play the C major scale on a keyboard instrument. You can then play the scale again, and alter one note by either a semitone up or down. Ask the students which note was altereed, and in what direction it needs to be moved. You can then have one student run out the pedal in question and draw it again in the position you played. You could repeat this as many times as you wanted for a fun game. For a greater challenge, alter two or more notes.

If you have access to an electric guitar and an acoustic guitar, you can easily demonstrate the need for a resonator, both on the guitar on the harp. The electric guitar uses electric amplification instead of a resonator, but if the instrument is unplugged, it produces only a very faint sound. However an acoustic guitar is easy to hear because the body of the guitar is its resonator, amplifying the sound. The harp also would be far to quiet to hear without a resonator, so you can point it out to the students and demonstrate its function.

Show and talk about the different aspects and characteristics of the keyboard instruments. The keyboard instruments are related to each other in that they are controlled by a similarly laid-out key mechanism. Technically, however, they belong to different instrument families according to how they produce sound.

Both the piano and the harpsichord are really stringed instruments. The hammers on the piano strike the strings, while the harpsichord mechanism plucks the string.

The pipe organ really belongs in the wind family. Wind is blowed through the pipes, sometimes like a whistle, and sometimes through a reed like a woodwind instrument.

The celesta is a compound idiophone like the glockenspiel, only it uses a keyboard mechanism rather than mallets.

Perhaps you might also discuss these things: the piano and the celesta have a single manual (row of keys), whereas some harpsichords and virtually all organs have multiple manuals. Pianos and organs have a very wide range while harpsichords and celestas have a more limited range.

This is a tiny sample of the music lesson plans on orchestral musical instruments from the Fun Music Company.

Have a look at the keyboard percussion instruments, the xylophone, marimba and Glockenspiel, and show the students how they are laid out just like a piano. Students may enjoy making a “paperphone.” Cut rectangular bars of decreasing size out of colored construction paper and glue them to a posterboard or blank sheet of paper. You can then put labels on the bars. This makes your music lesson plan much more fun!

Demonstrate how resonance can amplify the sound of an instrument. Take an individual bar from a xylophone or Orff instrument or something similar and strike it both by itself and over a a hollow tube (e.g., PVC pipe). It may necessary to have a go first with the instruments around the school first to make sure you can clearly demonstrate this using your instruments.

Check out this recording to hear some great tuned percussion: Béla Bartók, Music for Strings, Percussion, and Celesta, III. Adagio. This movement has prominent parts for xylophone and timpani. The timpani performs glissandi throughout, an excellent demonstration of its pitch capabilities.

Discuss the effect of string length on pitch. Have the students guess if longer or shorter strings will produce higher or lower sounds. Here is an interesting question to discuss with your students: Why do we use the word “high” to describe pitches of a higher frequency, when it has nothing to do with the height away from the ground?

Why do you think harp makers placed the shorter strings closer to the player and not the other way around?

Have a look at this idea you can use to demonstrate the workings of the harps pedals.

Background information: The double-action pedal harp has seven pedals. What happens is each pedal changes all the strings of one note name. Each pedal has three positions: top (flattens pitches by a semitone), middle (no change), and bottom (raises pitches by a semitone).There are three positions for each pedal: In the top position it lowers the pitch by a semitone, in the middle there is no change, and in the bottom it raises the pitch be a semitone. If all the pedals are in their centre position, the harp plays a C major scale

Procedure: On the whiteboard, draw seven pedals laid out from left to right (simple ovals or rectangles will do), and label them with the note names from C to B. You can then have the students follow along the whiteboard while you play the C major scale on a keyboard instrument. Play the scale again with one of the notes chromatically altered, and ask students which pedal should be moved and in what direction. Get a volunteer to erase the pedal in question and redraw it in the correct position. You could repeat this as many times as you wanted for a fun game. For a greater challenge, alter two or more notes.

If you have access to an electric guitar and an acoustic guitar, you can easily demonstrate the need for a resonator, both on the guitar on the harp. The electric guitar only uses electrical amplification instead of a resonator, so it produces only a faint sound if it is not plugged in. However an acoustic guitar is easy to hear because the body of the guitar is its resonator, amplifying the sound. The harp also would be far to quiet to hear without a resonator, so you can point it out to the students and demonstrate its function.

High or Low Game: Sing or play some melodic intervals in both directions. Then ask the students to identify which note was first by saying flute-piccolo if the first note was lower, and piccolo-flute if the first note was higher. This will have a double effect of helping their aural skills and knowing the relative ranges of flutes and piccolos

Demonstrate how the flute makes its sound by choosing a bottle with a small neck and blowing over it with a stream of air. Fill the bottle with a few inches of water and ask the students to predict what will happen to the pitch when you blow again. Filling the bottle with water effectively reduced the volume inside the bottle, which is like shortening the tube inside a flute when the player lifts fingers off the finger holes.

If you are feeling ambitious, you could fill several bottles with varying amounts of liquid and tune them to the notes of the scale (certain kinds of pipes, or tests tubes borrowed from a science teacher, also work well). Play some tunes with your bottle instrument, and ask for student volunteers to play their own tunes.

There is an excellent work which demonstrates the flute and piccolo well called Peter and the Wolf by Sergei Prokofiev This work features not just the flute but all the woodwinds prominently, as well as the strings and timpani. Therefore this piece, or parts of it, could be used across several class sessions.

In Peter and the Wolf, each character is identified timbrally by a specific instrument or section. The strings are peter, the flute represents the bird, the duck by the oboe, the cat by the clarinet, the grandfather by the bassoon, the wolf by the horns and the timpani represent the hunters.

Each character has its own melody, and tells the story through the music

Here are some starting points for discussion about this piece:

Why do you think the composer chose those instruments for each of the characters? (E.g., the reedy, piercing quality of the oboe actually sounds something like a duck’s quack; the loud, sharp sounds of the timpani are like the sounds of gunfire.)

How do the themes convey personality traits of the characters? (for example the classy regal tone for the clarinet showing the cat, the lively major key theme for Peter showing a young boy’s confidence, and the powerful ominous minor key theme for the wolf)

How does a given section of the music convey the plot? (E.g., the cat scampering up the tree is conveyed by rapid rising arpeggios.)

During the Victory Parade, why do you think the composer switched Peter’s music from the strings to the horns?

Have a look at the keyboard percussion instruments, the xylophone, marimba and Glockenspiel, and show the students how they are laid out just like a piano. Students may enjoy making a “paperphone.” Students can cut out rectangular bars of continually smaller sizes out of paper and glue them to thick cardboard or a large sheet of paper. You can then put labels on the bars.

Demonstrate how resonance can amplify the sound of an instrument. With a xylophone or marimba you can remove one bar and try and play it with no resonator (pipe or box) underneath. Then compare the difference with placing it over the resonating chamber. You will likely need to experiment with bars and tube size before finding a combination that resonates well.

Recommended listening: Béla Bartók, Music for Strings, Percussion, and Celesta, III. Adagio. This movement has prominent parts for xylophone and timpani. The timpani performs glissandi throughout, an excellent demonstration of its pitch capabilities.

These are just a couple of ideas for creating music lesson plans about percussion instruments.

Arrange the student’s seats as if they were an orchestra. Place the names of instruments on the appropriate desks, or affix name stickers to individual students. Allow students to be different instruments on different days.

Have a class discussion about the similarities and differences between different musical groups. What do Rock Bands and Symphony Orchestras have in common?

Discuss the relationship between the traditional sections of the orchestra and the Hornbostel-Sachs instrument classifications. (Strings are chordophones; woodwinds and brass are aerophones; some percussion instruments are membranophones, others are idiophones.)

What you could do is have a long term assignmore for the students to research and comment on the Hornbostel-Sachs categories of Chordophones, aerophones etc)

Discuss the science of musical instruments – the connection between vibration and sound

An excellent listening activity is to listen to Benjamin Britten’s Young Persons Guide to the Orchestra A great activity is to have certain students stand up or do actions when their particular instrument or instrument family is heard This is a relatively lengthy composition (over 17 minutes) so you may want to do different sections on different days.

For more information on music lesson plans please contact the Fun Music Company

You can Make rudimentary single-reed instruments. Gather the following pieces of paper and plastic combs, about 5cm x 5cm (two inches by two inches) To play it simply place the paper on the comb in line with the teeth and hold it with your thumbs. Simply blow to make a sound with your lips around the paper and the comb. Students will come to understand the idea of a single reed vibrating with this activity

Here are some great clarinet players that you can talk about in music class You could also give the students a class project to learn about one or more of these musicians/

Benny Goodman (1909-1986) was an American clarinetist best known for his jazz playing. Goodman was born in Chicago to Hungarian Jewish immigrants. He learned the clarinet very quickly and worked as a professional musician while still a teenager. Goodman led a band in New York City in the 1920’s and 30‘s. Goodman even became known as “The King of Swing” as his music was very popular during the swing era Benny Goodman is known as one of the best jazz clarinetists of all timse, as he continued to make recordings for the rest of his life He was one of the few jazz musicians to cross over to the classical realm and make recordings of well known classical pieces.

Thea King (1925-2007) was an important English clarinetist. She played with many different groups, but perhaps her most significant position was principal clarinetist of the English Chamber Orchestra from 1964 to 1999. She was inducted into the Order of the British Empire in 1985, becoming “Dame Thea King.”

Richard Stoltzman (born 1942) is a well known American classical clarinetist. He has made both classical and jazz recordings Studying at Ohio State University, he majored in both Music and Mathematics Orchestras around the world would love to have him as soloist

The first ever female member of the Berlin Philharmonic was a german clarinetist, Sabine Meyer The other members didn’t accept her, however, and after a short time she left to become a full-time clarinet soloist. She is also very involved in chamber music (music for a small group of players).

These are just a few ideas taken from the fun music company’s music lesson plans on instruments of the orchestra.

Have a look at the length of the string, and discus the effect on its pitch Have the students guess if longer or shorter strings will produce higher or lower sounds. Ponder this with your students: Why do you think people use the word “low” to describe pitches of lesser frequency and “high” to describe pitches of greater frequency, when it actually has nothing to do with physical lowness and highness relative to the ground?

Here is another great topic for discussion: Why is the harp built with the short strings close to the player and not the other way?

Here is an activity to help students understand the harp’s pedal mechanism:

A modern double action pedal harp has seven pedals. What happens is each pedal changes all the strings of one note name. Each pedal has three positions: top (flattens pitches by a semitone), middle (no change), and bottom (raises pitches by a semitone).There are three positions for each pedal: In the top position it lowers the pitch by a semitone, in the middle there is no change, and in the bottom it raises the pitch be a semitone. With all the pedals in the middle position, the harp plays a C major scale.

Procedure: On the whiteboard, draw seven pedals laid out from left to right (simple ovals or rectangles will do), and label them with the note names from C to B. You can then have the students follow along the whiteboard while you play the C major scale on a keyboard instrument. You can then play the scale again, and alter one note by either a semitone up or down. Ask the students which note was altereed, and in what direction it needs to be moved. You can then have one student run out the pedal in question and draw it again in the position you played. Repeat as desired with different notes altered. For a greater challenge, alter two or more notes.

If you have access to an electric guitar and an acoustic guitar, you can easily demonstrate the need for a resonator, both on the guitar on the harp. The electric guitar only uses electrical amplification instead of a resonator, so it produces only a faint sound if it is not plugged in. By contrast, an acoustic guitar is readily audible because the guitar body acts as a resonator. The harp also would be far to quiet to hear without a resonator, so you can point it out to the students and demonstrate its function.

Arrange the student’s seats as if they were an orchestra. Place the names of instruments on the the students desks, or affix name stickers to individual students. Allow students to be different instruments on different days.

Discuss different types of musical groups (e.g., concert band, marching band, jazz band, rock band, choir). What are the similarities and differences between the orchestra and these other groups?

Discuss the relationship between the traditional sections of the orchestra and the Hornbostel-Sachs instrument classifications. (Strings are chordophones; woodwinds and brass are aerophones; some percussion instruments are membranophones, others are idiophones.)

What you could do is have a long term assignmore for the students to research and comment on the Hornbostel-Sachs categories of Chordophones, aerophones etc)

Discuss the science of musical instruments – the connection between vibration and sound

Then you could do a Guided Listening Activity featuring The Young Persons Guide to the Orchestra by Benjamin Britten, without narration. If you have assigned students to different instruments to the children’s seating positions above, they may stand or perform some action when their instrument is heard. This is a relatively lengthy composition (over 17 minutes) so you may want to do different sections on different days.

For more information on music lesson plans please contact the Fun Music Company