1. $20 SCHOOLS’ TICKETS PROGRAM RESOURCES THE FOUR SEASONS PIZZOLLA FOUR SEASONS OF BUENOS AIRES

2. One of the world’s most lauded chamber ensembles, the Australian Chamber Orchestra is renowned for its inspired programming and unrivalled virtuosity, energy and individuality. Its unique programming extends across six centuries, spanning popular masterworks, adventurous cross-artform projects and pieces specially commissioned for the ensemble. Outstanding Australian violinist Richard Tognetti has been at the helm of the ACO since 1989. AUSTRALIAN CHAMBER ORCHESTRA SEE THE ACO IN ACTION HERE HERE

3. Began his career as a musician and played in Tango orchestras as a bandoneon player. Studied composition and orchestration which resulted in his established style of “Nuevo Tango” mixing Tango music with elements of both Jazz and Classical music.. About Tango A style of music that traditionally comes from Latin America, namely Argentina and some surrounding areas. Extremely popular in early 20 th Century with bands &venues playing Tangos throughout not only Latin America but into North America &beyond. The passion of Tango dancing has always been intriguing and popular. ABOUT ASTOR PIAZZOLLA

4. FOUR SEASON IN BUENOS AIRES (1964- 1970) Originally four separate tangos. After Piazzolla’s death Russian composer Destyatnikov connected these works to those of Vivaldi’s. There are references to Vivaldi’s works in each of the Piazzolla movements arranged by Destyatnikov. It is interesting to note that Destyatnikov has matched Piazzolla’s ‘Winter’ with Vivaldi’s ‘Summer’ motifs and visa-versa given the opposite hemispheres each composer belonged to. The table below shows the bar references for the Vivaldi motifs that are referenced in each movement: Vivaldi mvtPiazzolla mvtReference Point Spring A direct quote of Vivaldi’s opening motif is at the end of Piazzolla’s mvt (coda) Summer The descending scales from Vivaldi’s WINTE is heard in Piazzolla’s mvt (b44) Autumn Vivaldi’s opening motif is reference with more discords in the final section (b113) Winter The rapid semiquaver motif from Vivaldi’s SUMMER is heard in Piazzolla’s mvt (b48)

5. CHARACTERISTICS OF TANGO PITCHBecause of their dramatic feel, Tangos will often be in minor tonality/keys. There will sometimes be a contrasting section in a major key DURATIONMeter is usually or Syncopation is a defining feature of Tango. Three main Habanera rhythmic ideas – Piazzolla’s use of the 3-3-2 variation is prominent in his work. Clear strong beat is important as this is a dance style. Variations of the Hanbanera rhythm can be found at Tangomusicology.com

8. AURAL/ MUSICOLOGY Each sequence of Lessons provided by the ACO will focus on developing key skills: PERFORMANCE, COMPOSITION and AURAL/MUSICOLOGY. This sequence of lessons will focus on AURAL AND COMPOSITION.

9. WORDS TO ASSIST WITH TERMINOLOGY FOR AURAL TASKS METER BEAT PULS E BANDONEO N CALM ACCOMPANI MENT VIOLIN OSTINA TO CONTEMPLAT IVE SOLO FORM GLISSAN DO STACCAT O GUITA R CLEAR STRUCT URE ENERGET IC HABANERA JUXTAPO SED ARTICULAT ION DRIVING SYNCOPATE D LEGAT O BASS LINE SOLOIS T DOUBLE BASS BALANCE PHRASES SECTION S ACCENT S

10. PREPARATION LISTENING ACTIVITY Listen to the opening of the Primavera Porteña (Spring) movement and answer these guide questions in preparation or the composition activity we are about to complete. Use the score excerpt to help you. List all the instruments in this score IN THE ORDER THEY ENTER THE PIECE–________________ ________________ ________________ The entries of the melodic parts are fugal in nature reflecting Piazzolla’s classical training. Identify the bar that each instrument enters in this fugal structure – Violin 1 = ________Viola = ________Violin (solo) = ________

11. LISTENING ACTIVITY

12. COMPOSITION ACTIVITY Let’s use what we have learnt to compose our own Tango. Follow the step-by-step instructions to create your own Tango piece. You will need manuscript paper for this activity. There are three main layers to compose in order to create your Tango. Rhythm (drum kit, percussion, bass line*) Accompaniment (ensemble, chords + bass line) Melody

13. STEP 1 – RHYTHM SECTION Create the rhythm parts by first choosing a basic pattern you would like to build from. Use one of the habanera rhythms we learnt about earlier.  Now you get to play around with adding other percussion layers to fill out the rhythm section*. Don’t forget that this is not the only layer for the piece so don’t crowd it too much. This is the foundation layer. *Use the Percussion Cheat Sheet to help with the drum notation if you need to.

15. SHARE YOUR IDEAS THROUGHOUT THE PROCESS FOR FEEDBACK. TRY OUT A COUPLE OF IDEAS EVEN IF THEY DON’T ALL WORK. PERFORM THE TANGOS YOU HAVE COMPOSED.

16. When you go to the concert, use the knowledge and skills we have explored and consider the following questions: 1.How do the three elements of duration (meter, tempo and rhythm) contribute to the overall effectiveness of Tüür’s work Action - Passion – Illusion? 2.Can you identify different ways duration has been used by composers in the other works performed in the concert? Were they similar or in contrast to how Tüür used duration? 3.After you have seen the concert, write down three ways you could use elements of duration in your own composition work. Give examples from what you saw/heard at the concert to help you remember the techniques used by Tüür and the other composers.

17. TEACHER’S NOTES Teacher's Notes for reference to the Draft Australian Curriculum: The Arts and NSW Stage 6 Music 1 & Music 2 Syllabus.Australian Curriculum: The ArtsMusic 1Music 2 General Capabilities LIT – Reading the score, writing about the Concepts of Music (CoM). NUM – Identifying and discussing meter and rhythm. ICT – Utilising internet resources. CCT – Critically discussing the set work/s. PSC – Sharing personal responses to set work/s. EU – Working collaboratively with peers in group discussions. ICU – Discussing cultural issues surrounding the set work/s. Cross-Curriculum Links & Priorities English, Humanities and Social Sciences, Mathematics, History, Language Viewpoints 2 – Extend discussions into the links between the repetitive nature of these works and that of cultural music of Asian regions (eg; Balinese, Chinese).

18. TEACHER’S NOTES MUSIC 1 Topic Links Music of the 20 th & 21 st Centuries Music for Small Ensembles Music and the Related Arts (Hermann & Stravinsky) MUSIC 2 Topic Links Music 1900 – 1945 Music 1945-25 Years Ago Music of the Last 25 Years ( Although the Tüür work is not Australian ) MUSIC 1 Outcome Links P – 4,5,6,7,8,10,11 H – 4,5,6,7,8,10,11 MUSIC 2 Outcome Links P – 4,5,6,7,8,10,11 H – 4,5,6,7,8,10,11 NSW Stage 6 Syllabus Links –

19. OPPORTUNITIES FOR YOUNG MUSICIANS WITH THE ACO Find out about more great opportunities with the ACOopportunities