STUDY GUIDE
Written by
Jeremiah Zortman
Ordway Center for the Performing Arts
Edited by
Kristie Gaalswyk and Shelley Quiala
Ordway Center for the Performing Arts
Cover designed by
Leah Horvath,
Ordway Center for the Performing Arts
Education at the Ordway is sponsored by
Additional major funding is provided by Ordway
Circle of Stars, The Fred C. and Katherine B.
Andersen Foundation, Target, The Pentair
Foundation, Best Buy Children’s Foundation,
Hugh J. Andersen Foundation, Margaret H. and
James E. Kelley Foundation, Inc., Thomson
Reuters, RBC Foundation—USA, G&K Services,
Curtis L. Carlson Family Foundation, Lillian
Wright and C. Emil Berglund Foundation, Inc.,
Archie D. and Bertha H. Walker Foundation,
Warren Foundation, Kopp Family Foundation,
hundreds of individuals, foundations, corporate
contributors, and by the patronage of thousands
of theater attendees.
Education at Ordway is made possible in part by a
grant provided by the Minnesota State Arts Board,
through an appropriation by the Minnesota
Legislature, and by a grant from the National
Endowment for the Arts. This activity is also made
possible in part by a grant provided by the Minnesota
State Arts Board, through an appropriation by the
Minnesota State Legislature from the Minnesota Arts
and Cultural Heritage Fund with money from the vote
of the people of Minnesota on November 4, 2008.
©2012, Ordway Center for the Performing Arts.
All rights reserved. Contents of this packet may
not be reproduced in whole or in part without
permission.
Poncho Sanchez & His Latin
Band
at the Ordway
Photo by Devin DeHaven
Study Guide Sections
Page
Study Guide Sections
Page
17 - 21
Coming to the Theater
2
Activities and Discussion Questions
About the Ordway
3
Resources
About the Artist
4-5
Career Exploration
About the Performance
6 - 11
Frequently Asked Field Trip Questions
Vocabulary & Behind-the-Scenes
Understanding Music
12
13 - 16
Performance Evaluation
Bus Reimbursement Form
22
23-24
25
26 - 27
28
Coming to the Theater
Your Role as an Audience
Member
Audience Member Checklist for
Review at School
Audience members play a special and
important role in the performance. The
performers are very aware of the audience
while they perform and each performance
calls for different audience responses.
Lively bands, musicians and dancers may
desire audience members to clap and
move to the beat. Other performers
require silent focus on the stage and will
want an audience to applaud only when
they have completed a portion of their
performance. As you enjoy the show,
think about being a part of the
performance.
□
Leave your food, drinks and chewing
gum at school.
□
Remember to turn off all cell phones
before the performance begins.
□
When the house lights dim, the
performance is about to begin. Please
turn your attention toward the stage.
□
Cameras and other recording devices
are not allowed in the theater.
□
Talk before and after the performance
only. Remember that not only can
those around you hear you, the
performers can too.
□
Appropriate responses such as
laughing and applauding are
appreciated. Pay attention to the
artists on stage; they will let you know
what is appropriate.
□
Open your eyes, ears, mind, and heart
to the entire experience!
□
After the performance you will be
dismissed when your school is called
from the stage. Remember to check
around your seat for everything that
you brought into the theater.

What are the differences between
attending a live performance and
going to a movie or watching
television?
 What are some different types of
live performances? Name a few as
a class.
 What kind of responses might an
audience give in each circumstance?
 What are the different cues that a
performer will give you so that you
know how to respond?
For example, might they bow or
pause for applause?
Also, remember that a theater is designed
to magnify sound, and even the smallest
whispers or paper rustling can be heard
throughout the auditorium. When you
come to the Ordway, you are part of a
community of audience members and you
all work together to create your
theater experience.
2
About the Ordway
As a center for the performing
arts, the Ordway takes on
three different roles:
Fun Facts!
Did you know…
The Ordway has two theaters?
 Ordway’s Music Theater, 1900 seats
 McKnight Theatre, 306 seats
Hosting
The Ordway is home to the following Arts
Partners; they program their own seasons
and use the Ordway as their performance
venue:
 The Minnesota Opera
 The Saint Paul Chamber Orchestra
 The Schubert Club
The Ordway first opened twenty-five years
ago on January 1, 1985, as the Ordway
Music Theatre!
The name Ordway comes from Lucius
Pond Ordway (1862-1948) a Saint Paul
businessman and early 3M investor. His
granddaughter, Sally Ordway Irvine
(1910-1987) built the center and decided to
use the Ordway name.
Presenting
The Ordway also programs their own
performance seasons. Musical theater
tours such as Billy Elliot The Musical and
Elf the Broadway Musical are a part of the
Theater Season. The Ordway also
produces musical theater such last year’s
Rodger and Hammerstein’s Cinderella. The
Target® World Music and Dance Series
include companies on national and
international tours, such as Black Grace
and Eileen Ivers & Immigrant Soul, and
work produced by locally-based
organizations such as Ballet of the Dolls.
Sally Ordway Irvine traveled to Europe
with architects to visit opera houses and
theaters when planning the design of
the Ordway.
More than 350,000 patrons come the
Ordway each year.
Producing
The Ordway is a member of the
Independent Presenters Network, which
allows for collaborations to produce large
musical productions with other performing
arts centers. Such musicals are Disney’s
Beauty and the Beast.
The Ordway also presents the annual Flint
Hills International Children's Festival, a
week-long festival of international artists
performing work to our youngest audience
members. The dates for the 2013 Festival
are May 28-June 2.
Schools from all over the region attend the
Ordway’s student performances. More
than 50,000 seats were filled by students
and teachers last year!
For more information about the Ordway
and Arts Partners visit www.ordway.org.
3
About the Artist
Who is Poncho Sanchez?
Photo by Devin DeHa-
Poncho Sanchez was born on October 30,
1951 in Laredo, Texas as the youngest of
eleven children. He was raised in Norwalk,
California, where he was exposed to and
influenced by two unique styles of music:
Afro-Cuban music and bebop jazz.
When Poncho was in sixth grade, he
bought a fifty-cent guitar hoping to join a
rhythm & blues band that rehearsed
across the street from where he lived.
Although his guitar hopes didn’t pan out
with the band, he became the lead vocalist
in that band for five years. In high school,
Poncho had his first opportunity to get
behind a set of conga drums. Soon he was
practicing congas in his garage as much as
possible, playing to Latin jazz records.
Meet Poncho Sanchez
In 1975 when Poncho was 24, he attended
a show where his idol, vibraphonist Cal
Tjader, was playing. Cal invited Poncho to
perform one set with his band, and
immediately recognized the young man’s
talent. Poncho was hired to play with the
band as a permanent member of the
ensemble. Poncho played the crucial role
of conguero for several years.
Born: October 30
Hometown: Los Angeles, California
Occupation: Musician, Producer,
Singer, and Master conguero
Achievements:
 Nominated for eight Grammy
Awards
 In 1999, his album Latin Soul won
a Grammy Award for Best Latin
Jazz Performance
 Has performed and recorded with
several musical greats; Cal Tjader,
Tito Puente, Dizzy Gillespie,
Terence Blanchard, Mongo
Santamaria, and many others
In 1982 Poncho formed his own group, and
has since become a premier Latin jazz
artist featured in over 150 recordings.
Poncho Sanchez is respected as one of the
top American percussionists of our time,
and has been called both “King of Latin
Jazz” and “King of the Congas.” He
performs frequently in venues varying in
size from concert halls to local jazz
festivals.
4
About the Artist
Poncho Sanchez: in his own words
On his heritage:
“Both of my parents were born and raised in Mexico and moved to Texas during the Mexican
Revolution. They met in Texas and later had 11 children. They grew up listening to Mexican
music, which I have played before, but ended up branching out of as I grew older. While
growing up, we were very poor and spent our time as a family just listening to
music. During this time, I got the spirit, love and passion for everything music
including playing and singing. In my early 20s, my mother’s family would have
“family nights”, which consisted of playing banjo and guitar in the backyard. My
mother’s side was a little more musical than my fathers. I was the only one of 11
siblings that took my passion to a another level. All of this came from the heart
and soul of my parents love for music.”
Poncho in elementary school!
On his proudest achievements:
“One of my greatest accomplishments is back in the beginning when I first joined the Cal
Tjader band in 1975. It was like a dream come true. Not only for me but for my older
brothers and sisters. They were the ones that got me into this style of music. So I learned as
a little boy growing up about Latin music and Jazz. They weren't musicians, but they loved
and respected the music. They had a bunch of Cal Tjader records and would dance along to
them all night long. In fact, when one of my sisters heard I was playing with him and she
didn't believe me! She said ‘Cal was just too great and I was just good’. I was with him for
seven and a half years and got an opportunity of a lifetime to tour the world. I won my first
Grammy in 1978 with him and have since been nominated eight times. It was a dream come
true for me!”
“Another is getting the chance to meet and play with my other heroes. I got the chance to
meet, play with and eventually become close friends with Mongo Santamaria. I later met
Tito Puente and we would have an amazing time hanging out and talking. And of course
getting the chance to play with the great Dizzy Gillespie. They were all the icons of my
lifetime, they were my heroes, and I got to play, hang out and really get to know them. They
are some of my fondest memories.”
About the Performance: Discography
Sonado (1982)
Poncho’s debut
album highlights his
Afro-Cuban
influences and flair.
A Night at Kimball’s
East (1990)
Nominated for a
Grammy in 1991, this
was Poncho’s first
live album.
Conga Blue (1995)
Features Poncho’s
mentor and fellow
conguero, Mongo
Santamaria.
Latin Soul (1999)
This live recording
was taped at L.A.’s
Conga Room won
Poncho a Grammy
for Best Latin Jazz
Performance.
Do it! (2005)
Featuring funk
legends Tower of
Power, this album
reached number 11 on
Billboard’s top jazz
albums of 2005.
Raise Your Hand
(2007)
Poncho tips his hat to
American Soul with
his take on “Raise
Your Hand” and
“Knock on Wood”.
Psychedelic Blues
(2009)
A nominee for Best
Latin Jazz Album,
Poncho’s band
delivers a sampling of
classic Latin jazz.
Poncho Sanchez &
Terence Blanchard =
Chano Y Dizzy!
(2011)
With trumpeter
Terence Blanchard,
Poncho pays tribute
to the historic
collaboration of Dizzy Gillespie and
conguero Chano Pozo.
Check out a sampling of Poncho Sanchez’s music on myspace:
http://www.myspace.com/ponchosanchezjazz
6
About the Performance: The Music

The Origins of Jazz
Jazz is a style of music that originated in
the U.S. at the beginning of the 20th
Century. It began in African American
communities in New Orleans, LA. African
American musicians combined the
rhythms and style of West African music,
which was brought over during the
Atlantic Slave Trade, with traditional
European instruments to produce what
came to be known as jazz.
Jazz has evolved and been adapted to fit
the aesthetic of various musical traditions.
Latin Jazz
Jazzing Orchestra in 1921
Photo by Robert Runyon
Latin jazz is jazz with Latin American
rhythms. It includes any and all music from
Latin America, Caribbean, and certain
countries in Europe. Latin jazz differs from
American jazz in a couple of ways.

Latin jazz uses a straight rhythm, rather
than swung rhythm. A straight rhythm
is to be played just as the music
notation shows it. There is no
modulation in a straight rhythm of
eighth notes.

This form of jazz also uses a clave
rhythm rather than a backbeat. A clave
rhythm is a pattern played on the
instrument with the same name, clave.
It is a five-beat pattern played over two
measures with syncopation, which
creates musical tension and release that
is conducive to dancing.
The Style of Jazz
Jazz uses a variety of rhythms and
stylizations that set it apart from other
styles of music. It includes:
 call and response—one player plays a
beat and another player imitates the
beat, but slightly alters it

blue notes— notes played or sung at a
slightly lower pitch than the major
scale

improvisation—a musician creates
music on the spot

polyrhythms—one rhythm is played
with another rhythm simultaneously

syncopation—the beat of the music is
changed to emphasize the rhythm
swung note— some notes with equal
written time values are performed with
unequal durations; for example, the first
note is elongated and the second note
is shortened in a sequence.
Jelly Roll Morton is known as a Latin jazz
pioneer. Morton picked up on what he
called the “Spanish tinge” heard in
American jazz in the 1920s. He emphasized
this specific rhythm within the habanera
style of music. This was picked up by
bands in Havana, Cuba, who began to play
and transform this style of music.
7
Encyclopedia Britannica 2012. Raul Fernandez. Sept 17 2012. http://www.britannica.com/EBchecked/topic/1694706/Latin-jazz
About the Performance: The Music
Latin Jazz Legends
Latin jazz really gained popularity in the late 1940s, when musicians Dizzy Gillespie and
Mario Bauza combined Afro-Cuban rhythms and instruments with American jazz riffs.
The first Latin jazz song, “Tanga” was created on May 31, 1943 by the band Machito and
His Afro-Cubans. This song combined the rhythm and structure of Afro-Cuban music
with jazz and was the first to use the clave rhythm.
Machito
Frank Raul “Machito” Grillo was born February 16, 1912 in Tampa, Florida. Raised in Cuba,
Machito, along with Miguelito Valdes and Desi Arnaz (of “I Love Lucy” fame), was one of the
most beloved Cuban singers and bandleaders of the 1940s and 1950s. With his brother-in-law,
Mario Bauza, as musical director, he formed Machito and the Afro-Cubans in 1941. The
orchestra, which collaborated with such important musicians as Charlie Parker, Dizzy Gillespie,
Flip Phillips, Chico O’Farrill, and Buddy Rich, became the single most important ensemble in
the development of Latin jazz. Machito maintained his band throughout the 1960s and into the
1980s until his death in 1984.
Tito Puente
Born in 1923, Ernest Anthony “Tito” Puente was hailed as the last of the Mambo Kings. A
Juilliard-trained musician, Puente was a triple threat: multi-instrumentalist, arranger, and
composer. His stage presence was extraordinary and his ensembles always featured the
finest Latin jazz musicians. By the 1950s, Puente had established himself as one of the
central figures of the New York dance scene. Tito quickly became one of the most famous
bandleaders in the history of Latin jazz. A beloved figure throughout the world, his
commitment to Latin jazz was foremost in sharing the music with the world.
Cal Tajader
Cal Tjader was undoubtedly the most famous non-Latino leader of Latin jazz bands, an
extraordinary distinction. From the 1950s until his death, he was practically the point man
between the worlds of Latin jazz and mainstream be-bop jazz; his light, joyous vibraphone
manner could comfortably embrace both styles. His numerous recordings and long-standing
presence in the San Francisco Bay Area eventually had a profound influence upon Carlos
Santana, and thus Latin rock. He also played drums and bongos, and would occasionally sit in
on piano as well. Tjader studied music and education at San Francisco State College before
joining George Shearing's band as a vibraphonist and percussionist. It was in Shearing's band
that Tjader's love affair with Latin music began, nurtured by contact with Willie Bobo, Mongo
Santamaria and Armando Peraza, and pushed by the '50s mambo craze.
To listen to some examples of Latin jazz, visit www.pbs.org/wgbh/latinmusicusa/
8
About the Performance: The Music
Where in the world does Latin jazz come from?
Europe
 Origin of many of the melodic
instruments used, such as the trumpet,
the piano and the bass
 Origin of the system of musical notation
 Established the style of harmony used in
vocal and instrumental accompaniment
Cuba
 Origin of many of the rhythmic instruments
used in Latin jazz, such as the timbales, conga,
and the bongos
 Origin of the clave rhythm, a Cuban form of
syncopation
 Early Latin music developed in tandem with
Latin dances, were informed by dances in
Africa and Brazil.
African Coast
Origin of several rhythmic instuments like the shekere
(renamed the chekere in Cuba), bata drums, and the
agogo bells
Established the group dynamic, where several musicians
play together but also take turns being highlighted
Improvisation, when one expressively invents music in the
moment
9
See “Resources”, pg. 22 for bibliography of sources for the origins of instruments and Latin music
About the Performance: The Music
Instruments of European Design
Trumpet: The trumpet is a valved brass instrument.
Pressing the valves in different combinations
lengthens and shortens the distance the sound
travels, creating a wide range of pitches.
Place of origin: Germany
Trombone: A lower tone horn, the trombone is one of
the oldest of the brass instruments. The trombonist
extends and retracts the slide to play different notes.
Place of origin: England
It’s a slide!
Saxophone: Invented by Adolphe Sax, the saxophone
has the quick response of a woodwind with the
projection of a brass instrument. It has over 20 holes
that help it play notes quickly.
Place of origin: Belgium
Keyboard: A piano is a musical instrument with a manual
keyboard that causes tiny hammers to strike wire strings,
producing sounds. A keyboard is an electric instrument that
can reproduce, or synthesize, the sound of a piano and other
instruments electronically.
Place of origin: Piano - Italy / Electric - United States
Bass (Upright): The bass is the largest bowed string
instrument. It can be played with a bow or by plucking
the strings. The bass produces a low deep sound.
Place of origin: Italy
It’s electric!
10
About the Performance: The Music
Instruments of African and Cuban Design
Conga drum: A conga drum is a tall drum that tapers toward
the bottom. It is played with both hands which strike the
drumhead in different ways to create a variety of tones.
Place of origin: Cuba
This is Poncho’s actual conga!
Bongo drums: Bongos are a small portable pair of
drums that are attached to each other. The drums are
different sizes to produce different tones.
Place of origin: Cuba
Timbales: Originally meant to be mini timpani,s. Timbales
generally consist of two metal drum heads, referred to as
the male and female due to their different sounds.
Place of origin: Cuba
Chekere: A large hollow gourd surrounded by a
netting of beads. It can be shaken, twisted, or hit to
produce a variety of sounds and rhythms.
Place of origin: Africa and Cuba
Cowbell: Can be mounted (as seen on the timbales above) or
handheld, and creates a fantastic “THONK” sound when struck.
The African version has two bells, and is called an agogo.
Place of origin: Africa and Cuba
11
Vocabulary & Behind the Scenes
accompaniment: a part in a
song that serves as background
to other parts
aesthetic: a set of principles
that guide the work of a
particular artistic movement
Afro-Cuban music: Latin music
from Cuba showing strong
African influence
agogo bells: an African rhythm
instrument made of two
differently tuned iron bells and
connected by an iron handle
Atlantic Slave Trade: The
largest forced migration of
Africans that took place
between Europe, the Americas,
and Africa for over 400 years.
backbeat: is an unexpected
emphasis on the off beat in
music
bata drums: African in origin,
these hour-glass shaped drums
are played on their sides with
the drummer using both hands
to play both ends of the drum
at the same time
bebop jazz: developed in the
1940s, this form of modern jazz
promoted complex musical
improvisation
Cal Tjader (1925-1982): one of
the few non-Latino Latin jazz
band leaders, this vibraphonist
influenced many Latin artists
clave: the name of a Latin jazz
instrument that plays the clave
rhythm of a five beat pattern
played over two measures
collaboration: a project where
CONGA
BATA
CHEKERE
two or more people work
together
conguero: a musician who plays
the congas
Dizzy Gillespie (1917-1963): an
American jazz trumpet player,
bandleader and composer
drumhead: the material (as skin
or plastic) stretched over one or
both ends of a drum
eighth notes: a musical note
played for one eighth the
duration of a whole note
funk: a type of urban dance
music driven by hard
syncopated bass lines and
drumbeats
Grammy Awards: awards that
are presented annually for
notable achievements in the
music industry.
habanera: genre of 19th Century
Cuban popular dance music
harmony: a combination of
notes which is pleasing to the
ear
Jelly Roll Morton (1885-1941):
an American ragtime and early
jazz pianist, bandleader, and
composer
Juilliard: a world famous school
for dance, drama, and music
Machito and His Afro-Cubans: a
jazz band founded in 1940 that
combined Cuban music with
swing
major scale: a sequence of
musical notes made up of seven
distinct notes, plus an eighth
note
mambo: a quickly paced Latin
social dance of Cuban origin
Mongo Santamaria (19222003): Band leader and
conguero noted for writing the
Latin jazz classic, Afro-Blue
Mario Bauza (1911-1993): a
Cuban musician who first
introduced Latin music to the
U.S.A; was influential in
developing Afro-Cuban music
The Mexican Revolution:
brought on by tremendous
12
Definitions derived from Dictionary.com and Britannica.com
disagreement among the Mexican
people over the dictatorship
of President Porfirio Díaz who
stayed in office for thirty one years.
During that time, power was
concentrated in the hands of a
select few; the people had no
power to express their opinions or
select their public officials.
melodic instruments: musical
instruments capable of producing
the wide range of pitches
necessary to form the melody of a
song
modulation: the act or process in
music of changing from one key to
another
musical notation: a system of
written symbols used to document
and express how a musical piece
should be performed
rhythm & blues: A term coined in
1947 to describe popular music
influenced by African-American
artists
riff: a short, repeated musical
phrase
shekere: an African rhythm
instrument made of a hollow gourd
and wrapped in netting of beads
swung rhythm: (swung note), is
when some notes with equal
written time value are performed
with unequal durations
syncopation: a shift of accent in a
composition that occurs when
normally a weak beat is stressed
tandem: when one thing follows
behind another
Terence Blanchard (1962): a highly
revered trumpeter; also famous for
writing the music, or film score, for
several movies
Tito Puente (1923-2000): a
popular Latin jazz band leader,
showman, and timbale player
triple threat: an expert in three
different skill sets
vibraphonist: Musician who plays
the vibraphone, an instrument
comprised of tuned metal bars that
produce a fluctuating tone when
struck.
Understanding Music
Music can be improvised, composed, or
handed down from one person to another.
Musical notation captures some music, but
much of the world’s music was and is
remembered through oral tradition.
Understanding Music
Music has existed as long as humans have
populated the earth. It is likely that
pre-historic music was a human attempt
to echo the songs of the birds or the
sounds of natural events such as rain and
thunder.
Humans engage in music through the
fundamental processes of creating music,
performing music, and responding to
music. Music creators improvise, arrange,
invent, and compose music. Performers
sing and play instruments. Listeners
respond to music when they describe,
analyze, interpret, and evaluate music.
The human voice, body, and instruments
are the tools for producing music. The
oldest documented musical instrument
found to date is a 35,000-year-old flute
made from the hollow bones of a vulture,
unearthed in Germany in 2008.
Understanding Music and Music in the Classroom sections of this
guide were written by Joanna Cortright, Music Education
Consultant.
People make music to express emotions,
thoughts, impressions, moods, and ideas,
both personal and communal. Music can
communicate in a way that is often
beyond words. Music is integral to
important occasions when people
celebrate, pay tribute, worship, dance,
and grieve.
In almost every culture, music is woven
into everyday life through lullabies, work
songs, children’s songs and games, love
songs, and songs for other common place
events.
Music starts with sound: what we hear
and how it is ordered or organized.
Though music is a universal experience,
what sounds like music to one person can
be
noise to another. The response to the
question “what is music?” is always in the
ear of the listener. Whether or not a series
of sounds comprise music depends on
prior musical experiences, culture, when
and where one lives, and who we are.
Photo by Devin DeHaven
13
Understanding Music
Music Elements Web Diagram
Form:
the organization
or structure of the
musical events within
the music. Same,
different, verse, refrain,
phrases, sections are
aspects of form.
Texture:
the simultaneous
combination of
musical lines and the
density of the layers
of musical
components.
Tone Color:
or timbre, refers
to the quality of the
sound. Vocal,
instrumental, electronic,
and environmental are
aspects of tone color.
Rhythm:
the time element of
music; the flow of the
music through time.
Beat, pattern, duration,
tempo, and meter are
aspects of rhythm.
Elements of Music*
The key properties of music
are called the elements of music.
Melody, rhythm, harmony, dynamics,
tone color, texture and form are used
by performers, composers, and other
musical creators to make music and
communicate meaning. But the true
determination of what the music
means happens in the meeting of
sound and the human mind.
Dynamics:
volume or
intensity of sound,
the degree of
loudness, softness,
or changing
volume.
Melody:
a series of pitches
that add up to a
recognizable whole. It is
the aspect of music we
remember the best. A
melody begins, then moves
forward in a direction,
changes direction, and
creates the shape
of a melody.
Harmony:
the vertical
arrangement of the
pitches when pitches sound
out simultaneously – how
the music sounds when
pitches are stacked up.
Chords, key, tonality and
modulation are aspects
of harmony.
*In accordance with the Minnesota State Arts Standards
Understanding Music and Music in the Classroom sections of this guide were written by Joanna Cortright, Music Education Consultant
14
Music in the Classroom
Earobics
1. Draw the center circle of a brainstorm
web on chart paper or board.
2. Place markers/chalk nearby.
3. Write “What do you notice about this
music?“ and say it out loud.
4. Play the music without comment.
5. Students listen closely to the music.
6. When they have an idea for the web,
they walk quietly to the board and
write a response. Doodles and quick
sketches also work.
7. Students can also respond by adding
an “X” to a prior response.
8. Keep playing the music as long as
students continue to respond.
9. Ask “What else to you notice?” from
time to time to keep them focused.
Responding to Music: Describe, Analyze,
and Interpret
Description: EAROBICS is a simple
descriptive process that helps students
work collaboratively to communicate
original thoughts, prior knowledge, and
opinions about a piece of music. A group
of students will notice and articulate many
more ideas and insights than any
individual student. The concepts that they
generate can later be used in discussions
or written work related to the music, or
when they speculate about the meaning of
the music. It is a useful tool to use when
introducing music from diverse cultures or
unfamiliar genres.
Do not add your own ideas or opinions
to the students’ description, but do ask
them, “What else do you notice?”
Objectives/Learning Goals:
Students will listen, reflect, and develop a
collaborative description of Pancho
Sanchez’s song, Yambambe
When the pace of responses slows down,
add a second question, “What does the
music remind you of?” Provide more
paper or space for the second question.
Students will analyze and interpret the
music as they make connections to prior
knowledge, other music, and to the
world.
Read the responses out loud to hear their
collective wisdom. (Student readers –
with energy and conviction!)
Materials:
Poncho Sanchez’s Yambambe: http://
www.myspace.com/ponchosanchezjazz/
music/songs/yumbambe-album-version18663
Chart paper or chalk board space for
mapping; chalk or markers.
Congratulate them on their deep
listening and thinking. Ask if they are
ready to hear the title and more
information about the music – they
always say yes!
Process:
Do not reveal the title or anything else
about the music, but explain the process
before you begin. Students will exercise
their ears and brains without your input.
Use this activity as a first step when
using music to introduce cultural studies,
history, or writing.
Understanding Music and Music in the Classroom sections of this guide were written by Joanna Cortright, Music Education Consultant.
15
My Review!
Name:
You are a reporter for your school’s newspaper!
Write and illustrate a review article to inform others about the performance you just saw.
Name your article, illustrate a moment in the music, and write about the performance!
Title:
My favorite part of the music was
I saw
I heard
The music made me feel
I wish I had seen more
The performance reminded me of
16
Activities and Discussion Questions
Description: Explore various rhythms through
a rhythmic name game.
Duration: 1 class session
Objectives:
 Students will practice working with various

Grades 2-3
peers’ rhythms as this game requires you to
know and recognize both.
6. Go around the circle and have each of the
students take a turn saying his or her name
while playing their rhythm. After each time
rhythms and creating their own.
someone says their name and does their
Students will use their listening skills to
rhythm, have the whole group repeat the
pick out particular rhythms.
rhythm a few times to help memorize it.
Directions:
1. Have the students stand in a circle.
2. Tell the students that they are going to be
playing a game involving rhythms.
3. Inform the students that each person in the
circle will take a turn saying his or her first
and last name, while playing out the
rhythm of their names by either clapping or
stomping out each syllable. *For the
younger students, you could use just first
names.
7. Ask each student to take a turn clapping or
stomping out a rhythm of another person’s
name (without saying the name), and see if
any of the students within the group can
guess who’s rhythm is being performed.
8. It may take a few rounds before everyone
gets the hang of it. Some students may
require a little help in the beginning.
Breaking into small groups or pairs may
help
4. Encourage the students to be creative and
combine both stomping and clapping to
create their rhythm, as well as clapping and
stomping in unique ways (such as clapping
over your head or stomping while hopping
on one foot).
5. Tell the students it’s important to not only
remember their rhythm, but also their
Discussion: Before the Show
1.
What did you notice about your
name rhythm? What did you notice
about your classmates’ name
rhythms?
2. What was it like performing your
name rhythm for the class?
Discussion: After the Show
1.
Were there specific moments in the
performance that you remember?
Why do you think these moments
stood out to you?
2. What did you see and/or hear in the
performance that stood out to you
or surprised you?
3. What did you notice about the
rhythms in the performance?
Activities and Discussion Questions
Description: Explore the web resource,
“Latin Music USA” (www.pbs.org/
latinmusicusa) to gain a further
understanding of Latin jazz.
Grades 4-6
6. Be accessible to students in case they
have any questions or need further
guidance.
Duration: 1 class session
Objectives:
 Students will learn about a genre of
music and its components.
 Students will use web research skills to
further knowledge on a particular
Discussion: Before the Show
1. What instruments were new to
you in this exercise?
2. What instruments were familiar to
you?
3. What was the most interesting
thing you discovered about Latin
jazz?
4. Were there any topics that you
had difficulties understanding, and
if so, why?
5. Were there any topics you would
like to research further? Why or
why not?
subject matter.
 Students will practice Latin jazz
vocabulary and concepts by
responding to questions on a
worksheet.
Materials:
 Computer lab
 Headphones for each computer
 Worksheet found on pg.20
 Website: www.pbs.org/latinmusicusa
Discussion: After the Show
Directions:
1. Invite the students to the computer lab.
2. Instruct the students to go to the
website, www.pbs.org/latinmusicusa
3. Ask the students to click on the section
titled, “Explore the Music”
4. Inform the students that the worksheet
will guide them through the website
and help them explore the genre of
Latin music more in depth.
5. When the students are finished with the
worksheet, allow them time to explore
1. Were there specific moments in
the performance that you
remember? Why do you think
these moments stood out to you?
2. What did you see and/or hear in
the performance that stood out to
you or surprised you?
3. Were any of the topics you
researched on the website
discussed or performed during the
performance? If so, what were
they?
4. Did you notice any Latin jazz
influences in the performance? If
so, what were they?
the website further.
18
Explore the Music Worksheet
Instructions:
 Go to the website: www.pbs.org/latinmusicusa
 Click on the box that says “Explore the Music”
 Click on the circle titled, “Latin Jazz”
Click on the box titled “Read.” Read the excerpt on Latin jazz, and answer the following
question:
1) What did Jelly Roll Morton call Latin jazz? Jazz with a
Click on the box labeled, “Listen.” Listen to the clips and read their descriptions. Answer
the following questions:
2) What did you notice listening to the music clips? Which of the music clips stood out to
you, and why?
3) What nationality of music influenced the making of the fame song, “The Girl from
Ipanema”?
Click on the “X” symbol in the upper right corner to return to the main menu. There you
will see green circles.
4) List below the words you see in the Green Circles:
1.
2.
3.
4.
5.
These are the instruments that are used in Latin jazz. Click on one of the green circles to
read, listen, and/or watch about the instrument you chose.
5) Write one interesting fact you learned about this instrument:
Click on the “X” symbol in the upper right corner. Click on the blue circle titled “Latin
Jazz.” Click on the yellow circle titled, “Clave” and click on the box titled “Read.” Read
the description of the clave and answer the following questions:
6) The clave pattern has five notes that occur in two
measure and
in the other.
beat measures, with
in one
7) The notes in a _______ note measure occur on the _________ (syncopated), while the
notes in a ________ note measure are on the __________(straight).
Click on the box titled, “Watch.” Watch video #1 and #2 to see a demonstration of the
clave rhythm, and answer the following questions.
8) What everyday items were first used to create the clave rhythm in Rumba? ____________
______________________
10) Latin jazz is written on the ___ beat, while American jazz is written on the _____ beat.
Click on the “X” symbol in the upper right corner. Click on the blue circle titled “Latin
Jazz” Click on one of the yellow circles (excluding the Clave) that represent rhythms in
Latin jazz. Read, listen, and/or watch about this particular rhythm.
11) Write one interesting fact you learned about this rhythm. ___________________________
19
_____________________________________________________________________________
Answers found on page 21
Explore the Music Worksheet Answer Key
1) What did Jelly Roll Morton call Latin jazz? Jazz with a “Spanish Tinge”
2) What did you notice listening to the music clips? Which of the music clips
stood out to you, and why? Answers vary based on student’s experience.
3) What nationality of music influenced the making of the fame song, “The
Girl from Ipanema”? Brazilian
4) List below the words you see in Green Circles:
1. Maracas
2. Bongo
3. Congas
4. Güiro
5. Timbales
5) Write one interesting fact you learned about this instrument: Answers
vary based on student’s experience
6) The clave pattern has five notes that occur in two four beat measures,
with three in one measure and one in the other.
7) The notes in a three note measure occur on the off-beats (syncopated),
while the notes in a two note measure are on the beat (straight).
8) What everyday items were first used to create the clave rhythm in
Rumba? Spoons on a cigar box.
10) Latin jazz is written on the up beat, while American jazz is written on
the down beat.
11) Write one interesting fact you learned about this rhythm. Answers vary
based on student’s experience.
20
Activities and Discussion Questions Grades 7-8
Description: Students will listen to two
versions of the same song; the original jazz
and then the Latin infused composition.

Duration: 1 to 2 hours

Objectives:
 Students will compare and contrast the
two styles of jazz.
 Students will practice vocab and
concepts of Latin jazz through
responding to music samples



Materials:
 Computer, Speakers, Pen/Pencil, Paper
Directions:
1. As a class, listen to the sound clips listed
below. Encourage the students to take
notes on what they hear in each sound
clip. Feel free to replay the sound clips as
needed:
 A Night In Tunisia, by Dizzy Gillespie
http://www.myspace.com/
dizzygillespieseptet/music/songs/a-nightin-tunisia-31633874
example, did one instrument start and
then another instrument begin to play
along with the first instrument?
Were there any instrumental solos in
the sound clips?
Did you notice any musical
improvisation in the sound clips?
Did you notice any variation in the
rhythms used in each sound clip?
Did you find any similarities among the
two pieces, and if so what were they?
What would you identify as the single
biggest difference between the two
pieces?
Discussion: Before the Show
1. What did you think or feel while
listening to each of the sound
clips?
2. Were you able to find a
commonality between the two jazz
aesthetics you listened to?
Explain.
3. Were there specific moments in
the sound clips that stood out to
you? If so, what were they?
 A Night In Tunisia, by Poncho Sanchez
http://www.myspace.com/
ponchosanchezjazz/music/songs/a-nightin-tunisia-album-version-20772
Discussion: After the Show
1. Did you notice any vocal
improvisation occurring during the
performance?
2. Were there any moments in the
performance that surprised you? If
so, what were they?
3. Were there elements of jazz
(discussed on page 9) in the
performance? What were they?
4. What elements of Latin jazz
(discussed on page 9) in the
performance? Explain.
2. Compare and contrast the sound clips
you just listened to as a class. Use the
following prompts as a guide:
 What specific moments stood out to
you in each of the sound clips you just
heard and why?
 Try to identify the instruments you
heard played in each sound clip.
 Describe how the various instruments
played different roles in the two clips
 Did you notice any layering of the
music in each of the sound clips? For
21
Resources
Local Resources
Cedar Cultural Center Located near downtown Minneapolis, the
www.thecedar.org Cedar hosts a variety of musical events
such as jazz, folk, blues, and zydeco/
Cajun. The Cedar’s mission is to promote
inter-cultural appreciation and
understanding through music and dance.
Dakota Foundation for Jazz Education The Dakota Foundation for Jazz Education
www.dakotafoundationforjazzeducation.org provides opportunities in jazz education
that include student performances at the
Dakota Jazz Club, visiting jazz artists in
schools, and scholarships for promising
jazz students.
Minnesota Youth Jazz Bands The Minnesota Youth Jazz Bands is
www.mnyouthjazz.com comprised of musicians high school age or
younger. The program sets out to give
young musicians opportunities to learn
and perform together.
Book Resources
Internet Resources
Afro-Cuban Jazz,
Scott Yanow; Miller Freeman Inc., 2000.
This is a collection of biographies about
notable Afro-Cuban jazz artists with notes
on selected recordings.

www.ponchosanchez.com

www.allmusic.com

www.grammy.com
Jazz,
Mervyn Cooke; Thames and Hudson, 1998.
Documents the birth and evolution of jazz
music in America.

www.pbs.org/wgbh/latinmusicusa

Ghandharva Loka: the world music
store
A New History of Jazz
Alyn Shipton, Continuum, 2007.
Examines in depth the history and
development of many styles of jazz,
including Latin jazz.

http://www.gandharvaloka.com/
A History of Western Music
http://www.wwnorton.com/college/
music/grout7/home.htm

El Nuevo Redeo Restaurante
http://rodeominneapolis.com/
22
Career Exploration: Interactive Website
Interactive website!
The Ordway’s interactive website is a
backstage pass for educators and students
to explore the theater and the careers
opportunities that exist here.
How it Works!
The map can give you a pre-show sneak
peek of the theater layout and provides
you with a behind-the-scenes look at how
the theater runs and who makes it all
possible.
What is the first job that comes to your
mind when thinking about working in a
theater?
Explore Theater Careers
Learn about the diverse careers that make
up a non-profit theater. By browsing the
different career icons, students can learn
about the many different careers from
accountant to head electrician while
meeting the people that work at the
Ordway!
Visit the interactive map at:
www.ordway.org/map
Two great ways
to search the
interactive map!
Explore the Theater
The interactive map also gives students
and educators an opportunity to take a
virtual tour of the theater before a
performance. You can find water
fountains, restrooms and go backstage
using the interactive map.
Search with key
words or by
career categories
by clicking
“Search Listing”
Pick a floor to
explore by
clicking “Select
Map”
Career and location icons
expand when run your
mouse over them, or
select them from the
search listings, giving
you a snapshot of
information about them !
23
Click on the
info, gallery or
video features
to expand the
your view and
learn more
about that
Career Exploration:
Exploring Theater Careers Activity
Exploring Theater Careers
Use this worksheet and the Ordway interactive website to explore different careers at the Ordway!
1. Before you start, make a list of careers that you believe exist in theater (as a group or class).
2. From the lists below, circle three career categories you are interested in and three career keywords
that describe skills and/or degrees you have or would like to have.
3. Visit the Ordway Interactive website at www.Ordway.org/maps
4. Pull down the categories menu on the right hand side of the page and select Careers by category.
5. Pull down the sub categories menu and select one of the three you circled below.
6. Look through the careers that pop up for each category.
Career Keywords
Sub-Categories
 Administrative skills







Bachelors degree
Back of house
Communication skills required
Computer skills required
Experience required
Accounting skills
Heavy lifting








Light lifting required
Long days required
Masters degree required
Reading skills required
Social skills required
Technical skills required
Union representation
Career Categories
Sub-Categories:
 Production
 Marketing and Communications
 External Relations
 Executive
 Finance & Systems
 Education & Community Engagement
 Development
 Fundraising
 Internships
 Operations
 Information Systems
 Front of House
 House & Hospitality
 Artistic Programming
Works with heights
Answer the following questions:
How did the list of theater careers you created
before this activity compare to the careers you
found on the website?
_______________________________
_______________________________
_______________________________
_______________________________
_______________________________
What did you notice about the careers you looked
through on the website?
_______________________________
_______________________________
_______________________________
_______________________________
_______________________________
What careers were you most interested in and
why?
______________________________
______________________________
______________________________
______________________________
______________________________
Pick one of the careers that interested you and answer the following questions.
Career:_____________________________
What are this careers job requirements?
______________________________
______________________________
______________________________
Were there careers you were surprised to find or
didn’t know existed in a theater, what were they?
What questions do you have about this career?
_______________________________
_______________________________
_______________________________
_______________________________
_______________________________ 24
______________________________
______________________________
______________________________
______________________________
______________________________
Ordway School Performance Frequently Asked Questions
BEFORE ARRIVAL:
 Please include all students, teachers,
and chaperones in your tickets order.
 Order buses to arrive at the Ordway
15-20 minutes prior to your
performance start time.
 Performance Length:
- Performing Arts Classroom
performances are approximately
50-60 minutes long.
- Broadway Songbook
performances are approximately
90 minutes long.
Plan bus pick-up time accordingly.
 Please be aware of your bus number
so the Ordway staff can better direct
you once the performance is over.
 Inform students that there is no food,
drink, or gum allowed in the theater.
 Remember to turn off all cell phones,
pagers, or electronic devices before
the performance begins.
 Study guides should be received 3
weeks prior to the performance and
will also be posted online at
www.ordway.org/education/
studyguides/




In the theater:
In case there is a medical emergency
notify the nearest usher who will call
the paramedic on duty.
If an item is lost while your group is
still at the Ordway please see an
usher. If your group is no longer at
the Ordway please contact the
Stage Door at 651.282.3070.
Ushers will do their best to respond
to behavior issues; if you see
students disrupting your students’
theater experience or that of other
students, please notify an usher.
Dismissal is determined by seating
arrangement and will not necessarily
reflect the order that buses are lined
up outside. The Ordway staff will be
stationed outside with bus order lists
to help you find your buses. Often
we have multiple buses for one
school. Therefore, please remember
your bus number.
AFTER LEAVING ORDWAY:
 Please return the survey in the back
of the study guides. Any comments
and suggestions are appreciated.
 Fill out and return the bus
reimbursement sheet in the your
performance study guide or online
to receive your schools bus
reimbursement.
WHILE AT ORDWAY:
Seating:
 Performances are general admission;
groups will be seated by seating
chart upon arrival.
 Seating is determined by many
factors at the Ordway. We take into
consideration special needs, group
size, and grade level.
 Please allow ushers to seat your
entire group, then you can rearrange
students, and take groups to the
bathroom, etc.
If you have any additional questions,
please call the education hotline at
651.282.3115 or e-mail Kristie Gaalswyk at
kgaalswyk@ordway.org
25
Poncho Sanchez Performance Evaluation
Thank you for choosing the Ordway and attending a Performing
Arts Classroom for your field trip. Please take a moment to
complete this evaluation following the performance.
Please return the evaluation as soon as possible. Your comments
and suggestions are greatly valued, as they help us offer you and
your students better services in the future. Thank you again.
All schools must return an
evaluation to receive bus
reimbursement.
Your Information
Which types of resource lists are most useful
for you:
School:
□
□
□
Your name:
E-mail Address:
Websites
Local Arts & Cultural Organizations
Multimedia Resources
Other Suggestions: _____________________
______________________________________
Grades of Students attended : ____________
Performance Review
Number of Students attended:
Study Guide Review
Which sections of this guide did you use?
(check all that apply)
□
□
□
□
□
□
□
□
□
About the Ordway
Coming to the Theater
About the Company
About the Performance
How well did the show connect to the
classroom? (i.e. curricular areas, graduation
standards, social skills, etc.)
□
□
□
□
Excellent
Good
Average
Poor
I rated it this way because…
______________________________________
Vocabulary & Behind the Scenes
______________________________________
Understanding Music
How well did you feel your students identified
with the performance/performers? (i.e.
culturally, through the art form, wanted to
meet the artist, etc.)
Career Exploration
Activities/Discussion Questions
Local/Internet Resources
Please write any comments or suggestions
regarding the Study Guide:
______________________________________
______________________________________
______________________________________
______________________________________
□
□
□
□
Excellent
Good
Average
Poor
I rated it this way because…
______________________________________
26 ____________________________________
Performance Evaluation (cont.)
Experience Review
Do you see cultural benefits for students
attending the Ordway performances? ( i.e.
Rate your overall experience at the Ordway,
please explain your answer:
□ Excellent
□
□
□
learning about the language, tradition, arts, etc. of
other cultures)
□
Good
Indifferent
□
No
______________________________________
______________________________________
______________________________________
______________________________________
______________________________________
Do students attend the Ordway school
performances:
□ Multiple times a year
Did you and your students feel comfortable
and welcome at the Ordway?
Yes
□
If yes, what cultural benefits do you see?
Average
Poor
I rated it this way because…
□
Yes
□
Indifferent
□
□
□
□
No
What do you feel the value of Ordway’s
programming is to your students?
______________________________________
Once a year
Once every few years
Other: ______________________________
Please rate the most important factor when
deciding to bring your students to the
Ordway, one being the most important and
five being the least.
______________________________________
______________________________________
___
___
___
___
___
______________________________________
What overall improvements could be made?
______________________________________
______________________________________
Multicultural performances
Ticket Cost
Bus Reimbursement
Study Guides
Other: _____________________________
______________________________________
Additional Comments:
______________________________________
______________________________________
______________________________________
______________________________________
______________________________________
□
Return to:
Please check here if we do not have permission
to quote or paraphrase your comments or name
in future publications or funding proposals.
Education at Ordway Center
345 Washington Street
Saint Paul, MN 55102
or fax 651.215.2135
27
24
Bus Reimbursement
To receive a bus reimbursement for attendance to one of Ordway’s School
Performances*, please:
□ Fill out this form. All lines should be filled in.
□ Attach a paid copy of your transportation bill. **
□ Attach a completed evaluation or fill one out online at www.ordway.org/education/performances
□ E-mail, mail or fax all documents no later than 6 weeks after your performance to:
Bus Reimbursements
Education at Ordway Center
345 Washington Street
Saint Paul, MN 55102
Fax: 651.215.2135
educationsales@ordway.org
Questions? Please call the education hotline at 651.282.3115.
School Name
School Address
City
State
Zip
County
School Phone
Fax
Order Contact Name
& E-mail
Office Contact Name
& E-mail
Performance
Date and Time
# of students
# of buses for which you are requesting payment
City/Region/School District
Subsidy amount
Minneapolis Public Schools and
Saint Paul Public School Districts
100%
Seven County Metro including
Anoka, Carver, Dakota, Hennepin,
Ramsey, Scott & Washington
Counties
Up to $180.00 per Bus
Outside Seven County Metro
Up to $450.00 per Bus
*Eligible performances for bus reimbursement include those in the Performing Arts Classroom Series an Festival School Week
** For all schools outsides of the Saint Paul Public Schools (SPPS) and Minneapolis Public Schools (MPS), Ordway Center will send
the reimbursement check to your school. SPPS and MPS should request that district transportation forward their bus bill directly
28
to the Ordway.