Teachers Resource Kit 2024 Season

MUSSORGSKY
Pictures at an Exhibition

Learning & Engagement

STAGES 5 & 6
Pictures at an Exhibition by Modest Mussorgsky

Stage 5 & 6 Teaching Resource

Sydney Symphony Orchestra

1
Acknowledgements
© 2024 Sydney Symphony Orchestra Holdings Pty Limited
All rights reserved.

Except under the conditions described in the Copyright Act 1968 of Australia (the Act) and
subsequent amendments, no part of this publication may be reproduced, stored in a retrieval
system, or transmitted in any form or by any means, electronic, mechanical, photocopying,
recording or otherwise without the prior written permission of the copyright owner.
Educational institutions copying any part of this book for educational purposes under the Act
must be covered by a Copyright Agency Limited (CAL) licence for educational institutions
and must have given a remuneration notice to CAL.
Licence restrictions must be adhered to. For details of the CAL licence contact:
Copyright Agency Limited, Level 12, 66 Goulburn Street, Sydney, 2000

Telephone: (02) 9394 7600

Facsimile: (02) 9394 7600
Email: info@copyright.com.au

The Sydney Symphony Orchestra would like to express its gratitude to the following for their
generous support of the Learning & Engagement program and the production of this
resource kit:
Simone Young Chief Conductor, Sydney Symphony Orchestra
Craig Whitehead Chief Executive Officer, Sydney Symphony Orchestra

Resource Development
Writer: Jen Nelson
Editor: Sonia de Freitas
Production: Daniella Pasquill, Jann Hing
Design: Amy Zhou

Contact
For information concerning the Sydney Symphony Orchestra’s Learning & Engagement
program, contact:
Email: education@sydneysymphony.com
Online: www.sydneysymphony.com

2
“Your life can be changed and enriched through
all sorts of music; music from now, music from the past, music from the
very distant past and music from as recently as yesterday.

Through intensive listening students become involved in one of the

highest orders of thinking.

As a teacher, by bringing students to a concert and studying music in

the classroom, you are providing your students with a special
pathway to musical knowledge through direct experience of and
contact with live music.”

Richard Gill AO
(1941 – 2018)

Conductor, notable educator, and advocate. Richard was the founding Artistic Director of
Education at Sydney Symphony. He has inspired generations of musicians through his work
and continues to inspire new generations through his legacy.

3
Syllabus link

NSW Curriculum
Pictures at an Exhibition by Mussorgsky covers a range of topics from the NSW syllabuses:

Years 7-10 Elective

Music in the Nineteenth Century
Music for Large Ensembles

Music 1 Preliminary and HSC

Music in the Nineteenth Century
Music for Large Ensembles

Music 2 Preliminary
Mandatory Topic: Music 1600 - 1900

Music 2 HSC
Additional Topic: Music in the Nineteenth Century

4
Syllabus Outcomes
The activities included in this kit cover a range of outcomes across the NSW Music Syllabus
stages, as mapped below:

Stage 4 and Stage 5 - Elective Music

Activities Syllabus Outcomes Ideas for assessment

Activity 1: 4.7, 4.8 4.9

Multiple-choice quiz
Listening 5.7, 5.8 5.9

Activity 2: 4.1 4.2 4.3

Perform the Promenade theme
Performing 5.1 5.2 5.3

Activity 3: 4.1 4.4 4.5 4.7 4.8 4.9 Compose a transformation of a

Listening, Composing
5.1 5.4 5.5 5.7 5.8 5.9 theme and perform it
and Performing

Activity 4: Perform The Old Castle excerpt

4.1 4.2 4.3 4.7 4.8 4.9
Listening and Perform repertoire over a pedal
Performing 5.1 5.2 5.3 5.7 5.8 5.9
point

Stage 6 - Music 1
Activities Syllabus Outcomes Ideas for assessment

Activity 1: P2, P4, P6 Multiple-choice quiz

Aural and Musicology H2, H4, H6 Short answer response

Activity 2: P1 P9
Perform the Promenade theme
Performing H1 H9

Activity 3: P1 – P9 Compose a transformation of a

Aural, Composing and
H1 – H9 theme and perform it
Performing

Perform The Old Castle excerpt

Activity 4: P1 P2 P4 P6 P9
Aural and Performing Perform repertoire over a pedal
H1 H2 H4 H6 H9
point

Activity 5: P1 P2 P4 P6 P9
Quiz: chord naming
Aural and Performing H1 H2 H4 H6 H9

5
Stage 6 - Music 2
Activities Syllabus Outcomes Ideas for assessment

Activity 1: P2, P4, P6 Multiple-choice quiz

Aural and Musicology H2, H4, H6 Short answer response

Activity 2: P1 P9 Perform the Promenade theme

Performing H1 H9 by transposing at sight

Activity 3: P1 – P9 Compose a transformation of a

Aural, Composing and
H1 – H9 theme and orchestrate it
Performing

Activity 4: P1 P2 P4 P6 P9 Perform repertoire over a pedal

Aural and Performing H1 H2 H4 H6 H9 point

Activity 5: P1 P2 P4 P6 P9 Quiz: chord naming

Aural and Performing H1 H2 H4 H6 H9 Sing SATB repertoire

6
Work: Pictures at an Exhibition by Modest Mussorgsky, orchestrated
by Maurice Ravel
Composer background
Modest Mussorgsky (1839-1881)
Modest Mussorgsky (1839 –1881) along with Mily Balakirev, Alexander Borodin, César Cui,
and Nikolai Rimsky-Korsakov, formed "The Russian Five" or "The Mighty Handful." This
group of composers aimed to create a distinctive Russian nationalistic style in classical
music, distinct from Western European influences.

Mussorgsky came from a noble family and began piano lessons at an early age. Initially he
pursued a military career and served in the Preobrazhensky Regiment of the Imperial Guard.
However, he eventually left the military to devote himself entirely to music.

Mussorgsky received formal music education at the Saint Petersburg Conservatory, where
he studied piano with Anton Herke and composition with Arseny Koreshchenko. However,
he was known for his unconventional approach to composition.

Mussorgsky's music is characterised by its Russian folk influences, bold harmonies, and
innovative use of melody. He often drew inspiration from Russian history, folklore, and
literature, contributing to the development of a distinctly Russian musical identity.

Mussorgsky struggled with alcoholism and financial difficulties throughout his life. These
challenges had a significant impact on his career and health. Mussorgsky passed away in
1881, aged 42. His relatively short life was marked by both creative brilliance and personal
struggles. Despite facing challenges and not always receiving recognition during his lifetime,
Mussorgsky's works have since become celebrated for their unique Russian character and
contribution to the development of Russian classical music.

Work Background
Pictures at an Exhibition (1873)

Modest Mussorgsky composed Pictures at an Exhibition in 1874 as a suite for solo piano.
The work was written in memory of his close friend, the artist Viktor Hartmann, who had
passed away the previous year. Apart from the introduction, Promenade, each of the ten
movements of the suite has a descriptive title related to one of Hartmann's paintings or
drawings in the exhibition. Pictures at an Exhibition was orchestrated by Maurice Ravel in
1922.

Some of Viktor Hartmann's art works can be viewed here, whilst others have been lost.

Mussorgsky incorporates a recurring Promenade theme throughout the suite, representing

the composer walking from one exhibit to another. The theme undergoes various
transformations to reflect the different moods and emotions he experiences whilst walking
through the exhibition. Mussorgsky’s Russian nationalism is infused into many parts of this
work, including references to Russian folk tunes, hymn tunes and a movement depicting the
witch Baba-Yaga of Russian folklore.

7
While Mussorgsky did not achieve widespread recognition during his lifetime, Pictures at an
Exhibition has become one of his most celebrated and frequently performed compositions.
The work's influence extends beyond classical music, with various adaptations and
arrangements in different genres.

Instrumentation of work

Please note: For the purposes of this resource, the orchestral version has been used. The
Meet the Music concert in 2024 is a piano recital performed by Joyce Yang.

Woodwind Brass Percussion Strings

Piccolo 4 Horns in F Timpani Violin I

2 Flutes 3 Trumpets in C Glockenspiel Violin II

3 Oboes 3 Trombones Bells Viola

Cor Anglais Tuba Triangle Cello

2 Clarinets in B flat Tam-tam Double Bass

Bass Clarinet Rattle 2 Harps

2 Bassoons Whip

Contrabassoon Cymbals

Alto Saxophone Tambourine

Bass Drum

Xylophone

Celeste

8
Listening Guide
Overview

The timings refer to the following recording included in the Spotify playlist.

Please note: For the purposes of this resource, the orchestral version has been used. The
Meet the Music concert in 2024 is a piano recital performed by Joyce Yang.

Mussorgsky: Pictures at an Exhibition, orchestrated by Maurice Ravel, performed by Berlin

Philharmonic Orchestra
Mussorgsky incorporates a recurring Promenade theme throughout the suite, representing
the composer walking from one exhibit to another. This theme occurs in six of the
movements and undergoes various transformations to reflect different emotions and scenes.

Audio
Bar Excerpts
Features

Promenade I The viewer, in this case the composer himself, strolling through the art
gallery

The Promenade theme is a majestic hymn-like tune stated initially

by the trumpets in B flat major. Mussorgsky acknowledged in one of
his letters that the powerful nature of this theme reflects his own
large physique.
1-2 0:05

All brass join, harmonising the melody in homophonic texture.

For example, the trumpets now play in 3 parts.
3-4 0:12

Violins introduce a second theme developed from fragments of the

first theme.
9-12 0:36

I. The Gnome The first painting of a disfigured nutcracker toy gnome

9
 Audio
Bar Excerpts
Features

The gnome’s crooked legs are depicted by the forceful entrance of

the angular string and lower woodwind melody.
1-2 0:00

A second descending theme in E flat dorian is introduced by the

flutes and oboes.
The gnome’s awkward character is emphasised through accented
uneven rhythms alternating crotchets with sustained notes to create
19-26 0:18
unease.

Promenade II The viewer strolling to the next painting

The theme is introduced by the horn in A flat major (written pitch E

flat major).
1-2 0:00

Woodwinds answer.

3-4 0:08

II. The Old Castle A medieval troubadour singing on the grounds of a grand castle

The solemn castle theme is played by bassoon I in G sharp minor.

Bassoon II plays a tonic G sharp broken pedal point underneath.
1-8 0:00

Cellos take over the pedal point with the lilting ostinato rhythm.

7 0:14
The tonic pedal point continues throughout the whole movement,
shared between bassoon, cello and double bass.

10
 Audio
Bar Excerpts
Features

The troubadour theme is played by alto saxophone.

7-15 0:16

Promenade III The viewer strolling to the next painting

The theme is stated first by solo trumpet in B major, the relative key
of the previous movement.

1-2 0:01

Staggered entries by low woodwinds and low strings 2 beats later,

then joined by the full orchestra in bar 3.

The movement concludes with the theme fading away in bar 8 as

8 0:30
the next picture starts to come into view.

III. The Tuileries Children at play in the well-known Tuileries Gardens in Paris

This playful children’s theme is introduced by the woodwinds. It is

based on a repeated descending minor third so-mi figure,
referencing what can often be heard by children singing in the
1-3 0:00 playground.

A contrasting, more lyrical motive is introduced by the strings at bar

14, suggestive of the children’s carers.
14-15 0:27

IV. Bydlo A large, heavy Polish ox cart being drawn by oxen

Lower woodwinds and strings introduce a pesante quaver ostinato in

G sharp minor, alternating between two notes. This conveys the
lumbering ox cart.
1-4 0:00

11
 Audio
Bar Excerpts
Features

The tuba melody depicts the driver singing a folk tune whilst driving
the cart.

1-4 0:00

This theme recurs throughout the movement.

Promenade IV The viewer strolling to the next painting

The theme is introduced gently, tranquillo, by flutes and clarinets in

D minor.

1-2 0:00

Oboes and bassoons answer, this time in a 7/4 bar.

3-6 0:10
They are joined by strings and horns in bar 5.

New motif played by upper woodwinds and harp suggests the next
picture is coming into view.

9 0:45

V. Ballet of the Unhatched Chicks represents costume designs of chicks and eggs from a
children’s ballet

The scherzino theme played by woodwinds imitates the sounds of

chicks hatching.

1-4 0:00

An ascending bassoon line imitates quick the movements of the

5-8 0:02

chickens.

12
 Audio
Bar Excerpts
Features

VI. Samuel Goldenberg & Schmuyle portrays a sketch of Two Jews; One Rich, One Poor

The stately rich man’s theme is played by the unison woodwinds

and strings.
1-4 0:00

The contrasting twittering poor man’s theme is played by the muted

trumpets, depicting this man begging from the rich man.
9-10 0:47

Interplay between the two themes portrays a conversation between

the two characters.

18 1:28

VII. The Marketplace in Limoges is a bustling scene in an open French market

The violins introduce the main semiquaver theme depicting the flurry
of marketplace activity.

2-3 0:02

Various semiquaver conversations occur between instruments

throughout this movement.

VIII. Catacombs starkly contrasts the previous scene as Mussorgsky suddenly sees an
illustration of Hartmann and a friend being shown the Paris catacombs

13
 Audio
Bar Excerpts
Features

The brass play ominous long ff chords and their pp echoes,

expressing Mussorgsky’s intense grief over the death of Hartmann.

1-5 0:00

VIIIb. Con Mortuis in Lingua Mortua conveys “Speaking to the dead in a dead language”

A lamenting B minor Promenade theme is played by oboes and cor

anglais, all in crotchets, over the tremolo violins sustaining a
dominant pedal point.
2-4 0:05

IX. The Hut on Fowl's Legs (Baba-Yaga) is a nightmarish portrayal of the witch Baba-Yaga
on the prowl.
The hut on fowl’s legs is the dwelling of Baba-Yaga, a witch of Russian folklore.

The listener is suddenly transported from a place of grief to a

ferocious evil, following this dramatic introduction by woodwinds,
strings and percussion.

1-3 0:01

Baba-Yaga’s theme is pounded out by the woodwinds and strings

9-16 0:07

A trumpet trio plays this theme as Baba-Yaga flies through the air.

33-40 0:24

14
 Audio
Bar Excerpts
Features

The movement concludes with Baba-Yaga bounding in an ascending

Final 4
3:22 chromatic run, right into the final picture
bars

X. The Great Gate of Kiev depicts Hartmann’s sketch of a proposed city gate topped by
cupolas in which carillons ring. The Gate was never built.

The majestic hymn theme recurs several times in this movement

with variations. It is first stated by the trumpets.

The theme is harmonised in homophonic texture by lower

woodwinds, all brass and timpani.

1-8 0:00

A second theme, adapted from the Russian Hymn As You are

Baptized in Christ, is soft yet solemn, presented by clarinets and
bassoons.

30-34 1:08

This theme recurs throughout the movement.

The trumpets, upper woodwinds, glockenspiel and harps play the

promenade theme, forte, amidst the dense orchestral texture.
97-102 3:26

15
Audio & Score Excerpts
Access the Spotify playlist by visiting the following link:
Mussorgsky: Pictures at an Exhibition, orchestrated by Maurice Ravel, performed by Berlin
Philharmonic Orchestra
A summary of the Score Excerpts can be found by at the following link.
All Score excerpts are from Public Domain, IMSLP: Mussorgsky Pictures at an Exhibition

Excerpt No. Bar No. Time Activity Page

1 Promenade I 1 - 19 0:05 – 1:42 Activity 1 Task 1 17

1 Promenade I 1 - 19 0:05 – 1:42 Activity 1 Task 3 21

1 Promenade I 1 - 19 0:05 – 1:42 Activity 2 Task 1 22

1 Promenade I 1 - 19 0:05 – 1:42 Activity 3 Task 1 24

2 Promenade II 1-4 0:00 – 0:16 Activity 3 Task 1 24

3 Promenade III 1-4 0:00 – 0:15 Activity 1 Task 1 17

3 Promenade III 1-4 0:00 – 0:15 Activity 3 Task 1 25

4 Promenade IV 1-4 0:00 – 0:20 Activity 3 Task 1 25

VIIIb. Con Mortuis in

5 1-5 0:00 – 0:29 Activity 3 Task 1 26
Lingua Mortua

VIIIb. Con Mortuis in

5 1-5 0:00 – 0:29 Activity 3 Task 1 26
Lingua Mortua

X. The Great Gate of

6 97 - 102 3:26 – 3:37 Activity 3 Task 1 26
Kiev

7 II. The Old Castle 1 - 19 0:00 – 0:44 Activity 4 Task 1 28

7 II. The Old Castle 1 - 19 0:00 – 0:44 Activity 4 Task 3 29

7 II. The Old Castle 1 - 19 0:00 – 0:44 Activity 4 Task 1 28

X. The Great Gate of

8 1-4 0:00 – 0:08 Activity 5 Task 1 30
Kiev

16
Learning Activities
Activity 1: Getting to know the themes
At the end of this activity, students will be able to identify the key themes, summarise the
Listening Guide, and notate two of the themes.

Task 1: Locate the themes

Find the themes from the Listening Guide and complete each table. The first one has been
done for you.

Example
Movement Promenade I
Key B flat major
Metre Changing from 5 to 6 metre
English Moderately fast, but not too
Italian Allegro giusto
Tempo meaning fast
Played by… Trumpets
Accompanied by… Nobody
Answered by… The rest of the brass section

1.

Movement
Key
Metre
English
Italian Andante
Tempo meaning
Played by…
Accompanied by..
Answered by…

17
2.
Movement
Key
Metre
English
Italian
Tempo meaning
Played by…
Accompanied by…
Answered by…

3.
Movement
Key
Metre
English
Italian
Tempo meaning
Played by…
Accompanied
by…
Answered by…

4.
Movement
Key
Metre
English
Italian
Tempo meaning
Played by…
Accompanied by
Answered by…

18
5.
Movement
Key
Metre
English
Italian
Tempo meaning
Played by…
Accompanied by…
Answered by…

Task 2: Check for Understanding

1 What type of work was Mussorgsky’s original Pictures at an Exhibition?
A. An opera
B. A Suite for solo piano
C. An orchestral symphony
D. A wind quintet

2 What was Mussorgsky’s key inspiration for composing Pictures at an Exhibition?

A. To promote Russian nationalism

B. To honour a close friend
C. To experiment with different musical styles
D. To showcase the composers skills

3 Who orchestrated Pictures at an Exhibition in 1922?

A. Pytor Ilyich Tchaikovsky
B. Modest Mussorgsky
C. Maurice Ravel
D. Johannes Brahms

4 Who as Victor Hartmann?

A. A Russian folk musician
B. A teacher of Mussorgsky
C. An artist close friend of Mussorgsky
D. A famous composer

19
5 What is the suite in relation to musical composition?
A. A single musical piece
B. A set of movements with a common theme
C. A collection of unrelated pieces
D. A combination of different musical styles

6 Which of the following is NOT a movement of Pictures at an Exhibition?

A. The Great Gate of Kiev
B. Baba-Yaga
C. Promenade
D. The Nutcracker

7 What is the recurring theme?

A. The Baba-Yaga theme
B. The Russian Folk tune theme
C. The Promenade theme
D. The Nutcracker theme

8 What does the Promenade theme represent in the suite?

A. The artist’s paintings
B. The composer’s emotions
C. The audience’s experience
D. The composer walking through the exhibition

9 How did Pictures at an Exhibition impact Mussorgsky’s recognition as a composer?

A. It brought him widespread recognition during his lifetime
B. It had no impact on his recognition
C. It became one of his most celebrated compositions
D. It led to his downfall as a composer

In which of the following ways does Pictures at an Exhibition express Russian

10
nationalism?
A. References to Russian folkloric figures
B. References to Russian hymn tunes
C. References to Russian folk tunes
D. All of the above

20
Task 3: Dictation

1. Listen to the Promenade I Theme 0:05 – 0:20

Notate the rhythm of the promenade theme played by the trumpets bars 1-4. Use only
crotchets and quavers.

2. Listen to II. The Old Castle 0:00 – 0:19

Notate the missing notes of the Castle theme played by the bassoon, bars 1-8.

21
Activity 2: Promenade Theme
Students perform the Promenade melody and explore its modality.

Task 1: Perform the Promenade Melody

1. Sing the melody.

2. Perform the melody on pitched instruments, in unison.
3. Sing / play the melody in canon as a class, with entries after 2 beats.

Extension Options
1. Transpose it up a tone and play at sight.
2. Transpose it down a semitone and play at sight.
3. Transpose it to a key determined by teacher, and play at sight.
4. Sing and play in canon: sing the melody whilst playing on the keyboard starting 2 beats later.

Task 2: Perform the class arrangement of the Promenade Melody

1. Click this link to access the arrangement of the Promenade melody. The Sibelius file has
been provided too.
2. Split into ensembles of 5 or more musicians.
3. Consider the instruments that you play or are available to use in the classroom and what part
is best suited to the instrument.
4. Practice your parts individually and then together. Consider how to play the dynamic and
expression indications in the score together.
5. Perform the arrangement for the class.

Task 3: Pentatonic Practice

The opening of the melody uses the major pentatonic scale.
Here are some suggested performance drills and repertoire ideas to build musicianship skills through
pentatonic practice. Further guidance is provided in the Teaching Notes.

Performance Drills
1. Sing Pentatonic scales at increasing levels of challenge
2. Sing the pentatonic trichords – score provided at this link.
3. Sing Intervals from the pentatonic scale

22
Repertoire Ideas
1. Sing and play pentatonic folk tunes

2. Sing and play pentatonic games

3. Perform pentatonic instrumental pieces
4. Perform the Promenade melody at the same time as one of the drills or pieces

23
Activity 3: Transformations
Students will analyse the ways in which the Promenade theme has been transformed, and
compose their own thematic transformation.

Task 1: Analysis of how the Promenade theme is transformed

Refer to Audio and Score Excerpts 1-6.

Complete each table below comparing the original Promenade I theme with its
transformations.
An analysis of the original theme has been completed as an example.

Promenade I
Promenade

Key B flat major

English Moderately fast, but not too
Tempo Italian Allegro giusto
meaning fast
Played by… Trumpets
Accompanied
Nobody
by…
Answered by… The rest of the brass section

Promenade II
Promenade

Occurs After I. Gnome Before II. The Old Castle

Key Written E flat major Sounding A flat major
Played by…
Accompanied
by…
Answered by…
Promenade I Promenade II
Key points of
transformation • •
• •

24
 Promenade
Promenade
III

Occurs After Before

Key
English
Tempo Italian
meaning
Played by…
Accompanied by…
Answered by…
Promenade I Promenade II
Key points of
• •
transformation
• •

Promenade IV

Promenade

Occurs After Before

Key
English
Tempo Italian
meaning
Played by…
Accompanied by…
Answered by…
Promenade I Promenade IV
Key points of
• •
transformation
• •

VIIIb. Con Mortuis in Lingua Morta

Promenade

Occurs After Before

25
Key
English
Tempo Italian
meaning
Played by…
Accompanied
by…
Answered by…
Promenade I Con Mortuis in Lingua Morta
Key points of
transformation • •
• •

X. The Great Gate of Kiev starting at 3:26

Promenade

Occurs After
Key
Tempo Italian English meaning
Played by…
Accompanied
by…
Answered by…
Promenade I The Great Gate of Kiev
Key points of
transformation • •
• •

26
Task 2: Composition
Working with the original Promenade I theme played by the trumpets bars 1-4, create your
own transformation.

1. The original theme only used crotchets and quavers. It contains 26 notes.
a. Using only crotchets and quavers, write out a new rhythm that contains 26 notes in
total.
b. Clap your rhythm to see where natural accents might fall.
c. Add bar lines and time signatures where they sound best placed for your rhythm.

2. Select an instrument to play the theme

1. Name the instrument

2. Clef

3. Choose a new scale

a. Select a new tonic note

b. Select a clef and write your selected key signature on the stave below
c. Write the scale one octave ascending, in semibreves
d. Write the solfa or scale degrees underneath each note of the scale

4. Fit your new rhythm to your new scale, following the same melodic movement as the
original theme.
Write your transformed melody on the stave below.

5. Sing / play your theme.

Extension Options
1. Orchestrate your theme by selecting one section of the orchestra to write for.
2. Your teacher will select another musical theme for you to transform in the same way.

27
Activity 4: The Old Castle
Students explore the musical features of The Old Castle melody by analysing and
performing it.

Task 1: Score Reading and Analysis

Refer to II. The Old Castle 0:00 – 0:17

1. Who plays the melody in bars 1-8?

2. Refer to the bassoon I melody bars 1-8.

a. On the stave below, write a bass clef and all notes used in the melody as an ascending
scale, from lowest to highest note. Write in semibreves, using accidentals.

b. Name the scale you notated

3. Which of these rhythms are used in the bassoon I melody?

4. Which instrument plays the Troubadour theme introduced at the end of bar 7?

5. Which instruments accompany the Troubadour melody bars 7-13?

6. The Castle theme recurs in bars 14-18. Compared with bars 1-8,
a. What is the same?

28
 b. What is different?

Task 2: Perform the Castle Theme

1. Click this link to access the arrangement of the Promenade melody. The Sibelius file has
been provided too.
2. Split into ensembles of 4 or more musicians.
3. Consider the instruments that you play or are available to use in the classroom and what part
is best suited to the instrument.
4. Practice your parts individually and then together. Consider how to play the dynamic and
expression indications in the score together.
5. Perform the arrangement for the class.

Task 3: Perform over a pedal point

The Castle theme is accompanied by a G sharp tonic pedal point heard throughout the entire
movement. Sometimes the pedal point is played as a sustained note, and other times it is played as a
rhythmic ostinato.
Here are some suggested performance activities to practise singing whilst playing the pedal point on
xylophone or keyboard. Pay particular attention to tuning, especially where dissonances arise.

1. Sing the Castle theme whilst playing the tonic pedal note, tremolo, on xylophone or piano.
2. Sing minor scales whilst playing a tonic pedal point.
3. Sing and play natural minor repertoire against a tonic pedal point.

Suggested ways to play the pedal point:

1. On xylophones, tremolo
2. On the piano, with sustained pedal
3. As a broken pedal point; create a rhythmic ostinato

29
Activity 5: The Great Gate of Kiev
Students analyse the harmony of one of the movements of Pictures at an Exhibition and
explore the harmonic functions through singing SATB repertoire.

The Great Gate of Kiev was inspired by Hartmann’s design for a monumental entrance to
the city of Kiev, the birthplace of Christianity and church music in Russia. The movement
begins with a processional hymn theme that recurs throughout the movement with variations
in orchestration, aspects of duration, and dynamics. A second theme based on the Russian
hymn As You Are Baptized in Christ also occurs, along with the returning Promenade theme,
accompanied by resounding bell sounds, a characteristic feature of czarist Russia, often
heard at events marking births, deaths, weddings and coronations.

Task 1: Chord Analysis

This movement features a hymn tune. Hymns are sacred songs written for congregational
singing in church, a tradition practised from the days of the early church to today. Hymn
books typically contain a melody harmonised in 4 parts, SATB. They are written to be
singable by congregants who may not have extensive formal musical training outside of
singing in church.

Refer to Score Extract 8 and X. The Great Gate of Kiev

Examine bars 1-4 played by trumpets in C. Their part outlines the harmonisation of the hymn
tune.

1. Name the key

2. Fill in the blanks in this chord chart

Bb F
Upper notes
in the chord
G D

Root Note Eb F G Ab Bb C D

Quality major minor diminished

Roman
I ii iii IV V vi viio
Numeral

30
 3. Name the five chords in boxes played by the trumpets in C bars 1-4 by filling in the
table below.
a. Start by writing the letter names next to each note on the stave.
b. Then, reorder the letter names until you have them stacked in 3rds.
c. Write the letter names in the table below, lowest to highest.
The first chord has been done for you.

Eb
Notes in the
chord
Lowest to highest Bb
when stacked in
3rds
G

Chord letter
Eb maj
name

2nd
Position Root inversi
on

Roman Numeral I

Task 2: Perform hymns

Hymn books such as The Association Hymn Book can be found on IMSLP.
Select some of the hymn tunes to sing.
1. As a class, everyone sing each SATB part.
2. Sing the hymns in 4-part harmony.

31
Task 3: Extension – Harmonic Analysis
1. Complete the chord chart for C major.

7th Note
m7 above root

Upper notes in
the chord

Root Note C

Quality major minor diminished

Roman
I ii iii IV V vi viio
Numeral
2. Analyse the harmonic progression used in this hymn from The Association Hymn
Book.

a. Name the chords by letter name.

i. Major chord = letter name only E.g. C
ii. Minor chord = letter name + m E.g. Dm
iii. 7th chord = letter name + 7 E.g. G7
iv. If the chord is not in root position, indicate the bass note with / E.g.
G/B
v. Write the chord names above the treble stave.
b. Complete a Roman Numeral analysis.
i. Refer to the chord symbols you wrote and compare them to the C
major chord chart
ii. Root position chords require the Roman Numeral only
iii. Inversions require some numbers after the Roman Numeral
iv. Write the Roman Numerals below the bass stave

32
Suggested Answers and Teaching Notes
Activity 1
Teaching Notes

• This activity is designed as a brief orientation to the context and some of the key
themes from the work, rather than in-depth score analysis.
• It would be helpful to go through the Listening Guide first, observing its points of
interest. It is not necessary to listen to every movement of the full work.
• The chosen excerpts in Task 1 are all revisited in later tasks.

Task 1: Locate these themes

1.

Movement The Old Castle

Key G sharp minor
Metre
English At an easy walking
Tempo Italian Andante
meaning pace
Played by… Bassoon I

Accompanied by… Bassoon II and double bass

Answered by… Saxophone introducing a second theme, the Troubadour theme

2.

Movement Promenade III

Key B major

Metre

Moderato non tanto, English

Tempo Italian Less moderate, heavily
pesamente meaning

Played by… Solo trumpet

Accompanied by… Low woodwinds and low strings 2 beats later

Answered by… Full orchestra

33
3.

Movement VIIIb Con Mortuis in Lingua Mortua

Key B minor

Metre

Andante non troppo, English At a walking pace, not

Tempo Italian
con lamente meaning rushed, with sadness
Played by… Oboe I
Accompanied by… Oboe II, cor anglais, violin I
Answered by… Lower woodwinds and string section

4.

Movement The Great Gate of Kiev

Key E flat major

Metre
Allegro alla breve, Fast and lively in cut
English
Tempo Italian maestoso, con common, majestic,
meaning
gradezza. grandiose.

Played by… Trumpet I

Accompanied by… Bassoons, brass section and timpani

Answered by… Woodwinds

5.

Movement The Great Gate of Kiev

Key E flat major

Metre

Played by… Trumpet I and glockenspiel

Accompanied by… The whole orchestra
Answered by… Upper woodwinds, strings and harp

34
Task 2: Check for Understanding
1. What type of work was Mussorgsky’s 6. Which of the following is NOT a movement
original Pictures at an Exhibition? in Pictures at an Exhibition?
A. An opera A. The Great Gate of Kiev
B. A suite for solo piano B. Baba-Yaga
C. An orchestral symphony C. Promenade
D. A wind quintet D. The Nutcracker

2. What was Mussorgsky’s key inspiration for 7. What is the recurring theme?
composing Pictures at an Exhibition?
A. The Baba-Yaga theme
A. To promote Russian nationalism
B. The Russian folk tune theme
B. To honour a close friend
C. The Promenade theme
C. To experiment with different musical
D. The Nutcracker theme
styles
D. To showcase the composer's skills
8. What does the Promenade theme
represent in the suite?
3. Who orchestrated Pictures at an Exhibition
A. The artist's paintings
in 1922?
B. The composer's emotions
A. Pyotr Ilyich Tchaikovsky
C. The audience's experience
B. Modest Mussorgsky
D. The composer walking through the
C. Maurice Ravel
exhibition
D. Johannes Brahms

9. How did Pictures at an Exhibition impact

4. Who was Viktor Hartmann? Mussorgsky's recognition as a composer?
A. A Russian folk musician A. It brought him widespread recognition
during his lifetime
B. A teacher of Mussorgsky
B. It had no impact on his recognition
C. An artist and close friend of
Mussorgsky C. It became one of his most
celebrated compositions
D. A famous composer
D. It led to his downfall as a composer

5. What is a suite in relation to musical

composition? 10. In which of the following ways does
Pictures at an Exhibition express Russian
A. A single musical piece
nationalism?
B. A set of movements with a common
A. References to Russian folklore figures
theme
B. References to Russian hymn tunes
C. A collection of unrelated pieces
C. References to Russian folk tunes
D. A combination of different musical
styles D. All of the above

35
Task 3: Dictation

1. Promenade Theme

2. Castle Theme

36
Activity 2
Teaching Notes

This activity is designed to facilitate whole-class performance by singing and playing on

classroom and students’ own instruments.

Task 1: Perform the Promenade Melody

Whilst the original key of the melody is B flat major, it could easily be transposed to C, F or G
major to be playable on classroom Orff percussion. Work with the provided Sibelius file from
Task 2 for this.

Task 2: Perform the class arrangement of the Promenade Melody

This arrangement has been written for flexible classroom ensemble, provided as a Sibelius file so that
the parts can be easily copied and transposed for specific players in a class. The teacher should aim
to balance out parts in the ensemble as needed.

Suggested parts for flexible ensemble:

◊ Flute
◊ Oboe
Part 1
◊ Clarinet
◊ Trumpet
◊ Clarinet
◊ Trumpet
Part 2
◊ Alto Saxophone
◊ Violin
◊ Clarinet
◊ Tenor Saxophone
◊ Alto saxophone
Part 3 ◊ Eb clarinet
◊ Horn
◊ Violin
◊ Viola
◊ Tenor Saxophone
◊ Horn
◊ Trombone
Part 4
◊ Baritone
◊ Bassoon
◊ Cello
◊ Bass Clarinet
Part 5 ◊ Trombone
◊ Baritone

37
 ◊ Bassoon
◊ Cello
◊ Baritone Saxophone
◊ Tuba
◊ Double Bass
◊ Electric Bass

Task 3: Pentatonic Practice

Pentatonic repertoire is very useful for classroom performance and improvisation activities
since the whole class can learn the same melodic material together first, then differentiation
can occur simultaneously as more advanced students explore endless possibilities for
incorporating creative, challenging part-work whilst maintaining harmonic sensibilities.

Performance Drills
Drills are designed to:
1. Be short stand-alone performance activities for whole-class music making
2. Work well as fun 5-minute lesson starters, closers, or mid-lesson stretch break tasks
3. Be performed in many different ways over time, so students are strengthening
musicianship skills. Look for ways to increase challenge once mastery of a certain task is
achieved, by incorporating body percussion or adding another element to perform at the
same time, following the examples in the videos
4. Differentiate for the full range of learners; all students perform together but you can set
different levels of challenge

A score is provided for Pentatonic Trichords

1. Different entry levels are provided
a. Steps, skips, leaps
b. Seconds, thirds, fourths
c. M2, m3, M3 P4
2. Increase challenge by performing body percussion ostinato whilst singing, singing in
canon, singing letter names.

Suggested resources for pentatonic repertoire (both major and minor pentatonic):

Item Ideas for classroom work Sources

Simple Sing, memorise, play, notate from There are many folk songs and
melodies memory, analyse song elements, use simple unison songs in My Song File
and folk as stimulus material for composition
Use the Advanced Search feature
tunes tasks
and More Options to filter songs by

38
 scale, age appropriateness and other
factors.

Pentatonic Sight-singing, sight-reading, 185 Unison Pentatonic Exercises by

exercises dictation, memorisation, sing and Denise Bacon
play in canon.

2-part Part-work, Sight-singing, sing one 50 Easy Two-Part Exercises by

pentatonic part whilst playing another, play to Denise Bacon
exercises parts, sing with a partner, 2-part
dictation.

Games for Games are fun! Singing games are Singing Games for Ages 9-99 by
pentatonic great stand-alone quick 5-10 minute Lucinda Geoghegan
songs activities to give students a brain
break whilst still having a lot of fun
learning and kinaesthetically
developing musical skills.

Pentatonic Sing and play well-known pentatonic Some starting suggestions:

melodies melodies from master composers.
1. Grieg – Morning Mood (major)
in art These melodies are pentatonic, but
music their accompaniment is not always. 2. Bartok – An Evening in the
Students could sing and play the Village (minor)
melodies to recordings of these 3. Beethoven – Finale from Quartet
excerpts. in F Major, Op.135
4. Puccini – La sui monti dell’Est
from Turandot

39
Activity 3
Teaching Notes

• This activity focuses on analysing the key points of transformation of the familiar
Promenade Theme.
• Successful analysis of each transformation is recommended before moving to the
composition task.
• The composition task should first be demonstrated by the teacher, step by step.

Task 1: Analysis of how the Promenade theme is transformed

Refer to Audio Excerpts 1-6 and Score Excerpts 1-6.

Promenade II
Promenade

Occurs After I. Gnome Before II. The Old Castle

Key Written E flat major Sounding A flat major
Played by… Horn

Accompanied by… Nobody

Answered by… Oboes, clarinets and bassoon

Promenade I Promenade II
• Played by horn
• Played by trumpets
Key points of • Transposed a tone lower, but
• B flat major
transformation still major pentatonic
• Forte
• Piano
• Answered emphatically by
• Answered tentatively by
brass
woodwinds

Promenade
Promenade III

Occurs After II The Old Castle Before III The Tuileries

Key B major

Moderato non English

Tempo Italian Less moderate, heavily
tanto, pesamente meaning

40
Played by… Solo trumpet

From the 3rd beat of the trumpet melody, bass woodwinds and bass
Accompanied by…
strings join

Answered by… The full orchestra, led by the bass instruments playing the melody

Promenade I Promenade II
• 3 trumpets • 1 trumpet
• B flat major • Transposed a semitone higher,
• No accompaniment in the but still major pentatonic
Key points of
opening 2 bars • Accompaniment begins from
transformation
• Texture consistently beat 3
alternates between trumpet • Texture builds with staggered
and full brass section bars 1- entries until the full orchestra is
8 playing by bar 4
• Majestic • Heavy

Promenade IV
Promenade

V Ballet of the Unhatched

Occurs After IV Bydlo Before
Chicks

Key D minor

English
Tempo Italian Tranquillo Calmly
meaning
Played by… Flute I

Accompanied by… Flutes and clarinets, then bassoons in bar 2

Answered by… Oboes and bassoons

Promenade I Promenade IV

• Clear mood change

• D minor, a third relation
• B flat Major • Flute in a higher register
Key points of • Trumpet • Calm and piano
transformation • Majestic and forte • The first 2 notes of the theme
• Tenuto articulation omitted, also omitted in the bar 3
emphasises each note response.
triumphantly • Bar 3 is
• Long slurred phrases are more lyrical
and subdued

41
 VIIIb. Con Mortuis
Promenade in Lingua Morta

VIII IX The Hut on Fowl’s

Occurs After Before
Catacombs Legs
Key B minor
Andante non
English At a walking pace, not
Tempo Italian troppo, con
meaning rushed, with sadness
lamento
Played by… Oboe I
Accompanied by… Oboe 2 and cor anglais, over violin I pedal point

Answered by… Strings and lower woodwinds

Promenade I Con Mortuis in Lingua Morta

• B minor, a semitone higher
• Trumpets in B flat
Key points of • Piano melody and pianissimo
major
transformation accompaniment
• Forte
• Unchanging 6 metre
• Metre alternates
• Each note of the melody played as a
between 6 and 5 metre
crotchet, with the last 3 notes altered

X. The Great Gate of Kiev starting at 3:26

Promenade

Occurs After IX The Hut on Fowl’s Legs

Key E flat major
Allegro alla breve, Fast and lively in cut
English
Tempo Italian maestoso, con common, majestic,
meaning
gradezza. grandiose.
Played by… Trumpet and glockenspiel
Accompanied by… The full orchestra

Answered by… Upper woodwinds, strings and harp

Promenade I The Great Gate of Kiev

Key points of • Thick, polyphonic texture

where the theme is heard
transformation • Question and answer texture
amidst a cacophony of other
• Forte material
• Forte, like the beginning

42
Activity 4
Teaching Notes

• This activity focuses on practising performing in compound metre and the natural
minor scale.

Task 1: Score Reading and Analysis

Answers
1. Bassoon I

2. a.

b. G sharp natural minor

3.

4. Alto saxophone
5. Violas and cellos
6. a. Bassoon I plays the melody, and the bassoon II, double bass and viola
accompaniment is the same.
b. The bar 14 melody begins with the original melody starting at bar 3. There is an
additional cor anglais line played above the melody, consisting of the tonic and
dominant notes.

Task 2: Perform the Castle theme

The arrangement is supplied as a Sibelius file so that the teacher can copy and transpose
parts easily for the students as needed.

Task 3: Perform over a pedal point

Singing over a pedal point can be a useful practice activity for any repertoire, to practise in-
tune singing.

43
Activity 5
Teaching Notes

• This activity focuses on chord naming and basic harmonic analysis.

• Roman Numeral analysis is assumed, but teachers could adapt for whatever system
is more appropriate.

Task 1: Chord Analysis

1. E flat major
2. E flat major chord chart

Bb C D Eb F G Ab
Upper notes in
the chord
G Ab Bb C D Eb F

Root Note Eb F G Ab Bb C D
diminish
Quality major minor minor major major minor
ed
Roman
I ii iii IV V vi viio
Numeral
3. Teacher Notes:
a. Students should write the letter names of each chord first, next to each note
on the stave.
b. Then, they should re-arrange the letter names until they are stacked in 3rds,
lowest to highest. This is the order in which they would write the letter names
in the table below.
c. Refer to the chord chart above to help name the chords.

Letter names written on

the stave next to each G Bb Eb Bb D F Bb Eb G G C Eb Bb D F
note

Notes in the Bb F Bb G F
chord
Lowest to highest G D G Eb D
when stacked in
3rds Eb Bb Eb C Bb
Chord letter Bb
Eb maj Eb maj C min Bb maj
name maj
Position Root Root 2nd inv 2nd inv Root

Roman Numeral* I V V

44
Task 2: Perform hymns
Hymns are accessible, appropriate repertoire for classroom sight-singing, part-singing and
harmonic analysis.
Hymns can be sung in any combination of:
a. Solfa
b. Scale degree numbers
c. German letter names
i. Use alphabet names with added -is for sharps and -es for flats
ii. i.e. F sharp is sung as Fis
d. Neutral syllable e.g. loo or doo
e. Rhythm names ta, ti-ti or ta, ta-té
f. Lyrics

Task 3: Extension – Harmonic Analysis

1. C major chord chart

7th
Bb C D Eb F G
m7 above root note

G A B C D E F
Upper notes in
the chord
E F G A B C D

Root Note C D E F G A B

Quality major minor minor major major minor diminished

Roman Numeral I ii iii IV V vi viio

2. Harmonic Analysis

45
References
https://www.abc.net.au/listen/classic/features/deep-listen:-mussorgskys-pictures-at-an-
exhibition/10002460

https://www.britannica.com/topic/Pictures-at-an-Exhibition

Kamien, Music: An Appreciation

Sydney Symphony Orchestra Meet the Music Resource Kit 3, 2002

46