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Bonne pratique!!

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Today's interactive game Doodle celebrates swing dancing and the Savoy Ballroom-an iconic Swing Era dance hall that thrived from the 1920s to 50s in New York City's Harlem neighborhood. On this day in 2002, Frankie Manning and Norma Miller, two of members of Whitey's Lindy Hoppers, unveiled a commemorative plaque where its entrance once stood.

The Savoy Ballroom made history as one of the first racially integrated public spaces in United States when it opened its doors with a no-discrimination policy in 1926. In the early 20th century, Harlem housed a predominantly Black community, including those who migrated from other parts of the U.S. and the Caribbean. This community's impact was prevalent throughout Harlem, as the neighborhood thrived as a site for creativity and culture-and the home of the Savoy Ballroom. Albeit a white-owned institution, the Black community of Harlem made the Savoy the cultural heartbeat of the neighborhood and an epicenter of innovation for swing dance and music worldwide.

The Savoy's ballroom awaited guests up two marble staircases on the second floor, featuring a 10,000-square foot mahogany and maple dance floor that was a city block long. The glamorous dance hall sparkled as a hub of jazz and jive. The Savoy's twin bandstands hosted seamless live music as many of the world's acclaimed jazz musicians-including the likes of Chick Webb, Count Basie, and Ella Fitzgerald-trumpeted out the soundtrack for thousands of dancers each night (and over 700,000 annually!). In step with the big band energy, patrons powered the nightclub with the electricity of ever-evolving swing dance styles. The Charleston, the Big Apple, and in later years the Mambo, were among dances enjoyed at the Savoy, but the most popular was the vivacious Lindy Hop, which was born and bred in the ballroom.

The Lindy Hop is characterized by a swinging rhythmic connection between partners, a flurry of acrobatic air steps in the performance version, and footwork that contributed to one of the Savoy's signature nicknames: "The Home of Happy Feet." With the synergistic life forces of jazz dance and music, the Savoy Ballroom shined as a melting pot of Harlem nightlife during a time of racial segregation for the next three decades.

In 1958, the Savoy Ballroom closed its doors for good but its international impact is still felt to this day. At its historic location in between 140th and 141st Street on New York City's Lenox Avenue, a commemorative plaque honors the Ballroom and its legacy as a home of cultural innovation.

Here's to all the memories swingin' at the Savoy!

Early sketches and concepts from the making of the Doodle

| Conner Lane, Stephanie Gu, Jacob Howcroft, Audrey Lovan and David Lu

Music Credits

Bei Mir Bist Du Schon
Performed by Janis Siegel
Courtesy of Hollywood Records, Inc.

"Bei Mir Bust Du Schoen"
Written by Sammy Cahn, Sholom Secunda
Cahn Music Company/ Williamson Music Company
By arrangement with Concord

"BEI MIR BIST DU SCHON (MEANS THAT YOU'RE GRAND)"
By Jacob Jacobs, Sholom Sholem Secunda, Sammy Cahn, and Saul Chaplin
WC Music Corp. (ASCAP) obo itself and Estate of Sheldon Secunda (ASCAP)

"Let's Call The Whole Thing Off"
Performed by Ella Fitzgerald
Courtesy of Verve Records under license from Universal Music Enterprises

"Let's Call The Whole Thing Off"
from "Shall We Dance"
Words and Music by George Gershwin and Ira Gershwin
Copyright © 1937 (Renewed) Nokawi Music (ASCAP) / Frankie G. Songs (ASCAP) /
Ira Gershwin Music (ASCAP)
Nokawi Music administered in the United States by Steve Peter Music (ASCAP).
Frankie G. Songs administered by Downtown Music Publishing.
Ira Gershwin Music administered by WB Music Corp.
Used by Permission. International Copyright Secured. All Rights Reserved.

"Let's Call The Whole Thing Off"
Written by George Gershwin and Ira Gershwin
Published by Frankie G. Songs c/o Downtown Music Publishing

"LET'S CALL THE WHOLE THING OFF"
By Ira Gershwin and George Gershwin
Chappell & Co. Inc. (ASCAP) and Warner Geo Met Ric Music (GMR) obo Ira Gershwin Music (GMR)

Careless Whisper feat. Robyn Adele Anderson & Dave Koz
by Scott Bradlee's Postmodern Jukebox

"CARELESS WHISPER"
By George Michael and Andrew Ridgeley
WC Music Corp. (ASCAP) obo Warner Chappell MLM Limited (PRS/ASCAP) and
Wham Music Limited (GB 2) (PRS/ASCAP)

"Solid As A Rock"
Performed by Ella Fitzgerald
Courtesy of Verve Records under license from Universal Music Enterprises

"SOLID AS A ROCK"
Words by Bob Hilliard Music by Dave Mann
Used with permission from Bourne Co.
www.bournemusic.com
ASCAP

Solid As A Rock
Written by Bob Hilliard and Dave Mann
Courtesy of Better Half Music Company (ASCAP) and RYTVOC, Inc. (ASCAP)

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Celebrating Swing Dancing and the Savoy Ballroom! Doodle - Google Doodles

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Learn more about the creation of Celebrating Swing Dancing and the Savoy Ballroom! Doodle and discover the story behind the unique artwork.

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L'orchestre symphonique

Présentation de

2

1

4

L'orchestre symphonique et son chef

Voici les quatres familles qui composent l'orchestre symphonique

La famille des cordes

La famille des bois

La famille des cuivres

La famille des percussions

Voici une courte vidéo faisant la présentation des quatre familles d'instruments.

1

La famille des cordes

La famille des cordes

Explorons plus précisément chaque famille. Commençons par la famille des cordes.Les instruments à cordes frottées sont tous faits de bois, ont tous une caisse de résonance ainsi qu'un manche sur lequel sont tendues quatre cordes. Pour obtenir un son, il faut frotter les cordes avec un archet composé de crins de cheval.

2

La famille des cuivres

La famille des cuivres

On les voit de loin parce qu'ils brillent, on les entend bien parce que leur son est puissant : ce sont les instruments de la famille des cuivres! Pour produire un son, on souffle dans l'embouchure en faisant vibrer les lèvres.

Embouchures

3

La famille des bois

La famille des bois

Traditionnellement faits de bois, ces instruments sont faciles à reconnaître par leur forme allongée. Pour produire un son, on souffle dans une petite ouverture à leur extrémité qui peut prendre différentes formes. Celle du hautbois, du basson et de la clarinette est munie d'une petite lamelle de bois appelée " anche " que l'instrumentiste fait vibrer avec ses lèvres

4

La famille des percussions

La famille des percussions

Les percussions regroupent plusieurs instruments très différents les uns des autres. Pour en jouer, les percussionnistes les frappent, les secouent ou encore les grattent. On y retrouve la famille des sons déterminés qui concerne essentiellement les percussions à clavier et la famille des sons indéterminés comme la caisse claire.

Sons indéterminés

Sons déterminés

*

Le chef d'orchestre

Le chef d'orchestre

Le chef d'orchestre est placé devant tous les musiciens. Souvent accompagné de sa baguette, il dirige les musiciens pendant leurs morceaux.Il va aider les musiciens de l'orchestre à jouer ensemble. Il les aide à souffler plus fort ou moins fort, à partir au bon moment et à se repérer dans la partition. C'est le chef qui décide de la pulsation du morceau, c'est-à-dire la vitesse à laquelle ils vont jouer. C'est très important de regarder le chef d'orchestre si l'on ne veut pas se perdre.

Yannick Nézet Séguin

Partition

Main qui sert souvent à communiquer les Nuances.

Main qui sert souvent à donner le tempo (vitesse).

Benjamin Britten (1913-1976)Variation sur un thème de Purcell (1659-1695)

Vers les années 1945, le Ministère de l'Éducation Britannique se tourne vers Britten pour composer une pièce qui familiarise les jeunes avec les différents instruments de l'orchestre.

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L'orchestre symphonique by d.champagne on Genially

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L'orchestre symphonique Présentation de 2 1 4 L'orchestre symphonique et son chef Voici les quatres familles qui composent l'orchestre symphonique La famille des cordes La famille des bois La famille des cuivres La famille des percussions Voici une courte vidéo faisant la présentation des quatre familles d'instruments.

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