Professional Documents
Culture Documents
Musika
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Patnubay ng Guro
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Ang aklat na ito ay magkatuwang na inihanda at sinuri ng
mga edukador mula sa mga publiko at pribadong paaralan, kolehiyo,
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at / o unibersidad. Hinihikayat namin ang mga guro at ibang nasa
larangan ng edukasyon na mag-email ng kanilang puna at mungkahi
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Kagawaran ng Edukasyon
Republika ng Pilipinas
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electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.
Musika at Sining – Ikaapat na Baitang
Patnubay ng Guro
Unang Edisyon 2015
ISBN: ___________
Ang mga akda / materyales ( mga kuwento, seleksiyon, tula, awit, larawan, ngalan ng
produkto o brand names, tatak o trademarks, palabas sa telebisyon, pelikula at iba pa) na
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ginamit sa aklat na ito ay nagtataglay ng karapatang-ari ng mga iyon. Pinagtibay sa isang
kasunduan ng Kagawaran ng Edukasyon at Filipinas Copyright Licensing Society (FILCOLS)
Inc. na ang FILCOLS ang kumakatawan sa paghiling ng pahintulot sa nagmamay-ari ng mga
akdang hiniram at ginamit dito. Hindi inaangkin ni kinakatawan ng tagapaglathala (publisher)
at mga may-akda ang karapatang-aring iyon.
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Inilathala ng Kagawaran ng Edukasyon
Kalihim: Br. Armin Luistro FSC
Pangalawang Kalihim: Dina S. Ocampo, PhD
Direktor IV: Marilyn D. Dimaano, EdD
Direktor III: Marilette R. Almayda, PhD
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Mga Bumuo ng Patnubay ng Guro
Musika
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Pangunahing Tagapangasiwa: Maria Blesseda Alfonso Cahapay
Consultant: Myrna T. Parakikay
Mga Tagasuri Ng Nilalaman: Jocelyn T. Guadalupe, Dolores T. Andres
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Mga Manunulat: Maria Elena D. Digo, Fe V. Enguero, Ma. Teresa P. Borbor, Amelia M. Ilagan,
Josepina D. Villareal, Mary Grace V. Cinco, Josephine Chonie M. Obseñares,
Chita E. Mendoza, at Victorina E. Mariano
Transcriber: Arthur M. Julian
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Sining
Pangunahing Tagapangasiwa: Marilou Gerero-Vispo
Consultant: Charo Defeo-Baquial
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Paunang Salita
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makabuluhan ang pagkatuto sa bawat elemento ng Musika at Sining.
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magdudulot ng saya at kaganapan sa bawat aralin.
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mapanuri at replektibong pag-iisip;
mas pinahusay na konsentrasyon at mas mahabang attention span;
mas pinahusay na memorya at pagpapanatili ng mga natutuhan; at
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iii
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electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.
Talaan ng Nilalaman
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Aralin 5: Ang Descant at ang Melody ………………………………… 169
Aralin 6: Ang 2-Part Vocal o Instrumental Music ……………………. 173
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Aralin 7: Ang mga Harmonic Interval ng mga Awitin ……………….. 177
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electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.
K to 12 Curriculum Guide
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DepEd Complex, Meralco Avenue
Republic of the Philippines
Department of Education
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MUSIC
December 2013
(Grade 4)
Pasig City
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electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.
K to 12 BASIC EDUCATION CURRICULUM
CONCEPTUAL FRAMEWORK
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Both the Music and the Arts curricula focus on the learner as recipient of the knowledge, skills, and values necessary for ar tistic expression and
cultural literacy. The design of the curricula is student-centered, based on spiral progression of processes, concepts and skills and grounded in performance-
based learning. Thus, the learner is empowered, through active involvement and participation, to effectively correlate music and art to the development of his/her
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own cultural identity and the expansion of his/her vision of the world.
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As Music and Arts are performance-based disciplines, effective learning occurs through active experience, participation, and performance, creative
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expression, aesthetic valuation, critical response, and interpretation. The skills that are developed include reading/analyzing, listening/observing, performing,
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(singing, using musical instruments, movement, acting, and playing, using different art materials, techniques and processes, responding, composing, and
creating. (See Figure 1 and Figure 2)
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The philosophical foundations upon which standards and competencies are based include: A Process of Education by Jerome Bruner, Performance-Based
Learning by Cleve Miller, Aesthetic Education by Bennett Reimer, Multiple Intelligences by Howard Gardner, A Structure for Music Education by Ronald
Thomas, Gongs and Bamboo by Jose Maceda, Compendium on the Humanities: Musical Arts produced by the National Research Council of the Philippines,
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Cultural Dictionary for Filipinos by Thelma Kintanar and Associates, Creative and Mental Growth by Viktor Lowenfeld and W. Lambert Brittain, Discipline-Based
Art Education by Elliot Eisner, Encyclopedia of Philippine Arts and Tuklas Sining, both produced by the Cultural Center of the Philippines.
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electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.
K to 12 BASIC EDUCATION CURRICULUM
xi
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characteristic as a continuous state of becoming. Like the other arts, music is a creative avenue for man’s individual quest for self- expression and fulfillment.
On these basic characteristics are founded the rationale of music study. A keen sensitivity to environmental and musical sounds needs to be
C
developed. The student must learn to ―hear, ―speak, and ―think in the medium of music. Simultaneously, growth and development in the skills that enable the
application of the learner’s knowledge should be encouraged, through active involvement in the various musical processes.
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Drawing from the development of music pedagogy through the years, the K-10 Music Curriculum embodies the best practices advocated by the
SPIRAL, MULTI-CULTURAL, and INTEGRATIVE approaches in music education, as well as current philosophical thought about contemporary general
education.
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We envision that Music in the K-10 Program will effectively nurture and refine the learner’s artistic expression and cultural literacy, and celebrate his/her
national heritage, while it instils, within every individual Filipino learner, pride in his/her own cultural identity.
electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.
Figure 1. The Curriculum Framework of Music and Arts Education
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K to 12 BASIC EDUCATION CURRICULUM
O
C
E D
EP
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xii
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K to 12 BASIC EDUCATION CURRICULUM
xiii
D
Grade 6Application for Appropriate Mastery and Acquisition of Skills
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Figure 2. Content of Music and Arts per Grade Level
electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.
movement)
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Music Processes
-creating)
K to 12 BASIC EDUCATION CURRICULUM
O
C
D
from K to 3
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xiv
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electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.
K to 12 BASIC EDUCATION CURRICULUM
xv
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K-3 4-6 7 – 10
C
The learner demonstrates understanding of
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The learner demonstrates understanding of The learner demonstrates understanding of
fundamental processes through basic elements and concepts through salient features of music and art of the
performing, creating, and responding, performing, creating, and responding, aimed Philippines and the world, through appreciation,
aimed towards the development of towards the development of appreciation of analysis, and performance, for self-
appreciation of music and art, and music and art, and acquisition of basic development, the celebration of Filipino cultural
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acquisition of basic knowledge and skills. knowledge and skills. identity and diversity, and the expansion of
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one’s world vision.
electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.
K to 12 BASIC EDUCATION CURRICULUM
Kindergarten The learner is exposed to the different basic music and art processes through experiential learning.
The learner demonstrates basic understanding of the fundamental processes in music and art, through performing, creating, listening and observing, and
Grade 1
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responding.
The learner demonstrates understanding of the basic and fundamental processes in music and art, through performing, creating, listening and observing,
Grade 2
and responding.
E
The learner has acquired the basic and fundamental processes through performing, creating, listening and observing, and responding, towards the
Grade 3
development of appreciation of music and art, and the acquisition of basic knowledge and skills.
xvi
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Through the formal introduction of elements, the learner can identify the basic knowledge and skills in music and art, towards self-development, the
Grade 4
celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.
Through exploration, the learner demonstrates a deeper understanding of basic knowledge and skills in music and art, towards self-development, the
Grade 5
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celebration of Filipino cultural identity and diversity, and expansion of one’s world vision.
Through application, the learner demonstrates understanding of the basic concepts of and processes in music and art, towards self-development, the
Grade 6
celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.
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The learner demonstrates basic understanding of the fundamental processes in music and the arts through performing, creating, listening and observing,
Grade 7
and responding towards appreciation of the cultural richness of the different provinces in the Philippines.
The learner demonstrates understanding of salient features of Asian music and the arts, through appreciation, analysis, and performance for self-
Grade 8
development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.
The learner demonstrates understanding of salient features of Western music and the arts from different historical periods, through appreciation, analysis,
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Grade 9
and performance for self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.
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The learner demonstrates understanding of salient features of contemporary music and the arts, through appreciation, analysis, and performance, for self-
Grade 10
development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.
electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.
K to 12 BASIC EDUCATION CURRICULUM
GRADE 4
D ELEMENTS OF MUSIC
CONTENT PERFORMANCE
CONTENT LEARNING COMPETENCY CODE
STANDARDS STANDARDS
FIRST QUARTER
I. RHYTHM demonstrates creates rhythmic 1. identifies different kinds of
understanding of patterns in: notes and rests
MU4RH-Ia-
1. Musical Symbols and concepts pertaining to 1. simple time
1
Concepts: rhythm and musical signatures
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1.1 Notes and Rests symbols 2. simple one-measure
1.2 Meters ostinato pattern 2. organizes notes and rests
1.3 Rhythmic Patterns according to simple meters
1.4 Simple Time
E (grouping notes and rests
MU4RH-Ib-
2
Signatures into measures given simple
1.5 Ostinato meters)
xvii
D 3. states the meaning of the
different rhythmic patterns MU4RH-Ic-3
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the notation of recorded
MU4RH-Id-
music
7
electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.
K to 12 BASIC EDUCATION CURRICULUM
CONTENT PERFORMANCE
CONTENT LEARNING COMPETENCY CODE
STANDARDS STANDARDS
I.I. RHYTHM demonstrates creates rhythmic 8. responds to metric pulses MU4RH-Ie-
D
1. Musical Symbols and
understanding of
concepts pertaining to
patterns in:
1. simple time
of music heard with
appropriate con
g-8
xviii
D
C
O
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electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.
K to 12 BASIC EDUCATION CURRICULUM
CONTENT PERFORMANCE
CONTENT LEARNING COMPETENCY CODE
STANDARDS STANDARDS
SECOND QUARTER
II. MELODY
D recognizes the musical
symbols and
analyzes melodic
movement and range
1. identifies the pitch name of
each line and space of the
1. Musical Symbols and demonstrates and be able to create G-clef staff
Concepts: understanding of and perform simple F
1.1 Intervals concepts pertaining to melodies D
1.2 Scales melody B
1.3 Melodic Contours G
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1.4 Patterns of successive E MU4ME-IIa-
pitches of a C Major 1
scale
E C
E
xix
F
D
2. identifies the pitch names
of notes on the ledger lines
and spaces below the G-
C clef staff (middle C and D)
MU4ME-IIb-
2
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3. recognizes the meaning
and use of G- Clef
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MU4ME-IIc-
3
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do re mi fa so la ti
do
electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.
K to 12 BASIC EDUCATION CURRICULUM
CONTENT PERFORMANCE
CONTENT LEARNING COMPETENCY CODE
STANDARDS STANDARDS
II. MELODY recognizes the musical analyzes melodic 4. identifies the movement of
D symbols and movement and range the melody as:
1. Musical Symbols and demonstrates and be able to create
Concepts: understanding of and perform simple - no movement
1.1 Intervals concepts pertaining to melodies
1.2 Scales melody
1.3 Melodic Contours
1.4 Patterns of successive
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pitches of a C Major - ascending stepwise
scale
E
- descending stepwise
xx
MU4ME-IId-
D 4
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to determine its range
6. sings with accurate pitch
MU4ME-IIf-
the simple intervals of a
6
melody
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K to 12 BASIC EDUCATION CURRICULUM
CONTENT PERFORMANCE
CONTENT LEARNING COMPETENCY CODE
STANDARDS STANDARDS
II. MELODY 7. performs his/her own
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III. FORM demonstrates
understanding of
D
performs similar and
contrasting musical
1. identifies aurally and
visually the introduction MU4FO-
1. Phrases in a Musical musical phrases, and phrases and coda (ending) of a IIIa-1
Piece the uses and meaning musical piece
2. Structure of Musical of musical terms in 2. identifies aurally and
Sound
2.1 Antecedent
form
C visually the antecedent and
consequent in a musical
MU4FO-
IIIa-2
(Question) Phrase piece
2.2 Consequent (Answer) 3. listens to similar and
Phrase
O contrasting phrases in
MU4FO-
IIIa-b-3
2.3 Introduction recorded music
2.4 CODA (ending)Phrase 4. identifies similar and
contrasting phrases in vocal
and instrumental music MU4FO-
from the previous lessons IIIc-4
4.1 melodic
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4.2 rhythmic
5. sings similar and
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contrasting phrases in
MU4FO-
music
IIId-5
5.1 melodic
5.2 rhythmic
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K to 12 BASIC EDUCATION CURRICULUM
CONTENT PERFORMANCE
CONTENT LEARNING COMPETENCY CODE
STANDARDS STANDARDS
IV. TIMBRE demonstrates participates actively in 6. distinguishes vocal and MU4TB-
D
1. Variations of Sound
understanding of
variations of sound in
a group performance
to demonstrate
instrumental sounds IIIe-1
1.1 Vocal music (lightness and different vocal and 7. identifies as vocal or
1.2 Instrumental heaviness) as applied instrumental sounds instrumental, a recording of
the following: MU4TB-
to vocal and
instrumental music 7.1 solo IIIe-2
7.2 duet
7.3 trio
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7.4 ensemble
8. identifies aurally and MU4TB-IIIf-
visually different 3
E instruments
9. classifies the various
musical instruments as:
xxii
9.1 string
D 9.2 woodwind
9.3 brass wind
C 9.4 percussion
MU4TB-IIIf-
h-4
IV. TIMBRE demonstrates participates actively in
understanding of a group performance
1. Variations of Sound variations of sound in
O
to demonstrate
1.1 Vocal music (lightness and different vocal and
1.2 Instrumental heaviness) as applied instrumental sounds
to vocal and
instrumental music
V. DYNAMICS recognizes the musical applies forte and 10. recognizes the use of the
MU4DY-
symbols and piano to designate symbol p (piano) and f
IIIf-1
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1. Volume of Sound in demonstrates loudness and softness (forte) in a musical score
Music understanding of in a musical example 11. uses appropriate musical
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concepts pertaining to 1. singing terminology to indicate
MU4DY-
volume in music 2. playing instrument simple dynamics
IIIf-h-2
11.1 forte
11.2 piano
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K to 12 BASIC EDUCATION CURRICULUM
CONTENT PERFORMANCE
CONTENT LEARNING COMPETENCY CODE
STANDARDS STANDARDS
FOURTH QUARTER
D
VI. TEMPO demonstrates creates and performs 1. relates body movements to
MU4TP-IVa-
understanding of body movements the tempo of a musical
1
1. Speed / Flow of Music concepts pertaining to appropriate to a given example
speed/flow of music tempo 2. uses appropriate musical
EP
VI. TEMPO demonstrates creates and performs terminology to indicate
MU4TP-IVb-
understanding of body movements variations in tempo
2
1. Speed / Flow of Music concepts pertaining to appropriate to a given 2.1 largo
E
speed/flow of music tempo 2.2 presto
VII. TEXTURE demonstrates sings two-part rounds 3. identifies aurally the MU4TX-IVc-
understanding of and partner songs with texture of a music example 1
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1. Simultaneous concepts pertaining to
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others 4. identifies aurally and
Occurrence of texture in music visually an ostinato or MU4TX-IVd-
Multiple Melodic Lines descant in a musical 2
2. Distinction Between example
Thinness and
C 5. recognizes aurally and
MU4TX-IVe-
Thickness in Music visually, examples of 2-part
3
vocal or instrumental music
VIII. HARMONY demonstrates
O
performs examples of 6. identifies harmonic interval
MU4HA-IVf-
understanding of harmonic interval with (2 pitches) in a musical
1
1. Simultaneous harmonic intervals others example
Sounding of Two 7. recognizes aurally and
MU4HA-
Tones / Pitches visually, examples of
IVg-2
harmonic intervals
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8. creates examples of
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MU4HA-
harmonic interval (2
IVh-3
pitches) with others
electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.
Yunit 4 - Aralin 1
Ang Kilos o Galaw BilangTugon sa Tempo
II. Paksang-aralin
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2
“Do A Little Thing”, D, 2 , mi
3
“Ili-ili Tulog Anay”, Em, 4 , mi
C. Sanggunian : Sanayang Aklat sa Musika 4
D. Kagamitan : Larawan ng mga hayop, CD player
O
E. Pagpapahalaga : Pangangalaga sa mga hayop
F. Konsepto : Ang tempo ay nailalarawan sa pamamagitan ng
C
mabilis at mabagal na kilos.
III. Pamamaraan
D
A. Panimulang Gawain
1. Pagsasanay
E
b.Tonal
Awitin ang mga so-fa syllable ayon sa senyas kamay ng guro.
(Ipakita rin sa staff notation upang masanay sa melodic reading.)
D
m l d m l m r d
l l l f r m f m
m l m r d t m1 l1
2. Balik-aral
147
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electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.
B. Panlinang na Gawain
1. Pagganyak
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Ano-anong hayop ang nakikita sa larawan? (kabayo, suso, kalabaw, at
pagong). Ano ang masasabi ninyo sa mga kilos o galaw ng mga hayop na
nasa larawan? (mabilis at mabagal ang kilos ng mga hayop)
O
Makinig sa mga sumusunod na tugtuging / awiting nakarekord:
a. “Mga Alaga Kong Hayop” (Sumangguni sa Gr. 3 TG)
b. “Lullaby”
C
2. Paglalahad
D
Ituro ang mga awitin sa paraang paggagad.
E
EP
D
148
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electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.
PY
3. Pagtalakay
O
Awitin muli ang “Chua-ay” at sabayan ng kilos na parang nagbabayo ng
bigas.
Saan nanggaling ang awiting “Chua-ay”? (Benguet)
C
Saang lalawigan makikita ang mga Igorot? (lalawigang bulubundukin o Mt.
Province)
Paano inawit ang awitin? (mabilis at masaya)
Anong katangian ng mga Igorot ang ipinakikita sa awitin? (pagiging masipag
D
at masayahin habang nagtatrabaho)
Sa tulong ng guro, aawitin ng mga bata ang “Ili-ili Tulog Anay” na
E
Sa awiting “Ili-ili Tulog Anay”, ano ang kilos na ginawa? (Ang kilos na ginawa
ay sumayaw at umimbay.)
Paano isinagawa ang kilos? (Isinagawa ang kilos nang mabagal.)
D
4. Paglalahat
149
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electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.
5. Paglalapat
PY
O
C
Awitin ang “Do a Little Thing”. Hayaang lumikha ang bawat pangkat ng kani-
D
kanilang kilos at gawin ito nang salitan.
E
6. Repleksiyon
C. Pangwakas na Gawain
Makinig sa mga tugtugin. Hayaang lumikha ang mga bata ng sariling kilos na
angkop sa tempo ng tugtugin.
150
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electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.
IV. Pagtataya
Di-
Gawain Napakahusay Mahusay gaanong
Mahusay
1. Naisagawa nang maayos ang
mabilis at mabagal na kilos
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mabagal natempo ng awitin
O
5. Naipakita ang pakikiisa sa
mga pangkatang gawain C
V. Takdang-aralin
D
Gumupit o gumuhit ng tatlong larawan na nagpapahiwatig ng mabilis at
mabagal na kilos.
E
EP
D
151
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electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.
Yunit 4 - Aralin 2
Ang Pag-awit sa Tempong Largo at Presto
I. Layunin: Natutukoy ang mga katawagan para sa mabilis at mabagal
na tempo
II. Paksang-aralin
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C. Sanggunian : Sanayang Aklat sa Musika 5
D. Kagamitan : CD player, pitch pipe
E. Pagpapahalaga : Pangangalaga sa kapaligiran
F. Konsepto : Ang tempong largo ay mabagal samantalang ang
O
tempong presto ay mabilis.
III. Pamamaraan
C
A. Panimulang Gawain
1. Pagsasanay
D
a. Rhythmic (echo clap)
E
so la so mi mi mi mi fa mi so re mi
(In movable do) do re do la la la la ti la do so la1
2. Balik-aral
Ano-anong kilos ang ginagamit sa paglarawan ng tempo? (Nailalarawan ang
tempo sa pamamagitan ng mabilis at mabagal na kilos)
152
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electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.
B. Panlinang na Gawain
1. Pagganyak
2. Paglalahad
Iparinig ang awiting “Kalesa”.
PY
O
C
E D
EP
D
153
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electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.
PY
O
C
3. Pagtalakay
D
Anong uri ng transportasyon ang kalesa? (Ang kalesa ay isang sasakyang
panlupa.)
Sa anong uri ng pamayanan makikita ang kalesa? (Kadalasang nakikita ang
E
Ano ang napansin ninyo sa tempo ng awiting “Kalesa”? (Ang tempo ng awitin
ay may mabilis at mabagal.)
Aling bahagi ng awit ang may mabilis na tempo? (Ang una at huling bahagi
ang may mabilis na tempo.)
Mabagal na tempo? (Ang kalagitnaang bahagi ay mabagal.)
154
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electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.
4. Paglalahat
5. Paglalapat
Mga tauhan:
Isang batang lalaki – kutsero
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Apat na batang lalaki – kabayo
Isang babae – dalagang Pilipina
Isang lalaki – binatang Pilipino
Ibang kasapi ng klase – mga pasahero ng kalesa
O
Makinig sa sumusunod na mga tugtuging nakarekord. Tukuyin kung ang
tempo ay largo o presto. C
a. “Ang Alibangbang” (Aralin 8, Q3)
b. “Oh Who Can Play” (Aralin 5, Q3)
6. Repleksiyon
D
Alin sa mga gawain ang higit na nakatulong upang maunawaan mo ang
E
C. Pangwakas na Gawain
EP
Ipaawit ang “Masaya Kung Sama-Sama” nang may tempong presto at largo.
D
155
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IV. Pagtataya
PY
3. Alin sa mga sumusunod ang mabagal na tempo?
a. piano b. largo c. forte d. presto
4. Lahat ng mga awitin ay may tempong presto maliban sa isa. Piliin ang
naiiba.
a. “Chua-ay” c. “Ili-ili Tulog Anay”
O
b. “Akong Manok” d. “Sitsiritsit”
a. mabilis at mabagal
C
5. Pakinggan ang awiting “Sa Ugoy ng Duyan”. Ano ang tempo nito?
c. mabagal
b. mabilis na mabilis d. katamtamang bilis
D
V. Takdang-aralin
Awitin sa klase ang mga sumusunod na kanta.
E
2. 2. Leron-Leron Sinta
3. 3. Sitsiritsit
D
4. 4. Do a Little Thing
5. 5. Magtanim ay Di Biro
156
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Yunit 4 - Aralin 3
Ang Paglalarawan ng Texture ng mga Awitin
I. Layunin: Natutukoy sa pamamagitan ng pakikinig ang texture
ng awitin/tugtugin
II. Paksang-aralin
PY
Pakikinig: Awiting rounds tulad ng “Row, Row, Row
Your Boat”, “Are You Sleeping Lazy Juan?”, “Early to
Bed”, Hallelujah Chorus” ni Handel
C. Sanggunian : Sanayang Aklat sa Musika 5 at 6
O
Halina’t Umawit 5
D. Kagamitan : CD player, tugtugin
E. Pagpapahalaga
C
: Pangangalaga sa katawan at kalusugan, pagiging
produktibo
F. Konsepto : Ang texture ng awitin/tugtugin ay natutukoy sa
D
pamamagitan ng pakikinig. Ang texture ay maaaring
makapal/manipis, iisang melodiya, isang melodiya
na may accompaniment, o maraming melodiyang
E
sabay-sabay.
III. Pamamaraan
EP
A. Panimulang Gawain
1. Pagsasanay
D
a. Rhythmic
b. Tonal
157
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2. Balik-aral
Ano ang ibig sabihin ng tempong largo at presto?
B. Panlinang na Gawain
1. Pagganyak
Ano ang napansin sa mga larawan? (Lahat ay may larawan ng mga puno. at
ang puno ay nadagdagan ng bunga at mga damo.)
PY
O
Ang texture ay maaaring ilarawan sa pamamagitan ng mga nakikita sa
kapaligiran tulad ng ilustrasyon sa itaas.
C
Ipaawit ang “Bahay Kubo” sa paraang chain singing ng:
isang bata
dalawang bata
D
limang bata
kalahati ng klase
buong klase
E
EP
D
158
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2. Paglalahad
Ano ang inyong napansin sa paraan ng pag-awit?
Ilan ang kumanta sa unang pagkakataon? sa pangalawa? pangatlo? pang-
apat at panlima? (isa, dalawa, lima, kalahati ng klase, at buong klase)
Ihambing ang kapal ng tinig sa pag-awit ng isang bata, dalawang bata,
limang bata, kalahati ng klase, at buong klase. (Manipis ang tinig kapag iisa
ang kumakanta at kumakapal ang tinig habang dumarami ang kumakanta.)
Ituro ang bahaging alto ng “Bahay Kubo”.
PY
O
C
D
3. Pagtalakay
E
159
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(Ang mga gulay at prutas sa “Bahay Kubo” ay singkamas, talong, sigarilyas,
mani, sitaw, bataw, patani, kundol, patula, upo, kalabasa, labanos, mustasa,
sibuyas, kamatis, bawang, luya, at linga.)
Ano ang kahalagahan ng pagkain ng mga gulay at prutas? (Mahalaga ang
pagkain ng mga gulay at prutas upang laging malakas at malusog ang
katawan at maging produktibo sa lahat ng mga gawain.)
Ano ang inyong napansin sa score ng awit? (May dalawang note sa isang
linya.)
Ipaawit ang taas na bahagi ng awiting “Bahay Kubo” (soprano part) kasunod
ng babang bahagi (alto part).
PY
Ano ang napansin sa tono ng itaas na bahagi? Ibabang bahagi? (Mataas ang
tono ng bahaging nasa itaas at mababa ang tono ng bahaging nasa ibaba.)
Pangkatin ang klase sa dalawa.
Unang Pangkat – itaas na bahagi (soprano part)
O
Pangalawang Pangkat – ibabang bahagi (alto part)
5. Paglalapat
A B C
160
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Halimbawa ng mga awitin o tugtugin na iparirinig.
awit na a capella (A)
awit ni Sarah Geronimo na may accompaniment (B)
choir singing ng Madrigal Singers (C)
duet nina Angeline Quinto at Christian Bautista (B)
solo ni Lea Salonga, na walang accompaniment (A)
pag-awit ng pasyon (A)
tugtugin ng Philippine Philharmonic Orchestra (C)
6. Repleksiyon
PY
(Mahalaga ang pakikinig sa guro sa oras ng talakayan upang lalong
maunawaan ang mga aralin.)
C. Pangwakas na Gawain
O
Ipaawit ang “Early to Bed” sa mga bata. Lumikha ng kaugnay na tunog sa
mga note na nasa kahon upang kumapal ang texture ng awit
C
E D
EP
D
161
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IV. Pagtataya
Di-gaanong
Gawain Napakagaling Magaling
Magaling
1. Nakilala ang manipis na
texture ng awitin o tugtugin
2. Nakilala ang makapal na
texture ng awitin o tugtugin
3. Naunawaan nang lubusan
ang texture ng
napakinggang awitin o
tugtugin
PY
4. Nakaawit nang may pang-
unawa sa bahaging itinakda
5. Naipakita ang pakikiisa sa
mga pangkatang gawain
O
V. Takdang-aralin
Magdala ng mga improvised rhythmic instrument.
C
E D
EP
D
162
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Yunit 4 - Aralin 4
Ang Paglalapat ng Ostinato
II. Paksang-aralin
PY
2
“Pamulinawen”, C, 4 , so
Pakikinig: Kulintang Ensemble
C. Sanggunian : Sanayang Aklat sa Musika 5
O
D. Kagamitan : Mga rhythmic instrument, mga tugtuging
Maguindanaon/Kulintangan
E. Pagpapahalaga : Pag-iingat sa panahon ng tag-ulan
F. Konsepto
C
: Ang ostinato ay paulit-ulit na rhythmic pattern o
melodic pattern na ginagamit bilang pansaliw sa
awitin.
D
III. Pamamaraan
E
A. Panimulang Gawain
EP
1. Pagsasanay
a. Rhythmic (Echo Clap)
D
163
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2. Balik-aral
B. Panlinang na Gawain
1. Pagganyak
PY
2. Paglalahad
O
Ituro ang awitin “Hear the Rain” sa paraang paggagad.
C
E D
EP
Pangkatin ang klase sa apat. Ipagawa sa mga bata ang mga sumusunod:
D
Pangkat 1 - drums
Pangkat 2 - bao
Pangkat 3 - tambourine
164
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Pangkat 4 - aawit ng “Hear the Rain”
Ipaawit muli ang “Hear the Rain” na sasabayan ng isang melodic ostinato
tulad nito.
3. Pagtalakay
PY
Ano ang isinabay nating gawain sa pag-awit? (Sinabayan natin ang pag-awit
gamit ang mga rhythmic instrument.)
Ilang ulit nating tinugtog ang rhythmic pattern? (Paulit-ulit tinugtog ang mga
rhythmic pattern hanggang matapos ang pag-awit.)
O
Sa musika, ang tawag natin sa paulit-ulit na pagtugtog ng mga rhythmic
pattern bilang pansaliw sa mga awitin ay rhythmic ostinato.
Paano natin inawit ang “Hear the Rain” sa pangalawang pagkakataon?
C
(Inawit nang may kasabay na mga so-fa syllable nang paulit-ulit hanggang
matapos ang awitin.)
Sa musika, ang tawag natin sa melodic pattern na paulit-ulit na inaawit
D
kasabay ng awitin ay melodic ostinato.
Ano ang pagkakatulad ng rhythmic at melodic ostinato? (Ang rhythmic at
E
4. Paglalahat
165
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5. Paglalapat
Pangkat II -
Pangkat III -
PY
Pangkat IV -
O
Gawain:
C
Mauunang aawit ang pangkat I. Habang umaawit ang pangkat I, isa-isang
papasok ang mga magsasagawa ng ostinato.
D
6. Repleksiyon
C. Pangwakas na Gawain
D
166
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Ipaawit ang “Pamulinawen”. Hayaang lumikha ang mga bata ng kanilang
rhythmic ostinato. Gumamit ng mga improvised rhythmic instrument para sa
rhythmic ostinato.
PY
O
C
E D
Salin:
Huwag kang magtampo
Iyon ay biro lamang
EP
Di na uulit
Manalig ka hirang
Kung galit ka pa
Parusahang lubusan
At iyong asahang
D
Hindi magdaramdam
167
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IV. Pagtataya
PY
3. Ano ang tawag sa paulit-ulit na melodic pattern na ginagamit bilang
pansaliw sa awitin?
a. ostinato c. rhythmic ostinato
b. descant d. melodic ostinato
O
4. Sa paanong paraan natutukoy ang ostinato?
a. sa pakikinig c. sa pakikinig at pagbabasa
b. sa pagbabasa
C
d. wala sa nabanggit
V. Takdang-aralin
EP
Pangkatang Gawain
Pumili ng isang awiting alam na. Lumikha ng rhythmic ostinato para dito.
D
168
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Yunit 4 - Aralin 5
Ang Descant at ang Melody
II. Paksang-aralin
PY
C. Sanggunian : Philippine Native Song
D. Kagamitan : musical score na may descant, mga rhythmic
instrument, melody bells/lyre
E. Pagpapahalaga : Pagtuon ng pansin sa mga gawain, pagiging
O
produktibo
F. Konsepto : Ang descant ay isang himig na inaawit sa itaas
C
kasabay ng melody, ngunit kaiba sa pangunahing
melody.
III. Pamamaraan
D
A. Panimulang Gawain
E
1. Pagsasanay
a. Rhythmic (Echo Clap)
EP
D
2. Balik-aral
Ano ang dalawang uri ng ostinato? (Ang dalawang uri ng ostinato ay rhythmic
at melodic ostinato.)
169
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B. Panlinang na Gawain
1. Pagganyak
PY
Magtanim ‘di biro, maghapong nakayuko
‘Di man lang makaupo, ‘di man lang makatayo
2. Paglalahad
O
a. Awitin ang “Liza Jane“ sa paraang paggagad.
b. Ituro ang descant ng awitin.
c. Pangkatin ang klase sa dalawa. Ang unang pangkat ay kakanta ng
C
melody. Ang pangalawang pangkat ay kakanta ng descant sa tulong
ng guro.
E D
EP
D
3. Pagtalakay
Ano ang isinabay nating gawain sa pag-awit? (Sinabayan natin ang pag- awit
ng iba pang tono.)
170
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Awitin muli ang “Liza Jane” at sabayan ng himig na nakasaad sa itaas ng
melody.
Ano ang napansin ninyo habang kayo ay kumakanta? (May isa pang tunog
na isinabay sa pag-awit.)
4. Paglalahat
PY
Ano ang descant? (Ang descant ay isang himig na inaawit kasabay ngunit sa
itaas na melody. Ito ay kaiba sa pangunahing melody.)
5. Paglalapat
O
Pagmasdan ang musical score ng “Magtanim ay ‘Di Biro”. Kopyahin ang titik
ng descant ng awitin. Tugtugin ang descant sa lyre o kaya ay sa melody
bells.
C
6. Repleksiyon
D
Paano naipamamalas ng descant ang pagtutulungan sa musika? (sa
pamamagitan ng isang maayos na ugnayan ng rhythm at melody.)
E
C. Pangwakas na Gawain
171
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Ano ang katangian ng mga Pilipino ang ipinakikita sa awitin? (Ipinakikita ang
pagiging masipag ng mga Pilipino.)
Bakit kailangang gawin nila nang maayos ang kanilang trabaho?
(Upang ang kanilang mga produkto ay magkaroon ng mataas na uri.)
IV. Pagtataya
Di-
gaanong
Gawain Napakahusay Mahusay
Mahusay
1. Natukoy ang descant sa
pamamagitan ng pakikinig
2. Natukoy ang descant sa
PY
pamamagitan ng pagbasa
3. Naawit/Natutugtog nang tama
ang descant ng awitin
4. Naipakita ang pakikiisa sa mga
O
gawaing itinakda
5. Naipakita ang lubos na
kasiyahan sa mga gawain
C
V. Takdang-aralin
D
Sanayin ang pag-awit ng descant ng awiting “Magtanim ay ‘Di Biro” at “Liza
Jane”.
E
EP
D
172
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Yunit 4 - Aralin 6
Ang 2-Part Vocal o Instrumental Music
II. Paksang-aralin
PY
Pakikinig: Balitaw Duet, chant/pasyon, Mash-Up Pop
Song
C. Sanggunian : musical piece ng “Manang Biday” (2-part)
D. Kagamitan :
O
E. Pagpapahalaga : Pakikiisa sa mga gawain at pagtuon ng pansin sa
mga bahaging itinakda
F. Konsepto : Ang 2-part vocal ay binubuo ng dalawang himig:
C
soprano at alto. Maaari ring boses ng soprano at
tenor na inaawit nang sabay.
III. Pamamaraan
D
A. Panimulang Gawain
E
1. Pagsasanay
a. Rhythmic (Echo Clap)
EP
2. Balik-aral
Ano ang pagkakaiba ng rhythmic ostinato, melodic ostinato, at descant?
Ang ostinato ay paulit-ulit na rhythmic pattern o melodic pattern na ginagamit
bilang pansaliw sa awitin. Ang descant ay isang himig na inaawit sa itaas
kasabay ng melody, ngunit kaiba sa pangunahing melody.
173
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B. Panlinang na Gawain
1. Pagganyak
2.
PY
O
2. Paglalahad
C
Ipaawit ang bahagi ng alto ng “Manang Biday” sa paraang rote o senyas-
D
kamay (Kodaly).
E
EP
Voice 1
Voice2
D
Voice 1
Voice2
3. Pagtalakay
Pangkatin ang klase sa dalawa. Hayaang ipaawit muna ang bahaging
soprano sa unang pangkat. Pagkatapos ay ipaawit din ang bahaging alto sa
pangalawang pangkat.
174
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Ipaawit muli, na magkasabay na ang dalawang bahagi ng kanta.
Ano-ano ang inyong napansin sa ating awit? (May mga bahaging
nagkakaroon ng dalawang tone)
Ipakita at ipasuri ang piyesang 2-part song ng “Manang Biday”.
Ano ang napansin ninyo sa piyesa ng awitin? (may mga bahaging dalawa
ang magkatapat na note.)
Paano natin inawit ang mga bahaging may dalawang magkatapat na tone?
(inawit nang sabay ang dalawang tone.)
Sa palagay ninyo, aling pangkat ng mang-aawit ang kakanta sa mga note na
nasa itaas na bahagi? ibabang bahagi?(sa itaas na bahagi - soprano , sa
ibabang bahagi - alto.)
Sa musika, ang mga magkatapat na tone ay inaawit nang sabay at ito ay
nagdadagdag ng texture ng isang awitin.
PY
Ipaturo kung saang bahagi ng bawat measure ang may soprano at alto.
4. Paglalahat
Ano ang bumubuo ng 2-part song? (Ang 2-part song ay binubuo ng dalawang
himig: soprano at alto. Maaari ring boses ng soprano at tenor na inaawit nang
O
sabay.)
5. Paglalapat
C
Makinig sa mga musikang nakarekord. Lagyan ng tsek (√) kung may 2-part
song at (X) kung wala. Mga mungkahing tugtuging iparirinig:
D
a. Gregorian Chant - (X)
b. Round o part singing o Mash Up pop song - (√)
c. Balitaw mula sa Visayas na may sagutan ang lalaki at babae-(√)
E
6. Repleksiyon
EP
C. Pangwakas na Gawain
D
175
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IV. Pagtataya
Di-
Gawain Napakahusay Mahusay gaanong
Mahusay
1. Nakilala ang bahaging soprano ng
awitin sa pamamagitan ng pakikinig
at pagbabasa
2. Nakilala ang bahaging alto ng
awitin sa pamamagitan ng pakikinig
at pagbabasa
3. Naawit nang tama ang bahaging
soprano
PY
4. Naawit nang tama ang bahaging
alto
5. Naipakita ang ganap na kasiyahan
sa pag-awit ng 2-part vocal
O
V. Takdang-aralin
176
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Yunit 4 - Aralin 7
Ang mga Harmonic Interval ng mga Awitin
II. Paksang-aralin
PY
3
“Manang Biday, C, 4 , so
C. Sanggunian : Sanayang Aklat sa Musika 4
D. Kagamitan : Lyre, piano, musical score ng “Manang Biday”
O
E. Pagpapahalaga : Pakikiisa sa mga gawain
F. Konsepto : Ang harmonic interval ay binubuo ng 2 magkaugnay
na tone na inaawit o tinutugtog nang sabay. Ito ay
C
nagbibigay ng kakaibang kulay sa tunog ng awit.
III. Pamamaraan
D
A. Panimulang Gawain
E
1. Pagsasanay
a. Rhythmic (Echo Clap)
EP
2. Balik-aral
Pag-awit ng “Manang Biday” ng 2-part vocal
Ilang tinig ang narinig ninyo sa pag-awit? (dalawang tinig)
Ano ang tawag sa awiting ito? (2-part melody)
177
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B. Panlinang na Gawain
1. Pagganyak
PY
Ilang patong ang cake? (apat na patong)
Gaya ng mga cake na ito, ang mga tono ay maaari ring magpapatong-
patong.
Pangkatin ang klase sa dalawa. Awitin nang sabay ang mga so-fa syllable sa
O
pamamagitan ng senyas-kamay (Kodaly).
Pangkat 1(babae)
C
Pangkat 2(lalaki)
D
2. Paglalahad
E
178
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3. Pagtalakay
PY
Ano ang kadalasang interval ng mga note sa awiting “Ode to Joy”?
(Ang kadalasang interval sa awitin ay tatlo o third.)
Paano inawit ang mga bahaging ito? (Inawit ang mga note nang sabay.)
O
Sa musika, ito ay tinatawag na harmonic interval. Ang mga harmonic interval
ay binubuo ng dalawa o higit pang magkakaugnay na note na inaawit nang
C
sabay. Ito ay nagbibigay ng kakaibang kulay sa tunog ng awit.
4. Paglalahat
Ano ang harmonic interval?
D
(Ang harmonic interval ay binubuo ng dalawang magkaugnay na tone na
inaawit o tinutugtog nang sabay. Ito ay nagbibigay ng kakaibang kulay sa
E
tunog ng awit.)
5. Paglalapat
EP
179
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6. Repleksiyon
C. Pangwakas na Gawain
IV. Pagtataya
PY
nakaraang aralin. Bilugan ang mga measure na may third interval.
V. Takdang-aralin
Sanayin ang pag-awit ng bahaging soprano at alto.
O
Magdala ng isang simpleng musical score ng awit na natutuhan na.
C
E D
EP
D
180
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Yunit 4 - Aralin 8
Ang Paglikha ng mga Harmonic Third Interval
II. Paksang-aralin
PY
C. Sanggunian : Sanayang Aklat sa Musika 5
D. Kagamitan : Musical score ng “Tiririt ng Maya”
E. Pagpapahalaga : Pagpapahalaga sa mga hayop at kalikasan
O
F. Konsepto : Ang harmonic interval ay bumubuo ng dalawa o higit
pang mga tone na magkaugnay at inaawit o
tinutugtog ng sabay.
C
III. Pamamaraan
D
A. Panimulang Gawain
1. Pagsasanay
E
b. Tonal
D
181
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2. Balik-aral
Iguhit ang harmonic third na interval sa itaas ng sumusunod na mga note:
a.
PY
b. Pagpaparinig ng mga tugtuging nakarekord na may
harmonic third interval.
(Halimbawa: “Angels We Have Heard on High” – unang
O
bahagi)
B. Panlinang na Gawain
1. Pagganyak
C
Ipaawit sa klase ang gawain sa balik-aral.
D
2. Paglalahad
E
182
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Ipaawit ang mga so-fa syllable ng awiting “Tiririt ng Maya”.
Lumikha ng harmonic third na interval sa bahaging may parisukat.
Ilagay ang harmonic third na interval sa ibabang bahagi ng melody.
Awitin ito sa klase.
3. Pagtalakay
Ano ang harmonic interval na nilikha para sa unang bahagi ng awitin?
(Harmonic thirds)
PY
linya o kasunod na linya. Kung ang note ay nasa space, ang third nito
ay nasa ibaba o itaas na space.
4. Paglalahat
O
Ano ang harmonic interval? Ang harmonic interval ay binubuo ng dalawa o
higit pang mga tone na magkaugnay at inaawit o tinutugtog nang sabay;
ngunit hindi lahat ng harmonic third ay tugma sa isang awitin.
5. Paglalapat
C
Lagyan ng harmonic third interval (ibaba) ang mga bahaging may parisukat.
D
Awitin ito sa klase.
E
EP
D
183
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6. Repleksiyon
C. Pangwakas na Gawain
Pangkatang Gawain
Pumili ng isang musical score na dala mula sa takdang-aralin. Pumili ng
dalawang measure at lapatan ng harmonic third interval. Tugtugin at iparinig
ito sa klase.
PY
IV. Pagtataya
Di-
gaanong
Gawain Napakahusay Mahusay
Mahusay
O
1.Nakalikha ng harmonic third
interval para sa awitin
2.Naawit nang tama ang harmonic
C
third interval na nilikha
3. Naipakita ang pakikiisa sa mga
D
gawaing itinakda
4.Naipakita ang kasiyahan sa
paglikha ng harmonic third interval
E
5.Nakalikha ng kaaya-ayang
harmonic third interval sa pandinig
EP
V. Takdang-aralin
184
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Yunit IV
TEMPO
Pre-Test
Sagutin ng Tama o Mali.
_____ 1. Ang tempo ng isang awitin ay maaring ipakita sa pamamagitan
ng kilos ng katawan.
_____ 2. Magkakapareho ang tempo ng mga awitin.
_____ 3. Ang tempo ay may kaugnayan sa kilos o galaw ng musika.
_____ 4. Ang tempong largo ay katamtaman ang bilis.
_____ 5. Ang tempong presto ay mabilis at masigla.
Post Test
PY
Piliin ang titik ng tamang sagot.
O
b. Pagmartsa nang mabilis d. Pagmartsa ng mabilis at mabagal
Susi sa Pagwawasto:
185
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TEXTURE
Pre-Test
Sagutin ng Tama o Mali.
_____ 1. Nakikilala ang texture ng isang awitin o tugtugin sa pamamagitan ng
pakikinig.
_____ 2. Ang ostinato ay nakadadagdag sa texture ng isang awitin o tugtugin.
_____ 3. Ang descant ay isinusulat sa itaas ng melody ng awitin.
_____ 4. Ang melodic pattern na ito ay isang halimbawa ng two-part vocal
( Bahay Kubo)
PY
_____ 5. Magandang pakinggan ang sabay na pagtugtog ng bandurya at
gitara.
Post Test
Piliin ang titik ng tamang sagot.
O
1. Sa paanong paraan nakikilala ang texture ng isang awitin o tugtugin?
a. pagsulat c. pagsalita
C
b. pakikinig d. paggalaw
2. Alin sa mga sumusunod ang nakadadagdag sa texture ng awitin?
a. descant c. payak na pag-awit
b. isahang pag-awit d. wala sa nabanggit
D
3. Ano ang tawag sa pattern na paulit-ulit isinasagawa at nakadadagdag sa
texture ng isang awitin?
E
a. ostinato c. melody
b. canon d. descant
EP
186
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HARMONY
Pre-Test
Sagutin ng Tama o Mali.
_____ 1. Ang harmonic interval ay binubuo ng dalawa (2) o higit pang
magkaugnay na tone.
_____ 2. Ang harmonic interval ay tinutugtog o inaawit na magkasunod.
_____ 3. Nakikilala ang mga harmonic interval sa pakikinig at pagbabasa.
_____ 4. Ang thirds ay halimbawa ng harmonic interval.
_____ 5. Ang mga awitin ay maaring lapatan ng harmonic interval.
Post Test
Piliin ang titik ng tamang sagot.
PY
_____ 1. Alin sa sumusunod ang binubuo ng dalawa o higit pang magkaugnay na
tone?
a. descant c. rhythmic ostinato
b. melodic ostinato d. harmonic interval
O
_____ 2. Paano inaawit o tinutugtog ang harmonic interval?
a. magkasabay c. paisa-isa
b. magkahiwalay C d. sunod-sunod
_____ 3. Sa paanong paraan nakikilala ang harmonic interval?
a. sa pakikinig c. titik A at B
b. sa pagbabasa d. wala sa nabanggit
D
_____ 4. Alin sa sumusunod ang nagpapakita ng harmonic interval na thirds?
E
EP
_____ 5. Lahat ng mga awiting ito ay nilapatan natin ng harmonic interval maliban sa
isa. Alin ito?
a. “Kalesa” c. “Tiririt ng Maya”
b. “Manang Biday” d. “Leron Leron Sinta”
Susi sa Pagwawasto:
D
187
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Yunit 4 - Unit Test
TALAAN NG ESPISIPIKASYON
Level of Assessment
Number Item
Learning Percent
Knowledge Process Understanding Performance of Items Placement
Competencies
15% 25% 30% 30%
1. Nakatutugon sa
tempo ng awitin
1 1 2 4 1, 8, 22, 23
ayon sa kilos o
galaw
2. Natutukoy ang
PY
katawagan sa
sumusunod na 2, 11, 17, 8,
1 1 3 5
tempo: mabilis 19
– presto ,
mabagal – largo
3. Natutukoy sa
pamamagitan
O
ng pakikinig 1 1 12
ang texture ng
awitin/tugtugin
4. Natutukoy ang
ostinato ng
awitin sa
pamamagitan 7
1
C 1 8 11
4, 7, 26,
29- 36
ng pakikinig at
pagbabasa
D
5. Natutukoy ang
descant ng
awitin sa 5, 13,16,
1 1 2 4
pamamagitan 27
E
ng pakikinig at
pagbabasa
6. Nakikilala sa
pamamagitan
EP
ng pakikinig at
pagbabasa ang 3, 9, 20,
1 2 3 6
mga halimbawa 6, 24, 25
ng 2-part vocal
or instrumental
music.
7. Natutukoy ang
D
harmonic
interval (2 28, 15, 14,
1 2 1 4
pitches) ng 21
isang awitin
8. Nakalilikha ng
mga halimbawa
ng mga 1 4 5 37-40 ,
harmonic thirds
interval
188
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Yunit IV - Unit Test
1. Anong kilos ng katawan ang maaaring gawin habang inaawit ang Leron-Leron
Sinta?
a. pagmartsa b. paglukso c. pagtakbo d. pagkandirit
PY
4. Ito ay ginagamit na pansaliw sa isang awitin. Binubuo ito ng mga rhythmic pattern
na may kasamang melody.
a. ostinato c. rhythmic ostinato
b. melody d. melodic ostinato
O
texture ng awitin.
a. descant c. rhythmic ostinato
b. ostinato d. melodic ostinato
C
6. May paligsahan sa pag-awit sa inyong lugar. Ang contest piece ay 2-part vocal.
Kung ang inyong paaralan ay sasali, ilang pangkat ang aawit sa paligsahan?
a. isang pangkat c. tatlong pangkat
D
b. dalawang pangkat d. apat na pangkat
a. ostinato c. descant
b. rounds d. harmonic thirds interval
8. Alin sa mga sumusunod ang naaayong gawin habang inaawit ang “Sitsiritsit”?
D
189
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11. Ang pag-awit ay maaaring sabayan ng kilos o galaw ayon sa daloy ng awitin o
tugtugin. Paano ilalarawan ang tempo ng awiting “Leron, Leron Sinta”?
a. pagtalon c. paglakad nang mabagal
b. pagmartsa d. paglakad ng katamtaman
12. Paano nakikilala ang texture ng isang awitin?
a. sa paraan ng pag-awit c. sa uri ng awiting inaawit
b. sa uri ng tinig ng umaawit d. sa dami ng tinig na umaawit
13. Paano inaawit ang descant?
a. Inaawit pagkatapos awitin ang buong awit
b. Inaawit nang sabay sa pangunahing melody
c. Inaawit bago awitin ang pangunahing melody
d. Inaawit pagkatapos awitin ang pangunahing melody
PY
14. Paano inaawit ang harmonic third intervals?
a. inaawit nang isa-isa c. inaawit ng sabay
b. inaawit nang salitan d. inaawit nang magkasunod
O
15. Sa paanong paraan nakikilala ang texture ng isang awitin o tugtugin?
a. pagsulat c. pagsalita
b. pakikinig d. paggalaw
C
16. Alin sa mga sumusunod ang nakakadagdag sa texture ng awitin?
a. descant c. isahang pag-awit
b. rhythm d. payak na pag-awit
D
17. Alin sa mga sumusunod na awitin ang magkatulad ang tempo?
a. “Bahay Kubo” at “Atin Cu Pung Singsing”
E
190
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21. Alin sa mga sumusunod ang binubuo ng dalawa o higit pang magkaugnay na
tones?
a. descant c. rhythmic ostinato
b. melodic ostinato d. harmonic interval
23. Alin sa mga sumusunod ang maaring gawin habang umaawit ng isang lullaby?
a. pagkandirit nang pakaliwa
b. pagmartsa nang pasulong at paurong
c. paghakbang nang pakanan at pakaliwa
PY
d. pag-imbay ng mga baraso pakanan at pakaliwa
24. Alin sa mga ito ang may manipis na texture?
a. duet b. choir c. orchestra d. solo singing
O
25. Lahat maliban sa isa ay nagbibigay ng makapal na texture sa Musika. Alin sa
mga ito ang may manipis na texture?
a. round singing
b. solo singing na a cappella
c. Madrigal Singers singing “Bahay Kubo”
C
d. solo singing with minus one accompaniment
D
26. Alin sa mga sumusunod na pattern ang halimbawa ng ostinatong panghimig?
E
a.
EP
b.
c.
D
d.
27. Alin sa mga sumusunod ang tama tungkol sa descant? Ang descant ay ___.
a. iba sa pangunahing melody c. pareho sa pangunahing melody
b. nakapaloob sa isang melody d. magkahawig sa pangunahing melody
191
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28. Alin sa mga sumusunod ang nagpapakita ng harmonic interval na thirds?
PY
O
Susi sa Pagwawasto C
1. A 24. D
2. C 25. B
3. D 26. B
D
4. D 27. A
5. A 28. A
E
9. A
10. C
11. D
12. D
D
13. B
14. C
15. B
16. A
17. A
18. B
19. B
20. C
21. D
22. C
23. C
192
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