Fundamentals of Music Understanding How Sounds Are Organized in a Musical Composition OBJECTIVES Students will learn the basic elements of music through experiences with rhythm, melody, texture, tone color, dynamics, and form: > Bxperiences with eth feat Tempo Meter Reading tyths Syncopation Experiences with melody ‘A msody moves by steps or ships ‘A melody has shope A melody has rnge A melody is made up of phrases A melody is bsed on sale A mody may contain acer > Experiences with texture Terure may be monophonic Terure maybe harmonic Texture may be payphone > Experiences with tone color Tone clo aries with he ype and sie of meer producing the soun Tone color varies with diferent pes of instruments Tone clr varies with deren pes af ices Exploring tone clos > Experiences with dynamics > Experiences with musial forms Binary form Teamary form Ronde form Fugue form Theme-ond rian form This chapter provides ex the following national music standards: > Singing. alone and with others2 varied repertoire of music > Performing on instrumenes,alone and with othersa varied repertoire of music > Composing and arranging music within specified avidelines Reading and notatng music Listening to, analyzing and describing musicee” & ~2~=—S«Te ine An under a sic ian ul ar fr caning ot opizion ond cand eer cho secretes hc potion fs bse cemens wich nae rye, aun a counting out cant crane wo go Speci Learer Note aoa en eel lm Th crests one fh bc Sate ne sire ton characteristics ofthese elements and provides musical examples. You ae encouraged to perience Seonaaman uoon hie kre, ation ine Sheehan he ene heh performance When fou Sih HEC yu Sutganguohereu Seen hold torr orien shots potions adobe cs Sarto aegncanteasswnte | Siar efeon ‘heir asc elements. Pont one oe epeat the process ut arcane ta.comoare mus Semen 5 F ot havea feing of Beat. 0 eee © Experiences with Rhythm eset ta ng: ona ety La Mer) "a « 1. More best actvtas canbe found on pp. 238-242 ‘MSc ora ack, ‘etg am down 8 Rit refers tothe ogaization of matical sounds in time. eis comprised of numberof subareas including bas, rempo, and meter along wit distinctive features sch 8 syneopation. Tempo ‘he ped with which she Bea recurs in musi sl Shore pyr sce th woo osteo s ed tempo, Beat Testbed ace soe omrmeapan mumennamaramemncer ms | Steir _— Cae ee toe reece ‘rong et beat nthe musi, Ak etudents to mare Yo the mas Laklely ene 2 Sediment em aaa ater A eet Se ea a eee ee ememaemaney came amet etree og Ie ree reer ent . este ee eee Sei er rane ease 35 soe eit corn rg en ec zoe AS io ree eee a ea Sa fe nano rc gre er - . : “Basinere anc Kodaly’ Vennese Clcck Tuto nthe Saw” and Skip t My Lou”) 4 rvte cern to lad nelocomotor beat movements to recorded muse forthe clase to fllon, Pay a gare whore one chid hides is or ar eyes the teacher chooses another hit ead the beat movements forthe els ofolow: When the icing chi returns, heor she must ten “etemine who te leaders. Ning en ears ne she ust te own o-ver’- spread ba bys wee bed: Laythee down nonand rest, May thy 65. Keep the beat to known songs and chants using nenlocometer (9. pttng and laing) and & © F e or ° ‘Scot. waking and machog best monet Sapna eng anew Paces (5 2a Cara $5) “Gamay Pp pT “Pop Gos eae p20 Yee Doogie” [p. 383}. and “Hickory Dickory Dock” [p. 51}) me ©: Play bat io nown ons an chat ano recoded ma on varus sal percussion slumber be blest Lay tee coun now.and est Maythy stm bers be blest iestrments clung drums, maracas, woodblock, uo, and sand blocks, ve Actes 1 biased one) (See: Sand Provide visual icons Put represent the beat. Invite tudes to pont tothe isons forthe bet of 2. Sing o play afamar song, such as “America the Beau," and experiment wth musical eects recorded mui, songs, and chants, rated by perorming iat étferent tempos (slow, medium, and fast) vveeV Read books that have aeeing of beat. Examples: Hand, Hand, Fingers, Tumb by Al Perkins Set Gare Pn oc orice tows ames NERY Aen, Sean Sink Sons Se Bane ae cuseren Fundamentals of wusie | 3940 8 Liston and compar the tempos of The Swan and Fossis" in Sain Sabes's Cama ofthe Annals. 4. Sometimes the tempo gradually gos lastr or shower. Listen 10 Honeggers Paci 231," museal compeaton about a ain, [Notice the gradual increase intempo atthe begining of the | ie pic cfania andor ideo of composton as te tain stats up anc the gradual decrease In| ste mevagrn sane in: yp tempo nea the end ofthe pce asthe tin elows down. oocon 1 ong ti vide Gee oe inca) mayenbane sadn under Meter ‘ang hl acing “Paic 2317 ‘Ao, denen pic mover ‘82 y2y wmode dagen tempo wl ‘force unending and ay encore mate ecivelsening. © Special Lerner Note ‘As de bea eur in most musi cen plies are emphasized of accented. The acentng of pci pls cables a pattern of strong and weak bea. This recutng puter of accented and una «ened beatin music ical meter ‘Two common types of meter are dupe meter in which the pattern of tong and weak beats x _rouped uo twos: ad eile meter in which the pater of song and wesk bests goouped i hoe, Har fner ate use co divide the pater of bats ito meses [A meter signatures placed on the musical suff. The top rmbt indicates the number of ‘eats in measure, and the bosom number indicates the ype of ote wecving stage bene For ‘xample in "Hot Cross Buns” the meter signature of 2/4 indeates that ther ate hen ewe in ‘measure and thatthe quarter note ceive one best, wheres in “Happy Birthday" the scree signature of 3/4 means that chere ae thige beats in eich measure wit te quater note reeing one best. Hot Cros Bums wei ES coven Meter: 2/4, begins ont Hot cross buna, ot cross buns, One 8 pen-nv, two a sen-n¥, hat crs bans Happy Birthday awevacrs Meter 34 begon3 itn-day © you ‘sing mename tne pusn tone bay aig alae ap teas Peston Warm Copy sina Mane Fundamentais of music 41‘(acTiviTies: 1. Ask student to stand na cela, {= Inte students to ump whenever the teacher plays a loud drm beat. Th teaches then plays ‘many soft beats ad random loud beats. The teacher purposely its the male igh before ‘laying each oud beat. Students noice that Mis eas ot when the oud beats ar coming because ofthe way the teacher its the malt Deore playing the oud sour 1 The teacher asks students to repeat he activ, But now with eyes closed. The students tng more cicut to ump wth the loud beats. «+ Then the teacher plays pattems of oud beats stating with oud, sot, soft. The stents iden ‘uy matte eats ve grouped inves. The activi then repeated for patterns of two Beats ‘ou, sof Students fd testo jump on the loud beats because they can ear the pater ‘ofthe and two Bests define bythe lous and sof eounds payed on the um. 1+ Students conchce that some beats have a stronger feel than others and can make patterns of ‘ree and two bests 2. Ask students to sin a cre al facing counterclockwise. f= Students then tke off the shoe thats onthe sige o he cc In order to get he fling of strong and weak bets, students marchin the ce step tothe beat and say the folowing chant ‘Doodle deed dumping, my son Jobo, \ient tobe wat hie stockings 0, ‘One she of and one shoe on, Dowdle deed Gumping. my son John. 1 Students devote tow thebeats fe when they were walling with one shoe on and one hoe (fDi ove foot fol neavier than the other? Tha answer wal be yes. Stade may disagree ‘out which fet ft Reaver, but thoy willl agree thatthe activity helped them fe! heavier and tighter bests. t= Repost the act, asking sents o stat stepping wih the foot that ot heavier, This wil ‘alow them to ge heav-Spt fesing to go wit the chant 1 Students conciace that he Best for “Doss Doecie Dumping” are grouped in a patorn 4. Have students chant the flowing in dup meter boa toad toa I fe oa A =u has 8 guar me dan my den = mya pen = + Hove hem rt need re play rr pth tps on stony bel «Lit tenure onbn nds ota nA Cron Hae aa na che, ea ifn tek tr) laced a Ne tie Ayo ta seg have hem pc ln sick sone on Seas ogee ath ‘AerFardoutonbut towel tw lstine se pecaraettss ere Caine to pan sckr sane sa hoc sobe erga an ‘tore beta he bets ow youre mews: Ge ey HAPTER SSS Se neatorama Te ww dol conse WK tH-K ton 6, Have students chant the fllowng ln tiple meter ‘David and Jonathan tke to play Golf again. Leoy and Christopher play on the nackey team. eat eae atenne nee eee tere | teen eee eee Pere es eee oe Rain oat Ato) ran ate ntenL Cn eee ei gem cl roto ee re Have them chant the above and play he drum or pat the highs on the strong beats {Have thom pat ther tighs on beat 1 and cap or snap on beats 2 and 9. 7. Rak students to sing "Hot Grose Buns” andthen "Happy Birthday” employing body percussion in ‘pe ana tla mete respectively 68, Place the folowing terms on the chalkboard: DDople meter ~ 2 beats na group, wit he frst beat being the stronger beat. ‘iple meter = 8 beats ina group, with the frst beat being the strongest beat ‘More activites for meter can be found on pp. 265-266 of 7th cd. Reading Rhythms Masi notation was created (and has evolved over the centri) 0 show both the pitch ofthe sound (whether ishigh ot low) and how lng iis supposed to contin duration). Musica avec ated ete of symbols to represent how long a sound iw last, gure 31 illsrates this system. Each ofthese notes has name bated on he dea ofa whole” In Figure 3.1 each symbol represents half the vale ofthe previous symbol thus, to half nots cul one whole note + = =); ve quarter noes equal one half mate + = 2) ew eighth noes ca one quire noe += J); and ro stenth notes equal one ight noe (S + 2 = 2). Fungamontars of Music | 43vole tt gh ‘Sileonth EEE sytets of duration: music noraion usar ‘A dot (afer note isa symbol that lengthens that not by hat val. Thus, fa half note into reccve 2 duration of rwo counts, a dot placed next it indicates that it will now rcsvethrce ACTIVITIES 1. Echo cap fou-beatsythm pattems, using paterns you want to teach. When echo clapping, the teacher claps a four beat pattem, then the students clap the same pattern Fora more advance activity, echo clap pattems in canon. When echo ciaping in cane, the teacher never stops clap- ing pattern and the students echo without stopping. 2. Clap the rythm of a song for students to identity. For example, the teacher claps the ehythm for “Yankee Doodle" Students Isten and determine the name ofthe song. (are inthe aston, sng the song you plan to clap as preparation forthe activity) ‘3. Create a tythmic “*machine." One student starts the “machine” by creating a fou-bet hythm patter and a movement forthe patton. A sacond student then ons with a diferent pater and ‘movement, but something that fis withthe fest patter. Continue to cd students, rythm pat ters ancmvenents ut te whol cas Ras red, Th teacher can he by tapping a tac ‘4 The teacher taps thera steady beat or rhythm on a drum for students to identy as ether “steady beat” or“mythm,* invite students to take over the role o the teacher and tap either & ‘beat ra mythm on the drum forthe class to ident. Warren 3 = ae ae nai inn inn nn 1 vert rat ee rete eset Ta AOE 1 Hee ae erm eae yt) Per teosoarmon ari re J tee 2. eats ang dens cron Maracas or ha rm: LLL LASTS Ratchet (wil) oF tambourine: LOL LLILL LSE LET 4146531455314 74 “Masic would be very dl if we heard only sound and no moments of silence. ilences in music are called ety, and there i est equal to every noes Examine the follwing table and notice the shapes of che various res. Duration of Notes and Rests Wholenote we Whole est (J Halfnote Half rest 2 Quarternore + Quarter rest D Eihnote Eighth es s Sixteenth nore} Siatcenth rest Fungamentais er Music | 45‘ACTIVITIES 1. Inet studerts to doa werk movement (he tea beat rovond byte ache. erent) sch as hammenng, saving, or turing a screwdtver fo eocnr may pay the steady beat O93 GUM ox re fe} workers” must eee i ea Poe Poon Di Saeerorems Pease porridge hor. te pri cl ee Wee cs svannyourntsntte a Seaton ten oe o ae rate tte xan toy gant este do cook Yoo ede dle dadiededse del tite [ote [dee dered sas SFA 4 SAL LAL Lo est Die Me DL I ra ty ‘Yo tay se eeate yr er shyt Mar acts ea tte can us ours ono, 101-109, 296-247, and 274-270, m_" i ..}@§ Syncopation Accenting bea or portions Five Green and Speclled Frege vas that would orm be unscented produces pain. kere staring pt Matera beans ont e4.One jumped 9-10 the pook Jous buns, (on, yum) AA.Qnelumpes Oo he peak 1. Tran hore ‘ 2.Then tere posted Hogs. , Wore twas nie and coo. )8:thon there wore to goon speckled fogs. (Gub, ght) ‘thon tare was one geen speckeg toa. | Moro ‘no. green epeccled tops. ial S.Then thre ney ni et ey ei Pu. © A rma Bon ACTIVITIES 1. Aak student 1 keep the basic pulse (1,2 1,2, etc.) wth thei feet, while clapping and counting tho folowing pattem. Emphasize the strong parton ofthe beat indicated by the accent (>). Meee eel 2a Fade tain ar a grado 2. Ask students to kaop the basic puso (1,2, 1,2, etc) withthe feo, while clapping and counting ‘he folowing pattern. Emphasize the weak portion ofthe beat indicated by he accent (>) mmnign'! 1% 4B=: °°» & © 1. Repeat 2 above ying together the sacond and tind eighth notes in each measure VA «4, Ask stunts to clap and count the above ryt wh the tad eh notes now wrt ase: Ternotes Have them ete "Syrveo-pah" as hey cls gol dids dD 5 Sng five Green and Specied Frog." When he song shown, sing the song and lap the eo, spporunies or students to experience the syncopated mhythm aura, visual. cs restetiealy. ae dens suraly ently the uneven pattern of Five green anc” Inth at ne by capping a eer tang ne shrrfong stort pater. Deter atthe shartlong-short pattern haste pats o sounds. ss Wnty he song aul using rythm ons aha aa & ama aa & amid 2LaE ae ea EZ 1 Sing ne song on “shor” and “ong” For example, the fist ine would be: shor-ong-short ‘shor short long. Pont othe cons as the chron sing, «Write rational notation above the fons, Sing the sora apa replacing al ofthe “shor-ong- ‘hor? patteme wih “syncopah” 1 Find the syncopatmythm mn oer songs, for example, “Kye, Kye Kuo” (p. 206). ‘Special Learner Note May read tpl of yeep fm one plese mae ee Serowronene pling slo and singing Eng nih he mconbngs Once scene ‘hyn cowed with be rer ‘Reson ote tytn blog sige Ir nosed pine ate telnin ering (Example Ube peng in toMy Gi” hich em be ‘Sneed ape under the ods Sng one eons) SE Experiences with Melody 48 ‘A melas a succesion of musi sounds tha Be msl wounds that ae perceived as belonging together. Melodies Siar af Weng whi and ply rls from theme we ar lie cildeen thm or beat of piece of music may dominate our physical response to it 1 empoio bys melo As you pays en te aping molting ne eer engi «po conning nig dnc re, ou wl increas your endetanding and ce see ncenenaeinpixming and ering 0 msi ‘A Melody Moves by Steps oF Skips Fundamentally, lois in musical compositions move cite by step oF skip fom one note ACTIVITIES 1. Sing the song "Join nto the Games 2. Than sing the song “Revel,” noting * noticing how tha melody moves basicaly by steps ot meloay moves bastealy Dy sKPS. Join inte the Game staan ce roa Poet mecca ont ret ¢ 5 ¢ cop hands ste (clap hand) : me ‘wit ow whe =a ie Refrain (lap anes) als onas tte Same ‘wn Youl tng at sal - ways the same, yout tnd hats egerzteecby Pow sean. ee as, an iter TRO-16 inne eta se ates ir Fundamentals of Music | 4!Us Ay Bilal Reveille urinates ete 24, bas on “anor Fe cant goto vp, 1 cant gat'om up, 1 cant get'em ap he mam «gs 1 cant gat tm up, cant get om up, gotten pat ‘A Melody Has Shape ‘ACTIVITIES Maladies may move up o down 4 Sing the rt econ of "Row, Row, Rom Your Boat and isten to the melody gong. 2. Sing the rt section of “oy tothe Wor” and ten othe truley ging down, Soretines melodies move lke a pend, {pnd down around apa re 4. Sing tert ie of"Hekry Dckory Dock stent he perdu ike movement othe melody “Wap” the ready with Jura into a ‘Special Learner Note (etody moss te ening ep nie) webct and cy ‘ede Keep che ep sow a Svceme aspen ate reep on Row, Row, Row Your Boat were Starting pth: Meter 7, begins on & 5 z iat a om, row your bot gent ~ y down the soa cock tek one, the mouse ran down, Hickory Dickory Deck curtasten SSS = —— = = = Woks 0- ry doko ty dk ‘A Melody Has Range “Asyou ac the shapes of melodies, you wil discover that he dance Tro the lowest toe highest sometimes age and thr ies tal The em ones used to describe these dances. Some melodies fave ual ange whereas the lois havea lage age ‘Special Learner Note Foceton am fine vin ps slnuyetewon ACTIVITIES 4. Sing “Te Star-Spangled Banner noticing he large range ofthe mod (ow At high B oS Lane ange = Play the lot and highest nates ona melody instrument 2, Sg the song Old MacDonald Had a Farm” noting the relatively smal range ofthe melody Dios, SS ‘Again play te lowest and highest notes ona melody instrument Fundamentals of music | SIiv) The Star-Spangled Banner sora anc by Som eters rth ‘Stating ph: Testy Pan Sco Ray Mater, bees 3 Prout, ma non topo wow pm cm BO NO hr can you see bye dam's oar hy TaN what so Brow -Wy we 5 & Bo Fn fated at me w-Aghs last geam-i6g, Whose bead stipes and bright sar Prough the Pn th B&B B&O 905 FON, Cor the ram pars we watcod, wore so gl-lat=ly steaming? And the & » OB ‘ock-es! red glare, The bambs bust-ing in ak, gave pool theugh te night thet ow a ee oF Bm fag was Eel tee. Oh say, does thal Sar-Spang-led_Ban-nor_—_yet_— ag ~ Fn QR BON & of wove Ow te land the toe ant me home of he brave? aS ick mere, Heo cic thre a chick, Ey-y-wherea nok ice ca etree Geckauackine, Heroa quack here aqueck, Ey-rywhereauaek ack Gack quackhere, ara quack.quackihee, Wer ‘A Melody Is Made Up of Phrases Melodies ofen have eer ctins set off om one another by 2 aight use or point of est. These subsections, called pra, Funetion in a Similar sion othe phases in a sentence Special Learner Note agin by waching the"EL-EL pane ng sul xe bil Tale ing AMI“OW Me™ oreo ene Tievaiha. Bo Inch yh to in or dng he rnc and clmating “here Peires. Expl fecsopee men hick thee Thee sche cee 2 port ACTIVITIES, Sing °O Susanna,” putculalynovcing the four phrase, Outline the phrase by moving your hand fom lft orght in che ar as you perform the pce. Select differene-colored abjecs, and as ech phrase occurs, place one objec on 2 fannelboard Point ou that ech abject (colo) ‘represents a phraze in the melody Fundamentate of Music 53.etc Foster Meter 2b onan come ton A= 8 - bam 8 wih omy ban = Joon my kes A Melody Is Based on a Scale Melis are bse onsale, which re arrangements of pitches in an order fom low 0 two most ommon scales in Wester musi ae major scale and nor sale. Major Scale ‘ACTIVITIES The tents sing the scales wth a neual sylabe, suchas “Loo,” and then with note names. Ask students ake tune playing the scales on melody bells. aerate 54 cuarren a Joie due ots patiular patter of whale and rt ctthat the dint cunt of the a sal 2. Porc rahe it yard onthe chow. Pont ou ta the eyboard as, tat sepa Pace san are rye out any austen of ches a ve 1S Toye between some ces 8 Pere alae ay terres between WO Co Serer soa wot stop no ey oe te ae ered a aa te. Th ryan HHT WH hin csctbed asa a Sek aa aren tay sr have be sare pater of whole and hal Je ahow below has the folowing whe: end Seale, Al major seals, regards step. ——S TWN wwe www H 9, Have students sing songs based on major scales, such a8 “Sweet Betsy rom Pike” the Range” and W's a Sl Wel” a mee snsomte starting pn: Gh dont you 1 = mem-bar enest Betsy trom Phe, Who crossed the broad oid yel- low cog, A tall Shang-halrooe ter, and one spotted hog? Fundamentals of Music 55dom i heard 0.» cour-ag-ing word, Ardine shes ave not cloudy a day 2. How often at night, when the heavens are bright From the ight ofthe aiterng stars, Have | stood ther, amazed, an asked a8 onze their glory exceeds that of ous. 5. Where th aris so pure and the zephyr 80 ree ‘id the breezes 20 balmy and ght ‘Oh. would not exchange my heme onthe range Forte gitering cts so bight 4. On, give me a land where the bight amond sand Fowslaaurly down with the sear: “Where he race white swan gies sow sng, Uke a mad ina heaventy rear 6 cuartens mo much that wo sharo that ts ‘Shc? Though he moun - tains “oh ~ iio and the fall werd at = tera aS a math small world hrs Stamina Roten 8 Shaman. © 8 Venn Muse Compt ne: Aah needcen mr to Minor Seale In akon woth major xa “The mint sale flrs om them 1 minor sale for cramp, the paren 2 common #2 raf eae inthe pu vee of whole and bal es 8 oe FGA BOD A wow Ww oH In many songs written na minor hey, the seventh degre of thecal wl be ase (sharped) a half scp Inthe cles below, notice tha G, the seventh degre, is ied (sharped; when a minor scale has the seventh raised, its known asa armonic miner ical, ACTIVITIES 1. Place the pitches ofthe Orin and A minor scale onthe chalkboard. Wit note names. beneath each not. Have students sng the scale wth a neta able and then with note ‘names. Ask students o take tus plying the scales on malady bel. 2. Perform the flowing songs based on mina sales: “Go Down Moses” A nor p68); and “The Pcie" orebushka,O minor (o, 150) ‘A mody is aloidenied a being in particular hy, tem chat refers tothe scale on whichis ne hey the sale on which ACTIVITIES 1. Sing the song “Sweet Betsy fom Pike : (59, notcin tat he paces based on a mao Y'C' asthe hover. The conposton snd tobe mn teeret ee ee 2 Signe song"co Doon Money, base ate ht sbaaed a nr ee wth A 3 ‘tre home tone. This composition is said to be inthe key of A minor selon Notice thatthe ‘ois indcated inthe upper righ corner of ech song in this book, @ spr Go Dewn, Moses es an onde an vmenIe-=raol was ih Egypte land, Lat my provi 98, P= & Am ane AD yy om = = fee a Go dom, Nos-es + pressed so hard they could not stand Lot my peo-sle oo E An, Am on =e 7 ‘Way down in Egypt lac — Pentatonic Seale Tn adion tothe sven-tone enajor and minor sales, melodies sometimes have ther types of sales, such as the fretone or penton sae, which i extemely common inthe music of China nd Jepae as well asin American fll music. xx xx x FF Special earner Note S In addin vs having indians vers with pst models wether (Ect ACTIVITIES, 1. Play the ve back kes onthe plano keyboard aniston tothe ds- spb er dd end tinetve quality ol he pentatonic scale eh modemeane ethene 2. Playapertatonc soae onthe wht hays of the pare, the ptenes | calng ing ding he caren 3, Create a mody ona »yfoptone using eny the pches CDF GA. ‘Yu ray wich tay come ptches more than once, 0: you can Siri ‘extend tne mody gh ortower using the same pitches. The sation non ‘etoy wl soune more interesting you psoe it Ina mete, mich = (eure vont {Sihtemetiles es 43) or Fundementsis ot music | $9enna te lowing pera See . “sagt wet own trean sng “orarg” Wiha I Like It Here be Word and Me by iy Boa ater22. begin anand Abrinang Ker Penatoic DFO) ‘sorting pitens¢ atl nonme Pervedsns TT he tte yay weal ko mit tho ‘A Melody May Contain Accidentals Mellie someimes have cident, which ar notes sharp, ats, oF nara) hac are not in ‘heey ofthe song but ae aide fora parila ef. Fr example in he ong“ Lik Here,” hich inthe ky of major, che noes Earl Fsharp, G-harp, and Aft ae not pare of the ‘ey but rset make the melody more imeresting (ce Fcing pag). rar Special Learner Note Movement chat vying eh ete vithar orp lore Sexanen wl vlan eet _———— ‘floc de empo y.# poste ACT] \ went an) a Soetevng el He and lten the ditt eficof te aiden er and my Cy tr ned prin fn Mae arr 6 charren s Fancamontats of Music | 61me Experien nees with Texture a eam or desrbng he easonshpr among various mus He Tatu Monophonic fee iskoown a mento moo = on; panic = ound) In mono. Taine Fecal ingee (10 tein a a panne and wos he dsnve quality of manopioni s Harmonic ‘Much ofthe sic tht we perform and is thew oa melody accompanied by chords, and this ype of tecture is called harmonic texte, “Chnd mon efien cons of thee pitches, each a hid apart above any pith, For example, chord ca be costuced on the note C by adding atthe same time the notes E and Ge cto, however as mull ines of music: Most offen ‘Chords ate identified by ti lowest note, Thus, the chord above i called a C chord Construct and play chords ing melody bells € ° e Fae. In accompanying songs, chords sometimes have four pitches, Such chords at called seventh ord becouse the distance between the lowest and highest pitches seven notes ‘Consrucs seventh chord on the note G. Pay i using melody belle and notice the distinctive quai This coed is idenifed 2G s ‘Thesong in this book have chords indicated above the melody: CSaeTeEerMenty We Rol Along by paying the C and Gy chords onthe resonator bells, key- @ Memrily We Roll Along extent SS == —— 1 Mor + 4 wo eal a+ Bong cer the dark tuo sea 2. Play ne chard C (CE G) and G; (GB OF to accompany *My Hat.” @ My Hat eecaea My hat has tee cox-rer Tiree cor - nara has my woul ot bo my hal 8. Play the chords G (6 8 0}, © (CE G), and D, (0 FEA) to accompany "Yankee Doodle" (p. 983 Polyphonic Sometimes musical compositions hae several melodic line, each with a distinctive thy, sound nga the same sme. Such texuceis called polyphonic (ply = many: phonic = sound), ACTIVITIES 4. Sing "Row, Row, Row Your Boat” asa thee: part ound (the clas is vided ito three sections), Notice that whon everyones singing thee ae tvee diferent ines of muse, 2, Listen to Bach’ “Lite” Fugue in G Minor (p. 70), particulary noticing the cetinctve quay ofthe ‘many melodies sounding at tho same time, each with a ctnetve myth, Fundsmentals of Music | 63.aston aa 7 anon, onyourbat gertivdennine eam orn = yore ty = Merri meet-y, mar-Wymerri-y Ule i bu eam. ent - down the stream Meci-y.mersi-y. mersi-ymecri-h, Ueisbuta eam. = Experiences with Tone Color Maia tones re dintnguished from each ater bythe quay oftheir sounds. In music this called sone color timbre (pronounced “am-be"). ‘Tone Color Varies with the Type and Size of Material Producing the Sound ACTIVITIES 1 Explore ways to proce ferent sounds fer xampl, trke to sticks together, shake pebbles invarouated eae, bw a arose often ste of pop bles 2, Listen to wach sound and dese wth were 3 Mate alien the cakbcard ofl the ret quale fhe sounds yous. Notice that the "une cr anes wit he ype anda ote mtfl pocinnga sonnet tee Tone Color Varies with Different Types of Instruments ‘Musical instruments canbe clasifed onthe bass ofthe quai of ther sounds ‘0 singed imaramens the distinctive sound is produced by pe ceeny vibrating strings, which are se i cureren s noon by bing ther bowed ar plske Wind ramen produce th ; aaa ea Stata which sein moron by wrt s8 bing the i.” ee eee orate peng. On pean onamet the uns a Fee eet Admumcnu wth ener the hand ora mal or by king srr jeu coast ‘Special Learner Noter ‘Studer witha i tea lwed tye inure mca pine fon | operand ACTIVITIES, 1. Fed instruments athome ofa school or make your own frstuments for the clas to aten to and classy. 2. Unton to come examples of musical instruments from around the ‘Word and Gescrive ar cstnetive tone coors. Include some Uectronic struments suc ae tho found n erent popu mus ‘ound ‘Tone Color Varies with Different Types of Voices Singers can ao be dlasifed according tothe tone calor or quality of the mul sounds they produce. mecha by ewes ‘fav naen may bee a ying one sh rumen fo bake spre sim Freer chon le pre Ged cio | ACTIVITIES: 1. Latent ataren vocal tone colors produced by Inéwduals in your ‘ase taking tons singing a fama song 2, Listen o recordings of women and men singing. Tink of sore word fo decerbe the deren tne colors of women's and men's ‘ois (women's voions ae general ighter and thinner than the heavier ler sounds of men). 2. Ply ecordings of singers from dtferent areas ofthe word (such as ‘Asia, Chin, and nda and elscuss ferences intone cole. Exploring Tone Colors ACTIVITIES. 4. Sing he song “The More We Get Togother* 2 Create an accompaniment, first wih fone colors created by mouth—for example 1. Oore-pan-pah . Ooms ©. Oom-deedio 3, Perform as an accumulative song—for example: ‘2. Begia with Oom-pa-pah, . Add Ooms. ©, Aad Com eede-et & ad ne mea of “The Mere We Gat Togete:” reste an Firmen with the diferent tone colors of elaseroom percussion instruments— rat an econ diferent tone colors of etassroom percussion instruments {2, Use bongo cums with Oom-pah-pah, Use sand blocks with Ooms, ©. Use a tambourine wth Oom-deedo-e '5, Perform as an accumulative song os step 3, Fundementals of Music 65The moe we get 0 = gon ear, i = 9c he mere we get > get <8 " : Fi ° ce te ene . ° 2 be. For your fiends ate my. ‘fends, and ° a ° my aes se you Winds. The more wo get - geh-et, he Rep-pi-eF well be Oom s00-d-ect EEE Experiences with Dynamics ‘The erm dnamia describe the deyee of shines or loudness in music. Composers use different dynamic eves to expres various moods in music and provide variety or contrast in musical works. “ACTIVITIES 1. Seq Amarcan set “Stel Aa” (00 ne page) exploring sft and oud dyraic levels. Note tha this ong was sug by eaves on plantations and att cues onan atte with te words“! ‘ont helo oa tere” Nation how te maod otha placa change vith dierent dynamic lovls {er varios sateen fa, For example, vig sty ha words "don have ong t say ee” 2 $b wards "cls a by tho arr, Tho ump sured witha my oul” 2 Use a magachons for maha one oof cardboard). Tak into tha smal end for tho sound to be ‘osteo al to te layed otha sount to bo soton, 2. Exlan tata comprar Indicates "to get ouder’—a erecendomar "0 eh wher curerens 4. Sing "Steal Anay” again this ine acing the suggested crescondos and decrescendos. 5 Greate shor pce ef muse wih lasreom instruments, sing diferent dynamic eves to provide varation or contrast. Steal Away ey eter beans on tmam-pot sounds wih - in- my fou, 1 dont have long to say. here = Experiences with Musical Forms ‘The term frm refers to how 2 composition i pu together: Most forms ar bated on teptition and conus, Repeated musiel ideas unify composions, and contasng ideas provide vay Som ofthe most cnnmon musical Forms are binary ternary, rondo, tad theme-and- Binary Form ‘Asthe name implies, musical compositions in binery farm have two principal tions: Te Fists ‘often laced, and the second ACTIVITIES 1. Sing "Home on tho Range" (p- 6) and Iston and lok or the two contrasting sections, A and B. 2. Diagram th form by having studonts placa sheet of rad (A} and Bue (8) paper onthe Dome Fundamantate of Masse | 67—— Ul swe by a section. and then thee Listening Guide: Mozart's Horn Concerto no. 3 (third movement) ents am A sect of tn many rail com : Theft, sch ements irarerrm othe A wston estar \CTIVITIES You a Many Creistmas.” Paper Letters Musical Idea 1 ocirea nesters mage mn eurmenees men te emt ne tne part a a “ “ “orchestral accompaniment A®A | Rondo For [8 rondy sim in ‘Reum athe A sexo, lw by another ont ‘om asin, The vv A section helps 9G" te eine comeing and vecsions provide vain nce musical hich ther an A section, followed by a contraing B ection re seton, and then a rerun the A tc gether an powide asec of i compotion ACTIVITIES 1. Using a cra to ken the beat ask student to walk around the oom. On a sal ey SPOS Ce avnay they walk fockward, sideways, on tiptoe, onthe Rees, ant so on. Ona s86- hd Sa toy Saud ete ote way tay walked atte begoning, Ona ea Sa. MY shoud walk aioe way 2. Rupeat novng one student hold colored carts marked ABACA. | Spevial Learner Nove fa cach card ald up stunts wan be approprt fashion eee sa 2. Laten tote third movement of Mozart Horn Concerto 0.3 e Et Major haw ta stosents rake up meverert 101300 the form Dagran tne form on te bourd wih sactons of exkred paper Se uno anns & Sd let, place ona vansparency of PowerPoint side = Fugue Form “The quis another rusia form base on petition and contest, The fine ton ofthe age b nonin an the exposition In the exposition the rb rms ea i stated i oe msl ie and ‘hen itt water musical ines. For example, in Rass “Lite” Fagus in G Minor, the melo eins inde soprano ine and then vial eens inthe alten and lines oKz. aS 8.0m 7 Listening Guide: Bach's “Little” Fugue in G Minor ‘aceon the board or on a transparency or PowerPoint side, Con tar Ein ml ated tes aio, toner) (eines eaten vor et wth capri mes pote set i conn ees ioe jet win conning eas tae Set wn acon mets ioe Stet wih accenpanng ees rain melody net Following the exposition, segment of contrasting musical ideas known as epiodes alternate with peti reruns ofthe subject. The episodes ae panticualy importan for providing variety in the ‘musical wore The ection ofthe abject from ime wo time helps te dhe muscl composition together and pore sent funy. acrivity lay a econding of Bac "Lite" Fugue in G Minor. Follow the diagram of evens inthe compus- tion ee he Listening Guide above) you wish, have students provide a vital response to theit lieing experience by asking half the clas to ase thee hands whenever they hear the subject, 2 the other halt aise shee hands whencer they ear the episodes. “Little” Fugue in G Minor im repinning.of the piece, and thereat rely vated athe bere ingeerally ft In themesand-varaion for te deen sed ey, a ih changes each ie in oer rie ‘ACTIVITIES 1. Eranina an ara em eo es — re enact On poet HA TAN CEO TAY lamp tata cannon te ce OO be. Have students pet thir nares ina ast eight diferent ways (using arent color, a er: tevapn natlrent ced secured ne, rant neo, and soon) 2. sing sons “Spies Explore was of crating variety nthe ong by singing taster ~~ Siomple Gift staring pitch € ater 214, bein on 2 pavass (9M to be simple, ts ne git tobe fea, Tie thet 10 come down where you wan to be, Ard when wet our setves in 0 place igh, Tw be inte valley of love and de- +— os s shamed, Tot, turn wil be cur d= Sgh, TH by tum ing, tun -ing we come ound Fgh 3. ston o Variations on “Simple Gis” rom Aaron Coplan's ballet Appalachian Spring. This ‘chest selection which s based on the “Simple Gis” melody, east in theme-and-varition form, Listen caret to see you can idetty ways mn whch the compose” changes each appearance of the tune, poser cman mantale of music | 71Listening Guide: Copland’s Appalachian Spring. Variations on “Simple Gifts" ransparency oF PowerPoint slide. ple Gifts" Played on the Clarinet fen Simple Gifts in oboe and aceon te bord. orn 2 DD treme [Bl veitonvran toa none ctr baucon a wison2 veto ents intone al Sie GE ts mens heme samen REE Variation Vacation contrast ntar exer with Simple isin rope Eq vrsions— vran fans inter wih Sie In cnet and vation ‘aration (onan tone clr ad etre with “Simple Gin the fulloreeta 2, Place pete of he following Instruments onthe bulletin board: ‘Colne ‘Spetal Learnr Ka Bowcon ec peeedmke Soins ot, 8, cel bss) Sostoaed req te ang bak students to petand tat they ae playing 2 caine, vo, oF tig wh por al * tovget hav tom hon oe Go nl instruments, fer"par «. Reuse toto Copan Vrain on Sipe ith tam leach varaon _and point to picture(s) of the instrument(s) used in that variation. cro each vara Inte rating Technology ; (Wise the Masi Pca » Rewwtce Center) Web Resources 1 Access music foiation and musi ation and music theory saiware by using the lnks provided, Video ss Wah casroom ids, access the YouTube playlist and fi video and D apply the chapter content V1 sess that aw 1 Dowload muse dscuse in his chapter fom the Tunes (worwApplecomfitanes tlowatoad) and Rhaprady (one ehapsodycom)playlis # Download fre aulio MP3s forthe songs noted in the chapter. === Questions for Discussion —————— 1. Billy define the Following musical concep: = Réythm + Melody + Texute + Timbre (one color) + Dynamics + Form Discus expesiences with vythn thar you could present inthe classroom. ‘Discus eapeiences with meldy that you could present inthe clastoom. Discuss experiences with musi exrure that you could pesent in the classroom. Discus cxperinces with musi timbre (tne col that you could presenti the classroom. Discus experiences with musial dynamicr that you could present in the classroom. Discus experiences with nusicsl form thar you could present inthe classroom. —————————_—_—_—_————SSS== Fundamontate of Muate | 7