Page |1

Republic of the Philippines

President Ramon Magsaysay State University
(Formerly Ramon Magsaysay Technological University)
Zambales, Philippines
Tel/Fax No.: (047) 811-1683

College/Department College of Teacher Education

Course Code ESC 1
Course Title Teaching Music in the Elementary Grade
Place of the Course in the Program General Education
Semester & Academic Year First Semester, AY 2020-2021

Module I.
Introduction

This course is an overview to the basic concepts of studying music. The course includes
definition of music, its importance, and the different symbols used in music.

Intended Learning Outcomes

The student will be able to:

1. understand the meaning and significance of music;

2. give worth or value to the fundamental concepts of music; and
3. identify and differentiate the different symbols used in music.

CHAPTER I
INTRODUCTION OF MUSIC

A. DEFINITION OF MUSIC
1. It is an art.
2. The language of the soul.
3. The art of combining sounds or tones for reproduction by the voice or by various kinds
of musical instruments in rhythmical, melodic and harmonic form so as to affect the
emotions.

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B. IMPORTANCE OF MUSIC:

a. It is an effective means of developing nationalism.

b. It is a worthy leisure activity.
c. It is a means of developing international friendship and understanding.
d. It is means of self-expression.
e. It is means of communicating with God.
f. It is a means of studying culture.
g. It is a profession or vocation.
h. It is used in medical therapy.
i. It is a means of developing discipline.

C. DIFFERENT SYMBOLS USED IN MUSIC:

1. Pitch names – the 1st seven letters of the alphabet (A, B, C, D, E, F, G)

2. So-Fa syllabus –do, re, mi, fa, so, la, ti, do

3. Staff –a set of 5 horizontal lines and spaces between them on which notes can be placed to
show the pitches of musical tones.

4. Ledger lines - added lines below or above the staff to accommodate notes that are beyond the
staff.

5. Bar line - a vertical line drawn through the musical staff. The strong accent falls on the beat
and the next is called a bar since it measures the distance from one measure accent to another-a
measure.

* Measures are sets of notes, typically grouped by meter. Bar Lines show us where one measure
finishes and a different one starts.

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There are different types of Bar Lines, each with a different function:

A Single Bar Line is the normal Bar Line, it tells us A Double Bar Line shows there is there is a major
where the measures are: change in the music, such as a new musical section
or new time signature:

A "Final" Double Bar Line shows that the piece of music is over:

6. Clef -a sign placed at the beginning of each musical staff to fix the pitches of notes or the
staff.
a) G-clef – a clef placed at beginning of the staff.
* The treble clef is also called the “G clef” because the symbol at the
beginning of the staff (a stylized letter “G”) encircles the second line of
the staff, indicating that line to be G4 (or G above middle C).

Among the instruments that use the treble clef are the violin, flute, oboe, clarinets,
saxophones, horn, trumpet, xylophone, and also used for the guitar. It is the upper staff of the
grand staff used for harp and keyboard instruments.

When the treble clef is indicated, the lines and spaces represent the following notes:

b) Bass clef – a clef placed at beginning of the staff.

*The bass clef is also called an F clef because it wraps around the

highest F note (F3–the F below middle C) on the bass staff.

Among the instruments that use the bass clef are the cello, euphonium, double bass, bass
guitar, bassoon, contrabassoon, trombone, baritone horn, tuba, and timpani. It is also used for the
lowest notes of the horn, and as the bottom staff in the grand staff
for harp and keyboard instruments.

When the bass clef is indicated, the lines and spaces represent the following notes:

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7. Accidentals -signs used in music to indicate the raising or lowering of a tone.

Accidentals are placed before a particular note.
a. Sharp -raised a note by a half step
b. Flat -lowers note by a half step
c. Natural -cancels the effect of sharp or flat

8. Note -a term used both to describe a given pitch and the sign used to indicate the value of a
note.

a. whole note – 4 beats

b. half note – 2 beats
c. quarter note – 1 beat
d. eight note – 1/2 beat
e. sixteenth note – 1/4 beat

9. Rest - A sign which denotes silence or pause. Notes and rests of the same kind have the same
value.

a. whole note – 4 beats

b. half note – 2 beats
c. quarter note – 1 beat
d. eight note – 1/2 beat
e. sixteenth note – 1/4 beat

10. Dot - Placed after a note or rest which increases its value by one half.
For example:
A half note is worth 2 beats.
When a dot is added, the dot
is worth ½ of 2 beats (1
beat). Therefore, a dotted
half note is worth 3 beats.

11. Tie - a curved line connecting two or more notes of the same pitch

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Quarter note tied to a half note will be held for 3 beats.

Dots and Ties

12. Time signature – it looks like a fraction and it is placed at beginning of the staff. They tell
you how many beats there are in a bar, and what type of beat it is. It gives you information
regarding how many beats are in a measure and which note value gets the beat.

The top number represents the number of beats in a measure and the bottom number is
which note value gets the beat.

For instance, 4/4 means that there are 4 beats in a measure and the quarter note (1/4) gets the
beat; four quarter notes per measure.

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4/4 Time Signature

Activity 2

Draw the following different symbols used music:

1. Staff __________________________
2. G – Clef _______________________
3. Ledger Lines ___________________
4. Bar Line _______________________
5. Bass Clef ______________________

Activity 3

Draw the staff below then place and identify the singing names the so – fa
syllables and the pitchnames.

In another example we have 3/4. This means that there are three beats per measure, and
the quarter note counts as one beat.

3/4 Time Signature

3/4 = Three quarter notes per measure, quarter note gets the beat.

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4/4 = Four quarter notes per measure, quarter note gets the beat.
5/4 = Five quarters notes per measure, quarter note gets the beat.

The most common type and a general standard practice is to give the quarter note the beat
in most songs, time signature with 4 on the bottom.

Other Time Signatures

Since the bottom number represents the note value that gets the beat, we clearly need to
understand which numbers indicate which note values. Here are some:

6/8 = Six eighth notes per measure, eighth note gets the beat.
3/8 = Three eighth notes per measure, eighth note gets the beat.
2/2 = Two half notes per measure, half note gets the beat.

13. Slur – a curved line connecting two or more notes of different pitch. A tie joins the durations
of two notes of the same pitch, so that the first note is heard for the total duration of the two tied
notes. A slur is different from a tie. A slur groups the notes together into a musical phrase that is
interpreted by the performer.

Activity I.

On a clean sheet of paper, draw the staff and place the different notes or tones in lines or
in the spaces from lower do to higher do.

*With the created group chat messenger, video lectures and further instructions will be
provided.

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Suggested Readings:

You can have a reading to these given links:

https://www.musicnotes.com/

https://www.cinderzelda.com/musictutor/pitch/accid.htm

https://www.scribd.com/presentation/421603089/Notes-and-Rest-Values-pptx

http://www.epianostudio.com/2008/10/31/lesson-time-signature-quarter-note-half-note-
whole-note/

http://musictheorysite.com/time-signatures/

http://musictheorysite.com/time-signatures/

https://www.dummies.com/art-center/music/guitar/how-to-read-syncopation-in-guitar-
notation/

https://www.notation.com/MusicianDocs4/slurs_(phrase_marks).htm

Resources and Additional Resources

Bautista, Magdalena B. & Villalon, Felicidad R. An Introduction to Music

Gloria, Loreto. 1989. Music for the Classroom Teachers. PNC

Sorneo, Higino A. 1993. Teaching the Fundamentals of Music. NBS, INC.

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Republic of the Philippines

President Ramon Magsaysay State University
(Formerly Ramon Magsaysay Technological University)
Zambales, Philippines
Tel/Fax No.: (047) 811-1683

College/Department College of Teacher Education

Course Code ESC 1
Course Title Teaching Music in the Elementary Grade
Place of the Course in the Program General Education
Semester & Academic Year First Semester, AY 2020-2021

Introduction

Most historians agree that music started with the beating of a rhythm. It is along with
other many sounds which are in harmony with each other. This chapter discusses the elements of
music as follows: rhythm, melody, harmony, dynamics, instrumental forms, and texture of
music.

Intended Learning Outcomes

The student will be able to:

1. understand the different elements of music; and

2. discuss all about the elements of music such as rhythm, melody, harmony, and others.

CHAPTER II
ELEMENTS OF MUSIC

A. RHYTHM
- A flow measured movement of music
- Notes
1. Whole note
2. Half note
3. Quarter note
4. Eight note
5. Sixteenth note

- Rests
1. Whole rest
2. Half rest
3. Quarter rest
4. Eight rest

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5. Sixteenth rest
- Beat – is a point in time. It is the pulse of music.

- Meter – regular occurrence of accented and unaccented beat

Ex. Very strong weak strong weak

- Rhythmic pattern – any grouping of notes of the same or different durations in

any given time signature
Ex. 4
4

- Duration – refers to the length of a tone

- Kodaly method uses the following symbols to indicate the
duration.
Ex.
= clap = open arms

= clap plus one forward movement

- Rhythmic syllables – it is used to recite notes and rests of different durations

Ex. da rest didi

B. MELODY - a succession of tones arranged in such a way as to give a musical sense

Properties of Melody
1. It moves according to rhythm
2. It has a direction
3. It may be a low register and high register – (Voice box)
4. It has a dimension – (range)

- Kodaly Method – is used here to teach the song. This method was devised by
Zoltan Kodaly of Hungary.

Properties of a tone:
- Pitch - the highness or lowness of an tone
- Duration – the length of tone
- Intensity – the volume of tone
- Timbre or tone color – quality of tone
Exercise: Kodaly method (hand movement)

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C. HARMONY – is the sounding of a series or group of tones at the same time or

simultaneously.
-Voice - Voice classification
Female voice – soprano, alto
Male voice – tenor, baritone, bass
-Chord, triad
-C Major Scale

D. DYNAMICS – refers to the loudness & softness of sound

pp - pianissimo – very soft
p – piano – soft
mp – mezzo piano – half soft
mf – mezzo forte – half loud
f – forte – loud
ff - fortissimo – very loud
< - crescendo – gradually becoming louder
> - decrescendo - gradually becoming softer

- Interpretation – is the re-creation of composers work. To interpret properly, it is necessary for

one to sense the message of the composer. It is important in expressive singing.

- Tempo – the speed of the composition

Tempo Marks:
1. Largo – very slow
2. Adagio – slow
3. Andante – walking pace
4. Andanito – a little faster than andante
5. Allegreto – moderately fast
6. Allegro – fast
7. Presto – very fast
8. Accelerando – gradually becoming faster
9. Ritardando -gradually becoming slower

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TIMBRE – TONE COLOR

The character of the tone produced by an instrument is called timbre, the fourth element
of music. Each instrument and each type of human voice has its own quality of tone or color. The
timbre of a violin differs from that of a clarinet; the soprano tone quality is different from the
alto. A composer uses instruments of different timbres in order to depict musical pictures,
emotions, ideas, etc.
The modern symphony orchestra consists of 4 groups of instruments with different tone
colors or timbre.

THE SYMPHONY ORCHESTRA

The modern symphony orchestra is one of the most challenging mediums a composer of
serious music has to work with. It is capable of expressing all kinds of human emotions on varied
dynamic levels or tonal possibilities.

Our orchestras today usually number between 80 and 100 players and its basic make-up
is essentially the same as it was when it reached its peak of development about one hundred
years ago under Richard Wagner. The symphony orchestra is composed of all the various
members of the four instrumental families as shown above. The leader of the first violin section
is called the Concert Master. He is responsible for all solo violin passages and often acts as
assistant conductor in the absence of the regular conductor.

Every orchestra has a CONDUCTOR who is the main coordinator of the combined
efforts to all the players. It is the conductor’s job to seek out the proper meaning and balance of
each individual part and transmit his interpretation to the players by the use of his hands, facial
expressions and various body movements. He usually stands on a small box-like platform called
PODIUM and conducts with thin stick called BATON. The music for the orchestra is called
SCORE. It has the music for every instrument written in it.

Nowadays we have many opportunities to listen to fine orchestras at live concerts, over
the radio and television and from records. For example, there are free concerts at the Rizal Park
featuring the Manila Symphony Orchestra. We can appreciate and enjoy the music more, if we
will be able to recognize the instruments by sight and sound and have some ideas to what to
expect from each.

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E. INSTRUMENTAL FORMS

FORM IN MUSIC – the design or shape into which musical materials are molded. It is a
plan of the structure of music.

Parts of Composition
*Figure - the smallest unit in a musical composition.

*Motive or motif - a melodic fragment constituting the ‘cell’ of a musical composition. It is

similar to figure but is more characteristic of the melodic line. It presents the prevailing idea the
composer wants to convey.

*Section- made up of motif and a figure.

*Phrase- a segment of melody, comparable to a sentence or a clause in grammar. It is

composed of two sections.

*Period- union of two phrases. The first phrase is the “antecedent,” the second is the
“consequent”.

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*Musical Ending:

a.) Cadence- harmonic or melodic progression of notes or chords at the end of a musical
phrase or section, conveying the idea of a conclusion.
b.) Da Capo (D.C.) - a direction to repeat a passage or movement from the beginning.
c.) Dal Segno (D.S.) - a direction to repeat a passage from the sign.
d.) Other signs for repetition
1. Repeat the music from the beginning.
2. Repeat the music between this marked.

Some of the more important instrumental forms are:

A. SONATA
A SONATA is a long composition for solo instrument, consisting of large sections called
movements.

Ex.: SONATA IN C MAJOR

Composer – Wolfgang Amadeus Mozart

This has three movements, namely:

1. ALLEGRO
2. ANDANTE
3. RONDO

The first movement of this sonata is in sonata-allegro form. It has three parts:

1. The Exposition involves two principal melodies called THEMES, which are
contrasting in character.
2. In the DEVELOPMENT various materials are expanded and developed.
3. The RECAPITULATION is a repetition of the exposition, except that the second
theme appears in the same key. (C major)

B. SUITE - is a series of pieces that tells or follows a story. Music that tells stories is called
Program music, while music that has no story is called ABSOLUTE music.
Ex.: NUTCRACKER SUITE.
Composer – Peter I Tchaikovsky
Played by Boston Pops Orchestra
Conductor – Arthur Fiedler

SECTIONAL FORMS OF MUSIC

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1. Strophonic form (A-A-A) - used in hymns and traditional ballads, in which different poetic
strophes are set to the same melody.
2. Binary form (A-B) - uses two contrasting sections.
3. Ternary form (A-B-A)-a 3-part song form in which the final statement of A is not written
out, but the performer simply follows the instruction to repeat the first part.
4. Rondo form (A-B-A-C-A OR A-B-A-B-A) - used in 18th century independent pieces. The
structural principle of the rondo is that of a recurring section which forms the framework for
various presentations of new schemes or episodes.
5. Theme and variation form (A-A-A-A-A)- The repetition of a theme with different melodic ,
harmonic ,or rhythmic decorations.
6. Sonata Allegro - complicated ternary form. A form based on the expositions of themes, their
elaboration or development and recapitulation of the themes in the original key.
7. Through-Composed – the structural plan is predetermined by the text that is why this
principle is word generated and word oriented.
8. Free form - does not follow any traditional forms .the form is based on the fancy of the
composers.

CONTRAPUNTAL FORMS
1. Canom - one or more voice imitate a leading voice.
2. Fugue - It begins with a theme in the first voice, then answered by a different voice part
in another key. This form used many modulations and development of the theme.
3. Invention - A contrapuntal composition based on one idea or invention.

VOCAL FORMS OF MUSIC

1. Folk song - A song that has become a part of heritage of a group or nation.
2. Hymn - A religious song of prayer.
3. Art song - A form of chamber music in which a composed accompaniment is an integral
part of the song. Ex. Kundiman
4. Song cycle - A group of songs by one composer based on poems all written by the same
poet.
5. Oratorio - A dramatic but unstaged telling of a biblical or religious story. Like an opera
it requires solo singers, vocal combinations, a chorus and an orchestra. No scenery,
costumes and actions Ex. “The messiah” by Handel.
6. Opera - A dram in which the moods and emotions are heightened by combining the
singing of the words with orchestral accompaniment stage action, and scenic effects. The
text of an opera is called ‘ libretto’. In most operas all the words are sung, but in some
there is spoken dialogue.
7. Operetta - A gay, tunefull ” Little opera “. Its story is usually sentimental one with a
happy ending, all though some operettas are comic or satirical. The dialogue is always

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spoken, so that an operetta is much like a play with vocal solos, duets, and choruses
added in.

F. THE TEXTURE OF MUSIC

Music has texture too. Just as threads are woven into different cloth textures, so are notes
woven into different musical textures.

TEXTURE- a relationship of melodies (horizontal) and harmonic (vertical) elements in music

which produces qualities of lightness or heaviness; thickness or thinness in the musical fabric.
There are three kinds.

1. Monophonic music consists of a single unaccompanied melodic line. Listen to this Gregorian
Chant. RESURREXIT.

2. Homophonic or harmonized music consists of melody accompanied by chords.

3. Polyphonic music consists of several melodic lines simultaneously sounding. A FUGUE is an

example of polyphonic music. There is a melody called subject that is imitated in the different
voices. Here is how the subject may appear.

Soprano Tenor Alto Bass

* These three kinds of texture may be used in one composition as in Handle’s “Hallelujah
Chorus”.

Johann Sebastian Bach (1685-1750) is the greatest composer of instrumental polyphonic

music.

Activity 1.

Sing the “Kodaly method” while using hand signal. With the created group chat
messenger, video lectures and further instructions will be provided.

Resources and Additional Resources

Bautista, Magdalena B. & Villalon, Felicidad R. An Introduction to Music

Gloria, Loreto. 1989. Music for the Classroom Teachers. PNC

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Sorneo, Higino A. 1993. Teaching the Fundamentals of Music. NBS, INC.

Activity 2.

Write the meaning of the following dyamic marks and the tempo marks:

1. pp ________________________
2. ff _________________________
3. mf ________________________
4. mp ________________________
5. f __________________________
6. p __________________________
7. > __________________________
8. < __________________________
9. Allegro _____________________
10. Presto ______________________

Activity 3

In the symphony Orchestra, identify the group of instruments such as;

string, percussion, woodwind, and brass wind.

1. Bass drum _____________________

2. Violin________________________
3. Bassoon _______________________
4. Clarinet _______________________
5. Viola _________________________
6. Triangle ______________________
7. Slide _________________________
8. Flute _________________________
9. Oboe _________________________
10. Piccolo _______________________

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Republic of the Philippines

President Ramon Magsaysay State University
(Formerly Ramon Magsaysay Technological University)
Zambales, Philippines
Tel/Fax No.: (047) 811-1683

College/Department College of Teacher Education

Course Code ESC 1
Course Title Teaching Music in the Elementary Grade
Place of the Course in the Program General Education
Semester & Academic Year First Semester, AY 2020-2021

Introduction

Most historians agree that music started with the beating of a rhythm. It is along with
other many sounds which are in harmony with each other. This chapter discusses the elements of
music as follows: rhythm, melody, harmony, dynamics, instrumental forms, and texture of
music.

Intended Learning Outcomes

The student will be able to:

1. demonstrate understanding in the art of singing; and

2. perform simple singing activity using the different factors in singing

CHAPTER III
THE ART OF SINGING

THE VOICE

Our voice is produced by the vibrations of the vocal chords in our voice box. Since the
sound produced by these vibrations is not loud enough, there is a need for resonators. These
resonators are hollow enclosures with bodies of air that vibrates sympathetically with another
body thus, increasing the volume of our voice. Our lungs, esophagus, head and mouth cavities
serve as resonators; hence the position of our body, head and mouth should be such that air can
vibrate freely.

CORRECT POSTURE

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When singing, one should stand erect in order to allow the air in the different cavities of
the body to vibrate and flow freely. Furthermore, keeping one foot forward wil help maintain
body balance. When seated, one should keep his back away from the chair taking a position as
though he is about to rise from it.

CORRECT BREATHING
The method of breathing is of vital importance in singing. The quality and volume of the
voice depend a lot on it. Breathing should be diaphragmatic. This means that the breath should
be supported by the diaphragm, a membrane separating the thoracic from the abdominal cavities.

There are two processes involved in breathing:

1. Exhalation – This is the act of putting out air. When we exhale, the diaphragm and
the muscles around it contract. Try this for experiment.
Open your mouth and put one of your palms in front of it. You will feel warm
air. That is the breath you are exhaling. Do it again. This time, put the other
hand near the location of the diaphragm. You feel the muscles receding.
Repeat. This time, sing “ah” with the pitch of A. You are exhaling, when you
sing.

2. Inhalation – This is the process of taking in air. Try this experiment to observe the
diaphragmatic action when you inhale. Sing “ah” on A using the technique described in
inhalation and sustain it for counts or longer. Observe what happens when you stop
singing. The muscles expand to give room for the incoming air. This is the proper thing
for us to do when we inhale.

CORRECT PLACEMENT OF THE VOICE

When singing, project the voice upwards towards the head to produce head tones.
Emphasize the use of head tones especially when teaching children. Children’s voices have a
light and floating quality when placement is correct. To develop good tone quality, avoid forcing
out the voice to prevent throaty singing. At the start, require pianissimo singing until the correct
placing of the voice becomes a habit.

DICTION
Correct pronunciation, clean enunciation, and distinct articulation in singing constitute
good diction. Pronunciation is the utterance of words with regards to sound and accent;
Enunciation is the manner oat utterance as regards fullness and clearness. Articulation is the
action of speech organs in the formation of consonants, vowels, syllables, and distinct words. In
articulating, vowels should be sustained for the maximum amount of time on every note and with

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the greater possible purity. Consonants must be articulated vigorously and rapidly with the
tongue, lips or throat muscles and with a minimum amount of breath.
Good diction is essential for the purpose of conveying the meaning of the song to the
listeners. It also acts favorably or unfavorably on the tone quality and intonation of the singer.
One way of bringing out the meaning of the song, is to sing in the manner of expressive
speaking. It is essential to subordinate the less important words or parts of words as in natural
and meaningful speech. Here is the first line of “Pilipinas Kong Mahal”.
“Ang bayan ko’y tanging ikaw”

Which words or syllables should be stressed?

INTERPRETATION
Interpretation is the re-creation of the composer’s work. To interpret properly, it is
necessary for one to sense the message of the composer, and then make that message clear as it is
sung. The text and the music convey the meaning of the songs. In interpreting, the whole body –
face, eyes, hands and others must be ready to aid the voice in conveying the meaning of the song.
Interpretation is very important n expressive singing. Without it, a song becomes dull and
uninteresting. A very simple song can be fascinating if interpreted artistically.

Activity:

Sing the song entitled “Ang Bayan Ko’y Tanging Ikaw”, applying the factors needed in
the art of singing.

*With the created group chat messenger, video lectures and further instructions will be
provided.

Resources and Additional Resources

Bautista, Magdalena B. & Villalon, Felicidad R. An Introduction to Music

Gloria, Loreto. 1989. Music for the Classroom Teachers. PNC

Sorneo, Higino A. 1993. Teaching the Fundamentals of Music. NBS, INC

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Republic of the Philippines

President Ramon Magsaysay State University
(Formerly Ramon Magsaysay Technological University)
Zambales, Philippines
Tel/Fax No.: (047) 811-1683

College/Department College of Teacher Education

Course Code ESC 1
Course Title Teaching Music in the Elementary Grade
Place of the Course in the Program General Education
Semester & Academic Year First Semester, AY 2020-2021

Introduction

This course is an overview to the basic concepts of studying music. The course includes
definition of music, its importance, and the different symbols used in music.

Intended Learning Outcomes

The student will be able to:

1. understand concepts in terms of conducting; and

2. perform conducting.

CHAPTER IV
CONDUCTING

At one time or another you must have witnessed or heard about the performance of
the Vienna Boys’ Choir. They sing so beautifully that often the listener feels he is almost
transported to heaven when watching them perform. Yet, their conductors, makes a minimum of
movements. In fact, at times he does not even conduct but accompanies them on the piano
instead. As they perform, the observer notices that each boy knows exactly what to do. What is
the secret of their success? It is, excellent musicianship acquired through proper vocal and
musical training under the guidance of their conductor and music teachers.

To be able to conduct with artistry therefore, one must train his group properly
before the performance. The conductor must study the music very well analyzing its form, style,
phrasing, dynamics, tempo etc. and then train his group vocally and musically to follow him in
interpreting the music. Conducting (therefore) is defined as the art of leading a group in the

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interpretation of a composition. This is done by using hand and other bodily movements with the
appropriate facial expression.

A conductor must first of all provide leadership, so that there will be unity of
ensemble. He does this by indicating the beats which is a point in time. The movement of the
hand (with or without the baton) is largely a movement between beats. Except for special
purposes, the hand never stops still but keeps some movements going between every beat. Let us
take up the methods usually followed in indicating the beats.

1. One in a measure. One straight down for each bar. This is used for 3/8 or 3/4 quick tempo.

2. Two in a measure: Down, up. This is used for 2/4 or 6/8 in quick tempo.

3. Three in a measure. Down, right, up. This is used for ¾ moderate of slow or fast 9/8.
3

4. Four in a measure: Down, left, right up. This is used for moderate or slow 4/4.

2 3
1

5. Six in a measure: Left, left, left, right, right, right.

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1 2 3

A. STEPS IN CONDUCTING

1. Introduction
- Play the introduction if there is any. If there is none, a gently rolled chord or the singing
of the motive will do. Before singing the motive, find the correct pitch of the first note with the
help of the pitch pipe.
2. Preparatory beat
- Raise the baton or the hands. This is just like saying, “Ready”.
3. Preliminary beat
– Before singing, the singers must be given time to take a breath. This is indicated by the
preliminary beat which is generally the beat before the attack.
4. Attack Beat
– This is the count on which the singers start singing or doing the next phrase after
breathing or pausing.
5. Release beat
– At the end of a phrase or section a release beat is given which means breath or pause.

B. INTERPRETATION IN CONDUCTING

Helen Quach, the internationally famous woman conductor has won the admiration of Filipinos
by her performances with the Manila Symphony Orchestra. To her, conducting is providing the
psychological leadership in bringing about the desired interpretation. She has the music in her mind, when
she conducts and interprets this with clear, artistically dynamic and dramatic movements. Her manner of
conducting has in most instance a hypnotic effect upon the orchestra and the audience.

What are some interpretative moments in conducting? Here are a few suggestions.
1. Long, broad, sweeping beats mean strong, full stones conveying confidence, dramatic
moments, majesty, etc.
2. Slight and short beats means soft and light tones denote play-fullness, joy, etc.
3. Heavy beats indicate determination, passion.

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4. Beats with hands near the body means care, caution, restraint.
5. Palms downward have subduing influence.
6. Palms upward with lifting movements mean power.

C. VOICE CLASSIFICATION

In teaching choruses, it is important for one to know how to classify voices, so that each
singer may be properly assigned. There are two things to consider in classifying the singing
voice .They are:

1. TIMBRE- What is the general tonal character? Two voices may be able to sing the
same high and low tones but still be differently classified because they differ greatly in quality or
timbre.
The kinds of women’s voices from the highest to the lowest are:
1. Soprano – The tone is lighter in character, less somber and frequently more flexible.
a. Coloratura
b. Mezzo soprano
c. Lyric
2. Alto or Contralto- The tone is richer and fuller.
The kinds of men’s voices from the highest to the lowest are:
1. Tenor
2. Baritone
3. Bass

2. RANGE – The following are the practical ranges that may be expected from high school
and college choirs:

a. Soprano

b. Alto

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c. Tenor

d. Bass

COMBINATION OF VOICES

1. Solo- a composition for one voice

2. Duet- a composition for two voices, usually a soprano and an alto or a contralto; or a
tenor and a bass.
3. Trio- a composition for three voices, usually a soprano a contralto and a bass; or a
tenor an alto and a bass.
4. Quartet- a composition in four voices usually a soprano an alto, a tenor and a bass.
5. Quintet- a composition in five voice parts made up of any five of the following: a
soprano a tenor a bass an alto or contralto a treble and a falsetto.
6. Sextet- a composition in six voice parts
7. Double Duet- a composition for two voices performed by two pairs of voices.
8. Double Quartet- a composition for four voices but performed by two groups of four
voices each.
9. Chorus- a composition for a number of voices to be sung in concert under the baton of
a conductor.

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10. Ensemble – the singing together of all the voices in a chorus.

Activity 1.

Do the following for each basic step in conducting the Philippine National Anthem.

A. Introduction
1. Observe the notation.
2. Name the keys in which it is written.
3. Name the first note of the song.
4. Illustrate how to find the pitch of the first note

5. Find the pitch of the first note. Use the C-pitch pipe.
6. Sing the motive of the song.

B. Preparatory Beat
1. Give the preparatory beat by raising one of your hands or both hands.

C. Preliminary Beat
1. Explain the time signature.
2. Draw the conductor’s beat.
3. Indicate the count on which the preliminary beat falls.

D. Attack Beat
1. Indicate the beat on which the anthem starts.

E. Release Beat
1. How many sections are there?
2. Divide the song into phrases.
3. Indicate the end or phrases and sections with a release beat.

*With the created group chat messenger, video lectures and further instructions will be
provided.

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Resources and Additional Resources

Bautista, Magdalena B. & Villalon, Felicidad R. An Introduction to Music

Gloria, Loreto. 1989. Music for the Classroom Teachers. PNC

Sorneo, Higino A. 1993. Teaching the Fundamentals of Music. NBS, INC

Activity 2.

Performance Test: Perform the correct conducting using 2/4, 3/4, 4/4 time signature.

Rubrics:

Voice Projection- 40%

Hands Movement- 40 %

Stage Presence- 20 %

100%

Prepared by:

APRILITA A. FORTIN, MAEd

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