Unit 1 - Rhythm

UNIT 1:
Rhythm
Table of Contents
Introduction 3
Review 4
Lesson 1: Note and Rest Values 5

Learning Targets 5
Let’s Warm Up! 5
Learn about It! 6
Check Your Understanding 10
Challenge Yourself! 10
Let’s Jam! 11
Lesson 2: Dots and Ties 12

Learning Targets 12
Let’s Warm Up! 12
Learn about It! 13
Let’s Jam! 16
Lesson 3: Rhythmic Patterns 17

Learning Targets 17
Let’s Warm Up! 17
Learn about It! 18
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Copyright © 2018 Quipper Limited
Let’s Jam! 21
Lesson 4: Simple Time Signatures 22

Learning Targets 22
Let’s Warm Up! 22
Learn about It! 23
Let’s Jam! 27
Lesson 5: Conducting Simple Time Signatures 28

Learning Targets 28
Let’s Warm Up! 28
Learn about It! 30
Let’s Jam! 35
Did You Know? 36
Web Links 36
Performance Task 37
Self-Check 39
Wrap Up 40
Bibliography 41
Glossary 42
2
GRADE 5
UNIT 1
Rhythm
Fig. 1. Rhythm is not just around you; it’s inside you too.
Photo from pixabay.com
Introduction
You may not know it, but the rhythm is something you encounter everyday. Listen to the
clanking of utensils on plates at mealtime, or the squeaking of whiteboard markers in your
teacher’s hand during class, or even the humming of car engines rolling down the road on
your way home from school.
3
Rhythm is everywhere; even inside you. Pay attention to your breathing. Listen to every inhale
and exhale. Press your fingers down on your wrist. Do you feel your pulse?
Notice how the sounds and silences come together to form patterns? That pattern of sounds
and silences is what we call rhythm. It’s one of the most important elements of music; it’s the
element that gives a song a feeling of structure.
In this unit, we’ll be discussing different concepts that will help you understand and appreciate
rhythm, and music in general, better. We’ll be discussing notes and rests, and learning about
the different kinds of notes and rests. We’ll be learning about dots and ties, as well as
rhythmic patterns and time signatures. Lastly, we’ll be learning about the act of
conducting and the movements and gestures involved.
Review
● Notes represent pitch and duration.

● Rests represent silence.
● Am
easure is the space between two bar lines.
4
Lesson 1: Note and Rest Values
Learning Targets
In this lesson, you should be able to:

● define what notes and rests are;
● identify different notes and rests visually; and
● clap out the values of notes and rests.
Right now, you’re reading a sentence. Before learning to read sentences though, you first
learned to read words. That also applies to music. But instead of words, you have notes and
rests. Before you can read musical phrases, and whole musical pieces, you have to learn how
to read notes and rests first.
Let’s Warm Up!
1. Find a partner.
2. Designate who will be partner A and partner B.
3. Partner A, think of a song, then clap out one to two measures of the song’s rhythm.
Partner B, echo the rhythm your partner clapped out, by clapping as well. Then, guess
the song.
4. After three songs, exchange roles. Partner B, clap out rhythms. Partner A, echo the
rhythm and guess the song.
5
Learn about It!
Notes are the basic building blocks of music. Each note corresponds to a specific pitch and
duration.
In this lesson we’ll be discussing four kinds of notes: the whole note, half note, the quarter
note, and the eighth note. Before we discuss the different kinds of notes though, let’s discuss
the parts of a note.
Parts of a Note
Notes have three main parts: the head, the stem, and the t ail, or flag.
The head is the part of the note that is shaped like an oval. All notes have heads that are
either all black, or hollow and white in the middle, depending on the kind of note.
The stem is a long, slender line that extends from the head. Not all notes have stems.
The tail or flag is a curved line that extends from the opposite tip of the stem. The notes with
the shortest values have tails.
Now that we know the different parts of a note, let’s talk about the different kinds of notes.
Whole Notes
A whole note is made up of only a head with a white center. Whole notes have four counts
each.
6
Half Notes
A half note is made up of a head with a white center, and a stem. Half notes have two counts
each.
Quarter Notes
Aq
uarter note is made up of a black head, and a stem. Quarter notes have one count each.
Eighth Notes
An eighth note is made up of a black head, a stem, and a flag. Eighth notes have half a count
each.
Try It Yourself
Do you remember how many counts each note has? Clap out the value of each note.
Example: Whole Note - 1, 2, 3, 4
7
Rests
If notes symbolize sound, then rests symbolize silence. Just as there are whole, half, quarter,
and eighth notes, there are also whole rests, h
alf rests, q
uarter rests, and e
ighth rests.
Whole Rests
A whole rest resembles a top hat that’s been flipped over. Whole rests receive four counts of
silence each.
Half Rests
A half rest resembles a top hat that’s right-side up. Half rests receive two counts of silence
each.
Quarter Rests
A quarter rest resembles a ‘z’ with a ‘c’ underneath. Quarter rests receive one count of silence
each.
Eighth Rests
An eighth rest resembles the number seven. Eighth rests receive half a count of silence each.
8
T
ry It Yourself
Look at this musical excerpt below. Do you see any notes? Any rests?
What kinds of notes? What kinds of rests? How many?
T
ry it Yourself
Practice adding the notes and their corresponding rests. The first one is done for you.
+
= _8_ + = ___
+ = ___ + = ___
9
Check Your Understanding
A. Identify what is being described in the following sentences. You may write your answers
on the spaces provided in the item numbers.
1. A __________ is the basic building block of music.

2. Each note corresponds to a specific pitch and __________.
3. If notes correspond to sounds, __________ correspond to silences.
4. Notes have three parts: the __________, the __________, and the __________.
5. The __________ is a rest that has a half count.
6. The __________ is a note that has four counts.
7. The __________ is a note that has one count.
8. The __________ is a rest that has two counts.
9. The __________ is a rest that has four counts.
10. The __________ is a note that has half a count.
Challenge Yourself!
Write T
rue if the statement is correct, and False if the statement is incorrect.
1. If you combine a half rest and a quarter note, you get 4 counts.
2. If you combine a quarter rest and an eighth rest, you get 2 counts.
3. If you combine a whole rest, and a half note, you get 6 counts.
4. If you combine two eighth notes, a half rest, and two eighth rests, you get 5 counts.
5. A note with a head that’s white in the center has more counts than a note with a black
head.
10
Let’s Jam!
Activity 1: Write your own short rhythm. Use 8 counts minimum, and use at least 3 kinds of
notes/rests. Clap out your rhythm.
Activity 2: Group yourselves into three. Exchange papers and clap out each other’s rhythms.
Activity 3: Put all your rhythms together to form one long rhythm. Clap out your rhythm as a
group.
11
Lesson 2: Dots and Ties
Learning Targets
● define dots;
● define ties;
● recognize dots and ties visually; and
● use ties and dots in short rhythmic compositions.
Do you know how to add? How about how to multiply? Did you know that both processes,
addition and multiplication, also happen in music? Instead of plus signs and and multiplication
signs though, in music we use dots and ties.
Let’s Warm Up!
1. Clap out 8 counts of quarter notes: 1, 2, 3, 4, 5, 6, 7, 8

2. Clap out 8 counts of eighth notes: 1 and, 2 and, 3, and 4 and 5, and 6, and 7, and 8,
and..
3. Clap out 4 counts of quarter notes, followed by 4 counts of eighth notes:
1, 2, 3, 4, 5, and 6, and 7, and 8, and..
4. Repeat number 3, but with the eighth notes first before the quarter notes.
5. Clap out quarter notes and eighth notes alternating every 2 counts:
1, 2, 3, and 4, and 5, 6, 7, and 8 and..
6. Repeat number 5, but start with eighth notes first.
7. Clap out quarter notes and eighth notes alternative every count:
1, 2, and 3, 4, and 5, 6, and 7, 8, and..
8. Repeat number 7 but start with eighth notes first.
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Learn about It!
Last lesson, we talked about notes and how each note corresponds to a specific duration or
length. While the number of counts for each note stays the same, some symbols and musical
markings can be used to combine notes durations or extend their length.
Ties
A tie is a curved line that connects the heads of notes of the same pitch. The tie works like a
plus sign in math; two or more notes connected by a tie combine their counts. For example, if
two quarter notes are tied, you clap them as one note with 2 counts.
T
ry It Yourself
1. Clap 8 counts of quarter notes: 1, 2, 3, 4, 5, 6, 7, 8
2. Tie the first quarter note to the second. Tie the third to the fourth. Tie the fifth to the
sixth. Tie the seventh to the eighth.
3. Clap the notes from number two: 1-(2), 3-(4), 5-(6), 7-(8)
4. Change the ties. Leave the first quarter note untied. Tie the second quarter note to the
third. Tie the fourth to the fifth. Tie the sixth to the seventh. Leave the eighth untied.
5. Clap the notes from number four: 1, 2-(3), 4-(5), 6-(7), 8
13
Dots
A dot is a small circular mark placed after a note. A dot’s value is half of what comes before it.
Put another way, adding a dot is like multiplying the number of counts a note has by 1.5.
For example, if you have a dotted half note, it receives a total of 3 beats, because 2 x 1.5 is 3.
T
ry It Yourself
1. Clap 8 counts of quarter notes: 1, 2, 3, 4, 5, 6, 7, 8
2. Alternate quarter notes and eighth notes every count for 8 counts:
1, 2 and, 3, 4 and, 5, 6 and, 7, 8 and
3. Dot notes 1, 3, 5, and 7.
4. Clap the rhythm from number 4: 1--, and, 3--, and, 5--, and, 7--, and
What do you notice about the rhythm? Does it sound familiar to you?
Do you notice that in the activity above the dotted quarter notes are partnered with eighth
notes?
T
ry it Yourself
1. Clap 8 counts of quarter notes: 1, 2, 3, 4, 5, 6 ,7, 8
2. Alternate quarter notes and eighth notes every count:
3. 1, 2 and, 3, 4 and, 5, 6 and, 7, 8 and
4. Tie notes 1, 3, 5, and 7 with the eighth notes that come right after them.
5. Clap the rhythm formed in number 4: 1--, and, 3--, and, 5--, and, 7--, and
Do you notice any similarities between the rhythm formed in this Try it Yourself section and
the one before it?
14
Identify what is being described in the following sentences. You may write your answers on
the spaces provided in the item numbers.
1. A __________ is a curved line that connects two or more note heads of the same pitch.
2. A __________ is a circular musical marking placed after a note.
3. A __________ acts like the plus sign in math.
4. A dot’s value is __________ the value of what comes before it.
5. A quarter note tied to an eighth note has __________ counts.
6. A dotted half note has __________ counts.
7. An eighth note tied to a half note has __________ counts.
8. An eighth note tied to a quarter note has __________ counts.
9. A half noted, tied to a quarter note, has the same number of counts as a dotted
__________ note.
10. A quarter note tied to a dotted half note has __________ counts.
Challenge Yourself!
Write True if the statement is correct. If the statement is incorrect, change the underlined
word or set of words to make the statement correct. You may write your answers on the
spaces provided before the item numbers.
__________ 1. A dotted quarter note and a quarter note tied to a half note have the same
number of counts.
__________ 2. A dotted half note and a half note tied to a
quarter note have the same number
of counts
__________ 3. A dotted half note and two dotted eighth notes tied together have the same
number of counts.
__________ 4. A quarter note has the same number of counts as two eighth notes tied together.
__________ 5. A half note has the same number of counts as an eighth note tied to a dotted
q
uarter note.
15
Let’s Jam!
Write your own short rhythm. Use a minimum of 8 counts. You are required to use at least
one dotted quarter note, and one dotted half note. Also, you are required to use at least
one tie.
16
Lesson 3: Rhythmic Patterns
Learning Targets

● define what a rhythmic pattern is;
● recognize rhythmic patterns in musical excerpts; and
● compose simple rhythmic patterns.
Have you ever listened to a piece of music and thought “I’ve heard this before”? Chances are,
you have.
Let’s Warm Up!

1. Get a partner.
2. Designate who will be parter A, and who will be partner B.
3. Recall the song Pamulinawen.
4. Partner A, clap the rhythm of the song. Stop every 8 counts. Partner B, echo the rhythm
partner A claps.
5. Switch roles.
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Learn about It!
When we hear something and feel like we’ve heard it before, it usually because we’ve heard
something familiar. This happens because our brains are wired to detect patterns in the
things we hear, even in music. One of the kinds of patterns our brain detects easily is the
rhythmic pattern.
A rhythmic pattern is a specific arrangement of notes and durations that repeats in music.
The repetition is important because the more often a pattern repeats, the easier it is to detect
it, and the easier it is to remember it.
Think of the nursery rhymes and children’s songs you learned when you were younger. Do
you notice that many of them are short and repetitive? This is to make it easier to study and
recall them.
Look at this excerpt of the nursery rhyme Twinkle Twinkle Little Star.
Look at the arrangement of notes. The pattern consists of six quarter notes, followed by a half
note. Is it the same as the pattern in the excerpt below?
18
T
ry It Yourself
The two excerpts of Twinkle Twinkle Little Star shown above have identical rhythmic patterns.
Print out a copy Twinkle Twinkle Little Star, and see if you can find other phrases in the song
that make use of the same rhythmic pattern of 6 quarter notes and a half note.
How many times does the rhythmic pattern repeat in the song?
Another reason rhythmic patterns are important is because patterns give a song or a piece of
music a sense of structure, in the same way that a house needs pillars to stay standing. The
sense of structure helps keep the music moving forward.
T
ry It Yourself
Go online. Look for a copy of Bach’s Minuet in G Major and print it out. Look for the piece on
Youtube. While the song plays, look at the sheet music and follow with your eyes. Pay close
attention to the rhythmic patterns, especially those that repeat often.
What arrangement of notes forms the repeating pattern in the piece?
T
ry it Yourself
List down three songs you know where you can identify rhythmic patterns. Look for copies of
the sheet music for the three songs, and, using a highlighter, mark the repeating patterns.
Is it easy or difficult identify rhythmic patterns? What makes it so?
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1. Our brains are wired to detect __________.

2. One of the main patterns we can detect in music is the __________.
3. A __________ is a specific arrangement of notes and durations that repeats in music.
4. Repetition is important because the more often a pattern repeats, the easier it is to
__________ it.
5. A rhythmic pattern gives a piece of music a sense of __________.
6. Rhythmic patterns keep the music moving __________.
7. __________ rhymes and __________ songs make use of a lot of rhythmic patterns.
8. The rhythmic pattern used in Twinkle Twinkle Little Star repeats __________ times.
9. In the folk song Leron Leron Sinta, the rhythmic pattern used in “leron leron sinta, buko ng
papaya” repeats itself in ____________________.
10. In the national anthem, the rhythmic pattern used in “bayang magiliw, perlas ng
silanganan” repeats itself in ____________________.
Challenge Yourself!
Write T if the statement is correct, and F if the statement is incorrect. You may write your
answers on the spaces provided before the item numbers.
_____ 1. A rhythmic pattern helps give a piece a sense of structure.

_____ 2. Our brains are wired to neglect patterns.
_____ 3. The rhythmic pattern of 6 quarter notes followed by a half note repeats 8 times in the
song Twinkle Twinkle Little Star.
_____ 4. A rhythmic pattern is a random arrangement of notes and durations.
_____ 5. There are no repeating rhythmic patterns in the national anthem of the Philippines.
20
Let’s Jam!
Compose a short rhythmic pattern using a minimum of 8 counts. Use at least two dotted
quarter notes, and 2 quarter rests. Get a partner, and combine your rhythmic patterns.
Perform your combined rhythmic pattern in front of class. Repeat the combined pattern four
times.
21
Lesson 4: Simple Time Signatures
Learning Targets

● define what a time signature is;
● recognize simple time signatures visually;
● differentiate between 2, 3 and 4; and
4 4 4
● compose basic rhythmic patterns given a specific time signature.
Do you know the song Bahay Kubo? How about the song Pamulinawen? Have you tried
clapping along to both songs? Did you notice that the clapping patterns used are different?
Let’s Warm Up!
1. Find a partner.
2. Designate who will be partner A and who will partner B.
3. Partner A, count “1, 2.” Partner B, count “1, 2, 3.” Continue counting for 12 counts.
4. Partner A and Partner B, switch roles. Partner A, count “1, 2, 3.” Partner B, instead of
counting “1, 2,” count “1, 2, 3, 4.”
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Learn about It!
The reason Bahay Kubo and Pamulinawen use different clapping patterns is because the two
songs use different t ime signatures.
A t ime signature is a musical marking made up of two notes stacked on top of each other.
The upper number tells us how many counts there will be in each measure of a piece of
music. In the example to the left, the upper number is 3, which tells us that each measure has
3 counts.
The lower number, on the other hand, tells us what kind of note receives one count. 1
corresponds to a whole note. 2 corresponds to a half note. 4 corresponds to a quarter note,
and 8 corresponds to an eighth note. In this example, the lower number is 4, which tells us
that the note that receives one count is a quarter note.
The song B
ahay Kubo is in 3 while the song Pamulinawen is in 2.
4 4
Simple vs. Compound
Time signatures can be classified into simple or compound. However, in this lesson we’ll only
be discussing simple time signatures. To know if a time signature is simple, simply check the
upper number. If the number is less than 6, and divisible by 2 or 3, then the time signature is
simple. In this lesson, we’ll be discussing the three most common simple time signatures you
are bound to encounter in your studies: 2, 3, and 4.
4 4 4
23
T
ry It Yourself
Identify whether the time signatures below are simple or not. Write S for simple and NS for
not simple.
2 = ___ 6
= ___ 5
= ___ 3 = ___ 4
= ___ 12 = ___
4 8
8 2
4
8

Simple Time Signatures
The 2 time signature is also called the simple duple time signature because it is
4

the simple time signature that has two counts per measure. Well-known songs that make use
of this time signature include P amulinawen and Magtanim ay di Biro.
The 3 time signature is also called the simple triple time signature because it is
4

the simple time signature that has three counts per measure. Well-known songs that make
use of this time signature include Bahay Kubo and Paru-parong bukid.
24
The 4 time signature is also called the simple quadruple time signature because
4

it is the simple time signature that has four counts per measure. A well-known song that
makes use of this time signature is the nursery rhyme Twinkle Twinkle Little Star.
T
ry It Yourself
Find a partner. Think of a Filipino folk song that has not yet been mentioned above, and
discern what time signature is used in the song.
Perform the song in front of the class, with one partner singing, while the other counts along
softly.
T
ry it Yourself
Go online and research the Filipino dance called the Tinikling. Discern what time signature the
dance is in.
Look for a song with the same time signature, and dance the Tinikling to the song.
25
heck Your Understanding
C
1. A __________ tells us what how many counts each measure has, and what kind of note
receives one count.
2. A time signature is made of __________ numbers stacked on top of each other.
3. The __________ of a time signature tells us what kind of note receives one count.
4. The __________ of a time signature tells us how many counts each measure of a piece
has.
5. Time signatures can be divided into two: __________ or __________.
6. A __________ time signature has an upper number that is less than six and is divisible by
2 or 3.
7. A simple quadruple time signature is the __________ time signature.
8. A simple duple time signature is the __________ time signature.
9. A simple triple time signature is the __________ time signature.
10. Bahay Kubo is in a __________ time signature, while Pamulinawen is written in a __________
time signature.
hallenge Yourself!
C
Write T if the statement is true, and F if the statement is false. You may write your answers on
the spaces provided before the item numbers.
_____ 1. The simple duple and simple quadruple time signatures are the same.
_____ 2. The song Ili-ili Tulog Anay is written in a simple duple time signature.
_____ 3. The song Si Filemon is written in a simple triple time signature.
_____ 4. The song Bahay Kubo is written in a simple triple time signature.
_____ 5. A time signature is made up of 3 numbers side by side.
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Let’s Jam!
Activity 1: Compose a short rhythmic pattern in a simple duple time signature. Use at least 4
measures, and two dotted quarter notes.
Activity 2: Form a group of four and combine all your rhythmic patterns. Perform the
combined pattern in front of the class.
Activity 3: Choreograph a short dance to go with your combined rhythmic pattern, and
perform it in front of the class.
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Lesson 5: Conducting Simple Time Signatures
Learning Targets

● define what conducting is;
● conduct in simple time signatures;
● respond to conducting gestures by singing in time with a group; and
● lead small groups in singing using conducting gestures.
Have you ever seen an orchestra perform live? How many instrumentalists were there? 30?
40? 50? A regular orchestra has anywhere between forty and a hundred players. With that
huge a group, how do they all stay synchronized?
Let’s Warm Up!
1. Get a partner. Designate who will be partner A, and who will be partner B.
2. Partner A, count “1, 2,” aloud. Partner B, raise your arms to prepare. At the first beat,
drop your forearm. At the second beat, bring it back up to your starting position.
Continue for 16 counts.
3. Repeat number three, but switch roles. Partner B, count aloud. Partner A, move your
arms in time with the counting.
4. Partner A, count “1, 2, 3,” aloud. Partner B, raise your arms to prepare. Move your arms
in the shape of a triangle, one side per count. On the third count, you should be back at
your starting position. Continue for 24 counts.
5. Repeat number three, but switch roles. Partner B, count aloud. Partner A, move your
28
6. Partner A, count “1, 2, 3, 4,” aloud. Partner B, raise your arms to prepare. Move your
arms in the shape of a diamond, one side per count. On the fourth count, you should
be back at your starting position. Continue for 16 counts.
7. Repeat number seven, but switch roles. Partner B, count aloud. Partner A, move your
29
Learn about It!
When orchestras play, one of the biggest challenges is staying synchronized, especially with all
the changes in speed and volume that happen in one piece. The way they manage this is by
having a leader that they can all follow.
This leader is called the conductor. The conductor is in charge of keeping time for the group,
by using conducting gestures. Conducting gestures are special arm and hand gestures that
conductors use to lead a group.
Did you notice that the conductor was holding something? That thin, wand-like tool is called a
baton. Batons are used most often by orchestra conductors because it makes it easier to see
the gestures of the right hand from a distance.
Some conductors though don’t use batons. This is usually for smaller groups like choirs. This
is because all performers are relatively close and can see the conductor’s hands. Not using a
baton leaves the hand free to use a wider range of expressive gestures.
Pointers for Proper Posture

Before we aspiring conductors can even begin to study conducting gestures, we first need to
make sure our posture is correct, because a well-executed conducting gesture can be ruined
by poor posture.
Here are some pointers for good conducting posture:
● Stand straight. Make sure you aren’t slouching, but avoid being rigid or stiff.
A good exercise is to pretend that there is a string attached to the top of your head, and
someone is pulling it gently upward.
● Make sure your head is centered, not pointing upward or downward, not too far
forward or back. Imagine your head sitting right on top of your spine.
● Your arms should be close to a 90-degree angle, with your palms facing forward, like
you’re getting ready to push an object forward.
● Make sure your knees aren’t locked or overextended.
30
Here’s an illustration to show you what a good starting position in conducting is:
T
ry It Yourself
1. Stand in your starting position. Make sure to observe proper posture.
2. Slouch for 8 counts, then go back to the starting position.
3. Extend your neck forward. Hold it there for 8 counts. Backward, 8 counts. Upward, 8
counts. Downward, 8 counts. Then return to the starting position.
4. Lower your arms a little, with your hands around the same height as your belly button.
Hold this for 8 counts. Raise your arms; have your hands around the same height as
your head. Hold this for 8 counts. Then, return to your starting position.
5. Straighten your legs and lock your knees. Hold it for 8 counts, then return to your
starting position.
How different is the feeling of good posture from poor posture? Can you imagine performing
conducting gestures with poor posture? How easy or difficult do you think it will be?
31
Now that we’ve established good posture, let’s move on to the actual conducting gestures. In
this lesson, we’ll be learning three different conducting gestures for the three simple time
signatures we learned about in the last lesson.
Conducting Gestures: Simple Duple Time Signature
The first gesture we’ll be learning about is the gesture for the simple duple time signature.
Since there are two counts per measure in a piece in a simple duple time signature, the
conducting gesture also has two movements. The first movement is a bringing down of your
forearm, with a slight curve outward at the end. The second movement is an upward swing
that will bring you back to your starting position.
The diagram to the left outlines the movements of the conducting gesture. Take note, the
diagram, as well as other diagrams that will be given, are for the right hand. What you do with
your right arm, you mirror with your left.
T
ry It Yourself
1. Get a partner. Designate who will be partner A and who will be partner B.
2. Partner A, count “1, 2,” aloud. Partner B, perform the appropriate conducting gesture.
Continue for 8 measures.
3. Switch roles.
32
Conducting Gestures: Simple Triple Time Signature
There are three counts per measure in a piece in a simple triple time signature. Therefore, the
corresponding conducting gesture also has three movements.
The first movement is a bringing down of your forearm, with a slight curve inward at the end.
The second movement is a swing of the forearm to the right, with a slight upward curve at the
end. Last is a diagonal upward swing that will bring you back to your starting position.
Conducting Gestures: Simple Quadruple Time Signature
Since there are four counts per measure in a piece in a simple quadruple time signature, the
corresponding conducting gesture also has four movements.
The first movement is a bringing down of your forearm. The second movement is a swing of
the forearm to the left, with a slight upward curve at the end. Third is a swing of the forearm
to the right, with a slight upward curve at the end. Last is a diagonal upward swing that will
bring you back to your starting position.
33
T
ry it Yourself
1. Get a partner. Designate who will be partner A and who will be partner B.
2. Partner A, perform the simple triple time signature conducting gesture for 8 measures.
Partner B, perform the simple quadruple time signature conducting gesture for 6
measures.
3. Switch roles.
How many counts does it take before the two conducting gestures are in sync again on the
first count?
1. A __________ is the leader of an orchestra or choral group.

2. A __________ is the thin, wand-like tool used by conductors.
3. __________ are special arm and hand movements used by conductors.
4. __________ is important in conducting.
5. __________ can ruin well-executed conducting gestures.
34
6. The conducting gesture for the simple duple time signature has __________ movements.
7. The conducting gesture for the simple triple time signature has __________ movements.
8. The conducting gesture for the simple quadruple time signature has __________
movements.
9. All conducting gestures begin with a/an __________ movement.
10.All conducting gestures end with a/an __________ movement.
hallenge Yourself!
C
If the statement is correct, write True. If the statement is incorrect, write False. You may write
your answers on the spaces provided before the item numbers.
__________ 1. Conductors always use batons.

__________ 2. Conducting is done to keep big performing groups synchronized.
__________ 3. There are four movements in a simple duple time signature conducting gesture.
__________ 4. There are three movements in a simple triple time signature conducting gestures.
__________ 5. All conducting gestures have forearm swinging motions to the left.
Let’s Jam!
Activity 1: Choose a song you like. Discern what time signature the song uses, and perform
the corresponding conducting gesture in time with the song.
Activity 2: Find another song that you can perform the same conducting gesture with.
35
Did You Know?
Notes and rests didn’t always exist. Before notes and rests were invented, musicians used
neumes to write down their songs. Before that, songs and musical pieces were only passed on
orally. Oral tradition, though, depended on the memorizing skills of musicians, and therefore,
was extremely inaccurate.
W
eb Links
● https://www.youtube.com/watch?v=9DjoipqbkC8
● https://www.youtube.com/watch?v=2UphAzryVpY
● https://www.youtube.com/watch?v=KcAJUi89m6Q
● https://www.youtube.com/watch?v=x_6cTbyWP88
● https://www.youtube.com/watch?annotation_id=annotation_2901526661&feature=iv&s
rc_vid=79Pk-33R2HM&v=DdvHUJ88tao
● https://www.youtube.com/watch?annotation_id=annotation_3618635087&feature=iv&s
rc_vid=GNUj3DPrjMQ&v=2ER0iP2f8DY
36
Performance Task
Conducting Time!
Purpose:
At the end of this activity, the students should be able to:
● as performers, respond to basic conducting gestures; and
● as conductors, lead small groups in performance.
Role: You are young conductors attending a workshop on conducting. You will sing as part of
workshop simulation activities, and conduct simulation choirs.
Competence: You will apply your knowledge of time signatures in discerning which
conducting gestures are appropriate for your performance, and use your knowledge of basic
conducting gestures in leading small performing groups.
Procedure:
1. Group yourselves into 5.
2. Have each member choose a simple song to sing. The song should not last more than
two minutes.
3. Have each member provide a copy of their chosen excerpt or song to each member of
the group.
4. Designate who will be members 1, 2, 3, 4, and 5.
5. Member 1, stand in front of your group. Lead your group in a performance of your
chosen song.
6. Repeat number 5, but with member 2, then member 3, onwards, until all members
have had their turn conducting the group.
7. After all members have had their turn, do some sharing and reflection with the rest of
the class, facilitated by your teacher.
37
Key Guide Questions
1. What song did you choose? Why did you choose it?
2. What time signature was your chosen song in?
3. What was the most common time signature among the songs your groupmates chose?
4. How was the experience of singing while being conducted? Was it easy? difficult? Did
you enjoy?
5. How was the experience of conducting a small group? Was it difficult or easy to lead
your classmates? What could you have done better? What did you do well?
Reflective Question
Would you rather be a singer in a group, or the leader conducting the group?
38
Self-Check
Check I can…
define notes and rests
recognize notes and rests visually and aurally
define dots
define ties
use dots and ties properly in a piece of music
compose short rhythmic patterns that use dots and ties
define rhythmic patterns
recognize rhythmic patterns visually and aurally
define what a time signature is
distinguish between duple, triple, and quadruple time signatures
compose simple rhythmic patterns in different time signatures
define what conducting is
perform basic conducting gestures in time with a piece of music
39
Wrap Up
40
Bibliography
OpenStax CNX. Accessed November 27, 2018.

https://cnx.org/contents/v1o5-BxS@12/Meter-in-Music.
"Introduction to Conducting." Musical Notation - The Method Behind the Music. Accessed
November 27, 2018. https://method-behind-the-music.com/conducting/intro/.
"Meter and Time Signatures – Open Music Theory." Open Music Theory. Accessed November
27, 2018. http://openmusictheory.com/meter.html.
Ottman, Robert W. Elementary Harmony Theory and Practice & Cd. Prentice Hall Ptr, 1998.
SCHMIDT-JONES, CATHERINE. UNDERSTANDING BASIC MUSIC THEORY. S.l.: 12TH MEDIA

SERVICES, 2018.
Zinn, Michael, and Robert Hogenson. Basics of Music: Opus 1. New York: Schirmer Books, 1994.
41
Glossary
Baton refers to the think, wand-like tool conductors use in leading performing groups.
Conducting gesture refers to special arm and hand movements conductors use in leading
performing groups.
Conductor refers to the leader of larger performing ensembles. Conductors keep the
instrumentalists or singers synchronized.
Dots refer to circular markings placed after notes to extend their duration by half their
original value.
Notes r efer to symbols that signify sound.
Rests refer to symbols that signify silence.
Rhythm refers to the pattern of sounds and silences in music.
Rhythmic Pattern is a specific arrangement of notes and durations that repeats in music.
Ties refer to curved lines that connect noteheads and combine note values.
Time Signature refers to a musical marking that consists of two numbers stacked on top of
each other. Time signatures tell us how many counts each measure has, and what kind of
note receives one count.
42

Unit 1 - Rhythm

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Unit 1 - Rhythm

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UNIT 1:

Lesson 1: Note and Rest Values 5

Lesson 2: Dots and Ties 12

Lesson 3: Rhythmic Patterns 17

Lesson 4: Simple Time Signatures 22

Lesson 5: Conducting Simple Time Signatures 28

Did You Know? 36

● Notes​ represent pitch and duration.

In this lesson, you should be able to:

Let’s Warm Up!

What kinds of notes? What kinds of rests? How many?

1. A __________ is the basic building block of music.

Let’s Warm Up!

1. Clap out 8 counts of quarter notes: 1, 2, 3, 4, 5, 6, 7, 8

In this lesson, you should be able to:

Let’s Warm Up!

1. Our brains are wired to detect __________.

_____ 1. A rhythmic pattern helps give a piece a sense of structure.

In this lesson, you should be able to:

Let’s Warm Up!

Simple Time Signatures

In this lesson, you should be able to:

Let’s Warm Up!

Pointers for Proper Posture

Conducting Gestures: Simple Duple Time Signature

Conducting Gestures: Simple Quadruple Time Signature

Check Your Understanding

1. A __________ is the leader of an orchestra or choral group.

__________ 1. Conductors always use batons.

define notes and rests

recognize notes and rests visually and aurally

use dots and ties properly in a piece of music

compose short rhythmic patterns that use dots and ties

define rhythmic patterns

recognize rhythmic patterns visually and aurally

define what a time signature is

distinguish between duple, triple, and quadruple time signatures

compose simple rhythmic patterns in different time signatures

define what conducting is

perform basic conducting gestures in time with a piece of music

OpenStax CNX. Accessed November 27, 2018.

SCHMIDT-JONES, CATHERINE. ​UNDERSTANDING BASIC MUSIC THEORY​. S.l.: 12TH MEDIA

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● Notes represent pitch and duration.

SCHMIDT-JONES, CATHERINE. UNDERSTANDING BASIC MUSIC THEORY. S.l.: 12TH MEDIA