Tiwi Community College

Tiwi, Albay

CORNEL NOTES
IN MUSIC
Unit 3: Music Education in Third Grade
Unit 4: Music Education in fourth Grade
Unit 5: Music Education in Fifth Grade
Unit 6: Music Education in Sixth Grade

Submitted by:
April Rose B. Clarianes
BEED 1-B cluster 3

Submitted to:
Mr. Jerry Buela
Instructor
 Unit 6: Music Education in Third Grade

Lesson 6.1: RHYTHM

Questions Key words
 What is the rest  Rest- ( ) is the symbol used to represent silence.
represent and its
symbol?
 What is pulse of a  The symbol (I) represents the pulse of a sound.
sound symbol?
 What is the beat  Beat -the pulse we feel in music.
mean?  It is always regular.
 It can be slow or fast.
 What pulse mean?
 Pulse - a steady or regular beat.
 Rhythmic pattern - a combination of long (l) and short ( ) sounds.
 Pulse can  Pulse can be expressed through clapping, tapping, chanting,
expressed in what walking, and playing musical instruments.
ways?
Summary
 I have learned that rest is represent as silence and beat is a pulse were always
regular with slow or fast beat which can expressed by clapping, tapping, chanting,
walking, and playing musical instruments.

Lesson 6.2: MELODY

Questions Key words
 What is another  Another term for melody is tune.
term of melody?
 What did melody  Melody -composed of different tones or pitches.
compose?
 What are the
combination of  Melody is a combination of pitch and duration.
melody?  Melody is a combination of high, medium and low
pitches that have different duration so as to create an
organized melodic line.
 What pitch mean?  Pitch - the highness or lowness of sound.

 What is the Kodaly  The Kodaly Method - a way of developing musical skills and
method? teaching musical concepts beginning in very young children.
 This method uses folk songs, Curwen hand signs, pictures,
movable-do, rhythm symbols, and syllables.
 It was first introduced in Hungary but is now used in many
countries, either alone or in combination with other methods.
 The Central Principles of Kodály
 What are the  Music should be taught from a young age. Kodály
principles of believed that music was among, if not the most
Kodaly? important subject to teach in schools.
 Music should be taught in a logical and
sequential manner.
 There should be a pleasure in learning music;
learning should not be torturous.
 The voice is the most accessible, universal
instrument.
 The musical material is taught in the context of
the mother-tongue folk song.
 What is the  Melodic Contour- Melodies move in different directions.
movement of  Some notes may move upward or go downward.
sound?  It can move up or down, or stay on the same level.

Summary
 I have learned that tune is another term for melody which has different notes or
pitches and also has a combination of high, medium, low pitches.
 I have learned that pitch is the highness or lowness of sound.
 I have learned about the kodaly method is the way of developing musical skills and
teaching musical concepts and know the principles of kodaly.

Lesson 6.3: MUSICAL FORM

Questions Key words
 What is repeat  Repeat mark (II: :II) is used to show repetitions in music.
mark?  Musicians use repeat marks (II: II) to indicate repetition of
certain parts of a musical piece.
 When lines have the same melody and rhythm, repeat mark
is used instead of writing the repeated musical phrase again.
 What is singing  Singing - an interesting activity.
mean?  It helps us express our feelings and improve our personality.
 singing develops self-confidence.
 When we sing, we should sing confidently and beautifully
from the beginning until the end of the song.
 How to sing with  Here are the tips :
confidence? 1. The most difficult part is getting up to sing in front of an audience
for the first time – So try singing in front of a support family member
or friend to begin with, then increase the numbers. Once you have
achieved this it will become easier each time you perform.
2. Karaoke and jam nights are great for gaining confidence! No-one
cares if you forget the words or mess up the songs so you can relax,
have fun and get used to singing in front of an audience.
3. Ask a friend or group of friends to get up and sing with you – or pick
a song that you can have a laugh with!
4. Choose a song you know really well avoid tunes that are difficult
to sing until you are more confident about your voice and performing
in front of an audience.
5. As soon as you get on stage relax your shoulders and clear your
mind of everything except the song you are going to sing.

Summary
 I have learned the used of repeat marks and it's symbols and know the definition of
singing which improve self-confidence as well improve personality and also tips that
helps to sing with confidence .

Lesson 6.4: TIMBRE

Questions Key words
 What are the  The human voice has different tone qualities or timbre
different tone when speaking and singing.
qualities of human  Some have thin voices while others have thick, husky voices.
voice?
 What are the  High, low, husky, thick, and thin
characteristics of a
voice?
 What is the  Distinguishing Features of the Male and Female Voice
difference Male Female
Pitch *have low pitched *have high pitched
between a female
voices (A2 to C3) voices (A3 to C4).
 voice and a Articulation *Rougher articulation *gentler articulation
female voice? Intonation *tend to use full pitch *vary pitch range
range during speech during speech
Conversational *more likely to raise *more likely to raise
style their volume for their pitch for the same
emphasis purpose.

 What are the

several things that  There are several things that differentiate speech from singing:
differentiate 1. Vowel usage
 singing vowels or more open and sustained
speech from
2. Tonality
singing?
 singing uses more tones (bright and dark) than speech which
is mostly mouth centered resonance.
3. Diction
 singing tends to make diction or pronunciation a bit more
loose
4. Breathing
 you engage the body to sing more than speech.
5. Volume
 singing is simply louder because of the increase of air flow
6. Range
 singing involves 2–3x the amount of range used in speech
(based on genre)
 What are the Effective voice production involves at least three things:
effective voice
production? 1.an appropriate breathing technique to provide the air support
required to produce speech (diaphragmatic breathing)

2. easy onset of the vibration of the vocal folds when speaking.

3.projecting the voice effortlessly without any strain or pushing.

 How to improve  The 16 Keys
singing voice?
1. Being in Control
 Having good vocal control means staying “on pitch”.
This means singing the pitch of notes accurately, rather than a
bit sharp or flat.
2. Good Tone
 Singing tone - a combination of a few different factors, but it
basically means “the overall sound of the voice”.It’s almost
always the vowels in words which are sustained in lyrics (i.e.
“ah”, “oh” “ee” etc. rather than “ch” “ss” “th” etc.) and
singers with good tone use clear consistent vowel sound.
 To improve your singing and your tone, it’s a great idea to
practice both your head voice and your chest voice, and be
able to recognize when each is best to use – low and mid-
range notes are often more comfortably sung in chest voice,
while high notes require use of your head voice.
3. Clear Enunciation
It doesn’t matter if you’re hitting all the right notes if every word is
mumbled.
4. Strong Support
 To improve your singing voice, you must have solid vocal
support for your singing. This lets you produce good clear
notes which sound strong and don’t waver. Vocal support
makes you a better singer, and a stronger singer.
5. Suitable Volume
 The volume must suit the music, varying appropriately with the
musical phrasing, and be at the right overall level to match
the other musicians and please your audience. Vocal control
will greatly help you sing at a suitable volume and improve
your singing.
 6. Suits the Style
 The world of music is wonderfully diverse, and although we are
all naturally gifted with a singing voice, these voices vary and
they must vary to best suit the style of music being sung.
7. Consistency
 With all the characteristics above, it’s important to sing
with consistency.
8. Musical Phrasing
 Good musical phrasing is essential for a compelling
performance, and makes your voice sound better than simply
singing the words on the page.
9. Versatility
 one impressive characteristic of great singers is that they
are versatile and can actually adapt their voice to suit any
style of music using their arsenal of techniques.
10. Self-awareness
 This is actually the key to most of the points above, and it’s
another factor which is particularly noticeable when
distinguishing good singers from bad: self-awareness, i.e.
being aware of your voice as you sing.
11. Use Your Ears
 Good singers are using their ears as much as their voice, and
their ears are a tool to help them sound better.
12. Know your range
 It’s important to know your own vocal range and stay within it.
In fact, it’s often a tell-tale sign of an amateur singer that they
strain for notes that are beyond their vocal range, especially
with high notes
13. Breathing
 Singers with a good voice know the importance of using good
breathing, and their singing depends on it.
14. Make It Seem Easy
 the words and notes are flowing out from them without effort
in a natural way. This helps the listener feel relaxed.
15. Love Your Voice
 Recording yourself and listening back is a powerful way to
improve your own technique and improve your voice over
time. The more you practice and use recordings to your
advantage, the more self-aware you’ll become in the
moment as you sing.
16. Look after your voice
 Vocal coaches can advise you on how to take care of your
voice – it may mean warming up before singing difficult
passages, learning proper breathing support, taking it easy
when you have a sore throat, and avoiding vocal strain
because you’re trying to reach notes beyond your range.
Practice singing with vocal health in mind, and your voice will
serve you well for a long time.
 What is the  Before you start signing, it’s important to warm up your voice.
importance of If you were running a race, you would stretch your muscles in
warming up your preparation - singing is the same.
voice?  Warming up your voice- stretches your vocal chords and helps
clear your throat.
 It helps with breathing too.
 Stretching out your body is important as it helps relax your
muscles before singing.
 What are the 1.Singing Scales
warming up your Singing upward and downward scales help expand your vocal
voice when chords and improve your tuning.
singing? 2.Hums and Trills
Breathe deeply from your tummy and gently hum. Keep your lips
slightly apart and relax your cheeks, try to keep a steady flow of air
and hum.
 To trill, again breathe deeply, push the air through your lips and make
a sound like a horse!
3.Stretching
Roll your shoulders forwards and then backwards. Gently roll your
head around your neck so that you can see the floor. Repeat it but
roll your neck very gently backwards so you can see the ceiling.
Stand on your tippy toes and stretch up to the stars. Lastly, shake your
hands out and you’re ready to sing.
Summary
 I have learned about the different tone qualities of human voice and voice
characteristics and know the several things that differentiate speech from singing
which naming as follows: vowel usage, tonality, diction, breathing, volume, and
range.
 I have learned the three effective voice production and the sixteen keys on how to
improve singing with confifence and know the warming up the voice and it's
importance.

Lesson 6.5: DYNAMICS

Questions Key words
 What is dynamics  Dynamics - one of the expressive elements of music that
mean? deals with the softness and loudness of sound.
 It can also be shown through body and animal movements.
Summary
 I have learned that Dynamics is an expressive elements of music which deal ls with
the softness and loudness of sound and know that can be show through body and
animal movements.

Lesson 6.6: TEXTURE

Questions Key words
 What is the texture  Texture - determined by the timbre of voices or instruments,
mean? the number or size of performers and the manner by which
 What musical one or more melodies are harmonized.
texture describe?  Musical texture can be described as-
Single Melodic Line (SML) or Multiple Melodic Lines (MML).
Unison singing has Single Melodic Line (SML) while singing
partner songs produced Multiple Melodic Lines (MML).
 What is round mean  A round - a musical composition wherein two or more groups
in a musical sing exactly the same melody.
composition?  It is one of the easiest forms of part singing, as only one line of
melody need be learned by all parts, and is part of a popular
 What is partner musical tradition.
songs?  The term partner songs sometimes called- quodibet that has
two meanings:
1.two or more totally independent songs that by chance
happen to have the same harmonic structure.
*Can be sung together at the same time.
2.a song written intentionally with different lines that all
harmonize with each other to form an interlocking
 What are the "partnership".
textures by singing Texture by singing partner songs:
partner songs? Unison - performance of a single melodic line by more than
one instrument or voice at the same pitch.
Partner song- two songs with the same meter and mood to be
sung at the same time.
Summary
 I have learned the definition of texture which it is timbre of voices or instruments, the
number or size of performers and know the musical texture that can be describe in
single melodic line (SML) or multiple melodic lines (MML) and also defined a round
as a musical composition and know the partner songs with it's two meanings and
the textures by singing partner songs.

Unit 7: Music Education in the Fourth Grade

Lesson 7.1: RHYTHM

Questions Key words
 what are the different
kinds of notes and
rests?

 What are the types of Types of Musical Notes Need to Know

need to know?  Semibreve (whole note)

 The first note is called a semibreve or in the US it’s called a ‘whole

note’.

 It’s like a small oval shaped zero or letter O which is a good way
to think of it when you first begin writing music.

 call this oval-shaped part of a note ‘the note head’.

 A semibreve has a value of four beats.

 Minim (half note)

 It’s similar to a semibreve but has a line coming out of the right-
hand side of its note head.
 This line is called a stem. The stem halves the value of the note
and so a minim has a value of two beats. That means that we
count to two when playing a minim, half as long as a semibreve.
 Crotchet (quarter note)
 It’s like a minim but, it has its note head filled in black. This halves
the value of the note again and so a crotchet has a value of one
beat, half as long as a minim.
 Quaver (eighth note)
 It’s like a crotchet but, it also has a tail coming out of the side of its
stem. The note tail is also referred to as a flag or a hook. The tail
halves the value of the note again and so a quaver has a value of
half a beat, half as long as a crotchet.
 Semiquaver (16th note)
 It’s like a quaver but has two tails coming out of its stem. This
means that it’s half the value of quaver and so is worth one-quarter
of a beat.
 A dot that is placed after the note to indicate a change in the
duration of a note. The dot adds half of the value of the note to itself.
 For example, a dotted half note gets 3 beats - value of a half note is
2, half of 2 is 1 so 2 + 1 = 3.

 dotted whole note = 6 beats

 dotted half note = 3
  dotted quarter note = 1 1/2
 dotted eighth note = 3/4
 dotted sixteenth note = 3/8

 what is the notes on Notes on the Treble Clef (Spaces)

the treble clef
(spaces),treble clef  Notes that are on the spaces of a treble clef.
(lines), bass clef  from the lowest space to the highest; the notes are F - A - C - E.
(spaces),bass clef
(lines) and middle c Notes on the Treble Clef (Lines)
mean?
 The five horizontal lines that make up a music staff are called leger
lines.
 The notes on the leger lines are as follows from lowest to highest:
E - G - B - D - F.

Notes on the Bass Clef (Spaces)

 These are the notes on the spaces of a bass clef, they are as
follows from the lowest space to the highest: A - C - E - G.

Notes on the Bass Clef (Lines)

 These are the notes on the leger lines of the bass clef.
 They are as follows from lowest line to the highest: G - B - D - F - A.

Middle C

 The C sits on the leger line between the treble and bass clef staffs

 What is bar lines and  Bar lines

measures?
are the vertical lines you see on a music staff which divides the
staff into measures.

 Inside a measure there are notes and rests corresponding to

the number of beats determined by a time signature.

 Measures

are groupings of notes, usually grouped by meter. Bar Lines show

us where one measure ends and another begins.

 What are the different There are different types of Bar Lines, each with a different function
types of bar lines and
its function?  A Single Bar Line
the normal Bar Line, it tells us where the measures are:

 A Double Bar Line

shows there is there is a major 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:
Time Signature
 What is time signature
and simple time  It indicates how many notes and what kind of notes in a
signatures mean? measure.
 The time signatures commonly used are 4/4 (common time) and
3/4.
 There is also 5/2, 6/8 etc.
 The number on top is the number of notes per measure while the
number on the bottom indicates what kind of note.

Simple Time Signatures

 Time signatures where the beat can be divided into two equal.
  Simple time signatures are the most common kind of time signature
and they pop up regularly in popular music due to the clear, easy to
determine beats.
 The most common simple time signatures you will see are 2/4, 3/4,
and 4/4, although any time signature with a 2, 3, or 4 as the top
 What top and bottom number is classified as simple.
 The top number determines how many beats are in a measure,
determines?
 the bottom number determines what type of note gets the beat.
 What are the These numbers coordinate with the following types of notes:
coordinate numbers  1: Whole Note (very rare)
in each type of  2: Half Note
notes?  4: Quarter Note
 8: Eighth Note
 16: Sixteenth Note

 what is sharps and

flats mean?  Sharp

To make a note higher in pitch, the symbol placed before a note

to raise it one half step.

 Flat

A symbol placed in front of a note in a piece of music to lower it

by one half step.
Summary
 I have learned the different kinds of notes and rest symbols and the types of musical
notes such as semibreve, minim, crotchet, quaver,and semiquaver and know the
notes on the treble clef (spaces), (lines), bass clef (spaces),(lines) and middle c
meaning.
 Also I have learned the bar lines and measures, and the different types of bar lines
and it's function, and the time signature,simple time signature and know and
determine the top and bottom, coordinate number in each type of notes and sharp
and flat meaning.

Lesson 7.2: MELODY

Questions Key words
 What is musical clef?  musical clef
a symbol that is placed at the left-hand end of a staff,
indicating the pitch of the notes written on it.
 It is essential for a musician to be able to read the music in
front of them, as it tells them which lines or spaces represent
each note.
 What are the four 1.Treble Clef
types of clefs were  also called the “G clef”
regularly used? Define  the symbol at the beginning of the staff (a stylized letter “G”)
each. encircles the second line of the staff, indicating that line to be
G4 (or G above middle C).
 most commonly used clef today and is usually the first clef that
musicians learn on their music theory journey.
 has to do with its design
 So why is it called “G” — the curl in the design of the clef always “surrounds” the note
clef? G4, meaning that the note G4 passes through the center of
the curl.
 What are the  The instruments that use treble clef are as follows:
instruments use the Violin, flute, oboe, bagpipe or cor anglais, all saxophones,
treble clef? horn, trumpet,cornet, vibraphone, xylophone, mandolin, and
recorder.
 What is treble clef? 1.The treble clef
 What treble clef are
all notated?
 What is the bass clef? 2.Bass Clef
 What instruments use
the bass clef?
 What is the use of the
bass clef?
 What are parts are
notated of bass clef?
 What is alto clef? 3.Alto Clef
 What are the use of
alto clef?
 What is tenor clef? 4.Tenor Clef
 What are the uses of
tenor clef?
 What is melodic
motion?
 What is conjunct and
disjunct melodic
motion?
is the upper staff of the grand staff used
for harp and keyboard instruments.
 sometimes used, along with tenor clef, for the highest notes
played by bass clef instruments such as the cello, double
bass (which sounds an octave lower), bassoon,
and trombone.
The viola may also use the treble clef for very high notes.
 Soprano, mezzo soprano, alto, contralto and tenor voices are
all notated on the treble clef, with the tenor voice sounding
an octave lower than written.
 also called an F clef
 it wraps around the highest F note (F3–the F below middle C)
on the bass staff.
 second clef that musicians learn after treble, as it is placed on
the bottom staff in the grand staff for piano.
 instruments that use the bass clef are
the cello, euphonium, doublebass, bass
guitar, bassoon, contrabassoon, trombone, baritone
horn, tuba, and timpani.
 used for the lowest notes of the horn, and as the bottom staff
in the grand staff for harp and keyboard instruments.
 Both bass and baritone voice parts are notated on the bass
clef, though the tenor voice can be notated on the bass clef
when bass and tenor are notated on the same staff.
 one of many “C clefs” and is named
 it’s center indicates middle C.
 The alto clef’s center is placed on directly in the middle of the
staff, designating the third line from the bottom to middle C.
 it is primarily only used for the viola, the viola da gamba,
the alto trombone, and the mandola.
 another type of “C clef,”
 its center is on the fourth line from the bottom, so middle C is
moved up a third from where it was on the alto clef.
 it is used for the upper ranges of
the bassoon, cello, euphonium, double bass, and trombone.
 These instruments use bass clef for their low to mid ranges and
treble clef for their upper extremes.
 the quality of movement of a melody, including nearness or
farness of successive pitches or notes in a melody.
 This may be described as conjunct or disjunct, stepwise,
skipwise or no movement, respectively. See also contrapuntal
motion.
 conjunct melodic motion
the melodic phrase moves in a stepwise fashion; that is the
subsequent notes move up or down a semitone or tone, but
no greater.
 disjunct melodic motion
the melodic phrase leaps upwards or downwards; this
movement is greater than a whole tone. In popular Western
music, a melodic leap of disjunct motion is often present in the
chorus of a song, to distinguish it from the verses and captivate
the audience.
 What are the types of
Bruno Nettl describes various types of melodic
melodic movement or
movement or contour (Nettl 1956, 51–53):
contour according to
Bruno Nettl? Define
 Ascending: Upwards melodic movement
each.
 Descending: Downwards melodic movement (prevalent in
the New World and Australian music)
 Undulating: Equal movement in both directions, using
approximately the same intervals for ascent and descent
(prevalent in Old World culture music)
 Pendulum: Extreme undulation that covers a large range and
uses large intervals is called pendulum-type melodic
movement
 Tile, terrace, or cascading: a number of
descending phrases in which each phrase begins on a higher
pitch than the last ended (prevalent in the North American
Plain Indians music)
 Arc: The melody rises and falls in roughly equal amounts, the
curve ascending gradually to a climax and then dropping off
(prevalent among Navaho Indians and North American
Indian music)
 Rise: may be considered a musical form, a contrasting
section of higher pitch, a "musical plateau".

Summary
 I have learned about the musical clef definition and the four types of clefs such as
treble, bass,Alto,and tenor clef and know the meaning of melodic motionand the
conjunct and disconjunct melodic motion and also determine the types of melodic
movement or contour.

Lesson 7.3: FORM

Questions Key words
 What is introduction in introduction
music?  a passage or section which opens a movement or a
separate piece, preceding the theme or lyrics.
 In popular music, this is often known as the song intro or just
the intro.
 Introduction
establishes melodic, harmonic or rhythmic material related to
the main body of a piece.
 What is coda mean? Coda
 A coda is a new module that follows the end of the
recapitulation’s thematic cycle.
 once the harmonic work of the recapitulation has been
accomplished (the arrival of the I:PAC ESC) and the basic
themes of the exposition have been presented (such as P TR S
C), new material tends to fall into the coda module.
 What is coda in  In music, a coda is a passage that brings a piece (or
music? a movement) to an end.
 What are the phrasing
structure? Phrasing Structure
 A cadence is the end of a musical phrase. Some cadences are
strong and feel like they're finished, and some are weak and want
you to go on to finish the thought.
 two phrases
first ends on a weak cadence,
second ends on a strong cadence, it is called a period.
 In a period,
the first phrase is called an antecedent phrase,
the second phrase is called a consequent phrase.
 Summary
 I have learned about the introduction in music, coda in music and know the
parahrasing structure and it's two phrases.

Lesson 7.4: TIMBRE

Questions
 What is solo in music ?
Key words
 solo
(from the Italian: solo, meaning alone)
is a piece or a section of a piece played or sung featuring a
single performer, who may be performing completely alone
or supported by an accompanying instrument such as a
piano or organ, a continuo group (in Baroque music), or the
rest of a choir, orchestra, band, or other ensemble.
 Performing a solo is "to solo", and the performer is known as
a soloist.

 What is duet as a  Duet

musical composition? a musical composition for two performers in which the
performers have equal importance to the piece, often a
composition involving two singers or two pianists.

Isorhythmic Duets
 What is isorhythmic  simplest type of vocal duet is a melody sung by one voice
duets? harmonized by a second voice, with both parts moving
together in pretty much the same rhythm.
 The majority of notes are harmonized one-on-one in a fashion
similar to the parallel melody invented in the 9th century.
 What is counter/ Counterpoint/Partner Song Duets
partner song duets?  Another type of duet is when each singer has their own
 What are the independent melody.
challenging types of  These are the most challenging types of duets for composers
duets? to write, for singers to perform, and for listeners to track.
 What is trio in music?  In music, a trio (an Italian word) is a method of instrumentation
or vocalization by three different sounds or voices to make a
melodious music or song.
 What is vocal  Vocal ensemble (from Latin "vocalis" - ‘loud’, ‘singing’)
ensemble? - a performing collective of singers; for example: singing
group, pop group.
Summary
 I have learned about the solo as music,duet as a musical composition, isorhymic
duets definition and know the counter /partners song duets and the types of
challenging duets and also determine the trio in music and vocal ensemble.

Lesson 7.5: MUSICAL INSTRUMENTS

Questions Key words
 What is string  The bodies of the string instruments, which are hollow inside to
instrument? allow sound to vibrate within them, are made of different kinds of
wood, but the part of the instrument that makes the sound is the
strings, which are made of nylon, steel or sometimes gut.
 The strings are played most often by drawing a bow across them.
 The handle of the bow is made of wood and the strings of the
bow are actually horsehair from horses' tails! Sometimes the
musicians will use their fingers to pluck the strings, and
occasionally they will turn the bow upside down and play the
strings with the wooden handle.
 The strings are the largest family of instruments in the orchestra
and they come in four sizes:
 the violin, which is the smallest, viola, cello, and the biggest,
the double bass, sometimes called the contrabass. (Bass is
pronounced "base," as in "baseball.")

 smaller instruments,
 the violin and viola, make higher-pitched sounds,
 the larger cello and double bass produce low rich sounds.
 They are all similarly shaped, with curvy wooden bodies and
wooden necks.
 The strings stretch over the body and neck and attach to small
decorative heads, where they are tuned with small tuning pegs.

 What are the string 1.Violin

family instruments?  the baby of the string family, and like babies, makes the highest
Define each and sounds.
how it will play?  There are more violins in the orchestra than any other instrument
and they are divided into two groups:

First violins often play the melody,

second violins alternate between melody and harmony.

 A typical-sized violin is around 24 inches (two feet) long, with a

slightly longer bow.
 You play the violin by resting it between your chin and left
shoulder. Your left hand holds the neck of the violin and presses
down on the strings to change the pitch, while your right hand
moves the bow or plucks the strings.

2.Viola
 is the older sister or brother of the violin.
 It is slightly larger, just over two feet long, and has thicker strings,
which produce a richer, warmer sound than the violin.
 There are usually 10 to 14 violas in an orchestra and they almost
always play the harmony.
 You play the viola the same way as you do the violin, by resting
it between your chin and shoulder. Your left hand holds the neck
of the viola and presses down on the strings to change the pitch,
while your right hand moves the bow or plucks the strings.

3.Cello
 The cello looks like the violin and viola but is much larger (around
4 feet long), and has thicker strings than either the violin or viola.
 Of all the string instruments, the cello sounds most like a human
voice, and it can make a wide variety of tones, from warm low
pitches to bright higher notes.
 There are usually 8 to 12 cellos in an orchestra and they play both
harmony and melody.
 Since the cello is too large to put under your chin, you play it
sitting down with the body of the cello between your knees, and
the neck on your left shoulder.
 The body of the cello rests on the ground and is supported by a
metal peg.
 You play the cello in a similar manner to the violin and viola, using
your left hand to press down on the strings, and your right hand
to move the bow or pluck the strings.

4.Double Bass
 the grandfather of the string family.
 At over 6 feet long,
 the biggest member of the string family, with the longest strings,
which allow it to play very low notes.
  The 6 to 8 double basses of the orchestra are almost always
playing the harmony.
 They are so big that you have to stand up or sit on a very tall stool
to play them, and it helps if you have long arms and big hands.
 the body of the double bass stands on the ground, supported by
a metal peg, and the neck rests on your left shoulder.
 using the left hand to change pitch and the right to move the
bow or pluck the string.

5.Harp
 different from the other stringed instruments.
 It's tall, about six feet, shaped a little like the number 7, and has
47 strings of varying lengths, which are tuned to the notes of the
white keys of the piano.
 usually one or two harps in an orchestra and they play both
melody and harmony.
 You play the harp sitting down with your legs on either side, with
the neck of the harp leaning on your right shoulder.
 Each string sounds a different note (they come in different colors
to help you tell one from another)
 and you play them by plucking the strings with your fingertips
and thumb. Attached to the bottom of the harp are seven foot
pedals, which change the pitch of each string and allow them
to sound the pitches of the black keys on the piano.
6.Kudyapi
 Two stringed lute made of wood, one string for the melody, one
for the drone.
 Eight frets originally held in place placed on the neck of the lute
by a sticky rubbery substance, propolis, produced by honey bees
to repair damages and openings in the hive.
 The lute is decorated with floral motives; the tail is carved to
represent a stylised crocodile head.
Dimensions:
length: 152 cm.
width: 11,5 cm.

Rondalla
 an ensemble of stringed instruments played with
the plectrum or pick and generally known as plectrum
instruments.
 The word rondalla is from the Spanish ronda, meaning
"serenade."
 Bandurria
 Laud
 Octavina
 Gitara
 Bajo de unyas
 What are the The Woodwind Family
instrument used in
woodwind family?  The instruments in this family all used to be made of wood, which
 How woodwind gives them their name.
instrument play?  Today, they are made of wood, metal, plastic or some
combination.
 They are all basically narrow cylinders or pipes, with holes, an
opening at the bottom end and a mouthpiece at the top.
 You play them by blowing air through the mouthpiece (that's the
"wind" in "woodwind") and opening or closing the holes with your
fingers to change the pitch. Metal caps called keys cover the
holes of most woodwind instruments.
 Reed - mouthpieces for some woodwinds, including the clarinet, oboe
and bassoon, use a thin piece of wood, which vibrates when you blow
across it.

clarinet

*uses a single reed made of one piece of wood,

oboe and bassoon

*use a double reed made of two pieces joined together.

the smaller woodwinds play higher pitches

the longer and larger instruments play the lower notes.

 woodwind family of instruments includes, from the highest

sounding instruments to the lowest,
the piccolo, flute, oboe, English horn, clarinet, E-flat
clarinet, bass clarinet, bassoon and contrabassoon.

 What are the The Woodwind Family Instruments

woodwind family
instrument? Define 1.Flute
each.
 How woodwind  oldest of all instruments that produce pitched sounds.
family instruments  was originally made from wood, stone, clay or hollow reeds like
play? bamboo.
 Modern flutes -are made of silver, gold or platinum;
 there are generally 2 to 4 flutes in an orchestra.
 A standard flute -little over 2 feet long and is often featured
playing the melody.
 You play the flute by holding it sideways with both hands and
blowing across a hole in the mouthpiece, much like blowing
across the top of a bottle. Your fingers open and close the keys,
which changes the pitch.

2.Piccolo
 A shorter version of the flute,which means small in Italian.
 half the size of a standard flute,
piccolos play the highest notes of all the woodwinds;
 in the orchestra one of the flute players will also play piccolo if
that instrument is required.
 The high piping sound of the piccolo –
*also heard in traditional drum corps and marching band music.

3.Oboe
 a 2 foot long black cylinder with metal keys covering its holes,
and its mouthpiece uses a double reed, which vibrates when you
blow through it.
 This vibration of the reed makes the air inside the oboe move,
and thus creates sound.
 To play it, hold the oboe upright, blow through the double reed
in your mouth, and use both hands to press down on the keys to
open and close the holes and change the pitch.
 There are usually 2 to 4 oboes in an orchestra and they produce
a wide range of pitches, from haunting sounds to warm, velvety
smooth notes, which make the sound of the oboe very
memorable.
 to playing in the orchestra,
* the first oboist is also responsible for tuning the orchestra before
each concert.
 * Listen for the special note "A" that the oboe plays before the
music begins.

4.English Horn
 uses a double reed, and is played in the same manner.
 It's longer than an oboe and its tube is a bit wider.
 At the bottom end of the English horn it opens out into a rounded
bell shape, which gives it a warmer, fuller sound.
 Because it's larger, the English horn also has a lower pitch range
than an oboe. An oboe player will also play English horn if it is
needed.
5.Clarinet
 The clarinet could easily be mistaken for an oboe, except for the
mouthpiece, which uses a single reed.
 come in a number of different sizes, and the standard B-flat
clarinet is just over 2 feet long.
 The 2 to 4 clarinets in the orchestra play both melodies and
harmonies, and they have a dark rich sound in their lower notes,
while the upper part of the clarinet's range is bright and resonant.
 You play the clarinet as you do an oboe, by holding it upright,
blowing through the reed, and using your hands to change the
pitches by opening and closing the keys with your fingers.
6.Bassoon
 a long pipe, doubled in half, made of wood, with many keys.
 The bend in the pipe makes it possible for musicians to play it
comfortably.
 If it were straight, the bassoon would be around 9 feet long.
 uses a double reed, which is fitted into a curved metal
mouthpiece.
 There are 2 to 4 bassoons in an orchestra and they have a similar
range to that of the cello.
 usually play lower harmonies, but you will sometimes hear their
hollow low notes featured in a melody.
 You play the bassoon by holding it upright and blowing through
the double reed. The air travels down the tube and then makes
a u-turn and goes up and out the top. Just like the oboe, you use
both hands to press on the keys to open and close the holes and
change the pitch.

 What is brass family The Brass Family Instrument

instrument?
 the instruments are made of brass.
 can play louder than any other in the orchestra and can also be
heard from far away.
 early ancestors are known to have been made of wood, tusks,
animal horns or shells,
 modern instruments are made entirely of brass.
 are essentially very long pipes that widen at their ends into a bell-
like shape.
 The pipes have been curved and twisted into different shapes to
make them easier to hold and play.
 brass players use their breath to produce sound, but instead of
blowing into a reed, you vibrate your own lips by buzzing them
against a metal cup-shaped mouthpiece.
 The mouthpiece helps to amplify the buzzing of the lips, which
creates the sound.
 Most brass instruments have valves attached to their long pipes;
the valves look like buttons.
 When you press down on the valves, they open and close
different parts of the pipe. You change the pitch and sound by
pressing different valves and buzzing your lips harder or softer.
  The brass family members - are most commonly used in the
orchestra include the trumpet, French horn, trombone, and
the tuba.

 What are the brass The Brass Family Instruments

family instruments?
Define each. 1.Trumpet
 How brass family  The ancestors of the modern trumpet have been a part of human
instruments play? culture for a very long time.
 Old trumpet-like instruments played by ancient peoples were
made of conch-shell, animal horn, wood or metal.
 Throughout history the trumpet has been used to sound alarms,
gather people together, as a call to war, and to add luster to
parade music.
 , the trumpet is the smallest member of its family and plays the
highest pitches with its bright and vibrant sound.
 modern trumpet

*a slender brass pipe with three attached valves, which is curved

and bent into long loops.

 If you stretched out the trumpet to its full length, it would be 6 ½

feet long.
 There are 2 to 4 trumpets in an orchestra and they play both
melody and harmony and also support the rhythm.
 You play the trumpet by holding it horizontally, buzzing your lips
into the mouthpiece, and pressing down the three valves in
various combinations to change pitch.

2. French Horn
 originally come from France and is unquestionably a horn.
 It comes from the French hunting horn of the 1600s, and produces
a wide variety of sound ranging from very loud to very soft, and
from harsh and blaring to mellow and smooth.
 18 feet of tubing is rolled up into a circular shape, with a large
bell at its end.
 There are anywhere from 2 to 8 French horns in an orchestra, and
they play both melody and harmony as well as rhythm.
 To play the French horn, hold it with the bell curving downward
and buzz into the mouthpiece. Your left hand plays the three
valves and you can change the type of sound you make by the
way you place your right hand in the bell.

3. Trombone
 the only instrument in the brass family that uses a slide instead of
valves to change pitch.
 A standard trombone – made of long thin brass pipes.

* Two U-shaped pipes are linked at opposite ends to form an "S."

* One pipe slides into the other so the total length of the pipe can
be extended or shortened.

 You play the trombone by holding it horizontally, buzzing into the

mouthpiece, and using your right hand to change pitch by
pushing or pulling the slide to one of seven different positions. If
you stretch the trombone out straight, it is about 9 feet long.
 There are usually 3 trombones in the orchestra and they play
pitches in the same range as the cello and bassoon. The three
trombones often play harmonies together.

4. Tuba
 the grandfather of the brass family.
  the largest and lowest brass instrument and anchors the harmony
not only of the brass family but the whole orchestra with its deep
rich sound.
 a long metal tube, curved into an oblong shape, with a huge bell
at the end.
 Tubas range in size from 9 to 18 feet;

* the longer they are, the lower they sound.

Standard tubas have about 16 feet of tubing.

 There is generally only one tuba in an orchestra and it usually

plays harmony.
 You play the tuba sitting down with the instrument on your lap
and the bell facing up. You blow and buzz into a very large
mouthpiece and use your hand to press down on the valves
which changes the sound. It takes a lot of breath to make sound
with the tuba.

 What is percussion The Percussion Family

family instrument?  the largest in the orchestra.
 Percussion instruments include any instrument that makes a
sound when it is hit, shaken, or scraped.
 It's not easy to be a percussionist because it takes a lot of
practice to hit an instrument with the right amount of strength, in
the right place and at the right time.
 Some percussion instruments are tuned and can sound different
notes, like the xylophone, timpani or piano, and some are
untuned with no definite pitch, like the bass
drum, cymbals or castanets.
 Percussion instruments keep the rhythm, make special sounds
and add excitement and color.
 a percussionist will usually play many different instruments in one
piece of music.
 The most common percussion instruments in the orchestra
include the timpani, xylophone, cymbals, triangle, snare
drum, bass
drum, tambourine, maracas, gongs, chimes, celesta, and piano.

 What are the The Percussion Instruments

percussion
instruments? 1.Piano
Define each.  You play it by hitting its 88 black and white keys with your fingers.
 How percussion the keys lift hammers inside the piano that strike strings (indeed,
instruments play?  the piano has more strings than any other string instrument),
which produce its distinctive sound.
 has the largest range of any instrument in the orchestra. It is a
tuned instrument, and you can play many notes at once using
both your hands.
 Within the orchestra the piano usually supports the harmony, but
it has another role as a solo instrument (an instrument that plays
by itself), playing both melody and harmony.

2. Timpani

*kettledrums
 big polished bowls or upside-down teakettles.
 They are big copper pots with drumheads made of calfskin or
plastic stretched over their tops.
 tuned instruments, which means they can play different notes.
 The timpanist changes the pitch by stretching or loosening the
drumheads, which are attached to a foot pedal.
  are a central part of the percussion family because they support
rhythm, melody and harmony.
3. Xylophone
 originally came from Africa and Asia, but has a Greek name that
means "wood sound."
 The modern xylophone has wooden bars or keys arranged like
the keys of the piano, which the player hits with a mallet.
 You can change the quality of the pitch by using different kinds
of mallets (hard or soft), and by hitting the wooden bars in
different ways. Attached to the bottom of the wooden bars are
metal tubes called resonators, where the sound vibrates. This
gives the xylophone its bright bell-like sound.
4. Cymbals
 are the biggest noisemakers of the orchestra.
 They are two large metal discs, usually made of spun bronze.,
which are untuned, come in a range of sizes, from quite small to
very large.
 The larger the cymbal, the lower the sound they make.
 can be used for drama and excitement, to accent the rhythm or
create delicate sound effects.
 You can play the cymbals either by hitting one cymbal against
the other, or you can use sticks, mallets or brushes to hit one or
both cymbals.
5. Triangle
 It's a small metal bar that's bent into the shape of a triangle and
makes a ringing sound when you hit it.
 There are many sizes of triangles and each one sounds a different
pitch.
 You play the triangle by holding it on a string and striking it with a
metal beater. The size and thickness of the beater can change
the sound the triangle makes.
6.Snare Drum
 a smallish drum made of wood or brass with drumheads made of
calfskin or plastic stretched over both ends of a hollow cylinder.
 It has a set of wire-wrapped strings stretched across the bottom
head (the snare), which give the snare drum its unique "rattling"
sound when the drum is hit.
 A small switch on the side of the drum allows the player to turn
the snare on or off depending on the requirements of the piece.
 The snare drum is an untuned drum, so it doesn't sound distinct
pitches.
 it is often used in military music and is a central part of any
marching band.
 are used to keep the rhythm and make special sounds, such as
drumrolls.
 You play the snare drum by hitting the top with drumsticks, mallets
or brushes.
7.Bass Drum
 the biggest member of the percussion family and therefore
makes the lowest sounds.
 it is also an untuned instrument.
 You play the bass drum by hitting either drumhead with sticks that
have large soft heads, often covered with sheepskin or felt. It can
produce a lot of different sounds from roaring thunder to the
softest whispers.
8.Tambourine
 is a small drum with metal jingles set into the edges.
 Both the drumhead and the jingles are untuned.
 To play it, you hold it in one hand and tap, shake or hit it, usually
against your other hand.
9. Maracas
 come from Mexico.
  They are rattles, often made from gourds (a kind of squash), filled
with dried seeds, beads or even tiny ball bearings that make
them rattle.
 can also be made of wood or plastic; the sound they make
depends on what they're made of.
 To play them, you hold them in your hands and shake.
10. Gong
 also known as the tamtam,
 a very large metal plate that hangs suspended from a metal
pipe.
 It looks similar to a cymbal and is also untuned, but is much larger
and has a raised center.
 To play it, you hit the center with a soft mallet. Depending on how
hard you hit it, you can make a deafening crash or the softest
flicker of sound.

11. Chimes
 are metal tubes of different lengths that are hung from a metal
frame.
 When you strike the tubes with a mallet, they sound like the
ringing bells of a church.
 Each chime sounds a different pitch.
12.Castanets
 wooden instruments come from Spain and are used to punctuate
the music with a distinctive clickety-clack.
 is are made of two pieces of wood tied together.
 To play them, you hold them with your fingers and click the two
pieces of wood together.
 In the orchestra, castanets are sometimes mounted on a piece
of wood, and the percussionist plays them by hitting them with
his/her hands.
13. Celesta
 The celesta looks like a tiny upright piano and sounds a lot like the
glockenspiel with its delicate bell-like tone.
 usually have a keyboard of 49–65 keys.
 As with the piano, you make sound on the celesta by pressing
down on a key with your finger, which lifts a hammer inside and
strikes a metal bar.
 You can play many notes at once using both your hands.

Summary
 I have learned the definitions of 6 string family instruments, and rondalla, 6
woodwind family instruments,4 brass family instruments and 13 percussion family
instruments and determine eah how it will play.

Lesson 1.6: Harmony

Questions Keywords
 What is harmony? Harmony
 is the composite product when individual musical voices group
together to form a cohesive whole.
 occurs when more than one note is played simultaneously,
creating chords and chord progressions.
 When we’re specifically talking about vocal music,
harmony can be defined as any vocal part that is sung with
the melody, but is different from the melody

 How is harmony
represented in
music?  Harmony is typically analyzed as a series of chords.
consonant chord
 *When all the instruments in an ensemble are playing notes that fit the
same chord.

dissonant chord

*But when players employ a melodic line that does not fit with a set
chord.
Summary
 I have learned about the definition of harmony which typically analyzed as a series
of chords and the consonant and dissonant chord.


Unit 8: Music Education in the Fifth Grade

Lesson 8.1: MELODY

Questions Keywords
 Why use different  A bass clef symbol tells you that the second line from the top
clefs?  Music is easier to read and write if most of the notes fall on the
 What is sharp and staff and few ledger lines have to be used.
flat sign?  The G indicated by the treble clef is the G above middle C,
 What is harmonic  the F indicated by the bass clef is the F below middle C. (C clef
intervals ? indicates middle C.)
 What is pentatonic  So treble clef and bass clef together cover many of the notes
scale and its that are in the range of human voices and of most instruments.
categories?  Voices and instruments with higher ranges usually learn to read
treble clef,
 voices and instruments with lower ranges usually learn to read
bass clef.
 The design of the clef starts out with a small filled-in circle drawn
clockwise, then it swings outward and curves around the top, and
comes down the right side following a similar curve, finally ending
a little to the left of where it began.
 Two dots are added to the right of the clef.
 The 2 dots of the clef are positioned on either side of a line on the
staff, and that line corresponds to the note F3:

Bass Clef

 The F clef is generally found in only one position nowadays.

 the terms F clef and bass clef are often used interchangeably. But
to be more precise,
 the bass clef is actually a specific position of an F clef (just like
treble and g clef).

Pitch

 a note is how high or low it sounds.

 Pitch depends on the frequency of the fundamental sound

wave of the note.
  The higher the frequency of a sound wave, and the shorter its
wavelength, the higher its pitch sounds.

*the different pitches different letter names: A, B, C, D, E, F, and G.

These seven letters name all the natural notes (on a keyboard, that's all
the white keys) within one octave.

A sharp sign

*means "the note that is one half step higher than the natural note".

A flat sign

*means "the note that is one half step lower than the natural note".

 Some of the natural notes are only one half step apart, but most
of them are a whole step apart. When they are a whole step
apart, the note in between them can only be named using a flat
or a sharp.

 Sharp and flat signs can be used in two ways:

1.they can be part of a key signature, or

2.they can mark accidentals.

Figure

 When a sharp sign appears in the C space in the key signature,

all C's are sharp unless marked as accidentals.

 A note can also be double sharp or double flat.

 A double sharp is two half steps (one whole step) higher than the
natural note; a double flat is two half steps (a whole step) lower.

 Triple, quadruple, etc. sharps and flats are rare, but follow the
same pattern: every sharp or flat raises or lowers the pitch one
more half step.

Harmonic Intervals

 An interval is the distance (in scale steps) between two pitches.

 A harmonic interval occurs when two notes are played at the

same time.
 Intervals can also be melodic, meaning that the two notes are
played in sequence, one after the other.

For example, taking C as the tonic (the "1" or the first degree of the
scale), then the third degree of the C major scale is E, so the interval
between C and E is called a major third.

four intervals -perfect intervals

*found in both major and minor scales.

*Perfect intervals include the unison (same tone repeated), fourth

(five half steps), fifth (seven half steps) and octave (twelve half
steps).

A major sixth is made up of nine half steps .

A major seventh is made up of 11 half steps.
A perfect eight or perfect octave is made up of twelve half steps

PENTATONIC SCALE-
 The concept is very simple: the major pentatonic scale is a
collection of notes from the major scale.
  We know that the major scale has 7 notes.
 The pentatonic scale chose 5 of these notes and created another
scale.
 When the major scale stops having 7 notes and starts to have 5,
it gets the name of Penta. It is a reason for celebration: the
pentatonic scale has notes that when played generate
a pleasant melody, even if it is only the execution of the scale up
and down.
 consists of five notes and is also called a five tone or five note
scale. This type of scale has no semitone and uses mostly whole
tone or whole step movements.

Major and Minor Pentatonic Scale

 The pentatonic scale can be major or minor.

 The major pentatonic scale contains 5 notes of the major
scale, and
 the minor pentatonic scale contains 5 notes of the minor
scale.
 The minor pentatonic includes the same notes of a major
pentatonic.

Summary
 I have learned about the use of different clefs, the sharp and flat sign, the harmonic intervals
and the pentatonic scale and its categories naming major and minor pentatonic scale.

Lesson 8.2: FORM

Questions Keywords
 What is Strophic Strophic Form
form?  Simply defined, a strophic song is a type of song that has the
same melody across each stanza, or strophe, but different lyrics
for each stanza.
 The strophic form is sometimes referred to as the AAA song
form, alluding to its repetitive nature.
 Another name for the strophic song is the one-part song form
because each part of the song features one melody.

Summary
 I have learned about the strophic form which is a type of a song that has the same
melody across each stanza, or strophe, but different lyrics for each stanza.

Lesson 8.3: TIMBRE

Questions Keywords
What is timbre?
 What are the Timbre in music is also identified as “color.”
factors affect
timbre?
 What is timbre in  the quality and tone of a sound which makes it unique.
the voice?
 What are the 6  also defined as auditory senses produced by a sound wave.
common voice types
of vocal ranges?  In other words, it refers to a sound’s characteristics that help you
distinguish it from any other sound.

 The timbre of a sound depends heavily on its waveform, which

varies with the number of overtones (AKA “harmonics”) that are
present, their frequencies, and their relative intensities.
Factors that Affect Timbre
 There are multiple, depending on the instrument.

 Things like forced air, breath control, posture, and so on are all
factors that affect timbre.

 Small differences in the frequencies are also a factor – how many

you can hear, their relationship to the pitch, and how loud they
are.

Timbre in the Voice

 When singing, your timbre is affected by either constricting or
opening different parts of the vocal tract, like the tongue and
throat.

 Posture and breath control also play a role.

 Understanding which sound waves are high, low, and mid-level

can help you identify your voice type. Your speaking voice even
has its own timbre.

 The unique sound waves you create when speaking are what
allow you to be recognized by others.

 most vocal ranges are categorized within 6 common voice

types:

Bass, Baritone, Tenor, Alto, Mezzo-Soprano, and Soprano.

 The three male voice types are:

Bass, Baritone, and Tenor
 The three female voice types are:
Alto, Mezzo-Soprano, and Soprano

Bass
 The bass is the lowest singing range and typically lies between E2
to E4.
 In the lower and upper extremes of the bass voice, some basses
can sing from C2 to G4.

Baritone
 is the second lowest singing range, and overlaps both Bass and
Tenor.
 The typical baritone range is from A2 to A4, and might extend
down to F2 or up to C5.
The baritone voice type is the most common type of male voice.

Tenor
 is the highest type of male voice, typically comfortable between
C3 to C5.
 generally have greater control over their falsetto (head voice),
allowing them to reach notes well into the female register.
 Those who can sing higher than the average tenor are often given
the title “countertenor.”

Alto
 is the lowest type of female voice.
 range lies between F3 to F5, though there are those who can sing
above or below this range.
  Those who can sing below are often called “contralto’s” and can
usually sing in a range similar to a tenor.
 have a very similar range to mezzo-sopranos, their voices are
usually richer and fuller in the lower register than mezzos.
Mezzo-Soprano
 the middle-range voice type for females, overlapping both the
alto and soprano ranges. The typical range of this voice is
between A3 and A5.
 Many times, mezzo-sopranos will sing the same voice part as
sopranos until there is a 3 way split between sopranos, mezzos,
and altos.

Soprano
 the highest singing voice.
 The typical soprano voice lies between C4 and C6.
 What is rondalla? A. RONDALLA-
 What are the  The word "rondalla" is from the Spanish ronda, meaning
Philippine rondalla "serenade."
instruments?  The core instruments of Spanish ensembles are the guitar,
the mandolin, and the lute.
 usually are accompanied by at least one singer and
sometimes by percussionists playing handheld instruments.
 Though ensembles of stringed instruments have existed in
some form in Spain since at least the 16th century, this form
dates from the early 19th century, and it soon thereafter
traveled to the Philippines, which was a Spanish colony at
the time.

1. The bandurria -
*a plucked chordophone from Spain, similar
to the mandolin, primarily used in Spanish
folk music, but also found in former Spanish
colonies.
2. Laúd (Spanish: "lute")
* a plectrum-plucked chordophone from Spain,
played also in diaspora countries such as Cuba
and the Philippines. aditionally it is used by folk
string musical groups, such as the
Filipino rondalla string ensemble, together with
the guitar and the bandurria. Like the bandurria,
it is tuned in fourths, but its range is one octave
lower.
3. The octavina or Philippine octavina
*is a guitar-shaped Filipino instrument with a
tuning similar to the laúd. Originally a Spanish
instrument, the octavina was soon
incorporated into other cultures, notably
including Filipino culture.
4. Bajo de unyas-
*bass guitar that looks like a guitar and is
played by a plectrum.
Summary
 I have learned about the definition of timbre ,factors that affect timbre, tbre in the
voice and determine the 6 common types of vocal ranges and know rondalla and
it's instruments in the Philippines.

Lesson 8.4: DYNAMICS

Questions Keywords
 What is dynamics?
 What are two Dynamics
different
categories of  refers to the volume of a sound or note.
musical terms for  The term is also applied to the written or printed musical
dynamics? notation used to indicate dynamics.
 are relative and do not refer to specific volume levels.
 Traditionally, dynamic markings are based on Italian words,
although there is nothing wrong with simply writing things like
“quietly” or “louder” in the music.
 Forte means loud and piano means soft.
 The instrument commonly called the “piano,” by the way, was
originally called a “pianoforte” because it could play dynamics,
unlike earlier popular keyboard instruments such as the
harpsichord and spinet.

musical terms for dynamics into two different categories:

 Static dynamics
 Changing dynamics
Static dynamics
 are musical instructions that tell us to play the music at a
certain volume that doesn’t change.
three Italian terms to describe static dynamics:
 Piano
 Forte
 Mezzo

Piano

 pronounced ‘pi-ah-no’.
 the word we use to describe quiet or soft in music.
 When reading music you’ll typically see a letter p which is
telling the musician to play this part of the piece quietly.

Forte

 pronounced ‘for-tay.’ It’s defined as loud and it comes from

the Italian word for ‘strong.’
 when forte is used in a piece of music you’ll often see it
indicated as a letter f.
 This means you should play from this point loudly.

Mezzo

 pronounced ‘met-so’. The definition of mezzo is ‘moderately‘

or ‘half.’

two dynamics:

 piano and forte so you get mezzo piano (which means

moderately quiet)
 mezzo forte (which means moderately loud).
 abbreviated to the first letters of each word: mp or mf.

Pianissimo and fortissimo

 can also add the suffix ‘issimo’ which essentially means

‘very’ on to the end of piano and forte.
 take off the last letter o from piano and e from forte. This
then gives us pianissimo which means ‘very quiet‘
and fortissimo which means ‘very loud‘.
 Pianissimo -abbreviated to double letter ps
 fortissimo -abbreviated to double letter fs.

Pianississimo and fortississimo

  add an extra ‘iss’ to get pianississimo and fortississimo.

Changing Dynamics
 The other type of dynamic markings that you’ll see is to do
with changing dynamics.

Crescendo
 the Italian word crescendo (pronounced ‘kruh-shen-doh.’)
which means to ‘gradually get louder’.
 It comes from the Italian word for increasing.
 often abbreviated to ‘cresc’ in a piece of music but you can
also draw a hairpin sign.

Decrescendo and diminuendo

 The opposite of crescendo is decrescendo which means to

‘gradually get quieter’.
 It comes from the Italian word for decreasing.
 It gets abbreviated to ‘decresc‘-can also use a hairpin
symbol pointing the other way.
 Another word that means exactly the same as decrescendo
is ‘diminuendo‘which means ‘gradually get quieter.’
 Diminuendo gets abbreviated to dim.
 But you can use the decrescendo hairpin or either of these
words interchangeably.
Summary
 I have learned about the definition of Dynamics ,two different categories of musical
terms for Dynamics, the static and changing dynamics and determine the three
Italian term to describe static dynamics.

Lesson 8.5: TEMPO

 What is tempo? Tempo is the speed at which a piece of music is played.

 What are the Italian There are three primary ways that tempo is communicated to
terminology , and players: BPM, Italian terminology, and modern language.
modern language?
 Larghissimo—very, very slow, almost droning (20 BPM and
below)
 Grave—slow and solemn (20–40 BPM)
 Lento—slowly (40–60 BPM)
 Largo—the most commonly indicated “slow” tempo (40–60
BPM)
 Larghetto—rather broadly, and still quite slow (60–66 BPM)
 Adagio—another popular slow tempo, which translates to
mean "at ease" (66–76 BPM)
 Adagietto—rather slow (70–80 BPM)
 Andante moderato—a bit slower than andante
 Andante—a popular tempo that translates as “at a walking
pace” (76–108 BPM)
 Andantino—slightly faster than andante
 Moderato—moderately (108–120 BPM)
 Allegretto—moderately fast (but less so than allegro)
 Allegro moderato—moderately quick (112–124 BPM)
 Allegro—perhaps the most frequently used tempo marking
(120–168 BPM, which includes the “heartbeat tempo” sweet
spot)
 Vivace—lively and fast (typically around 168-176 BPM) Ex:
Kuhlau Sonatina Op.55 No.1 2nd Vivace fast tempo
 Vivacissimo—very fast and lively, even faster than vivace
 Allegrissimo—very fast
  Presto—the most popular way to write “very fast” and a
common tempo in fast movements of symphonies (ranges
from 168–200 BPM)
 Prestissimo—extremely fast (more than 200 BPM)
 accelerando – (abbreviated accel.) accelerating; getting faster
 ritardando – (abbrev. rit.) slowing down
Summary
 I have learned about the tempo which describe as a speed of music being
played and determine the Italian terminology and modern language.

Lesson 8.6: HARMONY

Questions keywords
 What is triads? Triads
 What are the  are made up of 3 notes played on top of each other.
diatonic scale ?  describe triads as chords.
 They consist of a bottom note (root), a middle note (3rd) and a
top note (5th).
Dominant
 the fifth tone or degree of a diatonic scale (i.e., any of the major
or minor scales of the tonal harmonic system), or the triad built
upon this degree..
Tonic,
 also called keynote, the first note (degree) of any diatonic (e.g.,
major or minor) scale.
 It is the most important degree of the scale, serving as the focus
for both melody and harmony.
 The term tonic may also refer to the tonic triad, the chord built in
thirds from the tonic note (as C–E–G in C major).
Subdominant,
 the fourth note of the diatonic (seven-note) scale (e.g., F in a
scale based on C),
 it lies at the interval of a fifth below the tonic; by contrast,
the dominant lies at the fifth above the tonic (e.g., G in a scale
based on C).

Summary
 I have learned about triads that are made up of 3notes played on top of each other
and determine the 3 diatonic scale such as dominant , tonic and subdominant.

UNIT 9: MUSIC EDUCATION IN SIXTH GRADE

Lesson 9.1: FORM
Questions keywords
 what are the Binary Form
musical form/s?  describes the structure of a piece of music which is divided into
2 different sections.
 The 2 sections are usually labelled A and B.

 The key concept to grasp is that there is some sort of contrast

between the A section and the B section.

 This contrast is usually (though not always) created by a key

change.

 2 main types of Binary Form Simple

  1. Binary Form -refers to the basic Binary Form structure outlined
above.

 There is an A section followed by a B section in a different key

(both sections are usually repeated)

2. Rounded Binary Form -is very similar to simple Binary Form except for
the fact that Section B is often longer than section A and part of section
A is repeated again at the end of section B.

3. Ternary form,
 sometimes called song form, is a three-part musical form where
the first section (A) is repeated after the second section (B) ends.
 It is usually schematized as A–B–A.
 can be used to organize a small section of a longer piece, one
movement of a multi-movement piece, or an entire piece of
music.
 It organizes the music into three sections:

 First, -there is the A-section that begins the piece.

 Next,- there is the middle B-section that is significantly different.
 The final section of ternary form is the return of the A-section,
where we hear the same or very similar music to the beginning of
Ternary Form also has two parts, but is different from Binary Form.
In Ternary Form, the A section comes back after the B section.
Ternary Form is written as ABA.
 Rondo Form –
is a natural extension of the 2 forms we have looked at already
– Binary Form and Ternary Form.
 If Binary Form is A-B and Ternary Form is A-B-A then Rondo
Form is A-B-A-C-A-D-A.

 The main section or theme (known as “A”) alternates with

contrasting themes (you will hear these called various
names such as “episodes”, “couplets” or “digressions”).

Da Capo,

 abbreviated D.C., literally means "take it from the top", or go

back to the beginning of the piece and repeat.
 Da Capo al Fine (that's pronounced "FEE-nay"),
abbreviated D.C. al Fine, means that you go back to the
beginning of a piece and repeat until you come to the
word Fine, which will usually be marked with a double or final
(solid) bar. (
 The abbreviation D.S. stands for Dal Segno,
 it means that you go back to the spot in the music where you
see the symbol and repeat from there. D.S. al
Coda means that you go back to the symbol and repeat
until you reach the Coda sign .

Summary
 I have learned about binary form which it is describe as a structure of music and
determine the two types of binary form and the ternary and rondo form and de
capo abbreviation.

Lesson 9.2: Musical Instruments of Western Orchestra

 Questions Keywords
 What is an orchestra? orchestra
 How big are  a general term for when a group of musicians get together to
orchestras? play.
 What are the four  There are many different types of orchestra such as a modern
families of instruments Western orchestra, a gamelan orchestra and even a Chinese
in a modern Western orchestra.
orchestra?  Orchestras can vary in size.
 Who is the most  A chamber orchestra consists of a smaller number of
important person in musicians coming together to play.
an orchestra?
 Why does the A symphony orchestra, most people mean when they talk
orchestra sit the way about a full-size modern Western orchestra.
it does?
Generally, the instruments can be grouped into one of the four:

I. Strings family
 Instruments are usually made of wood and strings and can be
played by vibrating the strings with a bow or plucking or
striking them with one’s finger.
 The latter is a technique known as pizzicato.

II. Woodwind family

 These instruments are played by blowing air into a single or
double reed, which is attached to a mouthpiece.
 A reed is a thin strip of material which produces sound in a
musical instrument when it vibrates.

III. Brass family

 These instruments are usually made of brass or other metal
alloy. Sound is created when the musician vibrates his or her
lips against a mouthpiece.
 The mouthpiece is fitted inside the instrument.

IV. Percussion family

 Sound is created when the instrument is struck, scraped or
shaken.
 Percussion instruments keep the rhythm, add excitement and
colour, and may even create special sound effects in an
orchestra.

the most important person in an orchestra

 It’s the conductor whose main role is to translate the
composer’s work and convey its essence and dynamics to
the musicians.
 How fast or slow, how loud or soft, who plays which part,
when to start and when to stop — these are just some of the
things the conductor has to be in control of.
 Those seemingly wild gestures conductors make are not
random.
 They are part of a language that the conductor uses to
communicate with the musicians on stage.

Why does the orchestra sit the way it does?

 If you observe a full-size orchestra during a music

performance, the seating arrangement is broadly divided
among the four families.
 Generally, the quieter string instruments are in front and closer
to the conductor and audience.
 The woodwind and brass instruments are usually seated
behind the string instruments as they are capable of
producing larger, louder sounds.
  The percussion instruments, the loudest family of instruments,
are usually placed at the back.
 They are also bulkier and bigger.

Summary
 I have learned about orchestra as a general term when a group of musicians get
together to play and know that instruments can group one into four and answer the
question why does orchestra sit the way it does.

Lesson 9.3: TEXTURE

Questions Keywords
texture
 What is texture?  is how the melodic, rhythmic, and harmonic materials are
 What are different combined in a composition, thus determining the overall
musical textures quality of the sound in a piece.
monophonic,  often described in regard to the density, or thickness, and
homophonic, and range, or width, between lowest and highest pitches, in
polyphonic. relative terms as well as more specifically distinguished
according to the number of voices, or parts, and the
relationship between these voices.
some common terms for different types of texture are:
 Monophonic
 Polyphonic
 Homophonic

Monophonic

 has only one melodic line, with no harmony or counterpoint.

There may be rhythmic accompaniment, but only one line
that has specific pitches.
 can also be called monophony.
 It is sometimes called monody, although the term “monody”
can also refer to a particular type of solo song (with
instrumental accompaniment) that was very popular in the
1600s.

Homophonic

 can also be called homophony.

 Describing homophonic music you may hear such terms
as chords, accompaniment, harmony or harmonies.
Homophony has one clearly melodic line; it’s the line that
naturally draws your attention.
 All other parts provide accompaniment or fill in the chords. In
most well-written homophony, the parts that are not melody
may still have a lot of melodic interest.
 They may follow many of the rules of well-written
counterpoint, and they can sound quite different from the
melody and be interesting to listen to by themselves.

Polyphonic

 can also be called polyphony, counterpoint or contrapuntal

music.
  If more than one independent melody is occurring at the
same time, the music is polyphonic.

Summary
 I have learned about the texture which described as density, or thickness or rangeor
width between lowest and highest pitches and determine the some common terms
for different types of texture such as monophonic, homophonic and polyphonic and
it's definition.

Lesson 9.4: HARMONY

Questions keywords
Harmonizing with other Singers
 what is harmonizing  No matter how many other singers are in the group, there is,
with other singers? of course going to be a melody. Sometimes the arrangement
 What are the key to moves this melody from one singer or chorus section to
sing with harmony? another, and many times the melody is sung by only one
singer or, for example in a chorus, is sung only by the soprano
section.
 All the other parts are harmony parts. The harmony parts can
be considered melodies as well, but as they are not the lead
melodic line, they support what is thought of as the melody.
SUPPORT AND BLEND
The key to singing harmony is:
1) Consistency:
Staying on your pitch and not wandering to or towards notes
being sung by someone of another part.
2) Rhythm:
Singing your words in exactly the same rhythm as the other
parts
3) Pronunciation:
The way you pronounce your words must sound the same as
the others in the group.
4) Volume:
The harmony part must not overshadow the lead melody.
When singing in a choir or chorus, also think of yourself as many
voices (those singing the same part as you) so that your
volume is in unison with the other voices.
5) Blend:

The watchword is “blend.” Singing harmony is not your time

to show your unique attributes as a singer; it is not your time
to “stand out in the crowd.” It’s all about blending with the
other singers and through sound, presenting a unified tonality
Summary
 I have learned about the harmonizing with other singers and know the key to sing
with harmony such as consistency, rhythm, pronunciation, volume and blend.