GRADE 3

MUSIC
CULTURE
KNOWLEDGE
PERFORMANCE
CREATION
Philippine Copyright 2021 © by Magnus Creative Music, Inc.

All rights reserved. No part of this book may be reproduced

or used in any manner without written permission of the
copyright owner.
TABLE OF CONTENTS
01 U N I T 1 RH Y T H M A N D M E LODY
R h y th m . . . . . . . . . . . 2
N o t e s & Re s t s . . . . . . . . . . . 4
2 / 4 Ti m e S i g n a t u re . . . . . . . . . . . 5
Te mp o . . . . . . . . . . . 7
Drills 1-5 . . . . . . . . . . . 13
M e l od y . . . . . . . . . . . 14
Drills 6-10 . . . . . . . . . . . 19
Comp osi t i o n . . . . . . . . . . . 20

22 U N I T 2 H A RM O N Y
Tr i ad s . . . . . . . . . . . 25
Drills 11-15 . . . . . . . . . . . 28
Drills 16-20 . . . . . . . . . . . 29
Drills 21-25 . . . . . . . . . . . 30
Drills 26-30 . . . . . . . . . . . 31
Comp osi t i o n . . . . . . . . . . . 32

35 U N I T 3 F O RM A N D DY N A M I C S
For m . . . . . . . . . . . 36
A B A B Fo r m . . . . . . . . . . . 39
Dy nami c s . . . . . . . . . . . 40
C re s c e n d o, . . . . . . . . . . . 42
D e c re s c e n d o
Pi e c e # 1 . . . . . . . . . . . 44
Comp osi t i o n . . . . . . . . . . . 45

46 U N IT 4 T IM BRE A N D T E X T U R E
Ti mb re . . . . . . . . . . . 48
Musical Instruments . . . . . . . . . . . 51
Tex tu re . . . . . . . . . . . 55
Po l y p h o n y . . . . . . . . . . . 56
Pi e c e # 2 . . . . . . . . . . . 58
Comp osi t i o n . . . . . . . . . . . 60
UNIT 1
RHYTHM A ND MELODY

L E SSO N 1 R HYTHM

L E SSO N 2 T E M P O

L E SSO N 3 M E LODY

L E SSO N 4 CO MPOSITION

H A V E Y O U H E A R D O F A S O N G A N D T H O U G H T, “ H E Y, I T ’ D B E R E A L L Y
COOL TO KNOW HOW TO PLAY THAT IN THE PIANO?”

AT I T S V E R Y S I M P L E ST, M U S I C I S A L A N G UAG E J U ST L I K E YO U
WOULD READ ALOUD FROM A BOOK.MUSIC IS MADE UP OF A
VARIETY OF SYMBOLS, THE MOST BASIC OF WHICH ARE THE
S T A F F, T H E C L E F S , A N D T H E N O T E S .

IN THIS CHAPTER, WE ARE GOING TO LEARN, SING, AND PLAY

SONGS WITH DIFFERENT RHYTHMS, PITCHES, AND TEMPOS. WE
WILL ALSO STUDY DIFFERENT MUSICAL SYMBOLS AND LEARN TO
CONDUCT IN 4/4 AND 2/4 TIME SIGNATURES.

1
 Le sson 1
RHYTHM
By the end of this lesson, you will be able to:

Define musical terms like notes, rests, and time signatures

Conduct in 4/4 and 2/4 time signatures

Analyze and perform songs in different time signatures

How is conducting helpful in music?

What is a 2/4 Time Signature?

Let's play
“Cup Rhythm”

2
 CUP RHYTHM

For this activity you will need a plastic cup and a tabletop surface to play the
cup on. Make sure your cup is sturdy and that it won’t break. Now that you
have your plastic cup and a surface, let’s begin this activity.

Step 1. Start with the cup upside down on the table.

Step 2. Clap your hands twice.

Step 3. Hit the table lightly three times (Right, Left, Right)

Step 4. Clap your hands once.

Step 5. Pick up the cup and set it down.

Step 6. Clap your hands once.

Step 7. Turn your left hand over to pick the cup up.

Step 8. Tap the top of the cup with your right hand.

Step 9. Hit the bottom edge of the cup onto the table lightly.

Step 10. Switch the cup from your left hand to your right hand.

Step 11. Tap the table with your free left hand.

Step 12. Place the cup down with your right hand.

Repeat until the song is over.

3
 NOTES A ND RESTS

There are places where we have to observe silence, like in the library,
but there are also places where we are allowed to talk, like in the
playground or circus.

In music, there are also times that we need to be silent to make the
song we are playing more interesting, and these are called rests.
Long and short notes with rests are arranged
together to make rhythmic patterns.

N OT E & R E ST VA LUE S
Notes on a staff represent what pitch to play and for how
long. Rests are musical symbols used to designate when to pause
and not play. Here are the kinds of notes and rests and their time value:

K INDS NOTES RESTS TIME VALUE

W ho le 4 bea t s

Half 2 bea t s

Q uar ter 1 bea t

Ei g h th 1/2 bea t

4
 TIM E S IGNATURE

Time Signature indicates the number of beats in a measure. There are two
numbers in the time signature. The upper number tells us how many beats
are there in a bar or measure and the lower number will tell you what note
receives one beat.

- For 4/4 time signature, the upper number 4 tells us that there are
4 beats in a measure. The lower number 4 tells us that a
QUARTER NOTE receives one beat. This time signature is also
called common time.

- For a 2/4 time signature, the upper number 2 tells us that there are
2 beats in a measure. The lower number 4 tells us that a
QUARTER NOTE receives one beat. This time signature is
usually used in marching songs.

CONDUCTING

Ever wonder exactly what that person waving a stick in front of an

orchestra or choir is doing?

Large groups of people need leaders to help them work together. A

football team has a head coach, a classroom has a teacher, an orchestra
or choir has a conductor. Conductors help musicians start and stop
together. They set the tempo, or speed, that everyone will play through
beat patterns. Conductors gives motion directions, or cue to show
musicians when to start playing and helps them play the right dynamics,
or volume of the song.

5
 CONDUCTING

Conducting in 4/4 Time

When conductors see a 4/4 Time Signature in their music, they trace this
pattern in the air:

2 3
1

Try tracing a 4/4 rhythmic pattern in the air, saying each number
when your finger reaches it in the pattern.

Try conducting along with this music in 4/4:

"Leron, Leron Sinta" track

Conducting in 2/4 Time

When conductors see a 2/4 Time Signature in their music, they trace this
pattern in the air:

1
Try tracing your finger along in the air with this pattern while saying "1, 2."

Try conducting along with our National Anthem in 2/4:

"Lupang Hinirang" track

6
 Le sson 2
TEMPO
By the end of this lesson, you will be able to:

Identify and compare tempos

Perform rhythmic drills in Adagio,

specifically 70bpm

What is adagio?

What is the difference

between Largo and Adagio?

Listen to
Drill 1 in 60 bpm
Drill 1 in 70 bpm

7
 TEMPO
Tempo tells us how fast or slow we should play or sing a song. There are
different tempos that we use in music and they are usually written as a
word that corresponds with a number, which you will see below,
or in beats per minute (BPM).

Largo means “slow.” This tempo is

40-60 BPM
(Beats Per used for very slow songs.
Minute)

Adagio means "at ease." This is 66-76 BPM

also part of the slow tempo category. (Beats Per
Minute)

80-106 BPM Andante means “at a walking pace”

(Beats Per
or moderately slow.
Minute)

Allegro means “fast." This tempo 109-132 BPM

(Beats Per
is commonly used for fast and
Minute)
quick songs.

8
 READING MUSIC

DID YOU KNOW?

Music is not just simply hearing. In formal music lessons,
reading music is equally important as hearing it. The following are
musical symbols that we need to learn as
you go on this lesson.

The Staff consists of 5 lines and 4 spaces.

This is where music symbols are written.

Tempo
indicates the speed Bar Line Double Bars
of music divides the staff
into smaller groups
called bars can also be written with
indicates the end one thicker line than the other.
of a section This marks the end of a piece.

HALF Note
lasts for 2 BEATS
EIGHTH Notes
QUARTER Note each note lasts
Time Signature last for 1 BEAT for 1/2 beat
indicates a total of
4 beats in a bar EIGHTH Rest
silence for 1/2 BEAT
HALF Rest
silence for 2 BEATS QUARTER Rest
silence for 1 BEAT

9
 PI ANO DR IL L S | WARM U P

1. Let's start with the right hand. Place your fingers in Middle C Position.

2. Do not forget to follow the finger number positions placed beside the notes.
Let's play this drill as warm-up for right hand:

thumb middle finger pinkie

10
 PI AN O DR IL L S | WARM U P

3. Position your left hand according to the illustration.

Place left hand on lower C (or lower octave from middle C).

NOTE: An octave is an interval of 8 notes in a musical scale. Play notes in lower

octave whenever you see this symbol:

Lower octaves can also be written as 8va or 8vb with dotted lines written below the staff.

4. Do not forget to follow the finger number positions placed beside the notes.
Let's play this drill as warm-up for left hand:

pinkie finger middle finger thumb

11
 PI E C E # 2 | WARM UP

5. Place both right and left hands on the piano.

Right hand - thumb on Do Middle C
Left hand - pinkie on Lower C

C3 C4 C5

6. Play the vertically-aligned notes together. Play the drills in 70, 80 and 90 bpm.

12
D RIL LS 1- 5

13
 Le sson 3
MELODY
By the end of this lesson, you will be able to:

Identify pitch names in so-fa syllables and letter names

Understand a major scale

What is a Major Scale?

How do we determine the highest

and lowest pitch of a song?

Let's sing
"Leron, Leron, Sinta"

14
 HIGHEST AND
LOWEST PITCH

1. Listen to this familiar folk song “Leron, Leron Sinta”.

2. Draw a pitch path of the song inside each box following the direction of its melody.

“Leron, Leron Sinta”

Philippine Folk Song

What is the lowest and highest pitch of the song?

Draw it on the staff below.

“Leron, Leron Sinta” is a classic work song that is believed to have

originated in the provinces and was traditionally sang during the DID YOU
papaya harvest season. “Leron, Leron Sinta” has become a timeless
Philippine folk song loved by millions of Filipinos. KNOW?

15
 PITCH

The melody is created with a succession of notes.

Every musical tone is represented by a note written
on the staff, and each note has its own specific pitch.

There are 2 ways to read pitch on the staff.

You can either read it using

1. So-Fa syllables
2. Letter names

See illustration below:

C D E F G A B C
do re mi fa so la ti do

We can use common mnemonics to remember the note names for the
lines and spaces of the treble clef. For lines, we remember EGBDF by
the word cue “Every Good Boy Does Fine.” Similarly, for the spaces,
FACE is just like the word “face.”

The Treble Clef

F
D E
C
B
G A
F
E
Every Good Boy Does Fine FACE

16
 M AJOR SCA LE

A major scale is one of the most commonly used musical scales. It is

composed of seven pitches or notes and the first note is played again
an octave higher.

A major scale is composed of intervals in this sequence - T T S T T T S.

The easiest major scale that has no sharps or flats is the C Major scale. Let
us apply the pattern for the major scale.

Constructing the C Major Scale

Scale Degree Root 2nd 3rd 4th 5th 6th 7th 8th

Major Scale Pattern T T S T T T S

C D E F G A B C
Root 2nd 3rd 4th 5th 6th 7th 8th

You’ll notice that as the notes ascend the staff, and move to the right on your
keyboard, the pitch of the notes gets higher.

17
 P IA N O D R I L L S | WA R M UP

1. Place both right and left hands on the piano.

Right hand - thumb on Do Middle C
Left hand - pinkie on Lower C

C3 C4 C5

2. Do not forget to follow the finger positions placed beside the notes.

shift to thumb

shift to middle finger

18
DR I L L S 6-10 | C TO C8

19
 Le sson 4
COMPOSITION
By the end of this lesson, you will be able to:

Write lyrics for a first verse and chorus from a

given melodic pattern

Songwriting or composing
music is a great way to express
our thoughts and feelings
through music.

HOW DO WE START?
Let's start by writing lyrics.

20
 WRITING VERS E & CHORUS
1. Listen to "Sample Track". The theme for our composition is "Local Songs and Culture".

2. Write your own lyrics based on the given melodic line.

A = Verse 1 B = Chorus

21
UNIT 2
HARMONY

L E SSO N 1 HAR MONY

L E SSO N 2 CHO RDS

L E SSO N 3 CO MPOSITION

ACCOMPANIMENT IS THE MUSICAL PART WHICH PROVIDES THE

RHYTHMIC AND/OR HARMONIC SUPPORT FOR THE MELODY OR MAIN
THEMES OF A SONG. THERE ARE MANY DIFFERENT STYLES AND TYPES
OF ACCOMPANIMENT AND ONE OF THE BASICS IS LEARNING
THE MAJOR TRIADS.

I N T H I S U N I T, W E W I L L ST U DY H A R M O N Y I N T E R M S O F I N T E R VA L S
AND TRIADS. THEN WE WILL EXPLORE HOW HARMONY CAN SUPPORT
O R A C C O M PA N Y A M E L O D Y, A N D H O W I T C A N P R O G R E S S
AS A SUCCESSION OF CHORDS.

22
 Le sson 1
HARMONY
By the end of this lesson, you will be able to:

Identify notes and chords

Perform C, F, and G triads on a piano

What are triads?

How does an accompaniment

complement melody?

Let’s listen to
“Leron, Leron Sinta”
with triads!

23
 ACCOMPANIMENT
Accompaniment is the musical part which provides the rhythmic and/or
harmonic support for the melody or main themes of a song.

Listen to the song “Leron, Leron Sinta” and describe how the notes
played on the left hand complement the melody.

24
 T RIADS

Exploring Harmony
Harmony is one of the most important parts of a song. Harmony occurs
any time two or more differently pitched notes are played at the same
time. Harmony can refer to the arrangement of the individual pitches in a
chord as well as the overall chord structure of a piece of music.

Let’s learn how major chords are constructed in music.

A major chord is a chord that has a root, major third, and a perfect fifth.
When a chord has these three notes alone, it is called a major triad.

Formula: (Root - 3rd - 5th)

C Major Chord / Triad (or I Chord)

• Press C using your thumb, press E using your middle finger and press G
using for pinkie finger.

• Play the three different notes at the same time to form the C Chord.

C E G

25
G Major Chord / Triad (or V Chord)

• Press D using your thumb, press G using your middle finger and
press B using for pinkie finger.

• Play the three different notes at the same time to form the G Chord.

D G B

F Major Chord / Triad (or IV Chord):

• Press C using your thumb, press F using your index finger and press
A using for pinky finger.

• Play the three different notes at the same time to form the G Chord.

C F A

26
 DR IL L S | WARM UP

1. Place both right and left hands on the piano. Play right hand notes first, then left hand.

Middle C

C3 C4 C5

2. Chords are written above the staff as your guide.

Follow correct finger positions for both hands.

Remember: Play left hand one octave lower

27
DR I LLS 1 1-15 | T H E I CH ORD

28
DR IL L S 16-2 0 | THE I & V CHORDS

29
D RIL L S 21- 25 | THE I - V - I V CHORDS

30
DRI LLS 26-30 | TH E I - V - IV - V CH OR DS

31
 Le sson 3
COMPOSITION
By the end of this lesson, you will be able to:

Improvise chord progressions

Create your own melodic line

Creating a melody is very

essential in song composition.
As what composer Gian Carlo
Menotti said, "Melody is a
form of remembrance."

HOW DO WE START?
Let's start by creating a
melody line out of the
given chords.

32
MAKING MELODY!
1. Write chords on the blank squares above the staff on the next page.
Choose from C, F, G chords (or I, IV, V chords)

2. Change the notes on the piece to come up with your own melody line based
on the chords. Write your new notes on the blanks below the staff.

3. Choose notes that fit the chord written per bar.

C Chord - choose from C, D, E, F, G, A, B, C (higher Do) notes

F Chord - choose from C, D, F, G, A notes
G Chord - choose from D, E, F, G, B notes

Example:

33
V ER S E & CHO RUS

34
UNIT 3
FORM AND DYNAMICS

L E SSO N 1 FO R M

L E SSO N 2 DYN AMIC S

L E SSO N 3 CO MPOSITION

FORM IN MUSIC DEALS WITH HOW THE SONG IS COMPOSED; IF IT

HAS A VERSE AND CHORUS, A VAMP AND BRIDGE, HOW IT STARTED
AND HOW IT ENDS. DYNAMICS ON THE OTHER HAND DEALS WITH
HOW MUSIC IS EXPRESSED BY FOLLOWING DYNAMIC MARKINGS IN
ORDER TO TRANSLATE THE SONG EFFECTIVELY TO THE HEARERS.

IN THIS CHAPTER, WE WILL LEARN THE ABA FORM OF MUSIC, ITS

EXAMPLE AND ITS DIFFERENCE TO OTHER FORMS. WE WILL ALSO
REVIEW SOME DYNAMIC MARKINGS AND INTRODUCE THE USE OF
C R E S C E N D O A N D D E C R E S C E N D O.

35
 Le sson 1
FORM
By the end of this lesson, you will be able to:

Identify ternary forms of music

Sing and play music in ABA Form

How can we differentiate

AB form from ABA form?

What is a ternary form?

Let’s sing the song

“Magtanim Ay ‘Di Biro”

36
 M AGTANIM AY DI BIRO

Listen to the similar melody lines in the song "Magtanim Ay ‘Di Biro.”

MAGTANIM AY ‘DI BIRO

Verse 1:
Magtanim ay ‘di biro, maghapong nakayuko
‘Di naman makatayo, di naman makaupo

Braso ko’y namamanhid, baywang ko’y nangangawit.

Binti ko’y namimintig sa pagkababad sa tubig.

Sa umagang paggising, lahat ay iisipin

Kung saan may patanim, may masarap na pagkain.

Braso ko’y namamanhid, baywang ko’y nangangawit.

Binti ko’y namimintig, sa pagkababad sa tubig.

Para sa araw ng bukas.

Para sa araw ng bukas!

Encircle the part which has the same tune with the first verse.

“Magtanim Ay 'Di Biro” is a popular Tagalog folk song composed by Felipe de Leon.
It’s a song that tells about the difficulties of the life of a farmer, how one has to bend
over the entire day, with no time to sit and no time to stand. And then it goes on to DID YOU
summon the listener to join in, to keep the industrious spirit alive, to continue the
hard work in the hopes of securing a brighter future. Wonderful how the song KNOW?
reflects the positive, hopeful mentality of the Filipino.

37
 MUSIC FORMS

Songs come in different forms. Some songs are verse and chorus only.
Some of them have verses, more than 2 choruses, bridge parts, and an
ending. Forms in music mean the structure of how the song was composed.

AA Form
A represents a major section (or verse) of a song. AA means there are two
major sections (or verses) in the song with similar melody, rhythm and harmony.

AB Form
AB means there are two major sections in the song with different melody,
rhythm and harmony but is closely related. In a simple Binary form A
section consists the verses of the song, while the B section is the chorus
part of the song which contains the song’s main message and title.

ABA Form

A Ternary form (ABA) is a form of music where A represents the beginning

idea of the musical piece, B represents the new, contrasting material, and
the final A represents a return to the familiar music heard at the start.
"Twinkle, Twinkle Little Star" is an example of a simple ternary (ABA) form.

38
 ABAB FORM

This form starts with A Section followed by B section, then repeat from
A then B. Each section usually has 8 bars.

In contemporary terms, ABAB form can also be referred as

VERSE 1 (A) - CHORUS (B) - VERSE 2 (A) - CHORUS (B)

CO MPAR ISON O F FORMS

AA AB ABA ABAB

Classical Term: Strophic Binary Ternary

Contemporary / Verse 1 Verse 1 Verse 1 Verse 1

Song Form: Verse 2 Chorus Chorus Chorus
Verse 2 Verse 2
Chorus

39
 Le sson 2
DYNAMICS
By the end of this lesson, you will be able to:

Distinguish crescendo and decrescendo

Understand when to use dynamic markings

How do we read expression

markings in music?

What is crescendo
and decrescendo?

Let's listen to
"Magtanim Ay ‘Di Biro"
with dynamics!”

40
 GETTING LOUDER
Li s ten t o t h e s o n g " M a g tan im Ay ‘Di Biro " with dyn am ics.

Can you identify which line in the chorus is gradually getting louder?
Underline the phrases which you think is gradually getting louder based on the track.

41
 DYNAMICS

Dynamics in music deals with how the song is expressed — loud, very
loud, soft, and very soft. They are markings or symbols found in a
musical piece, which will tell us how to play or sing the song.

or fortissimo meaning "very loud"

or forte meaning "loud"
or piano meaning “soft"
or pianissimo meaning "very soft"

There are also dynamic markings which increases or decreases in intensity.

Crescendo (cresc.) means gradually getting louder;

Decrescendo (descres.) means gradually getting softer.

crescendo

decrescendo

42
 PI E CE # 1 | WA RM UP

1. Place both right and left hands on the piano. Play right hand notes first, then left hand.

Middle C

C3 C4 C5

2. Play the vertically-aligned notes together once you've mastered both right and
left hand notes. Follow tempo, finger positions, dynamic markings and repeat signs.

43
PI ECE # 1 | MAGTAN IM AY DI B IRO

44
 Le sson 3
COMPOS ITION
By the end of this lesson, you will be able to:

Add a second verse to your composition

Songwriters express and expand

their thoughts by writing more lyrics.

HOW DO WE START?
Let's write more
lyrics & melody.

45
WRITING VERS E 2
1. Write your verse 1 melody line on the staff and rewrite your chords on the blank boxes.

2. Expand your story or message by writing a second verse.

This has the same rhythmic pattern with your first verse.

3. Write your verse 2 lyrics on the lines below the staff.

VE R SE 2

46
UNIT 4
TIM BRE A ND TEXTURE

L E SSO N 1 T I M BRE

L E SSO N 2 T E X TURE

L E SSO N 3 CO MPOSITION

TEXTURE IN MUSIC DEALS WITH HOW THICK OR THIN THE SOUND IS,
WHAT ARE THE ELEMENTS THAT MAKE IT SOUND THICK OR THIN, DARK
O R B R I G H T. T I M B R E D E A L S W I T H T H E Q UA L I T Y O F A C E RTA I N
MUSICAL INSTRUMENT OR A PARTICULAR VOICE. FOR EXAMPLE, THE
F L U T E ’ S T I M B R E I S L I G H T W H I L E T H E T R O M B O N E ’ S T E X T U R E H E A V Y.

I N T H I S U N I T, W E W I L L L E A R N A N OT H E R F O R M O F T E X T U R E CA L L E D
POLYPHONY AND COMPARE IT TO THE OTHER TWO TEXTURES WE HAVE
D I S C U S S E D. W E W I L L A L S O TAC K L E T H E D I F F E R E N T T I M B R E S O F
MUSICAL INSTRUMENTS USED IN AN ORCHESTRA.

47
 Le sson 1
TIMBRE
By the end of this lesson, you will be able to:

Identify tonal qualities of musical instruments

Identify why each instrument sound dark or bright

Does the body of an instrument

affect the total quality of the
sound it produces?

How can we describe the

timbre of musical instruments
from different musical families?

Let's listen to
"Tayo Ay Pilipino"

48
 DARKEST TIMBRE

Listen to the chorus of the song "Tayo Ay Pilipino" played by different instruments.
Can you identify which one has the darkest sound among the strings family?

TAYO AY PILIPINO (Excerpt)

Sabay sabay isigaw

Tayo ay Pilipino!
Isigaw sa buong mundo
Tayo ay Pilipino!
Kulturang sa atin ay ating
mamahalin
Kay sarap awitin
Ang musikang Pilipino!
Strings Family

Violin Viola Cello

Which instrument has the darkest timbre? _____________________

Patriotism is a common virtue among Filipinos. Their love DID YOU

for the nation, culture, local songs, values and beliefs are
still being upheld up to this day. KNOW?

49
 TIMBRE

Timbre can be defined as the character of a musical instrument. This

element of music deals with the quality of the sound (round, dark,
sharp, or bright) that a musical instrument produces.

Below is an illustration on how instruments vary in timbre:

Low Mid High

Dark Sound Warm Sound Bright Sound

Vocals (Female)
Vocals (Male)

Flute

Clarinet

Tenor Saxophone

Trumpet

French Horn

Tenor Trombone

Violin
Viola

Cello

Guitar

Ukulele

Piano
Organ

Kick Drum

Floor Drum

50
 STRINGS & LUTE FA MILY
STRINGS

VIOLIN
A bowed stringed instrument which is
the smallest and highest-pitched of the
string instrument family.

VIOLA
A bowed stringed instrument after the violin
and produces sounds lower than a violin.
The viola’s body is bigger than a violin.

CELLO
A bowed, and occasionally plucked,
instrument in the strings family. Its
body is much bigger than viola and
can produce a low, dark sound.

LUTE

ACOUSTIC GUITAR
A fretted musical instrument that
usually has six strings and played
through plucking or strumming

UKULELE
A small guitar or banjo with four strings.
This instrument is of Portuguese origin and
popularized in Hawaii in the 1880s.

51
 KEYBOARD A ND
PERCUSS ION FA MILY
KEYBOARD

Piano
A large keyboard musical instrument
played by pressing the white and
black keys.

ORGAN
A keyboard instrument with one or more
pipe divisions. This instrument can be
played with the hands on the keyboard,
and with the feet using pedals.

PRECUSSION

KICK DRUM
Also called as bass drum, is the lowest
pitched instrument in a standard drum kit.

FLOOR DRUM
Floor Tom or Low Tom is a part of a standard
drum kit that produces low tones.

52
WOODW IND FA MILY

FLUTE
A woodwind instrument that produces its
sound from the flow of air across an opening.

CLARINET
A woodwind instrument that has a singlereed
mouthpiece. The reed is attached to
the mouthpiece that when the player
breathes on it, the vibration produces the
sound of the clarinet.

SAXOPHONE
An instrument made of brass but belongs
to the woodwind family because it
produces sounds by the vibrations made
with the help of the reed. Like the
clarinet, saxophones have holes that the
player covers or uncovers through
pressing of keys.

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BRASS FAMILY

TRUMPET
A brass instrument that can produce
sound when the trumpeter buzzes his lips.
This instrument also has a mouthpiece
made of brass.

FRENCH HORN
A brass instrument made of tubing
wrapped into a coil with a flared bell. Like
other brass instruments, the pitch of a
french horn is controlled through the
player’s lip muscle (or what we call
embouchure) in the mouthpiece while
pressing the valves.

TROMBONE
This is another member of the brass
family. Like other brass instruments,
sound is controlled and produced
through the mouthpiece and the lip
muscle of the player. But unlike the french
horn that has valves to determine the
pitch, the trombone has a telescoping
slide to change the pitch.

54
 Le sson 2
TEXTURE
By the end of this lesson, you will be able to:

Identify the 3 different types of texture

Understand monophony, homophony and polyphony

How are textures

different from each other?

What is polyphony?

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 TEXTURE

Texture in music is about the combined elements we hear. How thick and thin
the sound is, how many layers of sound we can hear, how wide the range
is (lowest to highest pitches), the number of voices can we hear, and how
many instruments are used in the band. These elements make up the texture.

There are different kinds of texture in music. Let us look at the difference
between monophony, homophony, and polyphony:

Monophony Homophony Polyphony

One melody line; no One clear melody More than one

counterpoint; played with an independent melody
accompaniment; all played or sang at
the same time

One line has a We can usually hear Has a lot of

specific pitch the word “chords” counterpoint or
when describing this contrapuntal music.
texture

Examples: a girl Example: Choral Example: Rounds

whistling a tune; a singing with parts; A
group of people singer accompanied
singing in unison by a guitar or piano
(altogether, without
parts)

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 PI E C E # 2 | WARM UP

1. Place both right and left hands on the piano. Play right hand notes first, then left hand.
Middle C

C3 C4 C5

2. Play the vertically-aligned notes together once you've mastered both right and left
hand notes. Follow tempo, finger positions, dynamic markings and repeat signs.

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P I EC E # 2 | TAYO AY P I LI P INO

58
P I EC E # 2 | TAYO AY P I LI P INO

59
 Le sson 3
COMPOS ITION
By the end of this lesson, you will be able to:

Write your own composition on a music sheet

Music compositions last

longer when they are written.
Famous composers since the
1800s have written many
pieces which are still being
played today.

HOW DO WE START?
Let's write our composition on
a music sheet one element
at a time.

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 WRIT ING ON A M US I C S H E E T
Write your composition on the music sheet on the next page and follow these steps one at a time:

1. Add a title to your composition.

2. Write your melody line and chords.

• A = verses 1 & 2
• B = chorus

3.Write your lyrics below the notes.

4.Write your chords above each bar.

5. Put a beginning repeat sign on the first bar, and put an end repeat sign on the last bar.

6.Write tempo markings above the first bar of the staff which would fit your song.

Example:

61
M Y CO MPO SITIO N

62
Acknowledgements

Composers and Arrangers

Education Head Axel Mhar Generalao
Elijah Soriano Jobert Solero
Joed Janry Cruz
Writers
Randyl Barliso
Ma. Renela Fernandez
Ellen Rachel Ingay Video Editors
Jane Claire Magallanes Therese Marie Militante
Jethro Felipe
Transcriber
Airene Cedava
Jowena Christy Fabunan
James Ralf Blancaflor
Mark Stephen Lladones
Graphic Artist
Randyl Barliso
Joshua Orlina
Alan Paul Querequincia
Digital Illustrator
Vocals
Roy Diaz
Karen Gil Tirante
Axel Mhar Generalao