Curiculum For JSS Class

TWINX MUSIC ACADEMY
(FIRST) TERM SESSION

J S S 1 MUSIC CURRICULUM
WEEKS TOPIC CONTENT OF TOPIC
Week 1 Fundamentals of Definition of music, types, kinds sound and its features.
music
Week 2 Fundamentals of Use of music
music (contd) Effect of music on the society (positive and negative effect)
Week 3 Uses and impact of Definition of uses and impact of music.
music
Week 4 Rudiment of music Music alphabet, stave, great stave, clef, ledger line and bar lines
Week 5 Rudiment of music Drawing the music stave, labelling the great stave, fixing notes on
(contd) the stave
Week 6 Notes and their values Semibreve, minim, crotchet, quaver, semiquaver note and rest,
durations, American and English name.
Week 7 Notes and Values with Exercise and practical placement of notes
(contd)
Week 8 practice Vocal, keyboard or recorder rehearsal
Week 9 revision On all that was learnt in the term
Week 10 Exam
Week 11 Practical Rehearsal for school event
WEEK 1
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DATE: 16th – 20th of Sept, 2019.
TOPIC: FUNDAMENTALS OF MUSIC.
DURATION: 40 minutes.
PERIOD: 1 period.
CONTENTS:
DEFINITION
Music is the combination of organized sounds that is pleasant to the ear. It can also be regarded as the
combination of sounds, produced by voice and musical instrument.
Types of music
Secular music: is a music that is performed in the society mostly for commercial purposes, this type of
music is mainly for entertainment and at times moral lesson, it is also meant for programme, either in the
school, market place, club house, wedding parties and all other ceremonies.
Sacred music: is a type of music sung in place of worship of God and deities. It is a type of music that is
used to invoke the presence of Supreme Being and also to make request and reverences.
Kinds/style of music
This is the various forms that music takes in the process of performance. They can also be referred to as
style of music. They are: Folk music, Classical music, Contemporary music, Jazz music, Hip-hop music,
Blues music, Pop music, Juju music, Fuji music etc.
Folk music: Traditional music of a people or songs and dances of the common people of a nation that
have been handed down from generation orally. E.g. folktale, folksongs.
Classical music: Any music that has passed through the test of time without losing its quality. Its origin is
traced to the western countries.
Contemporary music: This is the type of music composed after the Romantic period of music; it came
into existence during the 20th century or modern period music.
Jazz music: This is the type of music that was inaugurated by the black people that were raised in
America. It was as a result of the slave trade.
Reggae music: Reggae music is the music of the Jamaicans.
Sound: is the vibration of two elements or materials that come in contact with each other, it is the
disturbance that occur when there is conflict of different element. Therefore sound cannot occur without
vibration. Vibration is the disturbance two bodies, element etc. Sound can be good or bad, sound can be
good when it is a sound of regular frequency i.e. TONE and it can also be bad when it is a sound of
irregular frequency i.e. NOISE.
Features of sound
Pitch is how low and high a sound is, human voices and musical instruments sound at different pitches.
The larger the musical instrument, the lower the pitch.
Timbre is the unique quality of every musical instrument and even human voices. it is referred to as tone
colour.
Duration is length of every sound, short or long and even silence.
Intensity is the loudness and softness of sound.
WEEK 2
DATE:23th-27thof Sept,2019.
2
TOPIC: USES AND IMPACT OF MUSIC.
PERIOD: 1 period.
CONTENT
USES OF MUSIC
Uses of music talks about what we use music for. It is different from what impart or influence music has
on us. Though there are some of the uses of music that function also as impact of music. Here, we are
talking about music as tools and instruments for different circumstances.
 It is used as a medium to express one’s feelings about something. Music can be used as a channel
through which man expresses what is going on in the mind, whether good or bad feelings.
 Music is used for entertainment.
 It is used for advertisement purposes. To publicize market products.
 It is also useful during social rites and ceremonies, e.g. Naming, Marriage etc.
 It is used to pass instructions.
 It is used to during rituals
 It is used to invoke the spirits.
IMPACT OF MUSIC ON HUMAN LIFE.
The word “Impact” has to do with contributions and influence. We are considering the contributions and
influences of music to human life and its society. It could be positive influence or negative influence.
Positive impact
 Music helps man to understand his environment better.
 It creates job opportunity for men and women.
 It enhances our attitude to worship of the creator God.
 People receive healing and psychological balance through music.
 It gives resolution to conflicts e.t.c.
 It familiarizes us with other people’s language.
 It creates cordial relationship in the society.
Negative impact
 It exposes teens and youths to sexuality and drug addiction.
 It makes them violent.
 Music is also an instrument of conflict.
WEEK 3
DATE: 30th Sept - 4th of Oct, 2019.
TOPIC: RUDIMENT OF MUSIC
PERIOD: 1 period.
CONTENT
Music letters are: A B C D E F and G, Staff comprises five horizontal lines and four spaces on which
musical notes are written. Another name for staff is stave as called by the British.
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When the five horizontal lines are drawn, it automatically creates four lines in place. That is why staff is
described as made up of five lines and four spaces. It is also numbered from bottom to top and not from
top to bottom.
Clef: this is the sign that determines the pitch at which a part of choir or musical instrument is to perform
a piece of music.
Types of Clef
Treble or G clef. It represents the highest parts and the female parts in musical section.
Bass or F clef. It represents the lowest parts and male parts in musical section.
Type of staff
Treble staff, Bass staff and Great staff
TREBLE STAFF: This staff makes use of the treble clef, so that any music written on it will be meant
for female counterparts.
Line 1—E Space 1—F

Line 2—G Space 2—A
Line 3—B Space 3—C
Line 4—D Space 4—E.
Line 5—F
BASS STAFF: This staff makes use of bass clef, which make makes any music written on it masculine in
the manner of singing.
Line 1—G Space 1—A

Line 2—B Space 2—C
Line 3—D Space 3—E
Line 4—F Space 4—G
Line 5—A
MIDDLE –C it is at the centre of the great staff, it divides the staff into two equal parts.
GREAT STAFF: This staff is the combination of the treble and bass staffs. The treble will be at the top
and the bass at the bottom.
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Ledger line: is the short line written outside the staff (above/below) to accommodate more notes
Bar line: is the horizontal line drawn across the staff to have equal division of column (bar or measure)
WEEK 4
DATE: 7th-11th of Oct, 2019.
TOPIC: NOTES AND THEIR VALUES.
PERIOD: 1 period.
CONTENT
Musical notes and their values has to do with the signs discussed earlier (minim, quaver) and their
durations. i.e. what each of the musical note stands for.
TYPES OF MUSICAL NOTES
 Shape notes.
 Round notes.
NOTES NAME (English) VALUES DURATION

Semibreve 1 4 beats
Minim 1∕2 2 beats
Crotchet 1∕4 1 beat
Quaver 1∕8 1∕2 beat
Semiquaver 1∕16 1∕4 beat
Demisemiquaver 1∕32 1∕8 beat
Hemidemisemiquaver 1∕64 1∕16 beat
Semibreve has 4 beats and the value is 1.

Minim has 2 beats and the value is ½
Crotchet has 1 beat and the value is ¼.
Quaver has ½ beat and the value is 1/8.
Semiquaver has ¼ beat and the value is 1/16.
Demisemiquaver has 1/8 beat and the value is 1/32.
Hemidemisemiquaver has 1/16 beat and the value is 1/64.
WEEK 5
TOPIC: NATURE OF DRAMA
PERIOD:1
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DEFINITION: Drama is an art form which involves imitation of actions. It thrives on the impersonation
of past events of people, animals and situations before an organized audience. It is also referred to as
Theatre. Drama reflects the problems and activities of everyday life with the aim of educating the
audience for positive change. It is regarded as an aspect of literature which is written not only to be read
in a classroom but to be acted on stage by actors and actresses.
Origin of Drama
Drama in Greece
Drama in Greece began with the observation of religious ceremonies. Think of a chorus of
worshippers standing or moving in a circle round the altar of a god, chanting in unison and
indulging in unrehearsed dance. The first movement towards the dramatic came when one
member of the chorus separated himself from the rest, speaking lines to which the chorus
collectively replied. Once this single actor established the situation, it would be followed with
the appearance of the other actors. These actors would begin a formal dialogue and the attention
of the spectators would be focused on them.
Chorus
Chorus was a group of people, wearing masks, who sang or chanted verse while performing
dancelike movements at religious festivals. The group would make its entrance by marching in a
stately rhythm through the passage between the theatron and the scene. When all the members of
the chorus had entered the orchestra, they arranged themselves in rectangular formation and
began their choral song and dance to the accompaniment of a flute. In the plays of Aeschylus and
Sophocles, they served mainly as commentators on the characters and events. They expressed the
then contemporary traditions, morals, and religious attitudes. They remained in the orchestra
throughout the play, performing not only during its odes, but also during the episodes. They
would sometimes make gestures and movements in sympathetic response to the action.
You should also remember that the Greek ode consisted of two kinds of movements: strophe
(movement of the chorus from right to left) and antistrophe (moving back to the original
position). Epode was a verse form composed of two lines differing in construction and often in
meter, the second shorter than the first.
The theatre
The theatre of Dionysus could accommodate almost fifteen thousand people. Actors used
exaggerated gestures, spoke loudly and wore masks which were large and stylized. This, coupled
with their costumes, represented character types. Actors would change their masks depending on
their situations, fortunes and emotions in the play. In the beginning, the theatre consisted of a
sloping hillside, which provided accommodation for the audience. It had a level tract, marked out
in a circle, on which the players moved and spoke.
Major parts of the ancient theatre
Orchestra was the dancing place. The chorus would sing and interact with the actors who
were on the stage near the skene.
Theatron: The theatron (literally, "viewing-place") is where the spectators sat.
Parodos was one of two gangways on which chorus and actors made their entrances from
either side into the orchestra.
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Skene, the word from which we get the word scene, was originally a flat-roofed stage
building. It was used as a scenic background.
The Roman Theatre
The drama of Greece was the chief model for the Roman theatre. The major names in the Roman
theatre were Seneca 4BC-65AD), Menander (342BC-291BC) and Terence (195BC-159BC).
These dramatists had a far-reaching influence on the English drama, about which we will learn in
the next section. The Roman theatre never approached the heights of the Greek, and the Romans
themselves had little interest in serious dramatic endeavours, being drawn toward sensationalism
and spectacle. The earliest Roman dramatic attempts were simply translations from the Greek.
Even the nine tragedies of the philosopher and statesman Seneca are gloomy and lurid,
emphasizing the sensational aspects of Greek myth; they are noted primarily for their inflated
rhetoric. The murder of the Emperor Claudius in 54AD, pushed Seneca to the top as favourites of
the new emperor, Nero. Seneca’s philosophical works include “On Tranquillity of the Soul” and
“On Leisure.”
WEEK 6
DATE: 21st-25th of Oct, 2019.
TOPIC: NATURE OF DRAMA
PERIOD: 1 period.
CONTENT
The theatre personnel
This stands for the people and individuals involved in the process of Drama production. They are
responsible for acting, organizing and arrangement of the technical things needed for a good drama
production. They work together from the beginning of rehearsals to the final presentation of the drama in
front of the audience.
The personnel include:
1. Actor
2. Actress
3. Crew.
An actor is a male individual who impersonates or imitates people, animal and situations in front of an
audience.
An actress is a female individual who impersonates or imitates people, animal and situations in front of
an audience.
Crew refers to all individuals who have special skills working behind the scene in the process of
performing a drama. They arrange the stage, costume to be worn by the actors and actresses and help
them to act correctly. They are:
1. Director
2. Set designer
3. Costume designer
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4. Make-up artist
5. Prompter
6. Director of photography. Etc.
FUNCTION OF DRAMA
1. Education function: it serves as a means of passing knowledge to the audience or teach about a
particular issue.
2. Information function: it is used to pass information on any issue going on in the society to the
audience.
3. Entertainment function: it serves as means of excitement, relaxation and pleasure for the
audience.
4. Therapeutic function: it soothes the mind of the audience.
WEEK 7
DATE: 28thof Oct -1stof Nov, 2019.
TOPIC: ELEMENTS OF DRAMA
PERIOD: 1 period.
CONTENT
ELEMENT OF DRAMA
Element of drama are the factors and qualities that make up a dramatic master piece, it makes the
difference between drama and other forms of literature. Drama is different from film, prose, television
etc. they are the things we look for in a drama so that we can understand its structural difference.
CLASSES OF ELEMENT OF MUSIC
1. Plot
2. Characterization
3. Diction
4. Spectacle
5. Theme
6. Music
7. Character.
1. Plot: it is the overall structure of a drama piece either written or unwritten, it is the known as the
storyline or summary of what will happen in a play. It has 3 parts namely beginning, middle and
end.
2. Characterization: is the attributes or trails embedded in a particular character which distinguish
him/her from another character.
3. Diction: it is the correct and appropriate choice of words; it deals with speech, language and all
verbal expressions by actors/actresses.
4. Spectacle: it is the visual aspect of drama ranging from set design, stage costumes, and properties
which attract and sustain the interest of the audience. The environment where the action takes
place.
5. Theme: it is also known as thought. It is the heart and soul of drama, it reflects the total meaning,
intentions and lessons in the actions in a drama.
6. Music: it contains audible sounds, songs, sounds effects, noise e.t.c which appeals to the ears.
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7. Character: this is the player in a play script; it is through the characters communication that the
play precedes.
WEEK 8
DATE: 4th -8th of Nov, 2019.
TOPIC: TYPESAND FORM OF DRAMA
PERIOD: 1 period.
CONTENT
TYPES AND FORM OF DRAMA
When we talk about types of drama, we refer to two basic kinds of drama under which every drama can
be classified for better understanding. They are:
1. Scripted drama: it is the drama has been written down with all dialogue and actions of actors and
actresses clearly written before performance. It describes what the actors are expected to do at
every point in the drama.
2. Unscripted drama:it is the opposite of scripted, it is based mainly on improvisation, actors and
actresses are only told what to say, when to say it and actions required.
Forms of drama
All drama whether scripted or unscripted exists in different forms, some special qualities make one drama
form different from another.
1. Tragedy: it is a play that is full of cries, tears and fears. It usually ends sadly with the death of
the hero who falls from his royal state to the lowest rank. It is full of purgation of emotion, it has
a complex plot, and death is common in tragedies, it is full of horror.
2. Comedy: it evokes profound laughter; it is very funny and most times unserious which usually
ends happily. E.g. “The Merchant of Venice” by William Shakespeare.It is an unserious play, it
evokes profound laughter, make up is applied to the extreme, flamboyant costumes are prevalent,
3. Dance drama: it is performed through dance movements while dialogue and music sometimes
accompany.
4. Music drama: this type has dramatic elements infused in such music, element of drama such as
movements, the use of props, costumes, make-up e.t.c.
5. Melodrama: it is a serious play with exaggerated characters which usually ends happily. It can
also be defined as a play full of songs with constant rivalry between the forces of good and evil.
6. Satire: this is a form of drama in which societal ills are ridiculed for the purpose of effecting a
change.
WEEK 9
DATE: 11th-15th of Nov, 2019.
TOPIC: LIFE AND WORKS OF AKIN EUBA
PERIOD: 1 period.
CONTENT
AKIN EUBA.
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Professor Akin Euba is one of Nigeria’s trained musicians. Born 1935 to a pianist father who gave him
early music education, he studied at the Trinity College of Music, London, University of California, Los
Angeles and the University of Legon, Ghana, with a PhD in Ethnomusicology at the University. He
pioneered the establishment of a department at Ife. He has contributed to the development of tradition
music just as his research has led him to become a spokesman for traditional music.For years, he was
organist and choirmaster at the St James-the less in South London, which he took over from Bankole. He
combines the rhythmic and melodic elements of traditional Yoruba music. Presently, he is lecturing at the
University of Pittsburgh, United States.
His Works
Six Yoruba Folk Song arranged for voice and piano,
Scenes from traditional life for piano,
The wanderers for cello and piano,
Olurombi for symphony Orchestra,
Igi nla so for piano and Four Yoruba Drums.
WEEK 10
DATE: 18th-22ndof Nov, 2019.
TOPIC: KEYBOARD INSTRUMENT
PERIOD: 1 period.
CONTENT
KEYBOARD INSTRUMENT
Keyboard instruments are musical instruments that produce sound through the use of white and black
keys, they are categorised into two classes of the western musical instruments, percussion and
electrophone.
Instruments under keyboard instrument: Piano, Harpsichord, Spinet, Organ and Electric Keyboard.
Piano is divided in to Upright piano and Grand piano.
Organ is in different types as well such as manual organ, electric organ etc.
Electric keyboard such as Clavinova, Synthesizer etc.
WEEK 11
TOPIC: RECORDER PLAYING
PERIOD: 1 period.
Running of scales (F Major) and Revision
Each student is expected to practice the scale on the instrument.
PRESENTATION:
STEP I: The teacher teaches the students the scale in F major on the recorder.
STEP II: The teacher guides the students to run the scale of F major on the recorder.
EVALUATION
1. Practice the scale of F Major on the recorder. .
2. Practice this sequence d r m d, r m f r, m f s m, f s l f - etc.
ASSIGNMENT:Practice the scale of G major on the recorder.
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EASTER (SECOND) TERM SESSION
J S S 1 MUSIC LESSON NOTE
Week 1 Drama creation Definition, basic forms and technique.

improvisation
Week 2 Dramatise playwrights Definition and categories, Nigerians, Non-Nigerians, director
Week 3 Musical signs/ terms Signs (<,>) terms ( fine, fermata), piano, forte e.t.c.
Week 4 History of music Baroque period, Life and contribution of J.S Bach.
Week 5 Rest and dotted notes Definition, musical notes, rest sign and duration.
Week 6 Accidental signs Definition, semitones, tone, sharp flat and natural.
Week 7 Stem positioning Rules and stem positioning.

Week 8 Time signature Definition, type and application.
Week 9 Nigerian art composer Life history and contribution of Emeka Nzewi and
AdebankeAdemola.
Week 10 Nigerian musical Definition and types.
instruments
Week 11 Practical Recorder playing.
WEEK 1
DATE: 14th – 18th of JAN, 2019.
TOPIC: DRAMA CREATION AND IMPROVISATION.
PERIOD: 1 period.
CONTENTS:
DEFINITION
Drama creation is the skill of making up drama sketches which will be relevant to the society.
Drama improvisation is the technique of creating a drama sketch without prior preparation. It is
spontaneous as it comes from the mind at a particular point in time.
Factors that enhance drama improvisation
1. Creativity by the actors
2. More action than dialogue but with clear message
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3. To be acted by professionals not amateurs
4. There must be relevant dialogue on the storyline.
Types of drama creation
Unscripted drama: improvisation is usually unwritten because it is always not planned for. It follows a
brief explanation and rehearsal starts off immediately.
Scripted drama:drama sketches made under improvisation are usually not detailed. It is meant just to
guide amateur actors to get into their roles faster.
Techniques of drama creation
Oral narration: it is the art of relating a story verbally which could later become a full play text.
Playwright: is an aspect of drama production which requires in depth expertise to come up with a play
with series of conflicting issues. It can be real, imagined or adapted from a literary work.
WEEK 2
DATE:21st-25th of JAN, 2019.
TOPIC: DRAMA PLAYWRIGHTS.
PERIOD: 1 period.
CONTENT
Playwright is a special gift in the art creating stories which can be real or imagined and can even be
adapted from another literary work.
Sources of a playwright’s inspiration
Society:a playwright is always inspired through the happenings within and outside their own
environment.
Past and present experiences:experiences in the past, either good or bad, can also become a play text.
Imagination: is also very potent sources of inspiration to a playwright, through imagination mental
pictures are created, scenes and actions are also enhanced which culminate into a full script.
Adaptation: a playwright might also be inspired through the work of a playwright from another society;
a playwright draws instances from another person’s play and then make it fit into their own society.
Rules to follow in adaptation of play

1. The title must not be same
2. The name of the characters must change
3. Innovations concerning the plot, lines conflicting issues and setting must also be taken into
consideration by the person adapting.
WEEK 3
DATE: 28thJAN -1stof FEB, 2019.
TOPIC: MUSICAL SIGNS/ TERMS
CONTENT
Musical terminologies are based on the languages that served as the bedrock of music literacy in the
world such as Italian, German and French, the term are used to communicate directions in a piece of
music, that is without a conductor, a group of choristers can sing perfectly by adhering to the instruction
written on the score.
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3 directions communicated in a music.
Tempo: the pace of the music
Dynamic: the loudness and softness of music.
Expression: the way or manner a musical piece is communicated in terms of emotion
Musical term for Tempo
Largo----- Slow
Andante----- Walking pace
Allegretto------ Not fast as allegro
Allegro------ Fast
Adagio------ Very slow but quicker than largo
Andantino------ Not as slow as andante
Presto------ Very quick
Moderato------ Moderate time
Musical term for Dynamics
Piano------ Soft
Forte------- Loud
Decrescendo----- Gradually getting lower
Crescendo------- Gradually getting louder
Diminuendo------ Gradually softer
Fortissimo------ Very loud
Pianissimo------- Very soft
Mezzo-forte------ Moderately loud
Mezzo-piano------ Moderately soft
Musical term for Expression
Vivace------ Lively
Furioso------ Furious
Fuoco------- Fire
Expressivo------Expression
Mysterioso------ Mysterious
Religioso----- In a religious manner
Marcato------ Marked or accented
Non troppo------ Not too much
WEEK 4
DATE: 4th -8thof FEB, 2019.
TOPIC: HISTORY OF WESTERN MUSIC (BAROQUE PERIOD).
Contents.
Introduction to the history of various musical development of the period. There had been some periods
that have spanned before the period of Baroque music was conventionally run from 1600-1750. Periods
like Middle Ages (400-600) and Renaissance period (600-1600) and composers of the period were
employed by patrons of European states and the church. Baroque simply means different things. It can be
described as period of painting, architecture that is generally characterized by the spirit of flamboyance,
elegance, theatrical, elaborate ornamentation, grandioso concepts, heavy elaboration of design and
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magnificence of effect. The period stands for a particular style in the art. Having gotten the table of
periods in the junior school at this juncture, we shall consider the characteristics and the musical forms in
baroque period.
Vocal forms of the period: Opera, Oratorio, Cantata, Passion, Mass, Chorale.
Instrumental form of the period: Sonata, Fugue, Concerto grosso, Solo concerto, Suites and the Chorale
prelude.
Characteristics of the period:
The use of Basso continuo (thorough bass).
Homophonic writing was predominantly used to form clarity.
Polyphonic writing was also at its peak (specially used by J.S.Bach).
Melodies were often ornamented and embellished by the use of shakes and trills.
The use of modes as against major and minor of today.
The composers of the period
Johann Sebastian Bach,
Henry Purcell
George Frederic Handel
Domenico Scarlatti
Antonio Vivaldi.
WEEK 5
DATE: 11th-15th of FEB, 2019.
TOPIC: REST AND DOTTED NOTES
PERIOD:1
SPECIFIC OBJECTIVE: At the end of the lesson, Students should be able to understand the meaning
of rest in music and its application.
Contents.
Rest is the period silence in music.

Dotted notes stand to represent the half of the original value that accommodates it. I.e. a dot is the half
value of any note that carries it.
Dotted rest is the period of silence that is been represented on the staff with the use of dotted note.
SIGNS OF REST AND DURATION
Rest Name Duration
Semibreve 4
Minim 2
Crotchet 1
Quaver ½
Semiquaver ¼
Demisemiquaver 1/8
Hemidemisemiquaver 1/16
Semibreve has 4 beats.

Minim has 2 beats.
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Crotchet has 1 beat.
Quaver has half beat.
Semiquaver has a quarter beat.
Demisemiquaver has an eighth beat.
Hemidemisemiquaver has a sixteenth beat.
WEEK 6
DATE: 18th-22nd of FEB, 2019.
TOPIC: ACCIDENTAL SIGNS
PERIOD: 1 period.
SPECIFIC OBJECTIVE: At the end of the lesson, Students should be able to identify the function of
accidental sign in a piece of music.
INSTRUCTIONAL MATERIALS: Piano, Recorder and dummy keyboard
PREVIOUS KNOWLEDGE: The students were taught rest in music and dotted notes.
Contents
Accidental signs in music are the signs that are used to raise, lower and neutralise musical sounds. They
are sharp, flat and natural sign respectively. They are signs that determine the augmentation and
diminution of a musical note or sound. They are Flat, Sharp and Natural signs.
There are other notes used in producing musical sounds apart from the seven notes of tonic solfa
notation. They are called accidentals-sharps and flats. The sharp (#) sign is used to raise the sound of the
note by a semitone. When sharp sign affects a note, it would increase or raise the note by a semitone. As a
result, ‘doh’ becomes ‘de’, ‘ray’ becomes ‘re’, fah’ is ‘fe’ ‘soh’ is ‘se’ and ‘lah’ becomes ‘le’ .
Similarly, the flat sign is used to lower the sound of the note by a semitone. When a flat affects a note, it
lowers or reduces it by a semitone.In this case the letter ‘a’ (aw) is attached to the solfa note, then ‘ray’
becomes ‘raw ‘ ‘m’ becomes ‘maw’, ‘l’ is ‘law’ and ‘t’ is ‘taw’
Tone and semitone
Semitone is a half step while Tone is a full step.
Sharp, (#) Flat (b) Natural , double sharp (##) double flat (bb)
Sharp: it raises a note by semitone.
Flat: it lowers a note by semitone.
Natural: it restores a note to its original pitch.
NOTE: You can also write the letters with the signs, e.g. C Sharp. D flat e.t.c
WEEK 7
DATE: 25th FEB -1st of MAR, 2019.
TOPIC: STEM POSITIONING
PERIOD: 1 period.
SPECIFIC OBJECTIVE: At the end of the lesson, Students should be able to identify the positioning of
stem when writing musical notes on the staff.
Content
Stem positioning is the art controlling the direction of the stem in the placement of note on the stave.
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Notation which is the system of written music involved the uses of notes with and without stems. Musical
notes (semibreves, minim, quaver e.t.c) are not placed on the stave without control.
Stems of notes are written in two ways:
Upward to the right.
Downward to the left.
Here are some rules guiding the writing of notes with stems on the staff thus:
a. Notes written above the middle line of the staff must have the stems downward. Show diagram.
b. Notes written below the middle line of the staff must have the stems upward. Show diagram.
c. Notes written exactly on the middle or 3 rd line may have their stems upward or downwards as
desire by the composers or writers. Show diagram.
d. When two parts are written on the same staff, the higher part is written with the stems upwards
and the lower part with the stem downwards. Show diagram.
ASSIGNMENT: Read about time key signature.
WEEK 8
DATE: 4th -8thof MARCH, 2019.
TOPIC: TIME SIGNATURE
PERIOD: 1 period.
Contents
Time signature simply refers to the sign (symbol) which indicates the time of a piece of music.
There are two symbols of time signature namely ordinary symbol and figures.
Ordinary symbol of time signature, we have Cut time or AllaBreve which is written thus “C\”
Representing 2/2.
Another symbol is common time written “C” representing 4/4 in figure. In Time Signature, the figure
above indicates the number of beats in a bar while the figure below indicates the value of the beat.
Examples: 2/2, 4/4, 3/8, 6/4 and so on.
2/2…………Two Minim beats in a bar.
4/4………….Four Crotchet beats in a bar
3/8………….Three Quaver beats in a bar.
6/8………….Six Quaver beats in a bar.
TYPES OF TIME SIGNATURE
There are two types of Time signature namely Simple Time signature and Compound Time signature.
Simple Time signature makes use of 2 3 and 4 meters
Compound Time uses notes or beats. A dotted note represents a group of three smaller notes or beats. E.g.
one dotted minim is equal to three crotchets; one dotted crotchet is same or equal to three quaver beats.
We have Compound duple, compound triple, and compound quadruple.
Compound duple……….6/4, 6/8, 6/16.
Compound triple………..9/4, 9/8,9/16.
Compound quadruple…………12/4, 12/8, 12/16, and has four dotted notes or beats.
Simple Time Signature: We have Simple Duple, Simple Triple, and Simple Quadruple.
Simple Duple: 2/2, 2/4, 2/8, 2/16.
Simple Triple: 3/2, 3/4, 3/8, 3/16.
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Simple Quadruple: 4/2, 4/4, 4/8, 4/16.
ASSIGNMENT:
1. Explain satire.
2. What is the time signature for 6 quavers beat in a bar.
3. What is the time signature of 2 beats in a bar?
WEEK 9
DATE: 11th-15th of MARCH, 2019.
TOPIC: ART COMPOSERS
PERIOD: 1 period.
SPECIFIC OBJECTIVE: At the end of the lesson, Students should be able to identify the contributions
of some Nigerian art composers to music.
REFERENCES: Spectrum Cultural and Creative Arts 1, Music Without Tears by Ogundeko et. al.
INSTRUCTIONAL MATERIALS: Piano, Recorder and dummy keyboard.
PREVIOUS KNOWLEDGE: The students were taught art music through the life and works of Akin
Euba.
EMEKA NZEWI
Born October 21, 1938 in Nmuezu, Nnewi, Anambra state, Meki, pioneer student of Music University of
Nigeria Nsukka, joined the NBC in 1965. He studied in London, and at the Queen’s University, Belfast
for a PhD in Ethnomusicology.
Some of his works are- Ogbunigwe (an opera), 1965; A Drop of Honey, (a musical) 1969: The love of
Finger (musical drama) 1968; Death and the Dance Spirits (Symphonic Poem) 1966.
ADEBANKE ADEMOLA
Egba Princess, she got trained at the Royal Academy of Music, Maryland, London. A Licentiate of the
Royal Academy of Music, versatile pianist and singer, staff of FRCN for years. She was music producer
with the corporation. 54 years old musicologist, she is faculty member of MUSON School of Music.
ASSIGNMENT: Name some keyboard instrument you know.
WEEK 10
DATE: 18th-22nd ofMARCH, 2019.
TOPIC: NIGERIAN MUSICAL INSTRUMENTS
PERIOD: 1 period.
SPECIFIC OBJECTIVE: At the end of the lesson, Students should be able to identify some musical
instruments domicile in Nigeria.
PREVIOUS KNOWLEDGE: The students were taught art music through the life and works of Meki
Nzewi and AdebankeAdemola.
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Content
Nigerian musical instruments are musical instruments that are originated in Nigerian cultural areas. E.g.
Igbo cultural areas, Yoruba cultural areas and Hausa cultural areas. All cultural areas in Nigeria have their
various specific instruments based on their climatic and weather condition.
Aerophone
Kakaki (hausa&yoruba)
Oja (igbo flute)
Opi (igbo horn)
Oduk (efik-ivory trumpet)
Membranophone
Gangan (Yoruba)
Igba (igbo )
Tambiri (hausa)
Samba
Omele
Gbedu (Yoruba)
Kalangu (hausa)
Idiophone
Agogo
Ichaka (igbo)
Ubo aka (igbo)
Agidigbo( Yoruba)
Udu (igbo)
Sekere (Yoruba)
Alo (igbo)
Chordophone
Goje (hausa)
Une (igbo),
Molo (hausa)
Anana (efik)
ASSIGNMENT: Play the scale of F major.
WEEK 11
DATE: 25th-29th of MARCH, 2019.
PERIOD: 1 period.
PRESENTATION:
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EVALUATION
4. Practice this sequence d r m d, r m f r, m f s m, f s l f - e.t.c.
ASSIGNMENT: Practice the scale of G major on the recorder.
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SUMMER TERM SESSION
Week 1 Western musical Definition, classification.

instruments
Week 2 Key Signature Definition and categories.
Week 3 Scale in Music Definition, types, technical names and tetrachord.
Week 4 Major scale Construction of C, G, D, F and Bb major with key signature.
Week 5 Major scale Construction of Eb, Ab, Db, and Gb major with key signature.
Week 6 Major scale Construction of E, A, D, and G major with key signature.
Week 7 History of Music Life and contribution of G. F Handel.

Week 8 Forms of music Definition, type : binary and ternary.
Week 9 Costume and make-up Definition, types and uses.
Week 10 Dance Definition, uses and how to dance
Week 11 Choreography Definition and its principles.
WEEK 1
DATE: 23rd – 27th of APRIL, 2018.
TOPIC: WESTERN MUSICAL INSTRUMENTS.
PERIOD: 1 period.
CONTENTS:
Musical Instruments of the Orchestra – Strings, Woodwind, Brass, Percussion. (ii) Western Musical
Instruments not used in the Orchestra- Keyboard Instruments, Strings
Sub-topic: definition, broad classification of western instruments, types of orchestra instrument,
non-orchestra instruments
Definition
Western musical instruments are musical instruments that are produced overseas and imported into our
country. They are classified into two types: Orchestra and non- orchestra instruments.
Broad Classification of Western Instruments
1. Orchestral Instruments: These are the musical instruments that are used in the orchestra. They are
of various groups and classified into four big families. They are Strings, Woodwind, Brass and
Percussion.
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2. Non- orchestra instruments: These are the musical instruments that are not used in the orchestra.
These instruments also are useful in other areas of musical performance. They are: Keyboard
instruments and strings.
Types of Orchestra Instruments
1. The String Family
This family produces sounds by the vibration of the strings. Different notes are produced by placing
finger on different points of the string. String instruments are played by bowing or plucking. It forms
the backbone of the orchestra. There are four different instruments in the string family; they are:
violin, viola, cello and double bass.
2. The Woodwind Family
Woodwind instruments produce sounds when air is blown into the tubes through the mouthpiece. These
instruments were formerly largely made of wood, ebonite and a few of them made of metal. Some of the
instruments are: piccolo, flute, oboe, Cor Anglais, clarinet, bassoon, double bassoon, saxophone bagpipe
and the recorder family.
3. The Brass Family
Brass instruments are made of brass. They are played by blowing. They are always used in the
military bands and for procession because their sound is heard well in the open air. All brass
instruments have a mouthpiece through which the player blows. The brass instruments comprise
trumpet, trombone, cornet, Tuba French horn, Euphonium and Flugal horn.
4. The Percussion Family
Percussion instruments are the instruments that are struck, shaken, scraped or beaten to produce sounds.
They constitute the largest in the orchestra. This family has varieties: Definite Pitch- Percussion and
Indefinite Pitch- Percussion.
a. Definite Pitch- Percussion: They are varieties of percussion instruments that can be tuned. For
example timpani or kettle drum can be tuned by turning large screws attached to the side. Usually
there are two kettledrums with one tuned to doh and the other to soh. Other examples are:
Glockenspiel, Xylophone, Bells, Celesta and Marimba.
b. Indefinite Pitch- Percussion: These varieties cannot be tuned. They are; Side Drum (Snare Drum),
Bass Drum, Triangle, Tambourine, Gong, Rattle and Castanets.
Non- orchestra Instruments Classification and Examples
1. Keyboard Instruments: They comprise piano, organ, accordion, melodeon, spinet,
harpsichord, clavichord and virginal.
2. Strings: They are of two types, guitar and harp.
WEEK 2
DATE:30th APRIL - 4th of MAY, 2018.
TOPIC: KEY SIGNATURE.
PERIOD: 1 period.
CONTENT
Key Signature is a symbol which is usually written at the commencement (beginning) of the stave after
the clef which indicates the key of any given music. Every piece of music is like a door locked with a
padlock, which requires the right key to open it. A piece of music cannot be organized or agreeable to the
ears if the correct key is not used to sing or play it .
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Two types of symbols are used to identify musical keys namely Sharp and Flat.
MAJOR KEYS WITH SHARPS (Key C major has no key signature because all the notes are natural, it
uses only the white keys on the piano key board. It does not require any sharp or flat complete its scale.
There are seven major keys with sharps, namely G, D, A, E, F sharp, C sharp.
Key G major …………..one sharp at F.
Key D major……………two sharps at F,C.
Key A major …………….three sharps at F, C, G.
Key E major……………….four sharps at F, C, G,D.
Key B major…………………. five sharps at F,C,G,D,A.
Key F Sharp major …………… six sharps at F,C,G,D,A,E.
Key C Sharp major………………seven sharps at F,C,G,D,A,E,B.
NOTE: The order of the major keys: G, D, A, E, B, F sharp, C sharp.
The order of the sharps on the staff: F, C, G, D, A, E, B.
TABLE OF MAJOR KEYS WITH SHARPS
There are also seven major keys with flats namely F, B flat, A D G C.
Key F major has just one flat at B.
Key B Flat major………..........two flats at B, E.
Key E Flat major………………..three flats at B,E,A.
Key A Flat major…………………four flats at B,E,A,D.
Key D Flat major …………………..five flats at B,E,A,D,G.
Key G Flat major ……………………...six flats at B,E,A,D,G,C.
Key C Flat major ……………………….seven flats at B,E,A,D,G,C,F.
NOTE: The order of the flats on the stave is B, E, A, D, G, C, F.
Every key signature of the flat keys begins with B
WEEK 3
DATE: 7th-11th of MAY, 2018.
TOPIC: SCALE IN MUSIC
PERIOD: 1 period.
CONTENT
A Scale is an alphabetical succession of sounds ascending or descending from a starting note. It is a
musical ladder of sounds.
Diatonic Major Scale: It consists of seven notes while the 8th note being the octave is repeated. All major
keys with sharps and flats operate in cycle of 5th. There are seven major keys with sharps and seven major
keys with flats while the C major natural is the foundation and starting point of all the keys. It consists of
five whole tones and two semitones.
Diatonic minor scale: This scale also contains seven tones but the position of tones and semitones is
different. The essential feature of the minor scale is its minor 3 rd . The interval between its tonic (first
note) and mediant (third note) is always a minor 3rd .Thus; a minor scale begins three semitones below the
tonic of its relative major scale. This is why a minor scale uses “lah” (solfa) as tonic while a major scale
uses “doh” (solfa). Here we are going to deal with the two forms of this minor scale--- harmonic minor
and melodic minor.
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The harmonic minor scale has its seventh note raised ascending and descending l t d r m f se l se f m r d
t l. The melodic minor scale has its sixth and seventh note raised ascending and naturalized descending, l
t d r m fe se l s f m r d t l .
Technical names of musical notes/degrees

MUSICAL NOTES/DEGREES TECHNICAL NAMES
Doh Tonic
Rey Supertonic
Me Mediant
Fah Subdominant
Soh Dominant
Lah Submediant
Te Leading note
Doh’ Upper tonic
Tetrachord: this is the combination of four notes; it is the division of diatonic scale into two equal parts.
WEEK 4
DATE: 14TH – 18TH MAY, 2018.
TOPIC: MAJOR SCALE.
PERIOD: 1 period.
Contents.
Construction of C Major Scale
CDEFGABC
Construction of G Major Scale

GABCDEFG
Construction of D major scale
DEFGABCD
Construction of Bb flat major
BCDEFGAB
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WEEK 5
DATE: 21st-25th of MAY, 2018.
TOPIC: MAJOR SCALE CONTD.
PERIOD:1
Contents.
Construction of Eb major scale
EFGABCDE
Construction of Ab major scale
ABCDEFGA
Construction of Db major scale
DEFGABCD
Construction of Gb major scale
GABCDEFG
WEEK 6
DATE: 28th of MAY - 1st of JUNE, 2018.
TOPIC: MAJOR SCALE
PERIOD: 1 period.
Contents
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Construction of E major scale
EFGABCDE
Construction of A major scale
ABCDEFGA
Construction of D major scale
DEFGABCD
Construction of G major scale
GABCDEFG
WEEK 7
DATE: 4th-8th of JUNE, 2018.
TOPIC: HISTORY OF MUSIC (GEORGE FREDERICK HANDEL)
PERIOD: 1 period.
Content
Handel was born in Halle, Germany in 1685, his father had wanted him to be a lawyer, but he took to
music due to his love and interest in it. He grew to become a great opera and oratorio composer and
acquired a high reputation as a harpsichordist and organist.
In his early years, his chief interest was in opera and he toured the Italian opera houses writing operas for
them. His first opera in Italy was almira in 1704. He later went to England in 1710 where he started to
produce the Italian style operas in London. The Rinaldo dated 1711 was his first opera in London.
The choral writing is simple in context and boldly outlined and the chorus itself plays a natural and
important part in the action of the tale. The most important of his operas are the beautiful arias which
follow the recitatives. Each aria was intended to give musical expression to a single specific mood or
effect. The recitatives which were either accompanied or unaccompanied were also remarkable features of
his operas.
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On the financial failure of his opera, he turned to the composition of oratorios with his first oratorio
Esther dated 1732. The messiah which is the the most famous of all his oratorios was composed in a
record time of 23 days in 1741.
Handel brought the level of artistry to a higher plane than his contemporaries in his oratorios. Many parts
of his oratorios are simply operatic scenes upon Old Testament subjects, but the presence of a large
chorus to take the place of the stage became a new feature. He used both solo voices and chorus as a
means of meditating upon the facts of the story and made effective and lovely use of the “Da capo”.
Unlike Bach, Handel never married, but he too became blind at the end of his life, he died in 1759 and
was buried at Westminster Abbey in London.
His works
1. Opera : Almira, Agrippina, Julius Caesar, Orlando e.t.c
2. Oratorio: Esther, Athalia, Deborah, Saul, Samson, Israel in Egypt, Messiah e.t.c
3. Vocal works with orchestra: Acis and Galatea, Alexandra’s feast, Chando anthems, Ode for St.
Cecilia.
4. Orchestral music: water music, e.t.c
5. Chamber music
6. Concerto.
WEEK 8
DATE: 11th -15th of JUNE, 2018.
TOPIC: FORMS OF MUSIC
PERIOD: 1 period.
Contents
Form of music is the basic structure of piece of music, an external structure that gives the layout of a
composition as divided into sections. Form and structure in music are almost seen as the same but in the
colloquial sense, there is a subtle difference between the two terms in the sense that form refers to the
segmentation of piece of music, i.e. an external structure that gives the layout of a piece of music as
described in the definition while Structure refers to how those segments are delineated, structure is said to
be the developmental process from the stage of motive to the periodic stage.
Types of form
Binary form
Ternary form and
Rondo form
Binary form is the type of form that has two sections which are referred to as A and B, they are referred
to as phrases, binary form has two phrases (antecedent and consequent). The first phrase looks pending
and inconclusive while the second phrase shows resolution of the idea introduced at the initial phrase.
Ternary form is the form that three sections which are referred to as A, B and A, the first phrase is
regarded as the main theme, the second section is regarded as the contrast and the third section is the
recapitulation of the main theme.
Rondo form has not less than five sections which A, B, A, C and A, main theme appears first after which
the contrast sections will appear, then the main theme keeps appearing after any new contrast is
presented. Main theme is named A while the different contrast is named B, C or D each time they are
presented after the main theme (A).
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WEEK 9
DATE: 18th-22nd of JUNE, 2018.
TOPIC: COSTUME AND MAKE UP
PERIOD: 1 period.
Content
Costume is the outfit worn by the actors and actresses when interpreting their roles on stage. It reveals
more about the identity of the characters even before they talk about themselves as the costumes show the
class they belong to in society.
The concept of Makeup is the materials applied on the actors’ body used to compliment their costumes as
well as their personality during the performance of a dramatic piece. They make the actors look more real,
hence they are seen more clearly by the audience and even appreciated more during productions.
Types of make up
Foundation make up: this is used to disallow the ray of stage lights to change the countenance of the
actors.
Character make up: this is used to make the actor look like the character he is impersonating. It will
change the ordinary look of the character to a completely different one. This makes it difficult for people
who already know him to identify him.
Make up kits in drama production
a. Eye pencil
b. Lip stick
c. Powder
d. Eye shadow
e. Charcoal
f. Brushes
g. Nail brush e.t.c
WEEK 10
DATE: 25th -29th of JUNE, 2018.
TOPIC: DANCE
PERIOD: 1 period.
Content
Dance simply means organized body movement in time and space to express human feelings, ideals,
images and beauty in relation to a musical performance. Dance could also be defined as the expression of
the body with gestures to the rhythm of music. Dance also refers to bodily response to music in time and
space. Dance is equally rhythmic body movement to communicate a message either alone or with a
partner. The difference between dance and music, although one leads to the other, dance deals with
organized body movement while music is the organized sound.
TYPES OF DANCE
Free dance: In Free Dance, there are no specifications as to how each dancer moves in terms of space or
relationship to other dancers and body movements, rather each dancer expresses his or her feelings
independent of what other dancers or other parts of the body do.
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Stylized dance: Stylized Dance involves purposeful and uniformity in movements. The movements are
planed such that body relationships and individual relationships are all meaningful. Example is
ATILOGWU Dance.
People dance for a variety of reasons. as Africans, people dance to express joy, victory, sadness, and war.
There is also dance for ceremonial purposes like festivals, marriages, coronations (title taking), and
funerals.
Apart from these, there are occupational dances. There are AGE GROUP dances; there are also CULTIC
dances which are ritualistic in nature.
Dance can be categorized along functional line.
(a)Social dances
(b)Occupational dances.
(c)Ritual dances.
The structure of dance: Dance has three basic structures such as (1) Beginning, (2) Middle and (3) End.
Components of dance: Dance contains the following components: Music, drama, costume, language and
mimes.
WEEK 11
DATE: 2nd -6th of JULY, 2018.
TOPIC: CHOREOGRAPHY
PERIOD: 1 period.
Content
Choreography is simply calculated dance. it is also the sequence of dance steps and movements in dance
or figures skating.
Principles of Choreography
Contrast: it is the changes of movements, dynamics, tempos or special design.
Sequence: these sections of the dance are in a logical order. Provides continuity, a sense of development
and conclusion.
Transition: this is about how movements or sections of dance are linked together. They contribute to the
flow of the dance.
Variation: this has to do with a concept of dance that is subjected to variation i.e subjected to
modification each time it is repeated. It is the use of peculiar movements that have been varied or changed
to give greater depth of meaning.
Proportion: this is the relative size of the sections or sequences, the groupings of dancers, the size of
movements.
Climax: this is given highest concentration; it is regarded as apex of the dance. This is achievable by
increasing the pace, intensity, increased numbers of dancers through enlargement of movement.
Repetition: this point is a good point in African art, it is used to give coherence and emphasis to the piece
of dance. Movement, sequences, stage management, body shapes and rhythm are some the elements
subjected to repetition.
Balance: it involves floor patterns, the placement of dancers or groups of dancers in relation to each other
and in relation to the space.
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TWINX MUSIC ACADEMY
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(FIRST) TERM SESSION
J S S 2 MUSIC CURRICULUM
Week 1 Major scale Construction of major scale on C natural, G major, B flat major
and F major with key signature.
Week 2 Major scale cont.d Construction of major scale on C natural, G major, B flat major
and F major without key signature.
Week 3 Interval Meaning of interval,type: consonant and dissonant and the interval
chart.
Week 4 Interval cont.d Description of interval and their inversions.
Week 5 Art music composer Life and works of Akin Euba.
Week 6 Piano class A scale of C natural
Week 7 Piano class (contd) Playing songs on the key of C

Week 8 Western composer The history, contribution and works of Wolfgang Amadeus
Mozart.
Week 9 Recorder playing
Week 10 Major and minor The relationship between minor and major scale.
relativity
Week 11 Exam
WEEK 1
DATE: 16th – 20th of Sept, 2019.
TOPIC: MAJOR SCALE.
CONTENT
Steps to follow in scale construction:
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Identify the staff you are working with (treble or bass).
Know the key signature you are writing on
Start your tonic (first note) on the alphabet of the key signature
Construction of these four scales with key signature
C major scale C D E F G A B C - ascending and descending order.
G major scale G A B C D E F G- ascending and descending order.
B flat major scale B C D E F G A B – ascending and descending order.
F major scale F G A B C D E F - ascending and descending order.
WEEK 2
DATE: 23rd-27th of Sept,2019.
TOPIC: MAJOR SCALE CONTD.
CONTENT
Construction of these four scales without key signature
Construction of scale without key signature is a way of writing a scale on the staff without identifying the
key of the music at the left hand side of the staff but through the use of accidental signs at the any point in
the course of the music.
Steps to follow in scale construction:
Identify the staff you are working with (treble or bass).
Know the key signature you are writing on
Note the letters that will carry accidental signs (sharp or flat).
Start your tonic (first note) on the alphabet of the key signature on the staff.
C major scale C D E F G A B C - ascending and descending order.
G major scale G A B C D E F# G- ascending and descending order.
B flat major scale Bb C D E Fb G A Bb – ascending and descending order.
F major scale F G A Bb C D E F - ascending and descending order.
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WEEK 3
DATE: 30th Sept -4th of Oct, 2019.
TOPIC: INTERVAL
CONTENT
DEFINITION: Interval is defined as the distance in pitch between two notes written or played together.
It can be melodic or harmonic.
Types of interval
Melodic interval
An interval is melodic if the two notes are written or sounded one after the other. In other words, a
melodic interval occurs when the first note is sounded or written separately followed by the second note.
Harmonic Interval
An interval is harmonic if the two notes are placed vertically on the stave or sounded together at the same
time. This is to say that a harmonic interval occurs when the two notes are sounded at the same time. e.g.
Melodic interval Harmonic interval
CONCORDANT INTERVALS: These are intervals which sound quite pleasant. They are also called
concords. They are agreeable to the human ear. They are inactive and satisfactory. Concordant intervals
include major and minor 3rds and 6ths, perfect 4ths, 5ths and 8ths (octaves). These are classified into
two- perfect and imperfect concords. The perfect concords include all perfects –perfect unison,perfect
4ths, 5ths, and 8ths, (octaves), e.g.
The imperfect concords are major and minor 3rds, major and minor 6ths, e.g.
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Remember that all concordant intervals sound pleasant and satisfactory.
DISCORDANT INTERVALS: they are also known as discords. They sound unpleasant and
unsatisfactory. They are active and have tendency to move. Thus, they are incomplete in effect and need
other chords to follow them. This means they need resolution. Discordant intervals include all 2nds and
7ths, diminished and augmented intervals, as follows;
Five statuses of interval are major, minor, perfect, diminished and augmented.
Major and minor intervals are 2nd, 3rd, 6th and 7th.
Perfect intervals are unison, 4th, 5th and 8th (octave).
Augmented and diminished intervals are 4th and 5th.
WEEK 4
DATE: 7th -11th of Oct, 2019.
TOPIC: INTERVAL CONTD.
CONTENT
DESCRIPTION OF INTERVAL
Simple intervals are those intervals which fall within an octave. They include all 2nds, 3rds, 4ths, 5ths,
6ths, 7ths and 8ths.
Compound intervals are those which fall beyond an octave. This means they are greater than an octave.
They can be major, minor, perfect, and so on. E.g. major 9th, minor 10th and perfect 12th
To find a compound interval of a simple interval, add 7 to its number. For example, if 7 is added to a
major 3rd, it becomes a major 10th or a compound 3rd. E.g.
INTERVAL NUMBER OF SEMITONE

Minor 2nd 1 semitone
Major 2nd 2 semitones
Minor 3rd 3 semitones
Major 3rd 4 semitones
Diminished 4th 4 semitones
Perfect 4th 5 semitones
Augmented 4th 6 semitones
Minor 6th 8 semitones
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Major 6th 9 semitones
SUB-TOPIC 2: INVERSION OF INTERVALS

Inversion of intervals is the process whereby an interval is turned upside, either the lower note going an
octave higher or the higher note descending an octave. That is to say, in inverting an interval, the lower
note is placed an octave above or the upper note is placed an octave below. For example:
In inversion of inversion of intervals, the numerical value of an interval plus its inversion makes up 9.
Thus, to find the number of the inverted interval, subtract the original one from 9. That is why in the
above examples the P 4th becomes P.5th and P.5th becomes P.4th.
So, a 2nd becomes a 7th on inversion
a 3rd becomes a 6th on inversion a 4th becomes a 5th on inversion a 5th becomes a 4th on inversion a 6th
becomes a 3rd on inversion a 7th becomes a 2nd on inversion an 8th becomes a union on inversion.
In terms of quality, all intervals change their quality when inverted, except perfect intervals which remain
perfect. Thus, a major interval becomes minor a minor interval becomes major a diminished interval
becomes augmented an augmented interval becomes diminished a perfect interval remains perfect.
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WEEK 5
TOPIC: NIGERIAN ART MUSIC
AKIN EUBA.
Professor Akin Euba is one of Nigeria’s trained musicians. Born 1935 to a pianist father who gave him
early music education, he studied at the Trinity College of Music, London, University of California, Los
Angeles and the University of Legon, Ghana, with a PhD in Ethnomusicology at the University. He
pioneered the establishment of a department at Ife. He has contributed to the development of traditional
music just as his research has led him to become a spokesman for traditional music.One of his major
contributions to African music is African pianism.
His Works
Six Yoruba Folk Song arranged for voice and piano,
Scenes from traditional life for piano,
The wanderers for cello and piano,
Olurombi for symphony Orchestra,
For years, he was organist and choirmaster at the St James-the less in South London, which he took over
from Bankole. He combines the rhythmic and melodic elements of traditional Yoruba music. Presently,
he is lecturing at the University of Pittsburgh, United States
CONCLUSION: Art music in Nigeria is a replica of its western classical music but with the employment
of African musical idioms.
WEEK 6
DATE: 21st -25th of Oct, 2019.
TOPIC: PRACTICAL CLASS
SPECIFIC OBJECTIVE: At the end of the lesson, Students should be able to lay their fingers on the
piano to run a scale of C natural, F major and G major.
PREVIOUS KNOWLEDGE: The students were taught life and works of Akin Euba.
C D E F G A B C fingering Left hand- 5 4 3 2 1 3 2 1, Right hand -1 2 3 1 2 3 4 5
F G A Bb C D E F fingering Left hand- 5 4 3 2 1 3 2 1, Right hand -1 2 3 4 1 2 3 4
G A B C D E F# G fingering Left hand- 5 4 3 2 1 3 2 1, Right hand -1 2 3 1 2 3 4 5
PRESENTATION:
STEP I: The teacher teaches the students the fingering for running the scale on the piano.
STEP II: The teacher asks the students to practice the scale exercises.
EVALUATION
1. Run the scale of C natural F major and G major.
WEEK 7
DATE: 28th of Oct -1st of Nov, 2019.
TOPIC: DESIGN IN THEATRE
CONTENT
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DESIGN IN THEATRE
Design in theatre is the design of space in which a performance takes place. It is the creation of theatrical,
as well as film or television scenery. It is an aesthetic masterpiece of a dramatic production as created by
scenery, lighting, sound and costumes. The activities involved in a stage design are perfect control of cast
and crew, management of rehearsal schedule and maintenance of stage materials.
Elements of design in theatre
Set: this is the scenery used on a stage in a play or in the place where a film or show is being made. Set
construction is the process by which a construction manager undertakes to build full-scale scenery
suitable for viewing by camera.
Costume: this is an important fact of acting, it is more than covering, and its essence is rooted in the fact
that the actor wears, moves and speaks in it. It assists the characterisation so that even without any
alteration by the actor, the audience can determine the role of the actor.
Light: light is needed on the stage to allow a clear view of the play by the audience. The major reason of
lighting is to make the stage picture visible.
Make-up: this is a coloured substance used on the face to improve or change one’s appearance. It is not
limited to the face alone; it helps to understand the role of an actor well.
Sound: this is any sound heard during a play, like vocal projection of the actors as well as music. It is
used to accompany action and supply realism to the play.
Props: it is the short form of properties, they are objects used on the stage by actors during a
performance. They moving or portable on the stage, they used to establish the stage setting for the play.
WEEK 8
DATE: 4th -8thof Nov, 2018.
TOPIC: WESTERN COMPOSER
HISTORY AND CONTRIBUTION OF W.A MOZART
Mozart was born in 1756 at Salzburg, Austria as a child prodigy, and is one of the greatest musicians in
history. Because he was born into a family of musicians, Mozart and his sister Nannerl showed incredible
talent early on. Their father, who was a violinist and composer for the archbishop of Salzburg, took young
Amadeus and Nannerl on tours throughout Europe to display their talent in concerts. The frequent
performances were exhausting, but they allowed Mozart’s talent to develop at a rapid pace. By age 3,
Mozart developed perfect pitch, which means that he could sing any note you asked him to without
having to use a piano for help (some musicians spend a lifetime trying to develop perfect pitch!). Mozart
began composing music at age 6, and could improvise (make up music on the fly) on any tune by age 7.
He later combined these skills by improvising many of the cadenzas in his piano concertos when he
performed them. He was truly a musical genius!
Through his family’s travels, Mozart learned about many different styles of music, and met important
composers, such as J.C. Bach (one of J.S. Bach’s sons) and Joseph Haydn, who he became good friends
with. Haydn even called Mozart the greatest composer he had known! Mozart became concertmaster for
an archbishop in Salzburg when he was 16, but did not get paid, and was more interested in writing
operas and instrumental music anyway, so he eventually moved back to Vienna, where he took on piano
and composition students. He earned a great deal of money and a big reputation through writing, teaching,
and performing with his students, but died suddenly in 1791, at age 35, probably because he didn’t
manage his money well, and could not pay for medical treatment when he fell ill.
Even though Mozart sadly died at a young age, the amount of incredible music he produced in his
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Lifetime established him as one of the most important and talented composers in the classical period and
in the history of music.
His works
Mozart also wrote 34 symphonies, 16 quartets, 5 operas, and 100 other pieces by the time he was 18.
The Magic Flute (Opera),
Piano Concerto No. 5
CONCLUSION: Western music is background of every music.
WEEK 9
TOPIC: POPULAR MUSIC
Popular music refers to the present day music. It is the prevailing music of the present time. It can be
called contemporary or pop music. It is designed principally for entertainment and commercial purposes.
It deals with the political and social issues of the moment. Popular music includes reggae, highlife, disco,
Afro-beat, juju music, and so on. These are produced in disc Lp records, cassettes and video tapes.
Popular music emerged in Nigeria in the late 1940’s and was very much in vogue in the 1950’s. Thus,
several bands were established and they help in popularise pop music. These Bands included E.C. Arinze
Dance Band, Bobby Benson jazz Band,Eddie Okanta Dance Band,and so on. Later, in the 1960’s and
early 1970’s more Bands joined the popular music scene. These Bands were led by Rex Jim Lawson,
Victor Olaiya, Celestine Ukwu, Victor Uwaifo, and so on. Today, more Bands are established to
contribute to the growth of popular music.
Types of popular music
1. Reggae,
2. Highlife,
3. Disco,
4. Afro-beat,
5. Juju music,
6. Jazz music and
7. Fuji music and
8. Hip-hop music.
Popular musicians
Popular musicians are of the categories untrained and trained ones. The untrained ones are those who
perform just from their natural talents. They did not attend any school of music. The trained ones are
those who received pure academic training in band music. They consist of music graduates or holders of
professional certificates from accredited institutions.
Victor Olaiya, Bobby Benson, Rex Jim Lawson, Victor Uwaifo, I.K Diaro, Ebenezer Obey, Fela
Anikulapo Kuti, Sunny Okosun,Christy Essien-Igbokwe, Stephen Osita Osadebe, Sunny Ade, Felix
Liberty, Captain Muddy Ibe, Ali Chukwuma, Tony Grey, Bright Chimezie Iromoh, Tina Onwudiwe,
Bongos Ikwue, Prince Nicco Mbarga, Oliver de Coque, Goddy Ezike, Tony Okoroji, Onyeka Onwenu,
Nelly Uchendu, Majek Fashek, Oby Nwankwo. E.t.c.
WEEK 10
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DATE:18th-22ndof Nov, 2019.
TOPIC: MAJOR AND MINOR KEY RELATIVITY
CONTENT
MAJORAND MINORRELATIVITY
Relativity of key signature is realisable by counting 3 notes backward or 6 notes forward in any key given
for relativity.
RELATIVE MAJOR SCALE RELATIVE MINOR SCALE
C Major a minor
D Major b minor
E Major c minor
F Major d minor
G Major e minor
A Major f# minor
B Major g# minor
B flat Major g minor
E flat Major c minor
A flat Major f minor
D flat Major b flat minor
G flat Major e flat minor
Major keys are related to their minor counterparts on the 6 th degree (forward) of the major scale and 3rd
degree (backward).
d r m f s l..... the ‘l’ is the tonic for the minor scale.
Or d’ t l.....
WEEK 11
SPECIFIC OBJECTIVE: At the end of the lesson, Students should be able to run the scale of F Major
on the recorder.
PREVIOUS KNOWLEDGE: The students were taught key relativity.
PRESENTATION:
EVALUATION
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Week 1 Minor scale Definition, types- natural, melodic, harmonic.
Week 2 Triad Definition, types, first and second inversion.

Week 3 Construction of Triad Construction on the staff.
Week 4 Forms of music Binary, ternary and rondo form.
Week 5 Art music composer Life and works of Wilberforce Echezona.
Week 6 Piano class A scale of C natural, F major and G major
Week 7 Conducting Definition, types and techniques

Week 8 Western composer The history, contribution and works of Joseph Haydn.
Week 9 Time signature Definition, types and applications.
Week 10 Listening skills Meaning and types.

Week 11 Recorder playing Scale of F Major on the recorder.
WEEK 1
DATE: 14th -18th of JAN, 2019.
TOPIC: MINOR SCALE.
PERIOD: 1 period.
SPECIFIC OBJECTIVE: At the end of the lesson, Students should be able to construct minor scale on
natural, harmonic and melodic categories.
Content
Minor scale is defined as scale that begins on the 6 th degree of the major scale, it takes its cue from its
relative major key. E.g. F major key has its minor relative begun on ‘D’, because it is the 6 th note away
from F major
TYPES OF MINOR SCALE
Natural minor: it has no accidental sign on it. E.g. l t d r m f s l
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Harmonic minor: it has accidental sign on the 6 th note (sharp) on both the ascending and descending
order. E.g. ltdrmfsel
Melodic minor: it has accidental signs on 5 th and 6th notes (sharp) at the ascending but no accidental at the
descending. e.g. (ascending) - l t d r m fe se l (descending) - l s f m r d t l .
ASSIGNMENT
Construct the natural, harmonic and melodic minor scale for C, D, F, and G.
WEEK 2
DATE: 21st-25thof JAN, 2019.
TOPIC: TRIAD.
Content
A triad is a chord with only three notes and is built on thirds. To make a triad, we take a note, add the note
a third higher, and then add another note a third higher again.
A triad on the other hand could be called a group of three notes having a specific construction and
relationship to one another. They are constructed on 3 consecutive lines or three consecutive spaces. Each
member of the triad is separated by an interval of a third. The triad is composed of a Root, Third, and
Fifth. e.g.
Primary and Secondary Triad
The Primary/Major triads are : I IV V while the secondary triads are: ii, iii, vi, vii.
Inversions of Triads:
All triads have three positions that they can be arranged in. The root, 1st inversion and 2nd inversion.
Root Position Triad: If the triad root is in the lowest voice then the triad is in Root Position.
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1st Inversion Triad: If the third of the triad is in the lowest voice the triad is the 1st inversion.
2nd Inversion Triad: If the 5th of the triad is in the lowest voice, the triad is in the 2nd inversion.
ASSIGNMENT:
1. Construct the triads of A major.
2. Construct the triads of Eb major.
3. Write the 1st and 2nd inversion of the following triads:
WEEK 3
DATE: 28th JAN – 1st of FEB, 2019
TOPIC: CONSTRUCTION OF TRIAD
PERIOD: 1 period.
SPECIFIC OBJECTIVE: At the end of the lesson, Students should be able to construct different triad
on the staff.
PREVIOUS KNOWLEDGE: The students were taught construction of scale without key signature.
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ASSIGNMENT:
1. Construct a triad of G major scale.
2. Construct the inversion of triad in F and A major.
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WEEK 4
DATE: 4th -8th of FEB, 2019.
TOPIC: FORMS OF MUSIC.
PERIOD: 1 period.
SPECIFIC OBJECTIVE: At the end of the lesson, Students should be able to identify the form of music
such as binary, ternary.
Content
Types of form
Binary form
Ternary form and
Rondo form
Rondo form has not less than five sections which A, B, A, C and A, main theme appears first after which
the contrast sections will appear, then the main theme keeps appearing after any new contrast is
presented. Main theme is named A while the different contrasts is named B,C or D each time they are
presented after the main theme (A).
ASSIGNMENT
1. Search for one more form of music that was not mentioned in class
WEEK 5
DATE: 11th- 15th of FEB, 2019.
TOPIC: NIGERIAN ART MUSIC
PERIOD:1
SPECIFIC OBJECTIVE: At the end of the lesson, Students should understand the life and works of
Wilberforce Echezona.
PREVIOUS KNOWLEDGE: The students were taught forms of music.
Content
WILBERFORCE ECHEZONA
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Born in August 18, 1926, to the family of late Sam Nwakezie Echezona of Uruoga, Nkwelle-Ogidi,
Anambra State, he inherited music from his father. Acquired formal training. He obtained associate of the
Royal College of Music and Licentiate of the Royal Academy of Music. He Possessed GTCT in 1950.
He also pioneered the first music department at the UNN, and remained the Head of Department until his
death. He bred a set of musicians at Nsukka that today makes it occupy the apex of Nigeria’s art music.
Some of students include Sam Ojukwu, Felix Nwauba, Lazarus Ekwueme and Meki Nzewi.
He had a PhD in musicology with interest in African music and instrument. Echezona invented the
popular Ogenephone, the melodic idiophonic instrument common to the eastern Nigeria. It is painful that
he died working on bottlephone, another experiment.
Folksongs he arranged are Egwuobi, Obu Ije Ozim, Akwa Eke and Centenary Song.
CONCLUSION: Art music in Nigeria is a replica of its western classical music but with the employment
of African musical idioms.
ASSIGNMENT
1. Mention 3 works of Wilberforce Echezona.
2. When was Wilberforce Echezona?
WEEK 6
DATE: 18th-22nd ofFEB, 2019.
TOPIC: PRACTICAL CLASS
PERIOD: 1 period.
SPECIFIC OBJECTIVE: At the end of the lesson, Students should be able to lay their fingers on the
piano to run a scale of C natural, F major and G major.
PREVIOUS KNOWLEDGE: The students were taught life and works of Akin Euba.
C D E F G A B C fingering Left hand- 5 4 3 2 1 3 2 1, Right hand -1 2 3 1 2 3 4 5
F G A Bb C D E F fingering Left hand- 5 4 3 2 1 3 2 1, Right hand -1 2 3 4 1 2 3 4
G A B C D E F# G fingering Left hand- 5 4 3 2 1 3 2 1, Right hand -1 2 3 1 2 3 4 5
PRESENTATION:
STEP I: The teacher teaches the students the fingering for running the scale on the piano.
STEP II: The teacher asks the students to practice the scale exercises.
EVALUATION
2. Run the scale of C natural F major and G major.
WEEK 7
DATE: 25th of FEB – 1stof MAR, 2019.
TOPIC: CONDUCTING
PERIOD: 1 period.
SPECIFIC OBJECTIVE: At the end of the lesson, Students should be able to identify the different
pattern of conducting.
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Content
CONDUCTING PATTERNS
Conducting is standing in front of a group of musicians or singers and direct their playing or singing. It
also calls for the use of physical signs and gestures. Conducting is a means of communicating artistic
directions to performers during a performance while Directing is viewed in a more broadened way, it can
be regarded as the overall management of a musical performance .The “instruments” of a conductor
are the orchestra, band, and chorus. He or she holds performers together and makes them
translate a piece into a meaningful whole. Many, though not all, conductors hold a thin stick
called a baton in one hand to beat and indicate pulse and tempo. With the other hand they control
the balance among the instruments or voices so that the most important musical ideas will be
brought out. Conducting styles vary greatly among these powerful individuals, but usually a
conductor will use the left hand to indicate expression and to cue musicians.
Primary responsibilities of the conductor
1. To unify performers, set the tempo, execute clear preparations and beats.
2. Listen critically and shape the sound of the ensemble, and to control the interpretation
and pacing of the music.
2/4 time signature. ¾ time signature
4/4 time signature 6/8 time signature
ASSIGNMENT
1. What is conducting?
2. Show the 2/4 pattern of conducting
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WEEK 8
DATE: 4th–8thof MAR, 2019.
TOPIC: WESTERN COMPOSER
PERIOD: 1 period.
SPECIFIC OBJECTIVE: At the end of the lesson, Students should be able to know the history,
contribution and works of Joseph Haydn.
Haydn’s Life and Times
Haydn was born on March 31, 1732, in the quiet country town ofRohrau in what is now called Austria.
Joseph’s parents called himSepperl, a short form of Joseph in German. They were simple peasant
folk. His father, Mathias, worked as a Cartwright, making andrepairing wheels and carts. He and
Joseph's mother, Anna Maria, had12 children. After Anna Maria died in 1754, Mathias remarried and
had five more children, all of whom died in childhood.Music entered the Haydn family quite informally.
After Mathias hadcompleted his Cartwright training as a young man, he travelled aboutbefore marrying
and settling in Rohrau. On his travels, he acquired aharp, and although he could not read music, he taught
himself to playit. He liked to accompany himself while singing his favourite folksongs. Later on,he
encouraged his children to sing along with him. These family concerts must have had quite an impact on
the Haydnchildren, because three of them, Joseph and his brothers Michael andJohann, all went on to
careers in music. In fact, some of thecompositions of Michael Haydn may still be heard today.Although
Joseph left Rohrau at a young age, he never forgot the homeof his early childhood. The influence of the
peasantry in this ruralcorner of the Austrian empire echoes throughout Haydn’scompositions, as do the
strains of the old folk songs and the colourand pageantry of the local festivals.
Piano trips, string quartets around 1785 after hearing the music of Handel, he wantedto try writing this
type of vocal music. In the final stages of his life (1795-1809), he devoted himself almost entirely to
vocal music. This was the era of The Emperor’s Hymn.
The life story of Joseph Haydn is a good example of someone going from “rags to riches”. Born into a
poor peasant family in theeighteenth century, Haydn went on to become one of the mostcelebrated
composers of his time and ours.
Haydn died peacefully in his sleep 1805, a relatively wealthy man. In his willhe left homey to assist
needy orphans, with the bulk of his estategoing to a nephew. Unfortunately, the nephew appears to have
hadlittle understanding of the greatness of his generous uncle. Apparentlyhe placed a fortepiano which
had belonged to Haydn in his attic andused it to store grain.
HIS WORKS
The “Surprise” Symphony (1791)
The “Miracle” Symphony (1791)
The TrumpetConcerto in E flat major.
The “Farewell” Symphony
The “Creation” Oratorio
The “Seasons” Oratorio.
ASSIGNMENT: listen to any music that was composed by Joseph Haydn.
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WEEK 9
DATE: 11th-15th of MAR, 2019.
TOPIC: TIME SIGNATURE
PERIOD: 1 period.
SPECIFIC OBJECTIVE: At the end of the lesson, Students should be able to define time signature and
give its types.
TYPES OF TIME SIGNATURE
There are two types of Time signature namely Simple Time signature and Compound Time signature.
Simple Time signature makes use of 2 3 and 4 meters
Compound Time uses notes or beats. A dotted note represents a group of three smaller notes or beats. E.g.
one dotted minim is equal to three crotchets; one dotted crotchet is same or equal to three quaver beats.
We have Compound duple, compound triple, and compound quadruple.
Compound duple……….6/4, 6/8, 6/16.
Compound triple………..9/4, 9/8,9/16.
Compound quadruple…………12/4, 12/8, 12/16, and has four dotted notes or beats.
Simple Time Signature: We have Simple Duple, Simple Triple, and Simple Quadruple.
Simple Duple: 2/2, 2/4, 2/8, 2/16.
Simple Triple: 3/2, 3/4, 3/8, 3/16.
Simple Quadruple: 4/2, 4/4, 4/8, 4/16.
ASSIGNMENT: write a 4 bar music in 6/8
WEEK 10
DATE: 18th- 22ndof MAR, 2019.
TOPIC: LISTENING SKILLS
PERIOD: 1 period.
SPECIFIC OBJECTIVE: At the end of the lesson, Students should be able to identify the tips for good
listening skill.
Content
Listening skill is the concentration and commitment of the mind through rapt attention of the ear to
musical sound. It is a great skill in singing, because it takes a discipline singer to listen. Listening enables
one to learn the fundamental elements of music, such as form, melody and rhythm through which one can
understand and appreciate the types of music.
Types of Listening
1. Active listening: it requires commitment, energy and a desire to become involved in a personal
and deep way with the music.
2. Passive listening: it does not require much energy for listening since is a background musical
activity.
Exercises that aid listening skills:
 Find a short reasonable musical song that you are familiar with.
 Play the song through while listening exclusively to one specific instrument per time especially
from noticeable ones e.g. drums.
 Repeat steps two for all the instrument and voices that you need to listen to.
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 Play the song again to get a feel of how the whole instruments and voices come together to form a
beautiful music.
 Note where the instrument waited for voice and vice-versa.
 Note where they perform together.
EVALUATION
1. Define listening skills.
2. List some exercises that aid listening skills.
ASSIGNMENT: Go and Listen to song s and tell us what you can hear.
WEEK 11
DATE: 25th-29th of MAR, 2019.
PERIOD: 1 period.
on the recorder.
PREVIOUS KNOWLEDGE: The students were taught key relativity.
PRESENTATION:
EVALUATION
48
SUMMER (THIRD) TERM SESSION
WEEK 1 AND 2
DATE: 25th of April and 2nd of May, 2016.
TOPIC: HISTORY OF MUSIC (BAROQUE PERIOD 1600-1750)
PERIOD: 1 period.
Contents.
Introduction to the history of various musical development of the period. There had been some
periods that have spanned before the period of Baroque music was conventionally run from
1600-1750. Periods like Middle Ages (400-600) and Renaissance period (600-1600) and
composers of the period were employed by patrons of European states and the church. Baroque
simply means different things. It can be described as period of painting, architecture that is
generally characterized by the spirit of flamboyance, elegance, theatrical, elaborate
ornamentation, grandioso concepts, heavy elaboration of design and magnificence of effect. The
period stands for a particular style in the art. Having gotten the table of periods in the junior
school at this juncture, we shall consider the characteristics and the musical forms in baroque
period.
Vocal forms of the period: Opera, Oratorio, Cantata, Passion, Mass, Chorale.
Instrumental form of the period: Sonata, Fugue, Concerto grosso, Solo concerto, Suites and
the Chorale prelude.
Characteristics of the period:
The use of Basso continuo (thorough bass).
Homophonic writing was predominantly used to form clarity.
Polyphonic writing was also at its peak (specially used by J.S.Bach).
Melodies were often ornamented and embellished by the use of shakes and trills.
The use of modes as against major and minor of today.
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The composers of the period
Johann Sebastian Bach, Henry Purcell George Frederic Handel
Domenico Scarlatti Antonio Vivaldi.
WEEK 3
DATE: 9th of May, 2016.
TOPIC: TRIAD
PERIOD: 1 period.
Contents.
1.Identification of the degrees of the diatonic scale with roman numerals.
2.Primary and secondary triads in major scales.
3. The structures of the four types of triads.
Sub-Topic 1:Identification of the degrees of the diatonic scale with roman numerals.
The Diatonicis a seven note scale while the 8th note been the octave is repeated. It’s a musical
scale that consists of five whole steps and two half steps for each octave, in which the two half
steps are separated from each other by either two or three whole steps. The diatonic scale is most
familiar as the major scale. Example of a diatonic scale:
Sub-Topic 2: Primary and a secondary triads in major scales.
A chord consist of two or more notes sounded together. A triad is a basic chord with three notes
and can be built on any note of the scale. In music, there are three primary triads. These are built
50
on the tonic (I), subdominant (IV) and dominant (V) of any scale whether major or minor. Other
triads are called secondary.
The primary triads are so called because almost any tune can be harmonized or accompanied
effectively by using just these triads I, IV, V correctly. These are triads built on doh, fah and soh
of the major scale and lah ray me of the minor scale as shown below.
Secondary triads are built on the supertonic, (II) mediant (III) sub-mediant (Vi)leading note(VII).
These are triads built on ray, me, lah,te.
EVALUATION
Construct the primary triads of key F major.
WEEK 4
TOPIC: NIGERIAN ART COMPOSERS.
PERIOD: 1 period.
Contents.
51
Introduction to art music as a serious music it is also known as classical music of the western
world, a type of music that restricts performers to the only available or permitted improvisations
written on the score sheet.
Nigerian art music composers, such as Akin Euba, Adams Feberisima, Ayo Bankole, Ayo
Ogunranti, Dayo Dedeke, Lazarus Ekwueme e.t.c.
One composer shall be understudied to have a clear glimpse of their development and
contributions to art music in Nigeria.
He is Akin Euba
AKIN EUBA.
Dr Euba is one of Nigeria’s trained musicians. Born 1935 to a pianist father who gave him early
music education, he studied at the Trinity College of Music, London, University of California,
Los Angeles. and the University of Legon, Ghana, with a PhD in Ethnomusicology at the
University.
He pioneered the establishment of a department at Ife. He has contributed to the development of

tradition music just as his research has led him to become a spokesman for traditional music.
Some of his works are Six Yoruba Folk Song arranged for voice and piano, Scenes from
traditional life for piano, The wanderers for cello and piano, Olurombi for symphony Orchestra,
For years, he was organist and choirmaster at the St James-the less in South London, which he
took over from Bankole. He combines the rhythmic and melodic elements of traditional Yoruba
music. Presently, he is lecturing at the University of Pittsburgh, United States.
WEEK 5
DATE: 23rd of May, 2016.
TOPIC: POPULAR MUSIC .
PERIOD: 1 period.
Contents.
POPULAR MUSIC
52
Introduction to popular music as a music that are used for commercial purpose, it is the type of
music that is generally accepted.
To understand this topic, we must define some word, popular music and African music. Popular
music can be taken from the word “popular”, which means that something is famous, it is well
accepted by the people, though everybody may not like it but the majority would certainly enjoy
it. So popular music is a music that is accepted by the majority, it is also the type of music that is
money oriented (commercialized music).
African music is also the music that has its origin in the cultural practice of the people of Africa,
a music that serves as an identity of Africans. In other words, African popular music are popular
music that traces their roots to African culture and traditions. Such as Hip-hop e.t.c
Nigerian popular musicians are King Sunny Ade, King Wasiu Ayinde, Tony Tetuila, Bongos\
Ikwe, Onyeka Owenu, Victor Uwaifor e.t.c
Kind of popular music.
Hip-hop,
Juju,
Fuji,
Reggae, e.t.c.
WEEK 6
TOPIC: INTERVALS.
PERIOD: 1 period.
Contents.
DEFINITION: Interval is defined as the distance in pitch between two notes written or played
together. It can be melodic or harmonic.
The five types of Intervals are major, minor, perfect, diminished and augmented.
CONCORDANT AND DISCORDANT INTERVAL
CONCORDANT INTERVALS: These are intervals which sound quite pleasant. They are also
called concords. They are agreeable to the human ear. They are inactive and satisfactory.
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Concordant intervals include major and minor 3rds and 6ths, perfect 4ths, 5ths and 8ths
(octaves). These are classified into two- perfect and imperfect concords. The perfect concords
include all perfects –perfect unison, perfect 4ths, 5ths, and 8ths, (octaves), e.g.
The imperfect concords are major and minor 3rds, major and minor 6ths, e.g.
Remember that all concordant intervals sound pleasant and satisfactory.
unsatisfactory. They are active and have tendency to move. Thus, they are incomplete in effect
and need other chords to follow them. This means they need resolution. Discordant intervals
include all 2nds and 7ths, diminished and augmented intervals, as follows;
EVALUATION: Test the students on the understanding of the topic by:-
1 Giving them melodies on different strategic points.

2 Give the two kinds of interval.
3 Mention some of the qualities of an interval.
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WEEK 7
DATE: 6th of June, 2016.
TOPIC: MAJOR SCALE
PERIOD: 1 period.
Contents.
MAJOR KEY WITH SHARPS AND FLATS.
Key signatures are symbols that indicate the key of the piece of music. These symbols are sharps
and flats. They are placed at the beginning of the stave after the clef symbol. It can be found in
both the treble and bass staves.
MAJOR KEYS WITH SHARPS.
Key C major has no sharp or flat as the key signature because all the notes are natural.
Key C is played only on white keys.
There are seven major keys with sharps, namely. G, D, A ,E ,B ,F #and C#. Study the following
table carefully and notice that,
Key G major has one sharp on F.
Key D major has two sharps on F,C.
Key A major has three sharps on F,C,G
Key E has four sharps on F,C,G,D.
Key B has five sharps on F,C,G,D,A
Key F# major has six sharps on F,C,G,D,A,E Key C # major has seven sharps on
F,C,G,D,A,E,B.
Name of Key No of sharps Name of sharps.

G 1 F#
D 2 F # C#
A 3 F# C# G#.
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E 4 F# C# G#D#
B 5 F#C#G#D#A#
F# 6 F#C#G#D#A#E#
C# 7 F#C#G#D#A#E#B#
This is the order of sharp keys; G D A E B F C. There are mnemonics for remembering this
order of sharps. Go Down And Eat Bread Father Charles. Or Father Charles Go Down And Eat
Bread. Considering the placement of the sharps on the staff, you will observe that every key
signature begins with [ F#]
F sharp. Each succeeding sharp is placed slightly to the right of the preceding one on the fourth
step below or the fifth step above.
Major keys with Flats
There are seven keys with flats namely F major,Bflat,E flat, A flat,Dflat,G flat, and C flat.
To remember this order, mnemonics are formed from those notes.
F =Father
B flat=Bright
E flat=Eats
A flat=Apple
D flat=During
G flat=Games
C flat=Comfortably OR Flat Becomes Easy After Direct Guide Comfort.
The order of flats placement.
Key F major has one flat on B
Key B flat major has two flats on B,E.
Key E flat major has three flats on B,E,A.
Key A flat major has four flats on B,E,A,D.
Key D flat major has five flats on B,E,A,D,G.
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Key G flat major has six flats on B,E,A,D,G,C.
Key C flat major has seven flats on B,E,A,D,G,C,F
The order of the flat signs on the staff is as follows; B,E,A,D,G,C,F.
You can say ‘’Buy Egg And Do Good Cooking Florence’’.
Evaluation
1. Give a simple definition of a key signature.

2. What symbols are used for key signature?
WEEK 8
TOPIC: HISTORY OF MUSIC (CLASSICAL MUSIC 1750-1820 )
PERIOD: 1 period.
Contents.
CLASSICAL PERIOD
The Baroque era witnessed the creation of a number of musical genres which would maintain a
hold on composition for years to come, yet it was the Classical period which saw the
introduction of a form which has dominated instrumental composition to the present day: sonata
form. With it came the development of the modern concerto, symphony, sonata, trio and quartet
to a new peak of structural and expressive refinement. If Baroque music is notable for its textural
intricacy, then the Classical period is characterised by a near-obsession with structural clarity.
The seeds of the Classical age were sown by a number of composers whose names are now
largely forgotten such as Schobert and Honnauer (both Germans largely active in Paris), as well
as more historically respected names, including Gluck, Boccherini and at least three of Johann
Sebastian Bach's sons: Carl Phillip Emmanuel, Wilhelm Friedmann and Johann Christian (the
so-called 'London' Bach). They were representative of a period which is variously described as
rococo or galante, the former implying a gradual move away from the artifice of the High
Baroque, the latter an entirely novel style based on symmetry and sensibility, which came to
dominate the music of the latter half of the 18th century through two composers of extraordinary
significance: Joseph Haydn and Wolfgang Amadeus Mozart.
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Characteristics of the Classical Period
1. The MELODY is short and clearly defined musical phrases with 2 or more contrasting
themes.
2. The RHYTHM is defined and regular
3. The TEXTURE is mostly homophonic i.e. one melody line with accompaniment made up
using notes of the chord, or a texture where all parts keep in step with each other.
4. The TIMBRE is symphony orchestra i.e. arranged in 4 sections, Harpsichord seldom
used. Piano in use but not normally in orchestral music except when it is a piano concerto.
Choral music i.e. sacred mass and oratorio. The secular is opera and song while the Chamber
music - trios, quartets, quintets etc.
5. Greater range of dynamics, use of crescendos and diminuendos.
6. The Forms are: Sonata form, rondo form, fugue, minuet and trio form.
Some of the composers are: Mozart, Haydn, Beethoven, Paganini.
WEEK 9
DATE: 23rd of June, 2016.
TOPIC: NIGERIAN ART COMPOSERS (FELA SOWANDE)
PERIOD: 1 period.
Contents.
Art music is a music composition of a trained composer whose work has reached an acceptable
standard and perfection.
Art songs are songs written by such trained composers who may be western or indigenous.
Types of Art Songs
I. Children songs
II. Cradle songs
III. National songs
IV. War songs
Art songs can be solos, duets, choruses, anthems and hymns.
FELA SOWANDE
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First acknowledged composer and conductor of a symphony in the country. He was born in Oyo
in 1905 to an Anglican priest. He travelled to the United Kingdom in 1934 to read Engineering
but ended up reading music. He had a fellowship diploma of the Trinity Music College of Music,
London and a bachelor of music, London University.
He was appointed organist and choirmaster in West Mission of the Methodist Church at
Kingsway Hall. Back in Nigeria, he joined the Nigerian Broadcasting Corporation(NBC) as head
of music section. He taught at the University of Ibadan. . Died March 1987 at 82. Professor
Emeritus of the University of Pittsburgh, and Kent State University, Ohio. His Works include_
Laudamus Te for Organ, Joshua fit the battle of Jericho, for organ, Obangiji, Ka Mura, Oyigiyigi
all for organ. He also wrote the African Suite for string orchestra and folk symphony, also for
orchestra.
EVALUATION:
1 What is art music

2 Name some of the composers of art music.
WEEK 10
TOPIC: HISTORY OF MUSIC (CLASSICAL MUSIC 1750-1820 )CONTD.
PERIOD: 1 period.
Contents.
CONTINUATION OF THE CHARACTERISTICS OF THE PERIOD
7. Rhythm in direct opposition to the Baroque period, rhythms contained within classical
compositions are flexible. They may include ritardos, accelerando, fermata, pause,
and other variations in rhythm.
8. Form. Principles of sectional structure, particularly in sonata form, were firmly
established in the late 18th century. Phrase structure was characteristically clear with well-
defined cadences, and phrases were shorter (most commonly four measures) than in the Baroque.
9. Texture. Classical textures were typically homophonic, with a single melodic line
accompanied by non-melodic or less melodic materials. A much favored accompaniment pattern
was the so-called Alberti bass (named for Domenico Alberti), which is a broken-chord figure.
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Counterpoint did not entirely disappear, however; fugues and other contrapuntal forms were
occasionally composed. Another aspect of classical texture was the predominance of thin, light
sonorities as opposed to the predominantly massive sounds of baroque music.
10. Melodic Style. Replacing the only continuous lines of baroque music, classical melody
was more compact and it had more thematic identity. Generally it was more diatonic.
11. Harmony. On the whole, classical harmony was less complex than baroque harmony. It
made more use of principal triads (tonic, dominant, subdominant chords), and diatonic
harmony was more typical than chromatic harmony. Chord structure was predominantly triadic;
seventh chords were used sparingly and ninth chords not at all.
12. Improvisation. With the disappearance of the basso continuo, the art of improvisation
died out. All harmony was written out. Composers more specifically and more consistently
indicated ornamentation, phrasing, dynamics, and other details formerly left to the performer.
13. Classical Orchestra. During the Classical period the instrumentation of the orchestra
began to standardize usually containing the following:
• Strings: 1st violins, 2nd violins, violas, cellos, doubles basses
• Woodwinds: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons
• Brass: 2 trumpets, 2 French horns
• Percussion: 2 timpani
14. Form. While a variety of forms were used throughout the Classical period, the sonata
form became the dominant. The sonata form contains three elementary sections:
• Exposition
• Development
• Recapitulation
Instrumental compositions usually contained multiple, contrasting movements. The
symphony and the string quartet consisted of four movements;
1. Fast movement (sonata form)
2. Slow movement (lyrical)
3. Dance movement
The concerto consisted of three contrasting movements;
2. Slow movement (lyrical)
15. Dynamics. Due primarily the development of the piano, the scope of dynamics expanded
from p to f, to pp, p, mp, mf, f, ff. The use of crescendos and decrescendos added to the
excitement of these new dynamics.
EVALUATION:
1. List 5 composers of the classical period.
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2. State 5 characteristics of the classical period.
ASSIGNMENT:
1. Life & works of 5 classical composers.
WEEK 11
DATE: 7th of July, 2016.
TOPIC: FORMS OF MUSIC.
PERIOD: 1 period.
Contents.
Definition
1. Binary Form
Binary Form is a two phrase musical structure containing the opening phrase and closing
phrase.In other words, it is a two part form, comprising two complementary sentences,A and
BThat is why it is called AB form. ‘A’ section stands for the questioning phrase, while ‘B’
section serves as the answering phrase.
Normally, in binary form, section A starts in the tonic key (that is the home key or original key)
and ends in an imperfect cadence. For Example(Page39 1&2&40 B above)
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Sometimes, section A of Binary form tends to move to another key, usually the dominant or the
relative major or minor. Thus section B continues where section A has ended and returns to the
original key and ends in perfect cadence. Some examples are as follow:(Page 40 no 3 & 4).
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2. Ternary Form:
Ternary Form is described as a three- phrase structure consisting of the opening phrase,
the contrasting phrase and the concluding phrase which is the repeat of the opening
phrase. This means that ternary form consists of three sections. Thus it is called ABA
form. (For Examples page 41 ABA&42
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EVALUATION
1. What is binary form?

2. Describe a ternary form.
3. Ternary form is also called ___________
CHRISTMAS (FIRST) TERM SESSION

Week 1 African music African forms, techniques/styles rhythm texture scales melodies.
Week 2 African Music (contd)

Week 3 Interval Description and inversion
Week 4 Types of Interval
Week 5 Recorder playing Key F on the recorder
Week 6 Practical Piano playing/song rehearsal
Week 7
Week 8 Transposition Definition, types, exercises.
Week 9 Transposing Clarinet, trumpet, horns
instrument.
Week 10 Art composer Life history and contribution of T.K.E Philips.
Week 11 Western composer Robert Schumann, romantic period.
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Week 12 Recorder playing Running of scale in F Major.
WEEK 1
DATE: 16th – 20thof Sept, 2019.
TOPIC: AFRICAN MUSIC
CONTENT
AFRICAN MUSIC.
African music is the music owned and has its roots in the culture of Africans and also practised by
Africans. The black nations have been playing and singing songs before the colonial era even though it
was not very elaborate but they were in form of folk/moonlight play, recreational activities and for rituals
which was a common feature in all communities. African music is characterized by the following:
1. Tonal inflection of words: African language is generally tonal that is to say that every language
has a peculiar pronunciation, consisting of high and low tone, hence any change of disinfection of
the word, which will eventually affect the exact message.
2. Cross rhythm: has to do with complexity of rhythm especially in instrumentation, hence African
rhythm are varied and diverse.
3. Poly-rhythm: this has to do with different musical instruments in different time frame. It
involves several rhythm patterns occurring simultaneously.
4. Heavy percussion: Dominance of percussions instrument.
5. Short and repetitive melody: the melody is short and it is repeated until it is widely known.
African musical form can broadly be divided into two:
1. Vocal forms.
2. Instrumental forms.
There are four types of vocal forms.Each of them above can stand out clearly yet they are inter-
dependent.;
(a) Solo singing.
(b) Solo and chorus
(c) Unison singing
(d) Chorus singing
SOLO SINGING: This singing is usually performed by an individual which may be common praises or
singing for an important personality in recognition for his contribution and achievement while it can also
be used for anti-social behaviour.
SOLO AND CHORUSES: this is also refer to as call and response. The chorus consists of simple phrase
or just a word –
(i) Solo: Babalawo mo wa bebe..
Chorus: Alu-gbin-rin.
(ii) Solo: ero-mi-ro-je-je
Chorus: O je-je etc.
UNISON SINGING: the songs are varied with the duplication of the tune or melody in octaves. This is
common when men and women sing together with the women singing an octave higher than men. Singing
in unison is common among the Yoruba, Hausas, Isokos e.t.c.
CHORAL SINGING: Two or more parts are involved which entails singing in parallel line e.g. parallel
thirds or sixth. This is common among the Ijaws, Itsekiris, Igbo’s and Isokos.
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Scales in African music
Tritonic scale – 3 notes scale
Tetratonic scale – 4 notes scale
Pentatonic scale—5 notes scale
Hexatonic scale— 6 notes scale
Heptatonic scale – 7 notes scale
WEEK 2
DATE: 23rd -27thof Sept,2019.
TOPIC: CADENCE
CONTENT
Definition
A cadence is the progression of two chords that are arranged to give a logical end to a musical phrase.
Cadence is a progression of (at least) two chords that concludes a phrase, section or piece of music.
Cadences give phrases a distinctive ending that can, for example, indicate to the listener whether the piece
is to be continued or concluded.
Types of cadence
1. Perfect cadence (full close)
2. Imperfect cadence (half close)
3. Plagal cadence
4. Interrupted cadence.
Perfect cadence: This serves as a full sentence which usually ends with a full–stop, gives a sense of
finality or conclusion. This type of cadence is produced by the movement of the dominant chord (V),
followed by the tonic chord (I). In other words, the movement of chord V to chord I produces perfect
cadence. Give examples
Imperfect cadence: This cadence is half-closed because it does not give any sense of finality. It acts as
comma in a musical composition. This type of cadence is produced by the movement of the tonic Chord
(I), followed by the dominant chord(V), That is when chord I moves to chord V, imperfect cadence when
they are other chords which also produce imperfect cadence when they move to chord V. These include
chord II to V, IV to V and VI to V. Give examples:
Plagal cadence: It is often used for ‘Amen’ at the end of hymns; hence it is as well called ‘Amen
cadence’. It is produced by the movement of the subdominant chord IV followed by the tonic chord (I).
That is, it is produced when chord IV moves to chord I. At the end of a hymn, the Amen is sung in any of
these ways: It is important to note that both perfect cadence and Plagal cadence end on the tonic chord (I).
Thus, they may be compared with full stops, giving the feeling of finality to a musical phrase or sentence.
Interrupted cadence: This cadence is also called DECEPTIVE, SURPRISE OR EVADED cadence
because it creates an impression of deceit and surprise. Its progression is typical of a perfect cadence, but
at the end point (cadential point) it evades chord I, and thereby the ear is deceived.This cadence consists
of the movement of the dominant chord (V), followed by the sub-mediant chord (VI). So, interrupted
cadence is produced by the progression of chord V to chord VI. Cadences are better identified by hearing.
For this, more of the work will be done practically.
WEEK 3
DATE: 30thSept -4th of Oct, 2019.
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TOPIC: CASTING IN DRAMA PRODUCTION
CONTENT
CASTING IN DRAMA PRODUCTION
Casting in drama is the art of assigning roles to people who will take part in a drama.
Reason for casting
To ensure that roles are given to the right persons.
To make rehearsal smooth and result oriented.
To make the work of the crew (director)easier.
To test the skills of the prospective actors and actresses.
Types of casting
1. Open casting: it is done through a process whereby all interested members of the public are
invited for an audition.
2. Type casting: this type of casting does not require any form of audition. It is based on the
director’s knowledge of the cast members I terms of strength and weakness.
3. Double casting: it is when two actors impersonate one character. It is usually done to arouse
serious and healthy competition between two actors, it is also important in cases of unforeseen
circumstances when either of them falls ill.
Principle of casting
Projection: prospective cast members should be able to speak audibly for the audience to hear.
Facial expression: the expression through the face should be complemented with the lines of the actors
in order to make it more understandable. The expression on their face should be enough to inform the
audience of the last happenings.
Height: is important for specific roles which are mainly major roles
Articulation: is the ability to speak fluently, clearly and correctly in the English language with correct
pronunciation.
Speech and oral interpretation: the level at which a prospective cast relays the detailed story of the
script.
WEEK 4
TOPIC: DANCE IN DRAMA
CONTENT
Dance isa rhythmic movement to music either alone or with a partner or in a group. It is usedto express
ideas, pass across messages.
It is classified into two major groups namely, Free style and stylised style.
Dance drama is a form of dance which tells story. it simply means organized body movement in time and
space to express human feelings, ideals, images and beauty in relation to a musical performance.Dance
could also be defined as the expression of the body with gestures to the rhythm of music. Dance also
refers to bodily response to music in time and space.
Dance is equally rhythmic body movement to communicate a message either alone or with a partner.
The difference between dance and music, although one leads to the other, dance deals with organized
body movement while music is the organized sound.
In Nigeria (AFRICA), dance is of TWO types, namely (1) freedance (2) stylized dance.
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(1) Free dance:In Free dance, there are no specifications as to how each dancer moves in terms of space
or relationship to other dancers and body movements;rather each dancer expresses his or her feelings
independent of what other dancers or other parts of the body do.
(2) Stylized dance:Stylized dance involves purposeful and uniformity in movements. The movements are
planed such that body relationships and individual relationships are all meaningful. Example is atilogwu
dance.
Function of dance in drama
It fosters maximum entertainment by the audience.
It adds beauty to the drama production.
It makes the plot structure clearer and more understandable.
It exposes the audience to different cultures during drama productions.
ASSIGNMENT:List 2 types of dance.
WEEK 5
TOPIC: MUSIC IN DRAMA
CONTENT
MUSIC IN DRAMA
Music is the combination of sound pleasant to the ear. Music in drama is an instrument that serves as a
medium through which dramatic messages are conveyed, it is also a means of projecting the information
or lessons embedded in the drama in a clearer way so as to carry everybody in audience along. Obviously
drama does not appeal to whole member of the audience, so a drama performance that has musical
presentation will surely appeal to a larger number than a non-musical drama. Music is also used as fillings
in between scenes in theatre performance.
Types of music in drama
Vocal music: it has to do with voice alone, no musical instrument.
Dance music: it has to do with series of body movements which combines with instrumental
accompaniments.
Instrumental music: it is meant for instruments alone without the use of songs.
Functions of music in drama
It further explains the plot to the audience.
It enhances maximum pleasure and total satisfaction by the audience.
It arouses the mood of both the audience and cast members.
It gives the audience minute details about the play.
It adds aesthetics to the play production.
ASSIGNMENT:Give 4 functions of music in drama.
WEEK 6
DATE: 21st-25th of Oct, 2019.
TOPIC: PRACTICAL (PIANO CLASS)
SPECIFIC OBJECTIVE: At the end of the lesson, Students should be able to run the scale of G major
on the piano.
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PREVIOUS KNOWLEDGE: The students were taught dance and music in drama.
Running of scales (G Major) and Revision
PRESENTATION:
STEP I: The teacher teaches the students the scale in G major on the piano.
STEP II: The teacher guides the students to run the scale of G major on the piano.
EVALUATION
9. Practice the scale of G Major on the piano.
ASSIGNMENT:Practice this sequence d r m d, r m f r, m f s m, f s l f - e.t.c.
WEEK 7
DATE: 28th of Oct -1st of Nov, 2019.
TOPIC: INTERVAL
CONTENT
INVERSION OF INTERVALS
note is placed an octave above or the upper note is placed an octave below.
In inversion of intervals, the numerical value of an interval plus its inversion makes up 9. Thus, to find
the number of the inverted interval, subtract the original one from 9. That is why in the above examples
the P 4th becomes P.5th and P.5th becomes P.4th.
So, a 2nd becomes a 7th on inversion
a 3rd becomes a 6th on inversion a 4th becomes a 5th on inversion a 5th becomes a 4th on inversion a 6th
becomes a 3rd on inversion a 7th becomes a 2nd on inversion an 8th becomes a union on inversion.
Study the examples in pg 101 of Fundamentals of music for junior secondary schools book three.By Dr
H.C Nwafor.
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.
ASSIGNMENT: Invert these intervals Major 6th, Minor 7th, Aug 5th, Perfect 8th.
WEEK 8
DATE: 4th-8thof Nov, 2019.
TOPIC: TRANSPOSITION
CONTENT.
Definition of Transposition
Transposition involves playing or rewriting a given melody at a different pitch other than the original,
higher or lower.
The term transposition is the process of playing or re-writing a melody at a different pitch other than the
original. For example, if a song meant for a large group (choir) is to be sung by a soloist, the soloist may
decide to change the pitch to suit his/her voice, if the key is not comfortable for his/her voice.
Types of Transposition
There are two main types of transposition.
1. Clef Transpositionand 2. Key Transposition
Clef Transposition: A piece of music written in the treble stave to other clefs ( such as treble to alto
stave, treble to tenor, treble to bass, e.t.c., still keeping the pitch and vice-versa.
A piece of music can also be transposed an octave lower or higher from treble to bass stave and vice-
versa.
Same Pitch: To transpose a melody from one stave to another, the following steps are followed;
a. identify the given stave. (b) locate the middle C on the given stave and that of the new stave
c. count the interval between the middle C to the first given note in the melody
d. do same on the new stave and place the first note. (e) follow the interval of the given melody.
Example: Re-write the given melody at the same pitch into the bass stave.
Solution
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a. the given stave is treble stave
b.
given stave new stave
c. the intervals are the same
d. the first note is
e. here is the melody on the new stave.
Octave transposition:It is the transposition from one clef to the other, but an octave higher or lower.
Points to consider when doing octave transposition.
1. Write the required clef.2. Write the key signature and time signature.
3. Count EIGHT notes upward or downward as the case may be.
4. The middle C must be taken into consideration while counting.
5. Make sure you start at the correct pitch.6. Check your intervals.7. Put in all accidentals if required.
Example 1: Re-write the music below an octave lower into the bass staff.
Solution
Generally therefore, the following points should be noted:

1. The clef must change.2. The melodies must remain the same, except that, it may be higher or
lower.
10. The accidental if any must be maintained. 4. The note on the line on treble stave will be in the
space on the bass stave. 5. The key and time signature must remain the same.
WEEK 9
TOPIC: TRANSPOSING INSTRUMENTS
SPECIFIC OBJECTIVE: At the end of the lesson, Students should be able to differentiate between
classes of musical instruments i.e. transposing and non-transposing instrument.
INSTRUCTIONAL MATERIALS: Piano and Recorder.
PREVIOUS KNOWLEDGE: The students were taughttransposition, types and application.
TRANSPOSING INSTRUMENTS
These are the instruments on which the player produces a sound at a fixed interval above or below the
written. The notation of the parts for these instruments therefore is at a different pitch from the actual
pitch which is called concert pitch.
Examples of transposing instruments are:Eb and Bb saxophone, Bb clarinet, Bb trumpet, Octave
higher piccolo, F horn, Bassoon e.t.c.
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Piccolo pitches an octave above the concert pitch.
Examples of non-transposing instruments are:Violin, Flute, Timpani, Tuba, Guitar, Piano, and Organ
EVALUATION
1. What is Transposing instrument?
2. Name 5 transposing instruments and non- transposing instrument each.
ASSIGNMENT: Read about art music in Nigeria.
WEEK 10
DATE: 18th-22ndof Nov, 2019.
TOPIC: ART COMPOSER
CONTENT
FELA SOWANDE
Fela Sowande was born in Oyo in 1905 to an Anglican priest. He travelled to the United Kingdom in
1934 to read Engineering but ended up reading music. He had a fellowship diploma of the Trinity Music
College of Music, London and a bachelor of music, London University.
He was appointed organist and choirmaster in West Mission of the Methodist Church at Kingsway Hall.
Back in Nigeria, he joined the Nigerian Broadcasting Corporation (NBC) as head of music section. He
taught at the University of Ibadan. He was a Professor Emeritus of the University of Pittsburgh, and Kent
State University, Ohio. He died in March 1987 at 82.
His Works:
Laudamus Te for Organ,
Joshua fit the battle of Jericho, for organ,
Obangiji,
Ka Mura, Oyigiyigi all for organ.
He also wrote the African Suite for string orchestra and folk symphony, also for orchestra. He was the
first acknowledged composer and conductor of a symphony in Nigeria.
T.K. EKUNDAYO
He was the first Nigerian to study music to a professional level. Ekundayo was trained by his uncle, Rev
Johnson before being appointed organist of the St Paul, Breadfruit, Lagos at 18. In 1911, he went to study
at the Trinity College Music, London. He returned to become the organist and choirmaster at the
Cathedral Church of Christ, Marina, Lagos, till he retired in 1962l. He laid the music foundation at the
cathedral which eventually trained other Nigerian art musicians.
He was the Oratorios of the Herald Mendelsslus’s at Cathedral Church and Glover Hall, Lagos.
His works:
Emi O gbe Oju mi Soke Wonni, a setting of Ps 121 in Yoruba to music,
Samuel Cantata for soloists, chorus and organ,
A Choral suite for the Republic of Nigeria, for Soprano, Contralto, tenor and bass soloist, choir and piano.
WEEK 11
DATE: 25th-29th of Nov, 2019
TOPIC: HISTORY OF WESTERN MUSIC
CONTENT
HISTORY OF WESTERN MUSIC
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The Romantic period of music is conventionally considered to run from 1820-1900. Thecomposers of this
period were concerned with the expression of their personal and creative feelings in their music instead of
the ‘Absolute Music’ of the classical period. The composers tended to take more interest in literature than
the earlier composers had done and it often affected their music. Thus literary expression was effectively
employed to illustrate musically some more or less poetical ideas.
The Composers of the Romantic period made several characteristic contributions to the literature of
music such Romantic elements can be seen in the piano music, orchestral works, lied or art song and the
operas of the 19th century.
Characteristics Features of the Romantic Features
1. The PIANO therefore became the most common important keyboard instrument at this period. 2. Lied
or art song which was an artistic setting of poetry for a solo voice was effectively developed.
3. Large orchestra in this period, benefited from the mechanical improvements in instrument-instruments
making, especially the wind.
4. Programme music was based on a non-musical idea, such as a poem, a story or nature replaced the
“Absolute Music” of the classical period. This period saw the direction of the Orchestra transferred from
the Leader to the Conductor.
5.Opera in this period was marked by Carl Weber’s establishment of the German Romantic Opera which
made effective use of simple German folk-like melodies and orchestral colour for dramatic expression.
6.Nationalism which is the expression of love and pride for one’s country and its customs and character
became a marked feature of the romantic era.
Born: Zwickau, Saxony – 1810

Died: Bonn, Germany – 1856
Robert Schumann was born in 1810, in the village of Zwickau in the province of Saxony, which at the
time was an independent confederacy that was absorbed into the German Empire in 1871. August
Schumann, Robert’s father, was a bookseller and publisher; he is credited with translating into German
the complete works of Sir Walter Scott and Lord Byron. Because of this, young Robert was constantly
around literature; it would shape his view of the world and his compositional works. Unfortunately,
August also had a mental condition that he called a “nervous disorder”, most likely bipolar disorder,
which was also passed down to his children. Emilia, Robert’s sister, would commit suicide when Robert
was 16, a month after their father died. Robert’s musical education did not formally begin until he was
eighteen. After his father’s death, his mother wished him to study law in Leipzig, and after studying for
only a year, Robert’s attention soon turned to music. Caught up in the new style of Romanticism brought
on by his reading of authors such as Schiller, Goethe, Byron, and most importantly Jean Paul, Schumann
turned to the pianist Friedrich Wieck for musical instruction. Schumann lived in the Wieck home while
studying and practicing voraciously, also taking composition lessons from Heinrich Dorn, conductor of
the Leipzig opera. Unfortunately for Schumann’s pianistic career, a permanent injury to his right hand,
possibly caused by damage to the tendons due to an invention Schumann created to exercise finger
independence, prevented him from achieving fame as a concert performer. After this, Schumann focused
solely on musical composition.He died from what some scholars believe to have been either syphilis or
mercury poisoning in the sanatorium on July 29th, 1856, at the age of 46.
Works
Program music: Opus. 2, “Papillons” (Butterflies),
Piano work Opus. 9, “Carnaval”
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Piano work Opus. 12, “Scenes from Childhood”,
Symphonies: No. 1, Opus. 38: “Spring”; No. 2, Opus. 61; No. 3, Opus. 97: “Rhenish”; No. 4, Opus. 120
Chamber Works: Opus. 9; Fantasiestücke, Opus. 15; Liederkreis, Opus. 39; Phantasiestücke, Opus. 73
WEEK 12
DATE: 2nd- 6th of Dec, 2019.
PERIOD: 1 period.
Contents.
on the recorder.
PREVIOUS KNOWLEDGE: The students were taught life and works of Robert Schumann.
PRESENTATION:
EVALUATION
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Week 1 Chromatic scale Construction and identification.
Week 2 Ornamentation Definition, types and sign.

Week 3 Sight singing Definition, singing at sight.
Week 4 Sight singing cont.d Singing a given piece.
Week 5 Forms of music Theme and variation, rondo e.t.c.
Week 6 Primary & secondary Triads on the tonic, subdominant and dominant.
Triad
Week 7 Art composer History and contribution of Ayo Bankole
Week 8 Modulation Definition, types, exercises.
Week 9 Modulation Modulating to the subdominant, dominant and relative
minor/major
Week 10 Practical Piano playing. Primary chords on F major.
Week 11 Western composer Franz Schubert of romantic period.
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Week 12 Recorder playing Running of scale in F Major.
WEEK 1
DATE: 14th-18th of JAN, 2019.
TOPIC: CHORMATIC SCALE
PERIOD: 1 period.
SPECIFIC OBJECTIVE: At the end of the lesson, Students should be able to: identify and Construct
chromatic scales in all keys.
CONTENTS:
This is a scale that is made of only semitones i.e. it is built on semitones only. In an octave, there are 13
notes in all when the upper tonic is added. It has 12 semitones without the upper tonic.
Steps to chromatic scale construction.
1. Draw 13 notes on the staff in a way that all the 8 notes appear twice EXCEPT the 3 rd and 7th in
case of sharp signs and 1st and 5th in case of flat sign.
2. Add accidental sign (sharp or flat) as required to make each note a semitone and 13 in all.
Types of chromatic scale
Harmonic chromatic scale: it is scale used for chromatic harmonies; it is the same in ascending and
descending. It is very important to note that the tonic 1 st and dominant 5th are the only notes which do not
occur twice in succession. The same process goes for all keys.
Melodic chromatic scale:it is used to add chromatic decorations to a melody, and like the melodic minor
scale, it is different in both ascending and descending order. The descending scale however has the same
notation as the harmonic chromatic scale. It is important to also note that in the ascending order, the
mediant 3rd and leading note 7th appear once.
ASSIGNMENT: Construct the scale of G,F,A,C and E Major on bass stave
WEEK 2
DATE: 21st-25th of JAN, 2019.
TOPIC: ORNAMENTATION
PERIOD: 1 period.
Definition
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Ornamentation in Music is the notes that point out decorations on some melodic notes by way of writing
certain small size notes on the original notes on the staff.
Anticipation
Anticipation occurs when a note is played before the chord to which the note belongs and resolves when
the anticipated chord is reached:
Appoggiatura
The appoggiatura is always played on the beat - the principal note follows. It is written as a grace note
prefixed to a principal note and printed in small character, usually without the oblique stroke.
Escape Tone
An escape tone (ET) or echappée is a particular type of unaccented incomplete neighbour tone which is
approached stepwise from a chord tone and resolved by a skip in the opposite direction back to the
harmony.
Neighbour Tone
A neighbour tone or auxiliary note is a nonchord tone that passes stepwise from a chord tone directly
above or below it (which frequently causes the neighbour tone to create dissonance with the chord) and
resolves to the same chord tone
Passing Tone
A passing tone is a non-chord tone prepared by a chord tone a step above or below it and resolved by
continuing in the same direction stepwise to the next chord tone (which is either part of the same chord or
of the next chord in the harmonic progression)
Retardation:
Retardation is similar to a suspension except that it resolves upward instead of downward:
Suspension:
A suspension occurs when the harmony shifts from one chord to another, but one or more notes of the
first chord (the Preparation) are either temporarily held over into or are played again against the second
chord (against which they are non-chord tones called the Suspension) before resolving to a chord tone
stepwise (the Resolution).
Trills:
The trill is a musical ornament consisting of a rapid alternation between two adjacent notes, usually a
semitone or tone apart.
ASSIGNMENT:Explain sight singing in your own term.
WEEK 3
DATE: 28th of JAN -1stof FEB, 2019.
TOPIC: SIGHT SINGING
PERIOD: 1 period.
SPECIFIC OBJECTIVE: At the end of the lesson, Students should be able to: define sight singing and
also sing piece of music at sight.
PREVIOUS KNOWLEDGE: The students were taught cadence.
it is the art of singing a song written on a score sheet at sight.
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PRESENTATION:
STEP I: The teacher teaches the students the definition of sight singing.
STEP II: The teacher teaches the steps to sight singing a piece of music.
STEP III: the teacher will teach how to sing at sight.
EVALUATION:
1. Definesight singing.
2. Write out steps to sight singing.
ASSIGNMENT: Read about forms of music
WEEK 4
DATE: 4th – 8thof FEB, 2019.
TOPIC: SIGHT SING con.td
PERIOD: 1 period.
SPECIFIC OBJECTIVE: At the end of the lesson, Students should be able to: sing any piece of music
at sight.
PREVIOUS KNOWLEDGE: The students were taught definition of sight singing and steps to it.
CONTENT
PRESENTATION:
STEP I: The teacher distributes music sheet to class.
STEP II: The teacher teaches how to study a piece of music.
STEP III: the teacher will instruct them to transcribe and sing.
EVALUATION:
1. Practice the sight reading on a particular piece of music
2. Sight singing the same piece of music.
ASSIGNMENT:List 2 types of dance.
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WEEK 5
DATE: 11th-15th of FEB, 2019.
TOPIC: FORMS OF MUSIC
PERIOD: 1 period.
Content
Types of form
Binary form
Ternary form and
Rondo form
Rondo form consists of the alternation of the main theme with several different episodes. Usually the
main theme continues re- occurring like a chorus or refrain after each episode. This form is therefore,
based on the ‘song and chorus’ style.
Theme and variation it is sometimes called Air with Variation. This is a form in which the theme or
subject is first presented in its simple manner and in subsequent repetitions it is re-stated each time with
variation or modification. Variation may occur in the following ways:
(i) Decoration of the theme
(ii) Change of rhythm
(iii) Change of tempo or speed
(iv) Change of key
(v) Splitting of note values
(vi) Transference of the theme to another voice part or instrument.
The rondo form consists of the alternation of the main theme with several different episodes. Usually the
main theme continues re- occurring like a chorus or refrain after each episode. This form is therefore,
based on the ‘song and chorus’ style.
The main structure of a simple rondo is ABACA. There are extensions of this plan depending on the
number of episodesinvolved in each case,hence ABACADA, there are three episodes, B,C,D,alternating
with the main theme A which keeps re-occurring in the home key, while the episodes appear in different
keys. The coda is always in the home key. Example from Haydn’s Trumpet Concerto.
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WEEK 6
DATE: 18th-22nd ofFEB, 2019.
TOPIC: PRIMARY AND SECONDARY TRIAD
PERIOD: 1 period.
CONTENT:
Primary Triads
Primary triads are triads built on the first, fourth and fifth degrees of the scale. In a major scale, these
triads are all MAJOR triads and are represented with CAPITAL Roman numerals. (I, IV, V) tonic,
subdominant and dominant. It can be said that primary (major) triad consists of a root, a major 3 rd and a
perfect 5th. The primary triad is also obtained in other scales in other scales like, G major, D major, F
major, B flat major and so on.
Secondary Triads
As it has been taught that major scales consist of seven notes hence each of the notes form the root of
triads. Three of the seven form the primary triads as earlier taught: I, IV V; three also form the secondary
triads which is represented thus: ii, iii, vi.
Categories of secondary triads
Each of this has its peculiar feature.
1. Minor triads:It consist of a root, 3rd and a perfect 5th. It must be remembered that secondary triads is
also called minor triads.
Minor Triad of Key C Major
2. Augmented triads: An augmented triad consists of the Root, Major 3 rd and an Augmented 5th as
shown above.
It must be noted in example A above (FAC sharp) means that F to A is a major 3 rd and A to C sharp is an
augmented 5th .Another example is G major (GBD sharp) i. e G to B is a major 3 rd and B to D sharp is an
augmented 5th. .The last example on this topic is C (CEG sharp) i.e. C—E is a major 3 rd. E—G sharp is an
augmented 5th. It must be noted that all augmented intervals used to consist of accidentals.
3. Diminished triads: It consists a Root, a minor 3rd and a diminished 5th.
From the above example, it is clearly stated that E—G is a minor 3 rd and E—B flat is a diminished 5th also
G—D flat is a dim 5th . In all major keys or scales, there is only one diminished triad – the leading note
which is always the seventh triad (VII). Take time to study this very well in the scale of C major 7 th triad,
also it is applicable in E flat major which have “D” as its leading note.
Features of secondary triads
A minor triad consists of a Root, a minor 3rd and a perfect 5th.
An augmented triad consists of a major 3rd and an augmented 5th.
A diminished triad consists of a Root, a minor 3rd and a diminished 5th.
ASSIGNMENT:Spell the triads of the following scales on the stave: G, D, and A minor.
WEEK 7
DATE: 25th of FEB-1stof MAR, 2019.
TOPIC: ART COMPOSER (AYO BANKOLE)
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PERIOD: 1 period.
SPECIFIC OBJECTIVE: At the end of the lesson, Students should be able to identify the contribution
of Ayo Bankole to arts music in Nigeria.
AYO BANKOLE.
Ayo Bankole was born in Lagos in 1935. He inherited his musical talent from his parents and
grandparents. His father was a popular organist and his mother was a music teacher at Queen’s school
Ede in Oyo state.
Ayo received his early music lessons on organ playing from his family. He was as well, the pupil of Fela
Sowande. He was greatly inspired by T.K.E Phillips.
In 1957, Ayo had a Federal Government Scholarship to study music at the Guildhall School of Music and
Drama. He graduated in Organ and composition after three years. Then, he moved to Cambridge
University and won the Organ Scholarship of Clare College. He sat and obtained the Fellowship of the
Royal School College of Organists. Later, he went to the University of California, Los Angeles, U.S.A,
where he studied Ethnomusicology.
Ayo returned to Nigeria in 1966 and joined the staff of Nigeria Broadcasting Corporation, but later
transferred to the University of Lagos.
In November 1976 Ayo Bankole was killed together with his wife while preparing for the FESTAC OF
1977. He composed the ‘Festac Cantata’ which he did not complete before he died.
HIS MUSICAL WORKS
He composed both choral and instrumental works. These include several part songs, piano sonatas, organ
toccatas, songs, Christmas oratorio, a Requiem, an opera and so on.
1. Piano works: 4 piano sonatas – No. 3 ‘Songs from Stories’, and No. 4 ‘winter Birds’.
2. Cantatas: ‘ona”- Cantata No. 3 in Yoruba
3. Songs: ‘Adura mi’, ‘Iya’ and three part songs for female choirs.
4. Solo works: ‘The Lord is my Shepherd’, ‘Three Yoruba songs’.
5. Anopera: ‘A Night of Miracles’
6. Other works: Toccata and Fugue for Organ.
ASSIGNMENT: what is modulation?
WEEK 8
DATE: 4th-8th ofMAR, 2019.
TOPIC: MODULATION
PERIOD: 1 period.
SPECIFIC OBJECTIVE: At the end of the lesson, Students should be able to definemodulation, types
and application.
Content
MODULATION TO THE RELATED KEYS MEANING OF MODULATION
Modulation refers to the process of changing from one key of a piece of music to another. The Original
key of a piece of music is known as the ‘home key’. This home key can change in the course of a musical
composition to related keys before returning to the home key. Modulation can also be defined as a change
of key in a musical composition.
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Types of modulation
1. Partial modulation involves a change of key which takes place and immediately it returns to the
original key (home key) of the music.
2. Gradual modulation is when the change falls into a key that is nearest and most natural to the home key
of the music.
3. Implied modulation takes place in a piece of music without any accidental indicating the change. In this
case, the modulation does not appear to be real but from the tonality (the sound of music) the change is
noticed.
4. Abrupt modulation is when the original key changes to a distant key or keys.
ASSIGNMENT: Read about Transposing instrument.
WEEK 9
DATE:11th-15th of MAR, 2018.
TOPIC: MODULATION
PERIOD: 1 period.
SPECIFIC OBJECTIVE: At the end of the lesson, Students should be able to modulate from original
key to dominant and related keys.
PREVIOUS KNOWLEDGE: The students were taught transposition, types and application.
Modulation to Related keys
The mostly closely related keys are the dominant, subdominant and their relative minors. In this case,
there is always a key centre(the original key) from which the modulation takes place.
IN A MAJOR KEY
Subdominant Key Centre Dominant
(Major) (Major) (Major)
Relative Minor Relative Minor Relative Minor

MODULATION TO THE DOMINANT
The fifth degree is known as the dominant. Thus the dominant of key C major is G.
In solfa notation, dominant is ‘soh’ as indicated in the above example. This is true of all major keys.
When any piece of music moves from the tonic key to the dominant, this change is referred to as
modulation to the dominant.
Modulation to the dominant is rather simple. This is because only one note is affected in the change.
Usually, the affected note is the fourth degree (subdominant) which is raised a semitone to form a leading
note of the dominant key, while the dominant becomes the tonic of the new key.
Ex 1: C major to G major (dominant)
In the above examples, the music is in the key of C major, and the dominant is G major in bar four
through the use of F
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# bars three.
The music continues in the new key until bar 6. From bar 7, the music returns to key C major and ends in
bar 8 in the same home key.
You should take special notice of the use of F# in bar 3. This F# serves as the leading note to the new key
G major. The same F# is repeated in in bar 5 to hold the music in the key. But in bar 6, the sharp (#) is
nullified to F (F natural) in order to return the music to the original key, C major.
ASSIGNMENT: Read about art music in Nigeria.
WEEK 10
DATE: 18th-22nd of MAR, 2019.
TOPIC: PRACTICAL
PERIOD: 1 period.
SPECIFIC OBJECTIVE: At the end of the lesson, Students should be able to play primary chords on F
major.
PREVIOUS KNOWLEDGE: The students were taught modulation to related keys.
PRESENTATION:
STEP I: The teacher teaches the students chords 1, 4 and 5 on F major.
STEP II: The teacher plays for the students to see.
EVALUATION:
1. Practice the primary chords on F major
ASSIGNMENT: Read about history of music in Romantic period.
WEEK 11
DATE: 25th-29thof MAR, 2019.
TOPIC: HISTORY OF WESTERN MUSIC
PERIOD: 1 period.
SPECIFIC OBJECTIVE: At the end of the lesson, Students should be able to identifythe life history
and contribution of Franz Schubert to music of the romantic period.
PREVIOUS KNOWLEDGE: The students were taught the history and contribution of T.K.E. Philips.
HISTORY OF WESTERN MUSIC
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Franz Schubert (1797-1828) was a prodigiously gifted composer of both sacred music (incl.Several
motets and six Mass settings) and secular music (instrumental, orchestral, operatic and vocal, incl. more
than 600 song settings). He lived most of his short life in Vienna, apart from two short periods as music
tutor of the daughters of the Count Esterházy in Zseliz (Hungary, part of the Hapsburg Empire at the
time) and the occasional summer walking tour in Upper Austria and the Salzburg region. After receiving
his early musical education from his father, brothers and the local church organist, he was awarded a
choral scholarship at the Hofkapelle (the Vienna Boys’ Choir is the present day equivalent!) where he
was taught by the court organist Wenzel Ruziicka and the court music director Antonio Salieri (rather
unsympathetically portrayed in the play and film Amadeus) and became a student at the attached Imperial
Seminary. After leaving the seminary in 1813 he lived at the family home in the Viennese suburb of
Josefstadt for about three years, studying successfully at the Imperial teachers’ training college and then
working as one of his father’s assistants at the local school. During these years, in which he also
continued to have regular composition lessons from Salieri, he wrote an enormous amount of music,
including three piano sonatas, three string quartets, five symphonies, six operas, four Masses, several
motets, a number of partsongs and about 300 solo songs. At the end of 1816, when he was nineteen,
Schubert made the decisive move to leave home and continue his career in the more central part of
Vienna, staying in different lodgings until his premature death from typhoid fever in 1828.
He continued to compose in all genres, made friends with artists and poets whose verses he set to music,
and gradually had some of his works performed and published, but failed to make the same decisive
breakthrough in Vienna during his lifetime achieved by his oldercontemporary, Ludwig van Beethoven,
who also lived and worked in Vienna after movingthere from Germany in the early 1790s.
Schubert’s most popular works, which include the two movement “Unfinished” SymphonyD759 (October
November 1822), given its first performance in Vienna nearly 40 years after- his death, the “Great” C
major symphony D849 (1825 6), the “Trout” Quintet D667 (Autumn -1819), the three “late” String
Quartets in A minor D804 (Feb March 1824), D minor D81-(March 1824) and G major D887 (June
1826), the C major String Quintet D956
ASSIGNMENT:What are the contributions of these composers to romantic music?
WEEK 12
DATE: 1st-5thof APRIL,2019.
PERIOD: 1 period.
Contents.
on the recorder.
PREVIOUS KNOWLEDGE: The students were taught life and works of Robert Schumann.
PRESENTATION:
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EVALUATION
SUMMER (THIRD) TERM SESSION

Week 1 Interval Definition, types, consonant and dissonant, harmonic and melodic.
Week 2 Interval cont.d Construction, descriptions and inversions

Week 3 Harmonic progression Simple guidelines on the harmonic progression.
Week 4 Aural training Monotone and melody writing.
Week 5 Aural training Cadences and intervals on the piano.
Week 6 Instrumental and Instrumental and vocal forms of the baroque period.
vocal forms
Week 7 Two & four part Adding of alto, tenor and bass parts to a given melody
writing.
Week 8 Modulation Definition, modulating to the related.
Week 9 Practical Sight-singing (on the given pieces)
Week 10 Music technology Definition, software Sibelius and finale, application on the
computer system.
Week 11 Practical Piano playing.
WEEK 1
DATE: 16th – 20thof Sept, 2019.
TOPIC: INTERVAL.
CONTENT
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DEFINITION
Interval is the difference/distance between two pitches. An interval may also be described as horizontal,
linear, or melodic if it refers to successively sounding tones, such as two adjacent pitches in a melody,
and vertical or harmonic if it pertains to simultaneously sounding tones. In Western music theory, the
most common naming scheme for intervals describes two properties of the interval: number (unison,
second, third, etc.) and quality (major, minor, perfect, augmented, diminished). For instance, major third
or perfect fifth. These names describe not only the difference in semitones between the upper and lower
notes, but also how the interval is spelt. The importance of spelling stems from the historical practice of
differentiating the frequency ratios of enharmonic intervals such as G-G♯ and G-A♭.
TYPES OF INTERVAL
Melodic and
Harmonic interval
C–D C–E C–A C–B
Major 2nd Major 3rd Major 6th Major 7th
SIMPLE AND COMPOUND INTERVALS

Simple intervals are those intervals which fall within an octave. They include all 2nds, 3rds, 4ths, 5ths,
6ths, 7ths and 8ths.
Compound intervals are those which fall beyond an octave. This means they are greater than an octave.
They can be major, minor, perfect, and so on. E.g. major 9th, minor 10th and perfect 12th
.
CONCORDANT INTERVALS: These are intervals which sound quite pleasant. They are also called
concords. They are agreeable to the human ear. They are inactive and satisfactory. Concordant intervals
include major and minor 3rds and 6ths, perfect 4ths, 5ths and 8ths (octaves). These are classified into
two- perfect and imperfect concords. The perfect concords include all perfects: perfect unison, perfect
4ths, 5ths, and 8ths, (octave). The imperfect concords are major and minor 3rds, major and minor 6ths,
remember that all concordant intervals sound pleasant and satisfactory.
unsatisfactory. They are active and have tendency to move. Thus, they are incomplete in effect and need
other chords to follow them. This means they need resolution. Discordant intervals include all 2nds and
7ths, diminished and augmented intervals, as follows;
To find a compound interval of a simple interval, add 7 to its number. For example, if 7 is added to a
major 3rd, it becomes a major 10th or a compound 3rd. E.g.
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WEEK 2
DATE:23th-27th of Sept,2019.
TOPIC: INTERVAL cont.d
CONTENTD
DESCRIPTION OF INTERVAL
TYPES OF INTERVALS NUMBER OF SEMITONES
nd
Minor 2 1 semitone
Major 2nd 2 semitones
Augmented 2nd 3 semitones
Diminished 3rd 2 semitones
Minor 3rd 3 semitones
Major 3rd 4 semitones
Augment 4th 6 semitones
INVERSION OF INTERVALS
note is placed an octave above or the upper note is placed an octave below. For example:
In inversion of inversion of intervals, the numerical value of an interval plus its inversion makes up 9.
Thus, to find the number of the inverted interval, subtract the original one from 9. That is why in the
above examples the P 4th becomes P.5th and P.5th becomes P.4th.
So, a 2nd becomes a 7th on inversion a 3 rd becomes a 6th on inversion a 4th becomes a 5th on inversion a
5th becomes a 4th on inversion a 6th becomes a 3rd on inversion a 7th becomes a 2nd on inversion an 8th
becomes a union on inversion.
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Study the examples in pg 101 of Fundamentals of music for junior secondary schools book three. By Dr
H.C Nwafor.
WEEK 3
DATE: 30thSept -4th of Oct, 2019.
TOPIC: HARMONIC PROGRESSION.
CONTENT
DEFINITION
Harmonic or chord progression is the series of chord changes forming the underlying harmony of a piece
of music. It is a succession of musical chords, which are three or more notes, typically sounded
simultaneously. It simply means the order in which chords are played to a song
Progression can be broadly categorised in to three parts : major, minor and major- minor progression
Major is represented with capital letter while minor is represented with small letter.
Guide for chord progression
When melody moves to tonic (doh), mediant (meh) and dominant (soh), chord (I) could be used as
accompaniment.
When melody moves to supertonic (ray), dominant (soh) and leading note (tee) chord (V) could be used.
When melody moves to mediant (meh) and leading note (tee), chord (iii) could be used.
When melody moves to subdominant (fah), submediant (lah), chord (IV) could be used.
When melody moves to submediant (lah), tonic (doh) and mediant (meh), chord (vi) could be used.
When melody moves to supertonic (ray) subdominant (fah) and submediant (lah) chord (ii) could be used.
Chord progression formula
MAJOR
I-IV-V
I-ii m-V
I-vi m-ii m-V
I-V-IV-V
MINOR
ii-vi-I-V
vi-ii-iii-vi
vi-V-IV-iii.
WEEK 4
TOPIC: AURAL TRAINING.
CONTENT
TONALITY
This refers to a system or an arrangement of seven tones built on a tonic key. The arrangement of all the
tones and chords of a composition in relation to a tonic. The actual or implied presence of a musical key
in a composition. The system of major and minor keys prevalent in Western music since the decline of
modes Compare atonality.tonality - any of 24 major or minor diatonic scales that provide the tonal
framework for a piece of music.
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PRESENTATION:
STEP I: The teacher teaches the students the definition of tonality.
STEP II: The teacher teaches them how to put notes together to form a tonality.
EVALUATION:
1. Define the term “tonality.
2. Identify the tone played by your educator.
WEEK 5
TOPIC: AURAL TRAINING cont.d
CONTENT
Cadences and interval on the piano
Cadence is a musical formula that conveys a feeling of repose at the end of a phrase or a composition.
Such formulas not only sound complete in a purely musical sense but also, because of their familiarity,
lead the listener to expect a temporary or permanent stopping point. These sequences slowly became
modified as musical styles changed. With the evolution of traditional tonal harmony (early 18th century),
cadential formulas that are still recognized became common.
The most widely used formula, called an authentic cadence, is a V-I progression, that is, a dominant
chord (one built on the fifth note of the scale) followed by a tonic chord (one built on the first note, that
is, the tonic or key note) It is also called PERFECT CADENCE. The reverse of a perfect Cadence is a
progression from chord I - V referred to as semi cadence or semi close also called IMPERFECT
CADENCE. A cadence that moves from the subdominant chord (built on the fourth note of the scale) to
the tonic, that is, IV-I, as in the “Amen” cadence at the end of hymns, is called a PLAGAL
CADENCE. When a piece of music conveys the sense of finality or perfection but suddenly suspends the
listener by moving to another chord that is, from chord V –VI it referred to as surprised, abrupt,
deceptive or INTERRUPTED CADENCE.It is a cadence finishing on an unexpected chordin music, a
cadence that does not end with the expected chord of the tonic but moves from the dominant to the
submediant.
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a. ----------------------- b. -------------------- c. ---------------------
Aural Training: Perfect and Imperfect cadence

Students are to listen to Teacher play various passages on the keyboard - the piano- with emphasis on
cadential points for students to listen and identify. Study these passages and identify the cadences:
Steps to aural recognition of cadences:

1. All students report to the Music studio with their music manuscript, pencil and other writing materials.
2. Teacher informs students of the key. (Passages should be on major keys.)
3. The key note should be sounded before the passage or chords are played. (Passages should not more
than eight chords.)
4. Next, the tonic chord should be sounded/ played.
5. The whole musical passage will be played through.
6. Then the passage is played in phrases with brief breaks at the cadences thrice each.
7. A replay of the whole passage is done for students to cross-check their works.
Exercises:
1. Students identify cadences by naming the ones played by the Teacher.
2. Students write down cadences through aural perception on different keys played.
WEEK 6
DATE: 21st -25th of Oct, 2019.
TOPIC: VOCAL AND INTRUMENTAL FORM OF BAROQUE PERIOD.
CONTENT
FORM IN BAROQUE PERIOD
Form in the history of western music is regarded in three major ways it is known as style of music,
structural layout of a musical piece and as the media through which musical ideas are been materialized,
the latter will be understudied for this topic i.e. the media through which musical ideas are been
materialized. They are divided into two; vocal form and instrumental form.
INSTRUMENTAL FORM
Two part writing: The statement of idea and its continuation A: B.
Basso continuo: The bass part that is given a short phrase which is repeated over and over.
Fugue: Musical form that uses imitation and complicated counterpoint.
Prelude: It is a Latin word which means play before, it is a piece played before another piece of music.
Suite: This is a group of dances.
VOCAL FORM
Monody: it is a vocal form that calls for a singer and a very spare accompaniment.
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Opera: A drama in which all or most of the dialogue are sung.
Passion: Music that talks about the trials and death Jesus.
Oratorio: A biblical text set in to music.
Cantata: It is vocal composition with an instrumental accompaniment, typically in several movements,
often involving a choir.
WEEK 7
DATE: 28th of Oct -1stof Nov, 2019.
TOPIC: TWO & FOUR PART WRITING.
SPECIFIC OBJECTIVE: At the end of the lesson, Students should be able to add one to three parts to a
given melody. i.e. A,T and B
PREVIOUS KNOWLEDGE: The students were taught the definitions of form, types and difference as
it is used in baroque period.
ADDING OF ALTO, TENOR AND BASS PART TO A GIVEN MELODY
EVALUATION
1. Add Alto part to this melody.
2. Add bass part to the same melody.
PRESENTATION:
STEP I:The teacher gives the rule to follow to adding of part.
STEP II:The teacher teaches the students how to derive other parts to a given melody by picking
third note away from the note given in the melody.
WEEK 8
DATE: 4th–8th of Nov, 2019.
TOPIC: MODULATION.
CONTENT
MODULATION TO THE RELATED KEYS MEANING OF MODULATION
Modulation refers to the process of changing from one key of a piece of music to another. The Original
key of a piece of music is known as the ‘home key’. This home key can change in the course of a musical
composition to related keys before returning to the home key. Modulation can also be defined as a change
of key in a musical composition.
Types of modulation
1. Partial modulation involves a change of key which takes place and immediately it returns to the
original key (home key) of the music.
2. Gradual modulation is when the change falls into a key that is nearest and most natural to the home key
of the music.
3. Implied modulation takes place in a piece of music without any accidental indicating the change. In this
case, the modulation does not appear to be real but from the tonality (the sound of music) the change is
noticed.
4. Abrupt modulation is when the original key changes to a distant key or keys.
Modulation to Related keys
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The mostly closely related keys are the dominant, subdominant and their relative minors. In this case,
there is always a key centre(the original key) from which the modulation takes place.
IN A MAJOR KEY
Subdominant Key Centre Dominant
(Major) (Major) (Major)
Relative Minor Relative Minor Relative Minor

MODULATION TO THE DOMINANT
The fifth degree is known as the dominant. Thus the dominant of key C major is G.
In solfa notation, dominant is ‘soh’ as indicated in the above example. This is true of all major keys.
When any piece of music moves from the tonic key to the dominant, this change is referred to as
modulation to the dominant.
Modulation to the dominant is rather simple. This is because only one note is affected in the change.
Usually, the affected note is the fourth degree (subdominant) which is raised a semitone to form a leading
note of the dominant key, while the dominant becomes the tonic of the new key.
Ex 1: C major to G major (dominant)
In the above examples, the music is in the key of C major, and the dominant is Gmajor in bar four through
the use of F
# bars three.
The music continuesin the new key until bar 6. From bar 7, the music returns to key C major and ends in
bar 8 in the same home key.
You should take special notice of the use of F# in bar 3. This F# serves as the leading note to the new key
G major. The same F# is repeated in in bar 5 to hold the music in the key. But in bar 6, the sharp (#) is
nullified to F (F natural) in order to return the music to the original key, C major.
WEEK 9
TOPIC: PRACTICAL
SIGHT SINGING
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PRESENTATION:
STEP I: The teacher teaches the students the definition of sight singing and sight reading.
STEP II: The teacher teaches the different formulas to read a piece of music in class.
EVALUATION:
Sight sing:
“O, for the Wings of a Dove” by Felix Mendelssohn
2. Sing at Sight the first four bars of the music above.
WEEK 10
DATE: 18th-22nd of Nov, 2019.
TOPIC: MUSIC TECHNOLOGY
PERIOD: 1 period.
SPECIFIC OBJECTIVE: At the end of the lesson, Students should know the meaning of music
technology, software such sound forge, sonar, fruity loops, and scoring software e.g. Sibelius, finale.
95
PREVIOUS KNOWLEDGE: The students were taught how to modulate a piece of music from a key to
another key, whether partial or full modulation.
Music technology is the use of any device, mechanism, machine or tool by a musician to make (compose,
notate or record) or perform music.
Music technology is divided into three which are:
Mechanical music technology
Electric music technology and
Electronic/digital music technology.
The latter will be studied, which is electronic or digital music technology, it is the use of electronic or
digital instruments such as computers, electronic effect unit, software or digital audio equipment to make
music.
Music software is the type of software that is used for recording and scoring of musical ideas, it is divided
into two parts: recording and scoring software.
Examples of scoring software areFinale, Sibelius e.t.c.
Examples of recording software are Sonar, Reason, Cubase, Fruity loops and Sound forge e.t.c.
WEEK 11
TOPIC: PIANO PLAYING
PERIOD: 1 period.
PRESENTATION:
STEP I: The teacher teaches the students the scale in F major on the piano.
STEP II: The teacher guides the students to run the scale of F major on the piano.
EVALUATION
11. Practice the scale of F Major on the piano.
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TWINX MUSIC ACADEMY

(FIRST) TERM SESSION

Line 1—E Space 1—F

Line 1—G Space 1—A

NOTES NAME (English) VALUES DURATION

Semibreve has 4 beats and the value is 1.

WEEKS TOPIC CONTENT OF TOPIC

Week 1 Drama creation Definition, basic forms and technique.

Week 7 Stem positioning Rules and stem positioning.

Rules to follow in adaptation of play

Rest is the period silence in music.

Semibreve has 4 beats.

ASSIGNMENT: Read about time key signature.

ASSIGNMENT: Name some keyboard instrument you know.

WEEKS TOPIC CONTENT OF TOPIC

Week 1 Western musical Definition, classification.

Week 7 History of Music Life and contribution of G. F Handel.

Technical names of musical notes/degrees

Construction of G Major Scale

Construction of D major scale

Construction of Bb flat major

Construction of Ab major scale

Construction of Db major scale

Construction of Gb major scale

Construction of A major scale

Construction of D major scale

Construction of G major scale

Week 7 Piano class (contd) Playing songs on the key of C

G major scale G A B C D E F G- ascending and descending order.

B flat major scale B C D E F G A B – ascending and descending order.

F major scale F G A B C D E F - ascending and descending order.

C major scale C D E F G A B C - ascending and descending order.

G major scale G A B C D E F# G- ascending and descending order.

B flat major scale Bb C D E Fb G A Bb – ascending and descending order.

F major scale F G A Bb C D E F - ascending and descending order.

Melodic interval Harmonic interval

INTERVAL NUMBER OF SEMITONE

SUB-TOPIC 2: INVERSION OF INTERVALS

WEEKS TOPIC CONTENT OF TOPIC

Week 1 Minor scale Definition, types- natural, melodic, harmonic.

Week 2 Triad Definition, types, first and second inversion.

Week 7 Conducting Definition, types and techniques

Week 10 Listening skills Meaning and types.

Primary and Secondary Triad

4/4 time signature 6/8 time signature

DATE: 25th of April and 2nd of May, 2016.

TOPIC: HISTORY OF MUSIC (BAROQUE PERIOD 1600-1750)

Characteristics of the period:

The use of Basso continuo (thorough bass).

Homophonic writing was predominantly used to form clarity.

Polyphonic writing was also at its peak (specially used by J.S.Bach).

The use of modes as against major and minor of today.

Johann Sebastian Bach, Henry Purcell George Frederic Handel

Domenico Scarlatti Antonio Vivaldi.

DATE: 9th of May, 2016.

1.Identification of the degrees of the diatonic scale with roman numerals.

2.Primary and secondary triads in major scales.

3. The structures of the four types of triads.

Sub-Topic 2: Primary and a secondary triads in major scales.

Construct the primary triads of key F major.

DATE: 16th of May, 2016.

TOPIC: NIGERIAN ART COMPOSERS.

He pioneered the establishment of a department at Ife. He has contributed to the development of