Firstpublished2024
TheEduca onal ompanyofIreland
Ballymount oad
alkinstown
ublin
www.edco.ie
memberoftheSmur t appa roupplc
aura ynch
ISB
Editor ilmenyMacBride
esign ilbheHooper
ayout ompuscript
o er ilbheHooper
o erimage nnaS onn Shutterstock
llrightsreser ed. opartofthispublica onmaybereproduced,storedinaretrie alsystem,or transmittedinanyformorbyanymeans,electronic,mechanical,photocopying,recordingorotherwise, withouteitherthepriorpermissionofthepublisheroralicencepermi ngrestrictedcopyinginIreland issuedbytheIrish opyright icensing gency, PatrickStreet, n aoghaire, o. ublin.
Theauthorwouldliketoe tendherthankstoallinTheEduca onal ompanyofIreland,par cularly ouise Merrigan, ucyTaylor,Sara hud ik,Eimear lynnand ilmenyMacBridefortheirdedica on,generous supportandassistanceinthecomple onofthisbook.
Thanksto e in onnelly,Sharon aynorandEric ampbellfortheircontribu ontotheaudiorecordings.
Iwouldliketothankmystudents,pastandpresent yourenthusiasmformusiccon nuestoinspireand sustainmylo eofteaching. eepestgra tudetomyhusbandBrienandtoourchildren, reddieandPearl fortheirongoinglo eandencouragement.
hilee erycarehasbeentakentotraceandacknowledgecopyright,thepublisherstendertheirapologies foranyaccidentalinfringementwherecopyrighthaspro eduntraceable.Theywouldbepleasedtocometo asuitablearrangementwiththerigh ulownerineachcase.
isclaimer ebreferencesinthiste tbookareintendedasaguideforstudentsandteachers. tthe me ofgoingtopress,allwebaddresseswereac eandcontainedinforma onrele anttothetopicsinthis te tbook.Howe er,TheEduca onal ompanyofIrelandandtheauthorsdonotacceptresponsibilityforthe iewsorinforma oncontainedonthesewebsites. ontentandaddressesmaychangebeyondourcontrol andstudentsshouldbesuper isedwhenin es ga ngwebsites.
nylinkstoe ternalwebsitesshouldnotbeconstruedasanendorsementbyEdcoofthecontentor iewof thelinkedmaterial.
Pitch Perfect isanewandinno a emusicprogramme,designedtosupportstudent learningfor unior ycleMusic,o erthreeyearsofstudy.ThePitchPerfectte tbook co ersthe earning utcomesasoutlinedinthe unior ycleMusicspeci ca on. Theconciseandaccessiblecontentisstudent friendly,inclusi eandsuppor eof aried learningstyles. Pitch Perfect hasstudentac i essprinkledthroughout.Theseaimto s mulatestudent’scuriosityandenrichtheirlearninge perience.
Pitch Perfect iseasytona igate,funtoworkwithande cientingatheringe idenceof students’work,theirprogressandtheirtwoclassroom basedassessments B s. ccessible learningac i esensurethatallstudents’learningstylesandneedsarecateredfor. Studentsareencouragedtoactaslearningresourcesforeachotherthroughpeerandgroup ac i es.Studentsarechallengedtoworkasindependentlearners,de elopingtheirskillsas researchers,creators,composers,cri cs,problemsol ersandre iewersoftheirownwork.
Engagementwiththematerialislaidoutinacyclicalformat, SectionA and SectionB.Both sec onspro idelearninge perienceswhichencompasseachofthe earning utcomes. Eachsec onpro idesmaterialsuitedtothestudent’sageandstagewhiletheyprogress throughtheirthree yearlearning ourney.Sec on pro idesasolidfounda oninstudents’ learningandpro idesampleopportuni esforthemtoshowtheirprogress.Sec onBbuilds onthesefounda ons,addinganewlayeroflearningtomeetthedemandsofthe unior ycleassessment. e isiontasksandchallenges,e amguidanceandsamplee amques ons pro idestudentswithasuiteofresourcestohelppreparethemfortheirprac caland writtene amina onsinyearthreeofthe unior ycle.
The Pitch Perfect Student Activity Book isastudent’scompanion,aplacetorecord e idenceoftheircrea ee ortsandtheirprogress.Itcapturesallaspectsofthestudent’s learningacrosstheirthreeyearsofstudy suppor ngtheirengagementwitheachchapter. istenandrespondac i es,composingtasksandcomposerbriefsallaimtocapture e idenceofeachstudent’slearningwithabroadrangeofac i eslinkingstudentstothe learningineachchapteroftheirte tbook.Italsopro idesacomprehensi estandalone por oliofor lassroom Based ssessments and .
The Pitch Perfect Createand Compose Whiteboard supportsstudentlearning.Ito ers afreshapproachtoamusicwhiteboard’sdesign.Musicsta esandalabelledpiano keyboardareaccompaniedbymaorkeysignatures,ablankchordbankand tra c lightstosupportstudentengagement.
The Edco Learning App includesaudioanddigitalresourcessuchas ideosandPowerPoint summarypresenta ons. llareeasilyaccessed iatheEdco earningpla ormandthe Edco udio pp.
The Pitch Perfect Teacher’s Resource Book pro idessupportforteachersintheareasof planning,teaching,assessmentandrepor ng.The Pitch Perfect TRB aimstobeatreasured companionforteachersusingthe Pitch Perfect unior ycleMusicpackagewiththeir students.
aura ynchhasspent yearsteachingmusicintheIrisheduca onsystem,teaching musicinSt Patrick’s lassicalSchoolsince .Shehase amined uniorandseniorcycle musicforo eradecade. auraisagraduateoftheMater eiIns tuteofEduca on,now partof ’sIns tuteofEduca onandholdsaMaster’s egreeinEduca oninthearea ofInno a eTeachingand earningfromMaynooth ni ersity.Shealsowroteahighly successfulseries Sounds Good1 and Sounds Good2 for unior ycleMusicand SoundCheck A and SoundCheckB for ea ing er cateMusic.
The Pitch Perfect packageincludesse eralfeaturestomake learningeasier,more accessibleandfun
Theco erflapincludesalabelledpianokeyboardononeside, andaquickguidetorhythm,metreandnotationontheother.
The Pitch Perfect Te tbookandStudent cti ityBookincludemanyaudio tracksand ideostoaidyourlearning. ookoutforthebelowicons
A1.1 lickontheaudioiconsinyoure booktolistento sof audiotracks,orusethePitchPerfect udio pp.
WATCH
lickonthelinksinyoure bookortypein thecodeto iewo er rele ant ideos.
ListenandRespond! uestionsaskedonaspecificpieceofmusic
STUDENTACTIVITYBOOK inkstoStudent cti ityBook acti itiesonspecifictopics
Indicatesthecountryacomposerorcreatorofapieceofmusicisfrom in itesyoutoworkinpairsorgroups
PowerPoint lickonthisiconinyoure bookto iewasummary PowerPointpresentation
TOPTIP Highlightstopicad ice
RAPIDREVIEW cti itiestohelpyoucreatere isionaids
EXAMTIP! In aluablee amad ice
Let’sRecap! ecallsinformationlearnedinpre iousunits
LEARNINGINREVIEW! ecallsinformationlearnedinthe correspondingunitinSection
RECAP summaryoftheinformationyouha e ustlearned
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SECTIONAREVIEW summaryofkeyinformationfromSection
SHOWWHATYOUKNOW uestionsthattestyourknowledgeattheendofatopicinthete tbook
theracti itiesgi eyoutheopportunityto PERFORM
TeachersandstudentscanaccessthePitchPerfectinteracti ee bookatwww.edcolearning.ie,plusabank offreedigitalresources,including
• PowerPointpresentationsforeachunittosupportre ision
• nitreflectiontemplatesandusefulreferencematerial ehopeyouenoyusing Pitch Perfect onyour ourneythrough unior ycleMusic. oodluck
. erman ancein maor , . openhagen ailway alop’
. openhagen ailway alop’
. ndantefromtheSurpriseSymphony
. Eine leine achtmusik’
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. egato
. Southern oses’
. or hildren’
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. ona obisPacem’
. anceofthe eed lutes’
. Morning’
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. TheBirdieSong’
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. ourSeasonse cerpt
. ourSeasonse cerpt
. ourSeasonse cerpt
. inter,Mo ementI llegro
. inter,Mo ementII argo
. Night on the Bare Mountain
. Night on the Bare Mountain 2
. TheElephant’
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llmusicinthisbookhasbeenreproducedwiththekindpermissionofthepublishers,agents,composersortheirestatesasfollows siren.wa byI artIn r eneral irec on, hurchBells, lose, .wa byInspector , a onalEmblemMarchbyEdwinBegley, nitedStates rmyBand permission a os,Symphony o. by eanSibeliuspermission a os, ertureto illianTell’fromTheStormby ioachino ossinipermission a os, inema cSoundB MSample, oorbellEbykwahmah ,bark.wa by poki, anslidingdoorclosebyMr urali a on, Somewhere er The ainbow’byE HarburgandHarold rlen,lyricsandchordspermissionHal eonard, Money’byPink loydmusicsheetandlyricspermissionHal eonard, romEden’byHo iersheetmusicandlyricspermissionbyHal eonard, Etudes u hemins e er’byPierreSchae erpermission a os, erture, p. byTchaiko skypermission a os,Melodie o. p. by obertSchuman, lsoSprach arathustra’by ichardStrauss permission a os, iesIrae’from equiemby erdipermission a os, lightoftheBumblebee’by imsky orsako permission a os, Sabre ance’ from ayaneby ram hachaturianpermission a os, irona String’fromSuite o. 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Pianotracks,includingrhythmandmelodicpatterns,backingtracks,cadences,inter als,triadsandchordprogressionsby e in onnellyrecord edinSonicStudios. uitartracksbyEric ampbell. ll ocalsperformedbySharon aynor. lltracksclearedwithM PSI
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1.1 Sound Connections
WHENYOUHAVECOMPLETEDTHISUNITYOUWILLBEABLE TO…
Make connectionsbetweena person’s unique experience of musicand theiridentity.
Identify examples of soundsources.
Make alist of sounds that telllistenersabout you.
Select andlisten to music that supports your wellbeing.
Create andsharea playlist for aschool event.
Discuss the contrastingstyles of music representedin your localandschool community.
Writea review of alive performance.
Discuss theimportance of property rights in the Irish musicindustry.
Musicisallaround us. From the moment we are born, we experience musicinlots of different ways. Sometimes we choose the music we listen to,andsometimes we don’t! Either way, it would bedifficultto getthrougha wholeday without hearingany music. These experienceshelp to formour musicalidentity
edco.ie/wjbz
In thisshortvideo, we see people talkingaboutthe music they heareachday and the effect ithason them. WATCH
Go to page 1 of your Student Activity Bookand complete Activity 1: Think’n’Link!
Work with a partner to discuss whenand where you listen to musicandin what ways your experiencesaresimilar. STUDENTACTIVITYBOOK
Music canjogour memories. A song might remind us of people, placesor experiences that areimportant to us. When we hear music from our favourite childhood cartoon, computergame, TV seriesor film,it takes us back to that time.
Hearing particularsounds cando thesame thing. For example, thesound of waves might remind us of aholiday to theseaside.
A sound source isanything that canproduce sound,e.g.a musicalinstrument,thehuman voice,ananimal,apre-recorded sound,an object, acaralarm,the wind.
Sound sources such as church bells mightmake us rememberrunning through theschool yard at lunchtime when wewere small! These examplesshow usthat some of thesounds we hear when we aregrowing up form part of our musicalidentity.
On RTÉ Radio1’s TheRay D’Arcy Show, presenter Ray D’Arcy interviews a famous person for his‘Soundtrack to YourLife’ segment. Ray talks to hisguestabout the musicandsounds that they feelare important in theirlife. Eachpiece of music orsound chosen by hisguest tells us somethingabouttheirlifestory.
It isinteresting to findout how particular soundsor pieces of music connect someone withtheir past. Ray’sguests explainhow eachsoundbringsbacka memory of asignificant experience for them.
Sonia O’Sullivanisone of Ireland’s mostsuccessful athletes. Sonia wasbornin Cobhin1969, but shedidn’t discover her talent for running untilshe wasa teenager. She competedin four Olympic Games. In the year2000,she wonasilver medalin the5,000 metresin the Sydney Olympics.
In herinterview with Ray, Sonia talksabout some of the musicandsounds that remindher of thespecial peopleand experiencesinherlife. Here isasnapshot of thesoundsand musicshe sharesduringherinterview.
WATCH edco.ie/npuz
Sonia
Listen!
Sound A1.1 Dockyard sirens
Sonia recallsasirensoundingin thedockyardin Cobh whereher grandad worked. Shespent alot of timewith hergrandparents asa child,and thissoundstillbringsback fond memories of her grandadheading off to workonhis Honda50 motorbikeas the sirensounded. Similarly, Soniaknew that he wouldbe makinghis way home for dinneronce thesirensoundedagainin the evening.
Sound A1.2 Churchbells
Thesound of church bells reminds Sonia of St Coleman’s Cathedral. The church bellsin Cobh rang every15 minutes. The sound of thebells wasa reminder of the timethroughouttheday. Sonia remembers using thebells to figure out ifshe was going to belate for schoolorlate gettinghomein the evening.
SoniaO’Sullivan O’Sullivan– Sound Track to Her Life interview
Asa teenagerin the1980s, Sonia’s mum lovedlistening to her record collection at homein the evenings. Whenever Soniahears 80sartists Rod Stewartand Neil Diamondsongson the radio,she knows all thelyrics! Shebelieves that thisisbecause of listening to so much of her mum’s musicin the familyhome.
A musical genre isabroadcategory ortype of music that shares certaincharacteristics, e.g. rock, jazz, rap.
Paul Young was the firstcassette tape Sonia everbought for her Sony Walkman!Asa young athlete, Sonia travelledall over the world. Shenever stayedinany one country for toolong,and Sonia felt that theline‘WhereverIlay my hat,that’s my home’, fromher favourite Paul Youngsong really resonated with herasshe tried to settleinto hernew ‘home’ inanew place.
Songs by theband U2 remind Sonia of fun adventures withfriends asa teenager. On one Augustday in1985, Soniaandher pals took the train from Cobh to CorkCity to attenda Lark by the Lee concert. The promisedsurpriseguests turnedout to be U2!
Answer the following questions in your copybook.
1 Namethe radio presenter of ‘Soundtrack to YourLife’.
2 What radiostationdoes this presenter work for?
3 Nametwo other Irish radiostations.
4 Whoselectsthesound clips for theinterview and why?
5 Explain the term sound source.
6 Identify onesound that reminds Sonia of her childhood. Describe the memoryit represents for her.
7 Identify onesound that reminds you of yourchildhood. Describe the memoryit represents for you.
8 Explain the term genre
9 Sonia recallslistening to the genre of 80s music at home.Can you name two other genres of music?
10 Soniaenjoyedalive performance by Irishband U2with her friends. What Irishband would you love to see performlive?
STUDENTACTIVITYBOOK
Go to page 1 of your Student Activity Bookand complete Activity 2: SoundsLike Me!
Create your ownsoundtrack to your life.
We liveina musical worldandeach personhas unique experiences of music.
Music can reconnectuswith our memories, reminding us of people, placesor experiences fromour past.
Our musicalidentity is formed by all of our experiences of musicandsound throughout our lives.
A sound source isanything that can produce sound,e.g. voices,sirens, church bells orbirds.
A musical genre isa particular category, type,eraorstyle of music,e.g. rock,jazz, rap, classicalor country.
Listening to music we enjoy can make us feelhappier. Music canenergise us, calm us down andhelp us to manageour feelings.
Wellbeing means feeling good about yourselfandbeing contentwith your life.
Musicshouldbe part of our wellbeing toolkit. Research shows that listening to music affects our mood. Singingor dancingalong to our favourite tuneor creatingour own music are proven ways to boostour mood!
Go to page 2 of your Student Activity Bookand complete Activity 3:Listen& Respond!
Match the musicheardineach excerpt to a moodor feeling portrayed by the music.
Once we understandhow music can affect how we feel, we can use music to improve our wellbeing. First, we must consider what we needfromthe music. Dowe need music that helps us to relax, to sleep, to move or to feel full of energy? Then we need to find music that matchesour needs. Thereare millions of songs availableonstreaming servicesbutfinding theright one can take up alot of time!
Do you listen to music when exercising?
A playlist isa group of songs brought together for a particularpurpose on a music streaming app,phone or computer sothat they canbeaccessed andlistened to in oneplace. Playlists are created for aspecific purpose,activity or event and usually focus ona particular themeor mood. Playlists canbe usedas part of our wellbeing toolkit. Creatinga playlist of music that makes us feelhappy ensures that we canaccessa collection of feel-goodsongs whenever we need them. We don’t need to shuffle throughhundreds of tracks to find the right onesany more!
STUDENTACTIVITYBOOK
Go to page 2 of your Student Activity Bookand complete Activity 4a: Your Wellbeing WeekPlaylist
Create your own playlist of feel-goodsongs.
Are the following statements true or false? Write your answers in your copybook.
1 The music we choose to listen to can affect our mood.
2 Listening to music we enjoy can make us happier.
3 You shouldonlylisten to Classical musicif you want to relax;nothingelse will work.
4 A playlistisagroup of songs you have heardbefore.
5 Playlistsare created with aspecific purposeor event in mind.
Creatinga playlist that suitsour tastein music takes time,soitis good to know that thereare millions of ready-made playlists available to us on musicstreamingservices.
Streaming services providecustomers with instant access to video, musicand other media contentonline withoutthemhaving to downloadit.
Musiclovers across theglobe create andshare their wellbeing playlistson musicstreamingservicesso that others canaccessand enjoy them too! Customers cansearchthestreamingservice’s music library by moodor by theme for instant access to playlists that suit theirneeds.
STUDENTACTIVITYBOOK
• Go to page 3 of your Student Activity Bookand complete Activity 4b: Sharing Your Wellbeing Week Playlist.
• Go to page 3 of your Student Activity Bookand complete Activity 4c: Designing Your Wellbeing WeekPlaylist Cover.
Can youmatch these well-known streaming services withtheiricons?
Answer the following questions in your copybook.
1 A playlist isalist of s createdonastreamingapp,phoneor computer which canbeaccessedandl to allinone p.
2 Playlistsare usually created for aspecific purposeor event like Wellbeing Week. List two other eventsthat you could create a playlist for.
3 List three songs that you wouldincludeina playlist for a Summer Party. Explain why you have selectedeach of thesesongs for your playlist.
4 What mood or atmosphere would the songs chosen for your playlist create for thelistener?
5 Outlinehow you wouldshare yourplaylist with yourclassmatesso that they couldaccess andlisten to your collection of songs too?
Listening to musicisone of the many ways in which we canlook after our wellbeing. Differenttypes of music affectus indifferent ways,so choosing therightmusic to listen to isimportant.
A playlist isalist of songs whichhave been collected for a particular purposeor event.
Playlists canbeaccessedandstreamed from music streaming services such as Spotify, iTunesand Google Play.
Tailor-made playlists that are unique to our own musical tastes will workbest!
Match the keywords withtheirdefinition. Write theanswers in your copybook e.g.1E
Keyword Definition
1Sound source A A group of songs createdonanelectronicdevice.
2Genre B Your own unique experience of musicandsound.
3Wellbeing C An appthat allows you to listen to musiconline without downloadingit.
4Playlist
D A category for music that hasseveral thingsin common.
5Streaming service E Something that producesasound.
6Musicalidentity F Thestate of feeling wellandhappy.
A community is made up of all the people wholiveor work togetherina particular place. Across Ireland,groups of singers, musiciansand composers come together to be creative andshare their talents by making music together. Thesegroups areknown as community musicgroups.
Musichasbeenbringing people together for thousands of years. InIreland,singersand musicians have always come together to performand to learn fromeach other. Thisishow theearliest music traditions were passedon to thenext generation.
Being part of a community is veryimportant. Involvement in community music raisesour spirits andencourages wellness. Community musicgroups include choirs, marchingbands, traditional musicgroups, folkgroups, rock bandsand many more. Is therea community musicgroup you wouldlike to join? What style of musicdo they perform? Theschool choiror tradgroup are examples of groupsthat make musicin your school community.
Musical style isabroad term whichdescribes when a piece of music waswritten orthe way in which the musicisperformed.
A musical ensemble isa group of musicians whomake music together.
Six contrasting ensembles areshown in theimagesbelow. All of these musicgroups are representedin communitiesacross Ireland.
Exploreeachimage withthe membersin your group and consider the followingquestions together.
• What type of ensemble isshown ineach picture?
• What style of music might each of theseensembles play?
• Can you namean Irishgroup orartist who performsasimilarstyle of music?
• Are thereany similar musicgroups in your local community?
• Can you identify any other musicgroups in your localarea that arenot represented by the imagesbelow? What style of musicdo they perform?
ListenandRespond!
A1.7 A1.8 Play two excerptstwice. Match the musicheardineach excerptwith anensemble which plays thesamestyle of music.
Go to page 3 of your Student Activity Bookand complete Activity 5: Research! Researchtwo community musicgroups in your area.
Many of the events in theschool calendar involve performances by members of theschool choirororchestra, the traditional Irish music group,theschoolband etc. Members of these musicgroups often meet to rehearseduring theirlunchtimeor after school. Maybe you have already met some of thesestudents andare looking forward to gettinginvolved!
A liveperformance takes placeinfront of an audienceandisnot pre-recorded orstreamed.
Listening to alive performanceis fun! Invitea fellow student oraschool musicgroup to visit yourmusic classand perform for you. Writea review of this performance for your school’s website.
• Go to page 4 of your Student Activity Bookand complete Activity 6: Performance Review! Complete a review of alive performance.
• Go to page 5 of your Student Activity Bookand complete Activity 7: Question Time!
RECAP
Musicians,singers,and composers come together to create andshare musicas part of a community.
Thereare many different stylesor genres of music representedinour localandschool communities.
Examples of community music groups include choralgroups, marchingbands, traditional musicgroups, children’s choirs, folkgroups, rock bandsand many others.
Examples of music groups in the school community includeaschool choiror choral ensemble, windband, ukulele club, tradgroup and many others.
Attendinglive performancesin your local community orschoolhelps to support the musiciansinvolved.
The term musicindustry covers all theindividualsand organisations that earnaliving from creating, performing, recording, producingand sharing music with global audiences.
Irelandisa creative place, filled withtalentedartists. Irelandalso hasavibrantmusicindustry.
Many Irishartists,such as Hozier, Niall Horanand Dermot Kennedy areknown allaround the world. Theseartists,like many others, relyona team of people to bring their music to globalaudiences.
All thepeople who listen to or watchaperformanceacross the worldcanbedescribedasits globalaudience.
edco.ie/h2sq
Job title
What do they do?
Artist Writes, createsand performsnew music.
Soundengineer Setsupthesoundequipment Recordsandedits recordings to create the final track.
Producer Helps theartist with allaspects of their recording project. Works withthe artistand thesoundengineer.
Record label Signs theartist,engineer and producer. Pays for the recordingand production of thealbum.
Manager Manages the career of theartist. Setsupmeetings with record labelsand arrangeslicences for theartist’s music.
Agent Is responsible for bookinglive performancesand tours.Agreeshow muchan artist willbe paidand makessure they have everything they needon theday of a concert.
Media Radio, TV andonlinestreamingservices that providea platform for showcasingand promotingnew music.
Haveyou ever wonderedhow those who workin this industry make aliving? Who pays thesongwriters, musicians, producers,soundengineers,light engineers, set designers,backing vocalistsandsoon? The main sources of incomeinclude:
• Sale of records,albums, LPsordigitaldownloads
• Sharing musicviastreamingservices
• Ticket sales for toursor concerts
• Festival performances (e.g. Electric Picnic, Glastonbury)
• Merchandise,such as postersor T-shirts
• Fees paid for radioand TV appearances
• Collaborating with otherartistson their recordings
• Brandingor product endorsements on advertisements
• Property rights (copyright)
Go to page 5 of your Student Activity Bookand complete
Activity 8: MusicCareers!
Copyright isalegalproperty right whichprotectsthe creator of an originalpiece of work.
Copyright protectsthe creators of original pieces of music by ensuring that their work cannot be used, printed, recordedor performed by other artists withoutthe copyright owner’s permission
If a person wishes to use,alter, performor record any part of anartist’s original piece of music, they must have permission from the copyright owner to doso. When copyright ownersagree to allow someone to use their music, they usuallyask for a payment or feein return for its use. These paymentsare called royalties,and they areanimportant source of income for artists. Record labelsand producers take a percentage of the royalties.
Copyright symbol
The use of copyrighted workswithout permission iscalled copyright infringement. Artists can take legalactionagainstanyoneinvolvedin copyright infringement. Copyright law generally remainsin place for seventy years after thedeath of the creator. After this time, their original worksenter the publicdomain,and people can useoradapttheoriginal music without permission.
Publicdomain refers to worksthat arenot protected by copyright. Thepubliccan use works in thepublicdomain without paying for alicence.
Olivia Rodrigo performing at Glastonbury
In 2017, Ed Sheeran paid out $20 milliondollarsin a copyright infringement case againsthim. Anotherartist accused Ed of plagiarism, saying that Ed’s song ‘Photograph’ was copied from a songhehad written. Ed paid up withoutchallenging the case.
Then, afterEd releasedhishit song‘Shape of You’ in January 2017, Sami Chokri complained that Ed had copied part of his 2015song‘Oh Why’. Sami requested that hisnamebe added to the credits for ‘Shape of You’ In 2021,‘Shape of You’ wasnamed‘the moststreamed song ever’. Ed wasnotwilling to hand over any share of the
STUDENTACTIVITYBOOK
rights to hishitsong. This time, thesinger felthehadno choice but to defendhis work.
Some reports found that there were musicalsimilarities between thesongs. But, in theend, the case restedon the factthat Ed insistedhe hadnever heard thesong ‘Oh Why’ andso couldnot have copiedit. In astatement released by thestar after the case, Ed argued that ‘There’s onlyso many notesand very few chords usedin popmusic Coincidenceisbound to happenif60,000songsare being released everyday on Spotify. That’s 22 millionsongs a year,and there’sonly12 notes that are available.’
Although Ed Sheeran managed to win this case, many other artistsdecidenot to fight theselawsuits Courtcasesare expensive, time-consuming and oftendamaging to an artist’s public profile. Many artists facingsimilarlegal
actionagree to pay out-ofcourt settlements to avoidall of this trouble.
All royalty payments for ‘Shape of You’ were frozen until this case was resolved. To protect himselfagainstany similar claimsin the future, the Grammy Award-winningsinger now video recordsall of his creative song-writingsessions andsaves them,sohe can provide evidence that hissongs arehis own work.
The credits list everyone who contributed to the writing, performanceand recording of asongor piece of music, from thesongwriteror composer to thesoundengineer.
Plagiarism is copyingor using somebodyelse’s ideaand pretending that it was your own.
Go to page 6 of your Student Activity Bookand complete Activity 9: Show What You Know! Answerquestionson Ed Sheeran’s courtcasesandinvestigate musicstreamingservices.
Watch thisinterview with Ed Sheeranoutside court. What are your views on the challenges artists face when creatingnew music?
edco.ie/p6cf
Ed Sheeran Wins Copyright Court Case
In 2023, Ed Sheeran wonanother courtcase. This time he wasaccused of copying Marvin Gaye’s 1973song‘Let’s Get It On’ whenhe wrote‘Thinking Out Loud’ in2014.
Royalties are thepaymentsmade to copyright owners in return for the use of their music.
Royalties arealso paid to artists when their musicis usedinadvertisements,on TV,in filmsor whenitis playedon the radio.
Streaming services must alsoobtainlicences from copyright owners to share musiconline. Artists whoagree to givestreamingservicesaccess to their music catalogue receive royalty paymentsin return.
Radio royalties are paid to artists when their musicis playedonair. Radio play alsohelps to promoteanartist’s musicandgives them the chance to reachnew audiences.
However, radiostations in Irelanddon’tplay a lot of Irish music. In fact, only10–15% of music playedon Irish radio stationsis by Irishartists.
This means that 85% of radio royalties paidout by Irish radiostations goes to artistsandlabelsbased outside Ireland.
In France, thelaw states thatat least35% of the music playedon commercial radiostations must be by Frenchartistsand use the Frenchlanguage. Thisguarantees that Frenchartists will receivean income from the radio royalties generated by radio play on Frenchairwaves.
The experiences of artistsduring the Covid-19 pandemicin Irelandbroughtthisissueinto the spotlight. When musicians couldnotperform, they reliedon radio royalties to earn money.
Commercial radiostations responded by promising to play more music by Irishartists. Some stations createdshows or time slots just for Irish music. If more Irish music were playedon Irish radiostations,it wouldhave a positive effect on theincomes of people workingin the Irish music industry.
RTÉ 2FM hostsan ‘All Irish Music Day’from time to time All the musicbroadcaston that day is by Irishartists. Politiciansin the Dáilhave discussed theneed for laws to be passed to protect artists by setting minimum quotas,like thoseenforcedin France.
Should Irelandintroduce laws that set a minimum level for how much Irish music is playedon Irish radiostations? What would you decide? Share your views with yourclassmates.
Many talentedand creative artists workinanindustry that providesno financialsecurity or promise of regular work. It isdifficult for those who work in the musicindustry to earnaliving wage from theirartalonein Ireland. Recent research shows that many Irish artistslivebelow the poverty line.
In 2022, the Irish government announceda pilot scheme that aims to pay artistsabasic weeklyincome. Thisis to make sure that they can continue to workin theartsand pay theirbills too!
Think of different ways that youcansupport Irishartists’ incomes. STUDENTACTIVITYBOOK
Go to page 7 of your Student Activity Bookand complete Activity 10: Brainstorming!
ComposerBrief! COMPOSE
Go to page 7 of your Student Activity Bookand complete Activity 11:Express Yourself!
Composea rap orstatement about one of the topics coveredin this unit.
The musicindustryis made up of all of theindividualsandorganisations that earna living from creating, performing, recording, producingandsharing music.
Copyright isalegal property rightwhich protectsthe creators of original music.
To use,alter, performor record any part of anartist’s original work, youmust have permission from the copyright owner.
In exchange for this permission,a feeis paid to theartist. These paymentsare called royalties
Royaltiesarealso paid whenanartist’s musicisheardon the radio,on TV orina film.
Whenanartist’s workis used withoutpermission,itis called copyright infringement Thisisillegal.
Radio royaltiesareanimportant source of income for theseartists. If more Irish music were playedon the radio, musicians’ incomes wouldrise.
Many musiciansin Ireland finditdifficult to earnaliving from their music.
Look at thedefinitions of the keywordsbelow. Are they true or false? Write the10 correct statements in your copybooke.g.1 True.
Keyword Trueor false?
1Community music
Music made by groupswithina geographicalareaor workplace.
2Liveperformance Your own unique experience of musicandsound.
3Musicindustry
Theindividualsandorganisations whoearnaliving from music.
4Soundengineer Someone who works with anartist toproduce a recording.
5Producer
Anything that producesasound.
6Copyright A property rightthat allows you to copy anoriginal work.
7Publicdomain
8Royalties
Any works that arenotprotected by copyright.
Money paid by theking to artists for their music.
9Copyright infringement The use of copyrighted works withoutpermission.
10 Credits
A list of everyoneinvolvedin the writing, performanceor recording of a piece of music.
Here are the keywords you have met in UnitA1. Lookback through this unitand revise these terms.
• Soundsource
• Genre
• Playlist
• Streamingservices
• Community music
• Musicalstyle
• Musicalensemble
• Live performance
• Musicindustry
• Globalaudience
• Copyright
• Copyright infringement
• Artist
• Soundengineer
• Producer
• Media
• Publicdomain
• Credits
• Plagiarism
• Royalties
• Radio plays
Review and reflect onall of thelearning tasks you have completedin UnitA1.Choose two tasks that you have enjoyed workingon.
In your copybook, record yourthoughts aboutthe two tasks you have chosen.
1 What did you enjoy about thelearning experiences you have chosen?
2 What haveyou learned from completing these tasks?
3 Were thereany challenges?
4 What advice would you give to anotherstudentwhoisabout to begin these tasks?
WHENYOUHAVECOMPLETEDTHISUNITYOUWILLBEABLE TO…
Identifypulseand metrein pieces of music.
Conductpieces of musicindifferent metres.
Performand composebody-percussion patterns.
Composerhythmicpatternsindifferent time signatures.
Identify, composeand performrhythmpatterns for various types of performances.
Explorerhythmic featuresin music.
Composearhythmic ostinato for performance.
Discuss the use of silencein music.
Performrhythmic sight-reading.
Identify and writedown rhythmpatterns usingrhythmic notation.
A beat is thebasic unit of time in music.
Pulse is the continuous, regularbeatthat youcandetect in most music.
The pulse is made up of evenand repeating beats We clapalongor tap our feet to the pulseas we listen to music. Your heartbeat isan example of asteady, regular pulse. Like your heart-rate, the pulsein musicis measuredinbeatsper minute (BPM). The tick-tock of a clockisanother example of a pulse.
A2.1
Marching music usesastrongandsteady pulse Whensoldiers march, they keepasteady beat. Their feet hit thegroundin regular, even time Soldiers can march fasterorslower if their commandergives themasignal to doso,butthey stillall move together,eachstepequallyspaced. Sometimesa marchingband ora marchingdrum is used to keep thesteady pulse that the soldiersare marchingin time to.
edco.ie/z6ca WATCH
Bodypercussion isa style of performance that uses body movements andactions. Body percussion usessounds made by parts of thebody,such as thehands, feet, fingersand mouth. Thebodyis usedasaninstrument to produce rhythmic sounds.
edco.ie/txa8 WATCH
Iconsare often used to representthe movements usedinbody percussion performances. Try to performeach of theactionsbelow.
Workingroups to suggest otherbodyactions that create sounds. What images, shapesor symbols could youuse to representthese actions? Record your ideasin your copybookandshare them with yourclassmates.
Rehearseand perform thebody percussion patternslabelled A and B below. Countthe pulseout loud to help you to coordinate your movements.
PatternA: Thisisa four-beatpattern.
L = Left R = Right
L&R = Left and Right together
Pattern B: Thisisa three-beatpattern. 123
Performalong withthe musicin thesevideos. Follow thebody percussion movements shown Make sure you keepin timewiththe pulse of thesong.
WATCH
WATCH
Dance Monkey Body Percussion edco.ie/fugj
Happy Pharrell Williams Body Percussion edco.ie/arnd
ListenandRespond! A2.2
Listen to the musicheardin this excerpt. The musicissuited to a four-beat body percussion pattern. Create asuitableset of actions to accompany the music. Find your beat andadd yourmoves!
STUDENTACTIVITYBOOK
Go to page 9 of your Student Activity Bookand complete Activity 1: Create! Follow thesteps to composeand perform your ownbody-percussion pattern.
Pulse is thesteady, repeatingbeatthat youcandetect in most music.
A beat is thebasic unit of time ina piece of music.
Pulseis measuredin BPM (beatsper minute).
Bodypercussion isastyle of performance that uses the bodyand movement to create sounds.
Metre is the way beats or pulsesaregrouped together to make a pattern of strong and weakbeats.
The metreorganises the pulses heardina piece of musicinto a patternbasedon where the strong pulses fallin the pattern of the music.
Listen&Respond! A2.3
The metre of this excerpt is4. Thereare fourpulsesineach pattern. The firstpulseineach patternisstrong. Thishelps us to identifythe metreis4.
Listen&Respond! A2.4
The metre of this excerpt is3. Thereare three pulsesineach pattern. The firstpulseineach patternisstrong. Thishelps us to identifythe metreis3.
A timesignature indicatesthe metre of apiece of musicand tell us how many pulses thereareineachpattern. A time signatureorganises the pattern of strong and weakbeats.
How
Time signaturesare printed at thestart of a piece of music. They consist of twonumbers,oneabove the other. The top number tells us how many pulses thereareineach bar (Abarisasmallsegment of music that holdsa certain number of beats.), while the bottom number tells uswhat type of beats, they are. We will learn more aboutthebottomnumberin thenext unit. For the momentwe will focus in the top numberas we explore the time signatures 2 4, 3 4 and 4 4. &
Time Signatures
In 2 4, thereare twobeats ineach pattern. A strong beat isheard every twobeats.Clap the pattern, making the first beat loudereach time.
In 3 4, thereare threebeats ineach pattern. A strong beat isheard every threebeats.Clap the pattern making the first beat loudereach time.
In 4 4, thereare four beats ineach pattern. A strong beat isheard every four beats.Clap the pattern making the first beat loudereach time.
ListenandRespond!
What typeofbeats theyare
Three excerptswillbe playedonceonly.Clapalong to the pulse of the music, placingemphasis on thestrongbeats. Twobars of metronomebeats areheardbefore the musicbegins.
Complete thequestions to test your knowledge. STUDENTACTIVITYBOOK
Go to page 10 of your Student Activity Bookand complete Activity2.
A conductor is theleader of an orchestra or choir. One of thejobs of the conductor is to gettheorchestra to perform together. The conductordoes this by usinghand movements to show the pulse of the music. These movementsare called conductingpatterns.
Conductors use two, threeor four hand andarm movementsina repeating pattern to indicate the time signatures of a piece of music. These gestureshelp to keep everyonein time.
edco.ie/vq5j WATCH
How to conductmusic
Follow theinstructionsin thisvideo to learn the movements used to conductpieces of musicin 2 4, 3 4 or 4 4
Practise your conductingskills by conducting these pieces of music.
David Brophy isa conductor from Dublin. David hasledboth RTÉ’s National Symphony Orchestra andits Concert Orchestra over the years.
Eimear Nooneisan Irish conductorand composer from Galway. Eimearbecame the first female to lead theorchestra at the Oscars in2020.
Alicia Adélaide Needham wasborn in Co. Meathin1872. She wasa composer, conductorandsuffragette In 1914,shebecame the first Irish woman to conducttheorchestra in the Royal Albert Hall.
STUDENTACTIVITYBOOK
Go to page 10 of your Student Activity Bookand complete Activity3. Research and composeablog postaboutthe role of the conductor.
RECAP
Metre is theorganisation of beats,basedon where thestrongbeats are.
A bar isasmallsegment of music that holdsa certainnumber of beats.
The first beat of eachbaris usuallyastrongbeat. It is followed by oneor more weak beats.
The timesignature gives us informationaboutthe metre.
The top number of the time signature tells us how many beatsthereareineachbar.
WORDPLAY
Chooseone of the keywordsbelow. Without sayinganything, mime it for yourpartner. Can they guess which keyword you areactingout?
• Body percussion
• Pulse
• Time signature
• Conductor
• Bar
• Beat
• Metre
Eimear Noone David Brophy Alicia Adélaide NeedhamNote values are symbols usedin music to indicatehow many beats asound willlast for.
In music,special symbolsare used to indicate thenumber of beats that eachsound willlast for. Longsoundsandshortsoundsare indicated using these symbols. Whenaseries of longandshort soundsareheard together, they create a rhythmpattern.
Note valueDescription Symbol
Semibreve A semibreve symbol represents 4beats of sound. A semibreveis ovalinshapeandits centre isnot colouredin,asshown here.
Minim A minim symbol represents 2beats of sound. A minimhasan oval note headandits centre isnot colouredin. It hasa minim to the side of thenote headasshown here.
Crotchet A crotchet symbol represents 1beat of sound. A crotchet has an ovalnote head,but its centre is filledin. It alsohasastem attached to theside of thenote headasshown.
Quaver A quaver is worth ½abeat of sound. A singlequaveralsohasa note head that is filledinandastem. Thestemhasa tail attached to itasshown here. Quaversare often foundin pairs. A pair of quaversisequal to 1 beat (½+ ½ =1). Their tailsarejoined together usingastraight line calleda beam
Apart from thesemibreve,allnote valueshave astem attached to theside of thenote head. Sometimes thesestems point upwards,andsometimes they point downwards.
When they are placedon the stave,notesnear thebottomhave stems that pointup, but notesnear the top have stems that point down.Can youthink why?
The stave is made up of 5horizontallines whichcreate 4 spacesbetween them.
• Notesabove the middleline of thestavehave a downward stem joined to theleft side of thenote head.
• Notesbelow the middleline have an upward stem on theright side of thenote headas shown here.
• Thestems of noteson the middleline can go up or down.
Go to page 11 of your Student Activity Bookand complete Activity 4: Note Values
Complete the threeactivities to practise working with note values.
The timesignature gives informationaboutthe metre. The top numberindicates how many beats thereareineachbar.
Look at this time signature. We have justlearned that the topnumber here tells usthat thereare four beatsor pulsesineachbar.
The bottom number tells usthe type of beat. Here thebottomnumberis4. The number4 represents acrotchet (alsoknown asaquarternote).
This tells usthat eachbar of musicin 4 4 willhave note values that add up to four crotchet beats.
Explore therhythmwrittenbelow. Do thenote values usedadd up to fourcrotchet beats in eachbar?
A2.8 PERFORM
A play-along track willbe playedonceonly. To help you,twobars of pulseare heardon the metronomebefore you begin. Rehearseand clap theabove rhythmwiththe track.
We will work withthree time signaturesin this chapter.
Time signature
What it tells us
Thereare 2 crotchet beats ineachbar.
Thereare 3 crotchet beats ineachbar.
Go to page 12 of your Student Activity Bookand complete
Activity 5: Time Signature
Match-Up!
Match thebars of rhythm to therighttime signature.
Thereare 4 crotchet beats ineachbar.
We writerhythmpatternson rhythmlines. A rhythm lineisjustonestraight horizontalline.
The rhythmpatternisorganisedinto bars. Bar lines are verticallines that mark theend of eachbar of music.
Thebarlinesseparateeachgroup of beats to make them easier to read. Thenumber of beats grouped togetherineach bar must equal the top numberin the timesignature.
A doublebarline is used to indicate theend of apiece of music.
A bar isasmallsegment of music that holdsa certain number of beats.
Explore these featuresin therhythmpattern printedbelow. The time signatureis 4 4,so the barlinesorganise therhythms into four beatsper bar.
Rhythmpattern
PERFORM A2.9 play-along track willbe playedonceonly. Twobars of pulseareheard on the metronomebefore the musicbegins. Rehearseand clap this pattern together.
ListenandRespond!
Threerhythmpatterns willbeplayed three times.
Listen carefully to eachrhythmpattern. Try to rememberas much of the patternas youcan. After you hearit for thesecond time, try to clapback therhythmpattern from memory. Listen to it for a third time and thenhave another go at clapping itback.
Excerpt 1Excerpt 2Excerpt3
STUDENTACTIVITYBOOK
Go to page 12 of your Student Activity Bookand complete Activity 6:Labeland Define. Labeland explain the featureson therhythm line.
Wordsare made up of oneor more syllables. A syllableisa unit of speech that containsonlyone vowelsound. Say these wordsout loud. How many syllablesdoeseachonehave?
barcrotchetsignaturerhythmpulse
The words of asongare usuallyseparatedinto syllables andeach syllable usually gets its ownnote value. If you sing orlisten to thelyrics of asong, youwillnotice that some syllablessoundlonger than others. Rhythmpatternsinsongs usually match the flow of thesong’slyrics.
Composearhythmpattern to match the syllablesin the following words. Here isan example.
Word Syllables Rhythmpattern xylophone xy-lo-phone œ œ ˙ xy lo phone
Writeeach word in your copybook. Say itout loudand make up arhythm to fit. Writedowntherhythmpattern you have chosen.
flute timpanibass drumviolin cello bassoontriangleharp trumpet piano
Answer the following questions in your copybook.
Note values are symbols whichindicatehow long that anote lasts for.
Note valuesinclude:
A timesignature indicateshow many beatsthereareineachbar of musicand what type of beatstheseare.
A pattern of note valuesis calleda rhythmpattern.
A rhythmpatternis writtenona rhythm stave with barlines to separate therhythms based on the time signature.
Rhythmic features describespecificelements of a rhythmpattern that canbeidentified by listeners.
Describing therhythmic features we hearina piece of music tells usmore about how the musichasbeen put together. In this chapter we will explore four rhythmic features usedin music: repeated rhythmicpatterns, rhythmic ostinatos, dottedrhythms and rests.
Repetitionisimportant in music; ithelps us to remembera piece of music. Repeatingrhythmpatternsare commonin music.
edco.ie/2zem
Symphony o. stMo ementby udwig anBeetho en
The musicin this excerpt includesa repeatedrhythmic pattern.
A four-noterhythmicpatternappears many timesas the music progresses.Can you hearit?
A rhythmic ostinato isa short rhythmpattern that is repeated throughout a wholepiece of music or for along section of it. Ostinatos canhave asimpleor complex rhythm. They areeasy to recognisein musicas they repeat throughout.
Guessthattune!
A famous rhythmic ostinato is printed for you below. Performit together using thebody percussion pattern printedbelow therhythm line.
Repeat signsare inserted at theend of anostinato patternas shown here. TOPTIP
Go to page 12 of your Student Activity
Bookand complete Activity 7: Composing Ostinatos
Workin pairs to composea rhythmic ostinato and then performit.
Listen to the excerpts and work together to choose the matchingostinato rhythm for eachone. Write your answersin your copybook.
A dot placed after anote adds on half the value of the originalnote, making thenote last halfaslongagain. Thedot onits ownhasno value; thedottakesits value from thenote itis placed after. Dottednotesare commonin music. Thegridbelow shows how thedot affectsthelength of thenote values we have seenso far in this unit.
Semibreve w 4beats w™ 6beats
Minim ˙ 2beats ˙ ™ 3beats
Crotchet œ 1beat œ™ 1½beats
Workin pairs to perform the rhythmic ostinato below. One personshould clap the pulse while the other person claps the rhythmpattern. Thenswap over. Youcan count out loudifithelps.
Go to page 12 of your Student Activity Bookand complete Activity 8a: Musical Maths
Add upthe values of thenotes to find the totalnumber of beats.
Go to page 13 of your Student Activity Bookand complete Activity 8b: Composingdottedrhythms. Complete therhythmpatterns usingadottednote.
Musicis made up of soundandsilence. Moments of silence canaddinterestorsuspense to a piece of music. Rests cangrabour attention when the musicsuddenlystops, for a few moments, before it takes off again.
ListenandRespond!
Symphony No.5 by Jean Sibelius A2.16
Listen to the finalsection of Sibelius’s Symphony No.5. Restsare usedhere to create dramaas the music comes to anend.
Symbolsused to indicate durations of silencearecalled rests. Thereisa rest for everynote value.
Note valueNoteRest
Semibreve4 beats
Minim 2beats
Crotchet1 beat
Quaver ½ beat
ListenandRespond!
Overture to William Tell, ‘The Storm’, by Gioachino Rossini A2.17
Thissection of Rossini’s overtureisknown as‘The Storm’. Stringinstruments play aquiveringrhythm to illustrate the stormy winds. This melodyis punctuated by woodwinds playingjumpy crotchets to illustrate rain. Crotchetsand the rests combine to illustrate the first droplets of rain.
Rossini– William Tell Overture: The Storm
Rossini’s Raindrop Rhythm
In thisvideoasequence of paintingsaccompanies the music. Theseimagesshow how the music paints a picture of theapproachingstorm. WATCH edco.ie/5427
STUDENTACTIVITYBOOK
Go to page 13 of your Student Activity Bookand complete Activity 9: Rests. Practise writingnotesand rests.
Go to page 14 of your Student Activity Bookand complete Activity 10: Test Yourself!
A2.18
Rhythmic featuresdescribespecificelements of therhythmpattern.
A repeated rhythmpattern isagroup of note values that appearsseveral timesina piece of music.
A rhythmic ostinato isashortrhythm pattern that is constantly repeatedin (a section of) a piece of music.
Dottedrhythms includenotes that have adot added after them. Thedot addsonhalf of the value of theoriginalnote.
A rest isa symbol used to indicatesilencein music. Thereisa rest symbol to match every note value.
Rests canadddramaor tension to pieces of music.
Without naming the keywordbelow, briefly describe the term!Can yourpartnerguess the keyword you are talkingabout?
Rhythmic sight-reading tests require you to clapor tap arhythmpattern that you have not seenor rehearsedinadvance.
Sight-readingisanimportantmusicalskill whichinvolves readingand performinganew piece of music that you have not seenor playedbefore.
Take some time to read therhythmpattern carefully. Consider the time signatureand the different note values used. Are thereany rests to watchout for? It isa goodidea to gently tap itout on the palm of your handslowly before you launchinto it!
ComposerBrief! COMPOSE
Go to page 14 of your Student Activity Bookand complete Activity 11: Set the Test!
Composerhythmpatterns that couldbe used for sight-reading practice.
Rhythmicdictation involveslistening to a piece of musicand identifyingor writingdowntherhythmpattern that you have heard.
LISTENANDRESPOND
Three excerptswillbe played three times.
Work together to identifythe pattern you hearineach excerpt; isitrhythm A, B orC? Write your answersin your copybook.
Go to page 14 of your Student Activity Bookand complete Activity 12: Rhythmic Dictation.
Practiserhythmic dictation by identifying, completingand writingdowntherhythms you hear. STUDENTACTIVITYBOOK
Sight-reading is theskill of performinganew piece of music fromsight,withoutpreparing or practising the musicbeforehand.
Rhythmic sight-reading involves clappingor tapping out arhythmpattern that you have not seenbefore
Rhythmicdictation involveslistening to an excerpt andidentifyingor writingout the rhythmpattern that you hear.
Here are the keywords you have met in UnitA2. Lookback through this unitand revise these terms.
• Pulse
• Beat
• Body percussion
• Metre
• Time signature
• Bar
• Conductor
• Semibreve
• Minim
• Crotchet
• Quaver
• Stave
• Rhythmpattern
• Bar line
• Doublebarline
• Rhythmic ostinato
• Dottedrhthym
• Rest
• Rhythmic sight-reading
• Rhythmic dictation
Review and reflect onall of thelearning tasks you have completedin UnitA2. Choose two tasks that you have enjoyed workingon.
In your copybook, record yourthoughts aboutthe two tasks you have chosen.
1 What did you enjoy about thelearning experiences you have chosen?
2 What haveyou learned from completing these tasks?
3 Were thereany challenges?
4 What advice would you give to anotherstudentwhoisabout to begin these tasks?
WHENYOUHAVECOMPLETEDTHISUNITYOUWILLBEABLE TO… PowerPoint
Illustrate the melodicshape of a piece of music.
Discuss the use of foundsoundsin music.
Create a piece of audio using foundsounds.
Read, understandand perform melodies usingvisual representations,solfaandstavenotation.
Exploreandidentifymelodic featuresin music.
Composeand create sound effects to accompany imagesina TV advertisement.
Performdifferent types of melodicsight-reading.
Matchanaudio excerpt to a melodynotatedon thestave.
Identify and fillin missing pitchesina melodic phrase.
Pitch describeshow highorlow asoundis.
As wellas usinglongandshortsounds, music consists of highandlow sounds. The pitch of a sound tells us how highorlow itis.Can youthink of somehigh-pitchedsounds? Andsomelowpitchedones?
Listen&Respond!
Identifywhether the followingsoundsare high-pitched orlow-pitched Bonus marksif youcanguess thesoundsource!
Write your answers in your copybook.
A sound source isanything that can produce sound,e.g.a musical instrument, thehuman voice,an animal,a pre-recordedsound,an object, a car alarm, the wind.
A3.5 Listen to theopening phrase of ‘Over the Rainbow’playedonceonly. Thelyrics for this phraseare printed for you below.
‘Somewhere over the rainbow way up high’
1 As you listen to the melody use your arm to illustrate its shape. Show whether the pitchishighorlow by raising orlowering your armin theair.
2 Sketchthe shape of this phrasein your copybook.
3 Listenagainand clapbacktherhythmpattern.
4 Listenone more time and thensingback the melody of this phrase to ‘la’.
Go to page 16 of your Student Activity Bookand complete Activity 1aand1b: Allabout Pitch!
Listen to thesounds you hearanddecide whether they arehighorlow, andidentifythesoundsource.
Listen to two pitchesanddecided whether the second pitchishigherorlower.
Pitch isa term used to describehow highorlow asoundis.
A melody isa pattern of pitches that makesa tune.
An example of ahigh-pitchedsoundisabird chirping.
An example of alow-pitchedsoundis thunder.
Pitch can move up anddown.
Theshape of a melody canbesketched usingaline.
Sound effects areartificial reproductions of sounds to be usedina film, TVprogramme ora play.
We aresurrounded by sounds. Thehuman voice, computers, phones, car doors,animals,doorbells… Even fierce windsona rainy day create swirls of sound!
Discuss thedifferent sounds youmight hearif you were by thesea when this picture was taken.
Found sounds are everyday sounds that we hear around us. Soundslikeaballhitting theback of anet, alift dooropeningand closingorabusbellringing for thenextstopare examples of foundsounds. Recordings of foundsoundsare called samples.
Thereare two types of foundsound: human-made sounds and environmental sounds
Human-made sounds
Theseare sounds that arecreated by people. Whether we are clappingour hands;hitting, scrapingor tappingsomething with another object; shakingour keys orrubbingour feet ona mat,the resultisahuman-madesound.
Composing found sounds isinnovative and creative! Sampling canaddan element of interestand fun to a piece of music. They canalsobe used to provide asound that cannot be createdona musicalinstrument
Samples canbe usedin theiroriginal state,butmost of the timethey are alteredin the recordingstudio by a soundengineer.
Sampling involves usingparts of an existing recordinginanew recording.
In thesevideos we seehow foundsoundshave been recorded to create samples which were mixed to produce a fun and creative sound.
Theseare thenatural sounds that surround us. The rain pouringon the roofof our car, rustling leavesona windyday or waves crashingagainst the rocksduringastormareall examples of environmentalsounds. WATCH
Musique concrète isastyle of composition that usesonly found sounds. Musique concrète emergedin Parisin1948in the works of Pierre Schaeffer. Thesoundshe used were captured on recordingsand thenalteredinastudio.
EtudesauxcheminsdeferbyPierreSchaeffer
This work was constructedentirely fromsamples recorded by Schaeffer at Batignolles trainstationin Paris. The recorded soundsin this workincludesixsteam trains, their whistles, the carriages passing overjoints in the trackand thehissing of steam.
Answer the following questions in your copybook.
1 Explain the term pitch
2 List two examples of ‘high-pitched’soundsand‘low-pitched’sounds.
3 What isa sound source?
4 List threesoundsources that canbe foundin yourclassroom.
5 Explain the term found sound
6 Identifythree human-made foundsounds.
7 Explain thedifferencebetween environmental foundsoundsand human-made foundsounds.
8 Describehow a composer couldincorporate foundsoundsin their compositions.
9 What is musique concrète?
10 riteaboutonepieceofmusicinthisstylethatyouha elistenedto escribehowthepiece was composed.
The 1812OverturebyPyotrIlyichTchaikovsky
The Russian composer Tchaikovsky wasasked to a write piece of music to celebrate Russia’s victory over the French, following Napoleon’s invasionin1812.
This piece of musicis famous for its use of bellsand cannons. Tchaikovsky evenaddeda marchingbandinto the orchestral mix.
The carillon provides thesound of bells. A carillonisalarge set of bells usuallyhangingina church tower. Tchaikovsky alsoaddedsixteen cannons to thelist of instrumentsin this work!Cannon fire is used to illustrate the Battle of Borodino.
In the final moments of the work, the carillonand cannonshots illustrate victory celebrations. Actualbellsand cannonsarehardly ever usedduring performances of this work– for obvious reasons! Tubularbellsare used to create thesound of the carillon,and samples of recorded cannon fire boomoutfromspeakersas theorchestra plays. A3.20
Go to page 17 of your Student Activity Bookand complete Activity 2: The 1812 Overture.
Listen to Tchaikovsky’s 1812 Overture andanswer thequestions.
QUESTIONTIME!
Answer these questions in your copybook.
1 Who composed the 1812 Overture?
2 What country was the composerbornin?
3 Why didhe compose this work?
4 Namethreeadditions the composer made to theorchestra in this work.
5 Describe the challenges these present for modern performances of this work.
ListenandRespond!
Explore the use of foundsoundsin these popularsongs
SoundLion’s
Theart of Foley involves matchingsound effects to picturein film.
Sound effects areartificial reproductions of sounds to be usedinafilm, TVprogrammeor aplay.
Foley sound effects areadded to filmsandvideos to reproduce everyday soundssuch as footstepsin the snow, adooropeningand closing,astorm,breaking glassor rainhittinga tin roof.
Foley artists useallsorts of different sound sources to recreate thesoundsneeded. They performand record thesound effectswhile watching theaction onalarge screen. Thisensures that thesoundsare recordedin sync withtheactionin the film.
WATCH edco.ie/3efh
In thevideo‘The Magic of Making Sounds’, we see Foley artists at workina Foley studio.
• Go to page 18 of your Student Activity Bookand complete Activity 3: The Art of Foley. Watchashortdocumentary of theart of Foley andanswer thequestions.
• Go to page 18 of your Student Activity Bookand complete Activity 4: Creative Composing!
Choose thesounds that you wouldlike to createto bringastoryboard to life.
Go to page 19 of your Student Activity Bookand complete Activity 5: ‘The Sound Collector’.
Make a recording of one verse of Roger McGough’s poem‘The Sound Collector’ with sound effects. A3.22 ComposerBrief!
CHECKPOINT
Answer the following questions in your copybook.
1 Explain the term musique concrète.
2 Describesound effectsused by Tchaikovskyinhis 1812 Overture.
3 How are thesesound effectsperformed duringlive performances of this overture?
4 Describe the use of sound effects inone other piece of music you have listened to.
5 Writeabout somesounds youcreated to use in your recording of Roger McGough’s poem.
RECAP
Sound source Found sound
A sound source isany object,person, deviceor thing that can produce asound.
Human-made found sounds
Human-made foundsoundsare made by us,e.g. whistling, clappingour hands,or stompingour feet.
A found sound isa‘non-musical’sound foundaround us,e.g. keys,doorbells, car engines, rainfall.
Environmental found sounds
Environmental foundsoundsarenaturally occurringsounds,e.g. therustling of leaves or rainhittinga roof.
Sample Sampling
A sample isa foundsoundora collection of foundsounds that have been recorded for useinanother piece of music.
Sampling is using parts of an existing recordinginanewrecording.
Musique concrète isastyle of composition which usesonly found sounds.
Sound effects areartificial reproductions of sounds to be usedina film, TVprogramme ora play.
WORDPLAY
Chooseone of the keywordsbelow. Withoutsaying the word itself, briefly explain what it means. Can your partner guesswhich keyword you are talkingabout?
• Pitch
• Sound effect
• Soundsource
• Foundsound
• Sample
• Sampling
Music notation is the use of symbols to represent musicalideas onthepage orscreen.
Melodicnotation is the use of these symbols, markingsandsometimesnumbers to indicate the pitch of a melody.
• Human-madesounds
• Environmentalsounds
Everysound canbedescribedashavingahighorlow pitch. A pattern of high-andlow-pitchedsounds creates a melodicshape. Illustrationssuch aslines,shapesor symbols canbe used to representthe shape of a melody. The placement of the symbolsillustrates the movement of pitches, up ordown.
A visual representation uses symbols,graphics or images to present some kind of information.
edco.ie/zunj WATCH
‘The Blue Danube’ by Richard Strauss
Thisvideoisa visual representation of ‘The Blue Danube’ by Richard Strauss. It usesshapes and coloursto presentthe music played by thedifferent instruments. For example, what the flutes play isshown by blue ovals.
Thisimageisa visual representation of which of the following tunes?
Listen to the following excerpts. Matcheach excerptwiththegraphic that best representsthe shape of the melody you hear. Write your answersin your copybook.
Representation of melodic shape
STUDENTACTIVITYBOOK
Go to page 20 of your Student Activity Bookand complete Activity 6: IllustratingPitch
Listen to three excerpts anddraw avisual representation of eachone.
Listen to this recording of anascendinganddescendingsolfa pattern.
Solfa isa method of learningand reading music. Solfa uses seven syllables for thenames of thenotes. Thelowest note is called doh Thenames of thenotes going upwardsare doh, ray, me, fah, soh, lah, te. After te you return to doh'. We use ' to show we have reached the top andstart the pattern again,doh', ray', me' etc. Thesolfa syllables inascendingorderareshown here.
To give more preciseinstructions for a performance,solfa canbe used with arhythmpattern. Explore the patternsbelow.
Clap therhythm ineach pattern first. Then try to sing the melodic pattern to thegivenrhythm.
Go to page 21 of your Student Activity Bookand complete Activity 7:Solfa Sounds. STUDENTACTIVITYBOOK
Go to page 21 of your Student Activity Bookand complete Activity 8: Composing with Solfa.
Composea four-bar melody usingnote valuesand solfa syllables.
Guido of Arezzo,aneleventh-century monk,designeda system of notation whichinvolved placing symbolsonaseries of horizontallines. He placed symbolson thelinesandin the spacesbetween thelines to illustrate the movement of pitch in Gregorian chants so that singers wouldknow what notes they shouldsing.
A musical stave consists of 5horizontallines which create 4 spacesbetween them.
A musicalstaveis read fromleft to right. Note values are placedon thelinesorin thespaces to indicate pitch Each lineandeachspace represent adifferent pitch.
• Note values placedonastave must sit on alineor in aspace.
• Whenanote is placedonaline, theline goes through the centre of thenote head.
• Whenanote valueis placedinaspace, thenote head touches thelinesabove andbelow, but shouldnotcross over eitherline. 4spaces 5lines
Go to page 22 of your Student Activity Bookand complete Activity 9: Stave Notation
The trebleclef isplaced at the start of the stave to tell uswhat pitcheachline orspace represents. The treble clef isalsoknown as the Gclef becauseitidentifies thesecondlineon the staveas thenote G.
Drawing the treble clef gets easier withpractice! Follow thestepsshown here. Try to keep the centre linestraight andensure that theswirl at the centre always finisheson the G lineasshown here.
Notes placedon the stave take theirnames from the musicalalphabet. Therearesevenletters in the musicalalphabet A,B,C, D, E, F, G. Thisimageshows each of these pitches placedon the treblestave.
Go to page 22 of your Student Activity Bookand complete Activity 10: The TrebleClef.
Learning where the treble clef pitchesbelongiseasierif we separate theminto theones that siton thelinesand theones that go in thespaces.
Lines Spaces & E w G w B w D w F w
Mnemonic: Every Good Boy Deserves Fun & F w A w C w E w
Notesspell: F.A.C.E
• Thenotes E, G,B, DandF are foundon thelines. A good way to remember theorder of these notesis to learn the mnemonic‘Every Good Boy Deserves Fun’.
• Thenotes F, A,CandE are foundin thespaces. A good way to remember theseis to learn that they spelloutthe word face.
• We useCAPITAL LETTERS to label thenotes.
Go to page 22 of your Student Activity Bookand complete Activity 11: Naming the Notes
Answer the following questions in your copybook.
1 Explain the term melodicnotation
7 Writeoutthe mnemonicused to name thenotes that are placed on thelines of the treble stave.
8 Identifythename of the pitch foundin the thirdspace up on the treblestave.
Ledgerlines are short linesplacedabove or below the stave for pitches that don’t fit on the stave. Ledgerlinesare used for notes that arehigherorlower than those foundon thestaveitself. Look at thestaveshown here. Notes canbeon theledger line(like theCbelow thestaveand the A above thestave) They cansitabove theledgerline(like the B above thestavehere) orhang below it(like the B below thestavehere).
Thestavebelow shows that as the pitch continues to ascend, thesevennotes of the musical alphabet repeat. When pitches go beyond thestave, they are placedonledgerlinesasshown here. Youcansee thatat the top and thebottom, twoledgerlinesareneeded for eachnote.
•
Notation is the use of symbols to representmusicon the page orscreen.
Solfa isa method of notating melody usingseven syllables.
Solfa syllables aredoh, ray, me, fah,soh,lah, te. After te you return to doh’,and the syllablesare repeated.
A musical stave consists of 5horizontallines, with 4spacesbetween the five lines.
Note valuesare placedonlinesorinspaces to indicate pitch.
A trebleclef is the symbol that is placed at thestart of a treblestave.
The pitchesindicatedon the lines of the treblestaveare E,G,B, D, F. The pitches indicatedin the spaces are F, A,C, E.
Ledgerlines areshortlines used for pitches that arehigherorlower than thestave.
Melodic features describespecificelements of a melody that canbeidentified by listeners.
Describing the melodic features we hearina piece of music tells usmore about how a piece of musichasbeen put together. A melodyisalwaysin motion, movingin onedirectionoranother. In this unit we will explore four melodic features usedin music: repeatednotes,stepwise movement,leapsandascendinganddescending melody.
Repeatednotes areheard when the same pitchis used several times in succession. Repeated notesare commonin music.
A3.35
An excerptfrom the French folksong‘Chanson à deux’ willbe played twice on the piano. Follow thesheetmusic.Can you spot all the repeatednotes? How many notesarenot repeated?
Workin pairs to identifythisshort melody. Usesolfa to help you. The first notesarelabelled for you. Sight-sing the melody together to identifythe tune!
& 4 4
A3.36
Stepwisemovement is when thepitches of a melody move from onenote to thenext by justone step upor down.
Leaps are when thenotes of the melody skip to,or jump upor down to apitch that is more than onenoteaway.
Go to page 25 of your Student Activity Bookand complete Activity 15: Melodic Movement
Whether melodiesare moving by stepor by leap, they arealways movinginonedirectionor the other: up ordown!
Ascending melody
If thepitches of a melodyare moving upwards fromonenote to thenext, we have an ascending melody
A3.38
Descending melody
If thepitches of a melodyare moving downwards fromonenote to thenext, we havea descending melody
Melodie No.1 Op.86 by RobertSchuman
Listen to the excerpt and follow the melodic movement of theopening phrase. Notice when the melodyisascendingordescending.
Illustrative music isinstrumental music composed to express anemotion,create a mood or portray acharacter or anaspect of nature. This type of musicis creative andimaginative asit helps to tellastory though music!
ListenandRespond!
A3.39
‘Also Sprach Zarathustra’by Richard Strauss
Straussillustrates thesunrisein this piece. He usesa threenote ascending idea, whichis often called‘thedawn motif’ The orchestra plays thedawnmotif several times, painting the picture of the majesticsunrising at dawn.
A motif isa short idea that appears several times in a piece of music. How many timesdo you hear thedawnmotif in this excerpt?
ListenandRespond!
A3.40
‘Dies Irae’ from Requiem by Giuseppe Verdi
The‘Dies Irae’ is part of a much larger piece of religious music called Verdi’s Requiem, writtenin 1874.‘Dies Irae’ is Latin for ‘Day of Wrath’ anddescribes thedeath on theday of Judgement. Some Christianand Jewish faithsbelieve that the Day of Judgement is the coming of theend of the world, when God comes to earth to judge people for theirsins. This piece of illustrative music uses descending melodies to illustrate the fate of those whoareabout to be thrown into the flames of hell.
ListenandRespond!
A3.41
‘Flight of the Bumblebee’ by Nikolai Rimsky-Korsakov
This piece of illustrative music tells thestory of the character Prince Gvidon. The prince was turnedinto a bumblebee by a magicalswan,sohe could fly across thesea to visithis father, whodidn’t know ifhisson wasstillalive. The musicis fast-pacedandhighpitched. It features ascendinganddescending melodies throughout. These featuresillustrate the franticflight of abumblebee.
STUDENTACTIVITYBOOK
Go to page 25 of your Student Activity Bookand complete Activity 16: Illustrative Music.
CHECKPOINT
Answer the following questions in your copybook.
1 Explain the term repeated notes.
2 Explain the term stepwisemovement andgivean example of twonotes that move to each other by step.
3 Explain the term leap andgivean example of twonotes which move to each other by leap.
4 Explain the term ascendingmelody andsuggestoneaction that couldbeillustrated using anascending melody.
5 Explain the term descendingmelody andsuggestoneaction that couldbeillustrated using adescending melody.
6 Explain the term illustrativemusic
Go to page 25 of your Student Activity Bookand complete Activity 17: Test Yourself!
Go to page 26 of your Student Activity Bookand complete Activity 18: Think-Pair-Share!
Complete theactivities tocreate and record asound effect.
Repeatednotes areheard when thesame pitch is usedseveral timesinsuccession.
Stepwisemovement is when thenotes of a melodyarejustonestep up ordownfrom each other.
A leap occurs when the melodyjumpsup ordown to another pitch that is more thanone step away.
The pitches of an ascending melody move upwards fromlow to high.
The pitches of a descending melody move downwards fromhigh to low.
A motif isashortidea that you hearseveral timesduringa piece of music. It often represents somethingin particular.
Illustrative music isa piece of instrumental music that hasbeen composed to express emotions, characters, moodsoraspects of nature.
From the keywordslistedbelow, choose the word that best fitsthedescription. Write your answers in your copybook.
• Notation
• Visual representation
• Solfa
• Stave
• Treble clef
• Ledgerlines
• Repeatednotes
• Stepwise movement
• Leaps
• Ascending melody
1 The symbol that goes at thestart of each treblestave.
2 Music that paints a picture insound.
3 A tune that ishopefulwill probablyhave one of these.
4 Thegapsbetweennotes that are more thanastepapart.
5 A shortidea that appearsseveral timesina piece of music.
6 The system for namingnotes that is often used by singers.
7 The system for representing musicon the page.
• Descending melody
• Motif
• Illustrative music
Melodic sight-reading tests require you to singor play back thegiven melody.
Sight-reading isanimportantmusicalskill whichinvolves readingand performinga new piece of music that you have not seenor playedbefore.
Workingroups to rehearseand perform the melodicideasillustratedbelow. No two performances willbe thesamebecause you are free to interpretthe melodiesin your own way! Youcan use instrumentsor voices to perform theseshort motifs. PERFORM PERFORM SolfaSight-Reading
Take a moment to look over thesesolfa patterns. Your teacher will play the first note doh before you begin.
Singor play back theseshort melodic phrases. Eachphrasebeginsondoh. Singeachnoteto the sound‘la’. Your teachershould play the first note (doh) for you before you begin.
Go to page 27 of your Student Activity Bookand complete Activity 19: Solfa Sight-Reading
Use theseactivities topractise yourmelodicsight-reading usingsolfa.
Melodicdictation is theskill of listening to musicand identifyingor writingdownthe pattern of the pitches you hear. PERFORM MelodicSight-Reading
ListenandRespond!
Listen to the following excerpts Matcheach excerpt to the correctmelody. Write your answers in your copybook.
• Go to page 28 of your Student Activity Bookand complete Activity 20: What Did You Hear?
• Go to page 28 of your Student Activity Bookand complete Activity 21: Melody Scramble
• Go to page 29 of your Student Activity Bookand complete Activity 22: Test Yourself!
Melodic sight-reading is theskill of performinganew piece of music fromsight,without preparingor practising the musicbeforehand.
Melodicsight-reading canbe playedonaninstrument orsung.
Melodicsight-reading testsare availableinhigh, midandlow registers. Youcan choose the register that suits your instrument or voice.
Melodicdictation involveslistening to an excerpt andidentifying the pitch of thenotes usedin the excerpt by ear. After listening to the excerpt, youmustwriteout the melody oridentify iton the page.
Here are the keywords you have met in UnitA3. Lookback through this unitand revise these terms.
• Pitch
• Melody
• Soundsource
• Foundsound
• Sample
• Sampling
• Human-madesounds
• Environmentalsounds
• Notation
• Visual representation
• Solfa
• Stave
• Treble clef
• Ledgerlines
• Repeatednotes
• Stepwise movement
• Leaps
• Ascending melody
• Descending melody
• Motif
• Illustrative music
• Melodicsight-reading
• Melodicdictation
Review and reflect onall of thelearning tasks you have completedin UnitA3.Choose two tasks that you have enjoyed workingon.
In your copybook, record yourthoughts aboutthe two tasks you have chosen.
1 What did you enjoy about thelearning experiences you have chosen?
2 What haveyou learned from completing these tasks?
3 Were thereany challenges?
4 What advice would you give to anotherstudentwhoisabout to begin these tasks?
WHENYOUHAVECOMPLETEDTHISUNITYOUWILLBEABLE TO…
Recognise expressivequalitiesina performanceand theimpactthey have on the performance of a piece of music.
Identifythe tempo of a piece of musicand choosesuitable tempomarkings for compositions.
Describe thedynamics usedina performanceandindicatedynamic markingsin compositions.
Compilea playlist of songs for aspecific purpose.
Recogniseand respond to articulation markings usedin pieces of music.
Change the feel of a musical phrase by addingarticulation.
Identifymusical phrasesandillustrate the form of a piece of music.
Compose music using form.
Tempo is thespeedor pace of a piece of music. When we talkabout tempo, we are talkingabout how fast the pulse is.
PERFORM Perform a Mexican wave,onestudent at a timeuntil everyonehas their turn. Repeat the wave but increase thespeedeach time Who can keep upwith the faster pace?
The tempo,orspeed of a piece of music, contributes to its overall moodor atmosphere. A lullaby written to sootheababy to sleep won’t be very effective ifitis played too fast! When you want music to energise you, youwill probably choose something with a faster pulse.
Composersaddinstructionsaboutthe tempo to their scores to ensure their musicis played at thespeed they intended. The tempomarkingis placed at thebeginning of thesheetmusic, above the stave Composers use three formats to indicate the tempo. Sometimes they specify thebeatsper minute (bpm), they mightusean Italian termordescribe thespeedin English. Common tempomarkingsareshown in thegridbelow. Beats
A score isa written version of apiece of music.
Conductorsand musicians often usea metronome to set an exact tempousing bpm. Beats per minute is the most precise way of indicating tempo The example shown hereindicates that 72 crotchet beats should be playedeach minute. Listen to the metronome set to 72bpm. It will make 72 tickingsounds every minute Can youtap your foot to this pulse? Is this tempo fast, moderateorslow?
ListenandRespond!
Listen to these two excerpts andplay them twice. Answer the questions below in your copybook.
‘Sabre Dance’ from Gayane by AramKhachaturian
‘Air on a G String’ from Suite No.3 BWV 1068 by Johann Sebastian Bach
1 Match each excerpt to one of thedescriptionsbelow. Give two reasons for yourchoice. (A) A magical forest(B) Thechase
2 Watcha performance of each pieceand compare the two excerptsunder the followingheadings.
Mood Rhythmic features TempoMelodic features
3 Describe one similarity and onedifference between the musicheardin Excerpt 1and Excerpt 2.
4 Suggestasuitable tempomarking for each piece.
Italian composers were among the first to addinstructionsabout tempo to sheet music. Thisis why the terms oftenappearin Italianon musicscores. These termsguide musiciansbut arenot as exact asbpmmarkings.
ListenandRespond!
German DanceinC major, by Joseph Haydn
Listen to the excerpt andanswer the questions in your copybook. In this example, the Italian term is Allegretto
1 The pulse of this excerpt is
2 Is the tempo of the music fastorslow?
3 What does the term Allegretto mean?
4 List the threenote values usedin this piece.
5 The first phrasein this excerpt is repeated. How isitdifferent when you hearit for thesecond time?
6 Identifythe rest that is usedin thelastbar.
Go to page 30 of your Student Activity Bookand complete Activity 1: Show What You Know!
Answer more questionson Haydn’s German Dance. A4.4
Modern composerssometimes prefer to use more familiar English terms,such as‘fast’, ‘slowly’,‘relaxed’or ‘moderate’ to indicatespeed. Like Italian terms, these instructionsarenot exact.
Are the following statements true or false?
1 Tempo is the volume of a piece music.
2 Tempomarkingsare chosen by the composer.
3 The performer canalways choose exactly what speed to play at.
4 Tempomarkingsare written under thestave.
5 Bpm stands for Beats Per Measure?
6 Presto means the musicshouldbe playedas fastas possible.
7 Adagio means the musicshouldbe playedslowly with expression.
8 Andante means the musicshouldbe playedloudly.
& &
Perform this well-known song together. The musicis printed for you below.
A
allthathecouldsee,see,see, Wasthebot-tomofthedeepbluesea,sea, sea, sai -lortosea,sea,sea To seewhathe couldsee,see,seeBut went
1 Go to theonline metronomeapp Metronome Beats Online
2 Setthe beats per bar to 4.
3 Start off by setting the speed to 60bpm.
4 Try singing thesongin time to the clicks. Add theactions too!
5 Experiment by changing thespeed.Can you still keep upwiththe wordsand theactions?
6 What seemslike theright speed for this children’s song?
Try thesespeeds:
Performtheseactionsin pairs
A Clap your ownhands to sai Clapright hand withpartner see lor Clap your ownhands what went Clapleft hand withpartner he to Clap your ownhands could sea,sea,sea Clapboth yourpartner’shands three times see, see, see…etc.
STUDENTACTIVITYBOOK
Go to page 31 of your Student Activity Bookand complete Activity 2: Theory Hunt!
Answerquestionsaboutthescore of ‘A Sailor Went to Sea’.
The tempo of a piece of music can change,especiallyif the piecehasseveral contrasting sections. Tempochangesaddinterest to a composition. Composersaddnew tempomarking above thestave to indicate where the change of speedshouldhappen.
‘CopenhagenRailwayGalop’byHansChristianLumbye
Thisisa piece of illustrative music Lumbye composed this work to celebrate theopening of the first railway in Denmarkin1847. The music takes us onajourney, reflecting thesounds of a train chuggingout of the stationandlater slowingbefore grinding to ahalt at thenextstop.
Lumbye makes clever use of changing tempos to help to illustrate the train’s journey for listeners.As you listen to Excerpt1 and Excerpt2 imagine you areon the trainjourney, travelling throughscenic Denmark.
In Excerpt1 thestation master’s whistlesignals the trainhasleftthestation,and the changein tempocreates the feeling of increasedspeed as the trainsets off on thejourney.
In Excerpt2 the fast-paced trainhasbegun to slow down asitapproachesitsdestination. What other features of the musicin Excerpt 2 help to illustrate that the trainis coming to astop?
WATCH edco.ie/garj
In thisvideoimages of a trainjourney arein sync withthe music. Do youthink that Lumbye hasdonea goodjob of illustratinga trainjourney inhis work?
Go to page 31 of your Student Activity Bookand complete Activity 3: Show What You Know!
Answerquestionson what you have learnedabout Lumbye’s ‘Copenhagen Railway Galop’.
Tempo is thespeedor pace of a piece of music.
Tempomarkingsaregivenabove thestave at thebeginning of a piece (and wherever there isa changein tempo).
Italian terms,beatsper minutes(bpm) andsometimes English wordsare used.
The Italian term Adagio meansslow andhasabpm of 66–76.
The Italian term Andante means moderateandhasabpm of 76–108.
The Italian term Allegro means fastandhasabpm of 120–156.
The tempocan changeduringa piece of music.
Illustrative music isinstrumental music composed to expressanemotion, create a mood or portray a character oranaspect of nature.
Dynamics describehow loudorquiet a piece of musicis being played. Is itloudorsoft?
The volume of a piece of musicnever reallystays thesame. Even if we don’tturn the volume up ordown, the musicstill changes volume. These changesare the result of the dynamics chosen by the composer. Theseareshownusing dynamic markings which areadded to the score.
The terms used for dynamicsareoutlinedin theinfographic shown here.
Dynamic markings are carefully positioned under thenote where the chosendynamicbegins.
Forte meansloud.
Piano means quiet.
Dynamics changeduring the course of a piece of music. Sometimes they changesuddenly, which canbe verydramaticbutmost of the time we heargradual changes. A gradualincrease in volume is calleda crescendo. A gradualdecreasein volume isknown asa decrescendo or a diminuendo These canbeindicated usinga word,anabbreviationora symbol,asshown below.
Crescendo Decrescendo
A crescendo isa gradualincreasein volume. This symbolhas twolines that start together at a point and thengradually getfurther apart. Youmight see theabbreviation cresc. writtenin the music.
STUDENTACTIVITYBOOK
A decrescendo or diminuendo isa gradual decreasein volume This symbolhas two lines that startapartandgradually move together to reacha point. Youmight see dim. or decresc. writtenin the music.
Go to page 32 of your Student Activity Bookand complete Activity 4: Dynamic Markings.
Practise recognising thedynamic markingsand what they mean.
ListenandRespond!
Andante fromthe Surprise Symphony by Joseph Haydn
The Surprise Symphony was firstperformedin Londonin1791. Haydn wasknown to include musicaljokesinhis music,and thisisagreat example of that! Listen to the Andante andseeif youcanhear thesurprise. A4.7
Exploreasnapshot of the music printedbelow andanswer the followingquestions.
pp
1 In which country was the composer of the Surprise Symphony born?
2 Identifythedynamic marking found at thebeginning of the piece?
3 Describe the changein the music at bar9?
4 In whichbardoes the ‘surprise’ occur? Does the ‘surprise’ make the piece more excitingor less exciting? Why?
5 Identify one melodic feature of the musicheardin this excerpt.
6 Identify onerhythmic feature of the musicheardin this excerpt.
• Go to page 33 of your Student Activity Bookand complete Activity 5:Listenand Respond!
• Go to page 33 of your Student Activity Bookand complete Activity 6: Compose!
• Go to page 34 of your Student Activity Bookand complete Activity 7: Playlists
Dynamics indicate you how loudorquiet a piece of musicis.
A4.8
Italian termsare used for dynamics. Abbreviations of these termsare writtenbelow the stave to indicatehow loudly musiciansshould play.
Changesindynamicsare commonduringa piece of music.
Forte meansloud,and piano meansquiet.
Fortissimo means veryloud,and pianissimo means veryquiet.
A gradualincreaseindynamicsis calleda crescendo,andagradualdecreasein volume is calleda decrescendo ora diminuendo
Charades: With a partner, take turns to mimethe keywordslistedbelow. Can they guess which word you areactingout?
• Tempo
• Dynamics
• Piano
• Forte
• Pianissimo
• Fortissimo
• Crescendo
• Decrescendo
Articulation indicates‘how’ anote shouldbe performed. Articulation changeshow a note sounds,but itdoesnotchange the pitchor the overallduration of thenote.
Articulation in musicisabitlikedictioninspeech. Sometimes we separateour wordsorrun them togethersmoothly. We canalso choose to giveone word a particularemphasis. In music, symbolsareadded to thenotes totell musicians how to play them. Exactly how articulationis useddependson theinstrument or voice performing the music. In this unit we willlearnabout three types of articulation: accents, legato and staccato.
ListenandRespond!
A4.9
Listen to theshort melody printedhere playedon piano.Clapback therhythmpattern together. We willhear this motif played withthe three types of articulation we arelearningabout in this unit. Listenout for the effect each type of articulationhasonhow the musicsounds.
An accent on anote tells theperformer that they must emphasise that note. When we speak, we might emphasise certain wordsinasentence by saying them more loudly than others. When musicians find an accent symbolona note, they know to play that note louder, withmore emphasis.
Thereare10 pitchesin the pattern.Can you identifywhichnotes in the motif have been played with accents? Therhythm pattern is printedhere to help you.
• Accent symbolsaredrawnabove orbelow thestaveand not on thestaveitself. Accent symbolsnever touchthenote head or thestem.
• Whenanote’s stem points downwards,accent symbolsare writtenabove thestave. Whenanote’s stem pointsupwards, theaccent symbolis writtenbelow thestave.
STUDENTACTIVITYBOOK
Go to page 34 of your Student Activity Bookand complete Activity 8: Accents. Practiseaddingaccents to notes. A4.11
Legato markingsonmusicmean that notesshouldbeplayed smoothly. Youmay see the word legatowrittenabove thestave,but legato is oftenindicated usinga curvedline calleda slur. Theslur is placedabove orbelow twoor more notes of different pitch. Notes within the curvedline of theslur shouldbe playedsmoothlyandjoined together. A singer willsing aslurred phrase to thesame syllableso that all thenotesareheardasone connected phrase.
A4.12
A slur isacurvedline that connectstwoormorenotes to indicate they shouldbeplayed smoothly.
• Theslur symbolnever touchesanote headorstem.
• When thestem of thenote points downwards, theslur symbolis writtenabove thenote heads. When thestem of thenote pointsupwards, theslur symbolis writtenbelow thenote heads.
‘Southern Roses’ by Johann Strauss II A4.13
Rehearse ‘Southern Roses’ by Johann Strauss. Tonicsolfa syllables areadded to help you. When you are ready, perform along with the pianoaccompanimenttrack. Pay attention to thearticulation markingsin this phrase. &
STUDENTACTIVITYBOOK
Go to page 35 of your Student Activity Bookand complete Activity 9: Slurs. Definelegato and practiseaddingslurs to notes. Listen to ‘ForChildren’ by Bartokand answerquestionsabout it. A4.14
Staccato markingsmean that notesshouldbeplayed short anddetached. This symbolisasmalldotplacedabove or below thenote head. The word staccato comes from the Italian for ‘separate’.
• Staccato marksnever touchthenote head.
• When thestem of thenote points downwards, thedot is placedabove thenotehead. When thestem pointsupwards, thedot is placedbelow thenotehead. Sing this shortmusicalphrase together. Pay attention to thearticulation. & 4 4
Go to page 36 of your Student Activity Bookand complete Activity 10: Staccato
Practiseaddingstaccato marks to notesand thenadd your ownarticulation to a musical phrase. A4.16 STUDENTACTIVITYBOOK
Answer the following questions in your copybook.
1 Explain the term articulation.
2 Accents area form of articulation. Describe what effect anaccent hasonhow anote sounds.
3 Describe thedifferencebetweennotes that are played legato andnotes that are played staccato.
4 What isa slur?
5 Whicharticulation markdo youprefer? Describehow you would useitin yourmelody writing tasks.
ListenandRespond!
‘Dance of the Reed Flutes’ from TheNutcrackerSuite by Pyotr Ilyich Tchaikovsky
Listen to the excerpt andanswer the following questions in your copybook.
1 Who composed‘Dance of the Reed Flutes’?
2 Describe the tempo of the musicheardin this excerpt.
3 The dynamics are a) loud, b) changing, c) softthroughout this excerpt.
4 Identify one melodic feature heardin this excerpt.
5 Identify one rhythmic feature heardin this excerpt.
6 Identify on type of articulationheardin this excerpt.
Go to page 37 of your Student Activity Bookand complete Activity 11: Melody Maker.
Composeashort melody with tempo marking,dynamicsandarticulation.
Pyotr Ilyich Tchaikovsky
Go to page 37 of your Student Activity Bookand complete Activity 12: Test Your Knowledge Quiz!
Explain the markingson thescore of Tchaikovsky’s ‘Dance of the Reed Flutes’. A4.17
Articulation markings tell us how to play specificnotes.
Articulation changeshow anote sounds,but itdoesn’tchange the pitchor thenote value writtenon thestave.
An accent tells you to emphasise that note.
A slur indicates that thenotes within the curvedlineshouldbe played legato so that they soundsmooth and connected.
A staccato markis used to shorten thesound of anote. This symbolisasmalldotplaced above orbelow thenote head. Staccato notessoundshortanddetached.
Form isa term used to describe thestructureorlayout of a piece of music.
Form describeshow theideasina piece of musichave beenorganised. Musical forms provide composers with a plan to follow when they are composing. In this unit we willlook at how the phrases of a verse of asong may beorganised. Simple forms canbeillustrated usinga sequence of lettersorshapes.
A musical phraseislikeasentence. Instead of agroup of words, a musicalphrase consists of a group of notesthat are strung together to express an idea or a theme. A phraseis usually either four oreight barslong. Thereisanatural pause at theend of a phrase. This pausehelps you to identifywhereone musical phraseendsand thenextonebegins.
A phrase markisa curvedline that is placed over the musicina phrase to indicate wherea phrasebeginsandends. It shouldn’t be confused with aslur.
‘Morning’ fromthe PeerGyntSuiteby Edvard Greig
A4.18
Listen to theopening of ‘Morning’ from the Peer Gynt Suite. The opening phraseis printed for you below. Follow the melodyas you listen. How many timesdoes the phrase repeat? Is the music the same,almost thesameornotthesame at all? Discuss the similaritiesanddifferences you hear with yourclass.
TOPTIP
Inserta phrase markabove the melodies that you compose. Remember,a phrase mark begins over the first note andends over the finalnote of each phrase of yourmelody.
Definea phrase and then compose your own. STUDENTACTIVITYBOOK
Go to page 38 of your Student Activity Bookand complete Activity 13: Musical Phrases
Whenlistening to music, try to notice when you hearanew musicalideaand when you hear material that you have alreadyheardearlierin the piece.
Listen to the following excerpts. Eachmelodyhas two phrases. Compare the phrasesanddecideif they are the sameor contrasting.
Letters of thealphabetcanbe used to illustrate form. The pattern of musical phrasesin the verse of asong canbe represented usingletters.
Oftena composer willintroduce new material that contrasts withtheopening phraseinsome way. We can useletters to indicate whether thesecond phrase is thesameas the first oneordifferent Once we have dealt withthesecond phrase, we look at the third and fourthphrasesanddecideif they are thesameas either the first orsecond phrases.
When usingletters to represent form,always use capitallettersandstart the pattern withtheletterA.
RepeatedphraseNew or contrastingphrase
If thesecond phrase repeats theopening A phrase exactly, thesecond phraseisalso represented by theletter A
Thisgives the verse the form AA.
If the repeated phrasehassomesmall differences,itislabelled A1 to show that the phrasesarenot exactly thesame.
If thesecond phraseis different from the opening A phrase, thisnew phraseis represented by theletter B
The form of a piece of music withtwo contrasting melodic phrasesisdescribed as AB.
Form canalsobeillustrated usinga pattern of shapes. For example,a red triangle may be used to representtheopening phrase A andabluesquare couldbe used to illustrate thenew materialin phrase B asshown here.
Draw two illustrations ofform using shapes of your choicein your copybook.
1 Create avisual representation of a melody that has twoidentical phrases(AA).
2 Create avisual representation of a piece of music that consists of two contrasting melodic phrases(AB).
A verse with justone melodicphrase that repeats isin unitary form Musicin unitary formhasone phrase called A that isheardseveral times. The phrases may beslightly different each timethey appear,but overall they are verysimilar. We canshow we know the phrasesarenot identical by usinganumber:A1,A2 etc.
ListenandRespond!
‘The Birdie Song’ by Werner Thomas
Thisisan example of a versein unitary form Whilst the phrasesarenot exactly the same, thereareonlysmalldifferencesbetween the repeated phrases.
Answer these questions in your copybook.
1 In what ways is phraseA1 thesameas phraseA?
2 In what way is phraseA1different from phraseA?
3 How is phraseA2different from phraseA1?
4 What word would you use to describe the form of thissong?
5 Why do you think therearenotmany verses that use unitary formin this way?
Musicin binary form is made up of two contrasting melodicideas. Theseare labelled A and B The phrasesare often repeated,in which case the formis representedas AABBor ABAB.
ListenandRespond!
‘Wooden Heart’ performed by American singerand actor Elvis Presley
‘Wooden Heart’ isa pop song recorded by Elvis Presley in1960. He performed thishitsongin the film G.I.Blues The words of the first verseare printedhere for you.Listen to thissongandanswer thequestion below. A4.21 A4.22
Can’t you see I love you? Please, don’t break my heart in two That’s not hard to do ’cause I don’t have a wooden heart
And if you say goodbye, then I know that I would cry Maybe I woulddie cause I don’t have a wooden heart
1 Thissongisinbinaryform,butwhatisthepatternofthephrases AABB ABAB
2 Does verse2have thesame formas verse1?
Go to page 39 of your Student Activity Bookand complete Activity 14: Binary Form Explore the form of the folksong‘Greensleeves’.
Musicin ternary form has three sections. The first section A is followed with contrasting material B and the finalsection repeats the opening material A. Thisgives thestructure A B A ‘Twinkle Twinkle Little Star’ together. Raise your hand when youthink the Bphrasebegins. Take itdown again when the A phrase returns.
• Go to page 39 of your Student Activity Bookand complete Activity 15: Ternary Form.
•
ComposerBrief! COMPOSE
Go to page 42 of your Student Activity Bookand complete Activity 17: Binary Composition
Composeashort pieceinbinary form.
Form isa term used to describe the planorstructure of a piece of music.
A phrase islikea musicalsentencea few barslong.
Formdescribeshow the melodic phrases ina piece of musichave beenorganised.
The openingphrase isalways labelled A. If thenext phraseis thesameas the first, itis also represented using theletter A.
A new or contrastingphrase heard after theopening A phraseislabelled using theletter B.
Whenone melodic phraseis repeated over and over, the verseisin unitary form:AAAA.
Binary form consists of two contrasting melodic phrases: A and B. Usuallyboth sections are repeated(AABB or ABAB).
Ternary form has threesections. The firstphrase A,a contrasting phrase B,and then the opening A phrase returns: ABA or AABA
Formcanalso beillustrated usingapattern of shapes.
Unitary Form
Binary Form
Ternary Form
WORDPLAY
Pictionary: Withoutwritingdownthe keyworditself,draw a visual representation of the following keywordsin your copybook.Can yourpartner guess which word is which?
• Articulation
• Accent
• Legato
• Staccato
• Slur
• Form
• Phrase
• Unitary form
• Binary form
• Ternary form
Here are the keywords you have met in UnitA4. Lookback through this unitand revise these terms.
• Tempo
• Adagio
• Andante
• Allegro
• Score
• Dynamics
• Piano
• Forte
• Crescendo
• Decrescendo
• Diminuendo
• Accent
• Legato
• Staccato
• Slur
• Form
• Phrase
• Unitary form
• Binary form
• Ternary form
Review and reflect onall of thelearning tasks you have completedin UnitA4. Choose two tasks that you have enjoyed workingon.
In your copybook, record yourthoughts aboutthe two tasks you have chosen.
1 What did you enjoy about thelearning experiences you have chosen?
2 What haveyou learned from completing these tasks?
3 Were thereany challenges?
4 What advice would you give to anotherstudentwhoisabout to begin these tasks?
LEARNINGIN FOCUS!
WHENYOUHAVECOMPLETEDTHISUNIT,YOUWILLBEABLE TO… CONTENTS
LEARNINGIN FOCUS! PowerPoint
Procedural knowledge 1.2,1.14
ProceduralKnowledge 1.2,1.3,1.11,1.14
Innovate and Ideate 2.5,2.6,2.7
Innovate and Ideate 2.2,2.5,2.6,2.7
Cultureand Context
Cultureand Context 3.1,3.2,3.3,3.5
3.1,3.2,3.3,3.5,3.6
WHENYOUHAVECOMPLETEDTHISUNIT,YOUWILLBEABLE TO…
Listenand evaluate theimpactthe mood of a piece of musichason us.
Listenand evaluate theimpactthe mood of a piece of musichason us.
Match pieces of music with images,newspaper articlesand characters that correspond withthe mood expressedin the music.
Match pieces of music with images,newspaper articlesand characters that correspond withthe mood expressedin the music.
Distinguishbetween majorand minor tonalities.
Distinguishbetween majorand minor tonalities.
Compose pieces of musicin fourmajor keys for different purposes.
Compose pieces of musicin fourmajor keys for different purposes.
Listenand evaluate the role of theelements of musicinillustrating moods, themesor characters foundin poems, playsand films.
Listenand evaluate the role of theelements of musicinillustrating moods, themesor characters foundin poems, playsand films.
Work with others to composeand perform pieces of music that illustrate moods, feelings, themes, characters etc.
Work with others to composeand perform pieces of music that illustrate moods, feelings, themes, characters etc.
Discussand evaluate examples of programmemusicandincidental music.
Discussand evaluate examples of programmemusicandincidental music.
In music, mood describes the overall feelingor atmosphere of a piece of music.
Composers want to reachaudiences through their music. Music canstir up feelings of joy, anger, fear, tension, calm, sorrow or other emotionsas we listen.
A5.1
ListenandRespond!
‘Spiegelim Spiegel’ by Arvo Pärt
Listen to the musicheardin this excerpt. What moodor atmospheredoes the music convey?
STUDENTACTIVITYBOOK
Go to page 43 of your Student Activity Bookand complete Activity 1:Listenand Respond!
Create a piece of artwork that reflectsthe mood of ‘Spiegelim Spiegel’.
A nation’s nationalanthem oftenstirs up feelings of prideand passion. Thisimageshows the South Africanrugby teamsinging ‘Nkosi Sikelele’, thenationalanthem of South Africa, ahead of their clash with New Zealand at the2023 Rugby World Cup.
Discuss the feelingsandemotions that might bestirred up for the playerssinging theirnation’s anthem.
South Africananthem at the Rugby World Cup.
A5.1
Ireland’snationalanthemis called ‘AmhránnabhFiann’, which means‘The Soldier’s Song’. ‘The Soldier’s Song’ was composed by Peadar Kearney (lyrics) and Patrick Heeney (music) around1910. Thesong wassungin the General Post Office (GPO)during the Easter Rising in1916. Liam Ó Rinn translated thelyricsinto Irish,andadecadelater thesong wasadopted as thenationalanthem of Irelandon12 July1926.
A5.2
Sing ‘AmhránnabhFiann’ together.
Sinne Fianna Fáil, atá faoi gheall ag Éirinn, Buíon dár slua thar toinn do ráinig chugainn, Faoi mhóid bheith saor, Seantír ár sinsear feasta, Ní fhágfarfaoin tíorán ná faoin tráill. Anocht a théam sa bhearna bhaoil, Le geanar Ghaeil, chun báis nó saoil, Le gunna-scréach faoi lámhach na bpiléar, Seo libh canaig’ amhrán na bhFiann
WATCH edco.ie/y92j
In thisvideo we see the Irishrugby teamsing ‘Amhrán nabhFiann’.
The Presidential Salute is played when the President of Irelandarrives at an officialengagement. It is made up of the first four bars of ‘AmhránnabhFiann’, immediately followed by thelast five bars!
STUDENTACTIVITYBOOK
Go to page 43 of your Student Activity Bookand complete Activity 2: Show What You Know!
MusicalCharades!
Usinginstrumentsor other sound sources, work together to create and performashort composition that illustratesone of the moodsbelow.
anyourclassmatesidentifythemoodyourcompositionillustrates
STUDENTACTIVITYBOOK
Go to page 44 of your Student Activity Bookand complete Activity 3:Listenand Respond!
RECAP
In music, mood describes the overall feeling of apiece of musicand theemotions that a piece of musiccan stir up in thelistener.
The music we listen to can make us feeljoy, anger, fear, tension,happiness,sorrow and many otheremotions.
Composersaim to reach theiraudiences through their music. The moodand atmosphere of their musicseeksanemotional response from the audience.
Tonality describes the overallsound of a piece of musicbasedon the combination of notesit uses. The tonality of a piece of music canbedescribed as majoror minor.
Tonality isanimportant tool for any composer,especially those who compose music for film, TV,advertisingorgaming. Composers use tonality to create an atmosphere whichhelps totell astoryorset ascene for thelistener;
The tonality of apiece of musiccanbedescribedasbeing major orminor. One way totell thedifferencebetweena majoror minor tonality is to consider theemotionsor atmosphere that the music evokesin you, as you listen to it.
The mood of a piece of musicina major tonality tends to soundbright,majesticorhappy The mood of a piece of musicina minor tonality typicallysoundssad, mischievous ordark.
Sounds calm,bright, happy, majesticor cheerfulmood
ListenandRespond!
Soundsgloomy, sad, mischievous,eerie ordark mood.
Listen to these two excerpts.Can you hear thedifferencebetween the majorand minor tonality?
Major TonalityMinor Tonality A5.6 A5.7
STUDENTACTIVITYBOOK
Go to page 44 of your Student Activity Bookand complete Activity 4: Major or Minor?
Listenandidentifythe tonality as majoror minor. A5.8 A5.9 A5.10
Piano Sonata No.16inC Major, K.545 by Mozart(1st movement)
Piano Sonata No.8in A Minor, K.310 by Mozart(1st movement)
LEARNINGINREVIEW!
Tonality playsanimportant roleinillustrating the mood of a piece of music. Other musical elementsplay a rolein this too,such asrhythm,melody, tempo anddynamics.
Rhythm: Rhythmpatterns canbedramatic,especially where restsare used. Repeatingrhythmic patterns canalsoadd tension to a piece of music.
Melody: High-orlow-pitchednotesandascendingordescending patterns canhelp to illustrate certain moods. Unexpectedleaps canaddsurpriseorsuspense too!
Tempo: Music with a fast tempo isenergetic and upbeat,which cansuggestahappy mood. A slow tempocansuggesta calmorsleepy mood.Changesin tempocanaddinterest to the music.
Dynamics: Louderdynamicssuggest moodssuch as pride,joy, angerordanger. Quieter dynamics cansuggesta calm,sadornervous feeling.Changingdynamics canadddrama to the music.
©TheEducationalCompanyofIreland
STUDENTACTIVITYBOOK
Go to page 45 of your Student Activity Bookand complete Activity 5: Learning Review! A5.11 A5.12
Tonality canchangeduringapiece of music. A piece may changeback and forth from major to minoras thestory unfolds.Changesin tonality canillustrate a changein moodoraswitchfromone character to another: from thevillain to thehero, for example.
Rossinigives us ahintthat astormis coming, can you spot wherehis cleverhint isheardin this excerpt? A5.13
‘Sunrisein the Alpes’ from OverturetoWilliamTellby Gioachino Antonio Rossini
In this excerpt Rossiniis paintingasereneimage of thesunrising over the Swisslandscape before astorm. The tonality of the first 17barsis minor after which, Rossinishifts to a major tonality. The changein tonality helps to illustrate the first glimpse of thebright beamingsun at sunrise,as we move fromdarkness to light.
STUDENTACTIVITYBOOK A5.14
Go to page 46 of your Student Activity Bookand complete Activity 6: Show
What You Know!
Gioachino Antonio Rossini
Tonality is the overallsound of a piece of musicbasedon the combination of notesit uses.
The tonality of a piece of music canbe majoror minor.
Major and minor tonalitieshelp composers to illustrate the mood, feelingsor atmosphere of their compositions.
Music with a major tonality soundsbright, happy and cheerful.
Music with a minor tonality willsoundgloomy, sadanddark.
The tonality of a piece of music can change from major to minorandvice versa.
Word puzzle:Can youchoose theright words from the box to make sense of this message? Youwillneed to useeach word more thanonce. Write the missing wordsin your copybook. The of a piece of music can changeits henthe is , the musicsounds bright andhopeful,but a createsadarkeror more thoughtful . Sometimes the changes from to or from to , which will mean the will also change from triumphant to gloomy or fromanxious to excited.
Mood TonalityMajor Minor
Music with a major tonality is writteninone of the major keys, using thenotes from one of the major scales.
In Section5.2, we explored majorand minor tonality. In thissection, we will take a closerlook at major tonality by learning about major keys
A scale isa series of notesthat move by stepinascending order. We have learned that insolfa, thescalerunsdoh, ray, me, fah,soh,lah, te,doh. ecanusethese syllables for all the majorscales.
Music composedina major key places great importanceon the first note of thescale (doh). Thisnote isalso called the tonicor keynote. The tonic isbest understood as the ‘home’ note. The tonic or keynotegiveseach major key itsname.
Music composedin the key of C majorhas the tonicnote Casits‘home’ note and uses the notes of theC majorscale, printedbelow.
ListenandRespond!
Listen to the scale of C major, played on piano, and follow thenoteson thestaveshown here.
Thescaleendson theseventhnote, B. How do you feelabout itending there? Doesitsound incomplete?
Now, listen to the fullscale of C major whichincludes the final keynote(dohʹ).Better?Theseeightnotesmakeupafull octave (doh todohʹ).
An octave is thedistancebetweennoteswiththe same name covered by theeight notes of a major scale. See thelabelabove the musicin the first example.
Theseven-note scalesounds incompletebecauseitdidnotendonthetonic/keynote(dohʹ).Think of the tonicas thenote on whicha major key feels ‘at rest’. Endingon theseventhnote creates tension that canonlybe resolved by moving to the tonic.
Sofar every composition task that you have workedon includedtheinstructiontoendonthenoteC(ordoh).By usingCas yourfinalnote, you brought yourmelodyback to its‘home’ note,C major’sstrongestnote Thishelps to make the melodysound finished.
The words tonic, keynote and doh all refer to the first note of thescale that is the‘home’ note of a major key.
Go to page 46 of your Student Activity Bookand complete Activity 7:C Major.
Composeajingle,ashort tuneorsong used to advertisea product in the media.
ListenandRespond!
‘Au Clairdela Lune’, a French folk song
A5.18
‘Au Clairdela Lune’ isa French folksongin C major. Follow thesheetmusicand explore the use of thenote Cin the melody. Doesitappear frequently? Does the tuneendon the tonic?
Ma’c’hań-déĺle’eśtmor-te’,Je’náí plus dé’féú.Ou-vre’-moita’por-te’,
Aucĺaírdé’la’lu-ne’,mona’-mi-rot,PieŕPrê-te’-moita’plu-me’;pouré-cŕire’unmot. Pourlá’-mourdé’díeú.
STUDENTACTIVITYBOOK
Go to page 47 of your Student Activity Bookand
Thenotes that belong to each major key are set out inits majorscale. A major scale isa series of notesthat startswiththe tonic and follows a specificpattern of tonesand semitones.
Thenotes of theC majorscalearelabelled on the piano keyboardshown here. The C majorscale goes fromC to C. Youwillnotice that thereare five black keys foundbetween thesenotes. These pitchesare used when composers write musicin other keys.
The goodnews is, thereis more thanone major key! Every major key hasits own tonic/ keynote. In thissection we will explore three other major keys; G major, D major and F major
STUDENTACTIVITYBOOK
Go to page 47 of your Student Activity Bookand complete Activity 9: Major Mystery!
A majorscale consists of a particular pattern of notes. Thesenotesareeitherasemitoneora toneapart.
Semitone Tone
A semitone (ST) isshown on the piano keyboardin red. Youcansee that asemitoneis thedistance from onenoteto thenextnearestnote. A semitoneisalso known asahalf-step. A semitoneis the smallest interval in Western music.
A tone (T) consists of twosemitones. It isalsoknow asa wholestep.
In music the word interval is used for thedistance between two notes.
Look at this patterninactioninC majorbelow. It iseasy to see thedifferencebetween the semitone(halfstep)anda tone (wholestep)ona piano keyboard
CD EF GA BC
Copy thelabelled scale of C major onto the stave on page48 of your Student Activity Book.
Thereare four simplerules to help getus started!
Every majorscalehaseight notes.
Every majorscalebeginson the keynote/tonic.
Thescalebeginson the tonic (doh),and everynote appearsonceonly, until you reach the tonic again doh .
Theinterval pattern for all majorscalesis TT ST TTT ST
Workin pairs to constructthe majorscale for Gmajor Use the piano keyboard printedbelow asa visualaid to help you. Following the pattern of tonesandsemitones will take you to oneblack key. Can youfind whichoneitis?
The pattern of notesin thescale of Gmajorhasonenote that sitsonablack key. Thisnote is called sharp # .
A sharp sign raises thepitch of anote by a semitone. All the F notesina melody composedin G maorareraisedbyasemitoneto #
F#
CD EF GA BC DE FG AB
GA BC DEF# G
atherthanaddingasharpsign # beforee ery note,the # signisinserted at thestart of the piece,next to the treble clef,before the time signature. Thisis called the key signature.
A key signature is written at thebeginning of every stave to show what key the musicisin. The symbols (e.g. #)areinsertedbetween the clef and the time signature at thebeginning of eachstave to show musicians which key they are playingin. The key of Gmajoris recognised by onesharp # signonthetop lineonthetreble stave,asshown below.
ListenandRespond!
‘Làcidaremla mano’ from DonGiovanniby
Andante=80
Answer the following questions in your copybook.
1 Who composed‘Là ci daremla mano’?
2 Describe the tempo of the musicheardin this excerpt.
3 What does the time signatureindicate to musicians?
4 Explain the term p below the musicinbar1.
5 Identifythe key signature of the musicheardin this excerpt.
6 Explain the purpose of the curvedlineinsertedabove the notesinbars1and2.
7 What do thedots above andbelow thenotesinbar8indicate for musicians?
8 In what bar can youfindan example of i)a crotchet restii)aleapiii) repeatednotes?
Go to page 48 of your Student Activity Bookand complete Activity 10: G Major
Thepatternofnotesinthescaleof maorincludestwoblackkeys sharp # and sharp # .
Thesesharps raise the pitch of thenotes F andC by asemitone. All the F andCnotes that featureina melody composedin Dmajorare raised by a semitone to F# andC#
Rather thanaddinga sharp sign(#) before everyone of thesenotes, the two sharp symbolsappearin the key signature The key signatureisinsertedon everystave.
ListenandRespond!
German Dance No.1 by Wolfgang Amadeus Mozart
SHOWWHATYOUKNOW
Answer the following questions in your copybook.
1 Who composed German Dance No.1?
2 Describe the tempo of the musicheardin this excerpt.
3 What does the time signatureindicate to the performer?
4 Explain the term f below the first note.
5 Identifythe key signature of the musicheardin this excerpt.
Go to page 49 of your Student Activity Bookand complete Activity 11: D Major STUDENTACTIVITYBOOK
6 Find two pieces ofevidence to support your answer to question5.
7 Uselettersorshapes to representthe form of the two phrases printedabove.
8 Does the melodyin this excerptmove mostly by stepor by leap?
A5.27
The patternnotesin thescale of F major hasonenote which fallsonablack key;this key is called Bflat (Bb).
A flat sign lowers anote by a semitone. All the B notes that featureina melody composedin F majorarelowered by a semitone to Bb.
atherthanaddingaflatsymbol b)before every B in the melody, the b symbolisinserted at thestart of the piece,next to the treble clef.
A5.28
Answer the following questions in your copybook.
1 Identifythename of thehighestandlowest pitched notesin this melody.
2 What valuedoes the restinbar4have?
3 Can youfind twobars that are exactly thesame?
4 What Italian term canbe used to indicateaquick tempo?
5 What does the symbol f under the first note indicate?
6 Explain the time signature of 2 4.
7 How many timesis thenoteBb heardin the melody?
8 Does this melodyendon the tonicnote?
STUDENTACTIVITYBOOK
Go to page 50 of your Student Activity Book and complete Activity 12: F Major.
A5.29
• A key signature canhave sharps ORflatsinit,but NEVER both.
• A piece of music can change fromone key to another. Thisis change of key is calleda modulation
Go to page 51 of your Student Activity Bookand complete Activity 13: Jingle Competition.
Music composedina major key uses thenotes of a majorscale.
The tonic or keynote isalso referred to as doh. The tonic is considered to be the‘home’ note of a major key.
A major scale isaseries of eight notes that startsand ends withthenote that names the major key (the keynote/tonic). It follows aspecific pattern of tonesandsemitones.
The pattern of intervals for a majorscaleis tone – tone – semitone – tone – tone – tone –semitone
Theinterval covered by theseeight notesisone octave.
C major is theonly major key that doesnot have symbolsinserted for its key signature.
Gmajor hasonesharp F#. The # symbolisinsertedon the top line(F) of the treblestave.
A sharp (#) raises thepitch of anote by one semitone.
D major has twosharps, F# andC#
A flat(b) lowers thepitch of anote by one semitone.
F major hasone flat, B b
The key signatureis placedbetween the clef and the time signatureon thestave. It must beincludedon everyline of music.
A key signature canhave sharpsor flatsbutNEVER both.
Match upthe two halves of the sentences. Write your answers in your copybook.
1 A sharpsignin front of anote
2 Melodies writtenina major key
3 The keynoteis
4 The tonicis
5 Theintervalsbetween thenotes of a majorscaleare
6 In the key of Dmajor
7 A flat signin front of anote
8 In the key of F major
A use thenotesbelonging to the majorscale.
B another word for the tonic.
C the key signaturehasone flat.
D lowers that note by asemitone.
E raises the pitch by asemitone.
F the key signaturehas twosharps.
G oneoctave.
H tone– tone–semitone– tone– tone–tone–semitone.
9 The catchy music you hearinanadvert I semitone– tone– tone– tone–semitone.
10 A majorscalehas the pattern tone– tone
11 Theeight notes of a majorscale cover
12 A toneis made up of
J isknown asajingle.
K the first note of thescale.
L twosemitones.
Programmemusic isinstrumental music that tellsa story, describesacharacterfrom literature or paints a scene for the listener throughmusic. This type of illustrative musicaims to bring to minda character, animageorascene withoutusing wordsorlyrics.
Composers of programmemusic were inspired by legends,stories, characters or paintingsand tried to representthemin their music. The title of a piece of programmemusic canshare cluesaboutwhat hasinspired the music. Sometimes composers provided more detailabout thestory they were tellingina programme note.
A programme note informs audience membersabout the music they are going to hear.
Programmemusicbegan toflourishduring the Romanticera Many Romantic composers wanted to cause anemotional responsein their audiences.
The Romanticera beganduring the1820sandlasted untilabout 1900. We willlearn more aboutmusic from the Romanticeralater in this unit.
In section5.2, we listened to ‘Sunrisein the Alps’ from Rossini’s Overture to William Tell. Rossini paintstheimage of thesunrising over the Swiss Alps.
Can you recallone way in whichheachieved this?
Vivaldi wasa composerin the Baroque era (1600–1750). The Four Seasons isanearly example of programmemusic. The work consists of four concertos written for solo violin
Vivaldi usesinstrumental musicalone to create vividimages of the four seasons, spring,summer, autumn and winter. He publisheda poem to go with each concerto. These poems revealed what the music intended to illustrate for thelistener.
A concerto isa piece of music composed for one or more soloinstrumentsaccompanied by an instrumentalensemblesuch asanorchestra.
Spring The musicin this movement illustratesbirdsong, flowingstreamsand thunderand lightningduringastorm.
Summer The musicin this movement illustratesa peacefulmood, with images of relaxinginan open fieldinasummer breeze.
Autumn The musicin this movement illustrates theharvest festivaland thedanceand celebration of harvest time.
Winter The musicin this movement illustratesstrong winter windsandanice cold,spinning blizzard.
STUDENTACTIVITYBOOK
Go to page 52 of your Student Activity Bookand complete Activity
14: ‘Think-Pair-Share’.
A5.30
A5.32 A5.31 A5.33
Vivaldi’s fourth concerto, Winter,has three movements (sections). Theopening movement evokesimages of thebitter cold winter.
Read the firstpart of thesonnet for winter that Vivaldi publishedalongsidehisscores:
To tremble from cold in the icy snow, In the harsh breath of a horrid wind; To run,stamping ourfeet every moment, Our teeth chattering in the extreme cold.
The tempo is markedallegro. Theinstrumentssoundas though they areshiveringin the freezing temperatures,and the minor tonality suggests thebleakness of asnowstorm. The repeatednotes heardin theintroductionillustrate theslow fall of thesnowflakes usingasmooth andsteadyrhythm. Fast trills played by theviolinsillustrateteeth chatteringdue to theintense winter cold.
Vivaldi wasahighly skilledviolinist,soit’s nosurprise that the violinis thestar of The Four Seasons.
Movement is the word usedin music for anindependent section of alarger work.
In tutti sections the fullorchestra plays.
Solo sectionsare for thesoloinstrument(s) to play alone.
A trill (tr) isa musical ornamentthat involvesa quick alternation between two notesone step apart. It creates a quivering sound.
8 Theintroduction featuresnew sentence. Explain this term. SHOWWHATYOUKNOW A5.35
6 What informationhas the composershared with audience members for this workand why?
7 Describe two features of the melodyheardin this excerpt.
WinterMovementII:Largo
The musicheardin Winter’ssecond movement is verydifferent. Here,Vivaldiillustrates the warmth of the fire andsafe shelter from thesnowy blizzard. Words from thesonnet and the opening phraseare printedbelow.
Before the fire to pass peaceful, Contenteddays while rain outside pours down.
Can you identifywhere thesoloist playsa trillin theopeningbarsbelow?
Programmemusicgrew in popularity during the Romanticera (roughly 1820–1900). Some of the fingerprints orauralsignposts for music composedduring the Romanticerainclude:
• The use of large orchestrasas more instruments were available to composers.
• The piano,now establishedasa versatileinstrument whichhelped composers to illustrate allkinds of emotions,imageryand characters
• Composers wrotelong expressive melodiesstretching over longer melodic phrases.
• Composers made use of a wide range of dynamics, from pianissimo to fortissimo
• Many composers prioritisedemotional expressionin their music.
Lets explore compositions by two composers of programmemusic: Modest MussorgskyandCharles Camille Saint-Saëns. Both composersare from the Romanticera,and were bornindifferent countries.
Romantic EraDates:1820 to 1900approx.
Composer1: Modest Mussorgsky
Country of Birth: Russian
Composer2: CharlesCamille Saint-Saëns
Country of Birth: France
A5.36 Night on the Bare Mountain by Modest Mussorgsky
Mussorgsky’s Nightonthe Bare Mountain writtenin1867isa tonepoem. A tonepoem isaninstrumental work whichillustrates apoem,shortstory, novel,painting or landscape.
Mussorgsky’s workillustratesagathering of witches by abonfire on Bare Mountain. The music evokes feelings of fearand magic combined. The moodisviolent and terrifying.
Inspired by anold Russianlegend called St John’s Eve, Mussorgsky composeda musical picture that illustrates the witches’ sabbath celebratedon St John’s Eve(23 June),anightwhendevilsand witches come out to walk thestreets. Mussorgskyillustrates thejoyful dancing at thegathering of witches. Thenight of horrors comes to anend when the church bellringsand the witches vanish.As thesun comes up, calmis restored.
Mussorgsky wrote this programme note to accompany his work. It gives us a clear picture of what hehopes the musicin this work wouldillustrate for listeners.
An undergroundnoise of inhuman voices. Appearance of the Spirits of Darkness followed by appearance of Chernobog (the Black God)andhisadoration. A Black Mass. Joyful dancing of the Witches’ Sabbath. All of whichisended by theringing of a church belland the appearance of dawn.
ListenandRespond!
AuralSignposts!
A5.37
Workin pairs to identifythe following features of the musicheardin Night on the Bare Mountain.
• Stringand woodwindinstruments play aswirlingintroduction.
• The woodwind play a repeatingascending motif.
• The musichasa minor tonality.
• Contrastingdynamics from pp to ff.
• Violinsaccompany the fierce brass melody, playingstaccato quavers.
• Brassinstruments play repeatednotes.
• Dramatic cymbal crashes.
• Restsare used to add to thedramatic atmosphere.
• Timpani rollsadd to the tension.
Can youmatch theimagesbelow to section of theorchestra to which they belong? Strings Woodwind Brass Percussion 1
STUDENTACTIVITYBOOK
Go to page 52 of your Student Activity Bookand complete Activity 15: Night onthe Bare Mountain
A5.37
ListenandRespond!
A5.38
‘The Elephant’ from TheCarnivaloftheAnimalsby Camille Saint-Saëns
Camille Saint-Saëns composed TheCarnivalofthe Animals in1868. It isa funmusical suite with fourteen movements. Most of these movements paint a picture of aspecificanimal.
‘The Elephant’ isa duet for doublebassand piano. A duet isa performance for twomusicians,singersor otherperformers. Elephants arenot known for theirnimbleballerina moves!
Instrumentation: The piano playsa waltz-likerhythm (um-chacha),and thedoublebass plays the melody. It isnoaccident that Saint-Saëns chose thelargestandlowestsoundingstring instrument to play theelephantmelody. Thelow-pitched doublebass makes theelephant soundheavyand clumsy. Together the pianoand thedoublebass paintthe picture of a slow and ploddingelephant waltzingacross the room.
Rhythm: The musichas three pulsesinabar. This createsa waltz-likerhythm. Thelight staccato noteson the piano cleverly illustrate thelight-footeddancingassociated with a waltz.
Tempo: Thissectionis marked Allegretto Pomposo, which instructsmusicians to play moderately fastbut inastatelyor dignified manner. Thisis perfect for portraying the character of theelephant.
Form: ‘The Elephant’ consists of two themes: A and B Listen out for theopeningsection(A), followed by the contrasting B section. The first section(A)is then repeated. Thisisknown as ternary form.
STUDENTACTIVITYBOOK
Go to page 53 of your Student Activity Bookand complete Activity 16:Carnival of the Animals
A suite is collection of instrumental pieces written to formonelarge work.
Both Mussorgskyand Saint-Saënsare composers from the Romanticera. Mussorgsky was from Russiaand Saint-Saëns was from France. Both composed many pieces of programmemusic Their compositions feature many of thehallmarks of Romantic musicandare excellent examples of the music’s ability totellastory, to paint animage,a mood,asceneor to illustrate a character.
Both worksarean example of programmemusic from the Romantic Era.
• Mussorgskyillustratesagathering of witches,dancing at abonfire on Bare Mountain.
• Saint-Saënsillustratesa clumsy elephant dancinga waltz.
Go to page 55 of your Student Activity Bookand complete Activity 17: Go Compare!
Go to page 56 of your Student Activity Bookand complete Activity 18:Animal Magic!
Composea piece of programmemusic portrayingan animal for anaturedocumentary.
Programmemusic isinstrumental music that tellsastory for thelistener through music.
Composers of programmemusic composed musicinspired by legends,stories, characters or paintings.
AntonioVivaldi composed The Four Seasons in the Baroqueera. This piece of music paints an image of the four seasons:spring,summer, autumn and winter throughinstrumental music.
Programmemusicbegan toflourishin the Romantic era
Mussorgsky’s Nightonthe Bare Mountain illustratesagathering of witches by abonfire. The music evokes feelings of fearand magic;the moodisviolent and terrifying.
Most of the movements of Saint-Saëns’s TheCarnival of the Animals illustrate animals. In the fifthmovement ‘The Elephant’, Saint-Saëns uses the low-pitcheddoublebass to paintthe image of aslow and ploddingelephant dancing to a waltzrhythmplayedon the piano. Russian composer Mussorgskyand French composer Saint-Saënsareboth composers of programmemusic from the Romanticera.
Chooseone of the keywordsbelow. Without saying the word itself,briefly explain what it means. Can yourpartnerguess which keyword you are talkingabout?
• Programmemusic
• Concerto
• Movement
• Trill
• Programme note
• Romanticera
• Solo
• Duet
Incidental music isbackground music used to create or enhanceaparticular atmosphere or to accompany action. Incidental musicis usedin theatre, TV,gamingand film.
Thisimage capturesascenein Act 2 Scene1 from the Opera Thaïs written by French composer Jules Massenet.
The character Athanaël,a monk, tries to persuade thebeautiful Thaïs to give up hersinful life. He promisesher that ifshe rejects all theluxuryand excessesinherlifeand turns to Godinstead,she will findsalvation. Thaïsisnot easily convinced,andas the first scene comes to a close, the intermezzo ‘Méditation’ beginsonsoloviolinaccompanied by theorchestra.
An intermezzo isa form of incidental music that isperformedbetween theacts of a play.
Theaction of the play is pausedduringascene changegiving Thaïs time to thinkabout herlife anddecide what to do. The purpose of the musicis to continue telling thestorybetweenscenes. It guides theaudience.As they listen to ‘Méditation’, they tooare wondering what Thaïs willdo. Scene2opensas the‘Méditation’ melody comes to a close. At this point, Thaïs tells Athanaël that shehasdecided to abandonherlife of sin to follow him.
ListenandRespond!
‘Méditation’ from Thaïsby Jules Massenet
Listen to the music. Considerhow Massenet has used pulse,rhythm, tempo, pitch,dynamics,articulation, formand tonality to achieve a reflective, contemplative mood. How does the music help to illustrate Thaïs’s conflicting thoughts aboutwhat sheshoulddo?
Soloviolin plays the main themeaccompanied by harp
The tonality is major.
The key signature is Dmajor.
The timesignature is 4 4
The dynamics are expressiveand range from piano (p) to fortissimo (ff).
The tempo starts off as Andante Thereareseveral changes of tempo: rit.…atempo.
Ritardando meansslow down. Atempo means return to theoriginal tempo. Animando: animated,lively. Pocoa poco appassionato:little by little, more passionately.
Go to page 58 of your Student Activity Bookand complete Activity 20: Come Fly Over Neverland!
Create a piece of incidental music to illustrate the magicand excitement of thisscenein Dmajor.
Music playsanimportant rolein film. Musicis used to illustrate theactionor to heighten theemotion of ascene. Music that is composed specifically for afilmis calleda film score.
A silent film hasno recordedsoundor dialogue.
Until the1920s, filmshadno recorded dialogueor music. They were calledsilentmovies. Music was performedlivein the cinema whileasilent film wasbeingshown The music that accompaniedsilentmovies was performed livein the cinema by a pianistoranensemble of musicians. Often the music was made up on thespot (improvised) by the pianist. The musichelped to cover upthenoise of the projector, as wellasillustrating theactionandhelping to expressemotionor create a particular mood. Later films with smallamounts of dialogue recordedbecameknown as‘talkies’.
SilentMovieMix
Oceana Roll DanceProtest Scene
edco.ie/epkb WATCH
edco.ie/2j5r WATCH
TheLion’s Cage
edco.ie/yb58 WATCH
Watch three clips fromsilentmovies. Discuss the features of the music that help to illustrate theactiononscreen,despite theabsence of spokendialogue.
STUDENTACTIVITY BOOK
Go to page 58 of your Student Activity Bookand complete Activity 21:Silence on Set! Workingroups to create and present ashortsilentfilm to yourclassmates.
In 1933, the firstfull filmscore was composed by Max Steiner for the film KingKong. Musicis used in film to create an atmosphere, representthe characters as wellassupporting the film’s story. Film composers userhythm,melody, tempo,dynamics, tonality andinstrumentation to illustrate moods,emotionsand characters in ways that dialoguealone cannot. Filmscores must also reflect the time or placein which the filmisset.
Explore these examples:
• Westernsset in the1900s might feature music of that time,such asguitarsandhonky-tonkstyle piano.
WATCH edco.ie/g75z –‘For a Few Dollars More’ by Ennio Morricone.
• Filmsset in particularlocations may reflectthe traditional music of that part of the world through instrumentsand other features. For example,a filmset in Africa might feature Africanrhythms and traditional instrumentsas part of the filmscore.
WATCH edco.ie/68rs – ‘Wakanda’ [from Black Panther (Original Score)] by Ludwig Goransson ft. Baaba Maal.
• Thrillersandspy movies createtensionanddrama,and their filmscorealsoneeds to reflecttheseemotions. Some composers make clever use of ostinatos to keep theaudience feelingonedgeorincludelongsustained notes to keep theminsuspense.
WATCH edco.ie/w8qf –‘Sherlock Theme’ by Hans Zimmer.
• Composers of horrorand fantasy filmscoresneed to transport theaudience’simaginations to strange places. Synthesisersandsamples of sound effects help to createtension,setting thescenein these film genres.
WATCH edco.ie/bnbz –‘Halloween Theme’ by JohnCarpenter.
WATCH
edco.ie/bhnu
Jack Pierce shows how music contributes to thestorytelling In thisshortvideodocumentary.
STUDENTACTIVITYBOOK The Power of Musicin Film
Go to page 59 of your Student Activity Bookand complete Activity 22: TheChase!
SHOWWHATYOUKNOW
Are the following statements true or false?
1 Incidental musicis playedbetween theacts of a play.
2 Jules Massenet isan Italian composer of opera.
3 ‘Méditation’ isanintermezzo written for fluteandviolin.
4 ‘Méditation’ isin the key of Dmajor.
5 A trillisa melody which represents a character ina play.
6 The musical climaxis the finalsection of a piece of music.
7 Musicis usedin film tocreate an atmosphere.
8 A silentfilmhasnospokendialogueor recorded music.
9 CharlieChaplinis famous for hisappearancesin Western movies.
10 Filmscores create drama, tensionandemotionin films.
Incidental music is usedin theatre, TV,gaming, radio programmesor film to create or enhancea particular atmosphereor to accompany theaction.
‘Méditation’, composed by Massenet isan example of incidental music from theopera Thaïs. It is written for soloviolinandorchestra.
Music that is composedspecifically for a filmis called afilm score.
A silent film hasnospokendialogueor music recordedon the film reel.
Take turns to comeupwith examples of musicand films that belong to the categoriesbelow.
• Incidental music
• Filmscore
• Silentfilm
Here are the keywords you have met in UnitA5. Lookback through this unitand revise these terms.
• Mood
• Tonality
• Major
• Minor
• Major key
• Tonic
• Keynote
• Majorscale
• Octave
• Semitone
• Tone
• Sharp
• Flat
• Key signature
• Jingle
• Programmemusic
• Programme note
• Romanticera
• Trill
• Incidental music
• Filmscore REVIEW
Review and reflect onall of thelearning tasks you have completedin UnitA5. Choose two tasks that you have enjoyed workingon.
In your copybook, record yourthoughts aboutthe two tasks you have chosen.
1 What did you enjoy about thelearning experiences you have chosen?
2 What haveyou learned from completing these tasks?
3 Were thereany challenges?
4 What advice would you give to anotherstudentwhoisabout to begin these tasks?
WHENYOUHAVECOMPLETEDTHISUNITYOUWILLBEABLE TO…
Recognise the uniquequality of sounds made by different soundsourcesincluding musical instruments.
Examine reasons why composer’s chooser particularinstruments to play their compositions.
Name and recognise theinstruments of theorchestra.
Performabody percussion pieceas part of anensemble.
Discuss theimportance of the Irish composers working with Irishorchestras.
Composea radiojingle.
Compilea playlist of music by Irish composers.
Name and recognise thedifferent voice typesin vocal music.
Rehearseand perform vocal piecesas part of anensemble.
Discussand evaluate the use of vocal musicinadvertising.
Investigate musicalensembles which performinstrumentaland vocal music.
Timbre is thesoundquality or tone produced by a musicalinstrument, voiceorsoundsource.
Like our fingerprints, we have unique markersinour voices that allow people to identifyus by thesound of our voice alone. These unique features of soundsareknown as timbre, andour earslearn to recognise them over time.
You wouldn’t confuse thesound of adogbarking with a cat’s meow ora car engine with a train. It isalso why we don’t tend to confuse thesound of a piano withthesound of a trumpet!
A sound source isanything that can produce asound.
Go to page 60 of your Student Activity Book and complete Activity 1: Guess That Sound!
Differentmusicalinstrumentshave different timbres which make theirsounddistinctive. Composerssometimes choose to work with instrumentsbasedon thequality of thesounds they can produce.
Thenote C willbe playedon threedifferent instruments. Does thenote sound exactly the same?
Piano
TimpaniClarinet
Thenote ‘C’ playedonaviolinora trumpetwillalsosounddifferent fromtheinstruments you have justlistened to Everymusical instrument createsa uniquesound, even when they areall playing thesame musicalnote. Over time,our earslearn to recognise the characteristicsound of eachinstrument because of its unique timbre.
How asoundis madealso affectsthe timbre. Hitting,strumming, plucking,bowingorblowing airinto aninstrument all affectthesoundit creates.
Instrumentation is the combination of instruments chosen to perform apiece of music. We have learned that eachinstrument hasits own timbre. Composers carefully choose the instrument(s) they want to play their music. Some instruments will create the atmosphere they areaiming for better than others.
Wagner uses instrumentation ina creative way for thesleep motif in Act 3 of hisopera Die Walküre. The music featuresa five-notedescendingscale passage,during which the melodyis passed fromoneinstrument to another, highlighting the changesin timbre between the woodwind (flute followed by oboe), thestringsand then thebrass(horns). Follow thesleep motif melody below as you listen to thevideo.
Flute Oboe Violins Horns
With yourpartner,discuss theinstruments a composer of programmemusic might choose to illustrate a thunderstorm.
Programmemusic isinstrumental music that tellsastory,describesa character from literatureor paints ascene for thelistener through music withoutusing words.
Therearelots of words we can use to describe the timbre of different sounds.
Warm
MellowBright Cool Thin
Thick Clear Dark Dull Majestic Light Piercing Shrill HarshSweet
Activity 2: Timbre. STUDENTACTIVITYBOOK
Go to page 60 of your Student Activity Bookand complete
Timbre is thesoundquality or tone produced by a musicalinstrument, voiceorsoundsource. Our ability to recognise timbre allows us to identifytheinstruments we hear playing music. Composers consider timbre when they are writing music. The timbre of theinstruments canhelp to create the atmosphere that the composeris after.
Instrumentation is theselection of instruments to performa piece of music.
Words used to describe the timbre of aninstrument include warm,shrill, mellow, harsh, bright, dark,rich, reedy,nasal, pure,brassy, silvery.
Programmemusic isinstrumental music that tellsastory,describesa character from literatureor paints ascene for thelistener through music withoutusing words.
Taboo! Chooseone of the keywordsbelow. Without saying the word itself,briefly explain what it means.Can yourpartnerguess which keyword you are talkingabout?
An orchestra isagroup of musicians that play together, usinga wide range of different instruments.
Musiciansbringa composer’s composition to life, taking the music from the page to the audience.
A symphony orchestra isalarge orchestra with four instrument sections,known as families: strings, woodwind, brass and percussion The four familiesareseated togetheronstageinasemicircle facing their audience.
Stringsare thelargest family,and they are seated at the front because they are the quietestgroup. The woodwindsitbehind the strings, followed by thebrass family. Finally, theloudest family, the percussion,sit at theback.
A conductor stands at the front, facing theorchestra. The conductor usuallyhasastandin front of them to hold their musical score andabatonin theirright hand. An orchestralscore contains the music for all thedifferent instruments, togetheron theone page.
The conductor is theleader of an orchestra or choir.
A score isa printed version of a piece of music.
Percussion
Explore theseating plan for a symphony orchestra below. Each instrument familyis colour coded for you. How many of theinstrumentsdo you recognise? Doesanyonein yourclass play any of the instrumentsshown here?
The conductoris trusted with interpreting the musicand guiding the musiciansas they perform the music exactly as the composerintended.
Conductors communicate withmusicians throughhand gestures, facial expressionsandbodylanguage. Usually, the conductorholdsa whitestick(like theoneshown here) so that the players cansee thebeatclearly. Thisstickisknown asa baton.Can you recall the pattern for 4 4?
Irishconductors include: Eimear Nooneand David Brophy Leader
Theleader of theorchestra is the principal1st violinplayer. They sit to theleft of the conductor. The conductorshakes hands withtheleaderbefore and/or after a performance.
Each family of instrumentshasa musician whois responsible for theinstruments within that section; this musicianis called the principalplayer
Tuning Up!
Before theorchestra’s performancebegins, theleaderstands up andinstructsthe principaloboe to play thenote A. All the other musicians must listen carefully to the pitch of thisnote and then ensure that theirinstrument isin tune by checkingit against the A played by theoboe.
œ j Leader Trumpets FrenchHorns Timpani Harps FirstViolinsSecondViolinsFlutesClarinets Bassoons Violas Oboes CellosDoublebasses Brass Conductor’s Stand “A”Note Tuba Trombones p Percussion Piano ps Strings Percussion WoodwindAre the following statements true or false? Correct any statementsthat arefalse. Note your answers in your copybook.
1 The symphony orchestra has four sections.
2 Thestring familyis thesmallest family of instruments in theorchestra.
3 The percussion familysit at theback of theorchestra.
4 The conductorstands at the front and faces theaudience.
5 Brassinstrumentsarelouder than woodwind instruments.
6 The fluteis part of the woodwind family.
7 Theviolinis part of thebrass family.
8 Timpaniisa percussioninstrument.
9 Theleader plays theoboe.
Go to page 61 of your Student Activity Bookand complete Activity 3: The Orchestra STUDENTACTIVITYBOOK
10 Thenote A is played by theviolinso that allinstruments can check that they arein tune before the performancebegins.
We will explore theinstruments of theorchestra withthehelp of the twentieth-century English composer Benjamin Britten. His work The Young Person’sGuide tothe Orchestra was composedshortly after the Second World War. It takeslistenersonan epic tour of theorchestra. Britten was commissioned to compose the music for adocumentary film called Instruments ofthe Orchestra. The purpose of the work was to familiarise young people withthesound of thedifferent instruments that make upthe modern symphony orchestra.
WATCH edco.ie/sk29
In thisvideo we areintroduced to Britten’s clever work. We meet theorchestra and then the families before meeting theinstrumentsone by one.
ListenandRespond!
Benjamin Britten
TheYoungPerson’sGuidetotheOrchestraby Ben amin Britten
Listen to the first section of this piece played by the wholeorchestra. Tap your foot along to the pulse of the music.Can you workoutwhat the metre is? Threeor four?
Brittenbeginshis exploration of theorchestra withthe woodwind family. The fourmaininstrumentsin the woodwind familyare:
• Flute
• Oboe
• Clarinet
• Bassoon
Woodwindinstrumentsareseatedbehind thestring family onstage. Theseinstruments were originallyall made from wood. Soundis created by blowingair throughoracross the instrument’s mouthpiece. All of theinstrumentsin this family have metal keys that canbe pressed to cover holesin the tube of theinstrument that the playerisblowinginto. This changes the pitchbecauseit changes thelength of the tube. Whenit comes to sound,smaller (or shorter)equalshigher pitch! Thereare three types of mouthpiece foundon woodwindinstruments.
Edge-Blown
Air isblown across theedge of an oval-shapedholeon the mouthpiece of the flute (like when you blow across the top of abottle to make anote).
Flute, oboe,clarinet andbassoon
Single-Reed Double-Reed
A reed (a thinslice of bamboo) is clampedonto the mouthpiece of a clarinet orsaxophone. The player takes the mouthpieceinto their mouthwiththeirbottomlip on the reed,andblows.
Britten’s YoungPerson’sGuidetotheOrchestra: TheWoodwind Family
Flute
Two reedsare tightly bound togetherandareheld tightly betweena musician’s lips to create soundon the oboe and bassoon.
Originally made of wood, today the flute is usually crafted fromsilveroroccasionally gold.
A musician who plays the fluteis calleda flautist. The flautist holds the fluteso that itsticksout to theright.
Players: SirJames Galwayand Jean-PierreRampal
The flutehasasmaller cousin: the piccolo.
The piccolo is thehighest-pitched woodwindinstrument It is playedin thesame way as the flute, often by thesame player.
Piccolo
The oboe is responsible for playing thenote that the wholeorchestra will use to tune theirinstruments before a performance.Can you remember whichnote it plays?
Theoboe usesadouble reed that vibrates when you blow throughit.
Players:HeinzHolligerand David Agnew
The cor anglais isalarger cousin of theoboe that isabout 1.5 timesaslong.
The range of a voice, instrument or apiece of musicis thedistance betweenits lowest note andits highest note. Theclarinet hasa wide range of 3.5 octaves.
The clarinet has thelargest range in woodwind familyandisknown for
The clarinet isasingle reedinstrume one reed whichis attached to the mouthpi Air passesbetween the mouthpieceand reed to create thesound.
Players:Richard StoltzmanandMartin
Clarinets come in various othersizesand such asEb,A,Bb andC. Thestandard isinBb The bass clarinet is often fo orchestras too.
Thebassoonis thelargest,longestand lowest-pitched regular member of the woodwindsection of theorchestra.
Thebassoon consists of along tube folded inhalf, with lots of metal keys. Thedouble reedisinsertedinto thelong, curved metal mouthpiece.
Players: Julie Priceand Klaus Thunemann
The contrabassoon is twice aslongas the bassoon,andits tubeis foldedinto four! It is often foundinlarge orchestras.
Bass clarinet Contrabassoon
Answer the following questions in your copybook.
1 Nametheinstrumentsin the woodwind family.
2 How doessize affectthe pitch of aninstrument?
3 Whichinstrument has thehighest pitch?
4 Whichinstrument has thelowest pitch?
5 Describehow theinstrumentsin the woodwind familyare played?
6 Explain the terms edge-blown, single reed and double reed.
7 Which woodwindinstrument hasaspecial rolein theorchestra?
8 Which of theinstrumentsin this familyis your favouriteand why?
Go to page 62 of your Student Activity Bookand complete Activity 4: Instrument Fact File: Woodwind. STUDENTACTIVITYBOOK
Stringinstruments make upthelargestnumber of instrumentsin the symphony orchestra. They arealso thequietest,so they arealwaysseated at the front of thestage. Thereare four instrumentsin thestring family.
• Violin • Cello
• Viola • Doublebass
Most of thestringedinstrumentslook verysimilar to each other. Theirbodyis made of wood,and they have fourstrings. Musicians caneither move the bow over thestrings to play arco or they can pluck thestrings using the tip of their fingers to play pizzicato (pizz.). Theharpisalways plucked. It isnever played with abow.
Arco
Arco isaninstruction for stringplayers to play withthebow.
Pizzicato (pizz.)
Pizzicato (pizz.) isainstruction for string players to pluck the stringswiththeirfingers
Thebigger theinstrument, thelower itsounds! Thisisbest way to tell thestringinstrumentsapart.
Britten’s YoungPerson’sGuidetotheOrchestra:TheString Family
Violin
Viola
Cello
Theviolinis thesmallestinsizeand thehighest pitched of the strings.
Violins make upthelargestgroup of instruments.
Theviolinsaredividedinto twosections:1stviolinsand2nd violins.
Theleader of theorchestra isalwaysa member of the1stviolin section.
Players: NicolaBenedetti and Joshua Bell
Theviolalookssimilar to theviolin,but itisslightly larger insize.
Thestringson theviolaarelongerand thicker than those usedon theviolin.
Thesedifferences mean theviolahasalower pitch than theviolin.
Players: Laurence Powerand Jennifer Stumm
The celloisalarge instrument with long, thickstrings that create a low-pitchedsound.
A cellistsitsdown to play and props the cellobetween theirknees, balancingitonaspike to raiseit upfrom the floor.
Players: Yo-Yo Maand StevenIsserlis
Thedoublebassis thelargestinstrument in thestring family. The four stringsare verylongand very thick,givingita verylow pitch when played.
Doublebass playersstand upwhen they play or perchonahighstool.
Players: LeonBoschandChi-chi Nwanoku
The concertharphas47strings. TheCstringsare coloured red, and the F stringsareeitherblueorblack to help musicians to identifywhichstringis which.
Theharpisalways plucked withthe fingertips. Unlike the otherstringinstruments, thereis nobow.
Whenaharpistglides their fingersacross thestringsquicklyitis calleda glissando
Players: LoreenaMcKennitt and EmmanuelCeysson
A glissando (gliss.) isa slide upwardsor downwards fromonepitch to another.
Answer the following questions in your copybook. 1
Go to page 62 of your Student Activity Bookand complete Activity 5: Instrument FactFile: Strings. STUDENTACTIVITYBOOK
10
Thebrass family can play more loudly thanany other familyin the orchestra. Brass playersblow airinto a cup-shaped mouthpiece, using theirlips to make theairvibrate to create sound. Instrumentsin thebrass familyinclude
To change pitch, the Frenchhorn, trumpet and tubahave three valves,buttromboneshave a slide. The pitch changes when the length of the tube that theairvibratesin changes.
Mutes are used to make brassinstrumentsquieter or to change the tone (timbre) of theirsound.
Soundis createdonbrass instruments by buzzingair through your lipsinto the mouthpiece. The air then travels throughalength of tube. Thelonger the tube, the lower thenote. Larger,lowerpitchedinstruments uselarger mouthpieces.
Modernbrassinstruments have metal keys known as valves. They allow the player to play different pitches by altering thelength of the tube theair travels through. The trombone usesaslideinstead ofvalves.
Differenttypes of mute can beinsertedinto the wideend (thebell) of brassinstruments to change the timbre or to make thesoundquieter.
Britten’s YoungPerson’sGuidetotheOrchestra:TheBrass Family
French Horn
Trumpet
Tromboneand Tuba
Frenchhorns were originally used by hunters to communicateacross the countryside.
The Frenchhornis recognised by the circularshape of the coiled tube. It is played withthebell pointing to theright.
Horn players usually place theirright handinside thebell of theinstrument. Thishelps themholdit comfortablyand makes thesound more mellow. They use theirleft hand for the valves.
Players: Denis Brainand Barry Tuckwell
Trumpets were used for militaryand religious purposeslongbefore they joined theorchestra.
The trumpet is thesmallest member of thebrass familyin theorchestra and plays thehighest pitches.
Trumpeters use theirright hand for the valves.
Players: AlisonBalsom andWynton Marsalis
The trombone first appearedin theorchestra in Beethoven’s famous Fifth Symphony but hadbeen usedin churchmusiclongbefore this.
The trombone usesaslide to change pitchinstead ofvalves. For this reason,it canglidequickly betweennotes. Thisisknown asaglissando.
Players: Joseph AlessiandHelen Vollam
The tubais thelargestandlowest pitched instrument in thebrass family. It weighsabout 14kgand takesalot of puff to play!
It wasinventedin1835andjoined theorchestra around the middle of thenineteenth century.
Player:Roger Bobo
Answer the following questions in your copybook.
1 Namethe four instrumentsin thebrass family.
2 Whichinstrument has thehighest pitch?
3 Whichinstrument has thelowest pitch?
4 Describehow theinstrumentsin this familyare played?
5 Explain the terms valves and slide.
6 Whichinstrument doesnotuse valves to change pitch?
Go to page 63 of your Student Activity Bookand complete Activity 6: Instrument Fact File: Brass STUDENTACTIVITYBOOK
7 Explainhow and why mutes are used by brass musiciansin theorchestra.
8 Which of theinstrumentsin thebrass familyis your favouriteand why?
Workinpairs to solve the mystery. Who amI? Write your answers in your copybook.
1 Ihave 47strings.
2 Iam usuallysilveranddon’t needa reed to beheard.
3 Iamsolong that Ihave beenbent in two.
4 Iam thehighest-pitchedstringinstrument.
5 Ilook exactly likeall the othersin my family,but Ihave thelowest pitch.
6 Islidearound to play my tune.
7 Ineed two reeds to play,but Idon’t play thelowestnotesin my family.
8 I was playing music for the militarylongbefore Ijoined theorchestra.
9 Iambalancedonaspike.
10 Iam played by a flautist.
Youwill find the percussionsection at theback of theorchestra Thisisbecause percussioninstrumentsare veryloud. It is alsobecause percussionists (the musicians who play percussion) oftenhave to play severaldifferent percussioninstruments duringa performanceandneed to beable to move betweeninstruments without interrupting the other musicians.
Most traditional percussioninstruments arehit with astick,a mallet or thehand. Other percussioninstrumentsareshaken orscraped,andsomeare crashed togetherlike the cymbals. Percussioninstruments fallinto two categories: pitchedor unpitched.
• Pitchedpercussion instruments can play a tuneor melody.
• Unpitchedpercussion instrumentsonlyhave one pitchandare generally used to providea rhythm.
Britten’s YoungPerson’sGuidetotheOrchestra:ThePercussion Family
Pitched Percussion
Timpani,xylophone, piano,glockenspiel, marimba, tubularbells, celeste…
(Theinstrumentslistedinitalicdonot appearin Britten’s Young Person’s Guide.)
WATCH edco.ie/rm47
Unpitched Percussion
Snaredrum, bassdrum,cymbals, tambourine, triangle, woodblock, gong, castanets, whip, clave, maracas, guiro, shakers,drum kit…
Famous Musicand Sound Effectsfrom Percussion Instruments
SHOWWHATYOUKNOW
Answer the following questions in your copybook.
1 Namethe two categories of percussioninstrument.
2 Whichgroup of instrumentsin this family can play a tune?
3 Whichgroup of instrumentsin this family cannot play a tune?
4 Describehow theinstrumentsin this familyare played.
5 What do youcalla person who plays percussion instruments?
6 Which of theinstrumentsin this familyis your favouriteand why?
STUDENTACTIVITYBOOK
Go to page 63 of your Student Activity Bookand complete Activity 7: Instrument FactFile: Percussion.
ListenandRespond!
Brittenbasedhis Young Person’s Guide tothe Orchestra aroundathemewrittenbyHenry Purcell,anEnglishcomposerfromtheBaroqueera.Britten’sworkwasoriginallynamed Variationsand Fugue on a Theme of Purcell toreflectthis.
Britten’s YoungPerson’sGuidetotheOrchestra: Main Theme
Listenand follow the music printedhere.Can youclapalong withthe rhythm?
On thestavesbelow, shapesact asavisual representation of eachrhythmic value usedin this melody. Each rhythm valuehasits ownaction!
Rehearsetheactionsand thenperformthisbodypercussion patternalong with the music!
Tap Thighs StompClap
Britten’s Young Person’s Guide to the Orchestra:Final Call!
Listenas Britten takes us back to meet all of theinstrumentsone more time.
Form isa term used to describe thestructure orlayout of a piece of music.
Now that theorchestra hasbeen taken to pieces, Britten putsit togetheragainin this excerpt. He usesa form calleda fugue to do this.
A fugue isa musical piece that begins with asimple tune whichis then passedbetween other instrumentsor voices.
Go to page 64 of your Student Activity Bookand complete Activity 8:FinalCall Listening Map.
Complete thelistening map for the finale of A Young Person’s Guide tothe Orchestra by listing theinstrumentsas they joinin.
The National Symphony Orchestra (NSO) is thelargestorchestra in Ireland. The NSO isbased in the National Concert Hallin Dublin. Theorchestra playsanimportant rolein Irish cultureand societywith abusy calendar of performanceseachseason.
The NSO started off lifeasasmallgroup of musicians who were hired to play for Ireland’s first national radiostation, 2RN Whenitlaunchedin1926,2RN wouldbroadcastbetween7:30pm and10:30pm each evening, with a two-hour broadcaston Sundays. Gradually by 1946 thenumber of musiciansgrew to 40.
A musical ensemble isa group of musicians who make music together ona regularbasis.
In 1948, the radiostation,now called Radio Éireann(Radio Ireland), expanded theorchestra by inviting musicians fromall over Europe to join. Thisnew orchestra wasnamed the Radio Éireann Symphony Orchestra. In 1961, theservicebegan to make televisionbroadcasts and changeditsname to Radio Teilifís Éireann (RTÉ) The RTÉ Symphony Orchestra (RTÉSO) was by now seenas thenationalorchestra of Ireland. So, when the orchestra wasagainenlargedin1989,itadoptedits current name: the National Symphony Orchestra. Today, the NSO isavibrant ensemble. Talented musicians continue to bringlive performances to audiencesacross Irelandandaround the world. In recent years, the NSO has reachednew audiences by performing filmscoresduringscreenings of moviessuch as Jurassic Park, Ghostbusters and CasinoRoyale.
WATCH
edco.ie/n9b7
The National Symphony Orchestra 2022–2023 Season
Composea radiojingle for theannouncement of the NSO’s Summer Lunchtime Series. ComposerBrief!
Go to page 64 of your Student Activity Bookand complete Activity 9: National Symphony Orchestra (NSO) Radio Jingle
The National Symphony Orchestra performsabusy programme of workseach year. Theensemble is keen to promote the music of Irish composers,and they schedule performances of works by Irish composers everyseason.
Bill Whelan wasbornin Limerickin1950. He isa composerand musician. He writes music for theatre, film, televisionandorchestra Bill Whelanhas worked withmany Irish musiciansandsongwriters,including U2, James Galway and Planxty.
Billisbestknown around the world for his composition Riverdance. This work was composedasa piece of incidental music to be performedduring the interval of the Eurovision Song Contest whenit washeldin Irelandin1994.
Celebrated worksinclude Riverdance, The O’Riada Suite,The Seville Suite,The Spiritof Mayo and TheConnemara Suite.
WATCH edco.ie/ksjj
Riverdance by Bill Whelan
Bill Whelan’s Riverdance is performedhere by the National Symphony Orchestra, conducted by Irish conductor David Brophy.
Shaun Davey wasbornin Belfastin1948. He has workedasa fulltime composersince the1970s. He has composedscores for TV, film and theatre. Many of his concert worksare recognised for fusing Irish and classical traditions together.
His first concert work was titled TheBrendan Voyage. In it,he pairs the Irish traditionalinstrument, the uilleann pipes, with a symphony orchestra. The music tells thestory of Tim Severin’s voyage across the Atlantic to explore thelegend of St Brendan.
In the performance youwillsee the uilleann pipes played by traditional Irish musician Mark Redmond,accompanied by the NSO.
Celebrated worksinclude The Brendan Voyage,ThePilgrim,The Granuaile, Hymnto a SettingSun, andRefuge, Concerto for Celloand Orchestra.
WATCH
edco.ie/6ybb
‘Newfoundland’ from The BrendanVoyage by Shaun Davey
Shaun Davey’s‘Newfoundland’, fromhissuite for uilleann pipesandorchestra, The Brendan Voyage,is performedhere by soloist Mark Redmondaccompanied by orchestra. David Brophy is conducting.
STUDENTACTIVITYBOOK
• Go to page 65 of your Student Activity Book and complete Activity 10: Go Compare!
STUDENTACTIVITYBOOK
• Go to page 66 of your Student Activity Bookand complete Activity 11: CelticSounds.
An orchestra isagroup of musicians that play together, usinga wide range of different instruments.
A symphony orchestra has four instrumentalsections: strings, woodwind,brass and percussion.
A conductor directs anorchestra from the front, communicating to the performershow the musicshouldbe played.
Thelead musician of theorchestra is the principal1stviolin player,and they areknown as the leader.
Thestring familyis made up of violins,viola, cello,doublebassandharp.
Theharpisa member of thestring familybut isalways plucked withthe fingers.
The woodwind family’s maininstrumentsare flute, clarinet, oboeandbassoon.
Thebrass familyincludes the Frenchhorn, trumpet,tromboneand tuba.
Percussioninstrumentsareeither pitched (which can play a tuneor melody)or unpitched (they have onlyone pitch).
Arco (bowed), pizzicato (plucked)and glissando (slide)aredifferent playing techniques.
The National Symphony Orchestra (NSO)is thelargest symphony orchestra in Ireland.
2RN was the first radiobroadcastingstationin Ireland. It isnow known as RTÉ.
Pair Them Up! Find the mostlogical pairs by choosingsomething from the Word Bank to go with each of the keywordsin thegrid. Writedown yourpairsin your copybook.
OrchestraBrass Pizzicato
Conductor Percussion Glissando
Ensemble Pitchedpercussion Form
StringsUnpitchedpercussion Jingle
Woodwind Arco Playlist
Vocal music is music performed by oneor more human voices, with or without instruments.
Longbefore there were instruments, there were voices. Thehuman voiceis expressiveand versatile. Our ancestors often usedsong to express themselves. Thereisnohuman culture,no matterhowremote, that doesnot sing!
Singing produces feelings of wellbeingand canboost your sense of happinessand positivity. Coming together to sing with others createsasense of community. Joininga choir canhelp those whoare going throughdifficulttimes.
David Brophy isan Irish conductor wholivesin Dublin. We watched David conducting the National Symphony Orchestra earlierin this unit.
During the Covid-19 pandemic, David formeda choir made up of healthcare workers fromacross Ireland with 71 membersin the new FrontlineChoir. Davidandhissingersbegan theirjourney in a Level5lockdown,so they hadno choicebut rehearseon Zoom. They workedonanarrangement of U2’s ‘Sometimes You Can’t Make It On YourOwn’.
The choir madeavideo to go withthissong. It shows thesingersduring theironline rehearsals,as wellas footage recordedinhospitalsandaround Irelandduring the pandemic.
David was keen that members of the choir were able to share theirstories. Some singers lost colleaguesor family membersduring this time. Thegroup decided to dedicate their performance to Ireland’s many healthcare workers wholost theirlives to Covid-19.
The musicvideo was projectedonto theoutside wall of abuilding at St Vincent’s University Hospitalin DublinCity, thatwas usedasa Covid-19 ward Somemonthslater when the choir eventually met in person,itbecame clear that strongbonds were formedbetween members.
edco.ie/w22v WATCH
David Brophy’s FrontlineChoir
Watch David Brophy’s incredible FrontlineChoir perform U2’s ‘Sometimes You Can’t Make It On YourOwn’.
STUDENTACTIVITYBOOK
Go to page 67 of your Student Activity Bookand complete Activity 12:Choir PosterCampaign.
The voices of menand womensound different. Typically, female voicesarehigher in pitch,and male voicesarelower in pitch. Women’s voicesare oftendividedinto two groups: soprano (high)and alto (low). Men’s voicesarealsodividedinto two maingroups: tenor (high)and bass (low). Each voice type hasits own range.
Voice Types Range
Voice type isa category for singing voices that have asimilar vocal rangeand timbre, e.g.soprano.
The range of a voice,instrument or piece of musicis thedistancebetweenitslowestnote anditshighestnote
Mixed choirsare generally made up of all four voice types: Soprano, Alto, Tenorand Bass. You may see theabbreviation SATB used for short.
Female Voice Types
Male Voice Types
Soprano Alto TenorBass
The soprano is the highest female voice.
The alto is thelowest female voice.
The tenor is thehighest male voice.
The bass is thelowest male voice.
Listen to these excerpts. Each excerpt featuresone of the voice typesinallitssplendour! Do the voice typesdiffer in other ways as wellas pitch? Which voice type do youthink youfit into?
Soprano
Alto
Tenor
Bass
‘The Queen of the Night’ from The Magic Flute by Mozart
‘Sea Slumber Song’ from SeaPictures by Edward Elgar
‘La Donnae Mobile’ from Rigoletto by Verdi
‘Fahrt zum Hades’ by Schubert
STUDENTACTIVITYBOOK
Go to page 67 of your Student Activity Bookand complete Activity 13:Listenand Respond!
Rehearse andperform thesongbelow together. Use the rehearsaland performance tracks provided. The performance trackshave beendesigned to help you to prepare for alive performance together.
Kookaburraisa traditional round from Australia. It can be sungin up to fourparts.
To performa round,all four groups of singerssing thesame melody, but eachgroup begins (andends) at different times. The points whereeachgroup shouldstartarelabelled with numbersin the score. Each group addsanotherlayer to the performance.
First,practisesinging the melodyingroups. When you have masteredit,split thegroup into two. Thesecondgroup starts singing from thebeginning when the first group reachesbar3, marked 2 in thescore. Youcansplit into threeor four groups if you wish (they start when you reach 3 and 4 ).
A round isa type of songwhere several voices sing the same melodybutstart at differenttimes.
• Record a performance of Kookaburraandlistenback to it. How doesitsound?
• Shareone piece of positive feedback that you wouldgivebasedon what you heard. What wentwell?
• Shareone piece of advice for performers which couldhelp to improveyourperformance. What canbeimproved?
Answer the questions in your copybook.
1 Identifythe key signature of ‘Kookaburra’.
2 What is the time signature?
3 Identifythe value of the restinbar5.
4 Identifythe range of the music.
5 Identifytheonlynote of the majorscale that doesnot appearin this melody?
6 Does the melodyendon the keynote/tonic (doh)?
‘Dona Nobis Pacem’ isa Latin hymn that canalsobe performed asa round. The melodyis veryoldandhasbeen passed down by word of mouthfrom one generation to thenext. The composeris unknown The wordsare fromashort prayer for peace foundin the Latin mass. ‘Donanobis pacem’ translatesas ‘Grant uspeace’.
• Melody
• Accompaniment
Vocal music is music performed by oneor more human voices with or without instruments.
Maleand female voicesare categorisedbasedon the range of notesasinger can comfortablysing.
The range of a voice,instrument ora piece of musicis thedistancebetweenitslowest note anditshighestnote.
Soprano, alto, tenor and bass (SATB) are the fourmain voice types.
Soprano is thehighest-pitched female voice.
Alto isalow-pitched female voice.
Tenor isahigh-pitched male voice.
Bass is thelowest-pitched male voice.
A round isa type of song whereseveral voicessing thesame melodybut start at different times.
Lyrics are the words to asong.
A hymn isa religioussong whichissungin praise of Godora god.
Music Muddle! Can you sortoutthese musicaldefinitions? Change one word ineachsentence to make itaccurate. Write the word that needs to be replacedandits replacement in your copybook.
1 The tenorhas thelowest range of thehuman voice types.
2 When performinga round, the musicians must all come inaltogether.
3 A sopranohas thelargest vocal range.
4 An altoisa woman with a veryhigh voice.
5 Thebass partis generally played by men.
6 Vocal musicnever haslyrics.
A musical ensemble isagroup of musicians who make music togetherona regularbasis. An ensemble may performinstrumentalor vocal music. Thesegroups areknown by distinct names.
In addition to the National Symphony Orchestra (NSO), thereare the RTÉ Concert Orchestra, the IrishChamber Orchestra, the National Youth Orchestra of Ireland, the National Symphony Chorusand many other musicalensembles! Musicalensembles have distinct names that often tell us more aboutthestyleor genre of music they perform.
In this chapter we will explore four musicalensembles: pops orchestras, gospel choirs,jazzbandsand rock bands.
A pops orchestra isanorchestra that plays popular musicas wellas well-knownclassical works. Pops orchestras play funclassical works by composerssuch as Strauss, Beethovenor Mozart. They also perform music from popular genressuch as music from musicals, movie themes,video-game musicand music by popular artistssuch as The Beatlesor U2 Ireland’s RTÉ Concert Orchestra is renowned for their performances of music in popularstylesand genres.
TheRTÉConcertOrchestra(RTÉCO)
A musical genre isa broad categoryor type of music that shares certain characteristics, e.g. rock,jazz, rap.
The RTÉ Concert Orchestra perform at the Eurovision Song Contests,having famously performed Riverdance at theinterval of the1994 contest.
The RTÉ CO has featuredas the‘houseorchestra’ for episodes of The Late LateShow and Dancing withthe Stars They have also recorded the filmscores for the movies Room and Albert Knobbs. The RTÉ CO perform at Electric Picnic,anannual music festivalin Co. Laois.
Despite the challenges of the Covid-19 pandemic, the RTÉ CO continued to rehearseand perform. Performances of ‘Giants’ with Dermot Kennedyand‘N17’ with Tolü Makay aresome examples of their workduring thisdifficultperiod for Irishartists.
• The RTÉ CO and Jenny Greene play ‘Everybody’s Free’ at Electric Picnic
• Tolü Makay and the RTÉ CO performance of ‘N17’
edco.ie/t336
• The Pirates oftheCaribbean filmscore performed by the RTÉ CO
edco.ie/mrse WATCH
edco.ie/yf45
A choir isa group of vocalists. Choirs were originally formed to sing religious music,but over time, choirshave adapted to singallstylesand genres of music. In section6.3 we learnedaboutthe fourmain voice types. Somechoirsincludeall four voice types(SATB),but others usedifferent combinations. Gospel choirssing religiousandnon-religious musicina modernstyle.
The Dublin GospelChoir isan Irish gospel choir that hasbeen performingin Irelandsince1995. The choir beganasaschool choirin Dublin’s inner-city andhas growninsuccesssince then. The choir consists of all four voice types and often features soloists. DGC perform at many big events in Ireland,including their annualappearance at Electric Picnic!
Theiraudiencespans many European countries,and they have shared thestage withmany well-known stars including Stevie Wonder, Rod Stewart, John Legend, Kodaline, Take That, Damien Rice and TheChieftains. They have alsobeeninvolvedin projectswith brands such as Microsoft, Apple, Coca-Cola, Vodafoneand O2.
‘Get on My Love’ by Picture This, featuring the Dublin GospelChoir
Watcha performance of ‘Get on My Love’ by Picture This withthe Dublin GospelChoir. It was recordedlivein the2FM radiostudio. edco.ie/6am4
Jazzisa genre of music that originatedin New Orleans, USA during thenineteenth century. Jazz musicis recognised by itsdistinctive sound, combining Europeanelementswiththe West African music of slaves taken to the Americas. Thisgivesrise to its uniquerhythms and the combination of instrumentsinvolved.
Jazzensembles featurea mix of instruments including piano,drums,saxophone,double bass, trombone, trumpet and other percussion instruments.
Thedrums are often played usingbrushesinstead of drumsticks,and thedoublebassis usually pluckedandnotplayed with abow. Can you remember what this performing techniqueis called?
edco.ie/46n2 WATCH
Jazz Band Ireland– The SwingCats ‘Sing, Sing, Sing’ by Louis Prima
Answer the following questions in your copybook.
1 In addition to the threesaxophones, what instruments make upthisband?
2 What playing technique does thestring player use?
3 How does thebrass playeralter thesound of hisinstrument?
4 What is the mood of this piece of music?
Since1978, The Cork Jazz Festival hasbeenanannual event heldin CorkCity over the October Bank Holiday weekend.
Hot Press magazinehasinvited you to review this year’s festivalline up and to compilea programme of jazz for their readers to consider attending. What musicisonand where? Research this year’sjazzline up and compilea programme for an evening of jazzin your copybook.
A rockband isasmallensemble of four or five musicians who perform rockmusic. Rockmusicis loudandintense. Bandsare typically made up of leadguitar,rhythm guitar,bassguitaranddrums
A lead vocalistsings theirsongsand often playsan instrument as well.
Lead,rhythm andbassguitarsare plugged into speakers (amps), whichare turned up very high. Bassanddrumsprovidea powerful beat.
Keyboardsor synthesisersaresometimes used too.
A selection of music by Irish rock bandshasbeen compiledhereina ROCKÉIRE playlist. Use the URLsbelow to listen to thesongson the playlist.
0.28
-4:16
ROCKÉIRE
‘SundayBloodySunday’byU2
‘Zombie’byTheCranberries
‘TheBoysareBackin Town’byThinLizzy
‘DeargDoom’byHorslips
‘Run’bySnowPatrol
STUDENTACTIVITYBOOK
Go to page 69 of your Student Activity Bookand complete Activity 15: RockÉire Playlist
A musical ensemble isagroup of musicians who make music togetherona regularbasis.
Eachtype of musicalensembleisknown by adifferent name:orchestra, choir,jazzband, marchingband, rock band etc.
A pops orchestra isanorchestra that plays popular musicas wellas classical music.
Gospel choirssing religiousandnon-religious musicina modernstyle.
Jazzisa genre of music whichoriginatedin New Orleans, USA,andis recognised by its uniquerhythms and theinstruments used.
A rock bandisasmallensemble of four or five musicians who perform music that is typicallyloudandintense.
Use the keywordsbelow to fillin the gapsin this sentence. Write your answers in your copybook.
The isa type of . Many s play more thanone of music. The National Symphony isa basedin the National Concert Hallin Dublin. Film musicand classical are two s that regularly featureonits programmes.
• Musicalensemble
• Orchestra
Therightmusic makesanadvertisementmore memorable. Good advertsare often remembered for their catchy jingles or clever use of popularsongsororiginalscores.
A jingle isashort tuneorsong used to advertisea product in the media.
• Genre
Everyone who worksinadvertisingknows that music cangrab the attention of potential customers, makingaudiences aware of their product or brand. Advertisershave the choice of gettinganoriginalsong composed,or usingan existing piece of music.
The closer the matchbetween the musicand theaction happeningon screen, the more powerfultheadvert willbe. It might be that the lyrics of a piece of vocal music area really good fit. Can youthink of anadvert that makes use of vocal music? Matching the tempo or mood of the music to thevisuals canalso work very well.
The lyrics are the words of a song.
Jingles are composedespecially for a particularadvert. A winning jingle isashort catchy phrase that is memorable. It may have words,butmany jinglesdonot. The key thingis that itiseasy to remember. ‘Ba-da-ba-ba-baI’m Loving It’ isan example of very successful jingle. It hasbeenheardin McDonald’sadvertssince 2003– with wordsand without!
edco.ie/3jn9 WATCH
‘I’m Lovin’ It!’
Coca-Colaisonebrand that usesoriginal music to advertiseits products. Theads often focus on making theviewer feel goodaboutthemselvesso that they want to be part of the Coca-Cola experience, rather thanon the product itself. Oneadvantage of usinganoriginal scoreis that the company can make sure theirbrandnameorsignaturejingleisalsoincluded in the music.
edco.ie/wztv WATCH
‘I’d Like to Teach the World to Sing’
Can you spot thebrandnamein thisadvert from1971?
Popular songs help to connect a productwith a target audience. Addinga piece of a well-knownpop song to anadvertisanother way to connect viewers to that ad. If viewers alreadyknow andlove the music, they will respond positively to theadvert. If they likeand respectthe performer(s), they may likeand respectthebrand too. All of this makes them more likely to buy a product and talkabout it. Hit songshave been usedinads for bigbrandssuch as Nike, AppleandCadburys.
‘In the Air Tonight’ was released by singer Phil Collinsin1981. In 2007, 26 yearslater, Cadbury’s used thissonginits TV advert. Theadvert starts with a close-up of a gorilla whoseems to bebreathinginasmell on theair.As Phil Collins’s vocal track plays, we graduallysee that the gorillaissitting at adrumkit. Finally, the gorillabegins to joinin with theiconicdrum riff from thishitsong.Cadbury’s taps into thesuccess of thesong to sell their chocolate!
edco.ie/tp4v WATCH
Cadbury’s Gorilla Advert
In 2023 Vodafone collaborated with Eurovision2022 runner-up Sam Ryder to create astory for theirnew advert for Vodafone EVO, a range of refurbished phones.
Vodafone claims that buyinga refurbishedsmartphone rather thananew one will prevent about 50kg of carbondioxide frombeing releasedinto the atmosphere. It willalso mean that 164kg of raw materialsdonot have to be extracted from theground. Even Vodafone SIMcardsarenow made from recycled plastic. In addition, Vodafoneaims to reuse, resellor recycleall of itsnetworkequipment by 2025.
The company chose Sam to beanambassador for thembecause they believe that heshares their commitment to sustainability. Theadvertshows a motheranddaughter trying to photograph themselvesin their Sam Ryder T-shirts. Sadly, theirold phoneisnotup to thejob. Theadvertends as we see the fans usinganewrefurbished phone to take aselfie with Sam ashe performshis song‘More’.
edco.ie/m6hp WATCH
Vodafone EVO
Advertisers use musicin commercials to create anemotional response. Watch the Vodafoneadvertagain. In agroup,talkabout thesequestions.
1 How does thisadvert make you feel?
2 Do youthink thisadvert triggers your emotions?
3 What features of the music play a partin this?
4 Does thead make you feel that you wouldbe more likely to buy a refurbished Vodafone?
Some advertisers choose to use classical musicin theiradvertising campaigns.Classical music can evoke a mood of luxury,quality andsophistication.
edco.ie/nv7y WATCH
The New Audi Q8’s Big Entrance
Audiisaluxury car brand. In 2008, the marketing team at Audi chose the‘Dies Irae’ from Verdi’s MessadaRequiem for itsnew advert. This powerful workis performed by a choir of forty singersand the Odessa Philharmonic Orchestra. It was filmed at the Port of Odessain Ukraine.
Theaction takes placein thedockyard at night. There isa feeling of anticipationas theorchestra tune up. Theadvertising messagein thisadvertis that thisisa car whichdemandsaspectacularentrance. Thisadvertisdramatic,and Verdi’sstirring musicis essentialin creatinga thrilling atmosphere.
Sam Ryder
Odessa Philharmonic Orchestra
STUDENTACTIVITYBOOK
• Go to page 69 of your Student Activity Bookand complete Activity 16: Audi Q8 Advert.
STUDENTACTIVITYBOOK
• Go to page 70 of your Student Activity Bookand complete Activity 17: Music in Advertising Research Task.
A jingle isashort tuneorsong used to advertisea product in the media. The lyrics are the words of asong.
Here are the keywords you have met in UnitA6. Lookback through this unitand revise these terms.
• Timbre
• Soundsource
• Instrumentation
• Programmemusic
• Orchestra
• Conductor
• Strings
• Woodwind
• Brass
• Percussion
• Pitched percussion
• Unpitched percussion
• Arco
• Pizzicato
• Glissando
• Form
• Vocal music
• Voice type
• Range
• Soprano
• Alto
• Tenor
• Bass
• Hymn
• Round
• Jingle
• Lyrics
• Ensemble
• Playlist
• Genre
Review and reflect onall of thelearning tasks you have completedin UnitA6. Choose two tasks that you have enjoyed workingon.
In your copybook, record yourthoughts aboutthe two tasks you have chosen.
1 What did you enjoy about thelearning experiences you have chosen?
2 What haveyou learned from completing these tasks?
3 Were thereany challenges?
4 What advice would you give to anotherstudentwhoisabout to begin these tasks?
WHENYOUHAVECOMPLETEDTHISUNITYOUWILLBEABLE TO… LEARNINGIN FOCUS!
Identify anddescribehow different layers withina piece of musicinteract.
Identify anddescribe the texture of a piece of music.
Recognise the roleharmony playsin providingsupport to a melody.
Understandhow triadsare constructedand used to compose music.
Choose major chords to addaharmoniclayer to support a melodyline.
Listen to identifywhere chord changesoccur ina piece of music.
Designaccompanimentsthat addharmonicsupport to a melody.
Understand cadencesand recognise thedifferencebetween finishingandnon-finishing cadences.
Constructchord progressions that help to make piece of musicsound finished.
Texture describes thelayers orlinesina piece of musicandhow theseinteractwith eachanother.
‘Grace’ by FrankandSeanO’Meara
Listen to this performance of ‘Grace’, an Irish folksong.
Thereare two layers of sound; the melodyand the accompaniment.
Texture is the term used to describe thelayers ina piece of musicand how theselayers interact.
Describing the texture of ‘Grace’ allows us to explain how the melody and the accompaniment interact with each other. Whichlayer sounds more important in the performance you have justheard, the melodyor the accompaniment?
Melody isanother word for tune.
The accompaniment is the music that isplayed at the same time as the melodyandprovidesabackground for it.
The melody is the mostimportanttuneina piece of music. It holdsour attention more than the otherlayers orlinesdo. It is generally the most memorable part.
Chooseasong that everyoneknows and whistleit together. What linedid you whistle? Chancesare, you all whistled the melody!
The accompaniment isanother musicallayer. It is played at thesame time as the melody. The role of theaccompaniment is to provide support tothe melody.
Thereare many different styles of accompaniment. Some instrumentsare more suited to providinganaccompanimentthan others.
Go to page 71 of your Student Activity Bookand complete Activity 1: Texture
In music, texture canbedescribedasbeing thin or thick Pieces of music with onlyone melodyline might bedescribedashavinga thin texture. Music that has many linesorlayers woven togetherisdescribedashavinga thick texture.
Thereare three terms used to identify the texture of a piece of music: monophonic, homophonic,polyphonic
Theimagesbelow are visual representations used to illustrate the three texturesnamed above
THINK’N’LINK
In pairs,discuss theseimages. What do youthink theshapesand coloured linesareintended to represent?
Monophonic Homophonic Polyphonic
Monophonic musichas onelayer: the melody.
Monophony is thesimplest of the three textures. The term monophony means ‘onesound’.
Thereisnoaccompaniment in monophonic music.
When musiciansperform in unison,they sing or play the same thing at the sametime and at the same pitch (or exactly one or more octaves apart).
Percussioninstruments mightplay arhythm along with a piece of monophony, butthisdoesnot alter thestatus of the music. It is stilldescribedas monophonic.
A7.6
PartitainE Major for Solo Violin by JohannSebastian Bach
This performanceisan example of monophony. One melodylineis playedonviolinand there isnoaccompaniment.
Monophonicdoesnotmean thereisonlyone performer. There canbe two, tenora thousand performersaslongas they areallsingingor playing thesame tune at once. What makes the music monophonicis that every performerissingingor playing thesame melody at thesame time! TOPTIP
Are the followingstatements true or false? Write your answers in your copybook.
1 The melodyis played by violinand cello.
2 Theviolinbelongs to thestring family.
3 The melodyisaccompanied by pianoandharp.
4 The tempo of the musicin this excerpt is fast.
5 Thedynamics usedin this excerpt are pianissimo.
6 The melody moves mainly by step.
7 The mood of the musicisdarkandgloomy.
8 The pitch of the melodyishigh.
Homophonic musichasa melodyandanaccompanimentwhichprovidesharmonic support.
The termhomophony means‘thesamesound’. In homophonic music, the mostimportantpartis the melody,butthereisalsoanaccompanimentthat supports the melody.
Homophony is the texture we are most familiar with Hymns, folksongsandlots of popularsongsare homophonic. The melody plays thelead role whilst the accompanimentplaysasupporting role.
In many popularsongs, the melodyissung by thelead singer,accompanied by the rest of thegroup onguitar, pianoanddrums Theseinstrumentsare supporting the leadsinger’s vocalline. The melodyis the focus of interest, while theaccompanimentprovidesabacking.
A7.7
‘Ave Maria’ by FranzSchübert
This performanceisan example of homophony The soprano sings the melody,accompanied by the piano.
The soprano is the highest female voice type.
Listen to the musicandanswer the questions in your copybook.
1 Namethe composer of this piece of music.
2 In which country was this composerborn?
3 Identifytheinstrument that plays theintroduction.
4 Identifythe voice type heardin this performance.
5 Namethe fourmain voice types.
6 How many layers areheardin this performance?
7 Identifythe texture of this performance.
8 Describe the mood of this excerpt.
Polyphonic musichas twoormoreindependent melodiclines woven together.
The term polyphony means‘many sounds’.
In thevisual representation of polyphony shown here,eachindividual melodyis represented by a different colour line. Theseshow how different melodies weave togetherduringa performance of polyphonic music.
ListenandRespond!
‘La Confrontation’ from LesMisérablesby Claude-Michel Schönberg
This excerptfrom LesMisérables isan example of polyphony. Two male vocalistssing their ownindependentmelodies. As thesong progresses the two vocal melodiesare heard weaving througheach other over theorchestral accompaniment.
In Unit6 youperformed‘Kookaburra’ togetherasa round When twoor more voicessinga round, the textureis polyphonicbecause the melodylines weave together. In a round,different performerssingor play thesame melody inimitation. This means that each person imitates themelody performed by the previous person, comingin when they get to a fixed point in the melody. Canon is the technicalname for a round. A canon usesstrict imitation.
‘Viva,vivala musica’
A round isa type of song where several voicessing thesame melodybut start at different times.
This three-part round was written by German composer andorganist Michael Praetoriusduring the Renaissanceera (around1400–1600).
Divide yourclassinto threegroups and perform thissongin canon Rehearseeach phraseseparatelybefore youperform the pieceasa round. The three entry points arenumberedon thesheetmusic.
Perform this canon withtheaccompaniment. A7.8 A7.9
The texture of a piece of musicdoesnot have to stay thesame throughout. A piece may begin with one textureand change to another.As you listen, you should consider
• how many linesorlayers thereare.
• whether thelayers work togetherin unison orin harmony or whether thelinesare woven together. TOPTIP
ListenandRespond!
A7.10 A7.11 A7.12
Listen to three excerpts and workin pairs to identify the texture of the musicheardineach excerpt. For each excerptchoose theimage that best representsthe texture of the music. In your copybook,writedownthenumber of the excerpt and theletter of theimage.
Go to page 72 of your Student Activity Bookand complete Activity 2:Visual Representations. STUDENTACTIVITYBOOK
When we areasked to describe the texture of a piece music, we need to give more information thanif we areasked to identify the texture.
Identify
When you areasked to identify the texture of a piece of music, youcan use the terms monophonic,homophonicor polyphonic.
Naming the type of texturein this way gives theinformation you have beenasked for.
Describe
Describing the texture of a piece of music involvessharing moredetail aboutthe music.
To describe the texture, you should explain what ishappeningin the music. What layers areheard andhow are they interacting with each other?
To givea full picture of the texture of a piece of music,itisa goodidea to identify the texture and then describe it. Use the terms monophonic,homophonicor polyphonic to identifythe texture,and then explain the reason for yourchoice by talkingaboutthe musicheardin the question. Try to identifythe voiceorinstrument performing the musicineachlayer and then describe what they are playing.
Here isan example:
The musicin this excerpt is homophonic The strings are playing the melody and brass instrumentsare playing chords to accompany it. or
The texture of this performanceis polyphonic The flute andclarinet are playing two contrasting melodies,heard at thesame time.
Texture isa feature of a piece of musicand canbelistedasa featurein questions that ask you to ‘identify a feature of a piece of music’.
Answer the following questions in your copybook.
1 Explain the term texturein your own words.
Go to page 72 of your Student Activity Bookand complete Activity 3: Describing Texture A7.16 A7.13 A7.14 A7.15
2 Explain thedifferencebetweena piece of music with thin textureand piece of music with thick texture.
3 Explain the term monophony.
4 Explain the termhomophony.
5 Explain the term polyphony.
6 Name one piece of music that you have performedasa round.
7 Explain why a roundisa form of polyphony.
8 Describe the challengesinvolvedin performinga roundasagroup.
A rhythmic addition to a piece of musicdoesnot affect how we identifythe texture, although we may comment onit when we describe the music. RECAP
Texture describes thelayers orlinesina piece of musicandhow they interact.
Thereare three terms used to describe texture: monophony, homophony and polyphony.
The texture can changeduringone piece of music.
Monophonic music hasone melodyline. All parts performin unisonas thereisonlyone melodyline.
Homophonic music hasone melodyline that issupported by anaccompaniment.
Polyphonic music has twoor more interweaving melodylinesheard at thesame time.
A round or canon isa form of polyphony.
Taboo! Chooseone of the keywordsbelow. Without saying the word itself,briefly explain what it means.Can yourpartnerguess which keyword you are talkingabout? How many words can you getthem to identify in two minutes?
• Texture
• Melody
• Accompaniment
• Monophony
• Homophony
Harmony is created when twoor more notes of different pitchare playedorsung at thesame time. Harmony is used to supporta melody. We candescribe thisas harmonic support for the melodyline.
edco.ie/3g8p
‘Dreams’ by The Cranberriesperformed by Irish Womenin Harmony
Watch thisarrangement of ‘Dreams’ recorded by the female vocal group Irish Womenin Harmony. Theoriginal track was released by The Cranberriesin1993. The vocalistsaresinginginharmony.
Irish Womenin Harmony isa collective of Irish femaleartists who have come together to support, create and perform music. In 2020, they collaborated to re-work, record and release this cover of ‘Dreams’ by The Cranberries.
Irish Womenin Harmony brings togethersome of Ireland’s most talentedandaccomplished musicians,includingartistssuch as Tolü Makay, Lyra, Imelda May, Allie Sherlockand Una Healy. They have over 200 million Spotify streams. For more informationon Irish Womenin Harmony and theartistsinvolved, go to www.irishwomeninharmony.com.
In thisvideo, thereis more thanone voiceheard, they arenot singing thesamenotes (unison). How do the vocalistsknow whichnotes will sound good together? We willlearn more about how harmony worksin this unit.
Chordsare often used to provide harmonic support to a melody. A chord consists of twoormorepitchesplayed at the same time.
Harmonic support is the use of harmony to provideanaccompaniment or backing to the melodyline.
Adding harmonic support to a melody changes the texture of the music. It sounds fullerandaddsinterest to the music.
The Cranberries
Thechord of C major & w w w
Not allinstruments can play chords. To play chordsaninstrument mustbeable to play two or more pitches at thesame time Instruments that can play onlyone pitch at onceare more suited to playing the melody.
MelodyinstrumentsHarmony instruments generallyplay justonenote at once.are able to play chords.
Go to page 73 of your Student Activity Bookand complete Activity 4: Melodyand Harmony Instruments
A chord canbe created when twoor more melodyinstrumentsshareout thenotes of the chord. For example, the Frenchhornsin thebrasssection of anorchestra couldshareoutthe notes of chordsbetween them.
In this piece of incidental music from the filmscore for Pirates of theCaribbean, twohorn playersdemonstrate that chords canbesharedout between melodyinstruments. Follow the movingscore to see where the chordsare played. WATCH edco.ie/uzqe Pirates oftheCaribbean – Maelstrom
When thenotes of a chord clash, they create dissonance, whichisharshonour ears. Dissonanceisa good way of illustrating uneasy moodsanda feeling of tensionin music. Most of the time, moments of dissonanceareshort-livedand are resolved using chords that are pleasing to theear. This createsasense of release.
Dissonance isa combination of notesthat create aharsh orunpleasantsound. Dissonancecreates feelings of tension in music.
A7.17
Listen to the chord progression which featuresadissonantchord. Notice how the dissonantchordin the progressionsounds resolved by the chords which follow.
STUDENTACTIVITYBOOK
Go to page 73 of your Student Activity Bookand complete Activity 5: Dissonant Chords.
A7.18
LEARNINGINREVIEW!
Explain the term programmemusic.
A5.36
In Unit5, you were introduced to the music of Mussörgsky,a composer of programmemusic.
In your copybook:
• Writeashortblog poston programmemusicin the Romanticera.
• Listen to this pieceagain, paying attention to the role dissonance playsin the music.
• Describe Mussorgsky’s use of dissonancein Nightonthe Bare Mountain andsuggestone other piece of illustrative music that readersshould considerlistening to after reading your blog post.
Incidental music isbackground music used to create or enhance aparticular atmosphere or to accompany action. Incidental music is usedin theatre, TV,gaming, radio programmesand film.Can you name one piece of incidental music you have listened to?
Sometimesdissonanceis used to create tensionorsuspenseinincidental music. Composers usedissonant sounds to illustrate dark themes, moodsor characters
WATCH edco.ie/uzqe
Watch the clip from Pirates oftheCaribbean again. What is the mood of thisscene? How does the musicillustrate this? With a partner discuss other moodsand characters that youmight illustrate usingdissonance.
Answer the questions in your copybook.
1 What isharmony?
2 Explain the termdissonance.
3 What are chords?
4 List twoinstruments from theorchestra that aresuited to playing chords.
5 Explain the term programme music.
6 Name one composer of programmemusic.
7 Suggestone reason why composers of incidental music mightusedissonancein their compositions.
8 Identifytwo moods that couldbeillustrated usingdissonance.
Harmony is created when twoor more notes of different pitchesare playedorsung at thesame time.
Dissonance occurs when twoor more pitchesheard at thesame timecreate aharsh and unpleasant sound.
A chord is created when twoor more pitchesare playedsimultaneously.
Chordsare used to provide harmonic support to the melody.
Instruments used to play harmony include theguitar, the pianoand theharp.
Composers of programmemusic and incidental music usedissonance to illustrate tensionanddark moods, themesor characters.
Dissonantsoundsare often used to illustratedark themes.Match It! Chooseone of the keywords from the Word Bank to matcheachdefinition. Write your answersin your copybook.
1 Twoor more notes played together.
2 Twoor more notes played together that soundharsh.
3 An instrument that canonly play onenote at once.
4 An instrument that can play severalnotes at once.
5 Music that illustratesa moodoractionina film,game or piece of theatre.
6 Chords used to accompany a melodyline.
7 Thesound created by twoor more notes playedor sung together.
A triad isa type of chord that consists of threenotes: the root, the thirdand the fifth.
Word Bank
Dissonance
Harmony
Harmonicsupport
Harmony instrument
Melodyinstrument
Chord
Incidental music
Triads canbebuilton everynote of thescale. Thenote you build uponis called the root. All triadsarebuilt from the root upwards. Thenextnote you needis the third note upfrom the root. The top note is the fifth note above the root.
The root is thebottom note of a triad, that is,thenote we build the triad on.
Look at thenotes of the C major scale printedbelow. Start withthe first note C. To builda triadon thisnote, youmust identify the third (whichis the thirdnote upfromC)and the fifth (whichis the fifth note upfromC). The threenotes of a triadare then stacked one on top of the other.
A7.19
We canstartonany of the othernote of theC majorscaleandbuilda triadin thesame way. 5
CD
Youcan use yourfingers to countupthenotes of thescale. The root is yourthumb. The thirdis your middle fingerand the fifth is your little finger.
To builda triad,identifythe threenotes that make upthe triad,starting from the root note.
Stack thenotes of that triadoneon top of the otheron thestave.
Place the root on thestave first and thenadd the third and fifth notesabove it to form the triad.
Go to page 74 of your Student Activity Bookand complete Activity 6: Building Triads.
Thescale of C majorisshown below. Each note of thescaleislabelled usingboththe pitchand thesolfaname. A triadisbuiltoneachnote of thescale using the root, the thirdand the fifth. The root of the triadgives the triaditsname.
Thereare three major triads in every major key. In C major, the major triadsoccur onC, F and G. These triadsare therefore calledC major, F majorand Gmajor.
Cmajortriad
Fmajortriad Gmajortriad
These triadsareon the first, fourth and fifth notes of thescale. They canalsobelabelled using the Romannumerals using I,IVand V. You alreadyknow that the first note of thescaleis called the tonic The forthnote is thesubdominant and the fifth is thedominant.
Romannumerals,the lettersused by the Romans to represent numbers, are used to labelchords.
Youcansee that in the key of C major
• the C major triad isknown as the tonic triad. The tonic triadis the mostimportanttriadin any major key.
• the Gmajor triad isalsoknown as the dominanttriad. Thedominant triadis thesecond mostimportanttriad.
• the F major triad isalsoknown as the subdominanttriad. It isnotusedas oftenas the tonicanddominanttriads,but itisstillquiteimportant.
The tonic is thefirst note ortriad of a major scale, the ‘home note’ (I).
The subdominant refers to the fourth note ortriad of a major scale (IV).
The dominant refers to thefifthnote ortriad of a major scale (V).
Thesenames canbe usedinany key.
With a partner,identifythenames of the tonic,subdominant anddominanttriadsin Gmajor.
Go to page 74 of your Student Activity Bookand complete Activity 7: Major Triadsin Major Keys.
‘Kumbaya’, an African American spiritual song
Listen to this performance of ‘Kumbaya’. Thescoreis printedbelow inC major. The melody is played by theguitar. Harmonicsupportis provided by piano. The pianoaccompaniment consists of the major triads fromC major.
Answer these questions in your copybook.
1 Identifythe key signature of ‘Kumbaya’ marked A on thescore. F major C major G majorDmajor
2 Identifythe metre of thissong.
3 This piece of musicbeginson the first beat of thebar.
4 Namethe threenotes at X on thescore.
5 Thesenotes form the triad of F major C major G major
6 Select one otherbar where thesame triad fits all the notes of the melody.
7 Describe the texture of the musicin this excerpt.
8 Namethe symbol at B on thescore. Explain the purpose of this symbol.
9 Examine the finalnote at C on thescore. Is thisnote a good choice for the finalnote?
Give reasons for your answer.
10 Suggestone change you could make to the music to changeits texture.
Go to page 76 of your Student Activity Bookand complete Activity 8: Identifying Triads.
In Unit3, you learnedaboutmelodic features. A melody canbedescribedasascendingordescending. It can have repeatednotes, move by stepor by leap.
A triadic melody isa melody that moves between thenotes of a triad.
Theopening phrase of the Americannationalanthem‘The Star Spangled Banner’isshown here. The melodynotes usedinopening phrasearebasedon thenotes of theC major triad.
BrandenburgConcertoNo.5 by JohannSebastian Bach
A7.23
Listen to theopening of the firstmovement of Bach’s BrandenburgConcerto No.5. Thisis an example of a composer using triadic movement in the melodyline.
SHOWWHATYOUKNOW
1 Identifythe key signature at A on thescore.
2 Namethenotes at X
3 Thesenotes form the triad of G majorDmajor F major
4 Thisisalsoknown as the dominant triad subdominant triad tonictriad
5 Namethe symbols at B and C on thescore.
STUDENTACTIVITYBOOK
Thenotesin this excerpt arealmostall semiquavers. Theirnote valueishalf of aquaver. This means they are worthaquarter of a crotchet.
Go to page 76 of your Student Activity Bookand complete Activity 9: Triadic Melodies
ComposerBrief! COMPOSE
Go to page 77 of your Student Activity Bookand complete Activity 10: YouAre My Sunshine.
Thereare three major triads: the tonic triad, thesubdominanttriadand thedominant triad. RECAP
A triad isa chord made up of threenotes.
Triads canbebuilton everynote of thescale.
Triadsarebuilt upwards from the root.
Thenotes of a triadare made up of the root, the thirdnote above the root and the fifth note above the root.
Triadsare used to add harmonic support to a melodyline. When triadsare used to support the melody, the textureis homophonic
A triadic melody movesbetween the threenotes of a triad.
Pairs! Pair upthehalves of thedefinitionsbelow. Write thefull sentencein your copybook.
The tonic triad is made up of thenotes of a triad. triad is ashort repeating pattern.
dominanttriad is made up of threenotes: the root, the thirdand the fifth. triadic melody is the mostimportanttriadinany key. rhythmic ostinato is adescription of thelayers ina piece of music.
Texture is builton the fifth note of thescale. Romannumerals arethenote a chordor triadisbuilton. The root is used to label chordsinany key.
A chord consists of twoor more notes played at thesame time Every major key signaturehas three majorchords. A major triadisan example of a major chord.
Chords vs Triads
Theonlydifferencebetweena chordanda triadis that a chord canhave more (or less) than threenotes. Triadsare always made up of threenotes.
Lots of popularsongsand pieces of music you enjoy listening to have been composedaround these three major chordsbecause they workso well together! Between them, the three major chords canharmonise everynote of the majorscale.
Three-chordhitsinclude
• ‘Sweet Home Alabama’ by the rock band Lynyrd Skynyrd
• ‘Ring of Fire’ by Johnny Cash
• ‘Three Little Birds’ by Bob Marley.
ListenandRespond!
‘Bad Moon Rising’, by CreedenceClearwater Revival
‘Bad Moon Rising’isan American folksong by Creedence Clearwater Revival. Thesongis writtenin Dmajor,and the music uses the major chordsasshown in thegridbelow.
A7.24
I D
Tonic IV G Subdominant V A Dominant
CreedenceClearwater Revival
In thisvideo, we seehow the major chords of Dmajor provideharmonicsupport to the vocal line. Follow thelyrics printedbelow whichshow the chord pattern usedin thissong.
A7.24
PERFORM
Intro: A G DD
Verse
Use the play-along track provided to singor play thissong together.
Chorus
D A GD
Isee thebad moon arising.
A GD
Isee troubleon the way.
A G D
Iseeearthquakesandlightnin’.
A GD
Iseebad times today.
G on’t go around tonight,
D
Well, It’s bound to take your life,
A G D
There’sabad moonon therise.
Major chordsare foundon the first, fourth and fifth note of any majorscale. RomannumeralsI,IVandV are often used to label major chords.
& w w w w w w w
I ii iii
IV
V vi dominant subdominant tonic vii°
Major chordsarebuiltin thesame way as triads, using the root, the third and the fifth notes. Compare thenotes of the major chordsinC majorshown here withthenotes of theC majorscale. &
STUDENTACTIVITYBOOK
Go to page 78 of your Student Activity Bookand complete Activity 11:Find theChord!
Identifywhich major chords fitwith eachnote of theC majorscale.
The tonality of major chords means they have abright and cheerful sound when playedone after the otherina chord progression. A chord progression isa series of chords.
To improvise means to make up aperformance onthe spot. The resultingperformanceis knownasan improvisation. A7.25
Listen to thisshort piece using chords I,IVandV. The piano player improvises usingonly the major chords.
Improvise arhythmpattern over the music.Clap, tap or usea percussioninstrument to adda rhythmic accompaniment to this excerpt in 4 4.
The major chordsI,IVand V inany key offer thebest match to the melodynotesin that key. We can use theselabels even when we don’t know what key a piece of musicisin.
The major chords in Gmajor are G(I), C (IV) andD (V)
However, when we know the key signature, we need to name the chords more precisely. The root of each chordgives the chorditsname. For example, in Gmajor the major chordsare G, Cand D.
For this reason, when you areadding chords to a melody you aregiven, use theactual chord names. Do notuse Romannumerals(I,IV, V) or tonicsolfa (doh, fah,soh)in chordboxesabove the melody.
STUDENTACTIVITYBOOK
Go to page 79 of your Student Activity Bookand complete Activity 12: Major Chords in Major Keys.
Chordsthat addharmonic support to a melodyline are called backingchords.
When thenotes of a chord match thenotesin the melody, they provideharmonicsupport.
ListenandRespond!
Backing chordsare written over thestaveinboxes above the melodynotes. Backing chordsare usually playedon theguitaror keyboard to accompany the melody. A7.26
‘Blowin’ in the Wind’ by Bob Dylan
‘Blowin’ in the Wind’isasong written by Americanartist Bob Dylaninspired by the melody of a traditional American spiritual song. Dylan’s single was releasedin1963. Thelyricsaskquestions aboutpeaceand freedom. An excerpt of music from thissongis printed for you below. The chord namesaregivenabove the melody.
Follow thelyricsand the musicandlisten for the chord changes.
C F C Am C FG
Howmany roads must a man walkdown,before you callhima man
C F C Am C F G
Howmany seas must a whitedo e sail,before shesleepsin thesand
C F C Am C FG
Howmany times mustthe cannonballs fly, before they’re fore erbanned
F G C Am
Theanswer my friend,isblowingin the wind.
F G C
Theanswerisblowingin the wind.
C F C Am C F G
Howmany years must a mountain e ist,before itis washed to thesea
C F C Am C F D
Howmany years cansome people e ist,before they’reallowed to be free
C F C Am C F G
Howmany times cana man turnhishead, and pretend that he ustdoesn’t see
F G C Am
Theanswer my friend,isblowingin the wind.
F G C
Theanswerisblowingin the wind.
STUDENTACTIVITYBOOK
Go to page 79 of your Student Activity Bookand complete Activity 13: Non-Chord Notes.
Go to page 80 of your Student Activity Bookand complete Activity 14: Go Compare!
Compare twoarrangements of ‘Blowin’ in the Wind’.
As we listen to music, the chords cansometimes change withoutus noticing! Thisisbecause the chordsin theaccompaniment and the melody flow together.
ListenandRespond!
‘Wild Mountain Thyme’, an Irish folk song
A7.27
Listen to a performance of the Irish folk song‘Wild Mountain Thyme’. Thelyrics of the chorus are printed for you below. Identifythe words where youcanhear the chord change.
Will ye go, lassie, go?
And we’ll all go together
To pluck wild mountain thyme
All around the blooming heather
Will ye go, lassie, go?
STUDENTACTIVITYBOOK
Go to page 81 of your Student Activity Bookand complete Activity 15:Listenand Respond!
Chords: Where, Whenand What?
• Where? Backing chordsareinsertedabove the melody line using the chordnames (e.g.C, F and G).Chordsarealwaysnamed using capitalletters
• When? A backing chord canlast for onebaror more. Sometimes there canbe two chords inabar. An empty boxis placedabove the melodylineeach time a new chord isneeded. Where youmeet anew empty box youmustchange the chord.
• What Chord? Knowing which chordis thebest fit for the melody takessomeinvestigation! The chord that willsoundbestisa chord that sharesitsnotes with as many melodynotesas possible.
• There may besomenotesineachbar that donotmatch the chord for that bar. Theseare callednon-chordnotes.
• There might be more thanone chord that fitswiththe melody.
• Not everynote inabar willalways match the chosen chord.
• Choosea chord that fits as many melodynotesas possible.
• Never repeat thesame chord twice ina row.
Identifing suitablebackingchords
Identifythe major chords for the key of the piece of music you are working with.
Always choose chords that share thesamenotesas thenotesin the melody.
Never use thesame chordsnextdoor to each other. When you reachanew empty chord box,anew chordisneeded.
Insert chordnames using the root name of the chord. Always useCAPITALletters.
Do notuse Romannumerals(I,IVor V) or tonicsolfa (doh, fah,soh etc.).
STUDENTACTIVITYBOOK
Go to page 82 of your Student Activity Bookand complete Activity 16: Designing Accompaniments.
Go to page 83 of your Student Activity Bookand complete Activity 17: Harmony Round-Up.
Major chordsarebuilton the first, fourth and fifth notes of the majorscale(I,IVand V).
Chordsarenamed using theletternames of the root note of the chorde.g.C, F and G.
A series of chordsis calleda chord progression.
Chords that accompany a melodyare called backingchords.
Whenaddingbacking chords to music, the chordnamesare placedinboxesabove the melodyline usingCAPITALletters.
Thebest chords to provideharmonicsupportare theones that shareas many notesas possible withthe melodynotes.
Taboo! Chooseone of the keywordsbelow. Without saying the word itself,briefly explain what it means.Can yourpartnerguess which keyword you are talkingabout?
• Major chords
• Chord progression
• Texture
• Improvisation
• Backing chords
• Folksong
A harmonicaccompaniment isaninstrumentalor vocallayer that isadded to the melody to provideharmonicsupport.
A harmonicaccompanimentcanbe performed by asingle musicianor by a wholeorchestra! Harmonicaccompanimentsmay consist of singlenotes that fitwiththe melody,or they may involve complex chord progressions played by many different instruments.
Therearelots of ways of working withchords to create accompaniments. In thissection we will explore four features of accompaniments: sustainednotes, blockchords, brokenchords and harmonic ostinatos
A sustainednote isanote that isheld orsustained for along time. Longnotessuch as semibreves can create this effect, but notes canbe made evenlonger by allowing thenotes from twoor more bars to bejoined together. To do this we need to usea tie.
A tie isacurvedline connecting thenote heads of two or more notes of the same pitch together. It tells the musician to hold thenote for the total value of all thelinkednotes.
In this example, twosemibreveshave been tied together. The musician wouldneed to hold thisnote for eight beats. Thisisan example of a sustainednote.
&4 4 w w
How many beats is this tiednote held for?
& 4 4 www
Sustainednotes create harmonicsupport whenasinglenote or chordissustainedor repeated throughout a musical phrase orasection of a piece of music.
Thereare twospecial types of sustainednote:pedal notes and drones.
• A pedalnote isanote that isheld or repeated while theharmony above itchanges. The horn,bassoonanddoublebassaresuited to playing pedalnotes.
• A drone isa continuous note or chord that isheld throughout a passage of music. The traditional Irishinstrument the uilleann pipes playsadrone while playinga tune.
ListenandRespond!
Moonlight Sonata by Ludwig van Beethoven
Beethoven usessustainednotesin theleft hand of this piece. Listen to how thesemibrevesand minimsensure that the chordnotesare sustained while thenotes of the melody keep movingin theright hand.
Adagiosostenuto
suonaretuttoquestopezzodelicatissimamenteesenzasordini
senzasordini
Whenall thenotes of a chordare played at thesame time, the chordisdescribedasa blockchord A blockchord isachord whereall thenotes areplayed at the same time.
ListenandRespond!
‘The Bluebells of Scotland’
Listen to the musicas you follow thescorebelow. Answer thequestions that follow in your copybook.
Brokenchords are created by separating the threenotes of the chordso that the first,the thirdand the fifth notesare playedseparately andnot togetheras they are for block chords. Broken chordsadda flowingrhythmic movement to theaccompaniment.
In a brokenchord,thenotes of thechord are played separately,one after the other
ListenandRespond!
A7.30
PianoSonata No.16 by WolfgangAmadeus Mozart
Listen to ashort excerptfrom this Mozart pianosonata. The excerpt featuresabroken chord accompaniment in theleft hand.
Allegro
Discuss thedifferencesbetweenblock chordsandbroken chords. Do both styles of accompaniment have thesameimpact? Which effect do youpreferand why?
STUDENTACTIVITYBOOK
• Go to page 85 of your Student Activity Bookand complete Activity 20: BrokenChords
Answerquestionsonbroken chordsand then compose a melody over abroken chord accompaniment.
• Go to page 86 of your Student Activity Bookand complete Activity 21: Block Chords vs BrokenChords
Changeablock chordaccompaniment to abroken chordaccompaniment.
Let’sRecap!
We learnedabout rhythmic ostinatosin Unit2.
An ostinato isa short repeatingpattern. It canberhythmic, melodic or harmonic.
A harmonic ostinato isa short chord pattern that repeatsunder the melody throughout a wholepiece of music or for along section of it.
Harmonicostinatosare usedin many different genres andstyles of music, from Baroqueinstrumental pieces to modern popularsongs. Harmonicostinatos canbea catchy feature of asong.As we hear them many times, harmonicostinatos often get stuck inour heads!
A7.31
Listen toa harmonic ostinato playedon guitar.
Guitarists can record harmonicostinatos usingaloop pedal. The term‘loop’ alsodescribesashort musical motif or pattern that repeats continually.
A loop pedalisanelectronicdevice that is placed under the musician’s feet. It allows musicians to make aninstant recording. They can then use the pedal to play back the loop in real time
A7.32
Musicians canadd otherlayers over the top, ina process called overdubbing,or improvise over the ostinato asit repeats. An example of this can beheardhere.
Processing effects are mechanical or technological changes that canbe made to change the sound of the originalaudio.
Processing effects canbeadded to musicduringalive performanceas wellas to sounds that have alreadybeen recorded.
Three processing effectsthat are often usedin popular musicare reverb, distortion and compression. We will learnabout compressionlater.
A7.33
Reverb
Reverb isaprocessing effect that creates anecho effect that makesthe music sound as though itis reverberatingaroundalarge spacelikeachurch or a tunnel.
Reverb canbeadded to vocals,guitars ordrums orany otheramplified musical instrument.
WATCH edco.ie/emrg
‘Heroes’ byDavid Bowie
Listen for the reverbon this track.
WATCH edco.ie/uvna
‘In the Air Tonight’ by Phil Collins
Reverbhasbeenadded to the drumpartin thissong.
A7.34
WATCH edco.ie/zk4e
Distortion isaprocessing effect that changes the timbre of a sound. The sound quality becomes harsh,gritty, fuzzyor growly.
Distortionis mainly used with electric guitars,but it can work for any amplified electricinstrument.
WATCH edco.ie/cvbr
‘Revolution’ by The Beatles
The harmonic ostinato willbe played twice more Distortionor reverbhaseachbeenadded to the excerpts. Which excerpt has reverband which excerpt hasdistortion? Whichonedo you preferand why?
A7.35 Excerpt1
Answer the following questions in your copybook.
1 Explain the term ostinato.
2 Explain the term harmonicostinato.
3 Composeaharmonicostinato in G major. Identifythe primary chordsin this key to help you designa repeating chord progression.
4 Select one instrument to perform your ostinato.
5 Explain the term improvisation.
6 Describeone way in which you could improvise over a recording of your harmonicostinato as part of a performance.
7 Describehow you would make a recording of your harmonicostinato.
8 Explainhow you couldshare your ostinato with other musicians.
9 Explain the term processing effects.
10 Explain the effect reverbanddistortionhave on thesound of aninstrument.
ListenandRespond!
Four short excerptswillbe playedon the piano. Eachtime youwillhearadifferent style of accompaniment.
Match each excerpt to one of thedescriptionsbelow. Write your answersin your copybook.
A7.37
A7.38
A7.39
A7.40
Excerpt1 No accompaniment
Excerpt2 Block chords
Excerpt3 Brokenchords
Excerpt4 Sustainednotes
Harmonicaccompaniment isa vocalorinstrumentallayer that providessupport to the melodyline.
Harmonicaccompaniments arebasedon chordsthat fit with the melody
Chords used to addharmonicaccompaniment to a melodyshouldbein thesame key as the melody.
In blockchords all thenotes of the chordare played together at thesame time.
In brokenchords thenotes of a chordaresplit up and playedindividually.
An ostinato isashort repeating pattern. It canbearhythmic,melodicorharmonic pattern.
A harmonic ostinato isa repeating chord pattern under the melody.
A loop isashort musical motif or pattern that repeats continually.
Processing effects are mechanicalor technological changes that canbe made to change thesound of theoriginalaudio.
Reverb createsanecho effect.
Distortion createsaharsh, fuzzysound.
Music Muddle! Someonehas gottheirdefinitions muddled. In your copybook, replace the keywordsin the followingsentences to make thedefinitions correct. Which keywordisleft out? Writea definition for it.
• Harmonicaccompaniment
• Sustainednote
• Tie
• Block chords
• Broken chords
• Ostinato
• Rhythmic ostinato
• Harmonicostinato
• Processing effects
• Distortion
• Reverb
1 A harmonic ostinato isashort repeatingrhythmic pattern that continues throughout a piece of music.
2 A sustainednote isa processing effectthat makesanote soundlikeithasanecho.
3 In a brokenchord all thenotesare played at once.
4 Reverb isa processing effectthat changes the timbre of asound.
5 A tie is used to providesupport to a melody.
6 A rhythmic ostinato isa chord progression that isheard over and over againduringa piece of music.
7 Thenotes of blockchords are playedone after the other.
8 Processing effects arenotes that areheld for along time.
9 Distortion connectstwoor more notes to change their value.
10 Ostinatos areadded to music to change the way theoriginal materialsounds.
A cadence occurs at theend of a musicalphrase. It is made up of two chords placed one after the other. A cadencecreatesthe feeling that thereisapause in theflow of the music.
The two chords usedina finishingcadence make the musicsoundas thoughit couldend at this point. For this reason, we usually meet finishing cadences at theend of a piece of music, at theend of asectionor at theend of a pair of phrases.
ListenandRespond!
Four excerptswillbeplayed twice. For each one,decide whether the melody soundsfinished orunfinished.
A7.41 Excerpt1
A7.42 Excerpt2
A7.43 Excerpt3
A7.44 Excerpt4
Finished Unfinished
Finished Unfinished
Finished Unfinished
Finished Unfinished
STUDENTACTIVITYBOOK
Go to page 86 of your Student Activity Book
and complete Activity 22: Melody Writing
Complete the melodyand experiment to find ways to make itsound finished.
Many composing tasksin thisbookask you to endon the keynote/tonic (doh). Thisisbecause this note helps to make yourmelodysound complete.
A cadence consists of two chords The finalchord ina finishing cadence isalways chordI, the tonic chord. Thebest choice for the approachchord before chordI willdependon which chord fitswiththenotesin the melodyline.
An approachchord is thechord before thefinalchord inacadence.
We have learned that in major keys thereare three major chords:I,IVand V. ChordsIVand V are approach chords we can usebefore chordI. Looking at thenotesin the melodyline willhelp us chooseeither chordIVor chord V.
ChordIV followed by chordI createsa plagal cadence
Chord V followed by chordI createsa perfect cadence Thesearebothtypes of finishing cadence.
FinishingCadences
Plagal
A perfectcadence is formed by chord V followed by chord I at theend of a phrase. It makes the phrasesound fully complete.
In C major aperfectcadenceiscreated by thechord of G major (V) moving to thechord of C major (I).
Listen to the phrasebelow. The Gchordinbar3is followed by theC chordin the final bar.
A plagalcadence is formed by chord IV followed by chord I at theend of a phrase, and makes a phrasesound complete.
In C major aplagalcadenceiscreated by thechord of F major (IV) moving to thechord of C major (I).
Listen to the phrasebelow. The F chordis followed by theC chordin the finalbar.
1 Tocreateafinishingcadence,theapproachchordmustbethechordofI orthechordof . This chord must be followed by the chord of I (the tonic chord).
2 Thesechord combinations onlycreate acadence when they are used at theend of a phrase. If youuse these chordsanywhereelse, they arejust chordsandnot a cadence point!
STUDENTACTIVITY BOOK
Go to page 87 of your Student Activity Bookand complete Activity 23:CadenceChords in Major Keys.
Workin pairs to identifythe cadence chordsinC major, Gmajor, Dmajorand F major.
Go to page 87 of your Student Activity Bookand complete Activity 24:Cadence Round-Up.
The cadence chords youchoose must match the melodynotesin the phrase. RECAP
A cadence occurs at theend of musical phraseand uses two chords.
When these two chordsareheard at theend of a phrase, they create a feeling that there isa pausein the flow of the music.
A finishingcadence is usedin the phrase that endsa piece of music,asectionora pair of phrases that belong together.
Thereare two cadences used to finisha piece of music:a perfectcadence ora plagal cadence.
The use of two chordsalone willnotmake a piecesound finished. The melody willalso need to hint at this by endingon the keynote/tonic (doh)and by finishing with alongnote.
A perfectcadenceis created when the final two chords of a phraseare chord V followed by chord I.
A plagal cadenceis created when the final two chords of a phraseare chord IV followed by chord I
Blankety Blank! Use words from the word bank to complete this paragraphin your copybook. Youcan useeach word more thanonce.
When you reachend of a phrase, there willbea If the musicsoundsas thoughithas come to anend, this must beone of the types of . Whetheritisa ora will dependon the . If the is chord V, the isa . But if the is chordIV, we have an example of a
Here are the keywords you have met in UnitA7. Lookback through this unitand revise these terms.
• Texture
• Melody
• Accompaniment
• Monophony
• Unison
• Octave
• Homophony
• Soprano
• Polyphony
• Harmony
• Chord
• Harmonicsupport
• Dissonance
• Incidental music
• Triad
• Root
• Tonic
• Dominant
• Subdominant
• Triadic melody
• Chord progression
• Improvise
• Backing chords
• Folksong
• Sustainednote
• Tie
• Broken chords
• Block chords
• Rhythmic ostinato
• Ostinato
• Harmonicostinato
• Processing effects
• Reverb
• Distortion
• Cadence
• Finishing cadence
• Approach chord
• Perfectcadence
• Plagal cadence
Review and reflect onall of thelearning tasks you have completedin UnitA7.Choose one task fromeachsection that you enjoyed workingon. In your copybook, writea reflection on what you learnedduring the tasks you have selected.
In your copybook, record yourthoughts aboutthe two tasks you have chosen.
1 What did you enjoy about thelearning experiences you have chosen?
2 What haveyou learned from completing these tasks?
3 Were thereany challenges?
4 What advice would you give to anotherstudentwhoisabout to begin these tasks?
WHENYOUHAVECOMPLETEDTHISUNITYOUWILLBEABLE TO…
Recognise the features of music froma wide range of musicalstylesand genres.
Distinguish thedifferencebetween works that were composedindifferent musicaleras.
Work with others to interpret and performagraphic score.
Understand the cultural context andinfluenceson the music composedduringeachera, particularly the Romanticera.
Compose musicinspired by visualimages.
Evaluate the role of theelements of musicinillustrating moods, themesor characters foundin instrumental music.
Make comparisonsbetween pieces of music composedduring the Romanticera.
A musical genre isabroad categoryor type of music that shares certain characteristics, e.g. rock,jazz, rap.
Explore the genres listedon the postersshown above How many do you recognise? Can you nameanartistor piece of musicassociated with any of these genres? Can you identify other genres that couldbeadded to this poster wall?
STUDENTACTIVITYBOOK
Go to page 89 of your Student Activity Bookand complete Activity 1: Genres
Religiousmusic isalsoknown as sacred music. Religious musicis composedand performed for aspecific purpose: during prayer,ritualsor religious celebrations. Thisimage shows Buddhist monks using chant asa way of preparing the mind for meditation. Religious music covers a wide range of stylesand genres. Here we willlook at twostyles of religious music: Gregorian chant and Taizé. These came into existence over a thousand yearsapart.
A8.1
‘Ubicaritas’ (anonymous)
Gregorianchant (alsoknown as plainchant or plainsong)isone of the oldest forms of sacred music. The texts(lyrics) are usuallyin Latin. Thereis no pulse, metreor regularbeat because the chants aresung to therhythm of the words themselves. Thisisknown as freerhythm. Gregorian chant is monophonic, with one unaccompanied melodyline. It was traditionally sung by monksornunsin monasteriesor by choirs of menorboys in churches.
Freerhythm is the rhythm of music without pulse or metre.
• Chants consist of only one melodicline whichissungin unison.
• The melodyhasa small range and mostly moves by step.
• The textisin Latin.
• Gregorian chantuses freerhythm which follows therhythm of the words.
• Thisstyle of singingis unaccompanied.
• The textureis monophonic
• Harmony isnotusedin chants.
Monophonic musichasonelayer: the main melody.
When musicians performin unison, they singor play thesame thing at thesame time and at thesame pitch (or exactly oneor more octavesapart).
Listen!
Taizé isa form of prayerful singing. The music comes from the Taizé community, a religious community in France foundedin1940. Taizélyricsaresimple phrases, taken from the scriptures that are repeated many times. They may besungin Latinorinseveraldifferent languages at oncebecause of theinternationalnature of the community.
WATCH edco.ie/gnwb
Watcha Taizé performance of thesong ‘Ubi caritas’.
The refrain (chorus) in‘Ubi caritas’ isa Latin phrase:‘Ubi caritas et amor, Deus ibiest’, which translates to ‘Where truecharity isdwelling, Godis presentthere.’
Taizé melodiesareshortandare oftenbasedon asimple melodic ostinato A melodic ostinato isa shortmelody that is repeated throughout a wholepiece of music or for along section of it. The repetitivenessin thisstyle of singingservesas akind of meditative prayerand makes thesongseasy to learn. The melody canbesungin unison, butusuallyas thesongsare repeated,different linesareadded to create harmony between the voices. Simple harmonic support is usually provided by a keyboardorguitar.
A8.2
Rehearseand perform thisshort phrase togetherin two parts.
mm rr dd fmr
Ubicar itaset a––mor, mm rr dl lttld
Deus ibi––est. Ubicar it as–––
j
#
dd tt ld ddirt
Ubicar itaset –ma––or, dd tt lr rs sm
Deus ibi –est. Ubicar–as–it –
STUDENTACTIVITY BOOK
Go to page 90 of your Student Activity Bookand complete Activity 2: Religious Music
A8.3
A musical genreisabroad categoryor type of music that shares certain characteristics. Genresinclude classical music,jazz, popular musicand folk music.
Religious musicis composedand performed for religious useand oftenhasaspecific purpose,during prayer,ritualsor religious celebrations.
Gregorian chant isa type of unaccompaniedsacredsongin Latin that is over a thousand yearsold.
Taizéisa prayerful form of singing from the twentieth century. Both lyricsand the melodiesaresimpleand repeated many times.
Taboo! Chooseone of the keywordsbelow. Without saying the word itself,briefly explain what it means.Can yourpartnerguess which keyword you are talkingabout? Can you get them to identify all five wordsin two minutes?
• Genre
• Freerhythm
• Unison
• Monophonic
• Melodicostinato
Classical musicisan umbrella term used to describeasophisticatedstyle of music composed between the medievaleraand today. It therefore covers all the musicaleras.Classical musicis distinctfrom popular musicand folk music genres. Follow the timelinebelow as you explore the history of classical music.
WATCH edco.ie/a2gr
Watch thisintroduction to thehistory of music with an overview of the maineras that we willlearnabout in this chapter.
It ishelpful to remember that theClassicalera (1750–1820)is written with a capitalC. When we are referring to classical musicasopposed to pop or folk music, we useasmall c. TOPTIP
The fall of the Roman Empire inabout 476is thestart of the MiddleAgesor medievalera.
The period(476–800)isalsoknown as the‘DarkAges’. Notre Dame Cathedral wasbuiltbetween1163and1345.
The Black Deathswept across Europe (1347–1351).
• Both sacred (religious) andsecular (non-religious) music existedin the medievalera.
• Secular musicincluded folksongs,balladsand dance music,and was generally performed by travelling musicians who wouldsingand play an instrument.
• Sacred music was generally unaccompaniedand monophonic in texture.
• Thisstyle of vocal musicisknown as Gregorian chant or plainsong.
Hildegard von Bingen(1098–1179)
Guillaume de Machaut (c.1300–1377)
Travelling musicians fromaround1350
• Thereis evidence of many different instrumentsin family portraits from this period. Commoninstrumentsinclude theharp,vieille (anearly version of theviolin), flutes (including recorders),shawm (anearlyoboe),bagpipes, trumpets,organanddrums.
• Around the year1030,Christian monksdeveloped forms of staff notation (writing musicon astave) when writingearlysacred music (neumes).
• Harmony and polyphony were introduced towards theend of thisera.
Listen!
A8.4
‘Gloria’ from MessedeNostreDameby Guillaume de Machaut
Guillaume de Machaut’s Messede Nostre Dame (c.1360)is the most famouspiece of music from the fourteenth century. It is believed to be the first complete setting of theordinary texts of the Mass written by asingle composer. Machaut based four of the six movements of his workon Gregorian chants.
STUDENTACTIVITYBOOK
Go to page 91 of your Student Activity Bookand complete Activity 3: Medieval Music
The DarkAgesareleft behindinsearch of improvementsineducation,science,art,literature and music.
‘Renaissance’ means‘rebirth’, referring to a renewed interestin Greekand Roman culture.
Theinvention of the printing press makesbooks more accessible to the public (c.1440).
Christopher Columbus discovers America(1492).
LeonardodaVinci paintsthe Mona Lisa(1503).
The Protestant Reformationsees the Protestant movement break away from theCatholicChurch (1517–1648).
Shakespeareincludes references to Renaissance thought anddiscoveriesinhis plays(1564–1616).
Thomas Tallis(1505–1585)
A8.5
Giovanni Pierluigida Palestrina (c.1525–1594)
William Byrd (1540–1623)
Giorgio BarbarellidaCastelfranco c.1477/8–1510
• Much of the musicheard at this time was polyphonic, created by interweaving melodiclines.
• Secular vocal musicbecame more popular. Oneinstrument or asmallgroup of instruments might be used to accompany the singer(s).
• Popularinstrumentsincluded theviol,lute, recordersand the newly inventedharpsichord.
• Amateur musiciansbegan to perform musicasaleisure activity, andnew dance formsemerged to provide music for social dancing.
• The musicalscore wasdeveloped. Printing musicon the musical stave provideda way to preserve music. It alsoensured that musicians played the musicasintended by the composer. Musicalscores were printedandsold fromaround1501.
• Composersnolongerhad to contend withthe oral tradition, whichhadled to much variationbetween what the composer intendedand whatwas passedon fromone musician to another. Whenit comes to music, the oral tradition refers to musiclearnt by ear rather than writtendown.
Listen!
A8.6
‘Si ignoras te’ from CanticumCanticorumby GiovanniPierluigida Palestrina
Palestrina composed CanticumCanticorum in1584. The Italian composer’s work consists of twenty ninescared motets A motet isan unaccompanied vocal composition, usually sungin Latin. Palestrina’s motets aresungin Latinand the textisbasedon excerptsfrom the Old Testament. ‘Siignoras te’ is the fifthmotet in this workandis scored for five voices: SATTB.Can you remember what voice types thisisanabbreviation for?
WATCH edco.ie/a6vr
Listen to a performance of ‘Siignoras te’ heard in thisvideo clipand follow thescore for the five voices. What is the texture of the musicin this excerpt?
• Go to page 91 of your Student Activity Bookand complete Activity 4: Renaissance Music
A8.6
• Go to page 92 of your Student Activity Bookand complete Activity 5: Historical Overview.
Theharpsichord is a keyboard instrument. The strings arepluckedinstead of beinghit by hammers as they arein a piano.
Thescientific revolutionbeginsinabout 1543 withthe publication of new works by figuressuch as Galileo(1623) and Newton(1687).
The first operahouseopensin Venice(1637). The pianoisinvented by Bartolomeo Cristoforiinabout 1700.
• The Baroqueerabegins with the first operas,such as Monteverdi’s Orfeo (1607).
• Baroque musicishighly decorated, extravagant and theatrical featuringlots of ornamentation. Works feature thick, polyphonic textures.
• During this period, instrumental musicbecomes asimportant as vocal music.
• Majorand minor key systems were introduced.
• Whilst most works featured polyphonic textures, homophonic textures began to emerge Harmonic accompaniments are written for melodies, making chord progressions more central.
Claudio Monteverdi(1567–1643)
Arcangelo Corelli(1653–1713)
Henry Purcell(1659–1695)
AntonioVivaldi(1678–1741)
Johann Sebastian Bach (1685–1750)
George Frideric Handel(1685–1759)
An illustration of aband of musicians from the17th century
• Dynamicsbegan to appearonscores. Dynamicchanges were sudden rather than gradual, knownas terraced dynamics.
• Theorchestra isborn. The core of theorchestra is the strings,accompanied by aharpsichord,but sometimes woodwind (flutes,oboesandbassoons),brass(horns and trumpets)and percussion (timpani)instrumentsare added.
Polyphonic musichas twoor more independentmelodiclines woven together.
A concerto isa piece of music composed for oneor more solo instrumentsaccompanied by an instrumentalensemblesuch asan orchestra.
• The concerto providesopportunities for virtuoso performers to dazzleaudiences. A virtuoso isahighly skilledperformer who has tremendous technicalability ontheirinstrument.
• The harpsichordbecomes more widespread,andhuge progress was madeinviolin making.
• Composers were employed by theChurchor by powerful nobles, who were known as patrons.
A8.7
‘Allegro’ fromthe Lute Concerto inD major by AntonioVivaldi
Italian composer AntonioVivaldi composed thislute concerto in the 1730s. Allegro Giusto is the first of the three movements. The concerto isscored for stringsandsololute. Thelute isa pluckedstringed instrument usedduring the Baroqueera.
The firstmovement uses ritornello form. In a concerto,a ritornello is a returninginstrumental section that alternateswith passages of new music. Theritornello themeisheard throughoutthis movement. It contrasts withthesololute, which playsbroken chordsbetweeneach return of the ritornello theme.
STUDENTACTIVITY BOOK
Go to page 93 of your Student Activity Bookand complete Activity 6: The Baroque Era.
A8.8
An industrial revolution was taking placein Europe, creating more jobsandhigherincomes for the people.
The Seven Years War brokeout in Europe (1756–1763).
The Declaration of Independence wassignedin America in1776.
The French Revolution raged for over ten years (1789–1799),leading to adesire for liberty and freedom across Europe.
• Many composersstill worked for patrons,and they composed music for entertainment, for special celebrationsand for religiousservices.
• Classical melodies were proportionedand balanced withmuch lessornamentation than thosein the Baroqueera.
• Classical composers preferreda thinner texture. Their music was more likely to be homophonic with a clear melodyline with harmonicaccompaniment.
• Instrumentsdevelopedandbecame more versatile. As the families of instrumentsgrew,sodid the orchestra,and the formallayout we are familiar with today was put in place.
Franz Joseph Haydn(1732–1809)
Wolfgang Amadeus Mozart(1756–1791)
Ludwig van Beethoven(1770–1827)
Gioachino Rossini(1792–1868)
A
• Strings often played the main melody.Clarinets joined the woodwind. Brassinstruments could play more notes thanbefore thanks to theaddition ofvalves. Cymbalsand other percussioninstruments were sometimesadded to the percussionsection.
Playingthe lute• The piano(inventedin1700) rose in popularity, and composersloved writing for it. The pianoallowed for more sophisticateddynamics andarticulation. It replaced the harpsichord.
• Composersnow oftendemanded gradualdynamic changes, using crescendos and diminuendos.
Homophonic musichasa main melodyandan accompaniment.
A crescendo isagradualincreasein volume.
A diminuendo (or decrescendo)isagradual decreasein volume.
A8.9 ‘Andante’ from Piano Concerto No.21 by WolfgangAmadeus Mozart
Mozart was a composer from Austria, who composed many concertos for various instruments. Often, he performed them himself to earn money. This concerto for pianoand orchestra was first performed by Mozart in March1785. It is consideredone of the greatmasterpieces of theClassicalera.Asis usual, thereare three movements.
Youcanseea more detailedanalysis of theopening of this movement on thenext page.
Answer the following questions in your copybook.
1 Writeashortblog poston the music of theClassicalera. Mention two composers from this time.
2 Describesome features of the music composedduring this period.
3 Namethe composer of Piano Concerto No.21.
4 Where was the composer born?
5 Define the following terms.
6 Identify anddescribe twodifferencesbetween music composedin theClassicaleraand music composedduring the Baroqueera.
7 Listen to a piece of music by one of theClassicalera composersnamedon page 166and writea review of the piece, making reference to the features of Classical musicheardin the music.
‘Andante’ from Piano Concerto No.21 by Wolfgang Amadeus Mozart
The Andante isscored for solo piano,strings(1stand2ndviolins, violas, cellos,doublebasses), woodwind (flute, twooboes, twobassoons)and two Frenchhorns.
It isin the key of F major.
• Theopening ritornello is played by theorchestra. A ritornello isa recurring musical theme,heardbetween contrasting themes orsections.
• The musicis homophonic.
• The1stviolins present adreamy three-bar melody withmany leaps. They areaccompanied by 2nd violinsandviolas, who play gentle triplets Thesestringsare muted(consordino).
• Cellosanddoublebasses play pizzicatobroken chords.
A triplet isagroup of threenotes performedin the time of twonotes of thesame value.
Here, threequaversare playedin the time allowed for just twoquavers.
Can you identifytheseauralsignpostsas you listen?
• At theend of thesecond phrase, the woodwindandbrass instrumentsenter with sustainednotes to add to theaccompaniment.
• The woodwind thenjoin theviolins to play the melody, before announcing theentrance of the piano with abar of triplets (bar22).
• The solo piano enters accompanied by thesame gently moving triplets in theleft hand.
• Mozartdecorates the melody with trills and flourishesashedisplays his talents asa soloist
• After playing theopening material, the pianointroduces us to new ideas, while theorchestra providesan accompaniment.
• Mozart takes thelisteners through many changes of key, shifting between majorand minor tonality.
Pizzicato (pizz.) isan instruction for string players to pluckthe strings withtheir fingers.
Historical ContextComposers
Slavery wasabolished(1807).
Photography wasdeveloped(1822).
The first steam trainshit the tracksacross Europe (1835).
The Eiffel Tower wasbuiltin Paris to mark thehundredth anniversary of the French Revolution(1887–1889).
John Field(1782–1837)
Niccolò Paganini(1782–1840)
Hector Berlioz(1803–1869)
FrédéricChopin(1810–1849)
Robert Schumann(1810–1856)
Franz Liszt(1811–1886)
Johannes Brahms(1833–1897)
Camille Saint-Saëns(1835–1921)
Pyotr Ilyich Tchaikovsky(1840–1893)
ntonin o k
Edward Elgar(1857–1934)
Gustav Mahler(1860–1911)
Richard Strauss(1864–1949)
• Musicin the Romanticera was very expressive.
• Composers used music to expressemotionssuch aslove,happiness,grief orsadness. They were ofteninspired by poems,storiesor paintings. They also tookaninterestin the folkloreand folk music of their own country. Somewrote patriotic music that reflected their ownheritage.
• Composers made use of the leitmotif,ashort musical themeoridea used to represent a particular character, moodor theme.
• Theorchestra grew much larger. Some extrainstruments were added to the woodwind (piccoloand contrabassoon)andbrass (tromboneand tuba)sections. There were more string playersandas many aseight Frenchhornsinstead of only two. Otherinstruments such as theharpand pianosometimes madeanappearance. Later, thesaxophonejoined the woodwindsection. All these changesgave composersa muchlarger palette to work with in terms of timbre.
• Composers made use of a wide range of dynamics and useddramatic changesindynamics to increase theemotionalimpact of their music.
• Changesin tempo were also used for expressive effect.
• Composersadded extranotes to chords. This allowed them to create thicker textures and use dissonance to illustrate dark themes,emotions or characters.
A8.12
DanseMacabreOp.40 by
Camille Saint-SaënsDissonance isa combination of notes that soundsharshor createsa feeling of tension.
This workisa tone poem for orchestra A tonepoem isa single movement work that illustratesapoem,shortstory, painting or alandscape. Saint-Saëns wasinspired by a French poem written by HenriCazalis. A translation of his poemis printedbelow.
Zig, zig, zig, Death in a cadence, Striking with his heel a tomb, Death at midnight plays a dance-tune,
Zig, zig, zig, on his violin. The winter wind blows and the night is dark;
Moans are heard in the linden-trees.
Through the gloom, white skeletons pass, Running and leaping in their shrouds.
Zig, zig, zig, each one is frisking, The bones of the dancers are heard to crack –But hist! of a sudden they quit the round, They push forward, they fly; the cock has crowed.
LEARNINGINREVIEW!
Found sounds are everyday sounds we heararound us.
Read the poemagainandidentifytwo things you couldillustrate using found sounds. In your copybook,describehow you would use thesesounds to illustrate theelements of the text from the poem you have chosen.
Saint-Saëns attempts to illustrate thecharacter of Death calling thedead from theirgraves to dance for him while he playshis fiddle. Skeletonsdance for him until the rooster crows at dawn, when they must return to theirgraves until thenext year.
How does the musicillustrate this scene?
1 A harp repeatsasingle D note twelve times. Thesenotes illustrate the twelvestrokes of midnight.
2 Thesoloviolinenters playinga tritone to represent Death himself. A tritone is theinterval made up of three tonesor sixsemitones. It occursbetween the fourth andseventh notes of the majorscale. When played togetheror even one after the other, thesenotes create ajarring, dissonant effectthat is unsettlingandbuilds tension. In the medieval era,a tritone wasknown as thedevil’sinterval!
3 Thexylophoneis used to imitate thesounds of theskeleton’s rattlingbones.
4 The woodwind play the Dies Irae. Thisisa veryold Gregorian chant from the Requiem Mass. Many composershave used this theme to illustrate death andjudgement.
B Tritone F
5 Towards theend, theoboeillustrates the rooster’s crow that announces thedawn Thisis the signal for theskeletons to return to theirgraves.
The Second Industrial Revolutionscientific discovery, mass productionandindustrialisation(1870–1914).
The First World War I(1914–1918) was followed by the Second World War (1939–1945).
The feminist movement battled to give women thesamerights as men.
The microchip wasinvented(1959).
Manlandson the moon(1969).
Fall of the Berlin Wall(1989).
The World Wide Web wasborn(1990).
Arnold Schoenberg(1874–1951)
Igor Stravinsky(1882–1971)
Sergei Prokofiev (1891–1953)
JohnCage(1912–1992)
Benjamin Britten(1913–1976)
Philip Glass(1937–)
by Frans Francken• During the twentieth century composersenjoyedanew freedomand were inspired by many different ideasand cultures. Twentieth-century classical music therefore covers many different musicalstylesand genres (e.g. modernism,impressionism, minimalism). Genres became more fluidand often overlapped.
• Composerslooked for new ways to express themselvesandadopted a wide range of techniques to challengeaudiences to experience musicinnew ways and even to question what music might be.
• The twentieth century brought significantchange. Established musicalrules were questioned, alteredorabandoned by composers. Traditionalideasabout melody,rhythm, harmony, tonality and form were thrown out.
• Havinga tuneful, expressive melody as the focus for a piece of musicbecamea thing of the past.
• Rhythms got alotmore complicatedand were combinedinnew ways.
• Dissonance became muchmore commonand extremeas therules of harmony were tested.
• Some composers chose to writein twoor more keys at once. Othersdiscarded tonality altogether, writing music with nosense of homenote or tonic,alsoknown as atonal music.
• Composers experimented withusing existinginstrumentsinnew ways Theelectronicagesaw composers using synthesizersand otherelectronicsoundsources to explorenew timbres.
• Developmentsin printing, recording,broadcastinganddigital technology meantthat music became available to a muchwideraudience.
TheRiteofSpring isaballet now usually performedasanorchestral concert work. It was composed to illustrate paganrituals celebratingthe arrival of ‘theviolent Russianspring’, whichis‘like the wholeearth cracking’. Stravinsky usedone of thelargestorchestras everassembled to perform this work.
TheRiteofSpring containslots of challenging rhythmic features including freerhythms, polyrhythms (more thanone type of rhythm at once), changingor unusual time signaturesand syncopated (off-beat) rhythms. It wasso dissonant to theears of the Parisian audience at its firstperformancein May 1913 that there wasariot.
Igor Stravinsky
A8.13 ‘The Augurs of Spring’ from TheRiteof Springby Igor Stravinsky
In the ‘Augurs ofSpring’,agroup of adolescent boys enter accompanied by anold woman who knows thesecrets of nature. Theboys’ pagan dance marks therhythm of spring. Thissection hasseverallayers that aregraduallybuilt up (the colours in thelistening map below willhelp you to identifythese). Listenout for the repeating stamping chords that seem to have a random accentedbeat. The pattern changesas Stravinsky shiftstheaccent onand off thestrongbeats.
Work together to identifythe following featuresas you listen to the first section of ‘The Augurs ofSpring’.
A motif isashortidea that appears several timesina piece of music.
0.00 Dissonant chords played by thestrings with irregularaccents reinforced by theeight Frenchhorns.
0.08 The cor anglais playsa four-note melodic ostinato that isheard for much of thissection. Bassoons play a contrastingdescendingandascending melodic motif, creatinga polyphonic texture.
0.12 Staccato accented chords return (stringsandhorns).
0.17 The piccolosburst in over the top, followed by fragments of adescendingsemitone motif on muted trumpets,echoed by theoboeand then pizzicato violin,before the trumpet has thelast word. Theaccentedstaccato chords come to astop. The cor anglaisostinato continues.
0.23 Bassoon playsa trill (thisisquitehard to hear!)and theviolaintroducesa three-note swirling pattern. The cor anglaisostinato continues. The clarinets andbrass play strident triplet interjections that cutthrough theswirling effect.
0.30 The woodwindadd to theswirling effect. The piccolo trumpet announces thenext event with anascending brokenchord. The tension moves up a gear.
0.36 Accentedstaccato chords return (stringsandhorns) withmore urgency.
0.44 Bassoons play astaccato melody that starts with repeatednotes and then moves downwards by step. The melody then goesback up. Theaccentedstaccato chordsarestill goingonquietly.
0.54 The tromboneimitates thestaccato melody while the accentedstaccato chords continue quietly in thebackground.
0.57 Thespotlightthen fallson theaccentedstaccato chordsagain–now forte.
1.02 Bassoonsand cor anglais play theirstaccato melody. Theoboeand then flutes chirp above The trombone playsan upside-down version of the melody. Accented staccato chords continuequietly.
1.12 Sudden everythingstops,and thestringsandbrassholda fortissimo chord.
1.15 Timpaniandbassinstruments respond with an explosive tripletthat landsona pausenote from the tubasandbassdrum.
A production of The Rite of Spring in Moscow a hundred years after the firstperformance.A graphic score isa representation of music using symbols (images, shapes andpictures) instead of standard staffnotation. After the Second World War, composersbegan to explorenew ways of notating music. In 1950 the firstfullygraphicscores were produced. Instead of traditional staffnotation to record musicalideas, composers usedalternative methodssuch asaseries of connectedboxes with smallershapesinside.
Composersdon’t just usegraphicscores to bedifferent. This more flexible form of notation allows them to express musicalideas that cannot easilybe notated using traditional staffnotation. On graphicscores, composers use combinations of colour, shapes,sketches, lines, text,orimagesas visual representations of different sounds. These symbolsare calledgraphicnotation.
WATCH edco.ie/pvah
Staff notation is theplacement of symbolson the stave to representmusic onthepage or screen.
Watch thisvideo to try matching symbols to sounds.
Explore this colourful graphicscore by Hans-Christoph Steiner. Each of the colours represents adifferent sound sample recorded by the composer. Timeflows from left to right, so performersstart from the left-handside. Pitchisindicated vertically:high-pitchedsoundsare at the top of the frameand the lowest pitchesrunalong thebottom of the frame.
WATCH edco.ie/4vw6
Solitude by Hans-Christoph Steinerscoreand music.
Therearenoset rules to follow when creatingagraphicscore,but herearesomeideas!
• Composers generally providesomekind of instructions for performers to help them to interpretthegraphicscore. Somecreate a key thatexplains what the colours, symbols (shape,line, text etc.)and their placement represents.
• Some composersinclude fragments of standardnotationsuch asarhythmpatternora short melodic motif.
• Horizontallines of different lengthsorshapes canbe used to represent how longasound shouldlast (duration).
• The vertical placement of the symbolin theimage often representspitch. Movement up anddowncan representchanges of pitch.
• Symbolsorlines that changeinsize, thicknessor colour can representchangesindynamics or texture.
Steiner’s Solitudescoreis read fromleft to right. Theimageshown hereisaspiral score. Thisscoreis called Towards an UnbearableLightness by Carl Bergstrøm-Nielsen. Performersbegin at the top left and work clockwise, following the composer’sinstructions as they progress towards the centre of thespiral.
Follow the path of this workand consider the challenges performers might face when attempting to perform thisgraphicscore.
Towardsan Unbearable Lightness by Carl Bergstrøm-Nielsen
Another format used to notate graphicscoresis cell notation. Cellnotationisa way of splitting a compositioninto aseries of cellsorboxes, whichare usually performed fromleft to right. Each boxholdsgraphicnotation symbols.
Explore the cellnotation graphic score printedbelow. Be creative andspontaneous! Workin groups to use musicalinstruments, othersoundsources,a musicapp or your voices to create sounds that reflect each of theseimages. Rehearseand perform your interpretation of thisgraphic score for yourclassmates.
SHOWWHATYOUKNOW
Answer the following questions in your copybook.
1 Explain the term graphic score
2 Describehow theelementspitchandrhythmcanbeillustratedonagraphicscore.
3 Describehow youprepared to perform thisgraphicscoreas part of agroup.
4 Writeabout the role youplayedin the performance.
5 Basedon your experience, can youthink of any ways to improve this form of graphicnotation?
STUDENTACTIVITYBOOK
Go to page 96 of your Student Activity Bookand complete Activity 9: A Graphic Score.
Chance music leavessomeaspects of performance to chanceoropen to interpretation by musicians. Allsorts of randomand exciting things can happen! Eachperformanceisspontaneous and unique,soone performanceisnever exactly thesameas thelast. Composers of chance musicgive performers the freedom to interpretthe musicin their own way, although they often sharesomekind of framework for musicians to follow.
WATCH edco.ie/gahg
Watcha performance of 4′33″ by the American composer JohnCage.
What did you hear?
During thealmost five-minute-long performance,noises fromaround the piano canbeheard. There may alsohave beensomesoundsin yourclassroomas you watched. Thesebackground noisesare calledambient sounds. Eachperformance of 4′33″ isdifferent. It switches the attention from the performer to theaudience. No two performancesare ever exactly thesame.
Other works by JohnCageinclude‘Water Walk’and ‘Arial’.
The term classical music is used to describeasophisticatedstyle of instrumentaland vocal music composedduring the mainhistorical periods.
The mainhistorical periodsare called musicaleras.
A concerto isaninstrumental work for oneor more soloistsaccompanied by anorchestra.
A ritornello isa recurring musical theme,heardbetween contrasting themesorepisodes.
A tonepoem isasingle-movement work that illustratesa poem,shortstory, paintingora landscape.
A graphic score isa representation of music using symbolsinstead of standardnotation.
Chance music leavessome components to chanceoropen to interpretation by musicians.
WORDPLAY
Meaning Match! Find pairs of words withthesame meaningin the word cloudbelow. Can you find theimpostor with no pair? Write the thirteen pairsin your copybook. Add theimposter to yourlist andinvent a partner for it.
Oraltradition
Concerto
Multi-layered Learningbyear
Pizzicato
Soloist+orchestra Polyphonic Virtuoso Brilliantplayer Returningpassage
Ritornello Homophonic
Jarringsound Graphicscore Visualrepresentation Staffnotation
Notesonthestave
Melody+accompaniment
• Polyphonic
• Concerto
• Virtuoso
• Ritornello
• Oral tradition
• Homophonic
• Crescendo
Rest
• Diminuendo
• Pizzicato
• Motif
• Dissonance
• Graphicscore
• Staff notation
The Romanticeradates from the1820s to about 1900. The music of this time was expressiveand personaland filled with emotion. It was ofteninspired by literatureor works of art.
Explore the map of Europe. It sharesan overview of the countries wheresome of the composers from the Romantic era were born. Music composed by each of these composers featurein this unit. Can you recallany works that you have listened to by the composerslistedon the map?
The Romanticeragraduallygrew out of theClassicalera, with composerslike Beethovenand Schubertbridging thegap. Classical composershad followed clearrulesand usedlogic, formandstructure to shape their work. However, by the middle of the1820s,anew style of musichademerged. Instead of rigidly followingrules, Romantic composers puttheindividualand the expression of their feelings at the centre of their music.
The Romantic composersbelievedin the power of musicasa means of expression. Like other Romantics, they also valued theindividual’s response to the worldinallits mystery. This meantthat their works expressedemotions,drew on theimaginationand reliedonanew freedom of expression. Composers at this time felta connection withpoetryand were influenced by myths,legends,nature,love and beauty. Many of these themes canbe tracedin the music of this period.
Listen!
A8.14
‘In Wunderschönen Monat Mai’from Dichterliebe by RobertSchümann
Caspar David Freidrich Wanderer above theSea of Fog, a popular painting of the Romanticera
One of theart forms that demonstrates the fusion of musicand poetryis the art song (or lied). An art song isapoem set to music, usually for voice andpiano. This example by Robert Schumannincludes many Romantic elements Thisis the first songina song cycle called Dichterliebe (A Poet’s Love)basedon poems by the Romantic poet Heinrich Heine.
A song cycle isa group, or cycle, of songsdesigned to be performedin sequence,asa unit.
Together, thesixteensongs tella personalstory of love andbetrayalasa poet-knighttravels to a fantasy land with his fairybride. Thesongs weave together the themes of nature,love,beauty and thesupernatural.
AuralSignposts!
• The changing tonality of thesongleaves usuncertainabout the future.
• Schümannleaves usup in theair at theend by notusinga finishing cadence
SHOWWHATYOUKNOW
Monat Mai edco.ie/2n88 WATCH
Answer the following questions in your copybook.
1 Identifythe voice type heardin this performance.
2 Describe two features of the vocal musicheardin the excerpt.
3 Identifytwo features of theaccompaniment heardin this excerpt.
STUDENTACTIVITYBOOK
Go to page 97 of your Student Activity Bookand complete Activity 10: Romantic Song.
Romantic composershad more creative freedom than composersin theClassicalera. Previously, composers were employedeither by the church or by thenobility, so they had to write the music that their patrons requested.
Without aguaranteedincome, Romantic composersneeded to find ways to earn money. One way they coulddo this was by writing works that wouldbe popular with concertaudiences. Thanks to the Industrial Revolution, more peoplehad the money and time to appreciate music. This created anew demand for entertaining concert works that couldbeenjoyed by people whohadn’t been taught aboutmusic.
Another way that a composer of the Romanticera couldearn money was to workasa teacher, author, conductoror performer.
Some Romantic composers were outstandinginstrumentalistsand wrote music that was extremely difficulttoplay
A virtuoso isahighly skilledperformer who has tremendous technicalability on theirinstrument. Audiencesenjoyedseeing thesedisplays of skill. FrédéricChopin, Franz Liszt, Robert Schümann and Johannes Brahmsareall examples of Romanticvirtuoso pianists.
WATCH edco.ie/26ug
Caprice No.24 by Niccolò Paganini
Niccolò Paganini wasavirtuosoon theviolin. He wrotehis own music to performin concerts. His final caprice(No.24)is widely recognisedasone of the mostdifficultpieces ever written for soloviolin.
Watchviolinist Hilary Hahn perform Paganini’sCaprice No.24.
What musical features can you identify? Make note of themin your copybookas you listen to this performance.
Niccolò Paganini
As wellas art songs andshort concert pieces, other musical formsemergedin the Romanticera. Theseinclude the tonepoem, which wasanew form of programme music,and thenocturne, whichseeks to representthenight-time insome way.
Programmemusic isinstrumental music that tellsa story, describes a characterfrom literature or paints a scene for thelistener throughmusic.
Programmemusicbecame very popularduring the Romanticera becauseitgave composersanew way to express themselvesandappeal to theiraudiences. Composershoped to get anemotional response by using their music to illustrate astory, event orscene rather thanleaving listeners to focus on the form of the music.
The Romantic composers tookinspiration fromstories, poetry, plays, folk tales,artandnature. They used the expressive power of music to create colourful imaginative images totellstories, paintpicturesor illustrate scenes fromnature.
Camille Saint-Saëns composed TheCarnivalofthe Animals to illustrate different animals. Most of the fourteen movementsdepict ananimal. Earlierin thisbook we listened to some of these clever examples of programmemusic. ListenandRespond!
A8.15
Excerpt from TheCarnivaloftheAnimalsby Camille Saint-Saëns
Identifywhichanimal Saint-Saënsisdepictingin this excerpt.
In groups,describe two features of the music that illustrates theanimal you have chosen.
LEARNINGINREVIEW!
Suggest two musical features you wouldincludeina piece of programmemusic to illustrate one of the followinganimals.
• A lion
STUDENTACTIVITYBOOK
• A snake
• A monkey
Go to page 98 of your Student Activity Bookand complete Activity 11:Carnival of the Animals.
A8.16
Camille Saint-SaënsA tonepoem isa piece of programmemusic for orchestra inone movement. It isalsoknown asa symphonic poem.
A tone poemisastandalone piece that illustratesa particular poem, story,imageor mood. The title usually tells theaudience what has inspired the composerorsparked theirimagination. The music transports thelistener to that moodorscene by paintinga pictureinsound. Earlierin this unit we listened to DanseMacabre by Camille Saint-Saëns,an example of a tone poem.
AlsoSprachZarathustra by Richard Straussisan example of a tone poem. Strauss took inspiration froma philosophical text by Friedrich Nietzsche. Theopeningsection of this piece usesa fullorchestral fanfare to illustrate thesunriseemerging from thedarkness of night. A fanfare isa shortmusicalflourish whichannounces thearrival of someone (or something) important. A fanfareis typically played by trumpets, Frenchhornsor otherbrassinstruments, oftenaccompanied by percussion.
Listen!
A8.17
AlsoSprachZarathustraby Richard Strauss
Listen to the opening of thispieceand try to follow the trumpet partprintedbelow.
œ
AlsoSprachZarathustra ListeningMap
Listenagain to this excerpt and seeif you canidentify these features of the musicas you go along. In the openingbars, thelowestinstruments of theorchestra (thedoublebasses, contrabassoon, organandbassdrum) presenttherumblingdarkness of thenight.
Trumpets enter withthe three-note dawnmotif. Thisshortascending musicalideais used by Strauss to create animage of thesun coming up at dawn The motif isheard three times.
Eachtime, theorchestra responds with a chord, whichseems to get brighter and more powerful as thesungainsstrength.
The chordis followed by adramatic rhythmpattern played by the timpani. Strauss makes clever use of the timpani to buildsuspense.
After the thirdstatement of thedawnmotif, a cymbalcrash announces thearrival of the majesticsun.
Long sustainednotes played by theorchestra depictthesun’sbrilliance. Theorganholdson after the otherinstrumentsstop playing to illustrate theenduring power of thesun.
Answer the following questions in your copybook.
1 Explain the term programmemusic
2 Who composed AlsoSprachZarathustra?
3 What country was the composerbornin?
4 To whicheradoeshis musicbelong?
5 Describehow Straussillustrated theimage of sunrise inhis work AlsoSprachZarathustra
6 Draw avisual representation of thedawnmotif.
Go to page 98 of your Student Activity Bookand complete Activity 12: Sunset.
Composea piece of illustrative music inspired by asunset.
AlsoSprachZarathustra by Austrian-born Straussand Night on the Bare Mountain by Russian-born Mussörgskyareboth tonepoems composedduring the Romanticera.
Listen!
A8.18
NightontheBareMountainby Modest Mussörgsky
LEARNINGINREVIEW!
Nightonthe Bare Mountain isanother example of a tonepoem Youmetthis workin Unit5.
Inspired by a Russianlegend called St John’s Eve, the musicillustratesabare mountain wheredemons, witches,sorcerers and evil spirits celebrateinaspectacle of wickedness!
STUDENTACTIVITYBOOK
Go to page 100 of your Student Activity Bookand complete Activity 13: The Tone Poem.
A nocturne isa short gentlepiece written for solo piano that reflectsor creates anight-time atmosphere. The piano took centre stagein many Romantic works. Irish composer John Field wasa pianist, composerand teacher. He is recognisedas the father of the nocturnein the Romanticera.
Listen!
A8.21
Nocturne No.12in Gmajor by John Field
Another Romantic composer of thenocturneis FrédéricChopin. Chopinadmired John Field’s workand went on to compose twenty-onenocturnes.
A8.22
Nocturne Op.9 No.2inEb major by FrédéricChopin
• A nocturneisasingle-movement piece for solo piano.
• Mostnocturnesare writtenin ternary form.
• Nocturneshave a tuneful,song-like melodyin theright hand. These expressive melodiesareheavilydecorated with details such as trills
• The melodyisaccompanied by brokenchords in theleft hand. Sometimesan ostinato addsa calming feel to the music.
• The music usuallyendsina major key.
• To fitwiththesleepy feel of thenocturne, the tempo is generallyslow.
• The performer may choose to speed up orslow down certain notesor passagesinorder to make them more expressive. Thisisknown as tempo rubato
• Thedynamicsdrift betweensoft andloud.
• Thesustaining pedal of the pianois used. Thisallows the strings to vibrate freelyand createsablurryand more resonant sound. Thesustaining (right)pedal wasanew addition to the pianoduring the Romanticera.
STUDENTACTIVITYBOOK
Frédéric Chopin
The marking tempo rubato tells the performer that they may use their judgement to vary therhythm or tempo inorder to make the music more expressive.
Go to page 101 of your Student Activity Bookand complete Activity 14: The Nocturne.
RomanticEraRecap edco.ie/eu7v WATCH
The Romanticeradates fromaround1820 to 1900. The music of this time was filled with emotionand expression. Composers were influenced by poetry,legends,artandnature. Melodies were longand expressive.
Harmony became more colourful and useda wide range of chords.
Dynamics ranged from ppp to fff.
Tempochanges were common. Markingssuch as accelerando, rallentando and tempo rubato allowed Romantic composers to make their musichighly expressive.
A larger orchestra welcomednew instrumentsin the woodwind,brassand percussion family. The piano wasa very popularinstrument with Romantic composers.
A virtuoso isahighlyskilled performer with great technicalability on theirinstrument.
Programme musicisinstrumental music that hasbeen composed totellastory.
A tonepoem isasingle-movement workinspired by anon-musicalsource.
A nocturne isa piece written for solo piano that reflectsthe moodsand feelings of night-time.
Pairs! Choose theright ending for thesentences to make accuratestatementsusing the keywords from this chapter. Write themin your copybook.
Programmemusic Fanfare
Tempo rubato
is written for radioor televisionbroadcasts. isa music festivalin Ireland. hasastorybehindit. allows the musician to play the piece faster than usual. is usually pretty loud. means the musician can puttheir own feelingsinto their performance. isa medievalinstrument.
Here are the keywords you have met in UnitA8. Lookback through this unitand revise these terms.
• Genre
• Freerhythm
• Unison
• Monophonic
• Melodicostinato
• Polyphonic
• Concerto
• Virtuoso
• Ritornello
• Art song
• Homophonic
• Crescendo
• Diminuendo
• Pizzicato
• Tone poem
• Dissonance
• Graphicscore
• Trill
• Nocturne
• Programmemusic
• Fanfare
• Tempo rubato REVIEW
Review and reflect onall of thelearning tasks you have completedin UnitA8. Choose two tasks that you have enjoyed workingon.
In your copybook,writea reflection onthe tasks you have selected.
1 What did you enjoy about thelearning experiences you have selected?
2 What haveyou learned from completing these tasks?
3 Were thereany challenges?
4 What advice would you give to anotherstudentwhoisabout to begin these tasks?
Identifythe unique featuresassociated with seannós.
Identifythedifferent types of Irish folksongs foundin the Irishsong repertoire.
Discuss theimportance of celebrating Irishsongwritersand performers.
Examine ways to promote the music of Irishartists.
Give examples of ways in which Irishartists try to reach Irishaudiences.
Discuss the role Irish musicorganisations can play in promotingandsupporting Irishartists.
Investigate the time allocated to Irishartistsand performerson Irishlocalandnational radiostations
Understand theimportance of copyright laws in protecting Irishartists’ work.
Discuss ways in whichartists generate theirincome through royalty payments.
The Irishsong tradition refers to thestyles of singing associated with Irish traditions. In this unit we willlook at sean-nósand folksongs.
Every country hasits own collection of traditionalsongs. Our ancestors passedsongs fromone generation to thenext through the oral tradition Thoseoral traditions fromdifferent cultures have different characteristic features. Thesoundsorinstruments useddependon the materials available to musiciansin that region at that time
Therearesomesimilaritiesbetween traditionalsongs from different countries. Thesesongs tell usmuch about our ancestors, our heritageandour culture.
Traditional songs sharesome of the following musical characteristics:
• They are passedon through the oral tradition.
• Thesongs’ originsorsongwriterare often unknown
• Many versions of thesongs exist.
• Thesongs usuallyhave asimple form.
• Thesongs oftenhada function or purpose, e.g.a worksongorlullaby.
WATCH
Piaras Ó Lorcáinshares why Irishsongsaresoimportant to him edco.ie/4twk
Whenit comes to music, the oral tradition refers to musiclearnt by ear rather than written down.
Watch Nell Ní Chroinín perform ‘An Gamhain Geal Bán’,asean-nóssong from the18th century, in Kilkenny Castle.
Shesharessomeinformationaboutthesongbefore shebegins. WATCH edco.ie/53xg
Seannós means ‘old style’ and refers to astyle of singing that datesback many hundreds of years. Sean-nóssingingisa form of storytelling. The wordsare of greater importance than the melodyor rhythm. Sean-nóssongshave been passedon through the oral tradition. Thesongwritters remain unknown,and many versions of thesongs exist.
Sean-nóssinging uses freerhythm andis unaccompanied to allow theperformer to share the song’sstory whilst displaying their ownindividual style.
Features of Sean-Nós Singing
Solo/Unaccompanied
Sean-nóssongsare performed by asinglesoloist with no accompaniment. In more recent times,a drone can sometimesbeheardinsean-nós performances, often played by the uilleann pipes.
A drone isa continuous note or chord that isheld throughout apassage of music. The traditional Irishinstrument the uilleann pipes playsa drone while playinga tune.
Musicin freerhythm is performed without a steady pulseor metre.
Freerhythm
Ornamentation
Dynamics
Wide range
Nasal tone
Repeatedfinalnote
Sean-nóssongsdonot have a regularbeat. Instead, therhythm isshaped by thenaturalrhythm of the words.
Sean-nós performers usedifferent forms of ornamentation to add decoration to the melodicline.
Ornamentation is the use of additionalnotes,known as ornaments, to decoratea melody. Thestyle of ornamentation varies from region to regionand fromsinger to singer.
Sean-nóssingersdonotmake use of dynamic changesin their performances.
The pitch of the melody often covers a wide range of notes.
Singers produce thesoundnear theback of the mouth to giveanasal quality to thesound. Thisisknown asnasal tone.
Performers may repeat the finalnote at theend of asongor repeat the whole finalline of thesong. Traditionally performersslowed the tempo at theend of thesongorspoke thelast few words.
Picturedbelow aresome well-known sean-nós performers.
Folksongsaresongs of the people that have alsobeen passedon fromone generation to the next. Folksongs providelisteners with aglimpseinto the past. The words of thesongs teach us aboutthe people, their traditionsand their experiences. Thelyrics tell ofeveryday events and are typically writtenin verse–chorus form. A folk song isa traditional song that hasbeenpassed down fromone generation to thenext.
‘Siúila Rúin’ isan Irish folksongin whicha womansings of hersorrow andanxietythat herlover has gone to war. Thisisan example of a macaronic song where the versesarein English,butthe chorus isin Irish.
WATCH edco.ie/f5he
Watch this performance by Clannad of the traditional folksong‘Siúila Rúin’.
Translation of thechorus:
Siúil, siúil, siúil arúin
Siúilgo sochairagussiúilgo ciúin
Siúilgo dorasaguséalaighliom
Is go dté tumomhuirnínslán
Go, go, go my love.
Go quietly and go peacefully.
Go to thedoorand fly withme.
And may you returnsafely, my darling.
Many versions of Irish folksongs exist. Informationabouttheiroriginsand composersare often unknown Irish folksongsare usuallyaccompanied by traditional Irishinstruments. They feature ornamentation,and the finalnote of thesongsis often repeated. Theseventhnote of thescaleis frequently flattenedin the melody.
‘She Moved Throughthe Fair’
Listen to a performance of the Irish folksong‘She Moved Through the Fair’. Thissongincludes some characteristics of Irish folksongs.
Themusicisprintedforyoubelow. orkinpairstoidentifyane ampleof
• ornamentation
• a repeated finalnote
• the flattenedseventh (in the key of Dmajor,C♯ is flattened toC♮).
3
My Andmy fatherwon’tslightyouforyourlackofkind.young lovesaidtome My Motherwon’t mind,&## Adagio
lt willnotbelonglove ‘tillour wedding day. -
Folksongsare categorisedaccording to their themes. Some of the more common types of songs arelistedhere.
Love song An expressivesongabout love ornature. Love songsare oftensadand tell of lostlove.
Lament A song that tells of lossand regret. Emigration, evictionand famineare common themes found in thesesongs.
Patriotic song
A song that expressesalove of one’s country. Patriotic songs often tellstories ofevictionand of Irish people’s struggle for independence.
Lullaby A song with a gentle rockingrhythm and repeatinglyrics whichhelp to lullababy to sleep.
Working song Songs with astrongrhythmicpattern which match the movements of workersin thekitchen or the fields. A9.1
The Irishfamine was a commontheme of laments
STUDENTACTIVITYBOOK
Go to page 102 of your Student Activity Bookand complete Activity 1: ‘MoGíle Mear’.
‘The Minstrel Boy’
‘The Minstrel Boy’ isa patriotic song that tells thestory of soldiers whodiedduring the Irish Rebellionin1798. Thelyrics are the words of Irish poet Thomas Moore. The poemisset to the medieval Irish tune‘The Moreen’. This poignant songhas becomea hymn for soldiers who fought in the American Civil War and World War I. Thesong remainsin the repertoire of songs performed at thegraveside of those whohave lost theirlives serving their country.
Listen to the excerpt and work together to
i) Identifythe words where you heara chord change.
ii) Identifythe form of thesong.
AABA AABB ABBA
iii) Namethis form.
Unitary Binary Ternary
Line1: The Minstrel boy tothe war is gone in the ranks of death you’ll find him
Line2: His father’s sword hehas girded on and his wild harp slung behind him
Line3: Land of songsaid the warrior bard, though all the world betrays thee,
Line4: One sword, at least,thy rights shall guard one faithful harp shall praise thee
STUDENTACTIVITYBOOK
• Go to page 103 of your Student Activity Bookand complete Activity 2: ‘Siúila Rúin’.
• Go to page 104 of your Student Activity Bookand complete Activity 3: Madein Ireland Playlist
Every country hasits own collection of traditionalsongs that were passed fromone generation to thenext through the oral tradition.
The oral tradition refers to music that hasbeen passedon through the generations by beinglearnt by ear rather than writtendown.
Traditional songs fromdifferent cultureshave different characteristic features,and involvedifferent soundsandinstruments.
Thereis more thanonestyle of singingassociated with the Irish tradition.
Sean-nós (old-style)singing isin freerhythm and unaccompanied to allow the performer to show theirindividualstyle.
Freerhythm follows therhythmpatterns of words rather thanhavinga fixedbeat or pulse.
Ornamentation is theaddition of extranotes to a melody to decorateit.
Folk songs are traditionalsongs that have been passeddownfromone generation to thenext. They areaccompaniedandin verse–chorus form. Folksongs tell us of the past, the peopleand the traditions of Ireland.
Thereare many types of traditionalsongsin the Irish repertoire:love songs,laments, patriotic songs etc.
A lament isasong thatexpressessadness.‘Mo Ghile Mear’an example of an Irish lament.
Patriotic songs expresslove for one’s country. ‘The Minstrel Boy’ isan example of a patriotic song.
Match Up! Match upthe two parts of thesentences to make true statements about the Irishsong tradition. Write the complete sentencesin your copybook.
A lamenthavebeen passeddownthrough theoral tradition.
Freerhythmisa feature of Irish folksongsandsean-nóssongs.
A drone isa feature of sean-nóssinging.
Traditionalsongsisasadsong.
Ornamentation canbe playedon the uillean pipes.
Freerhythmisnot a feature of folksongs.
A patriotic song usuallyhas versesanda chorus.
Theoral traditionis unaccompanied.
A folksong existedbefore songs were writtendown.
Sean-nóssinging tells of one’s love for one’s country.
How do Irish musicianspromote their work to Irishaudiences?
Musiciansin Ireland workhard to promote their workand to gettheirsound ‘outthere’. Some of the ways that artistsbring their music to Irishaudienceinclude
live performances at concerts,on tours, at music festivals orin public places(busking)
buildingasocial media presence
uploadingandsharingnew tracksonsubscription-based streamingservices
creatingand participatingin podcasts
radioor TV interviews
appearingin printed media publicationssuch as Hot Press magazine.
During the Covid-19 pandemic, Irishartists couldnot give liveperformances andhad to findnew ways to reach their audiences.
Spotify is the world’sbiggest streaming service, followed by Apple Music. It hasaround200,000 payingsubscribersin Ireland. However, in2022, theonly Irishartist to have asong in the top ten moststreamedsongson the platformin Ireland was Dermot Kennedy. Established Irishbandssuch as U2, The Cranberriesand Hozierdidnotmake itonto thelist,but The Poguesdidappearin Apple Music’s top 100, at number 74. Although Kennedybelieves that beingona Spotify playlist helpedhim to break through after ten yearsin theindustry, theamount artists canearnon the platformis verysmall. Nevertheless,streaming canhelpartists to workoutwhere theirlistenersarebased,and thereforeshow them where to go on tour. Liveperformances are usually thebest way for bands to earnaliving,now that technologyhas changed the way that we access recorded music.
In the past, record sales were a majorsource of income for artists,buttoday audiencesare muchmore likely to stream music thanbuy aCDorvinyl. Beingadded to a popular Spotify playlistis thereforeone of thebest ways to reachnew audiences. Since the playlist, Kennedy’s careerhas taken off. He headlined the music festival Electric Picnicin2022,andhissecondalbum, Sonder, went to number1in Irelandandin the UK.
A liveperformance takes placein front of anaudience andisnotpre-recordedor streamed.
Streaming services provide customers with instant access to video, musicand other media content online without themhaving to downloadit.
DeniseChailaA music festival isan event organised to showcaselive performances by various musicians,singers and groups to alarge audience. Festivalsare oftenan annual event and canlast severaldays. Emerging artists canaccessnew audiences when they are invited to play at music festivals.
Can you namea music festivalheldin Irelandeach year? Thesegatherings support many jobsin the musicindustryand promote Irish musiciansand their music.
ElectricPicnic
Longitude Festival
FleadhCheoil
TradFest
An annualartsand music festival that hasbeenstagedin Stradbally, CountyLaois,since2004.
A music festival that takes placeduring July every yearin Marlay Park, Dublin.
A festival that celebrates Irish music. It isrun by Comhaltas Ceoltóirí Éireann inadifferent host town or city each year. Thisannual festivalincludeslive performance, events and competitions for traditional Irish musicians.
A festival that celebrates Irish musicand culture. TradFest takes placein Januaryin Dublin.
STUDENTACTIVITYBOOK
Go to page 104 of your Student Activity Bookand complete Activity 4: Festival Fever
Busking is givingperformancesinpublic spaces,usuallyin return for donations from members of thepublic. Musicians whosingor play in public placesareknown asbuskers. edco.ie/d4va WATCH
Buskingisavibranttraditionin Ireland. It hasbecomeanimportantpart of the tourist experience.Visitors can experienceandenjoy liveperformances inlocationssuch as Dublin’s Grafton Street Passers-by make donations to musiciansin return for theirentertainment. This isa means of supporting theseartists’ financially. Buskingisallowedin mostlarge townsand cities, but in Dublinallstreet performers mustpay for a permit. They mustmove on to anotherlocation after performing for onehour.
Allie Sherlock isan Irishsinger,guitarist,songwriterand busker. Her performanceson Britain’s Got Talent, the AmericandaytimeTVprogramme The Ellen DeGeneres Show and at Queen Elizabeth’s Golden Jubilee celebrationshave promotedher talents to audiencesacross the world.
Allie reachesheraudience by buskingon Grafton Street,livestreamingher performances andviahersocial media platforms. Shehas over 2 million followers on Instagramand over 5 millionsubscribers to her YouTubeChannel. Her YouTubevideoshave generated over 900 millionviews She often meets tourists from all over the world whohave come to Grafton Street to hearhersing. In 2020, Allie performed as part of a collective of femaleartists called Irish Womenin Harmony on their cover of ‘Dreams’ by the Cranberries.
Buskingisanold traditionandone which many famous Irishartistsholddear. Artistssuch as Bono, Hozier and Dermot Kennedyhave beenknown to turn up on Dublin’s Grafton Street for animpromptu gig! Niall Horanand LewisCapaldi popped by for abuskingsessionon Grafton Street in2022.
Buskingisa way for Irish musicians to shareand promote their music. A number of successful lrish musicians,including Glen Hansard, Bono, Keywestand Dermot Kennedy,began their careersbuskingon Grafton Street
Allie Sherlockbusking on Grafton StreetGo to page 104 of your Student Activity Bookand complete Activity 5: Busking. STUDENTACTIVITYBOOK
Irish peopleare exposed to music everyday, through various media sourcesandindifferent formats.
Despite thevibrantculture of musicin Ireland, many talented musicians cannot earnaliving from their music. Regular workandincomeare difficulttofind. For this reason, many Irishartistshave lefttheindustry insearch of a more reliableincome. Thishasanenormousimpact on Ireland’s creative output.
In 2021, Hot Press magazine cameupwiththeidea of Irish Music Monthasa way to promote Irishartistsandbands. All twenty-five independent radiostationsacross Irelandagreed to play a lotmore Irish musicand to joinin thesearch for anew local musichero. The winner receives the support to release their first single. More than€100,000is paid to the Irishartistsentering this national talent show. Theinitiative hasbeen welcomed by those workingin the musicindustry, broadcastersand politiciansalike.
Go to page 105 of your Student Activity Bookand complete Activity 6:Class Survey.
Survey yourclassandgatherdatathat reflects how you areaccessingandenjoying music.
Thebest way to support Irishartistsis to listen to their music. Going to live performances,buying theiralbums or paying to listen to their musiconstreamingservicessuch as Spotify or Apple Musicareall ways youcando this.
Localandnational media can play abig role too. Media sources shareinformation with localandnational audiences. Media sources includenewspapers, radioand televisionbroadcastingstationsandonline platforms.
• Can you identify any localandnational mediasources?
• Howregularlydo you hear music by Irishartists playing on Irish radiostations?
• Do Irish media promote Irishartists? Share examples.
• Suggest ways in whichlocalandnational media coulddo more to support emerging Irish talent.
STUDENTACTIVITYBOOK
Go to page 106 of your Student Activity Bookand complete Activity 7: Radio Play
Comhaltas
Comhaltas Ceoltóirí Éireann isa cultural movement that was foundedin1951 to promote Irish traditional music.As wellas promotingall forms of Irish traditional music, theirobjectivesare to preserve otheraspects of Irish culturesuch as traditionalsong,dance and thelanguage of Ireland. Comhaltas Ceoltóirí Éireannorganises the world’slargest annual festival of Irish traditional musicsong, anddance, FleadhCheoil.
STUDENTACTIVITYBOOK
IMRO works withmusic creators, promoting andshowcasingemerging Irish talent both at homeandabroad.IMRO tries to findnew ways to promote music creation, cultureand culturaldiversity. IMRO supportsanddevelops the creativity of songwritersand composers by sponsoringsong competitions, festivalsand musiceducation workshopsacross Ireland.
Go to page 107 of your Student Activity Bookand complete Activity 8: The Music Industry andIMRO
As technologyhasdeveloped,audiencesnow largelyaccess musiconlineviastreaming servicesinstead of buyingCDsorvinyl.
Streamingservicesallow artists to reachaglobalaudiencebut donotprovidea goodincome.
Live performancesareanimportant way for artists to earn money.
A music festivalisan event organised to showcaselive performances by various musicians to alarge audience.
Festivalssupport many jobsin the musicindustryand promote Irish music. Buskingisa term for performingin publicspaces.
Severalsuccessfulmusiciansbegan their career by buskingon Grafton Street.
Irish Music Monthisone way in which the music of Irishartistsis promoted. Thisshould lead to more time beingallocated to playing Irish music.
Thebest way to support Irishartistsis to go to see themlive,buy theiralbums or pay to listen to their music.
Mediasourcesincludenewspapers, radioand televisionbroadcastingstationsandonline platforms.
Comhaltas Ceoltóirí Éireann works to promote Irish musicand culture.
IMRO stands for Irish Music Rights Organisation.
IMRO promotesandshowcasesemerging Irish talent in Irelandandabroad.
Taboo! Chooseone of the keywordsbelow. Without saying the word itself,briefly explain what it means.Can yourpartnerguess which keyword you are talkingabout?
• Live performance
• Streamingservices
• Music festival
• Busking
• Mediasource
How doartistsearn their money?
Sources of income for artistsincludelivegigs, concerts,busking, festivalsand royalties from thesaleor use of their music.
• Comhaltas Ceoltóirí Éireann
• IMRO
As wellas working with Irish music creators to promoteandshowcase upcoming talent, IMRO supports musiciansin Ireland by
collecting royalties onbehalf of Irishartists
distributing royalty payments to artists
ensuring that music userssuch asbroadcasters, music venuesandbusinesses pay the licence fee that allows them to use music by Irishartists
ensuring that copyright laws areadhered to.
Royalties are thepaymentsmade to copyright owners in return for the use of their music. Copyrightprotects artists by ensuring that they are fairly rewarded when others use their work.IMRO collects royaltiesonbehalf of Irishartistsand makes payments to theartists directly.
Radio royalties areasource of income generated by the use of artists’ musicon Irish radiostations.
Radio royalties arepaid to artistswhen their musicisplayed on air. Radiostations make royalty payments to IMRO basedon their playtime logs for music by Irishartists.IMRO thenanalyse thedata and calculate the royaltiesdue to artistsbased the informationgiven to them.
Artists canearn more from their musicbeing playedon the radio than they can fromstreaming services. For example,in2022, RTÉ Radio1 paid€4.11 per minute for everysongitbroadcast, that isabout €14.40 for an average track.
The physicalsale of CDshasslowedin recent years,as many people choose to access their musicviastreamingservices. Music streaming services allow users to streamsongs to their personaldevices from the Internet ondemand in return for asubscription fee. Some streaming servicesalsoallow customersto download material. Artists can generateasmallincome from streaming royalties each timetheir music isstreamed.
Some streamingservices usea‘pay-per-play’ model. They pay aset royalty amount each time asongisstreamedon their platform. The averageamount per stream paid by Spotify in2022 was €0.0034. This means that whenasonghasbeenstreameda thousand times, theartist would receive around€3.40instreaming royalties. However, of theestimated11 millionartists whose musicison Spotify, only9,000are reported to have more than100,000streamsa year. Thegridbelow outlines what some of the most popular musicstreamingservices pay out to artists per play. It alsoshows how many timesasongneeds to be playedbefore itearns theartist$1,000.
STUDENTACTIVITYBOOK
Go to page 107 of your Student Activity Bookand complete Activity 9: Artists’ Incomes.
Whetherabusinessoperatesahotel, restaurant,bar,hairdresserorsupermarket, part of this serviceisaboutproviding customers withmusic to enhance their experience.
In thisIMRO video,some Irishbusiness owners explain the role music playsin creating atmosphere for their customers.
Go to page 108 of your Student Activity Bookand complete Activity 10: Musicin Business andIMRO.
Businessesin Ireland that play musicon their premises mustpay for alicence to doso. Thedual musiclicenceallows them to play musicon their premises (eg. cafes,shops,gyms,hotels etc.). By payinganannuallicence fee,businessesaresupporting Irishartists,enabling them to earnaliving from their music. Licence feesare paid to IMRO, who passon the royalty payments to artists.
WATCH edco.ie/hy5p
WatchIMRO’s videoaboutthedual musiclicenceandanswer the followingquestionsin your copybook.
1 hatisthedualmusiclicence
2 i etworeasonswhyshopsandbusinesspremisesshouldpayfortheirdualmusiclicence each year.
Sources of income for artistsincludelivegigs, concerts, music festivalsand royalties from thesaleor use of their music.
IMRO collects royaltiesonbehalf of Irishartistsanddistributes royalty payments to them.
IMRO works to ensure that copyright laws areadhered to.
Royaltiesare fees paid to artistsin return for the permission to use their copyrighted work.
Radio royaltiesare paid to artists when their musicis playedonair.
Musicstreamingservicesallow users to streamsongs to their personaldeviceson demand from the Internet in return for asubscription fee.
Some streamingservices usea pay-per-play model. They pay streaming royaltieseach time asongisstreamedon their platform.
Businessesin Ireland that play musicon their premises mustpay for alicence to doso.
Sortit out! Changeoneor more of the wordsnot in bold to make accuratedefinitions of the keywordsin this chapter. Write the correctedsentencesin your copybook.
1 Royalties are paid when musiciansadapt or perform their ownsongs.
2 Radio royalties are paid each time asongis streamed.
3 Streaming services pay royalties each time a songisbought.
4 Streaming services are less popular thanCDs nowadays.
5 Streaming royalties are a good source of income for artists.
Copyright isalegal property rightwhich protectsthe creator of anoriginal piece of work. It is held by theoriginal creator of a piece of work.
Copyright enables the creators of original works to control whenandhow their workis used. Payment for the use of copyrighted material providesartists with anincome for the use of their work. Copyright expires70 years after the death of the creator. At that point,the workis said to enter the publicdomain.
The use of copyrighted workswithout permission iscalled copyright infringement.
Copyright infringement involves the use of another person’s work without obtaining the permission to doso from the copyright owner. Copying,sharing,sellingordistributing material withoutpermissionbreaches copyright laws.
Examples of copyright infringement include
• using musiclyrics,audio clipsorriffs in your own compositions withoutthe permission of the copyright owner
• illegallydownloadingorsharing music files
• alteringor reproducinganartist’s original work
• uploading copyrighted material to theinternet
• creatingor publishingavideo that usesanartist’s musicin thebackground.
Publicdomain refers to worksthat arenot protected by copyright. Thepubliccan use works in thepublicdomain without paying for alicence.
Composersandsongwriters canalter, modify and use music that isin the publicdomain. After they adaptthis material, they areentitled to copyright on their owninterpretation or arrangement of the music For that reason, youcanonly use the original version of the music when working withmaterial in the publicdomain.
Before music was writtendown,itsurvived through the oral tradition (passedon fromone generation to thenext), oftenleading to many versions of thesamesong. Since,in many cases, theidentity of theoriginal creator isnot known and they wouldhave died more than70 years agoanyway, thereareno copyright issues when performing music passeddown in this way. Some well-known Irishsongs that arein the publicdomaininclude‘The Minstrel Boy’, ‘Danny Boy’ and‘Molly Malone’.
Irish performers Sinéad O’Connorand The Dublinershave recorded their own versions of the Irish folk song ‘Molly Malone’. Although theoriginal songisin the publicdomain,artists who record thesong willhave their own recording protected under copyright law.
Sinéad O’Connor releasedher version of ‘Molly Malone’ onhersixthalbum, Sean-Nós Nua, which was releasedin2002. If anyone wanted to useany part of Sinéad O’Connor’s recording of thissong, they wouldneed to seek permission to doso.
SinéadO’Connor edco.ie/s2tf WATCH
Irishsinger-songwriter Sinéad O’Connor was bornin Dublinin1966. In 1990, Sinéad reached globalacclaim following the release of her cover of ‘Nothing Compares2 U’,asong written by Prince. Thesonghitnumber1in music charts around the world. She went on to record many studioalbums,including Sean NósNua (2002), made up of tracksinspired by the Irish folk traditionand ThrowDown Your Arms (2005), a collection of reggae classics. Throughout her career, Sinéad collaboratedand performed withmany Irishartists. She wasahuman-rights activistanda voice for women’srights Sinéad diedin Londonin July2023,aged56.
The Dubliners edco.ie/3swd WATCH
Irishsingerand musician Ronnie Drew founded The Dublinersin Dublinin 1962. Thesingersand musiciansin the band changed over time. The Dubliners performeda repertoire of Irish folksongs, ballads, rebelsongsandinstrumental tunes to audiencesin Irelandandaround theglobe. They were key figuresin popularising Irish folk musicacross Europe Thebandsold more than30 million records. Theiralbum The Dublin Dubliners featureshitssuch as‘Finnegan’s Wake’, ‘Raglan Road’,‘The Zoological Gardens’ and‘The Auld Triangle’.
Answer the following questions in your copybook.
1 ‘Molly Malone’ isan Irish folksong; explain the term folk song.
2 Name one other folksong that you have listened to.
3 What type of songisit?
a.alo esongb.apatrioticsong c. alament d.aworkingsong
4 Research and findone example of another well-known song that isin the public domain.
A9.5
Sing this verseand chorus of ‘Molly Malone’.
In Dublin’s fair city
Where the girls are so pretty
I first set my eyes on sweet Molly Malone
As she wheeled her wheel-barrow
Through the streets broad and narrow
Crying, “Cockles and mussels, alive, alive, oh!”
“Alive, alive, oh
Alive, alive, oh”
Crying “Cockles and mussels, alive, alive, oh”
STUDENTACTIVITYBOOK
Go to page 109 of your Student Activity Bookand complete Activity 11: Public Domain.
Thedo’s anddon’ts of copyrightcanbe confusing. Knowing what is permittedand what is copyright infringement isimportant. Explore the followingstatements anddiscuss whether they are fake news or fact!
1 Copyright ensures that artistsare paid for their work.
2 Copyright only protectsthe works of famousmusicians.
3 It is OK to copy andshareanalbumthat youpaid for ina musicshop with yourpals.
4 Uploading music that you created using GarageBand to your school websiteis covered under copyright law.
5 It is OK to use the words of a poemas thelyrics for asong you are writing.
6 Copyright infringement is the use of anartist’s work without their permission.
7 Copyright laws donot apply to works by artist after theirdeath.
8 Music that isnolonger under copyright isin the publicdomain.
STUDENTACTIVITYBOOK
Go to page 110 of your Student Activity Bookand complete Activity 12: Copyright.
Musicpiracy involves theillegal copyinganddistributing of music recordings. Modern technology has madedigital copyingeasier than everbefore,but we must be aware that downloading music files, filesharingand copying music files to share with othersareall examples of music piracy. Piracy isaglobal practice that harms the musicindustry,stealingbillions of euros from the pockets of those who workin music. The Irish Recorded MusicAssociation(IRMA)isanon-profit making organisationsetup by record companiesin Ireland to bea voice for all those who workin the musicindustryand to fightmusic piracy in Ireland.
Go to page 111 of your Student Activity Bookand complete Activity 13: Composer Brief
Copyright is theright held by theoriginal creator of a piece of work.
Copyright allows the creators of original works to control whenandhow their workis usedand to receiveanincome for use of their work.
Copyright infringement involves the use of another person’s work without obtaining the permission to doso.
Copying,sharing,sellingordistributing material without permissionareall examples of copyright infringement.
Copyright expires70 years after thedeath of the copyright owner. The music then enters the publicdomain.
Any musical works that arenotprotected by copyright arein the publicdomain.
Composersandsongwriters whoadaptmaterial that isin the public domainare entitled to copyright for theirinterpretation of the music.
Music piracy involves theillegal copyinganddistributing of music recordings.
The Irish Recorded MusicAssociation(IRMA) fightsmusic piracy onbehalf of Irishartists.
Legal Beagle! Can you adviseon the followingsituations.
1 You hearabusker performinga traditional Irish folk songin thestreet and thinkit wouldbe perfect to sing at a familygathering. You decide to copy the way it was performed. Is this OK?
Yes,it’s no problem. Thesongisin the public domain.
No, that’s illegal. Youcan’t copy someoneelse’s interpretation. That’s copyright infringement.
2 You go to a party and reallylove the playlist. You ask thehost to shareit with you. How can they do thislegally?
They canburn the tracksonto aCD for you. They cansend youMP3s of the trackson WhatsApp. They cansend youthelink to the playliston Spotify.
3 Yourfriend wants to save some music froma YouTubevideoon their computerso they can listen to it offline without any adverts. They foundsomesoftwareonline to convert the video to an MP3 Is this OK?
Yes,it’s fine. If it’s onlineit’s in the publicdomain.
No, that’s always going to beillegal. It’s definitely musicpiracy.
It’s OK aslongas the music was writtenagesagoandisin the publicdomain
It’s notOKunless the musicisalsoout of copyright and thevideoitselfhasno copyright.
Here are the keywords you have met in UnitA9. Lookback through this unitand revise these term
• Oral tradition
• Traditionalsongs
• Sean-nóssinging
• Freerhythm
• Ornamentation
• Drone
• Folksong
• Lament
• Patriotic song
• Streamingservices
• Mediasource
• Comhaltas Ceoltóirí Éireann
• IMRO
• Royalties
• Radio royalties
• Streaming royalties
• Copyright
• Copyright infringement
• Publicdomain
• Music piracy
Review and reflect onall of thelearning tasks you have completedin UnitA9.Choose two tasks that you have enjoyed workingon. In your copybook, writea reflectionon the tasks you have selected.
1 What did you enjoy about thelearning experiences you have selected?
2 What haveyou learned from completing these tasks?
3 Were thereany challenges?
4 What advice would you give to anotherstudentwhoisabout to begin these tasks?
WHENYOUHAVECOMPLETEDTHISUNIT,YOUWILLBEABLE TO… LEARNINGIN FOCUS!
Think creativelyabout composing musicand undertakea variety of composing tasks.
Designasoundscape to accompany poetry.
Consider the role theelementsplay in composing music to illustrate different moods.
Rehearseand performagraphicscore.
Composeagraphicscore to illustrate the weather.
Composeasuitable melody to providelullaby music for a cot mobiledevice.
Addharmonicaccompaniment to the Irish folksong‘The Town I Loved So Well’.
Choose major chords to addaharmoniclayer to support a melodyline.
Understand what isinvolvedin completion of CBA1: the Composition Portfolio.
Identify and understand thesteps you should take to complete two pieces of composition.
Identify anddescribe thesteps you should take to complete your Reflection Notes.
Creativity is theability to turnnew andimaginative ideasinto reality.
Yourmindisa muscle; the more youuseit thestrongerit gets! Giveyour braina workout by completing the creative tasksin your Student Activity Book.
STUDENTACTIVITYBOOK
• Go to page 112 of your Student Activity Bookand complete Activity 1:Cis for Creating.
• Go to page 112 of your Student Activity Bookand complete Activity 2:Creative Listening.
A soundscape recreatesthe soundsassociated with aparticularenvironment using human-made or environmental sounds.
In music,soundscapes create a particular moodor atmosphereandaredesigned to evokeasense of placeor to tellastory. For example, thesounds of waves crashingonabeach mightcreate a sense of calmand relaxation.
A found sound canbeany of the everyday sounds that we heararound us. Human-made sounds aresounds that are created by people. Environmental sounds are thenaturalsounds that surround us.
Workin pairs to imagineand create sounds, usinginstrumentsor found sounds to create a soundscapeinspired by image A or B below.
STUDENTACTIVITYBOOK
Go to page 113 of your Student Activity Bookand complete Activity 3: Matching Sounds to a Stimulus.
‘Night Mail’ isa poem by the British poet W.H. Auden. It was written for adocumentary made by the Post Office aboutthe mail train that ran from London to Scotlandin the1930s. The film combinesimages of the train, Auden’s poemand music by Benjamin Britten.
Therhythm of the poemimitates thesound of the wheels of the trainas they clatter over the railway tracks. Auden took care to make sure the metre of the poem matched theactualsound of the train. Thenarratorstartsslowly butthe pace increases to illustrate the train picking up speedasit makesits journey. The final verseis read more slowly to echo the trainslowingdown asit reachesitsdestination.
WATCH
edco.ie/uw7m
Metre is the way severalbeats are grouped together to make a pattern of strongand weakbeats.
Poetry (and even words themselves) have metre.
In the1820s, poets, writersand composers were fascinated by locomotives. The first steam trains were asource of adventureas peoplebegan to enjoy the possibilities of rail travel.
Robert Louis Stevenson published the‘From a Railway Carriage’ poemin1885. The wordsinhis poemdescribe the experience of a young childona trainjourney ina fun andrhythmic way. Each line captures the worldoutside the moving carriage,inview for onlya moment,before thescenesweeps by.
Faster than fairies, faster than witches, Bridges and houses, hedges andditches; And charging along like troops in a battle,
All through themeadows the horses and cattle:
All of the sights of the hill and the plain Fly as thick as driving rain;
And ever again, in the wink of an eye, Painted stations whistle by.
Here is a child who clambers and scrambles,
All by himself and gathering brambles; Here is a tramp who stands and gazes;
And there is the green for stringing the daisies!
Here is a cartrun away in the road
Lumping along with man and load;
And here is a mill and there is a river: Each a glimpse and gone for ever!
Night Mail by W.H. AudenGo to page 113 of your Student Activity Bookand complete Activity 4: Creative Combinations.
Composea piece of incidental music to accompany anarration of ‘From a Railway Carriage’ by Robert Louis Stevenson.
Incidental music isbackground music used to create or enhanceaparticular atmosphere or to accompany action.
One personin thegroup shouldnarrate the poem‘From a Railway Carriage’ while the other members of thegroupperform your accompaniment. Record yourperformance!
Mood isanimportant feature of music. The choice of tempo, dynamics andinstrumentationalso help to create the moodoremotion of a composition. For example,anenergetic andloud melody played by brassinstruments might be used by a composer to illustrate avictory celebration.
Mood describes the overall feelingor atmosphere of a piece of music. Tempo is thespeedor pace of a piece of music. Instrumentation is the combination of instruments chosen to performa piece of music.
STUDENTACTIVITYBOOK
Go to page 114 of your Student Activity Bookand complete Activity 5: Mood
RECAP
Creativity is theability see thingsinnew ways.
A soundscape recreates thesoundsassociated with a particularenvironmentusing foundsounds.
Incidental music isbackground music used tocreate orenhancea particular atmosphereor to accompany action.
A found sound isasound that is created by everyday objects (e.g. pens, paper, water). Accompaniment is music whichis composed to support the main part of melody.
Mood describes the overall atmosphereoremotion of a piece of music. Tempo is thespeedor pace of a piece of music.
Taboo! Chooseone of the keywordsbelow. Without saying the word itself,briefly explain what it means.Can yourpartnerguess which keyword you are talkingabout? Can you do themallintwo minutes?
• Foundsound
• Soundscape
• Dynamics
• Accompaniment
• Mood
• Tempo
• Incidental music
•
Creative composing is the process of combining your ideasand musical knowledgeina creative way to create somethingnew!
Let’sRecap!
A visual representation uses symbols,graphicsorimages to present information.
Not allsounds canbe representedona musicstave. How would you show thesound of ahair dryeronlinesandspaces, for example?
ListenandRespond!
A10.11
Selectthegraphic that best representsthe melodyheardin this excerpt.
STUDENTACTIVITYBOOK
Go to page 115 of your Student Activity Bookand complete Activity 6:Visual Representations of Sound.
Select avisual representation to match thesound you hear and then create your own.
Contemporary composerssometimes useshapes, colours, and other symbolsasvisual representations of sound. Composers of graphic scores useimagesorshapes to represent soundsorinstruments.
Graphicscore composers must consider ways to indicate elements such as pitch and rhythm. They alsoneed to find ways of indicating dynamics. How would you go aboutthis?
Let’sRecap!
A graphic score isa representation of music using symbols(images, shapesand pictures) instead of standardstaff notation.
Pitch describeshow highorlow asoundis.
Rhythm is the way that agroup of note valuesare combined. Dynamics indicatehow loudlyorquietly a piece of musicshouldbe played.
Thegridbelow shows asimpleapproach to illustrating these threeelements.
Placing the symbols higherorlower to indicate pitch
Usinglongorshortshapes to indicate thelength of time soundsshouldlast
Shading fromlight to dark to indicatedynamics:light shading for quiet, gettingdarker to indicate louder
Considerhow youcanindicate pitchordynamics. Are thesoundshighor low, loudorsoft?
edco.ie/ynex
‘Stripsody’ by graphicscore composerCathy Berberian
Sometimesgraphicscore composers use words too. Expressionslike ‘Argh’,‘Huh’, ‘BurRRR’ or ‘BOOoom’ canadd vocalinterest to a performance. Watch composerCathy Berberian perform hergraphicscore‘Stripsody’. She usesnoises, wordsandactions, whichareindicatedona musicstave. Thestaveindicates theapproximate pitch for eachsound.
Explore thisgraphicscoreasagroup ensemble. Take a couple of minutes to prepareand then performit together!
ComposerBrief! COMPOSE
Go to page 116 of your Student Activity Bookand complete Activity 7: Graphic Scores
Composeagraphicscore for primaryschool childreninspired by a picture of the weather.
Work together to rehearseand performagraphicscore createdin Activity 7 by anothergroup in yourclass. Have fun!
• What challengesdid you face preparing to perform this piece?
• Did you justjump right inordid youuse the preparation time to plan the performance together?
• Discusssome of thequestions you wouldask the composerbefore performing this piece.
An ostinato isashort repeating pattern that continues throughout a whole piece of musicor for alongsection of it. It canberhythmic,melodicorharmonic.
A rhythmic ostinato isashortrhythmpattern that is repeated.
A harmonic ostinato isashort chord pattern that repeats.
A melodic ostinato isashort melody that is repeated.
To improvise means to make up a performanceon thespot The resulting performanceisknown asan improvisation.
ComposerBrief!
Go to page 117 of your Student Activity Bookand complete Activity 8: Composinga Melodic Ostinato.
LEARNINGINREVIEW!
When you are writinga melody try to follow thesesteps:
Composearhythmpatternin thegiven time signature.
End therhythmpattern with alongnote. This will make yourmelodysoundlikeitis coming to a resting point.
Thenadd melodynotes makingsure to usea range of notes.
Ensure you end yourmelodyon the keynote (tonic/doh). Thishelps to makes yourmelody sound complete.
Choosesuitable tempo anddynamic marking(s) for yourmusical phrase.
Addsomearticulation symbols to finishit off!
Inserta phrase mark from the first noteto thelastnote.
ComposerBrief!
Go to page 119 of your Student Activity Bookand complete Activity 9: Composing a Melody.
LEARNINGINREVIEW!
When you are choosing chords to supporta melody, remember these points:
The major chordsI,IVand V inany key offer thebest match to the melody. Identify the major chordsI,IVand V for the key you are workinginandadd them to the chord bankgrid.
Look for cluesin the melody.
For eachempty chordbox, choose the chord that fitsthe most melodynotes. Insert the chordname using capitalletters.
Never repeat thesame chord twice ina row. Everynew chordbox requiresa change of chord, evenifitison thenextline.
Ensure that you label chords using thename of their root,e.g.C, F or G. Do notuse Roman numerals(I,IV, V).
End with a finishing cadence (perfect or plagal).
ComposerBrief! COMPOSE
Go to page 120 of your Student Activity Bookand complete Activity 10: AddingChords to Supporta Melody.
Add chords to support the melody of ‘The Town I Loved So Well’.
ComposingaHarmonicOstinato Let’sRecap!
ComposerBrief! COMPOSE
Go to page 121 of your Student Activity Bookand complete Activity 11: Composinga Harmonic Ostinato
Composeaharmonicostinato to accompany animprovised voice message for your school office’s telephone system.
A harmonic ostinato isa repeating chordal patternor motif heard in theaccompaniment.
Answer the following questions in your copybook.
1 What isa graphic score?
2 Can you nameagraphicscore composer?
3 Describeone method of illustrating pitch on agraphicscore.
4 Outlinesomequestions you wouldlike to askagraphicscore composer.
5 Explain the term ostinato andlist the three types of ostinato usedinaccompaniments.
6 Explain the term improvisation anddescribe how musicians useimprovisationin their performances.
Creative composing involves moving fromideasandinspiration to a finished piece of work.
A visual representation of soundisanimageordrawing that is used to represent asound inavisual way.
A graphic score uses symbols,shapesorimages to visually representmusicinstead of conventional musicnotationonastave.
An ostinato isashort repeating pattern that is repeated throughout a whole piece of musicor for alongsection of it. It canberhythmic,melodicorharmonic.
Improvisation involvesaspontaneous performance, created(improvised)on thespot. It canbeguided by an existing piece of music.
A lullaby isaquiet, gentlesong playedorsung to helpa child to drift off to sleep. The musicis oftenslow andquiet and uses repetition.
A folk song isa traditionalsong that originates fromaspecific country or culture.
CBA1 is a Composition Portfolio that is completed towards theend of second year. It shouldinclude two compositions froma portfolio of all your composition work to date. In addition to the two pieces of music, youmustwritea Reflection Noteto accompany each composition.
• TheCBA1 Composition Portfolio consists of two compositionsand two Reflection Notes (one for each of the compositionssubmitted).
• The pieces that you have chosen for yourportfolioshould reflect different stylesor genres
• Youcan work by yourselforas part of agroup for each piece.
• Youmust complete your own reflectionnotes (evenif you workedas part of agroup).
A musical genre isa broad categoryor type of music that shares certain characteristics, e.g. rock,jazz, rap.
• The Composition Portfolio canbe presentedina written,digital,visual or audio form,or any other format that you feelissuitable.
Your Composition Portfolioshowcases the musical compositions you have createdandallows you to recognise and celebrate everything you have achieved. It aims to show how much yourmusicalknowledgeandskillshave developed through your learning experiencesso far.
Your Composition Portfolio must consist of two pieces of music both accompanied by a Reflection Note, one for eachpiece of music.
Youcan workin pairsorgroups,but it willbe your individual roleand contribution to the work that isassessed.
It shouldincludedraftmaterial relating to your work.
The compositions you work withcanbeinany recognised musicalstyleor genre.
Compositions canbe written for instrument or voiceand for soloorgroupperformance.
Compositions canbe presentedin written,digital,visualoraudio form,orany other suitable format.
A student Reflection Note must beincluded with each of the piecessubmitted.
CBA1 Reflection Note: The Reflection Note sharesimportant informationabout the creative process. You are required to highlight the stepsinvolvedineachpiece of work. What inspiredit? How didit evolve? And, most importantly, what did you learnabout composition during thecreative task?
Go to page 122 of your Student Activity Bookand complete Activity 12:CBA1
Steps to Success
Thegraphicbelow summarises thesteps that youmight follow as youprepareand complete your Composition Portfolio. It can take some time to selectthe pieces of work you wouldlike to showcasein yourportfolio. Theinformationset out below isintended to serveasaguide to the process of creatinga completed piece of work.
Inspirationis often the first stepin the creative process. It might benature,an event, a person, anemotionorastory. Thissparks theimagination,and composersarenowready to map outtheirideas.
Considersome of the followingideasbefore you set aboutcreating your own masterpiece.
• What is the purpose of the composition?
• Whois theintendedaudience for this piece?
• What styleor genre willbest match my ideas?
• What instrumentsor voicessuit this composition?
• What formis the mostsuitable?
• What melodic,harmonicandrhythmic elements are important?
• What kind of notation/sound symbols will workbest?
STUDENTACTIVITYBOOK
Go to page 124 of your Student Activity Bookand complete Activity 13: Steps to Success.
Begin by takingsome timeto lookback through your Student Activity Book at the compositions you have producedso far. Youmight consider reworkingsome of the many creative composing tasks you have engaged with.
Inspira on Imagining Crea ng Reflec ng Refining
• Adding music to accompany a text (poem,story,speech, motto etc.)
• Responding to the moodsor themesillustratedinastoryoraliterary text (e.g.a fairy taleora historicallegend)
• Creatinganadvertisingjingle for anew product, service,or charity
• Developinga piece of electro-acoustic music usingsoftware programmes available to you such as GarageBandor Audacity
• Creatingananthemora musical piece for aschool event, local club or community celebration
• Compilingabank of new ringtones
• Writingsonglyricsora rap andaddingharmonicaccompaniment basedona four-chordostinato
• Adaptinga famousmelody
Remember, you can workon your ownoras part of a creative team!
Go to page 124 of your Student Activity Bookand complete Activity 14: Create! Workonone of thesuggested projects.
A Reflection Note allows you to record evidence of your work.
• Make noteson the progress of your composition using the progresslogin your Student Activity Book. Include any challenges you facedandhow you overcamethese challenges.
• Return to thesenotes at thestart of each class to check yourprogressand motivate you to keep going.
• Take note of the feedbackandadvice yourclassmates and teacherhave shared with you.
• At theend of each class, you shouldstop, reflect and evaluate yourprogress. How isitall going?
Eachtime you complete a Composer Brief, make sure youuse the Reflections boxesin your Student Activity Book to make notesand track yourprogress.
Thinkaboutwhat you wouldlike people to know aboutthe music you have composedand the process involvedin creatingit. Sharesomeinteresting points aboutthe purpose behind your composition. Why was it composed? What inspired you to choose thisstyle or genre?
Identify some musical features in yourpieceandshare themin your Reflection Note so that theaudience can bealerted to them. Maybe you have usedaninteresting rhythmpattern,hadsome goodideasabout articulation orincludedsome cleverdynamicsin your composition.
Go to page 125 of your Student Activity Book and complete Activity 15: Reflectand Refine!
Writea Reflection Note for your composition.
Workingaspart of a group?
Whether you are composing by yourselforas part of group, ora combination of both, youmustprovide your own individual Reflection Note. For group composing, you should include commentson your role and contribution to thegroup composition task.
Read theadviceshared by some third years after they completed CBA1. Could youtake some of thisadviceandapply it to your work?
Don’tbeafraidofmakingmistakes,they willhappenANDtheycanmakethingsbetter intheend!Iaskedmyteachertoplaymy songonthepiano,andIhadn’tendedondoh, soitdidn’treallywork,butIfixedit.
Workingaspartofagroupwithothersis fun,anditisgoodtohavesomeonetowork thingsoutwith.Makesureeverypersonhas aroletoplay;learningtoworktogethertakes time.
Ihad too many ideas at thestartand I foundithard to choose what I wanted to do. In theend,I chose the composing tasks that allowed me to showcase my musical knowledge.Ididitin my manuscript copy and asked my teacher for advice whenIneededit.
Keep track of all the changes youmake.I founditdifficult to complete my Reflection Note becauseI couldn’t remember the different stepsIhad taken to improve my jingle.I wishIhad takennote of thedifferent versions of my jinglein my music manuscript.
Classroom-BasedAssessments areassessed usingdescriptors instead of grades. The descriptor you receive willbe printedon your Junior Cycle Profile of Achievement.
The points below outline what you need to aim for.
• The compositionisoriginalandimaginative.
• Melodic,rhythmic and/orharmonicideasaredeveloped effectively.
• The choice of voices/instruments/soundsourcesisappropriate.
• The choice of genre/styleisappropriate.
• The choice of dynamics/articulation/processing effects isappropriate.
• The musichasa clear purpose.
• The compositionis tailored to theintendedaudience.
• Go to page 126 of your Student Activity Bookand complete Activity 16: SuccessCriteria.
• Go to page 126 of your Student Activity Bookand complete Activity 17:CBA1 FAQs.
TheCBA1 Composition Portfolio consists of two pieces of compositionand two Reflection Notes (one for each of the compositionssubmitted).
The Composition Portfoliois completedin thesecond year of Junior Cycle.
The pieces that you have chosen for your Portfolioshould reflect different genres.
Youcan work by yourselforas part of agroup for each piece.
Youmust complete your own Reflection (evenif you workedas part of agroup).
Your Composition Portfolio canbe presentedina written,digital,visualoraudio form,or any other format that you feelissuitable.
Your Composition Portfolio is the collection of compositions that you have composedsince yourfirst year withthesupportandguidance of your teacher.
Consider the followingquestions.
• WouldIlike to workon my ownoras part of agroup?
• Which two piecesamI most proud of?
• Which piecesshow thegreatest progressin my learning?
• Do the piecesIhave chosen represent different genres/styles?
Once you have selected two composing projects, you should take some time to consider thenextsteps.
• What is the purpose of my composition?
• Whois my audience?
• What instrument(s) willI choose?
• Will thisbe written for agroup or for asoloist?
• What style/genre willI choose?
• What dynamics, articulation and/or processing effects couldbeadded to this music?
• What shouldI call this piece of music?
When choosinga composing project to work with, make sure you are clearabout:
• the inspiration behind the work.
• who the intendedaudience is.
• what the purpose of the compositionis.
Use your Student Activity Book to help you to planand complete your Composition Portfolio.
Begin to thinkaboutthe followingdetails.
• Show the processinvolvedin your work:how have you brought your ideas full circle?
• Keep track of any changes youmake and the reason why youmade them.
• Collect evidence of your workas you go along.
• Make notesonany feedback you receive.
Youmust includeone Reflection Note per piece. You candecideon the format of the Reflection Note,but rememberitisintended to share informationand evidence of the composing processandnot justdetails aboutthe finished piece.
Over to You!
Writeabout your experience of composing this piece.
• What challengesdid you face?
• What did you learnabout yourselfasa composer?
• What feedbackdid you receiveandhow did youuse it guide yourpractice?
• Do you have a favourite part of the process?
• What would you recommend theaudienceshould listenout for in the music?
TOPTIP
You couldinclude ashort clip of you performing part of your composition.
• Go to page 128 of your Student Activity Bookand use thespace provided to begin working on your Composition Portfolio.
• Go to page 136 of your Student Activity Bookand complete Activity 18: Advice for CBA1 Composition Portfolio.
Review and reflect on completion of CBA1.Choose two tasks that you have enjoyed workingon.
In your copybook,writea reflection onthe tasks you have selected.
1 What did you enjoy about thelearning experiences you have selected?
2 What haveyou learned from completing these tasks?
3 Were thereany challenges?
4 What advice would you give to anotherstudentwhoisabout to begin these tasks?
SECTIONAREVIEW KEYWORDS Sound source
Musicreconnectsuswithourmemories,remindingusofpeople,places,and experiencesfromourpast.Ourmusicalidentityisformed by allthese experiences.
A sound source isanythingthatcanproducesound,e.g. voices,sirens,church bellsorbirds.
Amusical genre isaparticularcategory,type,era,orstyleofmusic,e.g.rock, jazz,classicalorcountry.
A playlist isalistofsongswhichhave beencompiledforaparticularpurpose or event.
Community music groups inschoolandthewidercommunityplaycontrasting stylesofmusic.
Copyright isalegalpropertyrightwhichprotectscreatorsoforiginalpieceof music.
Royalties arethefeespaidtoartistsinreturnfortheuseoftheiroriginalworks. Radioroyaltiesarepaymentsmadetocopyrightholderswhentheirmusicis playedonthe radio,theyareanimportantsourceofincomeforartists.
Whatmusicdid youlistento overthesummer holidays?Createasoundtracktosummer by makinga playlist.
In yourcopybook,compilealistoffivesongs thatremind youof yoursummeradventures! Includethesongtitle,artist/composerand your reasonforchoosingthesong.
A soundscape recreates aparticularenvironment usinghuman-made or environmental sounds. Close yourown eyesforamomentandlistento yoursurroundings.Whatdo youhear?Thehumofa computer,carspassingoutsideorstudentsonthecorridors?
Thesesoundsformasoundscapeof yoursurroundingsandillustratethe environmentoratmospherethat you find yourselfin.Arethesounds youhave identified environmental or humanmade sounds?
LEARNINGINREVIEW!
Theseare sounds that arecreated by people. Vacuumcleaners,phoneringtones,cars,the tickingofaclock…
WATCH edco.ie/zxjn
Thesoundsinthis videoreplicatea thunderstorm.
Theseare thenatural sounds that surround us.Wildlife,riversandstreams, rain,thewindinthetrees…
Whenwedescribeaplacewehave visited,we rarelymentionsoundsinourdescription. However, soundsareuniquetoatimeandplace.Itmightbethewaveslappingontheshore,the rumbleofthetrainstationorthechurchbellsringingout.
A soundmark isasoundthatisuniquetoaparticularplaceandthatisrecognised by the communitywhohearit.Soundmarksin yourhomemayincludeacreakingfloorboard,the rattlingoftheside-gateinthewindorthechimingofanoldclockinthehallway.
WATCH edco.ie/ncej
ThisIsWhatExtinctionSoundsLike
Watchthisvideotolearnhowsoundscapescanrevealwhatishappeningaroundus.
Soundscapecomposersoftenmakerecordingsofsoundsintheenvironment.Theseareknown as field recordings.Theythentakethesefieldrecordingsofenvironmentalsoundsandother soundrecordingsintoarecordingstudiotoconstructtheirsoundscapeusingtheir sound samples. Processing effects suchas distortion or reverb maybeaddedtotheserecordings duringthisprocess.
Soundscapecomposersusesoundsandmusictoillustrateaparticularplaceorenvironment. Theyuseamixtureofambientsounds,soundeffectsandmusicalinstrumentstocreatea recordingthatcanillustratethescene. For example,acomposerinspired by thisphotomay decidetoillustratethesoundofwaterrushingpasttherocksandleavesrustlinginthetrees.
Discuss!
Howdoesthispicturesound?
Discussthedetailsinthisimage thatsuggestwhatsoundsthe photographermayhave beenhearing whentheytookthisphoto.
edco.ie/kyf5
ComposerAngélicaNegrónfromtheNew YorkPhilharmonicOrchestra explainshow youcan create yourownnaturesoundscape.
LEARNINGINREVIEW!
Processing effects are mechanicalortechnological changesthatcanbemade tochangethesoundofthe originalaudio.
Reverb isaprocessingeffect thatcreatesanechothatmakes themusicsoundasthoughitis reverberatingaroundalarge spacelikeachurchoratunnel.
Distortion isaprocessing effectthatchangesthe timbreofasound.Thesound qualitybecomesharsh,gritty, fuzzyorgrowly.
ListenandRespond!
Thisaudio excerptisa field recording ofamanwhistlingashewaitsatabusstop. Processing effects have beenaddedtothe sound sample inarecordingstudio.Listentohowdistortion andreverbalterthesoundtotherecording.
Clean(noeffectsadded)WithdistortionWithreverb
STUDENTACTIVITYBOOK
Answer the following questions in your copybook.
1
6 Writeashortnoteonasoundscapethat youhave listenedto.Whatenvironmentwasillustrated by therecording?
7 Explaintheterm soundmark.Listtwosoundmarksfrom yourhomeenvironmentthat you wouldincludeinasoundscapecalled‘home’.
8 Outlinethestepsinvolvedincreatingandrecordingasoundscape.
Gotopage138of yourStudentActivityBookandcompletethe examquestiononfoundsounds. EXAMPRACTICE
Keywords
Compilea keywordbankforthischapterin yourmusiccopybookorManuscriptBook.
RevisionCard
Completearevisioncardwith keyterms,definitionsand keypointsoflearning exploredinthis chapter. Makenoteofthepiecesofmusicthat youhave listenedtoaspartofthelearningtoo. RAPIDREVIEW
SECTIONAREVIEW
INSECTIONAWELEARNEDTHAT…
Listeningtomusicisoneofthemanywaysinwhichwecanlookafterour wellbeing
Playingmusic,singing,dancingandcreatingmusiccanboostoursenseof wellbeing.
Differenttypesofmusicaffectusindifferentways,sochoosingtheright musictolistentoisimportant.
A playlist isalistofsongsthathave beencollectedforaparticularpurposeor event.
Playlistscanbeaccessedandstreamedfrom music streaming services such asSpotify,iTunesandGooglePlay.
Tailor-madeplayliststhatareuniquetoourownmusicaltastesworkbest!
KEYWORDS
Wellbeing Playlist Streaming services
Musicshouldbepartof everyone’swellbeingtoolkit.Themusicwelistentoenhancesoursenseof wellbeing.
B1.4 SpiegelimSpiegelby Arvo Pärt
Close your eyesandIistentothemusicinthis excerpt.Howdoes thismusicmake youfeel?
Themusicinthis excerptoften evokesfeelingsofstillnessor calm.Theslow-movingmelodyisalmost hypnotic.Thepiano playsasimple brokenchord whilethecellohasaslowandgentle melodythatalmostlullslistenerstosleep.
Theelementsofmusic(tempo, dynamics,timbre etc.)often determinetheimpactmusichasonourmoodaswelistentoit. For example,calmingmusicmayhave aslowtempoandsoftdynamics. Itmightbeperformedonaninstrumentwithamellowtimbresuch astheharporcello.
Gotopage139of yourStudentActivityBookandcomplete Activity 2: FeatureFinder!
Schoolsaimtosupportstudentwellbeingandtherearemany eventsduringthe yearthathighlight theimportanceofstayingwell.Onewaywecandothisis by making playlists ofmusicandsongsthat boostourmood. We canalsomakeplayliststosharewithotherpeopletohelpthemfeelpositive.
Musiccanhelptoincreasefeelingsofwellbeingandqualityof lifefornursinghomeresidents.
Musichasbeenfoundtoparticularlyhelpthoselivingwith dementia by unlockingmemories,andprovidingameans of expressingemotionsandfeelingswhencommunication isdifficult.Musiccanhelpreducetheoften-distressing symptomsofdementia,suchasagitation,boredomand feelingsofworry.
M4D(Music4Dementia)isa radiostationwhichwassetuptosupportthoselivingwithdementia andtheircarers.Therearefivethemed radiostations availabletostream24hoursaday, playing a rangeofmusicfromdifferentdecadesandgenres,intendedto evokefondmemoriesthathelp dementiapatientsandliftstheirspirits.
BBC Music Memories isawebsitecreatedtohelpnursinghomestafftomakemusicaccessibleto residents.
edco.ie/ez9v WATCH
Ithasavastlibraryofmusicfromgenrestoselectfromand createaplaylist,ortheycanchooseadecadefromthememory radiofilesandletthemplayforresidents.TheBBCMemory Radioinitiativeprovidesalmost90minutesofmusicandmemoriesfromchosendecades.
edco.ie/uqft WATCH
Arvo PärtGotopage140of yourStudentActivityBookandcomplete Activity 3: Golden Oldies Playlist.
Listeningtomusiccanimprove ourmemory. We storelotsofmusicinourmemory:advertising jingles,TVthemetunesandpopsongs.Listeningactivelytomusiccanhelpustoidentifyand remembersomeofthemusicaldetailsthatwewouldotherwisemiss.
Inthepractical exam,musicalmemoryisassessedinthe aural memory test.Therearetwooptions: aural memory rhythm (AMR) and aural memory melody (AMM).Theseshorttestsinvolvelistening toa4-barmelodicphraseandrepeatingitbackfrommemory.Thetestisplayedthreetimeswith a gapinbetweeneachplaying. Yougettwoattemptstorecallthemusicandwillbegivenmarksfor thebetterofthetwoattempts.
Thisishow youshouldapproachthetest:
1 Listentothe excerpttwice,playingcloseattentiontothemusicheard.
2 Clap,singorplaybackthephrase youhave heard.
3 Listenagain,forathirdtimeandhave anothergo.
Aural memory rhythm (AMR) tests require you to clap ortapback therhythmpatternheardina4-bar melody. TwoAMRtestswillbeplayedfor you.Eachtestwillbe playedthreetimes. Pausetheaudioandattemptthetest afterthesecondandthirdplaying. B1.8 B1.9
AMR Test 1AMR Test2
Aural memory melody (AMM) tests require you to sing or play backa4-bar melody. Youcanchoosebetweenhigh,mediumandlowregisters.The tonic chord,followed by thetonic note,isplayedbeforethephrasebegins. B1.10 B1.11
ThreeAMMtestswillbeplayedfor you.ThereisonesampleAMMtestforeachregister availableto youinthe exam.Eachtestwillbeplayedthreetimes. Pausetheaudiotoattempt thetestafterthesecondandthirdplaying.
Inthewritten exam youwillneedtouse yourmusicalmemorytocompletedictationtasks.There aretwotypes:rhythmicandmelodic.
Rhythmicdictation involveslistening to an excerpt andidentifying orwriting outthe rhythmpattern that you hear.
Explorethe exampleprintedbelow. Youmustadd stemsandbeamstothenoteheadsprintedon thestave tocompletetherhythmofthephrase.
Melodicdictation involveslistening to an excerpt andidentifying orwritingdownthe pitch of thenotesthat you hear.
Explorethe exampleprintedbelow.Thegoal istotrytoidentifythemissingpitchesinthe phrase.Therhythmisprovidedfor youabove thestave.
Answer the following questions in your copybook.
1 Listtwoofthehealthbenefitsoflisteningtomusic.
2 Whichofthebenefitslisteddo youfindmostinterestingandwhy?
3 Describehowthe tempo ofapieceofmusiccanaffectalistener’smood.
4 Whatmusicwould youchoosetolistentowhilestudying?Give reasonsfor yourchoice.
5 If youhadtowhistleatunefrommemory,whattunecomestomind?Namethesongand draw a visualrepresentation ofthefirstphraseofthemelody.
6 Writea TopTipboxforstudentslearningaboutAuralMemory Tests.
Keywords
Compilea keywordbankforthischapterin yourmusiccopybookorManuscriptBook.
RevisionCard
Completearevisioncardwith keyterms,definitionsand keypointsoflearning exploredinthis chapter. RAPIDREVIEW
Musicians,singersandcomposerscometogethertocreateandsharemusic aspartofacommunity.
Therearemanydifferent styles or genres ofmusicrepresentedinourlocal andschoolcommunities.
Examplesof community music groups includechoralgroups,marching bands,traditionalmusicgroups,children’schoirs,folkgroups,rockbandsand manyothers.
Examplesof music groups in the school community includeaschoolchoiror choralensemble,orchestra,windband,ukuleleclub,tradgroupandmanyothers.
Attending liveperformances in yourlocalcommunityorschoolhelpsto supportthemusiciansinvolved.
Musiciscreatedinmanycommunitysettingssuch ascreches,schools,nursinghomes,hospitals, religiousbuildingsandprisons. Community music groups that existinmostcountiesinIreland includeComhaltasbranches,musicalsocieties, brassormarchingbands,choirsand youth orchestras.
Gotopage142of yourStudentActivityBookandcomplete Activity 5: Community Music Groups
Musicgroupsin yourschoolcommunitymayincludeIrishtraditionalmusicgroups, instrumentalensembles,choralgroupsandrockbands.Thinkaboutthedifferentmusic performancesthat youhave experiencedduring yourtimeinsecondaryschool.
Writeashortarticlefor yourschool’swebsiteaboutmusic-makingintheschoolcommunityfor next year’sincomingfirst-yearstudents.
Liveperformances arealwaysaspecialoccasion!Invite aseniorstudentwhoispreparingfortheirpractical examtocomeandperformfor yourclass.Preparesome questionsthat youwouldliketoaskthemabouttheir performance. Perhaps youcanaskthemtosharesome tipswith youfor yourownupcomingpractical exam.
Gotopage142of yourStudentActivityBookandcomplete Activity 6:Live Performance Review.
QUESTIONTIME!
Answer the following questions in your copybook.
1 List two musicgroupsin yourlocalcommunitywhoplaycontrastingstylesofmusic.
2 Identify one differencebetweenthestylesofmusicplayed by thegroups youhave mentioned.
3 List two musicgroupswhomakemusicin yourschool.
4 Writeaboutaperformance by aschoolmusicgroupthat youhave attended.
EXAMPRACTICE
Gotopage143of yourStudentActivityBookandcompletethe examcomposingtask.
RAPIDREVIEW
Keywords
Compilea keywordbankforthischapterin yourmusiccopybookorManuscriptBook.
RevisionCard
Completearevisioncardwith keyterms,definitionsand keypointsoflearning exploredinthis chapter.
SECTIONAREVIEW
INSECTIONAWELEARNEDTHAT…
The musicindustry ismadeupofalloftheindividualsandorganisationsthat earnalivingfromcreating,performing,recording,producingandsharing music.
Copyright isalegalpropertyrightwhichprotectsthecreatorsoforiginal music. To use,alter,perform,orrecordanypartofanartist’soriginalwork, youmusthave permissionfromthecopyrightowner.
In exchangeforthispermission,afeeispaidtotheartist.Thesepaymentsare called royalties.
Royaltiesarealsopaidwhenanartist’smusicisheardonthe radio,onTVor inafilm.
Whenanartist’sworkisusedwithoutpermission,itiscalled copyright infringement.Thisisillegal.
Radioroyaltiesareanimportantsourceofincomeforartists.IfmoreIrish musicwereplayedonthe radio,musicians’incomeswouldrise.
ManymusiciansinIrelandfinditdifficulttoearnalivingfromtheirmusic.
KEYWORDS
Musicindustry
Globalaudience
Copyright
Copyright infringement
Publicdomain
Credits
Plagiarism
Royalties
Oneofthechallengesfaced by Irishartistsisthelackof radioplay theirmusicreceives.In somecountries,governmentshave introducedlawsandinitiativestoensurethatartistsare prioritisedandsupportedintheirhomecountry.
Therearesixnational radiostationsbroadcastinginIreland(RTÉRadio1, RTÉRadio2FM, RadióNaGaeltachta, LyricFM, TodayFMandNewstalk)andthereare30regional,cityand independentlocal radiostations.Broadcastingroyaltiesarecalculatedbasedontheduration ofairtimeanartistreceives. IMRO are responsible for the collectionanddistribution of radio royalties to Irishartists.
RTE2FM’s Dave Fanning says radio stationsshould be forced to play more music by Irishartists
2FM’sDave FanninghassaidtheBroadcasting AuthorityofIreland(BAI)shouldforce radiostations toplaymoremusic by Irishartists.
Itcomesafter Louis Walshclaimedthat radiostations “needtosupporttheirownmore”, saying“Irish radio willnotplayenoughIrishrecords,andIjustdon’t understandit.”
Speakingtous,Dave saidheagreedwiththe Westlife manager,sayingrulesinCanadaand Franceforces stationstopromotetheirown–andreckonsthesame shouldbedonehere.“Ithinkthatoneoutofthreeor oneoffourtrackson FrenchorCanadian radio,hasto bea FrenchorCanadianband.Ithinkthat’sagoodidea.”
Under Frenchlaw, 40%ofallmusicplayedonnational radiomustbeperformedinthe French language.ThelawwasintroducedtwodecadesagotostopaninvasionofEnglish-languagesongs andtoprotectthenationalmusicindustry.
Dave saidIrishpeopleowntheairwaves.“Therereallyisalotofgoodstuffoutthere. Youdon’t have tomakeitallrockorpop. YoucouldplayclassicIrishstufffromthepast.Ithinkonewhole monthofmakingpeopledoitorcertainlyforawholeweekandnostationshouldbeallowedto get away withit.Every radiostationhastodoit.
“Justdoit, everyfourthsonghastobefromanIrishact.Itwouldn’tkillpeopleanditwouldn’t makepeopleturnoff.”
Adaptedfrom: IrishMirror 26January2022,https://www.irishmirror.ie
In yourcopybookwriteanemailtoDave Fanningat2FMinresponsetothearticleonpage229. Outline youropiniononwhetherlawsshouldbeintroducedinIrelandtoensurethatmoreIrish musicisheardon radiostations.
French radiostationshave regularlyprotestedagainstthe radioquotalawssincetheywere introducedin1994.Oneoftheirmainargumentsagainstthislawisthatthequotasdonot applyto streaming services suchasSpotify. LookbackatSectionA,Units1and9,where you readaboutthetimeallocatedtoIrishartistsandperformersonlocalandnationalmedia.
Discuss!
• Whatimpactdoestechnologyhave onthewaysinwhichweaccessmusic?
• Whatarethepositivesandnegativesofsharingmusicwitha globalaudience?
• HowcanIrishartistsincreasetheiraudiencesonstreamingplatformssuchasSpotify?
Gotopage145of yourStudentActivityBookandcomplete Activity 8: Technology and the Global Audience
ThereareseveralorganisationssupportingthosewhoworkintheIrishmusicindustry.Theiraim istoprotectandpromoteIrishartists,theirworkandtheirlivelihoods.
The Arts Council IMRO
The Arts Council of Ireland istheIrish governmentagencythatfunds,developsand promotesthearts.TheArtsCouncilaimsto encourageapublicinterestintheartsand promoteknowledge,appreciationandpracticeof thearts.
The Arts Councilprovidesimportant financial assistance to artists.
IMRO standsfor Irish Music Rights Organisation.IMROworkstoprotectand promotetheworkofIrishartists.Thousands ofIrishartistsaremembersofIMRO. IMRO ensuresthattherightsofmusiccreatorsand otherrightsholdersareprotected.
IMRO also collects anddistributes royalties on artists’ behalf.
LEARNINGINREVIEW!
Copyright Copyright isalegalproperty right whichprotectsthe creator of an originalpiece of work. Copyrightensuresthatownershipremainsinthe handsofthecreator.InIreland,copyrightlawsremaininplaceuntilseventy yearsafterthedeathofthecreator.Afterthistime,theiroriginalworks enterthe publicdomain andpeoplecanuseoradapttheoriginalmusic withoutpermission.
Copyright Infringement Musicbelongstotheartistsorcomposerswhocreatedit.Ifanartist’sworkis usedwithoutpermission,thisiscalled copyright infringement,andtheartist cantakelegalaction.
Royalties Royalties are thepaymentsmade to copyright owners in return for the use of their music.Whencopyrightownersagreetoallowsomeonetouse theirmusic,theyusuallyaskforapaymentorfeeforitsuse.Thesepayments arecalledroyaltiesandareanimportantsourceofincomeforartists. IMRO collects royalties on behalf of artists in Irelandand redistributes the payments to musicians.
Gotopage145of yourStudentActivityBookandcompletethe examquestiononroyalties.
RAPIDREVIEW
Keywords
Compilea keywordbankforthischapterin yourmusiccopybookorManuscriptBook.
RevisionCard
Completearevisioncardwith keyterms,definitionsand keypointsoflearning exploredinthis chapter.
INSECTIONAWELEARNEDTHAT…
Metre isthewayseveralbeatsaregroupedtogethertomakeapatternof strongandweakbeats.
A bar isasmallsegmentofmusicthatholdsacertainnumberofbeats.
Thefirstbeatofeachbarisa strong beat.Itisfollowed by oneormore weak beats
The timesignature includedatthebeginningofapieceofprintedmusicto givesusmoreinformationaboutthemetre.
Thetopnumberofthetimesignaturetellsushowmanybeatstherearein eachbar.Thebottomnumbertellsuswhattypeofbeatstheyare.
Pulse islikeatickingclock;itisconstant andunchanging.Pulseisdescribedas the evenandrepeatingbeatthatwe canhearinmusic.
A timesignature gives information aboutthe metre.Atimesignature consistsoftwonumbers,oneontopof theother.The topnumber tellsushow manybeatsthereareineachbar.The bottom number tellsuswhattypeof beattheyare;thistellsusthelengthor valueofthesenotes.
Howmanybeatsineachbar
Whattypeofbeatstheyare &4 4
The timesignature groups pulses into apattern of strong and weakbeats. A timesignature iswrittenatthebeginningofapieceofmusic. InSectionA youworkedwiththefollowingtimesignatures.
Thesymbol c means commontime andis usedtoindicate 4 4 time.
Atimesignatureisnotamathematical fraction.Donotputalinebetweenthe topandbottomnumbers!
Gotopage146of yourStudentActivityBookandcomplete Activity 1: Listenand Respond. STUDENTACTIVITYBOOK
InSectionAwelearnedthatinmusic,thefirstbeatofeachbarisusuallya strong beat,anditis followed by oneormore weakbeats.In 4 4 time,thethirdbeatisalsostrongbutnotasstrongasthe firstbeat.Beats2and4arecalledtheweakbeats. In some genres, suchasjazz and rock, the weak beats are knownas backbeats or offbeats.
Perform!
Clap thepatternsbelowgivinggreateremphasistothestrongbeatsineachbar.
yourStudentActivityBookand complete Activity 2: Metre.
Perform!
Rhythmic sight-reading:Claptherhythmicostinatoprintedbelow.Placeemphasisonthestrongbeat.
STUDENTACTIVITYBOOK
Gotopage149of yourStudentActivityBookandcomplete Activity 3:Vivaldi’s ‘Autumn’
Irregular metres are timesignatures with a top number that doesnot divide evenly by 2,3 or 4.
Examplesofirregularmetresinclude 5 4 and 7 4.These timesignaturesarecommoninpopmusic.
TOPTIP
Theinformationprovided by thetimesignatureisthesameinirregularmetres.The top number stilltellsushowmanybeatsthereareineachbarandthe bottom number tellsusthe valueofthosebeats.Explorethe examplesbelowandclapthemtogether.
‘FromEden’byHozier
edco.ie/jkx9 WATCH
Can youcountfiveineachbarasHoziersings?
Vocalline & ™
‘Money’byPinkFloyd
edco.ie/6jec WATCH
Trycountingthesevenbeatsineachbaras youlisten.
Boththese examplesincludeatriplet.
A triplet isagroupofthreenotesperformedinthetimeoftwonotesofthe samevalue.
We willlearnmoreabouttripletsinSection2.4.
STUDENTACTIVITYBOOK
Gotopage150of yourStudentActivityBookandcomplete Activity 4:Changing Time Signatures.
EXAMPRACTICE
Gotopage150of yourStudentActivityBookandcompletean examquestionaboutchanging timesignatures.
ListenandRespond!
B2.6 ‘Sacrificial Dance’ from The Rite of Spring by Igor Stravinsky
We listenedtoan excerptfrom TheRiteofSpring inSectionA,Unit8.Itisa rhythmicworkwithpoundingchordsandchangingmetres.Themusicheard inthis excerptfromthe‘SacrificialDance’appearsattheendofthework.This sectioncontainsthemostcomplexmusicinthewholescore,asanewtime signatureisintroducedinalmost everybar.
WATCH edco.ie/jabs
‘SacrificialDance’from TheRiteofSpring by IgorStravinsky
Perform!
Eachboxinthegridbelowindicatesthenumberofpulsesineachbar.
Bars
Pulses
1234567
3433543
Take1 Clapthispatternouttogether,placingemphasisonthefirstbeatofeachbar: 123, 1234…
Take2 Tryitagain,butthistimeusetwobodypercussionactions.Useoneaction forthe strong first beat andadifferentactionforthe weakbeats ineachbar.
Concentrationandteamworkareimportanthere!
RAPIDREVIEW
Keywords
Compilea keywordbankforthischapterin yourmusiccopybookorManuscriptBook.
RevisionCard
Completearevisioncardwith keyterms,definitionsand keypointsoflearning exploredinthis chapter.
SECTIONAREVIEW
Note values aresymbolsthatindicatehowlonganotelastsfor.
Notevaluesinclude: semibreve (w), minim (˙ ), crotchet (œ)and quaver (œ j).
A timesignature indicateshowmanybeatsthereareineachbarofmusicand whattypeofbeatstheseare.
Apatternofnotevaluesiscalleda rhythmpattern. Dottedrhythms includenotesthathave adotadded tothem.Thedotaddsonhalfofthevalueofthe originalnote.
KEYWORDS
Timesignature
Note values
Semibreve
Minim Crotchet Quaver
Dottedrhythm Rest
(½of1)
A rest isasymbolusedtoindicatesilenceinmusic.Thereisarest symboltomatch everynotevalue.
In music, note values are symbolsused to indicate how longa soundlasts for. Apattern oflongandshortsoundsiscalleda rhythm pattern.Rhythmpatternsareorganisedinto bars basedonthetimesignature.
InSectionA youworkedwith thefollowingnotevalues. Can younamethem?
Perform!
A. Clapandcounttherhythmbelow,maintainingasteadypulse.
Moderato
B. Rehearseandperformthistwo-part rhythmicpattern.Clapthetop rhythmwhile youstompthepulse inthelowerpartwith yourfoot. Keepthepulsesteady!
Gotopage151of yourStudentActivityBookandcomplete Activity 5: Note Values
A semiquaver isa musicalnote value whichlasts for a quarter of abeat. Therearefoursemiquaversinacrotchetbeat. Semiquaverslooklikequaversbuthave twotailsattached totheirstem.Thishelpsustotellthemapartfromquavers. Semiquaversare beamed togetherusingtwolinesacrossthe top,asshownhere.
Semiquaverandquaverrhythmcombinationscanbedifficulttoclapin rhythmic sight-reading exercises. Youcansaythesyllables ‘quickse-mi’tohelp youclapthequaver–semiquaverpattern accurately. Youcansay‘se-miquick’tohelp youtoclapthesemiquaver–quaverpattern.
Quaversandsemiquaverscanbebeamedtogethertocreateinterestingrhythmpatterns.Aquaver issometimesfollowed by twosemiquaversortwosemiquaversarefollowed by aquaver.
Rehearseandclaptherhythmsbelowtogether,maintainingasteadypulsethroughout.Itmaybe helpfultosaythesyllables‘se-mi-quav-er’as youclapthesemiquavers. / Moderato
Gotopage152of yourStudentActivityBookandcomplete Activity 6: Semiquavers.
LEARNINGINREVIEW!
A dot placed after anote adds on half the value of the originalnote,making thenote last halfaslongagain. Thedotonitsownhasnovalue;ittakesitsvaluefromthe noteitisplacedafter.
Adottedcrotchetoradottedquaveroftenneedstobepairedwithashorternotetohelptofill thebar.
Dotted Crotchet
Ado edcrotchetmaybe pairedwithaquavertomake uptwobeats.
ListenandRespond!
B2.7 ‘La Marseillaise’ by Claude
Joseph Rouget deLisle
Ado edquavermaybepaired withasemiquavertomakeup onebeat.
Theopeningphraseofthe Frenchnationalanthemisprintedbelow.Listenoutfor thedottedrhythmsusedinthisphrase.Howmanycan youfind? & 4 4b
Al-lonsenfantsdelaPatrie,Lejourdegloireestarrivé!
Perform!
Explorethe rhythmic sight-reading testsbelow.Rehearseandclaptherhythmpatterns together,maintainingasteadypulsethroughout.
WATCH edco.ie/bqjz
ListenandRespond!
‘The Bird Catcher’s Song’ from The Magic Flute byMozart TheMagicFlute wasMozart’slastopera,written the yearhedied.Mozart’sfairy-talecharacter Papagenoisabird-catcher. Papagenoplaysa five-noteascending motif onthepanpipes,an ancientfolkinstrument.Modernperformances usuallyusethe piccolo or flute toplaythismotif whilethecharactermimestheactiononstage. Themotifimitatesabirdcall.This excerptis theorchestralintroductionfrom ‘The Bird Catcher’s Song’.
Bird Call
Mozartusesthisfive-note motif to representthebirdcatcher’sbirdcall, playedonhis panpipes.
Themotifincludesfourdemisemiquavers. A demisemiquaver ishalfthevalueofa semiquaver.
Answer these questions in your copybook.
1 Namethecomposerof‘TheBirdCatcher’sSong’.
2 Whatcountrywasthiscomposerbornin?
3 Whattypeofworkis TheMagicFlute?
4 Identifyoneinstrumentwhichplaysthemain melodyinthis excerpt.
5 Nametheinstrumentthatinstrumentplaysthe ascendingbird-callmotif.
6 Whatrhythmicfeaturescanbeheardinthis short excerpt?
STUDENTACTIVITYBOOK
Gotopage152of yourStudentActivityBookandcomplete Activity 7: ‘The Bird Catcher’s Song’. B2.8
LEARNINGINREVIEW!
Musicismadeupofsoundsandsilence. A rest isa musical symbolused to indicate silencein apiece of music. Composersusereststobring dramaandcreatetensioninapieceofmusic. Can younametheonesshownhere?
Everynotevaluehasacorrespondingrest.Inthisunit youwere introducedtoanewnotevalue,the semiquaver.Asemiquaverrestlooks likethequaverrestbuthastwotailsinsteadofone.
Adotplacedafteranotevaluesmakethenotelonger.Adotafteraresthasthe sameeffect. Whena dot isplaced after a rest,the rest’s valueisincreased by onehalf of itsoriginal value. Howlongdotherestsshowncountfor?
EXAMPRACTICE
Gotopage153of yourStudentActivityBookandcompletethe examquestionon notevalues.
B2.9
RAPIDREVIEW
Keywords
Compilea keywordbankforthischapterin yourmusiccopybookorManuscriptBook.
RevisionCard
Completearevisioncardwith keyterms,definitionsand keypointsoflearning exploredinthis chapter. Makeanoteofthepiecesofmusicthat youhave listenedtoaspartofthelearningtoo.
SECTIONAREVIEW
INSECTIONAWELEARNEDTHAT…
A timesignature indicateshowmanybeatsthereareineachbarofmusicand whattypeofbeatstheseare.
Thetopnumberofthetimesignaturetellsushowmanybeatstherearein eachbar.
Thebottomnumberofthetimesignaturetellsuswhattypeofbeats theyare.
InSectionA,weworkedwiththreetimesignatures.Thenumber4onthebottom tellsusthebeatvaluesarecrotchetbeats.Thetopnumbertellsushowmany crotchetbeatsthereareperbar. We cansplitthesecrotchetbeatsintotwoquavers orfoursemiquaversetc.aslongasthetotalrhythmvalueequalsthetopnumber.
In compound time eachbeat isadottednote. Themostcommoncompoundtimesignatureis 6 8 Thistellsusthattherearesixquaversineachbar. Thesequaversaregroupedinthrees,soeachbeatis adottedcrotchet.Eachdottedcrotchetbeatcanbe dividedintothreequaversorsixsemiquavers.
Othercompoundtimesignaturesinclude 9 8,whichhasthreedottedcrotchetbeatsperbar,and 12 8 ,whichhasfourdottedcrotchetbeatsperbar. Youwillnotice that in compound time, the topnumbercanalways bedivided by three.
ListenandRespond!
B2.10 ‘Plaisird’Amour’ by Jean-Paul-Égide Martini
Musicincompoundtimehasalilttoit.Listento‘Plaisird’Amour’.Can you hearhowthemusicflowsfluidly? Trytappingoutthesixquaverswhile you countthetwodottedcrotchetbeats.
Eachbarof 6 8 hassixquaversplayedintwobeatsorpulses.Itcanbehelpfultocountoutthesixquavers asshownbelow.Emphasisisplacedon1and4inthepatternofsix.S=strong,andw=weak.
As youcansee,thebeatscanbesplitupindifferentwaystofillthebar.Thefirstbeatisthestrong beat.Explorethe examplesinthegridabove andattempttoclapthem keeping yoursix-quaver countinmind. B2.12
Perform!
Accompaniment B2.11 ‘We Are theChampions’ by Queen ‘WeAretheChampions’ by Queenisan exampleofapieceofmusiccomposedin 6 8. Singthesong’schoruswhilstperformingthetwopulsesperbarusing bodypercussion actions: stompandclap.Theseactionsarecolourcodedonthescorebelowtohelp you.
ListenandRespond!
Three excerptsin 6 8 willbeplayedfor you.Matcheach excerpttothecorrectmelodybelow.
Excerpt1
Take amomentto exploretherhythmsusedinthephrasesbelow.When youareready,clapthem backtogether.
yourStudentActivityBookandcomplete the examquestiononcompoundmelodywriting. EXAMPRACTICE Perform!
Keywords
Compilea keywordbankforthischapterin yourmusiccopybookorManuscriptBook.
RevisionCard
Completearevisioncardwith keyterms,definitionsand keypointsoflearning exploredinthis chapter.
SECTIONAREVIEW
INSECTIONAWELEARNEDTHAT…
Rhythmic features describespecificelementsofarhythmpatternthatcanbe identified by listeners.
Repeatedrhythmicpatterns, rhythmic ostinatos, dottedrhythms and rests are examplesofrhythmicfeatures.
A rhythmic ostinato isashortrepeatingrhythmicpatternheardcontinuously inapieceofmusic.
KEYWORDS
Rhythmic features
Rhythmic ostinato
Dottedrhythm
Rest
Learningtoidentifytherhythmicfeatureshelpsustodescribeapieceofmusic.InListening questions youcanbeaskedtoidentifyordescribethefeaturesheardinan excerpt.Inthissection wewilllookatfourmorerhythmicfeatures: upbeats, tiednotes, syncopation and triplets.
Ifthefirstbarofprintedmusicdoesnotcontainthefullnumberofbeatsindicated by the timesignature,itprobablycontainsan upbeat. An upbeat isanote or group of notes heard before thefirst beat of afullbar of music. Thesenotes appearinan incomplete bar at thebeginning of thepiece. Anupbeatisalsoknown asan anacrusis.Usually,themissingbeatsfromthisincompletebarare foundinthefinalbarofthepiece.
Composersuseupbeatswhentheydonotwanttheircompositionto beginona strong firstbeatofthebar.
ListenandRespond!
B2.18 ‘Happy Birthday’
Considerthemelodyof‘HappyBirthday’.Wheredoesthefirst strong beatfallwhen wesingit? & & b b 3 4
Hap-pybirth-day -daydear birth day birth toyouHap-py Hap-py birth-daytoyou Hap-py toyou. 12 34 56 78 upbeat completesupbeat
Explore this melody whichbegins with an upbeat. &##
• Whatisthetimesignature?
• Howmanybeatsshouldbeineachbar?
When numberingbars ofmusic,we nevercounta barcontaining onlyanupbeat asbar1.The first complete barisnumbered asbar1.
• Howmanybeatsareinthefinalbar?
• Whyisthisthecase?
Gotopage154of yourStudentActivityBookandcomplete Activity 9: Upbeats
InSectionA,Unit7welearnedthat a tie isacurvedline connecting thenote heads of two or morenotes of the same pitch. It tells the musician to hold thenote for the total value of all the linkednotes.Thecurvedlinecanonlyjoinortietwoormorenotesofthe same pitch together.The notesareplayedasonelongnote.
• Whentiednotesareplayed,themusicianplaysthefirstnoteand holds itinsteadofrepeating thesamenote.
• Atiecanbeusedtoconnectnoteswithinthesamebaroritcanconnectnotesindifferentbars by running overthebarline.
• Composerssometimesusetiednotestocreateanoff-beatfeelinarhythmpatternorwhen theywantahave anotesoundforlongerthanthetimesignatureallowsinonebar.
Howlongwould youholdeachofthetiednotesforinthis example?
Acurvedlinethatconnectsnotes of different pitchs isa slur.This symboltells youthatthesenotes shouldbeplayedsmoothly.
ListenandRespond!
Listentotwo excerptsandfollowthenotesonthestave as youlisten.Considertheeffectthe tieshave onthemusic.Answerthequestionsin yourcopybook. B2.19
a) ‘Plaisird’Amour’ by Jean-Paul-Égide Martini
Plai -sird’a -mour nedu -requ’unmo-ment, Cha grind’a - mour toute dure lavi e.
(i)Identifythe tonality ofthis excerpt.
(ii)Identifythesymbolsmarked X, Y and Z onthescore.
(iii)Howmanybeatsisthelastnoteheldfor?
Accompaniment B2.20
b) ‘Brown Eyed Girl’
(i)Identifythe key signature ofthemusicat X.
(ii)Whatisthevalueoftherestmarked Y?
(iii)Whatisthevalueofthenotemarked Z?
Gotopage155of yourStudentActivityBookandcomplete Activity 10: Tied Notes.
Listentothesefunkybeats!Theymightmake you wanttomove.Thisisbecausethese excerptshave a syncopatedrhythmpattern.
Syncopation isarhythmic feature where theemphasisisplaced on the weakbeats of thebar instead of the strong beats. Thiscreatesanoff-beatfeeltothemusic.Syncopationiscommon inpopmusicandjazz.
ListenandRespond!
edco.ie/q8zb
‘The Best is Yet to Come’ by Cy Cdeman, made famous by American singerandactor FrankSinatra
Thetimesignatureofthis excerptis 4 4.Thebeatsaremarkedabove thestave.
Therhythmfeatures a syncopatedrhythmpattern.Thesecond note(B)islongerandstrongerthanthefirstnote(E).Thisshifts theemphasisoffthefirstbeatofthebarwhichisusuallystrong.
Theuseofa tiednote overthebarlinealsocreatesasyncopatedfeel.Holdingthelastnote(A) acrossthebarlinebetweenbars1and2takestheemphasisoffthefirstbeatofbar2.
ListenandRespond!
Listentotheopeningof‘IGotRhythm’andfollowthescore.Notice thewaytherestsonthefirstbeatofthebarshifttheemphasisoffthe strongbeats. Trytoidentifythebarswhicharenotsyncopated.
InSectionA,Unit8welearnedthat a triplet isa group of threenotes performedin the time of two notes of the same value.
Tripletsaremarked by afigure3.Sometimesthereisabracketconnectingthethreenotes.All notevaluescanbegroupedastriplets.
ListenandRespond!
B2.25 ‘Erlkönig’ by Franz Schubert
This excerptisfromtheopeningofSchubert’s art song ‘Erlkönig’.Schubertsetthewordsofa Germanpoem by Goethetomusic.Thesongdepictsafather racingthroughtheforestonhis horsetryingtogethelpforhissonwhois veryill.Hissonclaimstohave seenasupernatural beingcalledtheErlkönig(Elfking).
Fromthebeginning,the triplets played by thepianohelptoillustratethetensioninthesong’s story.Schubertmayalsohave chosentouseatripletrhythmto evoke imagesofthefather’s horsegallopingatpacethroughtheforest.Whatdo youthink?
WATCH edco.ie/wyy7
Watchthisanimated versionof‘Erlkönig’.A bass singsthe vocalpartwhichhasEnglishsubtitles sowecanfollowthestory.
STUDENTACTIVITYBOOK
Gotopage156of yourStudentActivityBookandcomplete Activity 12: Triplets
WATCH edco.ie/ya6b
‘Mars,the Bringer of War’from The Planets by Gustav Holst Sometimes triplets areusedtoaddinteresttoarhythmic pattern.GustavHolstusestripletsinthe rhythmic ostinato thatopensthefirstmovementofhissuite ThePlanets depicting‘Mars,theBringerof War’.Theostinatoisinan irregular metre andplayed by theharps,stringsandtimpani.
&5 4
Gustav
Watchanorchestraperformthefirstfewminutesof‘Mars’. Whatdo younoticeabouthowthestringsplaytherhythmicostinatoatthestartofthepiece? WhatdoesHolstdowiththeostinatoasthemusicprogresses?
EXAMPRACTICE
Gotopage157of yourStudentActivityBookandcompletethe examquestionthat includesrhythmicostinato. B2.26
Perform!
RehearseandclapHolst’srhythmicostinato.
B2.27 Listentoaloopedrecordingofthis ostinatoand improvise overit. Youmight
• makeupsomewordstocreateanadvertisingjingleor rap
• addacontrastingrhythmpattern overthetop
• improviseamelodytosingorplay
• createachordprogressiontoaccompanytheostinato. &5
LEARNINGINREVIEW!
Improvisation isa spontaneous andcreative musical skill. Musicalimprovisationinvolves makingnewmusicwithoutpreparingorrehearsingitbeforehand.Rhythmplayersareoften requiredtoaddto existingmusicwithoutanypreparation.
Rhythmicimprovisation involvescreatingnew rhythmicpatterns onthe spot that add to or support the otherparts playing. Drumfillsordrumsolosareoftenimprovised by theperformer onthespot.
RAPIDREVIEW
Keywords
Compilea keywordbankforthischapterin yourmusiccopybookorManuscriptBook.
RevisionCard
Completearevisioncardwith keyterms,definitionsand keypointsoflearning exploredinthis chapter.
INSECTIONAWELEARNEDTHAT…
Rhythmicdictation involveslisteningtoapieceofmusicandidentifyingor writingdowntherhythmpatternheard.
Rhythmic dictation
Listeningquestionscanincluderhythmicdictationtasks. Youmaybeaskedto identify the missingrhythmicpatternforupto four bars.Inthistypeofquestion, youwillbeaskedtomatch therhythmpatternthat youheartoachoiceofseveralbarsofrhythm.
STUDENTACTIVITYBOOK
Gotopage158of yourStudentActivityBook andcomplete Activity 13: Identifying Rhythms.
B2.28
Otherquestionsmayask youto writedown therhythm heardforupto four bars. Youwillhearthe excerptmorethanonce.
Inthesequestionsthepitchesareusuallygivento you. Youmustaddstems,tailsandbeamstothe noteheadsasappropriateinordertoindicatethemissingrhythm. Lookcarefullyatthenoteheads printedonthestave andconsiderwhatnotevalues youmightneedtousetofilleachbar.
ListenandRespond!
Lookatthephraseprintedbelow.Inbar2therearefourpitchesspreadacrossthe threebeats. Can youpredicttherhythmpattern youwillhear?
B2.29
Listencarefullytothephrase. Youwillhearitthreetimes.Did youguesscorrectly?
STUDENTACTIVITYBOOK
Gotopage158of yourStudentActivityBookandcomplete Activity 14: Writing Down Rhythms. B2.30 B2.31 B2.32
Gotopage159of yourStudentActivityBookandcompletethe examquestionthat includesrhythmicdictation.
SECTIONAREVIEW
INSECTIONAWELEARNEDTHAT…
An exampleofa high-pitched soundisabirdchirping,andan exampleofa high-pitchedinstrumentisthepiccolo.
An exampleofa low-pitched soundisthunder,andan exampleofalowpitchedinstrumentisthetuba.
Pitch isa term used to describehow high or low a soundis.
Discuss!
Considerthesoundsmade by eachoftheinstrumentsbelow.Decidewhetherthesesoundsare high-pitchedorlow-pitched.Can younametheinstruments?
InSectionAwe explored timbre. Youlearnedabouttheuniquesoundqualityoftheinstrumentsof the orchestra andthefourmain voice types.
ListenandRespond!
Nowlistentoan excerptplayed by eachoftheinstrumentsinthegridabove.Can youmatchthe soundtotheinstrument? Were youcorrectabouttheirpitch?
ListenandRespond!
The Carnival of theAnimals by French composerCamille Saint-Saëns
InSectionAwe exploredseveralmovementsofSaint-Saëns’splayfulsuite, TheCarnival of the Animals.Saint-Saënsisacomposerfromthe Romanticera.Themusicinthisworkillustratesa range ofanimalsinafunandcleverway. Heuseslow-pitchedinstrumentstorepresentlargeranimalsand high-pitchedinstrumentstorepresentsmalleranimals.
Gotopage160of yourStudentActivityBookand complete Activity 1: The Carnival of theAnimals.
The saxophone isamodernwoodwindinstrumentthatisnotalwaysincludedintheclassical orchestra.Itisimportantinjazz,rockandpopgenres.Liketheclarinet,thesaxophonehasamouth piecewithasinglereed.Itcomesindifferentsizes.Whatcan youpredictaboutthepitchofthe membersofthe saxophone family?Whatdo younoticeabouttheirnames?
WatchthisperformanceofRimsky-Korsakov’s The Flight of the Bumblebee by asaxophone ensemble.Noticehowthemelodypassesfromoneinstrumenttoanother.
edco.ie/qbwx WATCH
SopranoAlto Tenor Baritone Basssaxophone
STUDENTACTIVITYBOOK
Gotopage161of yourStudentActivityBookandcomplete Activity 2:Pitch.
Changesinpitchaddinterestandvarietytoapieceofmusic.Composersmayrepeatasectionof musicatahigherorlowerpitchtocreatecontrastor excitement.Sometimestheypassthemelody ormotiffromoneinstrumenttoanothertoalterthetimbreormoodofthemusic.
STUDENTACTIVITYBOOK
Gotopage162of yourStudentActivityBookandcomplete Activity 3: Tchaikovsky’s Overture. B3.11 B3.12
RAPIDREVIEW
Keyword
Compilea keywordbankforthischapterin yourmusiccopybookorManuscriptBook.
RevisionCard
Completearevisioncardwith keyterms,definitionsand keypointsoflearning exploredinthis chapter.
SECTIONAREVIEW
Sound effects areartificialreproductionsofsoundsusedinfilm,TV programmesorplays.
A sound source isanythingthatcanproducesound,e.g.amusicalinstrument, thehuman voice,ananimal,apre-recordedsound,anobject, acaralarm,thewind.
Found sounds are‘non-musical’sounds.Theyareeither human-made sounds (clappinghands,stompingfeet, keysinalockora kettleboiling)or environmental sounds(rustlingofleaves, avalanches,thunderorcrashing waves).
Sampling isusingpartsofan existingrecordinginanewrecording.
A sample isarecordingofafoundsoundorofafragmentofanothersong.
Inpairs,discussthisimage.Howmany sound sources can youidentify?Makea listofthemin yourcopybook.Arethese soundshuman-madeorenvironmental?
KEYWORDS
Sound effects
Sound source Found sound Sampling Sample
Contemporarycomposerssometimes userecordingsof found sounds intheircompositions.Thesesoundclipsarecalled field recordings or samples.Composerstaketheserecordingsintotherecordingstudiotoeditthem.Sound engineerscanaltersamplestosuitthecomposer’sneeds.Soundengineerscanalterthespeedof theaudiooradd processing effects suchas distortion or reverb totheoriginalrecordingtoo.
WATCH edco.ie/wcj5
DaithíÓ Drónaí isanIrishmusician,composerandproducer, bestknownforproducing electronic music inspired by Irish culture.Inthisvideoheshowshowhemakesfoundsound recordingsduringajourneyandturnsthemintoatracktoplay attheCastlepaloozamusicfestival.
QYou’ve often usedalot of field recordings in yoursongs.
Ilove theideathatwhenIlistentoaparticular song,the field recording startsmeoffina locationandtime.Itplacesthewholethingon to my timeline,andjusttherecordingalonecan evoke anemotion.That’sreallyincredibleto me. Fromaproducer’sstandpoint,italsoadds texturesthatsets youapartfrom everyone else.Nooneelsehasthatfieldrecording;it’sa uniquesound.
Q
How does the songwritingprocess generally work for you?
Asynthesiser(synth)isanelectronic instrumentthatcangenerateand modifysoundselectronically.Itis oftenusedtocopythesoundsofother instruments.Notesareusuallyplayed ona keyboard.
GenerallyI’llstartwithoneelementoridea,andthenthinkaboutwhatthepieceisactually about,whatitfeelsliketome.ThenI’llstartgoingthroughall my recordedsoundsandstart findingelementsthatfitinwiththeoriginalidea. Forinstance,ifthefirstideafeelslikeit’s basedaroundGalway, I’llstartfindingpercussionelementsfrom my apartmentinGalway, or soundsfromthecity,oroldsamplesfromGalwayartists.ThenIstartplayingwith synths or drumsandstartbuildingupajamtomessaroundwith.
Answerthefollowingquestionsin yourcopybook.
1 WhatstyleofmusicdoesDaithícreate?
2 Whatinstrumentdoesheplay?
3 ExplainwhyDaithílikestoincludefieldrecordingsinhistracks.
4 Howdoestheuseoffieldrecordingsmakehismusicunique?
5 DescribeDaithí’ssong-writingprocess.
6 Explaintheterm sample.
Daithíusestechnologytoalterthesoundofhisfieldrecordingsinordertomakethemfitinto thetrackhehasplanned.Hegives improvised liveperformances,mixinghissoundstogether differentlyateachshow.Heuses processing effects including compression.
Compression isaprocessing effect that altersthedynamic range of a sound sothat itfits better into the musical mix. Compressionmakesthe quiet parts louderand theloud partsquieter.
LEARNINGINREVIEW!
Mechanicalortechnological changesthatcanbemade tochangethesoundofthe originalaudio.
Aprocessingeffectthat changesthetimbreofasound. Thesoundqualitybecomes harsh,gritty,fuzzyorgrowly.
Aprocessingeffectthat createsanechoeffectthat makesthemusicsoundas thoughitisreverberating aroundalargespacelikea churchoratunnel.
STUDENTACTIVITYBOOK
Gotopage163of yourStudentActivityBookandcomplete Activity 4: Graphic Notation and Processing Effects.
Sound effects areartificialreproductionsof soundstobeusedinafilm,TVprogrammeor aplay. Sounddesignerspairsoundeffectswith theactiontakingplaceinworksfortheatre, film,televisionor radio.InSectionAwelearned about Foleyartistsworkingonsoundsforfilms.
WATCH edco.ie/ghh5
Watchthisvideoforashortsummaryofwhat sounddesignersdo.
STUDENTACTIVITYBOOK
Gotopage164of yourStudentActivityBookandcomplete Activity 5: Show What You Know!
EXAMPRACTICE
Gotopage164of yourStudentActivityBookandcompletean examquestiononmusical representationsofjourneys.
RAPIDREVIEW
Keyword
Compilea keywordbankforthischapterin yourmusiccopybookorManuscriptBook.
RevisionCard
Completearevisioncardwith keyterms,definitionsand keypointsoflearning exploredinthis chapter.
SECTIONAREVIEW
INSECTIONAWELEARNEDTHAT…
Notation istheuseofsymbolstorepresentmusiconthepageorscreen. Melodicnotation istheuseofthesesymbols,markingsandsometimes numberstoindicatethepitchofamelody.
A musical stave consistsoffivehorizontallines,withfourspacesbetweenthe fivelines.Notevaluesareplacedonthelinesorinspacestoindicatepitch.
KEYWORDS
A trebleclef isthesymbolthatisplacedatthestartofatreblestave to indicatethepitcheachlineorspacerepresents.Thepitchesindicatedonthe lines ofthetreblestave areE,G,B, D, F. Thepitchesindicatedinthe spaces are F, A,C,E.
Ledgerlines areshortlinesusedforpitchesthatarehigherorlowerthan thestave.
LEARNINGINREVIEW!
InSectionAwelearnedaboutthreeformsofnotation:staffnotation,graphicscoresandtonic solfa.
Staff Notation
Theplacementofsymbolson thestave torepresentmusic onthepageorscreen.
Perform!
Graphic Notation
Arepresentationofmusic usingsymbols(images, shapesandpictures)instead ofstandardstaffnotation.
TonicSolfa Notation
Amethodoflearningandreading musicthatusessevensyllables forthenamesofthenotes:doh, ray, me,fah,soh,la,te.
Melodicshapecanbeindicatedusing graphicnotation.Singorplaythemelodybelowwhich hasbeenrepresentedusinggraphics.
ListenandRespond!
Playthesetwo excerptsthreetimes.In yourcopybook,draw avisualrepresentationofthemelody heardineach excerpt.
B3.13
Excerpt1
STUDENTACTIVITYBOOK
B3.14
Excerpt2
Gotopage165of yourStudentActivityBookandcomplete Activity 6: Healthy Eating Jingle.
Notationistheuseofsymbolstorepresentmusic.Staffnotationistheplacementofthesesymbols, markingsandsometimesnumbersonastave toindicaterhythmandpitch.
Clefs are used to indicate whichpitchisassigned to aline orspace onthe stave. InSectionAofthisbookwe exploredthe trebleclef.Atrebleclefisusedtonotate mediumtohighpitches.Pitchesplacedonthetreblestave taketheirnamesfrom themusicalalphabetasshowhere.
Musiccomposedforfluteiswritteninthetrebleclefbecausethefluteisa high-pitchedinstrument.
Thebassoon,anothermemberofthewoodwindfamily,isalow-pitched instrument.Musicforthebassooniswritteninthebassclef.
ThebassclefisalsoknownastheFclefbecauseitindicatesthepositionofthenote F. Thebassclef symbolbeginsontheFline.Drawingthebassclefgetseasierwithpractice. Followthestepsbelow.
Lookatthescalebelow. Youwillseethatthepitchesonthebassstave donotappearinthesame placesastheydoonthetreblestave.
Agoodwaytorememberwhereeachpitchisplacedistoseparatethemintonotesthatsitonthe linesandthenoteswhichareplacedinthespacesonthestave,aswedidforthetrebleclef.
Mnemonic: Granny’s Big Dog Flew Away Mnemonic: All Cows Eat Grass
Usethemnemonicsabove toworkoutthepitchesin ‘OdetoJoy’fromBeethoven’sNinthSymphony. Thismusiciswrittenforcello.
Ledgerlinesareshortlinesplacedabove and belowthestave toholdthenoteswhichare higherorlowerthanthe availablepitchesonthe stave,asshownhere.
• Low-pitchedinstrumentssuchastuba,celloand timpanireadmusicwhichhasbeenwritten onthebassstave.
• Bass voicetypessingnotationwrittenonthebass stave. Tenor voicessometimessharethesamestave asthebass.
Gotopage165of yourStudentActivityBookandcomplete Activity 7: The Bass Clef.
Melodicnotationforsomeinstrumentsrunsacross boththetrebleandbassstaves.Musicwrittenfor thepianoortheharp,for example,iswrittenon boththetrebleandbassclefs.Bothinstruments canplaya verywide rangeofnotesandoftenplay morethanonenoteatonce.Astave thatfeaturesa trebleandbassstave linkedtogetherisknownasa grand stave. HereisthescaleofCmajorwrittenonthegrandstave.Thenotesonthebassstave wouldsound one octave belowthenoteswrittenonthetreblestave.
STUDENTACTIVITYBOOK
Gotopage166of yourStudentActivityBookandcomplete Activity8:The Elephant. B3.15
An ostinato isa short phrase or pattern which repeats ina piece of music.Ostinatoscanberhythmic,melodicorharmonic. OstinatoswerepopularwithBaroquecomposers.
ListenandRespond!
CanoninD by Johann Pachelbel
Pachelbel’s Canon inD wascomposedduringthe Baroque era. Thepiecefeaturesatwo-bar bass ostinato whichrepeats throughoutwhilstthreeviolinsplaytheirthemeinathree-part canon.Abassostinatoissometimescalledagroundbass. B3.16
A canon isapiece of musicin whichperformersimitate theinitial melody at afixeddistance or interval,eachpartstartingaftertheother,sothattheylayer overeachother. We oftendescribe thisasinstrumentsplayingin imitation.Canoncreatesa polyphonic texture.
WATCH edco.ie/vjn3
Inthisperformance youwillhearthecellointroducethebassostinatobeforetheupperstrings enterinthree-partcanon.
In Pachelbel’sCanon,abassostinatoprovides accompanimenttothethree-partcanonplayed by the violins.Thetwo-barostinatoplayed by celloisprinted for youbelow.Can younameeachpitchinthisphrase?
STUDENTACTIVITYBOOK
Gotopage167of yourStudentActivityBookandcomplete Activity 9: Bass Ostinato
EXAMPRACTICE
RAPIDREVIEW B3.16
Gotopage168of yourStudentActivityBookandcompletethe examquestiononbassostinato.
Keyword
Compilea keywordbankforthischapterin yourmusiccopybookorManuscriptBook.
RevisionCard
Completearevisioncardwith keyterms,definitionsand keypointsoflearning exploredinthis chapter.
SECTIONAREVIEW
A melodic feature describesaspecificelementofamelodythatcanbe identified by listeners.
Repeatednotes areheardwhenthesamepitchisusedseveraltimesinarow.
Stepwisemovement iswhenthepitchesofamelodymove fromonenoteto thenext by justonestepupordown.
A leap iswhenthenotesofthemelodyjumpupordowntoapitchthatis morethanonenote away.
Thepitchesofan ascending melody move upwardsfromlowtohigh.
Thepitchesofa descending melody move downwardsfromhightolow.
A motif isashortideathat youhearseveraltimesduringapieceofmusic. Itoftenrepresentssomethinginparticular.
Illustrative music ismusicwhichhasbeencomposedto expressemotions, moodsoraspectsofnaturethroughmusic.
KEYWORDS
Melodic feature
Repeatednotes
Stepwise movement
Leaps
Ascending melody
Descending melody
Motif
Illustrative music
Learningtoidentifythemelodicfeaturesinapieceofmusichelpsustodescribeit.Inlistening questions youcanbeaskedtoidentifyfeaturesofthemusicheardinan excerpt.Inthischapterwe will explorethreenewfeaturesofmelody: range, sequences and ornamentation.
ListenandRespond!
Minuet in G by Christian Petzold (not J.S. Bach)
Explorethemusicbelowandworktogethertoidentifymelodicfeatureswelearnedabout inSectionA.
RepeatednotesStepwise movement LeapsAscending melody Descending melody
9 & ?# #
Melodic range describes thedistancebetween thelowest note usedina melodyand thehighest We describethe rangeinterms ofthe interval betweenthesenotes. For exampleapiecemayhave the rangeofafifthortwooctaves.
Whenthelowestpitchandthehighestpitchare farapart,themelodyisdescribedashavinga wide range.
Whenthereareonlyafewnotesbetweenthe lowestpitchandthehighestpitch,themelodyis describedashavinga narrow range.
Theopeningof DonJuan Op.20 by RichardStraussisan exampleofamelodywitha wide range. Can youcountthenumberofpitchesbetweenthelowestnoteandthehighestinthemusicshownhere?
‘HotCrossBuns’isan exampleofatunethathasa narrow range.Investigate!Whatisthe range ofthiswell-known nurseryrhyme?
A melodic sequence consists of a musicalidea that repeats at ahigher or lower pitch We noticetherepetition,butthe pitchisdifferent.Therepetitionmakesthemotifmemorable.
B3.18
Composersmustconsiderthe capabilitiesoftheinstrument theyarewritingfor.The rangeof notesusedintheirmelodymust bewithinthe rangeofnotesthat canbeplayed by thatinstrument.
Whatdo younoticeabouttherepetitionofmusicinbar1inthe examplesprintedbelow.
Angels We Have Heard on High
Beethoven’s Fifth Symphony
WATCH edco.ie/zuue
‘Do-Re-Mi’from The Sound of Music by RodgersandHammerstein
‘Do-Re-Mi’isasongfromthe1959Rodgersand Hammersteinmusical The Sound of Music.The songisaboutthenotesofthemusicalscale,and itisusedtoteachthechildreninthe von Trapp familyhowtosing.Thesyllablesofthesolfa systemformthebasisofthelyrics.Eachsolfa syllableissungonthepitchitnames.Melodic sequenceisafeatureofthissong.Listentothe songandfollowthescorebelow.
B3.19 Perform!
Singalong together!
Answer the following questions in your copybook.
Excerpt 1 B3.20
1 Identifythegraphicwhichrepresentsthefirsteightnotesheardinthis excerpt.
2
7 Namethefamilyofinstrumentswhichtake overthemainthemethesecondtimewehearit.
8 Harpsareheardtowardstheendofthe excerpt.Theyplay tremolo glissando bends
Excerpt 2 B3.21
1 Identifytwofeaturesofthemusicinthis excerpt.
2 Describetwodifferencesbetweenthemusicheardinthis excerptandthemusicheardinExcerpt1.
STUDENTACTIVITYBOOK
Gotopage169of yourStudentActivityBookandcomplete Activity 10: Melodic Rangeand Sequences.
LEARNINGINREVIEW!
Ornamentation istheuseofadditionalnotes, knownasornaments,todecorateamelody.
Ornamentationbecame verypopularduringthe Baroqueera,andmusicianshadsomeflexibilityto addtheirownornamentstotheirperformances. ClassicalandRomanticcomposersdidnotpermit thisfreedom,however, andindicated exactlythe ornamentstheywantedonthescore.
Composersaddornamentationtotheirmelodiestoaddinterestandvarietytoamelody.Thetype ofornamentationtheychoosedependsonthecapabilitiesoftheinstrumentperforming. You learnedalittleabout trills and glissandos inSectionA.Herewewilllookatthemmorecloselyas wellasanothercommonmelodicornament: gracenotes.
OrnamentExample
B3.22
Written Playedasfollows
Trill & 4 4 œ œ ˙ Ÿ & 4 4 œ œœœœœœœœ œ
B3.23
Glissando & œ µ œ
B3.24
Gracenote & c œ œ œ j œ j ˙
Description
A trill consistsofa rapidalternation betweenthemainmelodynote andthenoteabove it.Itcreatesa quiveringsound.
Mostinstrumentscanplaytrills, buttheyareeasiertoplayonsome instruments(suchaswoodwinds) thanothers(suchasbrass).
A glissando symbolplacedbetweentwomelody notesinstructingthemusiciantoplaya rapidrun (or slide)ofnotesfromthefirstnotetothesecondnote. Themusicsoundslikeitisglidingfromonenoteto thenext.
Youoftenhearglissandosplayed by thetrombone andtheharp.
A gracenote isan extranoteaddedtodecorate amelody.Thesenotesaresmallerthanthemain melodynotesandhave aslashmarkthroughtheir stem.Theyarenotessentialtothemelodyor harmony. Gracenotesareplayed veryquicklyanddo notaddtothenumberofbeatsinthebar.
GracenotesarecommoninIrishtraditionalmusic.
Ornamentsorgracenoteswhichappearinascoretoindicateornamentsarenevercountedin thetimesignature.
STUDENTACTIVITYBOOK
EXAMPRACTICE
Gotopage172of yourStudentActivityBookandcompletethe exampaperquestionmelodic features.
RAPIDREVIEW
Keyword
Compilea keywordbankforthischapterin yourmusiccopybookorManuscriptBook.
RevisionCard
Completearevisioncardwith keyterms,definitionsand keypointsoflearning exploredinthis chapter. Makenoteofthepiecesofmusicthat youhave listenedtoaspartofthelearningtoo.
Melodicdictation involveslisteningtoan excerptandidentifyingthemelody notes by ear.Afterlisteningtothe excerpt, youmustwriteoutthemelodyor identifyitonthepage.
Dictationtasksinthe examcanrequire youto completeuptotwobarsofmelodicdictation. Therhythmofthemissingmelodynotesis usuallyprintedabove thestave. Youmust placethepitchesonthestave using the givenrhythmpattern
Listencarefullytothe excerptandensure you insertthepitchesonthestave accurately, placingeachoneclearlyonalineorinaspace.
Melodic dictation
Always usethe givenrhythm wheninsertingthemissingpitchesonthestave Take careto ensurethateachnotevalueisnotatedaccuratelyandthatthestemsaredrawncorrectly. TOPTIP
ListenandRespond!
Matchthemusicheardineach excerpttothecorrectmelodicphrasebelow.
B3.29
Excerpt1
B3.30
Excerpt2
B3.31
Excerpt3
ListenandRespond!
Listentothe excerpt.Itwillbeplayedthreetimes. B3.32
Matchthemissingbartothemelodybelow.
Gotopage173of yourStudentActivityBook andcomplete Activity 12: Melodic Dictation
EXAMPRACTICE
Gotopage173of yourStudentActivityBookandcompletethe examquestionrequiring melodicdictation.
Keyword
Compilea keywordbankforthischapterin yourmusiccopybookorManuscriptBook.
RevisionCard
Completearevisioncardwith keyterms,definitionsand keypointsoflearning exploredinthis chapter. Makeanoteofthepiecesofmusicthat youhave listenedtoaspartofthelearningtoo.
INSECTIONAWELEARNEDTHAT… KEYWORDS
Pulse isthecontinuous,regularbeatthat
Apieceofmusiccanbedescribedashavingafast,moderate,orslowtempo.
Italianterms,beatsperminutes(bpm)andsometimesEnglishwordsareused.
TheItalianterm Adagio meansslowandhasabpmof66–76.
TheItalianterm Andante meansmoderateandhasabpmof76–106.
TheItalianterm Allegro meansfastandhasabpmof120–156.
Tempomarkingsareplacedabove thestave.
Thetempocanchangeduringapieceofmusic.
Tempo isthespeedofapieceofmusic;fastorslow.
Composersusethreeformatstoindicatethetempooftheirmusic:beatsperminute (e.g. œ =120bpm), Italianterms (e.g.Allegro)orbasicEnglishterms (e.g.Fast).
Tempocanhelptocreatethemoodoratmosphereofapieceofmusic.Suggesta suitabletempo markingforthefollowingpiecesofmusic.Giveareasonfor yourchoiceoftempo.
A folk songSacred musicA rock song
A lullabyAnactionfilm scoreA dance track
ListenandRespond!
Piano Sonata No.8inC minor; ‘Pathétique’ by Beethoven
B4.1
Listentheopeningofthispianosonata by Beethoven andfollowthemusicprintedbelow.Thetempois marked Grave,whichmeans‘veryslow’. Here,welearnthatjustbecauseapiecehasalotof semiquaversdoesnotmeanthatthetempoofthemusicwill necessarilybefast.
BeethovenisacomposerfromtheClassicalera.Hecomposed ‘Pathétique’in1798,whenhewastwentyseven yearsold.
MovementI:Grave
Whatrhythmicandmelodicfeaturescan youidentifyinthispieceofmusic?
EXAMTIP!
1 Tempoisafeatureofapieceofmusic.Inalisteningquestion youcanchoosetodescribethe tempoofthemusicasafeatureofthemusic.
2 If youareaskedtodescribeasimilarityordifferencebetweentwopiecesofmusic,tempo canbean excellentchoiceoffeaturetowriteabout.
• Similarity: ThemusicinbothExcerpt1andExcerpt2hasafasttempo.
• Difference: ThemusicheardinExcerpt1hasafastertempothanthemusicinExcerpt2, whichhasaslowtempo.
Gotopage174of yourStudentActivityBookandcomplete Activity 1: Tempo Markings.
Tempo isnot fixed. The tempo canchangeduringa piece of music. Achangeintempocanmakeapiece moreinterestingandchangeitsmood.Composerstend tochangetempocompletelyfornewsectionswithina largerwork.Composersindicatethenewspeed by placing anewtempomarkingabove thestave,atthepointwhere thechangeoftempohappens.
Wherecomposerswishtochangethetempoofthemusic forafewbarsorashortsectiontheyuseothertermswhich arelistedinthegridbelow.Thesetermscanbefoundunder thestave.
Tempo Changes
Conducting B4.3
Accelerando Rallentando Ritardando
Poco… Molto…
Key terms and what they mean…
To indicatea gradualchange of tempo,thecomposercaninsert accelerando (speedup)or rallentando or ritardando (slowdown).Onthescore,theseterms areusuallyabbreviatedto accel., rall. and rit. andusuallyappearbelowthestave.
Additionaltermssuchas poco or molto canbewrittenbeforetheterms rallentandoorritardando.Thesetermsindicatethelevelofgradualchangethe composerwants. Poco meansalittle, molto meansalot.
A tempo Atempo isatermusedtoindicatetoperformersthattheyshould return to the original tempo afterachangeusingaccelerando, rallentandoorritardando.
ListenandRespond!
Hungarian Dance No.4 by Johannes Brahms
Listentothese excerptsandconsiderthecomposer’suseoftempochanges.Dotheyaddinterestto themusicforthelistener?
STUDENTACTIVITYBOOK
Gotopage174of yourStudentActivityBookandcomplete Activity 2: Tempo Changes.
LEARNINGINREVIEW!
The marking tempo rubato tells theperformer that they may use theirjudgement to vary the rhythm or tempo to make the music more expressive.InSectionAwesawthattemporubato oftenappearsinmusicfromthe Romanticera,particularlyintheworksofChopin. We listenedto his Nocturne Opus9,No.2inUnitA8.
Tempoisanimportantfeatureofpopularmusicgenressuchasdance,houseandelectronicmusic. DJsmixingtracksfromthesegenresatconcertsanddiscosmustbeabletomove seamlesslyfrom onesongintothenext. Beatmatching isatechniqueused by DJswheretheyspeeduporslowdown thetempoofonetracktomatchthetempoofthenextnewtrack.ThisallowstheDJtosmoothly transitionfromonetracktothenext.Movingfromonetracktoanotheriscalleda crossfade.The newtrackislayered overthepreviousonebeforebecomingthemaintrack.
WATCH edco.ie/3qeg
STUDENTACTIVITYBOOK
Gotopage176of yourStudentActivityBookandcomplete Activity 3: Tempo Markings.
EXAMPRACTICE
Gotopage177of yourStudentActivityBookandcompletethe examquestiononmatchingapieceofmusictoadescription.
RAPIDREVIEW
Keywords
B4.6 B4.8 B4.7
Compilea keywordbankforthischapterin yourmusic copybook or Manuscript Book.
RevisionCard
Completearevisioncardwith keyterms,definitionsand keypointsoflearning exploredinthis chapter.
SECTIONAREVIEW
INSECTIONAWELEARNEDTHAT…
Dynamics tell youhowloudorquietapieceofmusicis.
Italiantermsareusedfordynamics.Abbreviationsofthesetermsarewritten belowthestave toindicatehowloudlymusiciansshouldplay.
Changesindynamicsarecommonduringapieceofmusic.
Forte meansloud,and piano meansquiet.
Fortissimo means veryloud,and pianissimo means veryquiet. Agradualincreaseindynamicsiscalleda crescendo,andagradualdecreasein volumeiscalleda decrescendo or diminuendo.
KEYWORDS
Dynamics Piano
Forte
Fortissimo
Pianissimo
Crescendo
Decrescendo
Diminuendo
Dynamics describehowloudorquietapieceofmusicis.
LEARNINGINREVIEW!
English verysoftsoftmediumsoftmediumloudloud veryloud
Symbol pp pmpmff ff
Italian pianissimo piano mezzopiano mezzo fortefortefortissimo
Graduallylouder cresc. crescendo
Graduallyquieter dim. diminuendo or decrescendo decresc.
Dynamicswillchange, eveninshortpiecesofmusic.Whenadifferentdynamicisrequired,itis marked exactlybelowthenotewherethechangetakesplace.
Composerscanalsoaddgradualorsuddenchangesin volume.Anespeciallysuddenchangein dynamicsisindicated by theword subito,theItalianforsuddenly. Subito (or sub.)appearsunderthe stave alongwithanewdynamicmarking.Suddenchangesindynamicscanmakeapieceofmusic verydramatic.Anotherwaytoadddramatoapieceusingdynamicsistouse sforzando (sf or sfz). Sforzando instructsthemusiciantoplayanotewithasudden,strongemphasis.
LEARNINGINREVIEW!
Incidental music isbackground music used to create or enhanceaparticular atmosphere or to accompany action. Incidental musicis usedin theatre,TV,gaming, radio programmes andfilm.
Incidental music isadescriptivestyleofmusic,composedto evoke amoodorcreateanatmosphere.Intheatre,incidental musicmaybeheardbeforeaplaybeginsandduringscenechanges.Themusichelpstosetthescene beforethedramaunfoldsorhelpstomaintainthemoodduringscenechanges.
Expressivequalitiessuchas tempo and dynamics areimportantelementsinapieceofincidentalmusicas theyhelpcomposerstoillustratethemood,charactersoractiontakingplace. Tonality, instrumentation, texture andothermusicalelementsplayanimportantroleincreatingaspecificatmosphere.
ListenandRespond!
B4.10
‘The Storm’ from The Tempest by Jean Sibelius
The Tempest isapieceof incidental music composed by Jean SibeliustoaccompanyaperformanceofShakespeare’splay The Tempest in1926.Thisisalargeworkandtakes overan hourtoperform.
An excerptfrom‘TheStorm’inAct1willbeplayed for you. Themusicillustratesachaoticatmosphere as thestorm ragesaroundthecharactersintheir small boat. Considerthe role tempo and dynamics playinbringingthestormtolife. Research!
Listentooneotherpieceofincidentalmusicfromthelistbelow.Researchthecomposer,themusic andwhyitwascomposed.Compileafactsheetonthispieceofmusicin yourcopybook.Describe thecomposer’suseoftempoanddynamicsinthework youhave chosen.Share yourfindingswith yourclassmates.
1 A Midsummer Night’s Dream by FelixMendelssohn
2 L’Arlésienne Suite by GeorgesBizet
3 Peer Gynt Suite by EdvardGrieg
Create!
Workingroupstoimagineandcreateapieceofincidentalmusicwhichcouldaccompanyoneofthe scenesfromthefollowingplays.Remembertheimportanceoftempoanddynamicsinincidentalmusic.
The Womanin Black by Susan Hill
Romeo and Juliet by William Shakespeare
STUDENTACTIVITYBOOK
Gotopage180of yourStudentActivityBookandcomplete Activity 5: Incidental Music
EXAMPRACTICE
Gotopage180of yourStudentActivityBookandcompletethe exam questiononincidentalmusic.
RAPIDREVIEW
Keywords
B4.12 B4.11
B4.13
Compilea keywordbankforthischapterin yourmusic copybook or Manuscript Book.
RevisionCard
Completearevisioncardwith keyterms,definitionsand keypointsoflearning exploredinthis chapter.
SECTIONAREVIEW
Articulation markingsonmusicnotationtellushowtoplayaspecificnotes.
Articulationchangeshowanotesoundsbutitdoesn’tchangethepitch,or thedurationwrittenonthestave.
An accent symbolemphasisesthatnote.
A slur indicatesthatthenoteswithinthecurvedlineshouldbeplayed smoothlyor legato
A staccato symbolshortensthesoundofanote.
A staccato markisusedtoshortenthesoundofanote.Thissymbolisasmall dotplacedabove orbelowthenotehead.
KEYWORDS
Articulation
Accent
Legato
Slur
Staccato
Articulationmarkingsareinsertedonsheetmusictoinstructmusicianson how anoteorgroupof notesshouldbeperformed.InSectionAwe exploredtheeffectof accents, slurs and staccato.
An accent tells theperformer that they must emphasise the note.
Legato means that thenotes shouldbeplayed smoothly.
Legatoisoftenindicatedusing a curvedlinecalledaslur.Theslur isplacedabove orbelowtwoor morenotesofdifferentpitch.
Staccato means that the notesshouldbeplayed short anddetached. Thissymbolis asmalldotplacedabove or belowthenotehead.
Whenanote’sstempointsdownwards,articulationmarkingsarewrittenabove thenote.Whena note’sstempointsupwards,thearticulationmarkiswrittenbelowthenote. TOPTIP
Gotopage182of yourStudentActivityBookandcomplete Activity 6: Articulation. Sight-readamelodyandthenaddarticulationtoit.
œ A tenuto markindicateswhen youshouldhold thenote for its fulllength.Themarkiswrittenabove a notewhenthestempointsdownwardsandbelowthe notewhenthestempointupwards.
UA fermata, alsoknownasapause, isa symbol indicating that anote shouldbeheld for longer thanits notated value.
Afermataisoftenplaced overthefinalnoteofaphrase,attheendofasectionoratthe very endof thepiece.Theyarealsousedinorchestralscoressothatalltheplayers keepplayingtheirnoteuntil theconductor indicatesthattheyshouldstop.Apauseduringtheflowofapiecemayheightenthe emotionaleffectofthemusic,makingitmoredramaticorcreatingsuspense.
B4.17 Listen tothefirstphraseofBeethoven’sSymphonyNo.5.Whateffectdothefermatas have here?
STUDENTACTIVITYBOOK
• Gotopage182of yourStudentActivityBookandcomplete Activity 7: Adaptinga Phrase.
• Gotopage183of yourStudentActivityBookandcomplete Activity 8:Listenand Respond.
EXAMPRACTICE
Gotopage184of yourStudentActivityBookandcompletethe examquestionsonarticulation anddynamics.
Keywords
Compilea keywordbankforthischapterin yourmusic copybook or Manuscript Book.
RevisionCard
Completearevisioncardwith keyterms,definitionsand keypointsoflearning exploredinthis chapter. B4.18 B4.19
SECTIONAREVIEW
Form isatermusedtodescribetheplanorstructureofapieceofmusic.
Formdescribeshowthe phrases inapieceofmusichave beenorganised.
The openingphraseisalways labelled A. Ifthenextphraseisthesameasthe first,itisalsorepresentedusingtheletter A. A new or contrasting phrase heardaftertheopeningAphraseislabelledusingtheletter B.
Whenonemelodicphraseisrepeated overand over,the verseisin unitary form:AAAA.
Binary form consistsoftwocontrastingmelodicphrases: A and B.Usually bothsectionsarerepeated(AABB or ABAB).
Ternary form hasthreesections.Thefirstphrase A,acontrastingphrase B, andthentheopening A phrasereturns: ABA or AABA
Formcanalso beillustrated usingapattern of shapes.
We learnedinSectionAthatamusicalphraseconsistsofagroupofnotesstrung togetherto expressanideaoratheme.Aphrasecanbeindicated by insertinga breathmarkorcomma(’)afterthelastnoteinthephraseor by drawingalong, curvedlinefromthefirstnotetothelast.Thesecurvedlinesarecalled phrase marks.
KEYWORDS
Form
Phrase
Unitary form
Binary form Ternary form
EXAMTIP!
Whencompleting amelody composition task youshould insertaphrase mark over your completed melodicphraseas shownhere.
ListenandRespond!
B4.20
‘TheLarkin theClear Air’
Evenwhentherearenophrasemarksorcommasmarkedinthe music, youshouldstillbeabletorecognisewhereonemusical phraseendsandthenextonebegins by thenaturalpauseheardin themelody.ListentothetraditionalIrishtune‘TheLarkintheClear Air’.Can youidentifythebeginningandendofeachphrase?
Gotopage186of yourStudentActivityBookandcomplete Activity 9: Phrases. B4.20
Theformoffolktuneslike‘TheLarkintheClearAir’canbeillustratedusingletters.Theletters indicatewhetherthephrasessoundthesameordifferent.Can youidentifytheletterplanof‘Lark intheClearAir’?
RepeatedphraseNew or contrastingphrase
Wheretheopeningphraseisrepeated exactly, theformisrepresented by theletters AA. Wherea new or contrasting phrasefollowsthe opening A section,thisphraseisrepresented by theletter B
Therearethreetypesofformthat youshouldbefamiliarwith: unitary, binary and ternary.Aswell asusingletters,formcanbeillustratedusingapatternofshapes.
Unitary Form Binary Form Ternary Form
Asongwithonlyonesection ormelodywhichrepeatsisin unitaryform.Musicinunitary formhasonerecurringphrase called A. Asonginbinaryformconsists oftwocontrastingmelodic ideas: A and B.Usuallyboth sectionsarerepeated.
Asonginternaryformwillhave threesections.Thefirstsection Aisfollowedwithcontrasting materialBandthefinalsection repeatstheopeningmaterial, i.e.ABA. AAAA ABAB
STUDENTACTIVITYBOOK
Gotopage187of yourStudentActivityBookandcomplete Activity 10: ‘Isle of Hope, Isle of Tears’
ListenandRespond!
B4.23
‘The Bright Side of the Moon’
Listentotheopeninglinesofthefolksong
‘TheBrightSideoftheMoon’written by Cyril O’ Donaghue.
Walking down this lonesome highway
The road is long and the nights are cold
The dream remains, which now is fading
Signs of ageing, so I’m told
I’ve seen the lights go down on Broadway
Peoplelost in an endless wheel
I’ve heard the cries of a newborn baby
Her mother’s tears onour TV screens
Answerthefollowingquestionsin your copybook.
1 The introduction isplayedonthe
2 A vocalistsingsthemainmelody.
3 The form ofthefirst verseis
4 Thisformisalsorepresentedas AABB ABABAAAA.
STUDENTACTIVITYBOOK
Aninstrumentalintroductionisnot consideredaspartoftheform.Theform describesthemainmelody;thefirstphrase (A)beginswhenthesingerorsoloistenters. TOPTIP
Gotopage187of yourStudentActivityBookandcomplete Activity 11: ‘The Galway Shawl’.
RAPIDREVIEW
Keywords
Compilea keywordbankforthischapterin yourmusic copybook or Manuscript Book.
RevisionCard
Completearevisioncardwith keyterms,definitionsand keypointsoflearning exploredinthis chapter.
Gotopage189of yourStudentActivityBookandcompletethe examquestiononform.
INSECTIONAWELEARNEDTHAT….
Inmusic, mood describesthe overallfeelingofapieceofmusicandthe emotionsthatapieceofmusiccanstirupinthelistener. Themusicwelistentocanmakeusfeeljoy, anger,fear,tension,happiness, sorrowandmanyotheremotions.
Mood
Composersaimtoreachtheiraudiencesthroughtheirmusic.Themoodand atmosphereoftheirmusicseeksanemotionalresponsefromtheaudience.
Mood describes the overall feeling or atmosphere of apiecea music.
Sometimescomposersindicatemoodonthesheetmusicsothatmusiciansknowwhat atmospheretheyintendedthemusictocreate.Italianwordsareusuallyusedandcanbeplaced nexttothetempomarkingorbelowthestave.
Thewords poco or molto canalsobeplacedbeforeamoodmarking.Do yourememberwhat theseItalianwordsmean?
Agitato –Agitated Cantabile –Inasingingstyle Dolce –Sweetly Giocoso –Jokingly
Amoroso – Lovingly Marcato –Accented Doloroso –Sorrowfully Pesante –Heavy Animato –Animated Misterioso –Mysteriously Expressive –Expressively Tranquillo – Tranquil
ListenandRespond!
B5.1
Nocturne Op.9 No.2 by FrédéricChopin
FrédéricChopinisacomposerfromthe Romanticera
A nocturne isapiece of musicinspired by night-time.Chopinindicates themoodofthispieceunderthestave inthis example. Expressivodolce meanstheperformershouldplay expressivelyandsweetly.Listentothe excerpt.Doestheperformerdothis?
ListenandRespond!
B5.2 Totentanzby FranzLiszt
FranzLisztisacomposerfromthe Romanticera Totentanz meansdanceofdeath. FranzLiszt composedthisinnovativeworkinspired by death forpianoandorchestra.Lisztusestheterms marcato (Italianformarked)and pesante (heavy)to instructthepianisttoplaythefirsttwobarsmore forcefullyandthenheavily.Listentothe excerpt. Can youhearthis?
Andante. marcato
STUDENTACTIVITYBOOK
• Gotopage190of yourStudentActivityBookandcomplete Activity 1: Show What You Know!
• Gotopage192of yourStudentActivityBookandcomplete Activity 2: Mighty Mack.
EXAMPRACTICE
Gotopage193of yourStudentActivityBookandcompletethe examquestiononmood.
RAPIDREVIEW
Keyword
Compilea keywordbankforthischapterin yourmusiccopybookorManuscriptBook.
RevisionCard
Completearevisioncardwith keyterms,definitionsand keypointsoflearning exploredinthis chapter.
SECTIONAREVIEW
INSECTIONAWELEARNEDTHAT….
Tonality isthe overallsoundofapieceofmusicbasedonthecombinationof notesituses. Tonalitycanbemajororminor.
Majorandminortonalitieshelpcomposerstoillustratethemood,feelingsor atmosphereoftheircompositions.
Musicwitha major tonality soundsbright,happyandcheerful.
Musicwitha minor tonality willsoundgloomy, sadanddark.
Thetonalityofapieceofmusiccanchangefrommajortominorandvice versa.
Tonalmusicismusicthatisbasedarounda tonicnote Thetoniccanbethoughtofasthe‘homenote’ineach key. For example,when youwriteamelody,endingon thetonichelpsthemusicsoundcomplete.Thetonicis alsoknownasthe keynote.Inmajor keyswecallthe tonicnote doh ifweareusingtonicsolfa.
KEYWORDS
The tonality of apiece of musicisdescribedaseither major orminor. Musicinamajortonality soundsbright,happy, calm,peacefuletc.andmusicwithaminortonalitysoundsgloomy, scary, mischievousorsad.
Consideringthe mood ofthemusiccanhelptodistinguishingbetweenamajortonalityandaminor tonality.Whatatmospheredoesthemusicconvey?Doesthemusicsoundbrightandcheerfulor doesitsoundabitgloomyanddark?
ListenandRespond!
Identifythetonalityofthefollowing excerpts.Each excerptwillbeplayedtwice.Write your answersin yourcopybook.
Thetonalityofapieceofmusiccanchange. We learnedinSectionAthatachangeof keyiscalled a modulation.Amodulationfromamajortonalitytoaminortonalitywillalterthemood.
InSectionA,section5.2,we explored‘SunriseintheAlps’fromthe Overture to William Tell by Rossini.Inthiswork,Rossiniusesachangeintonalityfromminortomajortohelpillustratethe sunrise.Ashedoesso,themoodchangesfromdarktolight.
ListenandRespond!
B5.10
Prelude No.15 ‘Raindrop’ by FrédéricChopin
Listentothe‘Raindrop’Prelude by Chopin. Itisoneofhisbest-knownpreludesforpiano. Thispieceofmusicshiftsfromamajortonality toaminortonalityforthe middlesectionof thework.Theminorsectionismuchmore dramaticthanthecalmandserenemajor sectionsthatsurroundit.
Thisworkisin ternary form (ABA).Themusic openswitha serene major tonality (A).It movestowardsa darkand relentlessminor tonality (B),beforereturningtoamajor tonality(A)beforetheend,asthoughitwasall onlyabaddream.Noticehowthe keysignaturechangesintheprintedmusiconpage281.
A B A
Listentotheentireworkandidentifywherethetonalitychangesfrommajortominorandthen backagain.TheopeningbarsoftheAandBmaterialareprintedtohelp you.
Aural Signposts
• Themelodyisheardintherighthand(treblestave)fortheAsectionbutmovestothelefthand (bassstave)fortheBsection.
• The‘Raindrop’PreludeisfamousfortherepeatingAb (G#)thatappearsthroughoutthepiece.It isbelievedChopinusedthisnotetoillustrate raindrops.
• Temporubato.
B Melody &
Keyword
Compilea keywordbankforthischapterin yourmusiccopybookorManuscriptBook.
RevisionCard
Completearevisioncardwith keyterms,definitionsand keypointsoflearning exploredinthis chapter.
INSECTIONAWELEARNEDTHAT….
Musiccomposedina major key usesthenotesofoneofthemajorscales.
The tonic or keynote isalsoreferredtoas doh.Thereisastrongsenseofthe tonicbeingthe‘home’noteofamajor key.
A major scale isaseriesofeightnotesthatstartsandendswiththenote thatnamesthemajor key(the keynote/tonic).Itfollowsaspecificpatternof tones and semitones.
Thepatternof intervals foramajorscaleistone–tone–semitone–tone–tone–tone–semitone.
Theintervalcovered by theseeightnotesisone octave.
A sharp (#) raisesthepitchofanote by onesemitone.
A flat (b) lowersthepitchofanote by onesemitone.
The key signature isplacedbetweentheclefandthetimesignatureonthe stave.Itmustbeincludedon everylineofmusic.
A keysignaturecanhave sharpsorflatsbutneverboth.
Major key signatures wehave learnedaboutinUnitA5are:
KeyC majorGmajorFmajorDmajor
Key Signature & &# &b &##
LEARNINGINREVIEW!
Therearefourrulestofollowwhenconstructing amajorscale.
Everymajorscalebeginsonthe tonic –the ‘home’note.
Everymajorscalehaseightnotes.
Thescalebeginsonthetonicand everynote appearsonceonlyuntil youreachthetonic again.
CD
Thepatternforconstructingallmajorscalesis Tone – Tone – Semitone –Tone – Tone – Tone – Semitone
B5.17
STUDENTACTIVITYBOOK
Gotopage196of yourStudentActivityBookandcomplete Activity 4: Scalesin Review.
ThescaleofBb majorhastwonotesthatfallon ablack key:Bflat(Bb)andEflat(Eb).Allthe B and E notesthatfeatureinamelodycomposed inBb majorarelowered by asemitone.
Ratherthanaddingaflatsymbol(b)before everyBandEnoteinthemelody,two flat(b)symbolsareinsertedatthestartofthepiece,nexttothetrebleclefontheB lineandintheEspace.
Thisindicatestothe performerthatallBand Enotesareflattened. Inotherwords,the key signatureforBb majoris twoflats.
STUDENTACTIVITYBOOK
Gotopage197of yourStudentActivity Bookandcomplete Activity 5:Bb major.
ListenandRespond!
B5.18
Allegro inBb major by Mozart
Mozartwrotethispianopiecewhenhewassix yearsold! Followthescoreandanswerthequestionsin yourcopybook.
EXAMPRACTICE
Gotopage198of yourStudentActivityBookandcompletethe examquestionthatincludes melodicdictationandcompositioninBb major.
RAPIDREVIEW
Keyword
Compilea keywordbankforthischapterin yourmusiccopybookorManuscriptBook.
RevisionCard
Completearevisioncardwith keyterms,definitionsand keypointsoflearning exploredinthis chapter.
SECTIONAREVIEW
INSECTIONAWELEARNEDTHAT….
Programmemusic isinstrumentalmusicthattellsastoryforthelistener throughmusic.
Composersofprogrammemusiccomposedmusicinspired by legends, stories,charactersorpaintings.
Thistypeof illustrative music aimstoconjureupacharacter,animageora scenewithoutusingwordsorlyrics.
Programmemusicbegantoflourishinthe Romanticera.
KEYWORDS
Concerto
Trill Programme note Romanticera Solo Duet
InSectionA you exploredseveralpiecesofprogrammemusic.
PieceComposerNationalityEra Description
The FourSeasons WinterI:Allegro
B5.19
‘Sunrisein the Alps’ fromthe Overture to William Tell
B5.20
A Night on a Bare Mountain
B5.21
‘The Elephant’ from Carnival of theAnimals
B5.22
DanseMacabre
B5.23
Antonio Vivaldi
Gioachino Rossini
ItalianBaroqueVivaldipaintsanimageofableak snowstorminthedepthsofa bittercoldwinter.
ItalianRomantic Rossinipaintsanimageofthesun rising overtheSwisslandscape beforeastorm.Heusesachange intonalitytoillustratethefirst glimpseofthesun,aswemove from darknesstolight.
Modest Mussorgsky
RussianRomanticMussorgskyillustratesagathering ofwitches by abonfire.Themusic evokesfeelingsoffearandmagic; themoodisviolentandterrifying.
Camille Saint-Saëns
Camille Saint-Saëns
FrenchRomantic Saint-Saënsuseslow-pitched doublebasstopainttheimage ofaslowandploddingelephant dancingtoawaltzrhythmplayed onthepiano.
FrenchRomantic Saint-Saënsillustratesthecharacter ofDeathcallingthedeadfromtheir gravestodanceforhimwhilehe playshisfiddle.Skeletonsdance forhimuntiltheroostercrowsat dawn,whentheymustreturnto theirgravesuntilthenext year.
STUDENTACTIVITYBOOK
Gotopage199of yourStudentActivityBookand complete Activity 7: Programme Musicin Review
TodundVerklärungby Richard Strauss
RichardStrauss’s tonepoem Todund Verklärung (Deathand Transfiguration)portrays the experienceofadyingmanandhisentryintoheaven.Straussoutlinesthestory (programme)ofthisworkinalettertohisfriend Friedrich vonHausegger.
‘The sick man lies in bed breathing heavily and irregularly in hissleep. Friendly dreams bring a smile tothe sufferer; hissleep grows lighter; he awakens. Fearful pains once more begin totorture him, fever shakes his body. When the attack is over and the pain recedes, he recalls his past life; his childhood passes before his eyes; his youth with itsstriving and passions and then, while the pains return, there appears to him the goal of his life’s journey, the idea, the ideal whichhe attempted to embody, but whichhe was unable to perfect because such perfection could be achieved by no man. The fatal hour arrives. The soul leaves his body, to discover in theeternal cosmos the magnificent realizationof the ideal that could not be fulfilled here below.’
RichardStrauss
Listentothefirstmovementof Todund Verklärung.Can youidentifythemoments referredtointheprogrammenotebelow?Notedownthetimingofthepointswhen youthink youheareachpartofthedescription.Compare yourtimingswithapartner. Discusswhy youchosethosepointswithreferencetothefeaturesofthemusic.
I. (Largo) In a dark, shabby room, a man lies dying. The silence is disturbed only by the ticking of a clock – or is it the beating of the man’s heart? A melancholy smile appears on the invalid’s face Is he dreaming of his happy childhood?
Challenge!
Belowarethreeauralsignposts.Can youaddtothemtomakealisteningmapofthis movement?
Timing:00:00 Muted strings setthequietscene.
Timing:00:13Asinister low-pitched woodwindchordcreatesafeelingofunease.
Timing:00:27Thetimpaniplaysan irregularheartbeat motif.Thisillustratesthepassingof timeandthefailingheartofthesickman. edco.ie/n6qa WATCH
Insection5.2,we explored mood intwopiecesofillustrativemusicfromtheRomanticera: Chopin’sNocturneandLiszt’s Totentanz.
Romantic Era
Style of Music: Illustrative Music
Composer 1: FrédéricChopin
Country of Birth: Poland
B5.29
Composer 2: FranzLiszt
Country of Birth: Hungary
Name of Piece: Nocturne Op.9 No. 2Name of Piece: Totentanz
B5.30
Gotopage200of yourStudentActivityBookandcomplete Activity 8: Romantic Composers of Illustrative Music.
Gotopage201of yourStudentActivityBookandcompletethe examquestiononcomposinga pieceofillustrativemusic.
Keyword
Compilea keywordbankforthischapterin yourmusiccopybookorManuscriptBook.
RevisionCard
Completearevisioncardwith keyterms,definitionsand keypointsoflearning exploredinthis chapter.
Incidental music isusedintheatre,TV,gaming, radioprogrammesorfilmto createorenhanceaparticularatmosphereortoaccompanytheaction.
‘Méditation’ by Massenetisapieceofincidentalmusicforsoloviolinand orchestrafromtheopera Thaïs
Musicthatiscomposedspecificallyforafilmiscalleda film score
A silent film hasnospokendialogueormusicrecordedonthefilmreel.
KEYWORDS
Incidental music
Film score
Silent film
InUnitA3welearnedthat a motif isa shortmusicalidea that reappears several times inapiece of music.
A leitmotif isa motif that represents aparticularcharacter, place or idea. Leitmotifsarecompositionaltechniquesfirstused by theRomanticcomposers (particularlyintheoperasofRichard Wagner).
Oneofthebest-known examplesofamoremodernleitmotifisthetwo-noteostinato motifthat signalstheappearanceofthesharkinthemovie Jaws.JohnWilliamsusesthisleitmotifatpointsin thefilmwhenthesharkisn’t eveninthescene.Whydo youthinkhedoesthis? ? œ œ j ™
Manyofusarefamiliarwiththe main Star Wars themethatwas alsocomposed by JohnWilliams.It representstheadventurousmoodof the Star Wars films. Not everyoneknowsthateachof themaincharactershastheirown leitmotiftoo!Williamsweavesthese motifscleverlythroughhisfilmscores forthe Star Wars series. Watchthis videotoseeacompilationofsomeof Williams’sbest Star Wars leitmotifs.
In apiece of incidental music,a theme isa musicalphrase that isintroduced at the same time asanimportant person, place,idea or emotion. Thelistenerthenconnectsthatmusicwitha particularcharacteroremotion,forinstance.Eachtimethethemeisheard,theaudiencewill associateitwiththecharacteroremotionthethemerepresents.Examplesofmovieswithwellknownthemesinclude Rocky, Godzilla,Braveheart, Batman and Superman.Can youthinkofanyother themesfromfilms?Whoorwhatdotheyrepresent?
B5.31
‘Flying Theme’ from E.T.theExtra-Terrestrial
Thefilmscorefor E.T. wascomposedandconducted by JohnWilliamsforthefilmreleasedin1982.Agentle alienbecomesstrandedonEarth.Hestrikesupaspecial friendshipwitha youngboycalledElliott.Afterthe authoritiesfindE.T.,Elliottisdesperatetogethimbackto hisspaceship.Theyescapeonbikesandtakeflightintothe sky.The‘FlyingTheme’establishesamagical mood.
Aural Signposts
• The‘FlyingTheme’beginswithan upward leap. Themotifprintedbelowis repeated at ahigher pitcheach time.
FlyingTheme
• Themusic’s major tonality highlightsthehappinessElliottfeels,knowingheissavinghisfriend.
• The instruments createasenseofmagic.
• Changesin dynamics and tempo helptobringthemusicalive.
Gotopage202of yourStudentActivityBookandcomplete Activity 9: ‘Flying Theme’ from E.T.
B5.31
Are the following statements true or false? Write the answers in your copybook.
1 Incidentalmusicisplayedbetweentheactsofaplay.
2 Incidentalmusicisusedinmovies.
3 Aleitmotifistheopeningmelodyheardinafilmscore.
4 JohnWilliamscomposedthescorefor E.Tthe Extra Terrestrial.
5 JohnWilliamsisacomposerfromtheRomanticera.
6 Aleitmotifistypicallyusedone by acomposerina pieceofincidentalmusic. SHOWWHATYOUKNOW
Video gamemusic is music composed to accompany video games.Itisnowa recognised genre ofmusic.Itisanother exampleofincidentalmusic.Manyof you willrecognisethisscreenfromNintendo’s SuperMario.TheSuperMarioBrostheme tunewascomposed by Koji Kondoin1985.
edco.ie/y778
Inthisvideoweareintroducedto anotherscorefrom E.T. the Extra Terrestrial called‘The Forest’. Follow thescoreandthevideofootagefrom themovieto experiencethemagicof filmscores,butalsotolistenoutfor JohnWilliams’scleveruseoftheflying themeattheend.Whydo youthinkhe haschosentoinserttheleitmotifhere?
Can yourecallwhatsoundsare heardas youcollectthecoinsor clashwiththemushrooms?Did you knowthatBowserhashisown leitmotif? We hearitbeforewe seehimonscreen.Whenplayers hearhistheme,theyknowtheir evil opponentisabouttoshowup!
Gamingmusicisdesignedto keep theplayerinterestedinatask withoutdistractingthemfrom it.If youhaveeverplayed Super MarioBros or Minecraft, youwillknowthatthethemetuneplaysthroughout,maintainingafunand excitingatmosphereas youtrytonavigateeachlevelofthegame.Videogamemusiccomposers writemotifsthatrepeatindefinitelyanddonothave anendingorafadeoutlikeothersongsdo. Composersalso avoid lyrics intheircompositionsforgaming.Whydo youthinkthatmightbe?
Thegamingmusicindustryisboomingworldwide,andthe Irishgameindustryisthrivingtoo! GamerFest,Ireland's biggestgamingfestival,isacelebrationofallthingsgaming. Gamersandmembersofthisindustryfromall overtheworld attendthis eventinDublin’sRDSeach year.
edco.ie/b6xf
Inthisvideowelearnaboutthe useofleitmotifinNintendo’s Mariogames.Thevideoalso sharessomeinsightinto howthethemesforMario characterswereconstructed.
Workinpairstocompilea playlist ofgamingmusicthatcouldbeplayedintheRDSduring GamerFest.In yourcopybook,list yoursongsandthegamesfromwhichtheybelong.
Gotopage203of yourStudentActivityBookandcomplete Activity 10: Composing a Leitmotif.
Gotopage204of yourStudentActivityBookandcompletean examquestiononplaylists.
RAPIDREVIEW
Keyword
Compilea keywordbankforthischapterin yourmusiccopybookorManuscriptBook.
RevisionCard
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INSECTIONAWELEARNEDTHAT…
Timbre isthesoundqualityortoneproduced by amusicalinstrument, voice orsoundsource.
Ourabilitytorecognisetimbreallowsustoidentifytheinstrumentswehear playingmusic.
Composersconsidertimbrewhentheyarewritingmusic.Thetimbreofthe instrumentscanhelptocreatetheatmospherethatthecomposerisafter.
Instrumentation isthecombinationofinstrumentsselectedtoperforma pieceofmusic.
Wordsusedtodescribethetimbreofaninstrumentincludewarm,shrill, mellow,harsh,bright,dark,rich,reedy,nasal,pure,brassy,silveryetc.
InSectionA,Unit6,we exploredwordsthatcanbeusedtodescribe timbre Listentotwo excerptswhichhaveverydifferenttimbres.With yourpartnertryto writeadescriptionofthetimbreofeach excerptin yourcopybook.
EXAMTIP!
Whenquestionsincludetheword ‘Describe’ make sure yousharedetailsaboutmusicalfeatures heardinthe excerpt youhave listenedto.
B6.3
We have learnedaboutthe instrumentsoftheorchestrain
SectionA,Unit6,withthehelpof Benjamin Britten’s Young Person’sGuide tothe Orchestra.Theinstrumentsoftheorchestra belongtooneofthefourfamilies: strings, woodwind,brass andpercussion.Instruments fromthesamefamilyshareasimilartimbre.
Timbre isalsoreferredtoastonecolour.
Thesizeofaninstrument,whatitismadeof andhowitisplayed(bowed,plucked,blownor struck)allhave animpactontheuniquesounditmakes.Otherfactorssuchastheperformer’s styleofplaying,thedynamicsusedandarticulationwillalsoaffecthowaninstrumentsounds whenplayed.The overallnatureofthesoundcreated by anyinstrumentiscalledits sonority
LEARNINGINREVIEW! WATCH edco.ie/sk29
WatchaperformanceofBenjaminBritten’s Young Person’s Guide tothe Orchestra from SectionA,Unit6.
ListenandRespond!
Three excerptswillbeplayedthreetimes.Identifythe family towhichtheinstrumentplayingthe melody belongs.
Instrumentation refers to the combination of instruments chosen to perform apiece of music. Composersselectoneormoreinstrumentstoplayaparticularpiecebasedontheirsonority, especiallywhentheyaretryingtoconvey acertainmoodoratmospherethroughmusic.
Chooseaninstrumentoragroupofinstrumentsthat youwouldusetoillustratethefollowing moods.Share yourideaswith yourclassmates.
TranquilGloomyJoy
Gotopage205of yourStudentActivityBookandcomplete the examquestionontimbre. EXAMPRACTICE
RAPIDREVIEW
Keywords
Compilea keywordbankforthischapterin yourmusiccopybookorManuscriptBook.
RevisionCard
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An orchestra isagroupofmusicianswhoplaytogether,usingawide rangeof differentinstruments.
Asymphonyorchestrahasfourinstrumentalsections: strings, woodwind, brass andpercussion
A conductor directsanorchestrafromthefront,communicatingtothe performershowthemusicshouldbeplayed.
Theleadmusicianoftheorchestraistheprincipal1stviolinplayer, andthey areknownasthe leader.
Thestringfamilyismadeupofviolins,viola,cello,doublebassandharp.The harpisamemberofthestringfamilybutisalwayspluckedwiththefingers.
Thewoodwindfamily’smaininstrumentsareflute,clarinet,oboeand bassoon.
Thebrassfamilyincludesthe Frenchhorn,trumpet,tromboneandtuba.
Percussioninstrumentsareeither pitched (whichcanplayatuneormelody) or unpitched (theyhave onlyonepitch).
Arco (bowed), pizzicato (plucked)and glissando (slide)aredifferentplaying techniques.
TheNationalSymphonyOrchestra(NSO)isthelargestsymphonyorchestra inIreland.
2RNwasthefirst radiobroadcastingstationinIreland.Itisnowknownas RTÉ.
KEYWORDS
Orchestra Conductor Strings
Woodwind Brass Percussion Arco
Pizzicato
Glissando Form
Performing techniques describethe methods and skillsthatperformers use toshape the sounds produced by their instruments. Theyaffectthe timbre. Performingtechniquesareused by musiciansinalmostallperformances.Composersmarkperforminginstructionsonthescore.
LEARNINGINREVIEW!
Test yourknowledgefromSectionA,Unit6 by listeningtothese excerpts.Whichoptiondo you heareachtime?
Arco or pizzicato?Single reed or double reed? Mute or no mute?
B6.11 Excerpt1
B6.12 Excerpt2
B6.13 Excerpt3
Pitched orunpitched? Whichinstrument performsthis glissando?
B6.14 Excerpt4
B6.15 Excerpt5
LEARNINGINREVIEW!
InSectionA,Unit6 youmetseveralperformingtechniques. Youlearnedthatstring instrumentscouldbeplayed pizzicato (plucked)or arco (bowed)apartfromtheharp,which hastobeplucked.
Youhave alsoseentheterm glissando.Aglissandoisaslideupwardsordownwardsfrom onepitchtoanother.Theharpandtrombonearesuitedtoplayingglissandos,butother instrumentscanalsousethistechnique,includingthepianoandotherpitchedpercussion instrumentssuchasthexylophoneandglockenspiel.Stringinstrumentscanalsoeasilyslide fromonenotetoanother.Mostwoodwindandbrass instrumentshave moredifficultyandhave toplaya reallyfastscaletocreatethiseffect.
Youhave heardstringandbrassinstrumentsbeingplayed witha mute.Thetechnicaltermforthisis consordino For brassinstruments,especiallythetrumpetandtrombone, a muteisinsertedintothebell-shapedendoftheinstrument tomuffleorchangethesound.Thisaltersthetimbreof theinstrument.Thebowedstringscanclipamutetothe bridgeoftheinstrument. Muted stringsmakeadarker, quietersound. Woodwindinstrumentsusemuteslessoften.
Vibrato WATCH
edco.ie/jqf2
edco.ie/qsgf
Tremolo WATCH
edco.ie/vhrx
Double stopping WATCH
edco.ie/qsgf
Tonguing WATCH
edco.ie/85pf
Drum roll WATCH
edco.ie/32yj
Mostmusicianswilluse vibrato muchofthetime.Theslightvariationinthe pitchofthenotegiveswarmthtothesound,creatingamoremellowtimbre. Sometimescomposerswillwantacolder,driersoundandwillwrite senza/ nonvibrato (withoutvibrato)inthescore.Earlymusicandtraditionalmusicis oftenplayedwithnovibrato.
To play tremolo,astringplayermovesthebowbackandforth veryquicklyto createatremblingeffect. Tremoloisoftenusedtocreateaspookymood.
Thebowedstringscanplaytwoormorenotesatonce by makingsurethe bowtouchesmorethanonestring.Thisallowsthemtoplaychords.
Woodwindandbrassinstrumentscanplayeachnoteseparately by closingoff theairsupplywiththeirtonguebetweennotes.Thisiscalled tonguing.There areseveralvariationsonthistechnique.Theabsenceoftonguingwillcreate asmooth,legatoeffect,knownas slurring.Thiswouldbemarkedinthescore usingaslur. Youhave alreadylearnedaboutthese.
Arollisatechniquewhereapercussionistplaysasuccessionofnotesso quicklythattheyalmostcreateacontinuoussound.Rollscanbeplayedon timpani,cymbals,bassdrum,snaredrumetc.Adrumrolloftencreatesa senseofanticipation.
Watchthefollowingperformancesandtrytoidentifytheperformingtechniquesused by the performers.
Strings WATCH
edco.ie/x36y
Common Techniques
Vibrato Arco
Pizzicato
Doublestopping
Muted Tremolo
Glissando
STUDENTACTIVITYBOOK
edco.ie/sr3b Brass WATCH edco.ie/jjm4 Percussion
Vibrato
Tonguing Slurring
Glissando
Muted Tonguing Slurring Vibrato Muted Glissando Drumrolls Glissando
Gotopage206of yourStudentActivityBookandcomplete Activity 1: Performing Techniques.
InSectionA,Unit6 youlearnedaboutthe National Symphony Orchestra (NSO).TheNSOisIreland’s largestorchestra,basedintheNationalConcertHallinDublin.
The National Youth Orchestra of Ireland (NYOI)providesopportunitiesfor youngIrishmusicians throughoutIrelandtodeveloptheirskillsandmakemusicwiththeirpeers.Auditionsforthe orchestraareheldinOctobereach year.The NYOI issupportedandfunded by theDepartment ofEducation&SkillsandtheArtsCouncil.These youngmusicianshelptopromoteclassicalmusic acrossIrelandthroughtheirperformances.
The Festival of Youth Orchestras isanannual eventthatoffers youthorchestrasanopportunityto cometogethertoperformadiversevarietyofmusic;played byyoungpeople,for youngpeople.Itis funded by theArtsCouncilandsupported by RTÉ’sSupportingtheArtsinitiative.
WATCH edco.ie/q4hr
Boléroby Maurice Ravel
Watch Ravel’s Boléro, performed by the National Youth Orchestra of Ireland at the Festival of Youth Orchestras
B6.16
Boléro isalargeworkfororchestra,composedin1928.Ravelwas commissioned by aRussianballerinatowriteanewballetwitha Spanishtheme.TheboléroisapopularSpanishdancein 3 4 time. Ravelpresentstwomelodicideasplayed by the instrumentsoftheorchestraagainstanunchanging Spanishrhythmicpattern.This rhythmic ostinato,paired withRavel’smelodicthemes,addstensiontothemusicasitbuilds frompianissimotofortissimo.
MauriceRavel
Perform
ClaportaptheBolérorhythmalongwiththemusicheardinthis excerpt.
Gotopage206of yourStudentActivityBookandcomplete Activity 2: Ravel’s Boléro
PerformanceReview
Once youhave listenedtobothperformances ofRavel’s Boléro,completethetasksbelowin yourcopybook.
a) WriteareviewoftheNational YouthOrchestraofIreland’s (NYOI)performanceofRavel’s Boléro.
b) Could yousuggesttwowaysinwhichthisperformance couldberefinedwithmorerehearsal.
RAPIDREVIEW
Keywords
Revisitthe keywordswehave metinthischapter.Writeadefinitionforeachtermin your copybookorManuscriptBook.
RevisionCard
Completearevisioncardwith keyterms,definitionsand keypointsoflearning exploredinthis chapter.
SECTIONAREVIEW KEYWORDS
INSECTIONAWELEARNEDTHAT…
Vocal music ismusicperformed by oneormorehuman voiceswithor withoutinstruments.
Maleandfemale voicesarecategorisedbasedonthe rangeofnotesasinger cancomfortablysing.
The range ofa voice,instrumentorapieceofmusicisthedistancebetween itslowestnoteanditshighestnote.
Soprano, alto, tenor and bass (SATB)arethefourmain voice types
Soprano isthehighest-pitchedfemale voice.
Alto isalow-pitchedfemale voice.
Tenor isahigh-pitchedmale voice.
Bass isthelowest-pitchedmale voice.
Evidencefrom exampapersindicatethat;
• Youmustbeabletoidentifywhetherthemelodyissung by a male or female vocalist.
• Youmustbeabletoidentifywhetheragroupperformanceis by a malechoir,a femalechoir ora mixedchoir.
• Youmustalsobeabletoidentifythe voicetypes: soprano, alto, tenor or bass. EXAMTIP!
WATCH ‘MayItBe’ edco.ie/4ama ‘StandByMe’ edco.ie/ujmx
Aperformanceisdescribedas acappella whenasingeror vocal ensembleperform without instrumentalaccompaniment.
edco.ie/wfq6 ‘Antiphonal Kyrie’ ‘OhHappyDay’ edco.ie/ws5h
Whena soloistor a section of achoiris ‘answered’ by another soloistorgroup, we hear calland response.Thisis afrequentfeatureofgospelsinging.Inpopmusictheleadsingeris oftenanswered by thebacking vocalists.Callandresponseisalsoknownasantiphony.
Word setting refers to thenumber of pitches sung per syllable of text. Therearetwotypes: syllabicandmelismatic.
Syllabic Syllabic word setting iswhenthereis onenote per syllable.Inthis examplefrom Handel’s Messiah, youcanseeasyllabicwordsettingonthewords‘Foruntousa Childis’.
Melismatic Melismatic word setting iswhenasinglesyllableoftextissungwhilemoving betweenseveraldifferentnotes.Inthe example,theword‘born’ismelismaticas thesinglesyllableisspread overlotsofdifferentnotes.
B6.18 &#
Syllabic
Forun-tous aChild
B6.19
Melismatic is born
Word painting is when the composermatches the meaning of the words to the sound of the music. Inthis example by Thomas Weelkes,anEnglishcomposerandorganistinthe17thcentury, youcanseehowtheshapeofthephraseechoesthesenseoftheword ‘descending’.
Vibrato WATCH
edco.ie/s3bu edco.ie/jxum
Falsetto
WATCH
edco.ie/egvu edco.ie/52r4
Vibratoisa rapidslightvariationinthepitchofanote.Operasingersusually usequitealotofvibrato,but youwillhearvibratoinalmostallstylesofmusic, especiallymusicaltheatreandpop.
Falsettoisamusicaltermforamale vocalistwhose voicehasbrokensinging above theirnormal range.Falsettosingingisartificiallyhigh.
Gotopage207of yourStudentActivityBookandcomplete Activity 3:Vivaldi’s Gloria
AnúnaisanIrishchoralensemblefoundedinDublinin1987.ThenamecomesfromtheIrishterm AnUaithne.ThisistermdescribesthreeancienttypesofIrishmusic:Suantraí(lullaby),Geantraí (happysong)andGoltraí(lament).
MembersofAnúnahave performedwithstarssuchasStingandTheChieftans.
Irishsinger-songwriterHozierwasamemberofAnúnafrom2007to2012.Hewaschosenasthe soloistforaperformanceof‘LaChansondeMardiGras’ontheir2014album, Illuminations.
WATCH
edco.ie/h9t9
Listentoaperformanceof‘LaChansondeMardiGras’ by AnúnawithsoloistAndrewHozier Byrne.Answerthequestionsthatfollow.
Answer the following questions in your copybook.
1 Themusicissung by afemalechoir,amalechoir,or amixedchoir.
2 Identifythe voicetype thatsingsthemainmelody.
3 Identifyonefeatureofthemusicsung by thesoloist.
4 Describeonefeatureofthemusicsung by bass voice.
5 Themetreofthemusicis 3 4
6 Whatlanguagearethelyricsofthissongin?
EXAMPRACTICE
Gotopage210of yourStudentActivityBookandcompletethe examquestionon vocalmusic.
Keywords
Compilea keywordbankforthischapterin yourmusiccopybookorManuscriptBook.
RevisionCard
Completearevisioncardwith keyterms,definitionsand keypointsoflearning exploredinthis chapter.
Everycountryhasitsowncollectionoftraditionalsongsthatwerepassed fromonegenerationtothenextthroughthe oral tradition
The oral tradition referstomusicthathasbeenpassedonthroughthe generations by beinglearnt by ear ratherthanwrittendown.
Traditional songs fromdifferentcultureshave differentcharacteristic features,andinvolvedifferentsoundsandinstruments.
ThereismorethanonestyleofsingingassociatedwiththeIrishtradition.
Sean-nós (old-style)singing isinfreerhythmandunaccompaniedtoallow theperformertoshowtheirindividualstyle.
Freerhythm followstherhythmpatternsofwords ratherthanhavingafixed beatorpulse.
Ornamentation istheadditionof extranotestoamelodytodecorateit.
Inthepast,localpeoplegatheredatthecrossroadsorin eachother’shomestosingorplaymusic. Traditionally, instrumentaland vocalmusicwasperformed unaccompanied
InSectionA,Unit9,welearnedabout sean-nós singing. Slow airs area solo performance on a traditional instrument.Slowairsareoftenbasedonsean-nós melodies.Likesean-nóssongs,slowairsarein free rhythm andunaccompanied.Groupplaying evolved laterinthetraditiontoprovidemusicfordancing.
ListenandRespond!
KEYWORDS
Oral tradition
Sean-nóssinging
Freerhythm
Ornamentation
B6.26 Listentoaperformanceofaslowair ‘On WesternShores’.Can youhearanyfeaturesof traditionalmusicinthis excerpt?
LEARNINGINREVIEW!
Irishmusichascharacteristicfeaturesthathelpustorecogniseperformancesfromthe tradition.
Solo/ unaccompanied
Ornamentation
Freerhythm
Irishtraditionalmusicbeganasa solo artformperformedwithout accompaniment.Theabsenceofaccompanimentgivestheperformer freedomto expressthemselves.
Ornamentation isa keyingredientoftraditionalperformances. Ornamentation is the use of additionalnotes,knownas ornaments, to decorateandaddinterest to a melody. Whentuneswerelearned throughtheoraltradition,theornamentswerepassedon.Ornamentation allowsamusiciantoputtheirowninterpretationonatune.Howmuch ornamentationisuseddependsontheinstrumentandtheperformer’s technicalability.
Sean-nóssongsandslowairsarein freerhythm anddonothave aregular beat.Originally,therhythmwasshaped by thenaturalrhythmofthe words.Ininstrumentalmusic,performersmaychangetempotogive expressiontothemusic.
Repeatedfinal note
InIrishtraditionalmusicitiscommonforthefinalnoteinaphraseortune tobe repeated.
No dynamics Originally, dynamics werenotusedwhenperformingIrishmusic,so dynamicchangesarenotusuallyheardintraditionalperformances.
STUDENTACTIVITYBOOK
Gotopage211of yourStudentActivityBookandcomplete Activity 4: Features of Irish Traditional Music
Instrumentsassociatedwithaparticularcountry,culture, eraorstyleofmusicarecalled traditionalinstruments.The waythesetraditionalinstrumentsareplayedaddstotheir uniquetimbre, eventhoughtheymaybesimilaroridentical toinstrumentsfromothertraditions.
Astraditionsacrosstheworldhaveevolved,sotoohave traditionalinstruments.Overtime,instrumentsthatdidn’t originateinthetraditionhave beenaddedtoperformances.
TheIrishmusictraditionbeganasan oral tradition;the musicwaspasseddownfromgenerationtogeneration by ear(withoutwritingthemdown).Sharingtuneswasanimportantpartofthetradition. Young musicianslearnedtosingortoplaytheirinstrument by listening,watchingandimitatingthe musiciansaroundthem.Themaintraditionalinstrumentsarethefiddle,the Irishharp,Irish flute,tinwhistle,uilleannpipesandbodhrán.Otherinstrumentshave comeintothetradition overthe years.Adescriptionofthemostcommoninstrumentsandalinktoaperformance appearinthegridonpages301–302.
Description
ThetraditionalIrishflute ismadeofwoodandhas sixholesandno keys. Becauseitismadeof woodandnotmetal,the timbreisquitedifferent totheconcertflute.The two-octave rangeisalso smallerthanthatofthe concertflute.
Thetin (orpenny) whistleisasmallwind instrumentwithathin, high-pitchedsound. Traditionallythetin whistlewasinthe key of D, but youcannow purchasewhistlesin different keys.
Thelowwhistleislikethe tinwhistle,butlarger.It islowerinpitchandhas amoremellowsound, soisoftenheardinthe performanceofslowairs. Thelowwhistlestarted tobeusedintraditional musicinthe1970s.
Description
Theuilleannpipeshave a sweetandmellowsound. Themelodyisplayedon thechanter,awooden pipewithfingerholes. Harmonycanbeadded usingtheregulators, pipeswhichlieacross theperformer’sknees andcanbepressed by thewrist.Therearealso threedrones(tenor, baritoneandbass).The bellowsandbag,held underthepiper’selbow providetheairsupply.
Theconcertinaisasmall reedinstrumentthatis hexagonalinshape.The buttonsonthesides areusedtochangethe pitchesforthemelody whilethebellowsinthe middlearesqueezed inandout.Itisaloud, high-pitchedinstrument. Theconcertinaarrived inIrelandtowardsthe endofthenineteenth century.
Theaccordionisanother reedinstrument.Itis box-shapedandlarger thantheconcertina. Thebuttonstoplay themelodyareonone sideofthebellowsand thebassbuttonsare ontheotherside.The accordionbegantobe usedintraditionalmusic towardstheendofthe nineteenthcentury.
Description Thefiddleisidentical totheviolinandisalso playedusingabow. However, thestyleof playingisdifferent, givingitadistincttimbre.
TheIrishharpissmaller, quieterandhasfewer stringsthantheconcert harp.Itisplayedina similarway, althoughit haslevers ratherthan pedalstochangethe key.
Player MartinHayesLaoise Kelly
Percussion Bodhrán WATCH
edco.ie/psf2
STUDENTACTIVITYBOOK
Thebanjoisafour-string melodyinstrument.Ithas beenincorporatedinthe Irishtraditionsincethe earlytwentiethcentury. Ithasacharacteristic timbre.
Gerry O’Connor
Thebodhránisthemainpercussioninstrument usedintheIrishtradition.Itisashallowdrum withgoatskinstretchedacrossawoodenframe. Traditionally,thebodhránwasplayed by hand, butnowitisoftenstruckwithashortstickcalled abeaterortipper.Theplayermayusetheirother handtoapplypressuretotheundersideofthedrum skintochangethepitch.
Players: DermotSheedyandMichaelDonnellan
Gotopage212of yourStudentActivityBookandcomplete Activity 5: Irish Traditional Instruments.
Fusion in musicis the mixing of twoormore music genres to create somethingnew. Inrecent years,Irishtraditionalmusichasbeenblended withmanydifferentstyles,includingpop,rock,jazz,classicalandethnic music.WhentraditionalIrishmusicisblendedwithotherstyles,many traditional features remain,suchasornamentation,thedancerhythms associatedwithIrishdancemusicand,ofcourse,traditionalIrish instrumentslikethoseabove.
Watchthefollowingperformanceswhichare examplesoffusionoftraditionalIrishmusicwith othergenres.
1SharonShannonandAlanConnorplaying ‘Cavan Potholes’. edco.ie/r9g8
2 Sinéad O’Connorsinging‘MoorloughShore’. edco.ie/jd75 WATCH
Instrumentsfromothertraditionshave beenintroducedtotheIrishtradition.Theseofteninclude theguitarandthepiano.
Guitar
Piano
Acousticguitarisoftenheard strumming achordalaccompaniment,which canaddarhythmicstyletoatraditionalperformance.
Performers: Paul Brady, Christy Moore
WATCH edco.ie/t3s3
‘TheGael’from The Last ofthe Mohicans –Breizh PanCeltic
WATCH edco.ie/ngsx
‘RedisTheRose’–TheWhistlin’ Donkeys Feat.Meadhbh Walsh
Thepianoisusuallyintroducedintotraditionalperformancetoadda vamping-style chordalaccompanimentincéilí-styleperformances.
Performer: MichaelÓ Súilleabháin
WATCH edco.ie/th7f
STUDENTACTIVITYBOOK
Gotopage212of yourStudentActivityBookandcomplete Activity 6: Irish Fusion.
Slowairsareoneoftheoldeststylesoftraditionalperformance.Aslowairisasoloperformance onatraditionalinstrument,infreerhythm.Manyhallmarkfeaturesoftraditionalmusicwillfeature includingornamentation,wide rangeandfreerhythm.Themelodyoftheslowairisoftendrawn fromthesean-nóssongrepertoire.
WATCH edco.ie/fjzc
‘The LonesomeBoatman’ by Finbar Furey
Watchaperformanceofthis slow air.Listenoutforthefeatureslistedbelow.
The Slow AirTraditional Features
A slow air isa solo,unaccompaniedperformancein freerhythm.
Slowairsareperformedontraditionalinstruments suchastheuilleannpipes,whistlesorfiddle.
Themelodiesareoftenfromwell-knownsean-nós songs,andperformerssharethesamefreedomof expressionassean-nóssingers.
STUDENTACTIVITYBOOK
Unaccompaniedinstrumental performance
Ornamentation
Freerhythm
Repeatedfinalnote
Nodynamics
Widemelodic range
Gotopage213of yourStudentActivityBookandcomplete Activity 7: Traditional Features
B6.29
B6.30
A céilí isagatheringofpeoplefordance.Historicallycéilídances wereheldatlocalcrossroadsandlaterincommunityhallsaround thecountry.
Céilíbands playtunesfordancers.Céilíbandsconsistofeight totwelvemusicianswhoplaya rangeoftraditionalinstruments, includingaccordions,fiddles,whistles,tradflutes,uilleannpipes, concertinasandbanjos.Alltheinstrumentsincéilíbandsplay thedancetunestogetherin unison.Rhythmicandharmonic accompanimentissometimesprovided by thesnaredrumand piano.Theseinstrumentsnowhelptomaintaintherhythmic patternsoitcanbeheard by dancersinlarge venues. Well-known céilíbandsincludetheKilfenoraCéilíBand,the TullaCéilíBand, andthe TáinCéilíBand.
LEARNINGINREVIEW!
Whenmusiciansperformin unison,theysingorplay thesamethingatthesametimeandatthesame pitch (or exactlyoneormoreoctavesapart).
WATCH edco.ie/pcfn
BlackwaterCéilíBandperformance.
Reels,hornpipesandjigsarethreecommondancetunesthatbelongto theIrishtradition.
Mostdancetunesare32barslongandconsistoftwoeight-barphrases thatare repeated.Thefirsteightbarsarecalledthe tune (whichis repeated)andthesecondeight-barmelodyiscalledthe turn (whichis alsorepeated).Themelodyofthe turn isusuallyatahigherpitchthan the tune.
The form ofadancetuneisAABB.Whatisthenameofthisform?
STUDENTACTIVITYBOOK
Gotopage213of yourStudentActivityBookandcomplete Activity 8: The Irish Dance Tradition
AnswerquestionsonthedancetraditionandcreateaplaylisttocelebrateSeachtainenaGaeilge.
Thistuneisalsoknownas‘TheMillerofGlanmire’. It was collected by Captain Francis O’Neillandwas publishedinhiscollectioncalled O’Neill’s1001: The DanceMusic of Ireland. Followthemusictoidentify the tune andthe turn as youlisten.
Collectors (suchas Edward Bunting) travelledacross Irelandduring the eighteenth andnineteenth centuries, notating the tunes they heardplayed by musicians, preserving them for future generations. WATCH
Irishdancetunesarerecognised by theirstyle,metreandrhythms.Thetablebelowshowsan exampleofabaroftherhythmassociatedwitheachofthedancetunes.
ListenandRespond!
Theopening tune (A)ofthreedancetuneswillbeplayedonceonly. Followthesheetmusicprinted for youbelow.
Sight-readingChallenge:Exploreandthensight-claporperformthefirstphraseofthesewellknowndancetunes.
Reel: ‘Drowsy Maggie’
Hornpipe: ‘Off to California Hornpipe’
STUDENTACTIVITYBOOK
Gotopage214of yourStudentActivityBookandcomplete Activity 9:Listenand Respond
ListenandRespond!
Anexcerptfrom RiverdancebyBillWhelan
BillWhelan’sworkhasplayedasignificantroleinpromoting Irishmusicanddanceacrosstheworld.BillWhelanisanIrish composer,whoisbestknownforhiswork Riverdance. Thiswork wasperformedduringtheintervalofthe EurovisionSong Contest whenitwasheldinIrelandin1994.
TheEurovisionperformancelastedsevenminutesandfeatureda performance by Irish vocalensemble Anúna andagroupofIrish traditionaldancers.Theworkenjoyedinstantsuccessandwaslater adaptedtobecomeafull-lengthstageproduction,whichhasbeen travellingaroundtheworldsinceitscreation.
WATCH edco.ie/fbkt
PerformanceofRiverdanceatEurovisionin1994
Bill Whelan
Whelancomposed TheConnemaraSuitefortheIrishChamberOrchestraandtraditionalsoloists.
Inthiswork,Whelancreatesaspacefortraditionalmusicwithintheorchestraastraditional instrumentsareplacedonstagewiththeorchestra. TheConnemara Suite wasperformed by the IrishChamberOrchestra,featuringperformances by traditionalfiddleplayer ZoëConway, vocalist MorganCrowleyandharpistMichelleMulcahy. Theworkwasconducted by Irishconductor DavidJones.
Discuss!
Riverdance isan exampleofthe fusion oftraditionalIrishmusicwithanotherstyleorgenre.Can you describefusion?
STUDENTACTIVITY BOOK
• Gotopage215of yourStudentActivityBookandcomplete Activity 10: Riverdance.
• Gotopage217of yourStudentActivityBookandcomplete Activity 11: Test Yourself!
Gotopage217of yourStudentActivityBookandcompletethe examquestiononapieceof music by anIrishcomposer.
Keywords
Compilea keywordbankforthischapterin yourmusiccopybookorManuscriptBook.
RevisionCard
Completearevisioncardwith keyterms,definitionsand keypointsoflearning exploredinthis chapter.
INSECTIONAWELEARNEDTHAT…
SECTIONAREVIEW KEYWORDS
Texture describesthelayersorlinesinapieceofmusicandhowtheyinteract.
Therearethreetermsusedtodescribetexture: monophony, homophony and polyphony.
Thetexturecanchangeduringonepieceofmusic.
Monophonic music hasone melody line.Allpartsperformin unison asthere isonlyonemelodyline.
Homophonic music hasonemelodylinethatissupported by an accompaniment.
Polyphonic music hastwoormoreinterweavingmelodylinesheardatthe sametime.
A round or canon isaformofpolyphony.
Arhythmicadditiontoapieceofmusicdoesnotaffecthowweidentifythe texture,althoughwemaycommentonitwhenwedescribethemusic.
LEARNINGINREVIEW!
Texture describes thedifferent layers inapiece of musicandhow theselayers areinteracting with each other. Thelayerswehearinmusicareusuallyreferredtoasmelodyandaccompaniment.
Manyofthepiecesofmusicwelistentocanbedescribedashavingtwolayers:a melody andan accompaniment.
The melody isthemostimportanttuneina pieceofmusic.Itholdsourattentionmore thantheotherlayersorlinesdo.
STUDENTACTIVITYBOOK
Gotopage218of yourStudentActivityBook andcomplete Activity 1: MusicalLayers.
The accompaniment isanothermusicallayer. Itisplayedatthesametimeasthemelody.The roleoftheaccompanimentistoprovidesupport tothemelody.
InsectionAwelearnedthattherearethreetermsusedtodescribethetextureofapieceofmusic; monophony, homophony andpolyphony.
ListenandRespond!
Listentothree excerptsand identify thetextureofthemusicheardin each excerpt.
Monophonic
Inan examquestion youmaybeaskedto identifyand/or describe the texture ofthemusic heardinan excerpt.
Musicismadeupofsoundsandsilence. A rest isa musical symbolused to indicate silencein apiece of music. Composersusereststobringdramaandcreatetensioninapieceofmusic.
Identify
When youareaskedto identify thetexture ofapieceofmusic, youcanusetheterms monophonic,homophonicorpolyphonic.
Naming thetypeoftextureinthiswaygives theinformation youhave beenaskedfor.
Describe
Describing thetextureofapieceofmusic involvessharing moredetail aboutthemusic.
To describethetexture, youshould explainwhat ishappeninginthemusic.Whatlayersareheard andhowaretheyinteractingwitheachother?
EXAMTIP!
An exampleofhowthisquestionshouldbeansweredis shownbelow
Question: Describe the texture of the musicin this excerpt.
Sampleanswer:
Thetextureofthemusicheardinthisexcerptis homophonic.Strings playthe melody whilstthepiano playsblock chordsadding harmony tosupportthe melody.
EXAMTIP!
Textureisa musical feature. Youcanwriteabouttexture inasimilaritiesordifferencesquestion.Explorethe exampleofthisstyleofquestionandthesampleanswer below.
Question: With reference to musical features, describe one similarity between the musicheardinExcerpt 5 and Excerpt 6.
Sampleanswer:
The texture ofthemusicheardinboth excerpt5and6is monophonic.Thereisone melodywhichisunaccompanied.
LEARNINGINREVIEW!
The texture of apiece of musiccanchange.Apiececanbegininonetextureandchangeto another.As youlisten, youshouldconsider
howmanylinesorlayersthereare
whetherthelayersworktogetherin unison orin harmony orwhetherthelinesare woven together.
STUDENTACTIVITYBOOK
• Gotopage219of yourStudentActivityBookand B7.7 B7.8 B7.9 B7.10 complete Activity 2: Texture
• Gotopage220of yourStudentActivityBookandcomplete Activity 3: Show B7.11
What You Know!
EXAMPRACTICE
Gotopage221of yourStudentActivityBookandcompletethe examquestionontexture.
RAPIDREVIEW
Keywords
Compilea keywordbankforthischapterin yourmusiccopybookorManuscriptBook.
RevisionCard
Completearevisioncardwith keyterms,definitionsand keypointsoflearning exploredinthischapter.
SECTIONAREVIEW
A triad isachordmadeupofthreenotes.
Triadscanbebuiltoneachnoteofthescale.
Triadsarebuiltupwardsfromthe root.
Thenotesofatriadaremadeupoftheroot,thethirdnoteabove therootand thefifthnoteabove the root.
Therearethree major triads:the tonic triad,the subdominant triadandthe dominant triad.
Triadsareusedtoadd harmonic support toamelodyline.
Whentriadsareusedtosupportthemelody,thetextureis homophonic
A triadic melody movesbetweenthethreenotesofatriad
A triad isachord which consist of threenotes:the root, thirdandfifth. Atriadisatypeofchordwhichconsistsof threenotes. Triadscanbebuiltoneachnote ofascale. To buildatriad,beginwiththe mainchordnotewhichisthe root andcount tothe third and fifth notesabove theroot toidentifythethreenotesofthetriad.
LEARNINGINREVIEW!
Major Triads
InSectionAwelearnedthattherearethreemajor triadsineachmajorscale. Major triads consistofthe intervalofamajorthirdbetweenthe root andthe third,and aminorthirdbetweenthe third andthe fifth notesofeachmajortriad.
the tonic triad,whichisbuiltonthefirstnoteofthescale (I)
the subdominanttriad,whichisbuiltonthefourthnoteofthescale (IV)
andthe dominanttriad,whichisbuildonthefifthnoteofthescale (V)
STUDENTACTIVITYBOOK
Gotopage221of yourStudentActivityBookandcomplete Activity 4: Major Triads.
KEYWORDS Triad Root Tonic Dominant Subdominant Triadic melody
Harmonic support Homophonic Major triads
Triadsarelabelledusingthenameofthe root For example,Cmajor,FmajorandGmajorarethe majortriadsinthe keyofCmajor.
Minor triads are found onthe second, thirdand sixthnotes of any major scale. Dminor,EminorandAminorarethe minortriadsinthe keyofCmajor.
Minortriadssounddifferentfrommajor triadsbecausetheintervalsbetween thethreenotesarenotthesameasinmajortriads.
Major Triads
Theintervalbetweenthe root andthe third isa major third whichisfoursemitones.
Theintervalbetweenthe third andthe fifth isa minor third whichisthreesemitones.
C Major triad
Minor Triads
Theintervalbetweenthe root andthe third isa minor third whichisthreesemitones.
Theintervalbetweenthe third andthe fifth isa major third whichisfoursemitones
C Minor triad & w w w
G
E C root third fifth
minorthird(3semitones)
majorthird(4semitones)
G Eb C root third fifth
minorthird(3semitones)
Explorethisquestiontakenfromapast exam. Youwillseethatoneoftheoptionsinquestion b) isAminor. LookatthemelodynotesatB.Whichtriadwouldthesenotesform?
a)Whataretheletter-namesofthethreenotesat B.
Note1: Note2: Note3:
b) Thesenotesformthetriadof: GmajorFmajorAminor
Triadic movement iswherethemelodymovesbetweenthenotesofthetriad. Lookatthemelodic phrasebelow.Thisphrasefeaturestriadicmovementinbar1.Can younamethistriad?
ListenandRespond!
Minuet 2in G by J.S. Bach
WATCH edco.ie/9tpe
Listentothe excerptand answerthequestionsin your copybook.
1 The tonality ofthemusicinthis excerptisi)majorii)minor
2 Themusicinthis excerptisplayed by thei)cello ii)harpsichordiii)piano
3 Themelodyinthefirstphrasefeaturesi)repeatednotesii)triadicmovementiii)scales
4 Thispatternisrepeatedinthenextbar.
Isthepitchthesame,higherorlower?i)thesameii)higher iii)lower
5 The dynamics intheopeningphrasecreate theeffectofanecho. i)true ii)false
6 The metre ofthis excerptis i)3 ii)4
• Gotopage223of yourStudentActivityBookandcomplete Activity 6: Triadic Melody.
• Gotopage223of yourStudentActivityBookandcomplete Activity 7: Test Yourself!
EXAMPRACTICE
Gotopage224of yourStudentActivityBookandcompletethe examquestionsontriads.
Keywords
Compilea keywordbankforthischapterin yourmusiccopybookorManuscriptBook.
RevisionCard
Completearevisioncardwith keyterms,definitionsand keypointsoflearning exploredinthis chapter. RAPIDREVIEW
SECTIONAREVIEW
A chord ismadeupoftwoormorenotesplayedatthesametime.
Everymajor keysignaturehasthreemajorchords.
Major chords arebuiltonthefirst,fourthandfifthnotesofthemajorscale (I,IVandV).
Chordsarenamedusingtheletternamesoftherootnoteofthechord,e.g.C, FandG.
A cadence occursattheendofmusicalphraseandusestwochords.Whenthese twochordsareheardattheendofaphrase,theycreateafeelingthatthereis a pauseintheflowofthemusic.
A finishingcadence isusedinthephrasethatendsapieceofmusic,asection orapairofphrasesthatbelongtogether.
Therearetwocadencesusedtofinishapieceofmusic:a perfectcadence or a plagalcadence
Theuseoftwochordsalonewillnotmakeapiecesoundfinished.Themelody willalsoneedtohintatthis by endingonthe keynote/tonic (doh)and by finishing withalongnote.
A perfectcadence iscreatedwhenthefinaltwochordsofaphrasearechord V followed by chord I
A plagalcadence iscreatedwhenthefinaltwochordsofaphraseare chord IV followed by chord I.
Thecadencechords youchoose must matchthemelodynotesinthephrase.
Chord
Harmonic support
Cadence
Finishingcadence
Approachchord
Perfectcadence
Plagalcadence
A chord ismadeupoftwoormorenotesplayedatthesametime.Asequenceofchordsiscalleda chord progression.Whenchordsareplayedalongsideamelodytheprovide harmonic support.
LEARNINGINREVIEW!
InSectionAwelearnedthat every major keysignaturehasthreemajor chords.Theyarefoundonthefirst, fourthandfifthnoteofanymajor scale.TheRomannumerals (I,IVandV)areusedtolabelmajor chords.Majorchordswillharmonise with every noteina majorscale.
Achordthat youwillhear veryoftenis chordV7.Itsoundsmore interestingthanchord V. ChordV7 ischordVwithan extranoteadded. The extranoteistheseventhnoteabove theroot.ChordV7 isalsoknown asa dominantseventhchord
InCmajor,chordVismadeupofthenotesG,Band D. The seventhnoteabove theroot (G)inthe keyofCmajoris F.
ListentopianoplaythechordVfollowed byV7.Can you hearthedifferencebetween chordVandchordV7?
Explorethephrasebelow.
Workinpairstoidentify
• the key signature
• an exampleof triadic movement
• the melodic range
• a melodicleap
• thebest chord forthenotesatX.
Minorchordshelptoaddvarietytoaccompaniments.Minorchordsarefoundonthesecond,third andsixthnotesofamajorscale. Youlearnedinsection7.2thatminortriadssoundminorbecause thereisaminorthird (orthreesemitones)betweenthe root andthe third notesinthechord.
ExplorethechordlabelsfortheminorchordsinthechordbankforCmajorbelow.
• Minorchordsarelabelledusingcapitallettersbutarefollowed by a lower case ‘m’ to indicate that thechord is minor
• Minorchordsarealsolabelledusing lower case roman numerals (ii,iii,andvi).
LEARNINGINREVIEW!
A cadence occursattheendofamusicalphrase.Acadenceconsistsoftwochordsplayedoneafter theother.Acadencecreatesthefeelingthatthereisapauseintheflowofthemusic.
Singthefirst verseof ‘AmazingGrace’together.Identify wherethenaturalpausesare.
Amazinggrace! how sweet the sound, That saved a wretch like me!
I once was lost, but now am found, Was blind, but now I see.
Howmanypausesdid youhear?Eachpausethat youhave identifiedinthis verseisa cadencepoint
LEARNINGINREVIEW!
Thetwocadences youlearnedaboutinSectionAhelptomake themusicsoundasthoughitcouldendatthispoint. We called these finishingcadences.Finishingcadencesareheardattheend ofapieceofmusic,attheendofasectionorattheendofapair ofphrases.Thenotesofthecadencechords must matchthe melodynotesinthephrase.
FinishingCadences
IV I Plagal I V Perfect
Therearetwotypesoffinishingcadence:a perfectcadence anda plagal cadence.
Finishingcadencesalwaysendonthetonicchord,chordI.InaperfectcadencechordIis approached by chord V. InaplagalcadencechordIisapproached by chordIV.
Finishingcadences
B7.22 Perfect cadence
Finishing cadencesinC major
Thesechord combinationsonlycreate acadence when they are used at the end of the phrase.If youusethesechordsanywhereelse,theyarejustchordsandnotacadencepoint!
ListenandRespond!
Amazing Grace
Listentothisarrangementof ‘AmazingGrace’, anAmerican hymnfirstpublishedin1779,and followthesheetmusicprintedbelow.ThecadencesforPhrase1andPhrase2arelabelled for you. Workinpairsandusethechordboxprovidedtoidentifythetypeofcadenceusedin Phrase3andPhrase4.
We have justrevisedthetwofinishingcadences:theperfectcadenceandtheplagal cadence.Bothofthesecadencesmakeaphrasesoundfinishedbecausetheyendon the tonic chord(I).A non-finishingcadence doesnotendonthetonicchord.Here, wewilllearnabouttwotypesofnon-finishingcadence:imperfectcadencesand interruptedcadences.
Youwillhearthree excerpts,playedtwice.Decidewhethereach excerptsoundsfinishedor unfinished.
Listentoanotherarrangementof ‘AmazingGrace’. Whathappensatthecadencepointsthis time?Doesthesongsoundalwaysfinishedorasthoughitneedstocarryon?
Whenan imperfectcadence isusedattheendofaphrase,themusicwillsoundunfinished.It almostfeelslikeacommainasentence;thereisstillmoretofollow. An imperfectcadence always finishes on chordV.TheapproachchordisusuallychordI,iiorIV.
Non-finishing cadence Approach chord Final chord
ImperfectcadenceI,iiorIVV
Lookatthis exampleofanimperfectcadenceinFmajor.
Aphrasewhichendswithan interruptedcadence alsosoundsunfinished.Thiscadenceissometimes knownasthe‘surprise’cadence.WhenthelistenerhearschordVastheyreachthecadencepoint, they expectittobefollowed by chordItomakeaperfectcadence.However, insteadofchordI,the interruptedcadenceleads youtotheminorchordvi.Thisleaves youfeelingthatthemusicneedsto continue. An interruptedcadence is made up of chord V followed by chord vi (V–vi).
Non-finishing cadence
Approach chord Final chord
Interruptedcadence Vvi
C major
Approach chord Final chord
InterruptedcadenceGmajorAminor
Lookatthis exampleofaninterruptedcadenceinBb major.
BF Gm
& bb 2 4 œ œ œ œ œ œ œ œ œ œ œ ™ œ Œ
Chord symbol Roman numeral
Remember,thechordnameswillchange dependingonthe key signature ofthe music youareworkingwith. Forthisreason weuseRomannumeralstohelpusto identifythechordineach key.
Interrupted cadence b
v vi
STUDENTACTIVITYBOOK
Gotopage226of yourStudentActivity Bookandcomplete Activity 10: Cadences.
FINISHING
NON-FINISHING
CadenceChords
Perfect V–I
PlagalIV–I
ImperfectI–Vii–VIV–V
Interrupted V–vi
TOPTIP
Remember,thecadencechords youchoose must matchthenotesinthemelody.
Gotopage227of yourStudentActivityBookandcompletethe examquestionsoncadences.
Chordsthataccompanyamelodyarecalled backingchords.
Whenaddingbackingchordstomusic,thechordnamesareplacedinboxes above themelodylineusingCAPITALletters.
Thebestchordstoprovideharmonicsupportaretheonesthatshareasmany notesaspossiblewiththemelodynotes.
Aseriesofchordsiscalleda chord progression.
Backingchords
Chord progression Improvise Improvisation
We have learnedthat everynoteinamajorscalecanbefoundinoneofthethreemajorchordsin that key. Forthisreason,manychord-basedaccompanimentsusethosethreemajorchords. Popular hitsongs,inwhichtheaccompanimentfeaturesthreemajorchordsinclude‘BadMoonRising’ by CreedenceClearwaterRevival,‘SweetHomeAlabama’ by LynyrdSkynyrd,‘RingofFire’ by Johnny Cash,‘ThreeLittleBirds’ by BobMarleyandthousandsofothers.
B7.32
Listentothis excerptfromtheEnglishfolksong ‘Georgie Porgie’. Itonlyusesthemajor chordsinCmajor. Workinpairsto explorethis excerpt.Can youfindachordtomatchall thenotesbeloweachchordbox?Eachchordwillnotchangeuntilthereisanewchordbox, solookahead.
Geor giePorgiepuddingandpieKissedthegirlsandmadethemcry.
Whentheboyscameouttoplay,Geor giegiePor ran away.
Major Chord IIVVV7
Chord Name CF GG7
Chord NotesCEG FACGBDGBDF
Backingchords provide harmonic support tothe melody line.Usually,thesechordscontainthe notesfoundinthemelody. Youwillalsofindthattherearesomenotesinthemelodythat donot fit withthechord youneedtouse.Thesenotesarecalled non-chord notes.Non-chordnotesusually occuronthe weakbeats ofthebar.
Passingnotes andauxiliarynotes are examples of non-chord notes.
Passingnotes arenon-chordnotesthatfillin thegapbetweentwochordnotesintriadic movement.ThechordhereisGmajor. TheAlinkingthetwochordnotesBandG isa passingnote.
An upper or lower auxiliarynote isanon-chordnote thatisonestepabove orbelowachordnote.Having takenthatonestepupordown,themelodyreturns tothechordnote.
ThechordhereisGmajor.TheEisan upperauxiliary note becauseitisonestepabove thechordnoteDandreturnstotheDstraightaway.
Can youidentifythepassingnotesandtheauxiliarynotesinthetwophrasesbelow?Writethe answersin yourcopybook.
ExampleA
ExplorethismelodicphraseinCmajor.Chord nameshave beeninsertedintothechordboxes above themelodytoindicatethechords using capitalletters.Thephraseendswitha perfect cadence.
ExampleB
ExplorethismelodicphraseinGmajor. Chordnameshave beeninsertedinto thechordboxesabove themelody. Minor chords areindicated usinga lowercase ‘m’. Whatisthe cadence in this example?
BackingChords Summary
Whenand Where?
Backingchords areinsertedintoempty chord boxes above themelodyline. Anewchordboxindicateswhena new chord isneeded.
Onechordboxmaycovermorethanonebar, Sometimestheremaybetwochordboxesin onebarandachordcancontinueontothe nextstave.
Checkwhichmelodynotesneedtobe considered. Trytoidentifythechordnotes andnon-chordnotesineachbar.
What Chord?
Makesurethatthefirstnoteunderthechordbox isinthechord youchoose.
Thenotesofthechordshouldmatchasmany oftheothernotesinthesectionofthemelody covered by thechordboxaspossible.
Avoid usingchords iii or viiº.
Never usethe same chord in two boxes ina row.
End on the tonicchord byusingafinishingcadence.
Choosefromthesechordsinany key.
Alwaysusechordnames.Thatis,the root namesofthechords,e.g.inCmajoruseC,Dm, F, G,G7 orAm.
Thenamesofmajorchordsarealwayswritten incapitalletters,e.g.C, F, G.
Forminorchords,alowercase ‘m’ isadded, e.g.Dm,Am.
Remember youmustincludethe b or # inthe chordname,e.g.Bb,Eb.
Points to note!
Not everynoteinabarwillmatchthechord. Focusonmatchingthechordswiththenoteson thestrongbeatsofthebar.
Theremaybemorethanonechordthatfitsthe melody.Inthiscase,choosethechordthatfits moreofthenotesinthesectionofthemelody covered by thechordbox.
Gotopage228of yourStudentActivityBookandcomplete Activity 11: BackingChords.
Aswelistentomusic,thechordsintheaccompanimentmaychangewithoutusreallynoticing!This isbecausechordshave beenchosentomatchthenotesofthemelody,anditisusuallythemelody thatholdsourattention. We needtopractiselisteningtoidentifywheretherearechordchanges.
Eachofthenumberedboxesinthegridbelowrepresentsonebarofmusicin 4 4 time.Therearetwo barsofmetronomebeatsheardbeforethemusicbegins.Can youidentifythebarswherethechord changes?
Listen to the excerpt,which willbeplayed three times for you. Can youidentifywherethe chordchangesoccurinthis excerpt?Makenoteofthebarsin yourcopybook.
STUDENTACTIVITYBOOK
• Gotopage230of yourStudentActivityBookandcomplete Activity 12: IdentifyingChord Changes.
• Gotopage230of yourStudentActivityBookandcomplete Activity 13: ‘Lavender’s Blue’.
Gotopage231of yourStudentActivityBookandcompletethe examquestionsonbacking chordsandidentifyingchordchanges.
A chord progression isa series of chords.Chords areusedindifferentwaystocreateaccompaniments thatsupportamelodyline.Composingaharmonic accompanimentinvolvesmatchingsuitablechordsor chordnoteswiththenotesofamelody.
Thereareseveralwidelyusedchordprogressionsthat aremadeupofthefourchordsI,IV,Vandvi.Many famouspopsongshave beenwrittenusingonlythese fourchords.
Themostpopularoftheseisthe I–V–vi–IV progression. Well-knownsongsthatusethis progressioninclude
• ‘LetItBe’ by theBeatles
edco.ie/s65a WATCH
• ‘Say You Won’t LetGo’ by JamesArthur
• ‘No WomanNoCry’ by BobMarley
Progression IV viIV
edco.ie/xsqy WATCH
edco.ie/36ad WATCH
Anotherprogressionthatusesthesesamechordsinadifferentorderisknownas‘the50s progression’. Thisprogressionis I–vi–IV–V.Songsthatusethisprogressioninclude
• ‘StandByMe’ by BenE.King
• ‘Perfect’ by EdSheeran
edco.ie/tabe WATCH
edco.ie/xtfj WATCH
Progression 2I viIVV
FACTFILE
Compileafactfileforthesongsineitherofthelistsabove whichusethesamechord progressions.
RAPIDREVIEW
Keywords
Compilea keywordbankforthischapterin yourmusiccopybookorManuscriptBook.
RevisionCard
Completearevisioncardwith keyterms,definitionsand keypointsoflearning exploredin thischapter.
The cover of The Beatles’ song ‘Let It Be’Harmonicaccompaniment isa vocalorinstrumentallayerinapiece ofmusicthatprovidesharmonicsupporttothemelodyline.Harmonic accompanimentsarebasedonchordsthatfitwiththemelody.
Chordsareusedtoprovide harmonic support tothemelody.Thechords usedtoaddharmonicaccompanimenttoamelodyshouldbeinthesame key asthemelody.
Instrumentsusedtoplayharmonyincludetheguitar,thepianoandtheharp.
In blockchords allthenotesofthechordareplayedtogetheratthe sametime.
In brokenchords thenotesofachordaresplitupandplayedindividually.
A sustainednote isanoteheldforalongtime.
An ostinato isashortrepeatingpattern.Itcanbearhythmic,melodicor harmonicpattern.
A harmonic ostinato isarepeatingchordpatternwhichrepeatsunderthe melody.
Dissonance occurswhentwoormorepitchesheardatthesametimecreate aharshandunpleasantsound.
Composersof programmemusic and incidental music usedissonanceto createtensionandillustratedarkmoods,themesorcharacters.
KEYWORDS
Harmonic accompaniment
Sustainednote
Tie
Block chords
Brokenchords
Ostinato
Rhythmic ostinato
Harmonic ostinato
Wheneveranother voiceorinstrumentaccompaniesamelody,chordswillbecreated.Evenifthere areonlytwonotessoundingatonce,itisenoughtocreateharmony.
LEARNINGINREVIEW!
InSectionA you exploredfourfeaturesofaccompaniments: sustainednotes, blockchords, brokenchords and harmonic ostinatos
Match thesefeaturestothemusical examplesbelow.Writetheanswersin yourcopybook.
1. sustainednotes2.brokenchords3.blockchords
Youalsolearnedabouttwospecialtypesofsustainednotes.
A pedalnote isanotethatisheldorrepeated by abassinstrumentwhiletheharmonyabove itchanges.Thehorn,bassoonanddoublebassaresuitedtoplayingpedalnotes.
A drone isacontinuousnoteorchordthatisheldthroughoutapassageofmusic. ThetraditionalIrishinstrumenttheuilleannpipesoftenplaysadronewhileplayingatune.
ListenandRespond!
Listentothree excerptsandmatchthemtothefeaturesofaccompaniment. Write your answers in your copybook.
1.blockchords2.brokenchords3.pedalnote
Gotopage232of yourStudentActivityBookandcomplete Activity 14:
LEARNINGINREVIEW!
A harmonic ostinato isashortchordpatternthatrepeatsunderthemelodythroughouta wholepieceofmusicorforalongsectionofit.Harmonicostinatoscanbeheardinmusicof manydifferentstylesandgenres.
Challenge!
Listentoa harmonic ostinato playedonthe bassguitar It is made up of chords you have studied.
Inpairstrytoworkoutwhat key youarein andwhichRomannumeralsshouldbeusedto representthesechords.Can younameanother songthatusesthisprogression?
ListenandRespond!
CanoninD by Johann Pachelbel
Harmonic ostinato chords
Harmonicostinatosarenotusedonlyinpopmusic. Listentothis exampleofaharmonicostinatofromtheBaroqueera. Answer these questions in your copybook.
1 Identifyamusicalfeaturethatbeginsinbar1.
2 Thispatternismadeupof 4notes6notes8notes
3 Thebasslinemoves by step by leap by stepand by leap
4 Identifythetonalityofthemusicheardinthis excerpt majorminor
5 Identifythefamilyofinstrumentsplayingthis excerpt.
6 Describethetextureofthis excerpt.
STUDENTACTIVITYBOOK
Gotopage233of yourStudentActivityBookandcomplete Activity 15: Harmonic Accompaniment.
LEARNINGINREVIEW!
InSectionAwelearnedthat dissonance isa combinationofnotesthatsoundsharshorcreates afeelingoftension.Dissonanceisimportant becauseitisagoodwayofcreatingafeelingof tension.Mostofthetime,momentsofdissonance areshort-livedandareresolvedusingchordsthat arepleasingtotheear.Thiscreatesasenseof release.
RAPIDREVIEW
Keywords
Compilea keywordbankforthischapterin yourmusiccopybookorManuscriptBook.
RevisionCard
Completearevisioncardwith keyterms,definitionsand keypointsoflearning exploredinthis chapter.
SECTIONAREVIEW
Themainhistoricalperiodsarecalled musicaleras. INSECTIONAWELEARNEDTHAT…
A musical genre isabroadcategoryortypeofmusicthatsharescertain characteristics.Genresincludeclassicalmusic,jazz,popularmusicandfolk music.
Religiousmusic isagenrecomposedandperformedforreligioususeand oftenhasaspecificpurpose,duringprayer,ritualsorreligiouscelebrations.
Theterm classical music isusedtodescribeasophisticatedstyleof instrumentaland vocalmusiccomposedduringthemainhistoricalperiods.
KEYWORDS
Musical genre Classical music Musicalera
Gregorianchant Táize concerto
tonepoem graphic score chance music
Musical genres arerecognised by particularfeaturesorcharacteristicsthatareassociatedwith thattypeorstyleofmusic.
Populargenresinclude:
• Classical
• Jazz
• Popular
• Folk
• Religious
• Country
• Blues
• Hip-Hop
• Pop
• Electronic
• Reggae
• Rock
• R&B
• Soul
• Funk
• Rap
• House
• Dance
• Fusion
• FilmandTV
Music streaming services suchasSpotify orSoundCloudprovidesubscriberswith accesstomillionsoftracks,onaglobal scale.Theirmusiclibrarycanbesearched by musicalgenre,sosubscriberscanfind songsorotherpiecesofmusicthatbelong tothegenrestheyenjoy.
STUDENTACTIVITYBOOK
Gotopage236of yourStudentActivity Bookandcomplete Activity 1: Genre.
LEARNINGINREVIEW!
Classical music isanumbrellatermusedtodescribeasophisticatedstyleofmusiccomposed betweenthemedievaleraandtoday. Itthereforecoversallthe musicaleras.Classicalmusic isdistinctfrompopularmusicandfolkmusic. We willlookatpopularmusicinsection8.3and learnmoreaboutIrishtraditionalmusicinsection9.1.
Musical Eras Timeline
ListenandRespond!
Lookbackatthefeaturesofeachofthemusicaleraswe exploredinSectionA,Unit8.Listentothe six excerptsbelowandlistenoutforsomeofthemusicalfeaturesassociatedwiththemusicaleras that youhave studied.Can youtoidentitywhicherathemusicbelongsto?
STUDENTACTIVITYBOOK
Gotopage237of yourStudentActivityBookand complete Activity 2: The History of Music.
yourStudentActivityBookandcomplete Activity 3: Go Compare!
EXAMPRACTICE
Gotopage239of yourStudentActivityBookandcompletean examquestiononmusicofa style youhave studied.
RAPIDREVIEW
Keywords
Revisitthe keywordswehave metinthischapter.Writeadefinitionforeachtermin your copybook.
RevisionCard
Completearevisioncardwith keyterms,definitionsand keypointsoflearning exploredinthis chapter.
SECTIONAREVIEW
INSECTIONAWELEARNEDTHAT…
The Romanticera datesfromaround1820to1900.Themusicofthistime wasfilledwithemotionand expression.Composerswereinfluenced by poetry,legends,artandnature.
Programmemusic isinstrumentalmusicthathasbeencomposedtotella story.
A tonepoem isasingle-movementworkinspired by anon-musicalsource.
A nocturne isapiecewrittenforsolopianothatreflectsthemoodsand feelingsofnight-time.
A concerto isaninstrumentalworkforoneormoresoloistsaccompanied by anorchestra.
A virtuoso isahighlyskilledperformerwithgreattechnicalabilityontheir instrument.
KEYWORDS
Programmemusic Tonepoem
Nocturne
Concerto Virtuoso
TheRomanticmovementsawcomposers, writersandartistsmove away fromthebalance andrestraintassociatedwiththeClassicalera. Romanticcomposersplacedgreateremphasis onimagination,emotionandfreedomof expression.Theirinterestinpoetry, myths, legends,nature,love andbeautybecamethe inspirationfortheircreativityduringthisperiod.
Gotopage240of yourStudent ActivityBookandcomplete Activity 4: Romantic Composers STUDENTACTIVITYBOOK
MusiccomposedduringtheRomanticerais very expressive.Composersusedmusicto express emotionssuchaslove,happiness,grieforsadness. Theywereofteninspired by poems,storiesor paintings.Theyalsotookaninterestinthefolklore andfolkmusicoftheirowncountry.Somewrote patrioticmusicthatreflectedtheirownheritage. Patriotic music expresses love for andpridein one’s country.
Thegridbelowoutlinesthe keymusicalfeatures associatedwithmusiccomposedduringthe Romanticera.
A60SecondGuidetotheRomantic Period
The Romantic eraof musicwasinspired by poems,storiesandpaintings
Melody Melodieswerelongerandmore expressivethanthoseheardintheClassicalera and extended overa wide range.Melodiesoftenfeature chromaticism,moving by semitoneinsteadofstickingtothenotesofonemajororminorscale.Some composersused leitmotifs torepresentspecificideas,themesorcharacters.
Tonality Composerschose keystosuitthemoodoftheirmusicandoftenchanged keyseveral timeswithinoneworktocreatedifferentmoodsoratmospheres.
Harmony Romanticcomposers explorednewwaysofusingchordstosupporttheirmelodies, oftenadding extranotestothem.Thisallowedthemtocreate thicker textures, add dissonance andillustratedarkthemes,emotionsorcharacters.Theyalsoused complexchord progressions
Dynamics Composersmadeuseofthewide rangeofdynamicsfrom ppp (pianississimo) to fff (fortississimo),madepossible by improvementstoinstruments.Theyuseddramatic changesindynamicstoincreasetheemotionalimpactoftheirmusicoraddedsoaring crescendosanddiminuendos,allowingforawide rangeofmoodsandemotionstobe expressedintheirmusic.
Rhythm Composersoftenused complexrhythms, syncopationandfaster tempos intheir works,whichdemandedmoreskilledperformers.
Tempo Romanticworksincludedramaticchangesintempo,e.g. accelerando (accel.)and ritardando (rit.). Temporubatobecamepopularwithcomposersasawayofadding emotionalintensitytothemusic.
Form Composersused existingforms (e.g.concertos,symphonies,sonatasandoperas) butadaptedor extendedtheirlayouttosuittheircomposition.Programmemusic oftendemandedanewapproachtostandardforms.Theartsong (orleid)became widespread,andnewformsemergedsuchasthenocturne,thetonepoemandother shortconcertpieces.
Texture Composerswrotemusicwithchangingtextures,buthomophonywasmostcommon. Timbre TheRomanticorchestraincreasedinsize, expandingthepalette availableto composers.Thisincluded
• moreplayersinstring,woodwindandbrasssections
• newinstruments,includingpiccolo,contrabassoon,bassclarinet,tromboneandtuba
• morepercussioninstruments,suchasthexylophone,bassdrumandtriangle. Developmentstothepianoincreasedits rangeintermsofbothpitchanddynamics.
STUDENTACTIVITYBOOK
Gotopage240of yourStudentActivityBookandcomplete Activity 5:Listenand Respond
Gotopage241of yourStudentActivityBookandcomplete Activity 6: Features of Romantic Music
Programmemusic isinstrumental music that tellsa story, describesacharacterfrom literature or paints a scene for thelistener through music. Programmemusicbecame very popularduringtheRomanticeraasitgave composersawayof expressingthemselvesand gettinganemotionalresponsefromtheiraudiences.
LEARNINGINREVIEW!
Duringthecourse youhave exploredquiteafewpiecesofprogrammemusicwrittenduringthe Romanticera.
• ‘SunriseintheAlps’fromthe Overture to William Tell by Rossini
B8.14
• ANighton a Bare Mountain by Mussorgsky
• Carnivalofthe Animals by Saint-Saëns
• DanseMacabre by Saint-Saëns
B8.15
• AlsoSprachZarathustra by RichardStrauss
B8.16
B8.17
B8.13
Romanticcomposershadaccesstoalarge numberofinstruments,which by theendofthe periodincludedthetubaandsaxophone.
Improvementsweremadeto existing instruments,suchasthefluteandoboe.The range ofthepianowas extendedtoseven octaves and,likemanyotherinstruments, changestoitsconstructionmeantitcouldplay moreloudly.
Musicianswerehighlyskilled.Thereweremany virtuosos withtremendoustechnicalabilityon theirinstrumentwhowouldperformdazzling solopieces.
Timbre isimportantwhencomposersaretryingtoillustrateacertainmoodordepicta particularcharacterthroughtheirmusic.
Theseadvancementsallowedcomposerstocreatetheprecisesoundtheydesired.
Instrumentation isthecombinationofinstrumentschosentoperformapieceofmusic.
Whatinstrumentorgroupofinstrumentswould youchoosetoillustratethefollowing characters?Share yourideaswith yourclassmates.
Fairy Villain HeroB8.18
Vltavafrom MáVlastby Bedrich Smetana
Vltava isoneofthesetofsix tonepoems called Má Vlast (MyHomeland),composed by Smetana in1874. Má Vlast isapieceof patriotic music thatcelebratesmanyoftheaspectsofthe CzechRepublic.
LEARNINGINREVIEW!
A tonepoem isapiece of programme music for orchestrain one movement that illustratesapoem,story, image, moodor, asin thiscase,alandscape.
Inthis tonepoem,Smetanausesthe instrumentsoftheorchestratoillustratethe courseoftheVltavaRiver. Twosmallspringscometogethertoformoneriverthatwindsitsway throughthecountrysideandpastvillages.ItturnsintocrashingwhitewateratStJohn’sRapids beforeflowingontoPragueand eventuallyjoiningtheRiverElbe.
Instrumentation: piccolo,2flutes,2oboes,2clarinets,2bassoons,4horns,2trumpets, 3trombones,tuba,timpani,percussion(bassdrum,cymbals,suspendedcymbal,triangle), harpandstrings.
ComposerSmetana wasinspired by the Vltava River whenhe wrote Má Vlast• Theworkopenswiththe flutes playinganundulatingthemethatrepresentsoneofthesmall streams,accompanied by pizzicatostringstoillustratethesparklingofthewater.
• The clarinets joininwithamirrorimageoftheflutemelody,representingthesecondsmall stream.
• Harp,TimpaniandBrassaddinteresttothemusic.
• The violas joininwithtrill-likesemiquaversthatbindthetwostreamstogether.
• The cellos enter,suggestingthegrowingstrengthoftheVltavaasthestreamsmergeintoone.
• Themaintheme,representingtheunifiedriver,isintroducedonthe violins.
• Aswirlingsemiquaveraccompanimentinthe strings suggeststhemovementofthewater.
STUDENTACTIVITYBOOK
Gotopage242of yourStudentActivityBookandcomplete Activity 7: Instrumental Music.
B8.18
FrédéricChopinwasa Polish composerandpianistofthe Romanticera.
Hecomposedmusicforthepiano,includingsomeworks forpianoandorchestra.Thepiecebelowisfromasetof three nocturnes writtenforsolopianobetween1831 and1832.
ListenandRespond!
Nocturne Op.9 No.2inE b major by FrédéricChopin
B8.19
Revisitthefeaturesofthe nocturne we exploredinSectionA, section8.3.Listentothis excerptagain.Can youidentifyfour featuresofRomanticmusicinthisnocturne?Theopeningbars areprintedonthenextpage.
In yourcopybook,compilealistofauralsignpostsofaudience memberstolistenoutfor.
FranzSchubertisan Austrian composerwhobridged thegapbetweentheClassicaleraandtheRomanticEra. Hewrotemany vocalworksforsolo voiceandpiano.
B8.20
‘Erlkönig’ by FranzSchubert
Schubert’sartsong‘Erlkönig’isasettingofapoemwritten by theGerman poetGoethetomusic.Thepoemtellsthestoryofafatherholdinghis soninhisarmsasherideshomeonhorseback.Onlythechildseesthe Erlking,asupernaturalbeingwhotriestopersuadetheboytogowithhim. Theboyrefuses,andtheErlkingusesforce.Whentheyarrive,thefather discovershissonisdead.
‘Erlkönig’isan art song (or‘lied’inGerman).Artsongsareafusionofmusicandpoetry.Theywere importantintheRomanticera.‘Erlkönig’wasanimmediatesuccesswhenitpremieredin1821, withmanycallingitamasterpieceinmusicalpainting.Schubertpaintsthecharacters,moodand atmosphereofthestorythroughthemusic.
Piece: Erlkönig Style/Genre: ArtSong
Key Gminor
Composer: Schubert Instrumentation: Solo voiceandpiano Metre 4
Thesingernarratesthestoryandtakesontheroleofthethreecharacters:thefather,thechildand theErlking.Theaccompanimentisplayedonthepiano.
Introduction The minor tonality and rapid triplets createasenseofurgencyandillustratethe gallopinghoovesofthehorse.Thetripletscontinueuntilthefinalbarsofthesong. The ascending minor scale createsasenseofforeboding.
Verse1 Thepoembeginswithaquestion:Whoisridingthroughthenight?Thenarrator explainsthatitisafatherholdinghissonsafeinhisarms.The syllabic word setting meansthewordscanbeheardclearly.
Verse2 Thefatheraskshissonwhyheishidinghisface.Thesingerchangesthe timbre of his voicetomimictheboy:‘Don’t youseetheErlking?’Theaccompanimentmoves brieflytoa major tonality asthefatherreassureshisson.
Verse3 TheErlkingtriestopersuadetheboytogowithhim.The major tonality andsoft timbre ofhis voicemakehimsoundkindandfriendlyashetriestotricktheboy.
Verse4 Loud dynamics and dissonance highlighttheboy’sgrowingterroratthewaythe Erlkingisspeakingtohim.
Verse5 AgaintheErlkingsweetlytriestotempttheboytogowithhim.Thepiano accompanimentswitchesfromblockchordstoplayful brokenchords
Verse6 Theboy’s voicereturnsata higherpitch and dynamic,illustratingtheintensityof hisfearashecallsouttohisfather.
Verse7 TheErlkingspeakssoftlyagainbutthenbecomesmorethreatening:hewilluse forceiftheboywillnotgowithhim.The tonality returnstotheminor key. The boycriesoutthattheErlkinghastakenhimandishurtinghim.The loud dynamics illustrateshowhisterrorandbringthesongtowardsitsclimax.
Verse8 The tempo anddynamicsincrease throughthefinal verse.Thegallopingpiano tripletsaddtothetension.Threebarsfromtheend,theaccompanimentcomestoa halt.Thefinal unaccompanied phrase‘InseinenArmendasKindwartot’revealsthat thechildisdead.A perfectcadence bringsthesongtoacloseona minorchord.
STUDENTACTIVITY BOOK
Gotopage242of yourStudentActivityBookandcomplete Activity 8: ArtSong (Lied) B8.20
Classical to Romantic
RomanticmusicgrewoutoftheClassicalerawithcomposerssuchasSchubertandBeethoven leadingtheway. RomanticcomposersgraduallylefttheeleganceandrestraintoftheClassical periodbehindinfavourofmorecomplexmusicthatcould expressthefull rangeofhumanemotion. Theyoftenused existingClassicalformsbutadaptedor extendedthemtosuittheirneeds.As theRomanticeracontinued,themoremusic evolved.Bytheendofthenineteenthcentury,new approachestoform,harmonyandtonalitywouldhave madethemhardlyrecognisabletoClassical composers.
Romantic to TwentiethCentury
TheRomanticera’sfocusonindividual expression,its experimentaluseofharmony andagrowing rangeofinstruments,brought musicintothetwentiethcentury. Twentiethcenturymusiccontinuedtochallengeandoften dismissed existingforms,rulesaboutharmony and eventheideaofwhatmusicis.Individual expressionis keytomuchmodernmusic.An exampleis rap,where rappers expresstheir feelingsaboutlifeandsociety.
Filmscoresandotherincidentalmusicdraw on thetechniquesusedintheprogrammemusic oftheRomanticeratocreatedramaticmusic toillustratethescenesweseeonscreen.Even theuseofleitmotifsinworkssuchasJohnWilliams’sscoresfor Star Wars arethelegacyofRichard Wagner,aRomanticoperacomposer.
EXAMPRACTICE
Gotopage244of yourStudentActivityBookandcompletethe examquestiononapieceof illustrativemusic.
RAPIDREVIEW
Keywords
Revisitthe keywordswehave metinthischapter.Writeadefinitionforeachtermin your copybook.
RevisionCard
Completearevisioncardwith keyterms,definitionsand keypointsoflearning exploredinthis chapter.
Popular music isabroadgenre,itcoversmany genresandsub-genres. Popularmusiciswrittento appealtoamassaudience,ofteninordertomake money. Inthisway, itdiffersfromthefolktradition andclassical(art)music.
Theterm ‘popular music’ isusedtodescribemusicalgenresthatarewidely availabletoaudiences acrosstheglobe.Historically,popularmusicreferstoanymusicotherthanfolkmusicthatgained hugepopularityatthetime.
Todaytherearemanypopularmusicgenres,includingpop,rock,hip-hop, rap,fusion,electronica anddance.
Whatwewouldnowrecogniseaspopularmusicbegantoemergeinthe1950swhenaccesstotape recordersandvinylrecordsallowedpeopletolistentorecordedmusicintheirownhome.Since then,developmentsintechnologyhave hadabigimpactonthewaymusiciscreated,recordedand performed.Theuseofdigitalrecordingequipment,sequencers,samplersandsoftwareprograms have allcontributedtonewmusicalpossibilities.
Theintroductionof copyright lawshasalsoensuredthatsongwritersandcomposersareableto earnalivingfromtheirmusic.
Musiccharts ranksongsoralbumsinorder ofpopularity,basedonphysicalsales,digital downloads, radioplay, streams,videoviews andsocialmediainfluenceinacertaingenreor country.TheIrishSinglesChartbeganwhenthe Top10wasfirstbroadcastin1962.
StreamingservicessuchasAppleMusicand Spotifycreatemusicchartsbasedonwhat subscribersarelisteningto.Theysharethese songsasaplaylistwithusersontheirplatforms.
Answerthebelowquestionsin yourcopybook.
1 ResearchanIrishmusicchartandidentitythe Top10singlesinthatmusicchartforthisweek. Recordthedatain yourcopybook.
2 Howmanysinglesinthisweek’schartare by Irishartists?
3 WhyisbeinginthechartsimportantforIrishmusicians?
4 HowdoesbeinginthechartsgenerateanincomeforIrishartists?
Pop music is the most commercial music genre. Itisupbeat,catchyandappealstoalarge audience.Inthe1960s,adivisiondeveloped betweenpopandrock,withpopattractinga youngeraudience.
• Pop music isgenerallya vocal genre.
• Popsongshave catchy melodies thatareeasilyremembered.
• Popusesrhythmsandtemposthatare easy to dance to.
• The lyrics areaboutfamiliartopics,suchaslove,relationshipsandmoney.
• Mostpopsongsarewrittenina verseandchorus form.Theysometimesmakeuseof instrumentalbridgesectionsandmusicalhooks.
• Chord progressions arefrequentlybasedontheI–V-vi–IVorI-vi-IV-V progressions.
• Instruments commonlyusedinpopmusicincludeelectricguitar,bassguitar, keyboardand drums.
• Repetition iscommoninpopsongs.Ithelpsaudiencestorememberthesong.
PopartistsincludeNiallHoran,GavinJames,Moncrief,Adele,Justin Bieber, TaylorSwiftandLadyGaga. Popgroupsincludebandssuchas U2,TheBeatles,ABBA,theSpiceGirlsand Westlife.
Mostpopsongsareperformed by maleorfemale lead vocalists who singthe melody andsometimesplayguitaraswell. Backing vocalists add harmony duringthechorus.Sometimestheyrespondtothelead vocalsin calland response sectionsofthesong.
Gavin James
Thefeaturesof vocalmusicthat youlearnedaboutinUnitB6arealsofrequentlyfoundin popularmusic.Herearesome examples.
Falsetto
Vibrato
A cappella
Calland response
Falsettoisamusicaltermforamale vocalistsingingabove theirnormal range.Falsettosingingisartificiallyhigh.
Example: chorusof‘I’mNottheOnly One’ by SamSmith
Word painting
Melismatic/syllabic word setting
WATCH edco.ie/7jmc
Vibratoisa rapidslightvariationinthepitchofanote.Singersuse vibratoinalmostallstylesofmusic,especiallymusicaltheatreandpop.
Example: ‘IAmWhatIAm’cover by LadyBlackbird
WATCH edco.ie/qnm7
Aperformanceisdescribedasacappellawhenasingeror vocal ensembleperformwithoutinstrumentalaccompaniment.
Example: ‘BohemianRhapsody’cover by Pentatonix
WATCH edco.ie/934x
Callandresponseisaformofconversationbetween vocalparts. Usually,thelead vocalist ‘calls’withamusicalphrase,andadifferent voiceorthebacking vocalists‘respond’withthesamemusicalphrase, avariationofitorsomethingnew.
Example: ‘IStillHaven’t FoundWhat I’m Looking For’ by U2withthe HarlemGospelChoir
WATCH edco.ie/sgd4
Wordpaintingiswhenthesongwritermatchesthemeaningofthe wordstothesoundofthemusic.
Example: chorusof‘High’ by JamesBlunt
WATCH edco.ie/dqfs
Melismaticwordsettingiswhenasinglesyllableoftextissungwhile movingbetweenseveraldifferentnotes.Syllabicwordsettingiswhen thereisonenotepersyllable.Thisisacommonfeatureof rapmusic.
Example: ‘IWillAlways Love You’ by WhitneyHouston
WATCH edco.ie/93y4
ListenandRespond!
‘TakeMyHand’byPictureThis
WATCH edco.ie/rvy6
Picture This burstontotheIrishmusic scenein2015.BandmemberRyan Hennessyrecordedaclipofhissong‘Take MyHand’onhisiPhoneandpostediton Facebook.MusicianJimmyRainsfordsaw itandmessagedRyaninvitinghimtocome andrecordthesonginhisstudio.Once theyrecordedthetrack,theycreated aFacebookpage,inventedanameand uploadedavideoforthesong.Thevideo had22,000viewsduringthenight.Thenextday, thesongwasplayedonthe radio.Theduohad becomeaband overnight!
Whenaskedaboutthesecretoftheirsuccess,Jimmysaid, “Wetookadvantageofsocialmediato getourmusicoutthere. Yoursongshave toberealandgoodandapproachable byeverybody,that’s whywe’restandingoutabit.”
PictureThisisknownfortheircatchypopsound.In2022,thebandheadlinedElectricPicnic,Ireland’s mostpopularmusicfestival,andwelcomedtheDublinGospelChoirontothestagetojointhemfor adebutperformanceoftheirnewsong ‘GetOnMy Love’. Bythesecond verse,theentireaudience knewthemelodywellenoughtosingalong, eventhoughtheyhadneverheardthesongbefore!
WATCH
edco.ie/6am4
WatchaperformanceofPictureThisperforming ‘GetonMy Love’ft.TheDublinGospelChoir LivefromStudio8in2FM.
STUDENTACTIVITYBOOK
Gotopage245of yourStudentActivityBookandcomplete Activity 9: An Irish Pop Group.
Rock Music isanothergenreofpopular music.Rockdevelopedfromrock androllinthe1960sandshowsthe influenceoffolk,jazzandclassicalmusic. Itgenerallysoundsmoregrittythanpop music,andthelyricsareoftenrebellious. Thisspiritofrebellionhasitsoriginsin theideasoftheRomanticera.
Rockhasmanysub-genres,suchas heavymetalandglamrock.Rockmusic centresonthecombinationofelectric guitar,bassguitaranddrums.
• Useofelectricguitar.
• Loud,energetic vocalswith backing vocals.
• Fasttempo.
• Rockinstruments includeleadelectricguitar,rhythmelectricguitar,abassguitaranddrums. Keyboardsandsynthesisersarealsoused by somerockartists.
• Rocksongsareusuallyin 4 4 andfeatureastrong backbeat and syncopatedrhythms
• Chordprogressionsareoftenbasedonthe major chords I,IVandV.
• Guitarsoloshighlighttheskilloftheguitarists.
• Songsarein verse-and-chorus form butfeatureinstrumental riffs orguitarsolos.
• Songlyricsoftendraw onsocialandpoliticalthemes.
• Processing effects areusedonrecordings.
RockartistsincludeJimiHendrix,BruceSpringsteenandPrince.RockgroupsincludeTheRolling Stones,Queen,Nirvana,BonJoviandU2.
ListenandRespond!
B8.21
Rock Rhythms
Rhythmisthefoundationofrockmusic.Adrivingrhythmplayed by thedrumscreatestherockfeelassociatedwiththisgenre.Ina standardrockbeat,thebassdrumplaysonthestrongbeats(1and 3)andthesnaredrumonthe backbeats (2and4).Oftenthehi-hat fillsinthegapswithquavers.
Perform!
Try to performthis rockrhythm
Tap yourfootforthebassdrumbeats.Useapenin yourlefthand totapthesnaredrumbeatsandapenin yourrighthandtotapthe hi-hatquavers. Youmightneedtoaddthequaversinonce youhave gotthecrotchetbeatstarted.
An electric guitarhas sixstrings. Abass guitarhasfour strings.B8.25
STUDENTACTIVITYBOOK
Gotopage245of yourStudentActivityBookandcomplete Activity 10: Standard Rock Beat. Composeabodypercussionpatternforthestandardrockbeat.
CD EF GA BC
Power chords
• B8.22 Power chords: A powerchordisatwo-note chord. Powerchordsaremade upoftherootandfifthofthe chord.Thethirdisleftout.
• Bends: Thistechniqueinvolvespushingthe stringwith yourfinger.Asthestringtightens thepitchrises.Releasingitlowersthepitch.
WATCH edco.ie/3quk
WATCH B8.23 B8.24
Bends WATCH edco.ie/dme7
• Glissando: Slidingthefingerupordownthestringafterpluckingitcreatesthesoundof slidingfromonepitchtoanother.
A hook or riff isa shortmusical motif used to grab the attention of audiences. Theguitarriff oftenopensasongandformsthemainrepeatedmelodicanchor.Agoodhookorriffgetsstuckin ourheadlongafterthemusicis over.Can youthinkofanysongsthathave agreathook?
Mark
Watchperformancesofthefollowingrock hits.Bothsongsfeaturefamousriffsinthe introduction.
‘MoneyforNothing’ by DireStraits edco.ie/8tbt
‘O SweetChildofMine’ by GunsN’Roses liveinDublin edco.ie/5zjk
KnopflerofDireStraits playingaguitar riffon stageAnswer the following questions in your copybook.
1 Listtheinstrumentsthatfeatureinrockmusic.
2 Whatisarockrhythmandwhyisitimportantin rockmusic?
3 Listthree performingtechniques used by guitar playersinrockbands.
4 Whatisa powerchord?
5 Howdoguitarplayersperform bends when playing?
6 Whatdoesa glissando onelectricguitar soundlike?
7 Explaintheterm hook.
8 WriteablogpostononeIrishrockgroup.Makereferencetotheirmusicin yourpost.
Therearefourimportantstagesincreatinganytrackinastudio.Musicproducersworkwithartists torecord,edit,mixandproduceamasterrecordingoftheirsonginarecordingstudio.
B8.26
Listentothistrackcalled‘Halo’ by musicianEricCampbellandlisten fordifferentprocessingeffects.
Processing effects alter ormodify the sound of instrumentsor recordings. Electricguitar playerscanuseaneffectspedaltomodifytheir soundduringliveperformances.Othereffects areaddedintherecordingstudio.
ListenandRespond!
‘Pomegranate’byIrishbandPerlee WATCH edco.ie/chk3
Processingeffectsareusedinthistrack.Reverb anddistortionareheardthroughout.
Perlee–photography by Mattia Stellacci
Listento examplesoftheprocessingeffectslistedbelowto exploretheimpacttheseeffectshave whenappliedtoarecording.
Processing Effect Description
Multitracking/ Overdubbing
B8.27
Compression
B8.28
Panning
B8.29
Distortion
B8.30
Reverb
B8.31
Multitracking,alsoknownas overdubbing,allowsartiststorecordarichand fullsound.Itallowssingersormusicianstorecordmultipletracksthatcanbe layeredontopofeachotherandplayedsimultaneouslyonthefinaltrack.
Compressionallowstheproducertoalterthedynamic rangeofatrackso thatitfitsbetterintothemusicalmix.Producersusecompressiontocreate balancebetweenthetracks.
Panningallowsproducerstosplitanddirectsoundtotherightorleftofthe stereofield.Whenpanningisappliedtorecordings,differentinstruments orsectionsofthemusicwillbeheardthroughtherightandleftspeakers. Panningiseasytoidentifywhenlisteningtomusicthroughheadphonesas thesoundfeelsasthoughitisswitchingfromoneeartotheother.
Distortioninvolves overloadingthespeakertocreateaharsh,fuzzysound. Rockperformersdothisdeliberatelytoachieve aroughersound.Distortion canbecreatedinarecordingstudioorthroughtheguitaramplifierusinga distortionpedal.
Reverberationoccursnaturallyinlarge,enclosedspaceslikehallsor churches.Reverbisusedtocreateanechowhichslowlyfades.Adding reverbtorecordingshelpstomimicthefeelofaliveperformance.
ListenandRespond!
Listentothree excerpts.Can yourecognisetheperformingtechniqueoreffectused by the performerineachtrack?
STUDENTACTIVITYBOOK
Gotopage246of yourStudentActivityBookandcomplete Activity 11: Processing Effects.
U2isanIrishrockbandfromDublin.Thebandbeganin 1976withacoupleofschoolfriendsrehearsingintheir school’smusicroomatlunchtime.Theysignedarecord dealwithIslandRecords,andbeforelongtheywere releasingrecordsandtravellingtheworldasoneofthe greatestbandsofalltime.Irishmusicmagazine Hot Press helpedtopromotethebandintheearlydays.
Lead vocals: Bono(Paul Hewson)
Vocal Features
Bono’s voicetypeisa tenor.
Bonoisknownforhis abilitytosingina high register.Heuses falsetto insomesongs.
Insometrackshis vocals aresungintwodifferent octaves,oftenalternating betweenoctavesinthe verseandchorus.
Lead Guitar: TheEdge(Dave Evans)
Bass Guitar: AdamClayton
Guitar Features
Lead: The Edge isknownforhismastery ofrecordingtechniques.
Featuresofhisperformancesinclude power chords and brokenchords. He likestousethe effects pedal toadd echo/reverbanddistortiontohistracks.
Bass: AdamClayton providesharmonic andrhythmicsupporttomanyrecordings.
Featuresofhisplayingstyleinclude useof syncopation andadditionof a contrastingmelody.Heoftenusesthe rootnoteofchordsinmelodic riffs.
‘IStillHaven’t FoundWhatI’m Looking For’wasrecorded by U2for their Joshua Tree album,releasedin1987.ThevideowasfilmedinLas Vegasaftertheband’sfirstconcertthere.Thisrockballadbeganwith adrumpatternthatLarryMullenhadpreviouslyrecordedduringa songwritingsession.TheEdgewrotethephrase‘Istillhaven’tfound whatIamlookingfor’inanotebookandbroughtittoBonowhowas improvising overthedrumpattern.Thesong’slyricswereinprogress! Workinpairstodiscusswhatfeaturesofrockmusic youcan hearinthissong.Theopeninglyricsareprintedbelow.
I have climbed highest mountains
I have run through the fields
Only to be with you
Only to be with you
I have run, I have crawled
I have scaled these city walls
These ci-ty walls
Only to be with you
But I still haven’t found what I’m look-ing for
Answer the following questions in your copybook.
1 WhenwastherockbandU2formed?
2 Howdidthebandmembersmeet?
3 NametherecordcompanywhichsignedU2.
Drums: LarryMullen
Drum Features
Larry Mullen istaskedwith maintainedthedriving rockrhythmsheardin manyofU2’shitsongs.
Sometimesheaddsa tambourineorother percussioninstrumentsto hisdrumkitforsongs.
Backing Vocals are provided by Larry,Adam andtheEdgeonseveralU2 recordings.
U2 Playlist
‘WithorWithout You’
‘BeautifulDay’
‘GetOutof YourOwn Way’
‘TheLittleThingsthatGive YouAway’
‘Sometimes YouCan’tMakeItOn YourOwn’
Listentothisplaylistandselectonesong towriteareviewon.Mention performing techniques and recording techniques used by theband.
4 WhatIrishmediasourcehelpedtopromotetheband’searlymusic?
5 DescribetwofeaturesofBono’s vocal style
6 DescribetwofeaturesoftheEdge’s guitar style
7 WhatinstrumentdoesAdamClaytonplayintheband?
8 NamethepercussioninstrumentdrummerLarryMullensometimesaddstohisdrumkit.
WatchthisvideoofU2performinglivein2005withBruceSpringsteen(TheBoss),another rocklegend!
STUDENTACTIVITYBOOK
Gotopage247of yourStudentActivityBookandcomplete Activity 12: An Irish Rock Song.
• Pop music isthemostcommercialmusic genre.Itisupbeat,catchyandappealsto awideaudience.
• Popsongshave memorablemelodiesand arhythmandtempothatcanbeeasily dancedto.
• Popsongsfeaturemaleorfemalelead vocalistsaccompanied by backing vocalists.
• Thelyricsaremainlyaboutlove, relationshipsandmoney.
• Rock music soundsmoreaggressivethanpop music.
• Rockbandsaremadeupofthe‘powertrio’: electricguitar,bassguitaranddrumkit. Sometimesa keyboardisadded.
• Processingeffectsareoftenused by the guitaristsinliveperformances.
• Adrivingrhythmplayed by thedrumscreates therockfeel.
• Thelyricsoftenfocusonsocialorpolitical themes.
Electronic music iscreatedusingelectronicmusicalinstruments,digitalinstruments,computers, musicsoftwareprogramsorotherformsoftechnology.
Rap isaformof vocalmusicwherewordsarerecited rapidlyandrhythmically overan instrumentalbacking.
Alternative folk musicisafolkgenrebutwithabitmoreedgetoit.
Fusion isthemixingoftwoormoremusicgenrestocreatesomethingnew.
GenreExample of an Irishband
ElectronicDaíthi
AlternativefolkMoxie
Rap Selló
FusionHermitageGreen
ResearchanIrishbandorartistfromapopulargenreof yourchoice.Writeablogpostorpresent yourfindingstotheclass.
WATCH edco.ie/y2p6
Watchaperformanceof‘TheLion’sShare’performed by HermitageGreenonthe LateLate Show.Describethefusionofstylesheardinthisperformance.
STUDENTACTIVITY BOOK
Gotopage248of yourStudentActivityBookandcomplete Activity 13: Composing a Melody.
Popular music isabroadtermformusicalgenreswhicharewidely availabletoaudiencesacrosstheglobe.
Developments in technology have hadabigimpactonthewaymusicis created,recordedandperformed.
Musiccharts rankthepopularityofsongs,basedonsalesofCDs andvinyl,downloadsandaudiostreamsinacertaingenreorcountry.
Processing effects alterormodifythesoundofinstrumentsorrecordings. Processingeffectsareused by instrumentsduringliveperformancesand othersareaddedintherecordingstudio.
A hook or riff isashortmusicalmotifusedtograbtheattentionofaudiences.
RAPIDREVIEW
Keywords
Revisitthe keywordswehave metinthischapter.Writeadefinitionforeachtermin your copybook.
RevisionCard
Completearevisioncardwith keyterms,definitionsand keypointsoflearning exploredinthis chapter.
INSECTIONAWELEARNEDTHAT…
Everycountryhasitsowncollectionoftraditionalsongsthatwerepassed fromonegenerationtothenextthroughthe oral tradition.
The oral tradition referstomusicthathasbeenpassedonthroughthe generations by beinglearnt by ear ratherthanwrittendown.
Traditional songs fromdifferentcultureshave differentcharacteristic features,andinvolvedifferentsoundsandinstruments.
ThereismorethanonestyleofsingingassociatedwiththeIrishtradition.
Sean-nós (old-style)singing isin freerhythm andunaccompaniedtoallow theperformertoshowtheirindividualstyle.
PowerPoint
KEYWORDS
Oral tradition
Sean-nóssinging
Freerhythm
Ornamentation
Drone
Folk song
Lament
Freerhythm followstherhythmpatternsofwords ratherthanhavingafixed beatorpulse.
Ornamentation istheadditionof extranotestoamelodytodecorateit.
Folk songs aretraditionalsongswhichhave beenpassedonfromone generationtothenext.Therearemanytypesoffolksong; love songs, laments and patriotic songs.
Irishtraditionalmusichassurvivedthroughthe oral tradition andsongsfromallerasinIreland’shistory continuetothrive.InSectionAwelearnedabout sean-nós,theoldeststyleofperformingtraditional Irishsongs.
Folk songs and ballads alsochartthehistoryof Ireland.Thesesongstellusmuchaboutourancestors, ourheritageandourculture.Inthischapter,wewill lookbackatsean-nósbeforemovingontomore modernballadsandcontemporaryIrishsongs. You exploredpopularIrishmusicgroupsinUnitB8.
LEARNINGINREVIEW!
Solo/Unaccompanied
Features of sean-nóssinging
Sean-nóssongsareperformed by a soloistwithnoaccompaniment. Today, adronecansometimesbeheardin
sean-nósperformances,oftenplayed by theuilleannpipes(right).
Freerhythm
Storytelling
Ornamentation
Dynamics
Wide range
Nasal tone
Repeatedfinalnote
Sean-nóssongsdonothave aregularbeat.Therhythmisshaped by thenaturalrhythmofthewords.
Asthestoryismoreimportantthanthemelody,therhythmcomes fromthewords.
Sean-nósperformersusedifferentformsofornamentationtoadd decorationtothemelodicline.Thestyleofornamentationvariesfrom regiontoregionandfromsingertosinger.
Sean-nóssingersdonotmakeuseofdynamicchangesintheir performances.
Thepitchofthemelodyoftencoversawide rangeofnotes.
Singersproducethesoundnearthebackofthemouthtogiveanasal qualitytothesound.Thisisknownasnasaltone.
Performersmayrepeatthefinalnoteattheendofasongorrepeat thewholefinallineofthesong. Traditionallyperformersslowedthe tempoattheendofthesongorspokethelastfewwords.
LookbackatSectionA,Unit9andwriteashortarticleontheIrishsongtradition.
STUDENTACTIVITYBOOK
Gotopage249of yourStudentActivityBookandcomplete Activity 1: Sean-nós
A ballad isa songthat tellsa story.Manyballads shareinformationaboutimportant eventsor individualcharacters.Intheeighteenthand nineteenthcenturies,balladsingerswouldtravel aroundspreadingnewstothelargelyrural population.Thetraditionofballadrycontinues tothisday. Balladsarein strophic form (a verse thatrepeats)or verse-and-chorusformandhave asimpleaccompaniment.
Well-knownIrishballadsingersinclude Finbar Furey, MaryBlack,Luke Kelly,Dolores O’Riordan, PaulBrady,ImeldaMayandDermot Kennedy.IrishbandsthatperformIrishballads includeTheDubliners,TheDublinCityRamblers, TheHighKingsandtheChieftans.
edco.ie/4v89
Watchaperformanceoftheballad‘Sweet Sixteen’ by Finbar FureyandImeldaMay.
Well-knownIrishballadsinclude‘TheRising oftheMoon’(about the1798Rebellion;written in1865);‘RaglanRoad’(love;1971), ‘DublinintheRareAuldTimes’(Dublin;1970s),‘TheFieldsof Athenry’ (GreatFamine;1979)and ‘Grace’(1916EasterRising;1985). Choose one ofthesesongsand listentotwodifferentperformancesofthesong.
WATCH edco.ie/hnmw
B9.1 ‘The Streets of New York’ by Irish singer-songwriterLiam Reilly
ThisIrishballadwaswrittenin1955 by LiamReilly,who wasasingerwiththeIrishbandBagatelle.Thelyrics tellthestoryofa youngemigrantwholeaveshisnative IrelandtoseekabetterlifeinNew York.Theselyrics sharethe experiencesofgenerationsof youngpeoplewho leftIrelandforAmericainsearchofabetterlife.
TheIrishmaninthissongsetsoffwitha‘fistfulofmoney andacartloadofdreams’.Heplanstolivewithhisuncle Benjywhowasapoliceofficer,butwhenhearrivesin New Yorkhediscoversthathisunclehasbeenkilledon duty.Hephoneshome,andhisparentstellhimto ‘Goaheadwiththeplanandnottoforget,bea proudIrishman’. Hejoinsthepoliceforceanddoesn’treturnhomeuntilthedeathofhisfather.He comeshometoIreland,sellsthefamilylandandgoesbacktoAmericato raisehisownfamily,but memoriesofhishomelandareneverfarfromhismind.
ManyIrishartistshave recordedthissong,includingTheHighKingsandThe Wolfe Tones.
WATCH edco.ie/2pr8
Watchaperformanceof‘TheStreetsofNew York’ by singerRyanMcMullan.
STUDENTACTIVITYBOOK
Gotopage250of yourStudentActivityBookandcomplete Activity 2: ‘The Streets of New York’.
B9.1
LiamReilly ImeldaMayperformswith Finbar FureyListenandRespond!
WATCH edco.ie/dg7g
‘Dublinin the Rare Auld Times’ by Irish singer-songwriter Pete St John
‘TheRareAuldTimes’isalament. A lament isa sad songwhich tells of loss, regret,grief or heartbreak Thelyricstellofthelossofoldtraditionsandthe modernisationofDublin.
Thissongwaswritten by PeteStJohnwhoisbestknown forwritingthesong‘TheFieldsofAthenry’.Thissongwas writtenforafolkbandcalledTheDublinCityRamblers.
ThenarratorrecallshischildhoodinDublin.Thelyricstellus thathegrewupinPimlico,aneighbourhoodinDublin’sLiberties.Helamentsthechangesthathad takenplaceinDublinsincehis youth.HementionsmonumentslikeNelson'sPillarwhichoncestood wheretheSpirenowstandson O’ConnellStreetinDublincitycentre.Hedescribesmodernoffice blocksthathave sprungupalongthecity’squaysas‘newglasscages’.
STUDENTACTIVITYBOOK
Gotopage252of yourStudentActivityBookandcomplete Activity 3: ‘Dublinin the Rare Auld Times’.
PhilCoulterisawell-knownIrishmusician,songwriterand recordproducerfromDerry.Philcombineda verysuccessful musiccareerwithworkingasaproducerwithIrishgreatssuch asTheDublinersandLuke Kelly.Hehascollaboratedwithmany starsinthemusicworldandisknownforwritingmanysongs whichhave beenperformed by Irishstars.
Inthispopularsong,PhilCoultertellsofhischildhoodinDerry, NorthernIreland.Thefirst versesshareimagesofthesimple pleasuresthatheenjoyedasachildgrowingupthere.The later versestellofthe Troubles,andhedescribestheimpact these eventshadonhiscommunity.Thesingerlamentsthe townhe‘lovedsowell’andwritesofaplacenowplagued by violence,aplace‘broughttoitsknees’.Herecallshowthose wholivedtherewerealwayshopingforpeace.
STUDENTACTIVITYBOOK
Gotopage255of yourStudentActivityBookandcomplete Activity 4: ‘The Town I Loved So Well’.
OthercelebratedIrishsongwritersinclude
PaulBrady ‘TheIsland’(1985)
JimmyMcCarthy ‘RideOn’(1984)
DoloresRiordan ‘Zombie’(1994)
STUDENTACTIVITYBOOK
GlenHansard ‘FallingSlowly’(withMarketa Irglova,2006)
PeteStJohn ‘TheFieldsofAthenry’(1979)
Mundy(EdmundEnright) ‘July’(2002)
Gotopage257of yourStudentActivityBookandcomplete Activity 5:Listenand Compare.
EXAMPRACTICE
Gotopage257of yourStudentActivityBookandcompletethe examquestiononIrishsong.
RAPIDREVIEW
Keywords
Revisitthe keywordswehave metinthischapter.Writeadefinitionforeachtermin your copybook.
RevisionCard
Completearevisioncardwith keyterms,definitionsand keypointsoflearning exploredinthis chapter.
SECTIONAREVIEW
INSECTIONAWELEARNEDTHAT…
Sourcesofincomeforartistsincludelivegigs,concerts,musicfestivalsand royaltiesfromthesaleoruseoftheirmusic.ThebestwaytosupportIrish artistsistogotoseethemlive,buytheiralbumsorlistentotheirmusic.
Astechnologyhasdeveloped,audiencesnowlargelyaccessmusiconlinevia streaming services insteadofbuyingCDsorvinyl.Streamingservicesallow artiststoreachaglobalaudiencebutdonotprovideagoodincome. Liveperformances areanimportantwayforartiststoearnmoney.
A music festival isan eventorganisedtoshowcaseliveperformances by variousmusicianstoalargeaudience. Festivalssupportmanyjobsinthe musicindustryandpromoteIrishmusic.
KEYWORDS
Liveperformance Streaming services
Media sources
Comhaltas
Ceoltóirí Éireann
IMRO
Royalties
Dolores O’RiordanBusking isatermforperforminginpublicspaces.Severalsuccessfulmusiciansbegantheir careersbuskingonGraftonStreet,e.g.GavinJames.
Irish Music Month isonewayinwhichthemusicofIrishartistsispromoted.Thisintiative couldleadtomoretimebeingallocatedtoplayingIrishmusic.
Comhaltas Ceoltóirí Éireann workstopromoteIrishmusicandculture.
TheIrishMusicRightsOrganisation(IMRO)promotesandshowcasesemergingIrishtalent hereinIrelandandabroad.IMROworkstoensurethatcopyrightlawsareadheredto.IMRO alsocollects royalties onbehalfofIrishartistsanddistributesroyaltypaymentstothem.
Royalties arefeespaidtoartistsinreturnforthepermissiontousetheircopyrightedwork. Radioroyaltiesarepaidtoartistswhentheirmusicisplayedonair.
BusinessesinIrelandthatplaymusicontheirpremisesmustpayforalicencetodoso.
TherearemanyorganisationsthatworktopromoteandsupportIrishartists. Youlearnedabout someoftheseinsection9.2ofUnitA9.
LEARNINGINREVIEW!
Comhaltas Ceoltóirí Éireann IMRO
Comhaltas Ceoltóirí Éireann isacultural movementtopromoteIrishtraditionalmusic. ItorganisesFleadhCheoil,afestivalofIrish traditionalmusic.Italsoaimstopreserve other aspectsofIrishculturesuchastraditional dancingandthelanguageofIreland.
IMRO workswithartists,promotingIrishtalent inIrelandandabroad.IMROseekstofind newwaystopromotemusiccreation,culture andculturaldiversity.Theysponsorsong competitions,festivalsandmusiceducation workshopsacrossIreland.
Gotopage259of yourStudentActivityBookandcomplete Activity 6: Think’n’Link.
Gotopage259of yourStudentActivityBookandcomplete Activity 7: Artists’ Incomes andIMRO. STUDENTACTIVITYBOOK
The Arts Council wasestablishedinDublinin1951andisfunded by theIrishGovernment.TheArtsCouncilworkstopromotepublic interestintheartsandtodeveloptheknowledge,appreciationand practiceoftheartsinIreland.TheMinisterfor Tourism,Culture, Arts,Gaeltacht,SportandMediaworkscloselywithmembersof theCounciltosecurefundingfortheartsinIreland.
The Arts Council wassetup to…The Arts Council supports artists by…
increasethepublic’sinterestinthearts.
promoteanappreciationforthearts.
encouragepeopletoparticipateinthearts.
improve standardsintheartsandadvise governmentandotherpublicbodieson thearts.
providingfinancialassistancetoartists,arts organisationsandotherswhodevelopand promotetheartsinIreland.
offeringadviceandinformationaboutthe artstoGovernment.
engaginginprojectstopromoteanddevelop thearts.
TheArtsCouncilisinvolvedinmanyinitiativesto promoteandfundtheartsinIreland.Three examplesof recentprojectsare
• Creative Schools: Placingtheartsandcreativityat theheartofchildrenand youngpeople’slives.
• Arts and Health: Artsandhealthembracesa range ofartspracticesoccurringprimarilyinhealthcare settingssuchasnursinghomesorhospitals.
• Paying the Artist 2020: AnArtsCouncilpolicy onthefairandequitableremunerationand contractingofartists.
Gotopage260of yourStudent ActivityBookandcomplete Activity 8: The Arts Council.
InSeptember2021,PresidentMichael D. Higginsannouncedhissupport for Irish Music Month.ThisinitiativewasintroducedtopromoteIrish artistsandbandsandtosignificantlyincreasethe radioplay giventoIrish artistsacrossindependent radiostations.IrishMusicMonthisan eventthat takesplaceannually.Since2021,twenty-fiveindependent radiostations fromall overIrelandsigneduptosupportthismonth-longefforttopromote theworkofIrishartists.
Irish Music Month isthelargest eventundertaken by local radiostationsinsupportofIrishartists sincethefoundationofindependent radioin1989.Abrainwave ofHotPressmagazine,itisfunded by theSound&VisionfundfromCoimisiúnnaMeánandsupported by IndependentBroadcasters ofIreland(IBI),IMRO, MCDandotherorganisations.Inadditiontoincreasingtheairtimegivento music by Irishartists,theinitiativealsoaimstofindnewIrishtalent.Anationaltalentsearchtakes placeduringIrishMusicMonth,andthewinnerreceivesaprizeof€10,000and over€100,000is paidtoIrishartistsintotal.
PresidentHigginssaidthat“TheroleandsignificanceofmusictolifeinIrelandcannotbe overstated.Irishmusiciansareamongourmosttalentedandbestlovedperformers.Theyarealso,asit happens,amongthefinestpractitionersoftheirartintheworld.”
Theeditorof Hot Press magazinestatedthat“IrishMusicMonthisahugestatementofsupport forIrishmusiciansandartists by Ireland’sindependent radiostationsand by theBroadcasting AuthorityofIreland.”
IrishMusicMonthisanationalinitiativewhichaimstocreateabuzzaroundIrishartistsandto supportthelivemusicindustryatalocalandnationallevel.Radiostations’commitmenttogiving Irishartists’workmoreairtimewill,inturn,helptoboosttheprofileofIrishartists.IrishMusic Monthorganisershopethatartistswillalsobenefitfromthisadditional exposureandsupportfor Irishartistscanbeachievedthroughothernationalandinternationalmediasources.
Gotopage260of yourStudentActivityBookandcomplete Activity 9: Music Month Jingle.
Answer the following questions in your copybook.
1 Nametwoorganisationsthatpromoteand supportIrishartists.
2 WhofundstheworkoftheArtsCouncil?
3 ListtworeasonswhytheArtsCouncilwas established.
4 WhoisthecurrentMinisterfor Tourism, Culture,Arts,Gaeltacht,SportandMedia?
5 WhywasIrishMusicMonthintroducedin 2022?
6 Whatroledo radiostationsplayinIrish MusicMonth?
IrishmusicianSorcha Richardson
7 HowcanthecareerofIrishartistsand performersbenefitfrominitiativessuchasIrishMusicMonth?
8 HowcanIrishartistsandperformersbenefitfinanciallyfrom radio’sinvolvementinIrishMusic Month?
9 WhatrolewouldIMROplayinthis?
10 SuggestoneotherwaythatlocalandnationalmediacouldincreasethetimeallocatedtoIrish artists.
Gotopage261of yourStudentActivityBookandcompletethe examquestiononthe promotionofIrishmusic.
Keywords
Revisitthe keywordswehave metinthischapter.Writeadefinitionforeachtermin your copybook.
RevisionCard
Completearevisioncardwith keyterms,definitionsand keypointsoflearning exploredinthis chapter. RAPIDREVIEW
Copyright istherightheld by theoriginalcreatorofapieceofwork.
Copyrightallowsthecreatorsoforiginalworkstocontrolwhenandhow theirworkisusedandtoreceiveanincomeforuseoftheirwork.
Anymusicalworksthatarenotprotected by copyrightareinthe public domain
Composersandsongwriterswhoadaptmaterialthatisinthepublicdomain areentitledtocopyrightfortheirinterpretationofthemusic.
Copyright infringement involvestheuseofanotherperson’sworkwithout obtainingthepermissiontodoso.Copying,sharing,sellingordistributing materialwithoutpermissionareall examplesofcopyrightinfringement.
Plagiarism iscopyingorusingsomebodyelse’sideaandpretendingthatit was yourown.
The credits list everyonewhocontributedtothewriting,performanceand recordingofapieceofmusic.
Musicpiracy involvestheillegalcopyinganddistributingofmusic recordings.
We have lookedat copyright and copyright infringement onseveraloccasionsinUnits A1, A9and B1.Makesure youarefamiliarwith theseterms.
Musicbelongstotheartistsorcomposerswho createdit,buttherehave beenmanyoccasions whenmusichasbeen sampled orusedwithout permission.Copyrightlawprotectsmusic intwoways:itprotectsthesongitself(the musicalcompositionincludingthemusicand thelyrics)andtherecordingofthesong(the soundrecording).
Inthissectionwewill exploretwoinstances whereartistshave drawnon existingsongsin theirwork.
TheCase: TheBeachBoyswereinspired by rock‘n’rollpioneerChuckBerry’ssongs.Inspired by Berry’sreferencestovariousAmericancitiesinsong‘SweetLittleSixteen’, Wilsonrecastthesong, withnewlyricsinpraiseofsurfingspotsinCalifornia.Wilson’snewsetoflyricslistedoffthebest surfinglocationsacrossthe Pacificcoast.Wilsonsaidheintendedthesongasatributetotherock guitarist,butBerry’slawyersusedanotherterm: plagiarism.
WATCH
Listentobothsongsanddiscussthesimilaritiesbetweenthem.
‘SweetLittleSixteen’ by ChuckBerry edco.ie/gw2u ‘Surfin’USA’ by theBeachBoys edco.ie/zh5x
The Verdict: Withthethreatoflawsuitslooming,theBeachBoysmanager,Murray Wilson(Brian Wilson’sfather),agreedtogivethe publishingrights toArcMusic,Berry’spublisher.However, Berry’snamewouldn’tappearonthesongwriting credits until1966.
Why It Matters: Althoughthegenrewasbuiltonahandfulofstandardthree-chordprogressionsand blueslicks,the‘Surfin’USA’incidentwasoneofthefirstmajorplagiarismscufflesinrockhistory.
STUDENTACTIVITYBOOK
Gotopage262of yourStudentActivityBookandcomplete Activity 10: Copyright Infringement.
UpcomingIrish rapperSellóuseshisDublinaccentand oftendropsGaelicwordsintohislyrics.Thegenrehehas createdandnamed ‘Gaelicdrill’isa fusion ofhip-hopwith Irishtraditionalmusic.
WATCH edco.ie/hve9
Inhisfirstsingle‘Dublin’, for example,Sellóincludesa sample ofSinéad O’ConnorandtheChieftains performingtheIrishtraditionalballad‘The FoggyDew’.In2021Sellóchoseto sample Irishartist Hozier’s2014song‘TakeMetoChurch’and evenusesthesametitleforhisownsong.Andrew Hozieragreedtotheuseofthesampleandsignedoffthe licences toallowSellótousehis musiclegally.
‘Sweet Little Sixteen,’ by Chuck Berry (1958) vs. ‘Surfin’ U.S.A.,’ by the Beach Boys (1963)Selló’slyricsstemfromhisown experiencegrowingup.Inhissong,‘Dublin’he rapsabouthisownarea, Clondalkin,tothewestofthecity:“Igotlove fortheboysfromthe C-Side,causethe C-sidegotlove forme. Seasaigí,that’s my clan, my family.” Likemany rappers,hetalksaboutsocietyandtheproblems inhisneighbourhood:“It’sfarfromgoodinthehoodbutIstillgotlove for my sideofthetown.”
STUDENTACTIVITYBOOK
Gotopage262of yourStudentActivityBookandcomplete Activity 11: Topical Rap
EXAMPRACTICE
Gotopage263of yourStudentActivityBookandcompletethe examquestionsonIrishartists andtheirincome.
RAPIDREVIEW
Keywords
Revisitthe keywordswehave metinthischapter.Writeadefinitionforeachtermin your copybook.
RevisionCard
Completearevisioncardwith keyterms,definitionsand keypointsoflearning exploredinthis chapter.
Mostofthemusicwehearinfilms,ontelevisionandonthe radioisdesignedtocreateanemotional response.Ourreactionhelpsustorememberwhatwehave seenorheard.Therightmusicthereforehas thepotentialtocreatearelationshipbetweenmediacompaniesoradvertisersandtheirtargetaudience. TV theme tunes are composed for television series, documentariesandnews broadcasts.
ListenandRespond!
Brainstormideasforusingthismusicalthemefora TVprogramme. Workinpairstodecidewhattype ofTVprogrammecouldusethissoundclipduring itsopeningandclosingcredits.
Newsprogrammesusethemetunestoconnect withaudiences.Theseshortmusicalthemesare usedtosignalthestartofimportantnewsbulletins. Theyareintendedtograbtheattentionoflisteners.
ListenandRespond!
Listentotwosoundclipsthatweredesignedto announcethestartofanewsbulletin.Discussthemusicalfeaturesheardineachone.Whatmakes themsuitableforanewsbulletin?
Advertisingisnotjustaboutwhatwesee,itisalsoabout whatwehear.Researchshowsthat overthreemillion peopleinIrelandtuneintoa radiostation everyday.
Radioadvertising allowsbrandstoreachnew customers.Radioadvertisingisless expensivethanTV advertising.Thecostofrunninga radioadvertonair dependsmostlyonthelengthofthead,thepopularity ofthe radiostationandthetimeofthedaytheadvert isaired.
Challengesforbrandsusing radioadvertisingincludereaching youngerlistenerswhoaremore likelytolistentomusiconpremium streaming services whichhave noads. Today, internet radio meansthatlistenershave accesstothousandsofdifferent radiostationsandmaybelesslikelyto tuneintotheirlocalstations.Irish radiostations raiseimportantrevenuefromsellingtheirairtime tobrandswhowanttoadvertisewiththem.Some radiostationshave alotofadvertsrunningonair; thiscanalsomakeitdifficultfora radioadverttocapturetheattentionoflisteners.
Jingle Agood radiojinglehelpstograbtheattentionoflisteners. A jingle is short tune orsongused to advertiseaproduct in the media. Radiojingles generallylastnomorethan20seconds,and overtimetheycanbecome associatedwiththebrandorproduct, evenwithoutvisualcues.
Call to action Radioadvertsareshortandcatchy. Many radioadvertsincludea call to action;acleverwayofbringinglistenersdirectlytotheirproductorservice whilststill keepingthe radioadvertshortandpunchy. A call to action is aninvitation to listeners to call, text or visit thebrand’s social media or
for moreinformation.
Soundbranding uses audiologos to create alink betweena soundandaproductor brand. Anaudio logodoesthesamejobasavisuallogo,butitisheard ratherthanseen.Jingles,tonesand evenspoken slogansareallformsofsoundbranding.
TheMcDonald’sjingle‘I'm Lovin’It’that you explored inUnitA6isan exampleofanaudiologo.Thosefive notesareallweneedtomakeanassociationwiththe brand.Thisisone exampleofhowsoundbranding reinforcestheconnectionbetweentheconsumer andthebrand.
WATCH edco.ie/em99
‘Ta-dum’ isanaudiologoused by theglobalstreamingserviceNetflix.Itconsistsofasimpleand shortmotif:twonotesplayedontimpani.
Thiscleversoundbiteisheardatthestartof everyepisodethatviewersstream,soitbecomes very familiartoNetflixusers.Viewersdevelopapositiveassociationwiththesound;whentheyhearit again,attheendofanepisode,itenticesthemtopressplayandwatchanotherepisode.
Insection6.5ofUnit6A you exploredthemusicusedinfiveadverts. Watchtheadvertsagainand considerwhatrolethemusicplaysinsupportingthemessageandpromotingtheproduct.What featuresofthemusicallowittodothis?
LEARNINGINREVIEW!
Checkoutthesewell-knownjingles
Product/Brand
CocaCola
Song/Jingle WATCH
‘I’dLiketo Teachthe WorldtoSing’ by CookandGreenaway edco.ie/wztv
Cadbury’schocolate‘IntheAir Tonight’ by PhilCollins edco.ie/tp4v
VodafoneEVO‘More’ by SamRyder edco.ie/m6hp
AudiQ8
STUDENTACTIVITYBOOK
‘DiesIrae’fromRequiemMass by Verdi edco.ie/nv7y
Gotopage263of yourStudentActivityBookandcomplete Activity 12: Musicin Advertising.
Gotopage264of yourStudentActivityBookandcomplete Activity 13: Audio Logo
EXAMPRACTICE
Gotopage264of yourStudentActivityBookandcompletethe examquestionsonmusicused inadvertising.
In2016,agroupof younggirlsfromthePresentationSecondarySchoolinKilkennywowed audiencesandjudgesduringtheirauditionsfor Britain’s Got Talent.Thechoirperformed Adiemus by KarlJenkins,led by theirteacher VeronicaMcCarron.
edco.ie/567q WATCH
PresentationSchoolChoir
Whatdo youthinkofthisperformance?Whatisgood aboutit?Isthereanythingthatcouldbeimproved? Explorethecriteriabelowtohelp youtomakean informedjudgement.
Itisdifficultto evaluateperformancesbecause eachoneisunique.When youarethinking abouthowgoodaperformanceis,itishelpfulto have somecriteriatobase yourjudgementon. Youneedtoconsider pitch,rhythm,musicality and styleandinterpretation.Thesearethe aspectsthatthe examinerwillassess youon. A performancecriteria grid tousewhen youare evaluatingorreviewingperformancesisprinted below.
Lyrics:
Ariadiamus la-te ariadiamus da
Ari a natus la-te adua
A-ra-va-re-tu-e-va-te
A-ra-va-re-tu-e-va-te
A-ra-va-re-tu-e-va-te-la-te-a
Good choice of tempo
Steadypulseandaccurate rhythm
The unprepared test assesses yourabilitytoperform musicthat youhave notseenorrehearsedbefore. Youcandeveloptheskillsneeded by practisingfor theunpreparedtests! Youhave beenworkingon theseskillssinceSectionA,Unit2!
Forthe exam, youchooseonetestfromthelistbelow:
• auralmemory(rhythmormelody)
• sight-reading(rhythmicormelodic)
• improvisation.
Therearetwotypesofauralmemorytest:rhythmicandmelodic.Bothtestsassess yourabilityto rememberwhat youhave justheardandtoclap,singorplayitback.
Listentoafour-barmelodyandclap,taporplay backtherhythmicpattern youheard.
Listentoafour-barmelodyandsingorplay backthemelody youheard.
The examinerwillplayanaudioclipofafour-barmelodic phrase.Concentrateonthe rhythmpattern inthisphrase.This iswhat youneedtorepeatbacktothe examiner.
Youcantap,claporplayback (onanon-pitchedpercussion instrument)therhythmafterhearingittwice.Then youwill have anotherchancetohearthephrasebeforerepeatingit backtothe examinerasecondtime.Marksare awardedfor yourbestattempt.
Listentothisshortclip twice Paycloseattentiontotherhythmpatternheardineach phraseas youlisten.Attempttoclapbacktherhythmpattern youheard.
Almostgotit?Listentotheclip a third time andhave anothergo. Trytobeginassoonastheaudio clipends.
Gotopage267of yourStudentActivityBookandcomplete Activity 2:AMR Music Match!
Matcheachtracktothecorrectmusicalphrase.
Completetheauralmemoryrhythmtestsbelow.Remembertotrytoperformtherhythmpattern afterthesecondplaying.Thenlistenforathirdtimeandtryitagain.
The examinerwillplayanaudioclipofafour-barmelodicphrase. The tonicnote (doh) and the tonicchord for the key of the test isplayed at thebeginning.Thetestbeginsafterthesetwosoundsareheard. Concentrateonthe melody inthisphrasesothat youcansingorplay itback (onapitchedinstrument).
Therearethree voice rangeoptionstosuitdifferent voicetypes,high, mediumandlow.
Workingroupsofthreetotest yourlisteningskills. Take turnstosingfourpitchesonthe syllable‘la’. Theothermembersof yourgroupmustthentrytorepeatthesefourpitches. Tooeasy?Seeif youcansingandremembereightpitches.
Listentothis exampleofanAMMtestandtrytosingitbacktothesound ‘la’. Trytobeginas soonastheaudioends.
Completetheauralmemorymelodytestsbelow.Remember youshouldattempttosing/playthe melodyafterthesecondtime youhearit.Thenlistenforathirdtimeandtryitagain.
• Youhave twoattemptstogetitright. Your examinerwill awardmarksfor yourbetterattempt.
• Thetestwillbeplayed three times. Youmustrespondafterthesecondandthirdplaying.
• Don’tdelay!Whentheaudioclipfinishes,begin!
Aural Memory Rhythm (AMR)
Aural Memory Melody (AMM)
Sight-readingisanimportantmusicalskillthatinvolves readingandperforminganewpieceofmusicthat youhave notseenorplayedbefore.Examsight-readingtestsare fourbarslong. Youhave oneminutetolook overthemusic before youattemptit. You can only make one attempt at these tests.
Before youplayanynewpieceofmusicwhatdo youlookoutfor? Whatdo youneedtoknowbefore youcanbegin?
Things to thinkabout:
• Whatdoesthetimesignaturetell youaboutthemusic?
• Whatdoesthe keysignaturetell youaboutapieceofmusic?
• Should youpayattentiontotempo anddynamicmarkings?Dotheymatter?
• Canthereberests?
• Arethereanytrickynotestoconsider?
• Arethereanydottednotesintherhythm?
Gotopage269of yourStudent ActivityBookandcomplete Activity 4: Sight-readingClues STUDENTACTIVITYBOOK
Thesetestsarefourbarslong.Thetimesignaturecanbe 2 4, 3 4 or 4 4.Therewillbeamixofnotevalues, andthereisoftenacrotchetrestsomewhereintheretoo.
Take sometimetoreadtherhythmpattern.Considerthetimesignatureandthenotevalues.Are thereanyreststowatchoutfor?Itisagoodideatosilentlytapouttherhythmonthepalmof your handslowlybefore youlaunchintoit.
Semiquavers
Youwillmeetdifferentcombinationsof semiquaversintherhythmsighttest. Practiseclappingtheseontheirown beforeattemptingtheminafour-bar pattern. Youmayfindithelpfultosaythewordsbelowas youlearntoperformthesepatterns. 4Semiquavers Quaver
Makesure youdon’tstartsofastthat youcan’tmanage thesemiquavers. Youmustmaintainasteadypulse.
Nowperformthisostinatotogether.Can youaddsomebodypercussionmovementstotherhythm pattern.
Youhave one attemptatthetest.
Do
Usetheminute youhave beforethetest to explorethepatternbefore youstart.
Quietlyuse yourfingertotapoutthe patternonthepalmof yourhand.This should not beaudibleto your examiner.
Let your examinerknow youareaboutto begin.
Maintainasteadypulse.
Ensure yourperformancecanbeheard by the examineratalltimes.
Useanopen-palmgesturetoindicatea restinthepattern.
Don’t
8 Saytherhythmnamesaloudinthe exam.
8 Tapthepulseaudiblywith yourfoot inthe exam.
8 Chooseatempothatistoofast.
8 Giveupif youmakeamistake; continuetotheend.
PractiseclappingtotheseRhythmicSight-Reading Tests.
Moderato 1
/ 3 4
Moderato 2
Moderato 3 / 2 4
/ 4 4
Youcanchoosewhetherto sing or play a melody instrument (e.g.recorder,trumpet,cello)forthe melodicsight-readingtest.
Melodicsight-readingtestsare four bars long.
Notallmelodyinstrumentsplaythesame rangeof notes.Someinstrumentsliketheviolauseadifferent clef.Whatever yourinstrument,therewillbeatest suitablefor you.
You choosethe register tosuit your voiceorinstrument.
Highregister (e.g.soprano,flute)
Mediumregister (e.g.alto,recorder)
You choosetheclef tosuit your voiceorinstrument.
Treble (e.g.violin)
Moderato
High
Medium
High &## 4 4
Alto (e.g.viola)
MelodicSightReading
Lowregister (e.g.trombone,bass)
Bass (e.g.bassoon) &# 4 4
Moderato
Moderato &## 3 4
If youplaytheclassicalguitar,rhythmguitar,ukulele,drumkit,snaredrum, kettledrums,electronic keyboard,accordion,piano,concert/IrishharpinC/Eb/Ab ororgan,therearetestswritten especiallyfortheseinstruments.
Sample tests for piano,guitar, ukuleleanddrums are givenbelow.
Piano
Check you canplay the minor and7thchords.
BassdrumFloortomSnaredrumHightomHi-hat ‹ Familiarise yourself with features of these tests. e.g.
• Sight-readingtestsare four bars long.
• Theycanbeinanyofthe five major key signatures:C,G, D, F,Bb major.
• Youhave one minute to look over the test before youbegin. Youarenotallowedtoplay duringthistime.
• Payattentionto tempo and dynamic markings
• Maintaina steadypulse.
• Alwayslet your examinerknowwhen youareabouttobegin.
• Sight-readingtestsmaybeattempted once only
Therearefourimprovisationoptionsinthe exam: melodic,harmonic,rhythmic or based on a given mood suchasjoyful,angryorcalm.If youchoosethemelodic,harmonicorrhythmic stimulus, youwillbegivena four-bar patterntobase yourimprovisationon.
Youarerequiredtoimprovisefor at least four bars based on the given material. Melodicphrase
• Improvisationtestscanbeinanyofthefivemajor keysignatures:C,G, D, F,Bb major.
• Theimprovisationtestcanbeattempted once only.
• Youarerequiredtoimprovisefor at least four bars.
Thepractical exam takesplacetowards theendofthethird year. Yourperformance mustincludethreepieces/songs.Inaddition tothe three piecesofmusic, youmust complete one unpreparedtest.
• Thepractical examisworth30%of yourmusicgrade.
• Thesongs/piecesin yourperformancemaybe presentedonavarietyofinstrumentsorthrough acombinationof voiceandinstruments.
• Youcanperformasasoloistoraspartofagroup (oramixtureofboth).
• Youmustprepareaperformanceof three piecesandcomplete one unpreparedtest.
• Youcanchoosetosingortoplayaninstrument (oracombinationof voiceandinstrument).
• Yourperformanceand yourunpreparedtestshouldlastfortwelvetofifteenminutes. Keepthis inmindwhenplanning yourpieces. Youmustnotgo overthetimelimit.
Therearethreecategoriesforperformance: Solo playing/singing
Group playing/singing
Singing to your ownaccompaniment
• Youcanchoosetogivea mixture of solo and group performances.
• In group performance, youcanhave amaximumof two performersplayingthesamepart. Thisensuresthatallperformerscanbeheard by the examiner.
Youmayperformwith live accompanimentorwith a recording (backingtrack).Thepart youareperforming mustbeclearlyheard by the examiner.Ingroup performances, thepart youplaymaybeaudibleonthe backingtrackif youaretheonlyperformerplayingthat partinthegroup.
Backing tracks cannot be streamedlivefromtheinternet during the exam. Theymustbe savedonaCD,USBstickorlaptoporcomputer.
Choose carefully! Alwaysbeginwithapiece youcanplay. Avoidselectingpiecesthataretoo difficultoroutof your range.When youhave masteredonepiece,challenge yourselftolearnanew one.As yourperformanceskillsimprove, youwillbuildarepertoireofpiecesthat youcanchoose frominthethird year.
Research thepiece youarelearning. Understandingwhen,whereandwhyapiece wascomposedallows youtounderstandhow thecomposermighthave intendedthepieceto beperformed.
Explore themusicforimportantclues.What tempoanddynamicmarkingsareused?Are thereanyarticulationmarkingsthat youneedto considerwhen youareplaying?
Try new things! Itisimportantto keepanopen mind;therearesomanyoptions availableto you forthe exam. Performingisaboutenjoymenttoo!
Rehearse often,especiallyif youareperformingwithothers!
Record yourselfandlistenbackto yourperformance.Thisisthebestwaytohearwhere youcan improveyourperformance.
Perform! Practisingisdifferentfromperforming.Once youhave chosen yourprogramme,itis importantthat youplay yourthreepiecesoneaftertheother everynowandagain.
Evaluateprogress! Beopentoadviceandfeedbackfromothers.Makingchangestoperformances canmakethemeasiertoperform.
Readthisadviceshared by third-yearstudentsaftertheirperformance exams.Istheadvicehelpful? Howcan youusethisadvice?
Performing in a group with others is fun, and it is good to have someone singing with you. Make time for rehearsing together; learning to work together takes time.
Perform yourpiecefromstarttofinishandfind theplacesinthepiecethataredifficulttoplay–maketimetopractisethesepassages.Itwill make yournextperformance evenbetter.
Learnaboutthemusic youareperforming. Listeningtootherperformancescanhelp. Knowingwhythemusicwaswrittencanhelp you tocommunicatethemusicbetter.
Record yourself performing yourpieces on your phone. Afterwards, listenbackand focus onwhat went well and what might needabitmore work.
Recording evidenceof yourpracticeandmaking notesonthechallenges youhave facedandhow youhaveovercomethemisagreatwaytotrack yourprogressandtomotivate youto keepgoing. Everyfewweeks youshouldstop,reflectand evaluate yourprogress.Howisitallgoing?
A Performance Reflection Log isprinted on page270 of the Student Activity Book.
Gotopage270of yourStudentActivityBookandcomplete Activity7:Rehearse,Reflect and Review.Usethe PerformanceReflection LogintheStudentActivityBooktomakenotesand keep trackof yourprogress.
Themusicpractical examisworth30%of your overallmusicgrade.Thereare120marks awarded forthepractical exam.
Thegridbelowgivesan overviewofthecriteriausedtoassess yourperformance.Italsoshows you howthe 120 marks forthepractical examaredistributed.
• Pitchandrhythm accuracy
• Continuityofpulse
• Controlofsoundand technicalsecurity in voiceorchosen instrument(the medium)
• Musicality;confidenceandfluencyin breathing,phrasing, expression,useof dynamicsandarticulation
• Interpretationofthestylewhich showstheperformer’sunderstanding ofthestyleofmusictheyhave chosentoperform,e.g.theuseof ornamentationinaperformanceof Irishtraditionalmusic
• Pitchandrhythm accuracy
• Continuityof performance
• Continuityofpulse
• Awarenessofdynamics wherenecessary
Musiciansandsingerswhoperformaspartofa groupareworkinginpartnership.Approaching theperformanceasateamis veryimportantfor thesuccessofanygroupperformance.
Tip1
Listen todifferentperformancesofanew pieceofmusicbefore youbegintolearnto playit. Look atthesheetmusicwhile you listen tothepiece. Think abouttherole thattempoanddynamicsplay.
Tip2
Practise often!Groupsneedtomakeplentyoftimetorehearsetogether.Importantperformance skillsaredevelopedthroughpractice. Take onesectionofmusicatatime.Comebacktotricky passagesandpractisethemseparately.
Tip3
Perform yourpiecesregularlytogether,infrontof yourclassmates,teacher,familyandfriends. Thishelpstobuild yourconfidencewithplayingmusicforothers.
Thefollowingpiecesare examplesofpiecesthat youcouldplayforthepractical exam.
Use thepracticeandperformance tracksonthe Pitch Perfect Audio App to help you work on your piecesand getused to performing with anaccompaniment.
‘WildMountainThyme’isaScottishandIrish folk song andisalsoknownas ‘Will YouGoLassieGo’. Thesong waswritten by BelfastmusicianWilliamMcPeakeand recordedin1957.
EdSheeranrecordeda versionofthissong.Ed’s grandparentsareIrish,andthestaroftenspeaksproudly abouthisIrishheritage.Heperformed ‘WildMountainThyme’and‘The PartingGlass’withasimple guitaraccompaniment.Thesimplicityofthe accompaniment allowslistenerstofocusonthemusic andthelyrics.ThisiscommonforperformancesoffolksongsintheIrishtradition.
WATCH edco.ie/x5kx
Watchaperformanceof ‘WildMountainThyme’ by EdSheeran.If youarethinkingofincluding thispiecein yourprogramme, youmaywanttomakenotesaboutthisperformance.
3.lf summ-er buildmy truelove time
1.Ohthe 2.lwill bloom-in’ foun-tain no-ther round flowround all_goto -geth-er roundthebloom -in’heath-er Willyego______las-siego
WildMountainThyme love she is a were com-in’ tow-er gone And Near I the yon would trees pure sure are crys ly sweetfind ly
Andthe Andon Wherethe wild__ it wild__ moun I moun tain will tain thyme__ place__ thyme__ Grows All Grows a the a--
To thewild_moun-tainthyme_All athebloom-in’ ersofthe thebloom-in’ heath-er Willyego_____ go_Andwe’ll las-sie mountain heath-er
‘Down by theSalleyGardens’isapoem by IrishpoetWilliamButler Yeats.Some yearslater,the linesof Yeats’slamentweresettomusic by HubertHughesusinganoldIrishmelody‘TheMaidsof MourneShore’.
Verses:
It was down by the Salley Gardens
My love and I did meet
She crossed the Salley Gardens
With little snow-white feet
She bid me totake life easy
As the leaves grow on the tree
But I was young and foolish
And with her I did not agree
In a fielddown by the river
My love and I did stand
And upon my leaning shoulder
She laid her snow-white hand
She bid me take life easy
As the grass grows on the weirs
But I was young and foolish
And now I am full of tears
It was down by the Salley Gardens
My love and I did meet
She crossed the Salley Gardens
With little snow-white feet
She bid me totake life easy
As the leaves grow on the tree
But I was young and foolish
And with her I did not agree
This sheetmusicis suitable for recorder,tin whistle, voice, guitar, ukulele,violin,flute etc.
A chord chart for ukuleleisprinted on page272–273 of the Student Activity Book.
A recorderfingeringchartisprinted on page272 of the Student Activity Book.
STUDENTACTIVITYBOOK
Gotopage271of yourStudentActivityBookandcomplete Activity 8: ‘Down by the Salley Gardens’.
‘MorningHasBroken’isaChristian hymn.ItoriginallyappearedsettotheScottishtune‘Bunessan’, withwords by EnglishauthorEleanorFarjeon.
EnglishfolksingerCatStevens(nowknownas YusufIslam)discovered‘MorningHasBroken’ ina hymnbookthathefoundatabookstore whilelookingforsongsthatwereinthe public domain.Stevensincludedaslightlyadapted versionof‘MorningHasBroken’onhisalbum Teaserand the Firecat (1971).Thelyricsto Stevens’ versioncanbeseenonthefollowing page.Hisrecordingofthis hymnbecameone ofhisgreatesthits!
This sheetmusicis suitable for group performance. The melody couldbe sung or performed on recorder, flute, violin etc with harmonicaccompaniment.
A chord chart for pianoisprinted on page273 of the Student Activity Book.
Morning has broken like the first morning
Blackbird hasspoken like the first bird
Praise for the singing, praise for the morning
Praise for them springing fresh from the world
Sweet the rain’s new fall, sunlit from Heaven
Like the first dewfall on the first grass
Praise for the sweetness of the wet garden Sprung in completeness where His feet pass
Mine is the sunlight, mine is themorning
Born of the one light, Eden saw play
Praise with elation, praise every morning
God’s recreationof the new day
Morning has broken like the first morning
Blackbird hasspoken like the first bird
Praise for the singing, praise for the morning
Praise for them springing fresh from the world
Youhave alreadyperformedseveralrounds,including ‘Kookaburra’ (SectionA,Unit6), ‘Donna Nobis Pacem’ (SectionA,Unit6) and ‘VivaVivaLa Musica’ (Section A,Unit7). Youcouldchooseoneofthese.
‘Banaha’ isCongolesefolksongwhichisperformedin threepartcanon.Rememberthatthenumbersindicatewhenthe next voice(s)shouldstart.
This sheetmusicis suitable for voicesbut couldalso beplayed on recorder, tin whistle,flute, violin etc.
Thesepiecesareduetsfortwoinstruments,but theycanbeperformedasasoloif youplaythetop lineofeachsystem.If youdecidetouseoneofthem foragroupperformance,remembertherecanbea maximum of two performersperpart inthe exam.
This sheetmusicis suitable for recorder, flute, violin etc.
A recorderfingeringchartisprinted on page272 of the Student Activity Book.
Performer2 B10.45 B10.46 Playalong Playalong Practice Practice
CBA2 isa Programme Note aboutthepieces youhave chosentoperformin your practical exam.Itiscompletedtowardstheendofthethird year.Itshouldinclude informationabouteachofthethreepieces youhave chosentoplay.
ProgrammeNotesprovidehistoricalandbackgroundinformationaboutpiecesofmusicandtheir composer.Theyalsogiveaudiencemembersanideaofwhatto expectfromapieceofmusicand whattolistenoutforduringtheperformance.
YourProgrammeNoteisanopportunitytoshareinformationaboutthe threepieces ofmusic you have chosentoperformonthedayof your exam.
Whether youareperformingasasoloistoraspart ofgroup,oracombinationofboth, you must provide your ownindividual Programme Note.
YourProgrammeNotecanbepresentedina written, digital, visual or audio form,oranyotherformatthat youfeelissuitable. Youmustreferto all threepieces that youarepreparingtoperformin yourpractical exam. Forgroupperformances, youshouldincludea commenton yourroleandcontributiontothegroup performancein yourProgrammeNote.
YourProgrammeNotemustbecompleted two weeks beforethepractical examinationsbegin. You shouldnotspendmorethanthreeweeksonthistask.
Research andsharesomeinterestingpointsaboutthe purpose behindthecomposition;includefactsonthe composerorthesongwriter.
Be sure to include…
Who? Abriefintroductiontothecomposersorsongwriters. When? Adescriptionofthehistoricalcontextofthepieces.
Why? Thecircumstancessurroundingthecomposition. How? Interestingmusicalpointsabout eachpiece fortheaudiencetolistenoutfor(key signature,musicalfeatures,style,etc.). Youcanincludewrittenmotifsorrecordings of youplayingthefeatures youhave mentioned.
Where? Wherehasthemusicbeenheard?InTVoffilm?Have otherperformersrecordedit?
Writeabout your experienceofpreparing yourpiecesforthepractical exam.
• Whyhaveyouchosenthem?
• Whatchallengesdid youface?
• Whatfeedbackdid youreceiveandhowdid youuseitguide yourpractice?
• Whatwould yourecommendlistenerstolistenoutforinthepieces?
1 Youcouldincludeashortclipof youperformingpartof yourpiecesorlinkstoperformances by othermusiciansthat youenjoyedlisteningtoduring yourresearch.
2If youarethe composer ofanyofthepiecesin yourprogrammeforthepractical examination, youshouldcommentonandreflectuponthequestionsabove inthesameway.
Are the following statements true or false?
Workinpairstocheck yourlearning.Identifywhichstatements aretrueorfalsefromthelistbelow.
1 IcanwriteaProgrammeNoteaspartofagroup.
2 Imustpresent my ProgrammeNoteto my examineronthe dayofthepractical exam.
3 ImustwriteaseparateProgrammeNoteforeachpiecein my performance.
4 ThereisanAssessment TasklinkedtothisClassroom-BasedAssessment.
5 IshouldwriteabouttheroleIplayinanygroupperformanceIhave plannedforthepractical exam.
6 Icanincludesheetmusicin my programmenote.
Use the support on pages274–280in the Student Activity Book to help you to planand complete your Programme Note.
Keywords
Compilea keywordbankforthischapterin yourmusiccopybookorManuscriptBook.
RevisionCard
Completearevisioncardwith keyterms,definitionsand keypointsoflearning exploredinthis chapter. Makenoteofthepiecesofmusicthat youhave listenedtoaspartofthelearningtoo. RAPIDREVIEW