Intro There for you | Thiememeulenhoff

INK

IJK

EX

EM

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ENGLISH EDITION

STAR 3 NAME

There for You

Remix a social media hit

AA

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What are you going to do?

What can you already do?

I can practice an instrumental part with a practice video.

I can keep paying attention if I have to briefly stop singing or playing and start again later on.

I can get into the lyrics of a song.

What do you already know?

I know what rhythm, bass, chords and melody are.

I know the instruments in a band.

I know the sections of a song.

I know what a variation is.

What are you going to do?

You will sing There for You in groups.

You will sing or play the melody of the intro / interlude / coda.

You will play the accompaniment.

You will make a live remix of There for You.

There for You Martin Garrix & Troye Sivan

Verse 1 (finger click on afterbeat) I woke up pissed off today And lately everyone feels fake Somewhere I lost a piece in me Smoking cigarettes on balconies Pre-chorus But I can’t do this alone Sometimes I just need a light I call you on the phone Need you on the other side

know Pre-chorus: a section of a song that leads up to the chorus.

Chorus 1 So when your tears roll down your pillow like a river I’ll be there for you, I’ll be there for you When you’re screaming, but they only hear you whisper I’ll be loud for you, but you gotta be there for me too Interlude But you gotta be there for me too Verse 2 (finger click on afterbeat) Last year took a toll on me But I made it with you next to me Around the world and back again Hope you’re waiting at the end Pre-chorus But I can’t do this alone Sometimes I just need a light If I call you on the phone Need you on the other side Chorus 2 So when your tears roll down your pillow like a river I’ll be there for you, I’ll be there for you When you’re screaming, but they only hear you whisper I’ll be loud for you, I’ll be loud for you

The Dutch DJ Martin Garrix (Martijn Garritsen) and Australian singer Troye Sivan made the track There for You in 2017, together with some friends. The unusual thing about There for You is that it was distributed using social media; it was announced on Twitter and could be downloaded from Instagram. The style of the track is electronic dance music (EDM), in other words dance music produced on a computer. Various remixes of the track have been made by different artists within a relatively short time.

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Bridge I got you, I promise Let me be honest Love is a road that goes both ways Chorus 3 When your tears roll down your pillow like a river I’ll be there for you, but you gotta be there for me too Coda But you gotta be there for me too

know Bridge: a section of a song that differs from the verses and choruses in both melody and lyrics.

The bridge often contains the most important words in the lyrics.

know Coda: the end of a piece of music.

Literally: tail.

Intro • There for You

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Prepare

You are going to investigate how EDM is put together and how another song with the same subject as There for You is played. You will also practice the instrumental parts.

I’ll Be There for You – The Rembrandts I’ll Be There for You by The Rembrandts is from the TV show Friends. Just as in There for You by Martin Garrix the lyrics are about wanting to be there for someone. However, this song is played by a rock band.

Listen There for You – Martin Garrix & Troye Sivan know EDM stands for electronic dance music. EDM is made by DJs and producers and it is meant for dancing. The accompaniment is made entirely with a computer. There may be vocals too.

2 Which layer is played on which instrument?

know Music is made up of musical layers. Each layer has its own function in the composition.

In EDM there is an ongoing building up and breaking down of layers.

Circle the correct answer for each.

Electric guitar: rhythm layer / bass layer / chord layer / melody layer.

Drums: rhythm layer / bass layer / chord layer / melody layer.

Hammond organ: rhythm layer / bass layer / chord layer / melody layer.

Bass guitar: rhythm layer / bass layer / chord layer / melody layer.

Vocals: rhythm layer / bass layer / chord layer / melody layer.

Hammond organ

Explore Examples of musical layers are: Rhythm layer: played on drums (computer), bongos, hand claps or tambourine, for example.

Bass layer: played on bass guitar, double bass or synthesizer, for example.

Chord layer: played on piano, guitar, organ or strings, for example.

Melody layer: sung or played on saxophone, flute, violin or synthesizer, for example.

1 a You hear the intro. You hear a long tone and just two other layers. Which? The: rhythm layer.

bass layer.

chord layer.

melody layer.

b You hear the interlude. This is very similar to the intro, but another two layers have been added.

Which two layers are they? The: rhythm layer. bass layer.

chord layer.

melody layer.

TIP It may well be that several instruments play or sing the same layer, in which case fill in all instruments/voices. It is also possible that a layer is not present at all.

Title of quiet song:

c You hear verse 1, the pre-chorus and the chorus. Listen to the rhythm layer only. With which (electronic) instruments/sounds is the rhythm layer played?

In the verse and pre-chorus: tambourine. finger click. bongos. hi-hat.

In the chorus: tambourine. finger click. bongos. hi-hat.

You explore two tracks together with your partner and look at which musical layers they contain.

Find a quiet song and a lively/happy song on Internet. Find one song each.

Play the songs to one another and together discuss which layers you hear in them.

Also discuss which instruments or voices perform these layers.

Fill in what you have heard below.

Artist:

Looked up by: Rhythm layer:

snare drum.

bass drum.

snare drum.

bass drum.

Bass layer: Chord layer: Melody layer:

d Listen to the excerpt again and read along with the lyrics. What does the singer want to say?

In the verse he is: loving / angry / pitiful / sad.

In the pre-chorus he needs: cigarettes / a phone / someone else / sun.

Other:

e In the chorus he sings that he will be there for the other person (‘you’) in order to do what is needed. The last line has a rather different feel. What is it? >>

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Intro • There for You

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Title of lively/happy song:

Artist:

C Practice the accompaniment

Looked up by: CŒ„Š7

Rhythm layer: Chords

Bass layer:

g b

Chord layer: Melody layer:

Bass

Other: EXTRA Often songs have more layers than the four named above. This could be a second voice or countervoice/melody, sung or played by brass or violins, for example. If you hear such a musical layer, fill this in under ‘Other’.

Practice A Practice the choruses Generally a chorus in a song is always the same. But in There for You chorus 2 is a variation of chorus 1, and chorus 3 is different again.

Look at the lyrics on page 3 and find the differences between the three choruses.

Practice the choruses with the mixer.

Sing the choruses with the appropriate emotion (see question 1 e in Listen).

B Sing the melody of the interlude The interlude (as well as the intro and the coda) contains a melody of four sentences: sentence 1

sentence 2 - variation 1

2 4 œ Ó &4 œ œ œ œ œ œ œ œ œ

1

sentence 3 - repetition

& œœœœ œœ œœœ Ó œ

5

4 &4 w ‹

4 œ ‰ œj ‰ œj ¿ 4 c

Rhythm

4 &4 w w

1

6

3

4

œ œ œ œ œ œ œ œ œ

œ œ œ

A‹ 2

w w g c

w

j j œ ‰ œ ‰ œ ¿ a

E‹ 3

w w g b

w j j œ ‰ œ ‰ œ ¿ e

D 4

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g

w

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j j œ ‰ œ ‰ œ ¿ ™™ d

The accompaniment for There for You consists of three layers: a chord layer (in two parts), a bass layer and a rhythm layer.

Practice one or more layers with the aid of the videos.

Chords: you can also play using two hands if you find it easier.

Bass: play low. Find the lowest a on your instrument. The c, d and e are directly to the right of this.

Rhythm: choose a suitable low sound (for example the bass drum). This can be an electronic or ‘real’ sound. The cross is a snare drum (sound) or clap.

All parts: listen carefully to the beat and do not go too fast.

checklist • prepare Do you know what EDM is?

Do you know what musical layers are?

Can you hear the layers in music and can you identify the instruments in a layer?

Can you sing the choruses with expression?

Can you sing the melody of the interlude?

Can you play one or more accompanying parts?

If you are going to combine several parts in Do, what do you have to pay attention to?

sentence 4 - variation 2 7

œ œ œ œœ œ œ œœ œ œœœœœ œœ œ 8

But you got-ta be there for me too.

Sing sentence 1 to ta-ta-ta or na-na-na.

Look carefully how sentence 2 differs from sentence 1 and practice it.

Sentence 4 is shorter and is often followed by the sentence that you sing with words.

First practice sentence 4 only. When this goes well, sing ‘But you gotta be there for me too’ afterwards.

Sing the whole melody in order.

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Intro • There for You

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Do

Sing: you sing There for You and perhaps you play too.

Play: you accompany the song and you play the melody in the intro, the interlude and the coda (outro).

Remix: you make a live remix of There for You.

Play

Sing Rehearse 1 Practice the song with the mixer or the video.

2 Make a build-up in the song: sing the verse quietly, give a bit more in the pre-chorus and sing really strong in the chorus.

3 Sing the melody of the intro, the interlude and the coda. Sing with ta-ta-ta or na-na-na.

4 The bridge is very similar to the chorus, but starts with three new lines. Practice them separately.

5 Finally sing the song in groups:

Rehearse 1 Repeat your accompaniment part(s) from Practice and play along with the video or mixer.

2 Listen carefully to the accompaniment and count along with the long notes (1-2-3-4).

3 Play the three parts with everyone together.

Melody intro, interlude and coda CŒ„Š7

A‹

2 4 œ Ó &4 œ œ œ œ œ œ œ œ œ

1

d

e

d

e

b

d

e

CŒ„Š7

Intro / interlude / coda:

group 2

Pre-chorus:

group 3

Chorus and bridge:

all

b

œ œ œ œ œ œ œ œ œ œ œ œ 4

a

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CŒ„Š7

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2

w w w

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3

w w w

D

4

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checklist • sing Can you put yourself in the part for the lyrics and make this heard?

Can you sing along in your head when it is not your turn?

Will you perform one of the items suggested above in Extra?

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7

d

D

8

‰

sing only in interlude and coda

œœœœœ œœ œœ œ œ œœ œ œ œ But you got - ta be there for me a

œ œ

too.

4 Practice the melody of the intro / interlude / coda (that you sung in Practice), now on an instrument.

5 Write the missing note names under the notes, if you find it helpful.

6 Practice the melody sentence by sentence and start with the d and e in the centre of the keyboard.

7 Look for a sound on the keyboard that sounds most similar to the sound in the song.

8 The ending of sentence 4 is always sung (not played).

9 Finally put everything together: this melody, the accompaniment and the vocals.

EXTRA Write new lyrics to the melody of the intro / interlude / coda.

Sing a section solo or as a duet.

Do you play keyboard or guitar? Play the chords for the whole song. Note: during the line ‘But you gotta be there for me too’ you play a break, this means that you play the D chord very short.

4 &4 w w w

e

œ Ó & œœœœ œ œœ œœ

5

Tips for singing Think what the song is about and put yourself in the part.

Say the words clearly and sit or stand up properly.

Sing along to yourself (without making any sound) when it is not your turn.

This enables you to stay in the music.

1

d

A‹

3

D

group 1

Verse:

Extra keyboard guitar

E‹

™™

Tips for playing In the melody the b and a should sometimes be played high and sometimes low. Look at the position in the staff.

It is easier to play the melody from memory right away.

Always listen carefully to the accompaniment so that you play in time.

When you put everything together divide up the class such that each part can be heard clearly, without dominating.

EXTRA Do you play guitar? If so you can also play the chords written above the notes. You can use these for the whole song.

Do you play keyboard? Then you can play the chords and bass (from the accompaniment part in Practice) with two hands. You can also play the complete chords (see Extra in Sing).

Play the bass part on a bass guitar: 1

2

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G D A E

3

4 2

3

0

0

™ ™ >>

Think of your own rhythm for playing the chords and bass.

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Intro • There for You

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checklist • play Can you play your part without mistakes?

Do you always keep in time?

Can all parts be heard clearly, without one part dominating?

Do you know when you have to sing and when you have to play?

Remix

Tips for remixing Before you start fill in the remix plan. Do not make it too complicated!

Singers and players: pay close attention to the conductor while you sing or play, even if you have to stop for a short time! Then you know when you have to start again.

Conductor: make eye contact with the group/groups that you want to bring in or stop. Do this in good time before the change needs to take place.

Make clear at what instant everyone must stop (exactly when a new section starts!).

Remix plan Colour in the boxes for the layers you want played during each section of the song.

Intro

You can do this assignment when you have done the Play section. You need to be able to play and/ or sing your part from memory.

Verse 1

Prechorus

Chorus 1

Interlude

Verse 2

Prechorus

Chorus 2

Bridge

Chorus 3

Coda

Vocal Melody

know A remix is a new version of an existing song. Remixes can differ from the original song in various ways: a different tempo, a different order, other instruments and sounds, layers switched on or off, and new layers added. This could be an extra part or singing voice, for example.

Chords Bass Rhythm EXTRA

There for You contains the following layers: 1 Vocal melody.

2 Melody intro / interlude / coda (vocal or instrumental).

3 Chords.

4 Bass.

5 Rhythm.

6 EXTRA the guitar chords or keyboard chords.

Approach 1 The class is divided into five (or six) groups and each group gets one layer to sing or play.

2 Practice the layer in your group until it is easy to do.

3 Perform the whole song with all the layers. Everyone plays and sings the whole time, except the group doing the melody of the intro / interlude / coda, who only sing/play at the time they are needed.

4 Appoint a conductor. During the song the conductor can: stop layers and start them again.

put in a break: only the melody layers carry on, the other layers stop.

put in a breakdown: only the rhythm carries on, the other layers stop.

EXTRA make layers louder or quieter.

5 Each time a new section of the song starts, something can be changed.

6 EXTRA You can also do a build-up during a section (say, the intro). You start with two layers, for example, and in each sentence (every four bars) something is added. You can also break down the coda this way.

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EXTRA Make a new, additional rhythm part for the remix.

If you enjoy messing around with music on the computer, ask your teacher for the original audio files from the mixer and make your own remix on your computer.

TIP Look up some remixes of There for You on YouTube for inspiration.

checklist • remix Can you play your part from memory?

Do you follow all directions from the conductor at precisely the right moment?

Can you keep following the music if you do not need to sing or play for a short time?

When conducting can you make eye contact with the groups and signal to them on time?

Intro • There for You

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Review

Perform Prepare

The performance I am going to perform this: I sing There for You in groups.

I sing / play the melody of the intro / interlude / coda.

I play the following accompaniment part: chords / bass / rhythm.

We make a live remix: I play / I sing / I am the conductor.

I have prepared the following extra things for the performance: I have played the accompaniment with (my own) rhythm.

I have written some new lyrics.

I play the chords on guitar / keyboard.

I play the bass part on a bass guitar.

I have made my own rhythm part.

I have made a remix on the computer.

My presentation looks like this: Order:

I know what EDM is: yes / no.

I could identify the layers in music: yes / mostly / no.

I could name the instruments in each layer: always / mostly / usually not.

I could look up songs and name the musical layers: easily / with difficulty.

Do

I could sing There for You with feeling: yes / mostly / not.

I could sing along to myself when it was not my turn: easily / with difficulty.

I could play my instrumental part: faultlessly / fairly well / with mistakes.

I could stay in time well: yes / mostly / not well.

I could pay attention to the conductor during the remix: always / mostly / usually not.

I could start and stop on time: always / mostly / usually not.

As conductor: I always knew exactly what I wanted: yes / mostly / no.

My remix plan was: doable / too easy / too difficult.

I could signal the groups clearly and on time: yes / mostly / often not.

Perform During my performance I was relaxed / stressed.

The collaboration with my classmates was smooth / quick / slow / tough.

Our performance was very good / acceptable / not convincing.

My task is: If you had to make a remix plan again what would you pay extra attention to?

Which of the two songs you looked up yourself would be more suitable for a remix?

During my performance I will pay particular attention to: Explain why you think this:

Write down three tips for your classmates who have acted as conductor. Discuss these tips with one of the conductors.

1 2 3

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Intro • There for You

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Terms

Colofon Known terms Bass part The lowest sounding part.

Chord A harmony of three or more tones.

Chorus A section of a song that is sung several times with the same words and melody.

The chorus is the section you can usually easily sing along to. Also known as refrain.

Melody A sequence of different pitches. You can sing a melody.

Rhythm Everything in music related to tone duration. You can clap a rhythm.

Variation A repetition that is a little bit different.

Verse A section of a song where the melody stays the same, but the words change.

New terms Describe in your own words: Pre-chorus

Bridge

Coda

EDM

Symbols

audio

video

duo assignment

mixer

practice video

group assignment

Vertaling Rosie Cox, Ohaupo, Nieuw-Zeeland Redactie Op schrift, Enschede Ontwerp en vormgeving Maura van Wermeskerken, Apeldoorn

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Illustratieverantwoording Notenschrift: Ruth van de Putte Foto omslag: Martin Garrix/Louis van Baar Foto’s binnenwerk: Martin Garrix/Troye Sivan; Hollandse Hoogte/Rutger Geerling; Getty Images/Hulton Archiv, Paul Bergen; Shutterstock/Adam Calaitzis, Room's Studio, Jiri Hera; iStock/kieferpix Over ThiemeMeulenhoff ThiemeMeulenhoff ontwikkelt zich van educatieve uitgeverij tot een learning design company. We brengen content, leerontwerp en technologie samen. Met onze groeiende expertise, ervaring en leeroplossingen zijn we een partner voor scholen bij het vernieuwen en verbeteren van onderwijs. Zo kunnen we samen beter recht doen aan de verschillen tussen lerenden en scholen en ervoor zorgen dat leren steeds persoonlijker, effectiever en efficiënter wordt.

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Musical layers ISBN 978 90 06 43974 8 Vierde druk, eerste oplage, 2019

Remix © ThiemeMeulenhoff, Amersfoort, 2019 Alle rechten voorbehouden. Niets uit deze uitgave mag worden verveelvoudigd, opgeslagen in een geautomatiseerd gegevensbestand, of openbaar gemaakt, in enige vorm of op enige wijze, hetzij elektronisch, mechanisch, door fotokopieën, opnamen, of enig andere manier, zonder voorafgaande schriftelijke toestemming van de uitgever. Voor zover het maken van kopieën uit deze uitgave is toegestaan op grond van artikel 16B Auteurswet 1912 j° het Besluit van 23 augustus 1985, Stbl. 471 en artikel 17 Auteurswet 1912, dient men de daarvoor wettelijk verschuldigde vergoedingen te voldoen aan Stichting Publicatie- en Reproductierechten Organisatie (PRO), Postbus 3060, 2130 KB Hoofddorp (www.stichting-pro.nl). Voor het overnemen van gedeelte(n) uit deze uitgave in bloemlezingen, readers en andere compilatiewerken (artikel 16 Auteurswet) dient men zich tot de uitgever te wenden. Voor meer informatie over het gebruik van muziek, film en het maken van kopieën in het onderwijs zie www.auteursrechtenonderwijs.nl. De uitgever heeft ernaar gestreefd de auteursrechten te regelen volgens de wettelijke bepalingen. Degenen die desondanks menen zekere rechten te kunnen doen gelden, kunnen zich alsnog tot de uitgever wenden.

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Intro • There for You

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ENGLISH EDITION

H4.Noten.01

H4.Noten.01

Summary of notes

H4.Noten.01

Tone duration notes

Authors Joost Overmars Ruth van de Putte

rests

American

British

whole note

semibreve

whole rest

4 beats

half note

minim

half rest

2 beats

quarter note

crotchet

quarter rest

1 beat

eighth note

quaver

eighth rest

½ beat

sixteenth note semiquaver

sixteenth rest ¼ beat

Pitch Tab

œ œ œ œ œ œ œ œ & œ œ œ œ œ Staff / Stave

c

d

G-clef (treble clef)

e

f

g

a

bœ

& #œ

b

c

d

e

f

g

0 0 0

⁄

H3.Noten.07

0 0 0

e

a

a

d

g

b

e

a sharp makes a note higher (to the right on a keyboard) a flat lowers a note (to the left on the keyboard)

f sharp b flat

Time bar number

bar

ä 1 4 œ œ œ œ 2 œ œ œ œ Œ œ œ 3 œ œj œj Ó 4 â bar line

4 œ œ œ œ 4

d

e

™™ â

w repeat mark

3 4 œ œ œ

four-four time

f#

c

4

f

three-four time

b

g

a

f#

b

c

d

e

WWW.THIEMEMEULENHOFF.NL/INTRO

f

b

g

a

b

H3.Noten.09

H4.Noten.01

H4.Noten.01