Impressionism – SCALE? COMPOSER? ONE CHARACTERISTIC
Jazz – SCALE? COMPOSER? ONE CHARACTERISTIC
12 Tone Music – SCALE? COMPOSER? ONE CHARACTERISTIC
Task 1: Carefully LISTEN to the “GAVOTTE” by Sergei Prokovief and answer the questions:
1. Melodic Elements:
– Describe the main melodic features of Prokofiev’s Gavotte. How does the melody contribute to the overall character and mood of the piece?
2. Harmonic Analysis:
– Conduct a harmonic analysis of the Gavotte. Identify and discuss any notable harmonic progressions or key changes, and how they contribute to the piece’s tonal palette.
3. Rhythmic Structure:
– Explore the rhythmic elements in Prokofiev’s Gavotte. How does the composer use rhythm to create a sense of momentum or contrast within the piece?
4. Orchestration and Timbre:
– Investigate the orchestration choices made by Prokofiev in this composition. How does the use of different instruments contribute to the overall texture and atmosphere of the Gavotte?
5. Expressive Elements:
– Discuss the expressive qualities of the Gavotte. How does Prokofiev use dynamics, articulation, and other expressive markings to convey emotion and engage the listener?
Task 2: Listen to this piece of music and answer the questions below:
Which woodwind instrument plays the melody at the start of this extract?
Following this, a different woodwind instrument plays the second phrase. Correctly identify the instrument:
Which playing technique can be heard in the accompanying strings?
1. Listen to Waltzes:
– Start by listening to classical and contemporary waltzes. Pay attention to the 3/4 time signature, distinctive rhythmic patterns, and elegant, dance-like feel.
Actively listen to these waltzes, paying attention to the characteristics of the genre, the rhythmic patterns, and the expressive qualities:
1. Johann Strauss II – “The Blue Danube”
– This is one of the most famous and beloved waltzes, known for its flowing melodies and elegant orchestration.
2. Frédéric Chopin – “Waltz in D-flat Major, Op. 64, No. 1 (‘Minute Waltz’)
– Chopin’s “Minute Waltz” is a lively and virtuosic piece, showcasing the composer’s romantic style.
3. Pyotr Ilyich Tchaikovsky – “Waltz of the Flowers” from “The Nutcracker”
– This waltz is part of Tchaikovsky’s ballet “The Nutcracker” and features a beautiful, enchanting melody.
4. Dmitri Shostakovich – “Waltz No. 2
– Shostakovich’s “Waltz No. 2” is a haunting and evocative piece, known for its melancholic yet captivating atmosphere.
5. Émile Waldteufel – “The Skater’s Waltz”
– This waltz is a delightful and playful composition, often associated with ice skating due to its lively character.
Step 2: Choose a Key:
2. Select a Key:
– Choose a key for your waltz. Common keys for waltzes include C minor, A major, or any key that suits the mood you want to create.
Step 3: Create a Melody:
3. Compose a Melody:
– Develop a melodic idea for your waltz. Waltzes often have graceful, flowing melodies. Experiment with ascending and descending phrases.
4. Consider Phrasing:
– Divide your melody into phrases. Ensure that each phrase has a natural and expressive flow.
Step 4: Harmonize the Melody:
5. Add Chords:
– Harmonize your melody with chords. Experiment with basic triads and seventh chords to create a lush harmonic backdrop.
6. Explore Modulations:
– If you want to add complexity, consider modulating to related keys at certain points in your waltz.
Step 5: Rhythmic Patterns:
7. Establish Waltz Rhythms:
– Use a strong emphasis on the first beat of each measure. Create a rhythmic pattern that feels danceable and suits the waltz style.
Step 6: Create a Second Section:
8. Compose a Trio or Second Section:
– Traditionally, waltzes have a contrasting middle section called the trio. Create a new melody and harmonic progression that complements the first section.
Step 7: Dynamics and Articulation:
9. Add Dynamics:
– Experiment with dynamic changes to add expression. Use crescendos, diminuendos, and accents to shape your phrases.
10. Consider Articulation:
– Explore different articulations such as staccato, legato, and accents to enhance the character of your waltz.
Step 8: Formal Structure:
11. Organize Sections:
– Structure your waltz by organizing the A and B sections (or the main waltz and trio). Decide on the order of these sections.
Step 9: Review and Refine:
12. Listen and Revise:
– Play through your composition and listen critically. Make revisions to improve the flow, balance, and overall musicality.
Step 10: Finalize and Perform:
13. Polish Your Waltz:
– Make final adjustments and polish your waltz. Ensure that each element contributes to the overall character of the piece.
14.Performance:
– Practice and perform your waltz or ask a goo pianist to perform it. Pay attention to interpretation, dynamics, and emotion during the performance.
In today’s lesson, we’re going to learn interesting ways to breathe and stand tall while singing. Plus, we’ll pick a song as a group and share the singing duties. Get ready to have some singing fun! 🎵
Warm-up Exercises:
Vocal Stretching and Body Awakening
Stand up straight. Imagine lengthening your body through each vertebrae in your spine. Pretend your spine and head are being pulled up toward the sky. Point your tailbone towards the ground and the crown of your head towards the sky. As you point your tailbone down you will need to align your body by shifting your pelvis slightly forward.
Relax your body. As you lengthen your body, don’t forget to relax and stay loose. It is not uncommon for your body to naturally tense up as you stand up straight. Relaxing your body will allow your diaphragm to expand and enable you to take a deeper breath.
Keep your chin parallel to the ground. Your ears should be over your shoulders and the crown of your head should be pointed at the ceiling. This position will allow the maximum amount of air to flow in and out of your abdomen.
Rotate your shoulders to the back and down. In a circle, rotate your shoulders forward, up, and then back. Keep your shoulders in the back position. Relax them so that they are slanted down.
Hold your chest high. When your shoulders are slightly back, you will find that your chest naturally rises. Holding your chest high will create more room for your diaphragm to expand. Do not strain or puff out your chest.
Tighten and relax your core. When you are breathing in, your core should be relaxed in order to expand to accommodate the air that you are taking into your body. Your core will tighten as you slowly release this air to project your voice.
Place your arms by your sides. Your arms should be to each side of your body. Keep them relaxed and not rigid. Your hands should be slightly away from your body. Remember to also relax your hands and your fingers.
Avoid locking your knees. Relax your knees and legs. Bend your knees slightly to help remind you not to lock your knees. Locking your knees can interfere with circulation, causing you to become dizzy or lightheaded
Stand with your feet shoulder width apart. You will want to stand with your feet apart but not too far apart. Aim to keep your feet under your shoulders. You can also put one foot slightly in front of the other foot in order to keep your balance
Test your new singing posture on Quizlet.com Then, try singing again in a slouched posture. You should notice that you are able to project your voice much better when your body is in a good singing posture. Don’t worry if it feels foreign or uncomfortable. You will get used to this new posture with time.
Activity 1: Winter Songs Repertoire
– Listen to a selection of winter songs, in your group choose a specific song :
Collaboration Task:
Each group to discuss the shared responsibilities within the group. Group leaders write down the names of your members of the group and their roles.
Plenary:
Why is it important to breathe the right way when we sing?
How does our special breathing called diaphragmatic breathing help us sing better?
How does standing or sitting up straight and in the right position help us sing our best?
Why is it helpful to have good posture when we’re trying to control our breath while singing?
Click on intervals and chose 3 rd column intervals only
Click on difficulty level 1
Plenary:
What is an interval?
How do we count them?
Name 2 different types of intervals
Lesson 4
Lesson objective: Understanding Melodic Motion
What is a Melody?
Melody is a sequence of musical notes played at a certain rhythm within the context of a song. Melodies are characterized by the elements such as pitch, melodic motion, dynamics, and rhythm as showcased below. Some may use melodic motion, or the way in which notes of a melody move in relation to each other, to describe the biggest difference between one melody over another.
Conjunct Motion
Conjunct motion essentially describes a melody that’s written in a way where the phrase rises and lowers in a stepwise fashion, without significant skips. You can hear this gentle rise and fall in Beethoven’s Ode to Joy :
Disjunct Motion
Disjunct motion describes music that rises and falls in a more unpredictable fashion, using significant skips unlike conjunct motion. You can hear this in Chinese National Anthem like where one pitch rapidly shifts to another:
Ascending Melody
As the name suggests, an ascending melody is a line of notes that rises in pitch over time. You can hear a good melody with ascension in Richard Strauss’s Don Juan :
Descending Melody
A descending melody is the opposite from ascending melody, where each note progressively deYou can hear the descending harmonic minor scale in Fly Me To The Moon:
Jump and Skip Melody
A jump and skip melody is probably the most common sort of melodic style you’ll encounter while making music. Instead of moving in a predictable interval upwards or downwards as shown in an ascending or descending melody, these melodies will move from one direction to the other in the same song. You can hear this at work in Yesterday by The Beatles. The melody ascends, before descending:
Rhythmic Melodies
These types of melodies aren’t as concerned with various pitches and rely more heavily on groove or rhythm to keep the listener’s interest. While the pitches in the main chorus melody aren’t overly complex, the cadence of the delivery keeps it interesting:
Arppegiated Melody
This melody is an arpeggio of the backing chord progression, pronouncing the first, third, and fifth scale degrees. We can hear this in the classic song Got To Get You Into My Life , in this case performed by Earth, Wind, and Fire:
Call and Response
This type of melody has one melodic phrase, responding to another, often referred to as a counter melody. Hear this melody in Oh Ah lele song :
Identify different shapes of the melody in Jingle bell rock song:
Lesson 5
Vocal Resonance and Tone Quality
Objective: Exploring the Ranges of different types of voices.
Warm up song:
How high or low is your voice?
Listen to Soprano Voice:
Treble Voice:
Mezzo Soprano:
Alto:
Lesson 6
Lesson Objective: By the end of this lesson, you will become a voice detective and learn to recognize different types of voices in songs. Get ready to discover the amazing variety of sounds that voices can make!
Activity 1: Listen to six extracts for SOLO VOICES AND ACCOMPANIMENT. As you listen to each extract, see if you can identify what TYPE of voice is singing, choosing from the list below and using each given voice type once.
Warm up song: (start from 1. 46 min)
Let`s sing together a new Winter song today:
Lesson 7
Lesson Objective:
To learn about Diction and Articulation in Singing
To be able to identify Syllabic and Melismatic Singing
Stater activity:
Sing the following Tongue Twisters:
Term
Definition
Articulation
How you play or sing individual notes. It’s like the “accent” or “shape” of each sound, whether it’s short and crisp or smoothly connected to the next note. Think of it as the way you pronounce musical notes.
Diction
How clearly you sing or speak the lyrics. It’s about making sure every word is easy to understand. In music, it’s like pronouncing each lyric with precision, so the audience can catch every word and emotion you’re expressing.
Task 1:
Discuss the following questions with your partner:
1. Why is it important for musicians to play or sing each note in a way that stands out, whether it’s short and snappy or smoothly connected? How does this affect the feeling of the music?
2. How does speaking or singing the words of a song clearly (good diction) make a performance more enjoyable for people listening? Can you think of a song where you struggled to understand the words?
3. Imagine you’re playing a musical instrument or singing in a choir. How might the way you play or sing change based on the style of music you’re performing? Can you give examples?
4. Have you ever heard a song where the singer didn’t pronounce the words clearly, and it was hard to understand what they were saying? How did it make you feel as a listener?
5. If you were teaching a friend how to play an instrument or sing a song, what advice would you give them about making sure each note or word is heard clearly? Why do you think this advice is important?
Syllabic and Melismatic singing
Syllabic– Singing where each syllable of the lyrics corresponds to one musical note. It’s like matching each word with a single note, making the melody follow the natural rhythm of the lyrics.
Melismatic– Singing where a single syllable is extended over several different notes. It’s like stretching out a word, creating a decorative and expressive effect by moving between different pitches within that one syllable.
Listen to the example:
Identify the sections with Melismatic and Syllabic singing:
In Berlioz’s Requiem, how does the use of large orchestral and choral forces contribute to the grandeur and emotional impact of the composition? Can you identify specific moments in the piece where this combination is particularly effective in conveying the intended solemnity and power? (The use of large orchestral and choral forces in Berlioz)
Task 1: The Emergence of the Classical Aesthetic (c.1730-1830)
1. What key stylistic features distinguish the Classical period from preceding musical eras, and how did they contribute to the emergence of the classical aesthetic?
2. Discuss the influence of Enlightenment ideals on the development of the classical aesthetic in music. How did composers of this era embody and express these ideals in their compositions?
3. Examine the role of patronage and the changing socio-political landscape in shaping the music of the Classical period. How did the support of aristocracy and the rise of the middle class impact the style and content of compositions during this time?
Task 2: The Emergence of Sonata Form
1. What were the key musical and structural innovations that led to the development and popularization of sonata form during the Classical period?
2. How did composers like Haydn, Mozart, and Beethoven contribute to the evolution and refinement of sonata form? Can you provide specific examples from their compositions?
3. Explain the typical characteristics and formal elements of sonata form, and discuss how it revolutionized the organization and expression of musical ideas in the late 18th and early 19th centuries.
Task 3: The typical Classical Works
1. What are the defining characteristics of a typical Classical-era composition in terms of form, structure, and instrumentation? Provide specific examples from well-known works.
2. How did the concept of balanced phrases and clear, elegant melodies play a central role in shaping the musical style of Classical compositions? Can you identify examples of this in specific pieces?
3. Discuss the role of patronage in the creation and dissemination of Classical music. How did the relationship between composers and patrons influence the content and purpose of their works?
4. Examine the influence of Enlightenment ideals on the thematic content and emotional expression in Classical compositions. How did composers use music to reflect or respond to the intellectual and philosophical trends of their time?
5. Compare and contrast the compositional techniques and stylistic elements of two well-known Classical works from different composers or subgenres. What similarities and differences can be identified in their approach to melody, harmony, and form?
Lesson 2: Exploring Symphonies
Starter:
What emotions or moods do you think the composer is trying to convey in the 3rd movement of ‘Harold in Italy’ by Hector Berlioz? How does the music contribute to creating this atmosphere?
Task 1:
1. What are the typical movements found in a classical symphony, and how does the structure of each movement differ from one another?
2. Explain the concept of sonata-allegro form, and provide an example from a well-known symphony where this form is used in the first movement.
3. In a symphony, what is the role and structure of the development section, and how does it contribute to the overall musical narrative?
4. Describe the characteristics and purpose of the slow movement in a symphony. Provide an example of a well-known symphony with a notable slow movement.
5. How does the structure of a symphony’s finale differ from the preceding movements, and what techniques might a composer employ to create a satisfying conclusion to the work?
Task 2:
1. How did Mozart and Haydn contribute to the development and evolution of the classical symphony genre? Discuss specific characteristics or innovations that are evident in their respective symphonic compositions.
2. Compare and contrast the compositional styles and techniques of Mozart and Haydn in their symphonies. Provide specific examples from their works to illustrate your points.
3. Explore the influence of cultural and historical contexts on the symphonic compositions of Mozart and Haydn. How did the socio-political environment of their time impact their approach to symphonic writing? Provide specific examples from their symphonies to support your analysis.
Lesson 3
The Romantic Aesthetic, Absolute Music and French Romanticism
Starter:
How did the societal and cultural changes during the Romantic period influence the compositions and themes of music from this era? Provide specific examples from the documentary to support your answer
Task 1:
1. How does the Romantic aesthetic differ from the classical approach to music composition, particularly in terms of expressing emotion and individualism within a musical work?
2. Can you explain the concept of “Romanticism” and concept of music expressing in the context of the Romantic era, and discuss how composers utilized this form to convey emotional depth and complexity?
3. In what ways did French Romanticism influence the music of composers, writers, artists, provide specific examples)? How did they incorporate elements of French culture and literature into their compositions, art works?
4. Describe the significance of compositional devices such as thematic fragmentation, no repetitions, stretching the sonata form in Romantic-era music. How did composers like Franz Liszt and Richard Wagner, Gluck employ this technique to enhance the emotional impact of their works?
5. How did French Romantic composers use programmatic elements in their music to create vivid narrative and emotional landscapes? Provide specific examples.
Task 2
1. How did Hector Berlioz’s early life experiences and upbringing contribute to his decision to pursue a career in music composition? Provide specific details from his biography to support your answer.
2. What were some of the key milestones and challenges in Hector Berlioz’s early career as a composer? How did these experiences shape his artistic vision and approach to music composition? Provide specific examples from his early life and career.
Task 3
1. Describe the storyline or narrative that unfolds in the first movement of Berlioz’s “Symphonie fantastique.” What are the key emotions or events portrayed in this section of the symphony?
2. In the third movement of “Symphonie fantastique,” what musical elements or themes represent the idée fixe, and how does Berlioz use them to convey a sense of obsession and longing?
3. Explain the events that take place in the final movement of “Symphonie fantastique.” How does Berlioz bring the symphony to a dramatic conclusion, and what emotions or themes are highlighted in this concluding section?
Lesson 4
Exploring ‘The Idee Fixe’ (fixed idea) and its function
Annotated score:
Task 1:
1. How does Berlioz’s idée fixe function as a unifying element throughout the Symphonie fantastique, and in what ways does its transformation reflect the protagonist’s emotional journey?
2. Can you identify specific moments in the Symphonie fantastique where Berlioz employs the idée fixe to represent the beloved, and how does the orchestration and treatment of this musical idea contribute to the overall dramatic narrative?
3. In what ways does Berlioz’s use of the idée fixe in the Symphonie fantastique challenge traditional symphonic structures of the time, and how does this innovative approach influence the listener’s engagement with the music and the storyline?
Task 2:
These examples showcase how composers across different eras have used recurring motifs or musical ideas to enhance thematic coherence and emotional impact in their compositions. Add them to your playlist and listen.
1. Richard Wagner – Leitmotif
Wagner is renowned for his extensive use of leitmotifs, which are recurring musical themes associated with specific characters, objects, or ideas in his operas. The leitmotif serves a similar purpose to Berlioz’s idée fixe in creating a musical thread that ties the narrative together. An example can be found in Wagner’s The Ring Cycle.
2. Gustav Mahler – “The Farewell” motif
Mahler often used recurring motifs in his symphonies to convey deep emotional or philosophical ideas. In his Symphony No. 9, the “Farewell” motif is a poignant example. It appears in various forms throughout the symphony, representing themes of farewell and resignation.
3. Igor Stravinsky – “Rite of Spring” – Dance of the Earth:
Stravinsky’s groundbreaking ballet “The Rite of Spring” features recurring rhythmic motifs that tie together various sections of the work. The Dance of the Earth, in particular, contains a repeated rhythmic idea that becomes a driving force in the composition.
Lesson 5
Lesson Objective:
To be able to identify all the musical elements in the score, including the composer’s intentions, feelings, and emotions, in order to explain and understand the symphony Fantastique.
Full Analysis Table:
Task 1
Read the music analysis table and pp. 140-147 and identify all the elements in the score. Be able to retain the given information in your own words.
Refer to the following music elements: Dynamics, Texture, Tempo, Metre, Rhythm, Structure, and Tonality; Harmony and Tonality.
Lesson 6
Lesson Objectives:
Learn how to write a Context Paragraph
Starter: Highlight and copy into your textbook unfamiliar words and terms for you, then try to find their definitions
Task 1:
A context paragraph typically provides background information or sets the stage for the reader, helping them understand the subject or situation before delving into more specific details. Read HERE are key elements that a context paragraph may include:
Task 2: Look at the exam questions HERE and prepare essay plans for all the exam questions. Look at the given wider listening list below and add them into your essay.
