Topic outline

  • UNIT 1: MUSICAL SCALES

    Key unit competence:

    Be able to sol-fa musical scales.

    Introductory activity

    1. In groups of three, look at the key board from C to B and answer the following

    questions:

    a. How many white keys are there?

    b. How many black keys are there?

    2. The distance between the nearest keys is called half-step.

    Consider now the white keys:

    a. How many half-steps are there in C scale?

    b. How many whole steps are there in C scale?

    c. Locate the steps and half steps on the key board.

    1.1 Diatonic and chromatic scales

    1.1.1. Diatonic scale

    Learning Activity 1.1.1

    Consider the following stave:

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    a. Identify the tones and semitones.

    b. In the pattern from C to C, how many tones and semitones are there?

    What is a diatonic scale?

    A diatonic scale consists of a pattern of whole tones (whole steps) and half tones

    (half steps)—it has five whole steps and two half steps. The notes of the diatonic

    scale are referred to as scale degree. The successive scale degrees are numbered

    1,2,3,4,5,6,7, 8. For instance if the first note of an octave is C, then the pattern of

    notes will be as follows:

    Whole tone-Whole tone-Half tone- Whole tone - Whole tone - Whole tone -Half

    tone

    = (W-W-H-W-W-W-H)

    Remember that a whole tone consists of an interval of two half tones (two half steps);

    for example, the intervals from C to D or from E to F# are whole tones. That is, there

    is one and only one other note between those two tones (notes).`

    A half tone consists of an interval between two directly adjacent notes; for example,

    the intervals from C to D♭ or from E to F are half tones. That is, there can be no notes

    in between two notes which are separated by a half step.

    On the keyboard these tones look as follows:

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    A diatonic scale on the musical staff

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    From C to D there is a whole tone.

    From D to E there is a whole tone.

    From E to F there is a ½ tone.

    From F to G there a whole tone.

    From G to A there is a whole tone.

    From A to B there is a whole tone.

    From B to C there is a ½ tone.

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    On a keyboard diatonic scale is as follow.

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    1.1.2 Chromatic scale

    Learning Activity 1.1.2

    1. How many half steps are there in a series of C scale?

    2. On a staff, use sharps to show all the succession of half steps in ascending order.

    3. Downwards in C scale, use flats to show all the succession of half steps

    What Is a Chromatic Scale?

    A chromatic scale consists of all the 8 tones in the do-re-mi scale plus all the additional

    half-tones that are left out when you sing do-re-mi.

    In other words, the 12 tones in a chromatic scale are a half-step or semi-tone apart.

    C Chromatic Scale as you go up: C C# D D# E F F# G G# A A# B C

    C Chromatic Scale as you go down: C B B♭ A A♭ G G♭ F E E♭ D D♭ C

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    On the keyboard, every key is played consecutively; you don’t jump any key.

    On a keyboard, ascending chromatic scale uses sharps

    (C-C#-D-D#-E-F-F#-G-G#-A-A#-B-C)

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    On a keyboard descending chromatic scale uses flats

    (C-D♭-D-E♭-E-F-G♭-G-A♭-A-B♭-B-C)

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    1.2 Major and minor scales

    Learning Activities 1.2.

    Individually write notes on a musical scale from C to another C above.

    Play these notes on the keyboard (use the white keys only).

    By brainstorming answer the following questions:

    (i) How many half tones do you notice?

    (ii) How many whole tones do you notice?

    Use a sharp to complete the series of tones and semitones in

    G scale and in (ii) E scale. W W H W W W H (W=Whole tone H=Half

    tone).

    1.2.1 Major scale

    A major scale consists of eight notes organized in a diatonic fashion. It has two half

    tones (half steps) and five whole tones (whole steps). So the pattern of major scale

    is organized as follows:

    W W H W W W H

    W=Whole tone

    H=Half tone

    C major scale

    The first scale degree (first note of the scale) is designated by the symbol 1 and is

    known as the tonic. The first note (or tonic) of C major scale is C. So scale degree

    names in any Major key are:

    1st scale degree=Tonic

    2nd scale degree =Supertonic

    3rd scale degree =Mediant

    4th scale degree =Subdominant

    5th scale degree =Dominant

    6th scale degree =Submediant

    7th scale degree =Leading tone

    8th scale degree =Tonic

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    You have noticed that always between 3rd and 4th degree as well as between 7th and

    8th degree (on the staff and on the keyboard) there are half tones/steps; and the note

    on the 8th degree is the same as the note on the 1st degree but an octave high.

    See below how the major scale is organized on the keyboard

    Like on the staff above, there are half tones (steps) between E and F and between B

    and C.

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    To find the rest of the notes in all major scales (keys) starts with the tonic (the firsts

    note of the scale) and go up respecting the following pattern: Whole tone, Whole

    tone, Halftone, Whole tone, Whole tone, Whole tone, Half tone (W-W-H-W-W-W-H)

    Rule: All major scales have the following pattern of whole tones (steps) and half

    (tone) steps: half tones occur always and only between 3-4 and between 7-8. All

    other tones are whole tones.

    It is worth to know that starting a major scale on note names other than C requires

    accidentals. Remember that accidentals are musical symbols which are used to raise

    or lower pitches.

    Remember the importance of these accidentals

    A Sharp (#) raises a half tone (half step)

    A Flat (♭) lowers a half tone (half step)

    Consider the examples below:

    G major (the tonic is G)

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    D Major Scale (the tonic is D)

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    You have noticed that to respect the same patterns of half tones and semi tones in

    major scales accidentals sharp (#) and flat (♭) are used.

    You can start a major scale from any note provided that you respect the pattern

    above indicated. When the key signature is used the accidentals in the middle of the

    staff are replaced by the key signature.

    See examples below:

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    • Major scales spelling


    The following guidelines will help you to spell correctly the major scales

    Individually, write the eighth notes letter name on the staff, starting with the note

    that has the same name as the scale you are going to build.


    If the scale starts on an accidental, place the sharp or flat immediately in front of

    both1 and 8. When this is done, do not change the spelling of 1 and 8.

    Add accidentals to form the correct whole steps-half step pattern. Scales with sharps

    do not use flats, and scales with flats do not use sharps.


    Example: How to construct scale starting with a flat. (E♭ major scale)

    Step 1: Write scale degree starting with and ending with E an octave high.


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    As you can see there is:

    A Whole tone between degree 1 and 2 (between E♭ and F)

    A Whole tone between degree 2 and 3 (between F and G)

    A Half tone between degree 3 and 4 (between G and A♭)

    A Whole tone between degree 4 and 5 (between A♭ and B♭)

    A Whole tone between degree 5 and 6 (between B♭ and C)

    A Whole tone between degree 6 and 7 (between C and D)

    A Half tone between degree 7 and 8 (between D and E♭)

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    g

    Note that some of the scales we have seen above are enharmonic. It means they

    have notes which are identical but spelt differently. Thus, C# major and D flat

    major are just different ways of describing the same notes. The same F# major is

    the same as G flat major; B major is the same as C flat Major.

    Remember that scales are named after their tonics, thus the tonic of the scale of C

    is the note C, and the scale of G is the note G etc.

    Application Activity 1.2 (a)

    1. Write the major scale pattern starting from the note indicated in the staves

    below. Don’t use the key signature and remember to respect the scale pattern

    (W-W-H-W-W-W-H). Insert the accidentals as needed.

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    Now, on the keyboard, play the ascending and descending scales you have done

    Sol-fa syllables

    Sol-fa (solfege or solfegio) is a system for sight singing music that applies standard

    syllables to the notes. Singing with solfege syllables make it easier to here and

    remember the sound of intervals. The following syllables are common.

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    Application activity 1.2. (b)

    Sol-fa and sing the melodies

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    1.2.2 Minor scales

    Learning Activity 1.2. (c)

    1. In groups construct C scale and illustrate the series of tones and semi tones.

    2. Play it on the keyboard and sing it.

    3. Start from the sixth degree of C scale (it is A) and illustrate the series of tones

    and semitones.

    4. Play up to A above using the white keys only.

    5. What is the difference between both scales according to the series of tones

    and semitones?

    6. Discuss the sounds you get when you start from C and when you start from

    A.

    7. Do you know how to call the new scale from A to A above?

    8. Do the same for G major, D major and for the scales starting with their

    respective sixth notes. What about the key signatures of these both kinds of scales?

    The minor scales get its notes from the major scale. The minor scale begins on

    the 6th scale degree of the major scale and then follows those same notes in the

    same order. For instance, the sixth note of C major is A. If we start from A and end

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    C major scale: W-W-H-W-W-W-H

    A minor scale: W-H-W-W-H-W-W

    The first scale degree (first note) of A minor scale is designated by the symbol 1 and

    is known as the tonic. The first note (or tonic) of A minor scale is A. So scale degree

    names in a natural minor are:

    1st scale degree=Tonic

    2nd scale degree =Supertonic

    3rd scale degree =Mediant

    4th scale degree =Subdominant

    5th scale degree =Dominant

    6th scale degree =Submediant

    7th scale degree =Subtonic

    8th scale degree =Tonic

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    be the same as in the examples above.

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    • Relative major and minor

    Major and minor keys with the same key signature (like in the examples above) are

    known as relative Major and Minor keys. To know how to determine the minor

    relative of a major key, you have to go down three half steps. Hence C major has A

    minor as relative. G major has E Minor as relative.

    If you take C major scale and compare it to A minor scale, you will see that they have

    exactly the same notes. G major notes are the same as E minor notes etc.

    Compare:

    • C major scale: C, D, E, F, G, A, B

    • A minor scale: A, B, C, D, E, F, G

    • G major scale: G, A, B, C, D, E, F#

    • E minor scale: E, F#, G, A, B, C, D

    Note that C major and its relative A minor scale don’t have sharp or flat.

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    In groups sol-fa and sing the melodies

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    Major and minor Parallel relationship

    When a major and a minor scale begin on the same tonic note we say that they are in

    parallel relationship. The three examples below show major scales and their parallel

    minors.

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    Application activity 1.2.(e)

    Sol-fa and sing the melodies

    1. Construct the ascending parallel minor scales of the following major scales.

    Remember that the key signature should change.

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    • Types of Minor Scale

    Although there is only one kind of major scale, there are three kinds of minor

    scale – natural, harmonic and melodic.

    A. Natural minor scale

    A natural minor scale is the one we have been studying above. It consists of 8

    notes organized in the pattern of Whole-Half-Whole-Whole-Half-Whole-Whole

    (or WHWWHWW). All natural minor scales should follow this patter. On the staff, if

    we start with A minor, this pattern is as follows:

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    B. Harmonic minor scales

    Learning Activity 1.2. (c)

    1) Construct the scale of A minor and E minor rising the seventh degree by a

    half step.

    2) Play them on the keyboard.

    3) What is the difference between the scales in 1 and the others you know?

    The harmonic minor scale differs from the natural minor scale by only one half

    step—the seventh degree is raised a half step. Note that this scale creates the

    interval of an augmented 2nd between the 6th and 7th scale degree. So the pattern

    of harmonic minor scale is as follows:

    Whole- Half-Whole-Whole-Half-1½-Half (W-H-W-W-H-1½-H). It means you take

    the pattern of natural minor (W-H-W-W-H-W-W) and raise the note on the seventh

    degree a half step. Then you get (W-H-W-W-H-1½-H).

    Note that 1½ means a whole tone and a half tones (W&H).

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    C. Melodic minor scales

    Another variation on the minor scale is the melodic minor scale that has a different

    pattern depending on whether you are going up the scale or coming down. The

    sixth and seventh degrees of the scale are raised a half step when ascending and are

    lowered a half step when descending. It’s clear that the descending scale is the same

    as the natural minor scale. A melodic minor ascending and descending patters are

    as follows:

    The ascending patterns is: W-H-W-W-W-W-H

    The descending pattern is the Natural Minor Scale: W-W-H-W-W-H-W

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    Application activity 1.2. (f)

    1. Without using a key signature write the specific type of minor scale below.

    Remember that the minor scale key signature comes from its relative major

    key signature.

    E Melodic minor (ascending and descending).

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    1.3 Transposition

    Learning Activity 1.3.

    (i) Sing a song of your choice.

    (ii) Sing the same song in another tone higher than the first.

    (iii) Now sing it in a lower tone than the first.

    (iv) Discuss the relationship between the three activities you have done above.

    Transposition is changing the key of a piece of music, which affects notes or chords

    positions.

    For example, let’s say you play the note C in the key of C which is the key tonic note.

    When you transpose that note to the key of D you now play D which is the tonic

    note for the key of D. In this method, you count the half steps between the first key

    and the second, and then you move each note up or down the necessary numbers

    of steps.

    Consider the following melody in the key of C. If we transpose it to D, we will have to

    move two half steps high.

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    Things to remember before transposing any piece of music:

    -- Use the correct key signature.

    -- Move all the notes to the correct interval.

    -- Take care with the accidentals.

    Note that when you are transposing, the intervals never change. never transpose

    from minor to major or vice versa.

    In the examples below, see how some accidentals have been affected after

    transposition of a melody from C major, with some accidental, to D major.

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  • UNIT 2 :SIMPLE AND COMPOUND TIME SIGNATURES

    Key unit competence:

    Be able to sol-fa notes according to their pitches and notes

    Introductory activities:

    1. In group discuss:

    (i) Time signature

    (ii) Give different types of time signatures.

    2. What do you understand by ‘beat unit’?

    3. Give different musical notes you know and describe their relationships.

    4. What are the beat units in the following two fractions 6/8 and 4/4?

    2.1. Time signatures

    Learning Activity 2.1

    Consider the staves below:

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    1. Put treble clef

    2. How many beats allocated between to bars?

    3. considering a crotchet as a unit value, what time signature may you suggest

    2.1.1 Quaver and semi-quaver

    A quaver is a drawn like crotchet with a tale while a semi quaver is drawn like a

    crochet with two tales. See the following examples. Two quavers equal one crotchet

    and four semi quavers equal one crotchet.

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    When quavers are written together can be beamed as follows:

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    When semi-quavers are written together can also be beamed as follows:

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    Application activity 2.1

    Draw claps of the notes below and then sing using ta or ti…..

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    In pairs, draw your own musical notes (mix quavers and semi quavers) and then

    clap the rhythm before the peers.

    The quavers in the staff below are missing their flags or beams. Draw the missing

    flags and beams.

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    In music, a dotted note or rest has a small dot written after it. The dot lengthens the

    value (duration) of the note or rest by adding a half of its original value.

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    Three-eight-time signature 3/8

    To better count the beats in compound time signatures; let us introduce a new

    simple time signature which is 3/8. This 3/8-time signature is a simple time

    signature whose beats are governed by quavers. For example one beat equals one

    quaver. Since there are three quavers in 3/8 measure, there are also three beats.

    Consider the figure below:

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    In 3/8 one quaver equals one beat. So the following measure can beat beaten as

    follows:

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    By respecting the time signature indicated above:

    -- What could be the value of a dot in each measure?

    -- What is the duration of dotted note?

    In music, a dotted note or rest has a small dot written after it. The dot lengthens

    the value (duration) of the note or rest by adding a half of its original value.

    In compound time signature the top number is divided by 3 to determine how

    many beats are in each measure.

    Common Compound Time Signatures

    The chart below shows some frequently used compound time signatures

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    Notice when the bottom number is 8 notes in compound meter are grouped in

    three quavers (eighth notes) which are equal to a dotted crotchet (quarter note). 6/8

    is classified as a duple because two dotted crotchets lead the beats. Duple means

    two beats per measure.

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    Quadruple means four beats per measure.

    The beat unity of the compound times (6/8; 9/8 and 12/8) is a dotted crotchet. In

    6/8 we have two beats per measure governed by two dotted crotchets, in 9/8 we

    have three beats per measure governed by three dotted crotchets in 12/8 we have

    four beat per measure governed by four dotted crotchets.

    Since 6/8 time signature is a double of 3/8, its beats will also be a double of the ones

    we have in 3/8. Hence, beating time of the compound time signature can be made

    easy by imitating the one we use for 3/8 time and then multiply by 2 for 6/8 time,

    three for 9/8 time and then four for 12/8 time.

    See the examples below.

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    Note that beat 1 and beat 4 are strong

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    Syncopation or syncopated rhythm is a variety of rhythms which are unexpected

    making longer notes falling on the weak parts of the bar or when the off-beat is

    emphasized.

    Normally, in music, the down beat is emphasized or accented; it is a strong beat. But

    when this first beat is replaced by a silence and the music starts on the second beat,

    the off-beat, which is weak, we say that there is syncopation since this second beat

    (which is normally weak) has been emphasized.

    In any time, signature, there are strong beats and weak beats. In the example below

    there is syncopation because the off-beats (weak beats) have been emphasized.

    Normally in four-four time (4/4) the first and the third beats are strong while the

    second and the fourth beats are weak.

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    When rests on the beats are followed by quavers (eight notes) on the second half of

    each beat in a melody.

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    b

    2.5. End unit assessment

    1. Compare simple time signature and compound time signature.

    2. What do you understand by:

    a. Dotted notes and dotted rests?

    b. Duple, triple and quadruple?

    c. Syncopation?

    3. Sol-fa the notes on the staves below and perform.

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  • UNIT 3:CHORDS, DYNAMICS AND TEMPO

    Key unit competence:

    Be able to compose songs in major and minor mode and sing them respecting

    dynamics and tempo.

    Introductory activity:

    1. In group sing any song you know in ten diff erent ways indicated below,

    then discuss:

    a. Moderate speed

    b. Slowly

    c. Very slowly

    d. Quickly

    e. Very quickly

    f. In a low voice

    g. In a middle voice

    h. In a high voice.

    i. In a very high voice

    2. Below we have three notes (C-E-G).

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    a. In your group, you are going to play and sing the three notes

    simultaneously.

    b. Put a fl at on E (=Eb) and again play and sing simultaneously.

    c. Now compare the two sounds you get after singing the two sections. i.e.

    (C, E, G and C, Eb, G).

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    A triad is a chord consisting of a root tone, the tone two degrees higher, and the

    tone five degrees higher in a given scale sounded simultaneously; a bottom note is

    known as root, a middle note is a 3rd and a top note is a 5th.

    How to make a triad?

    Suppose the first note start from C. Write the first note (root) at the bottom and count

    up 3 to get the next note a 3rd (include the starting note when you are counting)

    (in our example, 3rd notes up from C is E). Now start again at the bottom note and this

    time count up 5 (5th notes up from C is G). So, to build a triad on C we have used the

    notes C-E-G.

    Below is how a triad looks like on musical staff and keyboard.

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    Suppose the first note starts on F

    So the root is F, the next note is A and the last note is C. So to build a triad whose

    root is F we have used the notes F-A-C. Below is how it looks like on the staff and

    keyboard.

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    3.1.1. Minor and major triads

    a. Major Triad

    As we have seen a major triad is created by taking a root note and combining it

    with a major third and a perfect fifth. Thus a major triad can also be described as

    a major third interval (2 tones) with a minor third interval (1tone and semi-tone) on

    top.

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    If we take C as the fi rst note (a root) we shall have the following major triad.

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    3.1.2.Diminished and augmented triads

    Apart from major and minor triads, we have also two other triads qualities which are

    diminished and augmented triads. A diminished triad is built with a m3 and a dm

    5 above the root.

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    3.1.3. Inversion of triads

    Inverting triad is writing its note in other ways. The examples we have seen above

    are written in root position.

    Consider the examples below C as the fi rst note (the root).

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    A chord is a group of three, four or more notes played simultaneously. There are

    diff erent types of chords. The most common chords are triads. The common used

    chords are major and minor chords.

    3.3.1. Major chords

    A major chord consists of a root, a major third and a perfect fifth. For example, the

    C Major chord includes the note C-E-G. The E is a major third above the C; the G is a

    perfect fi fth above the C. It is founded as Major triad.

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    Below is how to build perfect major chords on every note of the scale

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    3.3.2. Minor chords

    The main difference between a major chord and a minor chord is the third that

    modifies the number of tones and semi-tones.

    In group of four discuss what could happen on third when making minor chord.

    Below we have a minor triad chord.

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    Something to remember: the minor chord is the same as the major with the same

    letter name except the 3rd degree is fl atted in the minor chord.

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    3.3. Diatonic chords

    Learning Activity 3.3.

    Consider the following scales:

    3. CDEF#GABC

    4. CDEF#GABC

    5. GABC#D#EFG

    6. GABC#D#EFG

    a . Identify the notes that do not belong to the above fi ve diatonic scales,

    b. Build the triads based on

    1. C tonic.

    2. G tonic.

    Diatonic chords are chords whose notes are made from the note of the particular

    scale, being minor or major. It means all notes of these chords are found inside that

    particular scale; no notes outside the scale.


    3.3.1. Major Key diatonic triads/chords

    Taking C major as an example, we can show the seven types of diatonic triads that

    occur on each degree of major scale.

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    Use of roman numerals

    The Roman numeral indicates the scale degree of the chord root; e.g.: (I, ii, iii, IV V,

    vi, viio)

    Triad/ Chord quality are indicated as follows:

    Major is upper case: I, IV, V

    Minor is lower case: ii, iii, vi

    Diminished is lower case with an added º: vii°

    Remember that, this pattern I, IV, V (major chords), ii, iii, vi (minor chords) and viio

    (diminished chord) is common to all major keys.

    3.3.2. Minor key diatonic triads

    Taking A minor natural as an example, we can show the seven types of diatonic

    triads that occur on each degree of the minor scale.

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    Use of roman numerals

    The Roman numeral indicates the scale degree of the chord root e.g.: (i, iio,III,iv,v,VI,

    VII).

    Triad/ Chord quality are indicated as follows:

    - Minor is lower case: i, iv, v

    - Major is upper case: III, VI, VII

    - Diminished is lower case with an added º: ii°

    Notice that these are the same diatonic chords of C Major. Only the Roman numerals

    and their qualities have shifted over by the notes (or six depending on which

    way you go) to accommodate the relative minor key of A.

    Remember that, this pattern i, iv, v (minor chords) III, VI, VII (major chords) and iio

    (diminished chord) is common to all natural minor keys.

    Application activity 3.3 (a)

    1. In C major key which triads are minor?

    2. In A minor key which triads are major?

    3. Using notes of the C major scale, build chords on a very scale degree.

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    3.3.3. Primary chords

    Primary chords or I IV V chords are the three most used chords.

    For example, in the key of C major the primary chords are:

    C (I), F (IV) and G (V).

    In D major, the primary chords are:

    D (I), G (IV) and A (V).

    Major key diatonic chord names are:

    - i chord = Tonic

    - ii chord = Supertonic

    - iii chord = Mediant

    - iv chord = Subdominant

    - v chord = Dominant

    - vi chord = Submediant

    - vii chord = Leading Tone

    So the primary chords are:

    - i =Tonic

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    3.4. Dynamics and tempo

    Learning activity 3.4

    1. In a group of fi ve learners choose your favorite song and perform it in the

    following three ways:

    a. slowly

    b. moderate speed

    c. quickly

    2. Perform again the same song in the following three ways:

    a. Low voice

    b. Middle voice

    c. High voice

    3. Appreciate the diff erent ways of performances

    Both dynamics and tempo direct the performer or conductor during music

    performance to which speed or loudness a piece of music is to be performed.

    1. Dynamics

    The following combinations are possible, going from softest to loudest:

    k

    k

    fp=Forte piano= begin the note loud, but drop it to soft immediately.

    sf/sfz= sforzando= forced, accented, sudden accent on a single note or chord.

    sfp=sforzando piano=sudden accent followed immediately by soft.

    fp=forte piano= loud followed immediately by soft.

    Words used to indicate changes in dynamics. These are qualifi ed terms used to

    indicate the mood, degree intensity or style.

    - Fortissimo piano = very loud and then immediately soft.

    - Marcato = stressed, pronounced.

    - Pianoforte= soft and then immediately strong.

    - Smorzando=dying away.

    - Agitato= agitated.

    - Animato=animated.

    - Dolce= sweetly.

    - Expressive=expressively.

    - Energico= energetically.

    Articulation

    In music, articulation refers to the musical direction performance technique which

    aff ects the transition or continuity on a single note, or, sometimes—they (articulations)

    mark the strength of individual notes. They can be placed above or below

    the notes.

    Below are some of the articulations we use in music

    Slur is a symbol indicating that two or more notes it embraces are to be played or

    sung without separation. These notes are played in legato style.

    w

    f

    l

    Tempo can also be indicated by using the Italian words to approximate the speed.

    Grave= extremely slow and solemn (20–40 BPM)

    Largo= slow (40–60 BPM)

    Lento = slow the same as Largo. (40–60 BPM)

    Larghetto =a little faster than largo and Lento (60–66 BPM)

    Adagio = Moderately slow (literally, "at ease") (66–76 BPM)

    Andante=at a walking pace, moving along/walking tempo (76–108 BPM)

    Andantino=slightly faster than andante

    Moderato= moderate pace(108–120 BPM)

    Allegretto=moderately fast/slower than allegro (but less so than allegro)

    Allegro=fast, quickly and bright (120–168 BPM)

    Vivace= fast/quickly and lively (≈140 BPM) (quicker than allegro)

    Vivacissimo =very fast and lively

    Allegrissimo=very fast

    Presto=very fast (168–200BPM)

    Prestissimo =extremely fast (more than 200 BPM)

    Additional terms

    A piecere= (also known as adlibitum in latin) the performer may take liberties with

    regard to tempo and rhythm; literary at pleasure.

    Gradual change in tempo

    Often a tempo will change gradually. Gradual accelerations or decelerations in

    tempo are indicated by:

    s

    Terms used to indicate simultaneous reduction of speed (tempo) and volume.

    Mor. Morendo=dying away

    Cal. Calando =decreasing tone and speed

    Smorz. Smorzando=dying away

    Incalzando=increasing tone and speed

    Application activity 3.4. (a)

    1. Draw lines connecting each musical term or symbol to its correct

    defi nition. First word is done for you.

    l

    2. Solfa and sing respecting dynamics and tempo

    h

    3. Repeat signs

    Repeat signs are used to diorect the performer to which section of the music should

    be repeated.

    How to follow repeat signs?

    Repeat Sign

    Two dots before a double bar form a repeat sign. If a repeat sign occurs at the end

    of the piece, it indicates that you should repeat the entire piece of music once from

    the beginning up to the end.

    d

    k


    k

    Inverted repeat

    To play the inverted repeat, you play to the original repeat, then you go back to the

    inverted repeat and play/sing to the end. In the example below the inverted repeat

    sign means that you should skip the fi rst measure when you repeat the piece.

    l

    Alternate Endings (1st and 2nd ending)

    A bracket and number are used to show the performer that there are multiple endings

    for a piece of music. You should play/sing though the fi rst ending, and then

    return to the beginning. Then play/sing through the piece again skipping the fi rst

    ending; play/sing the second ending until the end. Third and higher ending are

    also possible.

    k

    Da Capo (D.C.)

    Da Capo (abbreviated D.C.) means go back to the beginning of the piece and

    repeat.

    To perform a D.C. you play/sing until you reach to D.C. then go back to the

    beginning then you play/sing from there until the end of music.

    j

    Dacapo al Coda (D.C. al Coda)

    To perform ‘Dacapo al Coda (D.C. al Coda)’ play/sing until you reach D.C. al Coda

    , go back to the beginning and play to the Coda sign( ); then skip, and play the

    CODA (a short ending section).

    l.

    k

    ber of measures at the end of the piece

    d

    k

    j

    l

    d

    l

    a. Writing triads in four parts

    There are four main voice types:

    - The top voice is soprano (high women’s voice)

    - The next lowest voice is alto (low women’s voice)

    - Then comes the third voice, tenor (high men’s voice)

    - The lowest is bass ( low men voice)

    The term voice and part are used interchangeably to help distinguish the voices

    when four parts are written:

    The soprano and alto are written on the top staff and tenor and bass are written on

    the bottom staff . Stems for soprano and tenor notes go up. And stem for alto and

    bass notes go down.

    Consider the example below:

    l

    ;

    Plagal cadence

    The progression of plagal cadence is IV to I in major keys, or its equivalent iv to i

    in minor keys. It is also known as the Amen Cadence because of its appearance in

    church hymns ending with Amen.

    Plagal cadence on the staff

    Half cadence

    Half cadence progresses as follows: I–V or IV to V. This cadence appears mostly in the

    middle of the song

    Example on the staff

    l

    Advice to the beginner in composition

    Don’t repeat the same note too often

    send your song on the tonic or authentic cadence

    start by composing short melodies

    start with a one voice song and then four voices

    avoid long leap

    often use the root of the chord in bass

    The whole process of mixing notes in four parts is known as harmonization

    Additional songs

    Application activity 3.5.

    1. In four groups sol-fa and sing.

    k

    l

    k

    Additional songs

    k

    ,

    ,




  • UNIT 4:COMPOSE AND PERFORM A SHORT PLAY IN DIFFERENT LANGUAGES

    Key unit competence:

    Compose and perform a short play in diff erent languages

    Introductory activity:

    1. In group compare and contrast the two illustrations below and give a

    report.

    2. Identify the objects and explain why they are in the pictures.

    k

    3. In your group compare a play and a short story

    4. In your group what do you understand by "participants in drama"?

    5. According to you, what are the structures (steps) of a play when you

    6. consider its presentation to the audience?

    7. In your group choose a story you know and act it out before the peers.

    Structure of a play

    Learning Activity 4.1.

    Choose one of the following topics, imagine the scenario and perform:

    You are sick and you go to see the doctor accompanied by your mother.

    Your classmate boy or girl falls in love of you but you have another boyfriend

    or girlfriend.

    You are in the market and a pickpocket steals your money before you pay.

    Discuss the beginning, middle and end of your performances.

    A play is written to be performed by actors or actresses and watched by an audience.

    A structure of a play is built around the plot. The plot is how the author

    arranges events to develop his/her basic idea. It has logical series of events consisting

    of beginning, middle and end.

    A play plot is structured into five parts:

    Exposition

    Rising action

    Climax (or turning point)

    Falling action

    Resolution (or denouement)

    The exposition is the first part of the plot. It provides the back ground information

    needed to properly understanding of the story, such as the protagonist, the antagonists,

    the basic conflict, and the setting.

    Rising action (complication) comes after the exposition. During the rising action

    the basic conflict is complicated by the introduction of the secondary conflicts. The

    main character takes some action to resolve the conflict and meets with problems

    or complications: danger, fear, hostility, etc.

    Climax (turning point) marks a change, for the better or the worse in the main

    character (protagonist) affair. If the play is a comedy things will begin to go well for

    him or her. If the play is a tragedy things will start to go bad for the main character

    (protagonists).

    Falling action comes after the climax. During the falling action, the conflict between

    the main character (protagonist) and the antagonist…The action of solving

    a problem, dispute, or controversial matter.

    Resolution marks the end of the play. If it is a comedy it ends happily. If it is a

    tragedy it ends with a catastrophe. You learn how the conflict is resolved and what

    happens to the characters.

    j

    What is a confl ict in a play?

    Confl ict is a struggle or clash between opposing characters or forces. Confl icts may

    develop:

    Between characters who want diff erent things or the same things.

    Between a character and his or her circumstances.

    Within a character who is torn by competing desires.

    Types of conflicts

    External Conflict:

    Confl ict between a character and another person or a character and something

    non-human.

    Man versus Man: one human character is in confl ict with another human character.

    For example an antagonist versus a protagonist.

    Man versus nature: in this confl ict a character is in confl ict against nature.

    Man vs. technology, progress

    Man versus Society: it is when a character has confrontation with institutions, traditions,

    laws of his /her culture.

    Man versus supernatural: Man versus supernatural powers.

    Internal Conflict:

    Conflict takes place inside a character’s mind

    Person versus himself/herself because of fears, self-doubts, etc.

    Play versus sketch

    Both sketch and play are meant to be performed before an audience. While the

    play is long a sketch is very brief—it is a one seen, often comic, performance which

    sometimes can be improvised. A sketch performance takes a short time ranging

    from one to ten minutes. Most of the time, the audience in sketch performance are

    limited to few people. In sum, we can compare a sketch to a very small play.

    Application activity

    4.1.

    Compose a sketch on one of the following topics in a language of your choice

    (French, English, and Kinyarwanda).

    Family conflict management.

    Fight against school dropout.

    Election campaign.

    Fight against human trafficking

    Fight against drug abuse

    First day a big city

    4.1. Roles and characters

    Learning Activity 4.2.

    1. Who are in the pictures?

    2. What are they doing?

    3. In a group of four, imagine a story from the pictures and tell it to the

    peers.

    4. Now act out the stories

    j

    Characters in a play

    Characters are the people in a play.

    Types of Characters

    - Major characters: The main characters are usually, if not always, the

    primary focus of the story of the play.

    - Minor characters: these are supporting characters.

    -- Static characters: Do not change.

    -- Dynamic characters: Changes as a result of the story's events.

    -- Protagonist: A protagonist is the main character of the story that changes.

    He/she changes and grows because of experiences in the story of the play.

    -- Antagonists: An antagonist is a character or force in conflict with the

    main character. This is the person or thing that is working against the main

    character.

    Characterization:

    A Characterization is how the author develops the characters, especially the main

    character. There are two types of characterizations: indirect characterization and

    direct characterization.

    Indirect characterization is done through:

    what the character does or says

    what others say of and to the character

    author’s word choice in descriptive passages

    Direct characterization is done through:

    The author directly states what the character’s personality is like. Example: cruel,

    kind’…

    Showing a character’s personality through his/her actions, thoughts, feelings,

    words, appearance or other character’s observations or reactions.

    Setting in a play:

    The setting mean when and where play story takes place.

    Roles in the play

    We have seen that in a play we have characters that do actions in the play. When the

    play is to be performed the roles of characters are taken over by actors or actresses

    who perform before an audience. A group of actors or actresses who perform a play

    are known as a cast. When you take a role of a give character in a play you have to

    perform by imitating him or her, and be creative by improvising.

    4.2 Application activity

    a. In a group of four students give examples of settings.

    b. Why do you think setting (s) is (are) very important in a play?

    c. In a group of fi ve students, give other roles and responsibilities in

    theatrical production?

    d. In a group of fi ve students look at the picture below and then answer the

    questions that follow:

    k

    a. Who are in the picture?

    b. What are they doing?

    c. Discuss the setting in the picture.

    d. Verbally, create a story from the picture. Tell it to your group members and

    then to the whole class.

    e. Compose a play relating to the story, fi rst in English then in French

    Props and scenery

    Learning Activity 4.3. (a)

    1. You are invited to a drama competition and you are asked to act out as

    military officer.

    2. Enumerate some objects you will need so that the acting out can be

    done properly.

    3. Now perform before the peer

    Props

    Props (short for properties) are items that the actors carry or handle on stage

    during a performance to support the actions. Hence a prop is considered to be

    anything movable or portable on a stage. The person in charge of props must

    make sure that the right props are available to the actors at the right moments.

    Examples of props: telephone, book, pens, gun, etc

    Categories of Props

    - Hand props: any prop that can be manipulated by one or more actors during

    a performance. Examples of hand props are a book, a gun, food, a cane, a

    basketball, a football, etc.

    - Set Props: set props include furniture on the stage during performance.

    Examples of set props are bed, television, refrigerator, table, chair, etc.

    -- Personal/costume Props: Anything worn by an actor during a performance.

    Examples of personal props are pens, belts, sunglasses, jewelry, watch etc.

    Scenery

    Scenery is the painted background used to represent a location in a theatre or natural

    features or other surroundings on a theatre, stage structures, etc. it (scenery)

    will depend on the type of play and the acting area.

    Purpose of scenery

    The most important purpose of scenery is to provide a place to act

    The scenery should define the time and setting of the play:

    Time

    Historical period (pre-colonial period, during colonial period etc.)

    Season of year (rainy season, dry season etc)

    Time of day (morning, midday, night etc)

    Setting

    Climate / geographical conditions

    Socioeconomic situation

    Cultural background

    Rural or urban

    Inside the room or outside etc.

    Normally setting reveals interrelationships between people: rank, influence, position

    in their families, communities, offices etc

    b


    Composing a short play

    2. Now improvise any performance on a topic of your choice. Use some of the

    props you can find at your school.

    3. In groups of five students discuss how you can set a scene of a theatrical

    performance whose theme is ‘poor hygiene, a cause of different diseases.

    Then improvise a sketch performance on the given theme.

    4. Improvise a sketch performance on a theme of your choice.


    4.4. Learning activity

    Read the extract of a play below and then answer the questions that follow:

    Early morning. Village noises fill the air as the curtain opens on a small cemetery.

    In the back ground, running light across the stage, is the wall of a modern church.

    In front of the wall are several graves randomly situated. Nuhu, Ndururu, and

    Mbaluto have just completed cementing the newest grave and are now busy

    clearing the tools of their trade. Jumba stands a little farther away from the

    masons, his eyes critically glued to the new grave. Satisfied with a job well done,

    he nods his head approvingly and walks towards Nuhu.

    Jumba: Nuhu, son of Rabala!

    Nutu: Speak Jumba, my ears are for the headman of Membe’s words.

    Jumba: This is truly the work of an old man. The name of whoever trained you

    should be preserved song.

    Nuhu: Thank you headman. Our composers should have been here to hear

    you say that.

    Jumba: Yes, indeed. This is a job perfectly done.

    Nuhu: your late brother should deserve it. He was Mmembe’s glow-worm in

    gone days.

    Jumba: (Absent minded.) Yes, Mmebe’s glow-worm in days gone. (Recovering)

    I am sure his shadow is more than pleased with it.

    Rosina: (Entering) Pleased? Did I hear you say, pleased? Jumba, my husband,

    why do you deafen your ears against my words? What worms block your ears

    when I speak?

    Jumba: Worms? (Clears his ears with index fingers.) What worms?

    Rosina: (Determined to make her point). The church people, did you inform

    them?

    Jumba: The

    church people had their turn, Maman Rosina. They buried their man and left.

    This is only a little family matter.

    Rosina: Only a little family matter! My husband, Ngoya was your brother, true,

    but he was also a Pastor of the church. Do you now call the dressing of his grave,

    a little family matter? Ngoya was not only a Membe, no! He was a man of God.

    Remember that the sweetness of sugar is not in its color.

    Jumba: We are all men of God.

    Extract from the play ‘Aminata’ by Francis Imbuga; PART ONE, Scene one.

    In group, discuss why some words are in italics while others are not.

    Which part of the extract interested you the most?

    What have you seen in the extract that can help you in writing your own play?

    Take the roles of the characters in the extract and perform.

    1. What is a play?

    A play is a piece of writing written for the stage. The author of a play is called a

    playwright. A play in written form is called a script.

    Purpose and audience

    The purpose of a play script is to tell a story through dialogue (the character’s spoken

    words) and action. The audience consist those who will watch the play script

    being performed.

    How is a play script?

    With your partner discuss how a play should look like. How are its words? How is it

    divided? How are characters presented on the scrip? Etc.

    2. Steps to create a play

    Once you want to write a play you should:

    -- Decide the theme, topic the play will address (for example you may decide to

    make a play on love, patriotism, corruption etc)

    -- Determine the genres (examples comedy or tragedy).

    -- Choose the structure for the plot of the play (it means how events follow

    each other).Remember that the beginning introduces characters, and setting,

    and set up the situation or conflict.

    - Choose characters and make them work.

    - Create languages and actions of characters

    - Remember to use stage directions to indicate for instance which props to

    use, describe the setting etc.

    3. Staging a play

    Drama is more than just the words on a page. The production of a play involves directing

    the way the characters move, what they wear, the lighting, and the scenery.

    Staging is the practice of putting on the play. Some of the details of staging may

    be included in the stage directions; however, the director and the producer take

    what the playwright has described and bring it to life with their own ideas.

    Sets are the scenery, backdrops, and furniture that create the setting. A production

    may have different sets for different scenes. For example, some scenes may take

    place outside in the street, while others may take place in a bar. Some scenes may

    take place during the day, while others may take place at night.

    Application activity 4.4.

    1. Write a one scene play on topics of your choice and then perform before

    the audience. Some of you will take responsibilities such as director, stage

    crew etc.

    2. In groups discuss how the performance of the play has been.

    4.5. End unit assessment assessment

    Draw a play structure

    diagram and explain its content

    Improvise a sketch on a topic of your choice

    Write a short play on a topic of your choice and then perform

    Glossary

    Music

    Accelerando: gradually get faster

    Accidentals: Signs that alter musical notes as follows (sharp, flat and natural)—a

    bar line cancels the accidentals from the previous measure.

    Anacrusis: An anacrusis (also known as pickup or upbeat) is an incomplete measure

    of music before a section of music. It also refers to the initial note(s) of a melody

    occurring in that incomplete measure.

    Articulation: Articulation refers to notation which indicates how a note or notes

    should be played. Slurs, accents, staccato, and legato are all examples of articulation.

    Bar line: A vertical line that separates measures.

    Beam: Line connecting a series of notes (shorter than a quarter note). The number

    of beams determines the note value of the connected notes.

    Chord: Two or more tones/notes sounding simultaneously.

    Chromatic scale: a scale entirely composed of half steps.

    Chromatic : movement by half steps

    Clef: a sign placed at the beginning of a staff to indicate the position of some particular

    pitch.

    Compose: The activity of creating a musical work

    Composer: a person who writes musical works

    Compound time signature: A meter that includes a triplet subdivision within the

    beat, such as 6/8, 9/8, 12/8.

    Conductor: a person who leads a musical group

    Crescendo: increasing volume

    DaCapo: Abbreviated D.C. Indicates that the piece is to be repeated from the

    beginning to the end or to a certain place marked fine.

    Dal Segno: Abbreviated D.S. Repetition, not from the beginning, but from another

    place frequently near the beginning marked by a sign (segno).

    Decrescendo: decreasing volume

    Diatonic scale: A scale consisting of 5 whole tones and 2 semitones (S). Scales

    played on the white keys of a piano keyboard are diatonic.

    Diatonic: the tones of the major or minor scale; opposite of chromatic. (Half steps

    and whole steps)

    Diminuendo: It indicates a decrease volume.

    Dominant: The fifth scale degree

    Double bar line: Indicates the end of a section within a movement.

    Duple: groups of two beats

    Dynamics: the volume of sound, the loudness or softness of a musical passage

    Fermata: Prolonged note or rest of indefinite duration.

    Fine: the end

    Flag: Ornament at the end of the stem of a note used for notes with values less

    than a quarter note. The number of flags determines the note value.

    G clef (treble clef): A clef symbol that indicates G above middle C.

    Harmonic cadence: A sequence of chords that terminates a musical phrase or

    section.

    Harmony: the sounding together of two or more tones

    Interval: the relationships (distance) between two pitches

    Key signature: The sharps or flats appearing at the beginning of each staff indicating

    the key of the music.

    Key: According to the 12 tones of the chromatic scale there are 12 keys, one on c,

    one on c-sharp, etc.

    Lyrics: the words that are sung in a song

    Major: Major keys are based on major scales and usually have happy sound.

    Median: The third scale degree.

    Metronome: Device used to indicate the exact tempo of a piece.

    Minor: Minor keys are based on minor scales and usually sound more somber than

    major scales.

    Note value: note duration

    Quadruple: groups of four beats

    Relative key: Major and minor keys that have the same key signature.

    Ritardando: Gradual slowing down, more pronounced than

    Scale: a fixed succession of ascending and descending tones. There are three basic

    types of scales: major, minor, and chromatic.

    Scale degree: Names and symbols used in harmonic analysis to denote tones of

    the scale as roots of chords. The most important are degrees I = tonic (T), IV = subdominant

    (S) and V = dominant (D).

    Secular: non-religious music

    Solfege syllables (sol-fa syllables): the designation of pitches by means of conventional

    syllables rather than letter names

    Solo: one person plays or sings

    Staff: A staff (plural: staves) is a series of (normally five) horizontal lines upon and

    between which the musical notes are written.

    Subdominant: The fourth scale degree.

    Submediant: The sixth scale degree.

    Syncopation: placing an accent to the weak part of the beat, or a displacement of

    either the beat or the normal accent of a piece of music

    Time signature: The sign placed at the beginning of a composition to indicate its

    meter. It most often takes the form of a fraction,

    Transposition: the rewriting or performance of music at a pitch other than the

    original one

    Triple: groups of three beats

    Tuning fork: A two-pronged piece of steel used to indicate an absolute pitch, usually

    for A above middle C, or for middle C.

    Whole tone: The interval of a major second. The interval between two tones on

    the piano keyboard with exactly one key between them

    Woodwind: A family of blown wooden musical instruments.

    Drama

    Act: a major division in the action of a play, comprising one or more scenes.

    Acting: use of face, body, and voice to portray a character.

    Actor: male performer

    Actress: female performer

    Acts: the major sections of a play.

    Antagonists: An antagonist is a character or force in conflict with the main character.

    This is the person or thing that is working against the main character

    Aside: a short speech or remark spoken by a character in a drama, directed either

    to the audience or to another character, which by convention is supposed to be

    inaudible to the other characters on stage.

    Cast: all performers selected to portray characters. (Actors and actresses in play)

    Characterization: the representation of persons in narratives or dramatic works.

    Climax: any moment of great intensity in a literary work, especially in drama.

    Comedy is a play that ends happily.

    Comedy: a play written chiefly to amuse its audience.

    Dialogue: conversations between actors on the stage.

    Director: instructs actors on how to portray characters.

    Drama: the general term for performances in which actors impersonate the actions

    and speech of fictional or historical characters (or non-human entities) for the

    entertainment of an audience, either on a stage or by means of a broadcast.

    Dynamic characters: Changes as a result of the story's events

    Exposition: the opening part of a play.

    Improvisation: to make up or perform without preparation.

    Major characters: The main characters are usually, if not always, the primary focus

    of the story of the play.

    Mimicry: to copy or imitate something very closely.

    Minor characters: these are supporting characters.

    Monologue: a long speech given by single actors to others.

    Nonverbal Expression: facial expression, movement and gestures

    Pantomime: to communicate without speaking using only facial and body gestures.

    Playwright: person who writes plays.

    Protagonist: A protagonist is the main character of the story that changes. He/she

    changes and grows because of experiences in the story of the play.

    Scene: subdivision of an act usually indicating a time lapse or location change or

    both.

    Script: The written text of a play.

    Soliloquy: speech by a character alone onstage to himself or herself or to the audience

    Speaking: verbal expression, voice projection, speaking style, diction

    Stage directions: Stage directions are written in italics. They provide useful information

    for actors, directors and the also for people who are reading a script.

    Static characters: Do not change

    Theater: A building where a play is performed containing the stage and seating

    area for the audience.

    Tragedy is a play that ends unhappily

    Tragicomedy: dramatic work incorporating both tragic and comic elements.

    REFERENCES

    Burt, Daniel S. (2008). The Drama 100: A Ranking of the Greatest Plays of All Time.

    Facts on File ser. New York

    Chakraborty, Kaustav, ed. (2011) Indian English Drama. New Delhi: PHI Learning.

    Hornby, Albert Sydney. (1974). Oxford Advanced Learner’s Dictionary of Current

    English, 3rd ed. London: Oxford University Press,

    Howard S. (1995). Learn to Read Music. New York

    Johnstone, Keith. (1981). Improvisation and the Theatre Rev. ed. London

    Ministry of Education, REB (2015). Music Dance and Drama Syllabus, Ordinary Level

    Ministry of Education, REB (2015). Teacher training manual Roll out of Competence

    Based Curriculum

    Roger E. (1978). How to read music New York: crown publishers

    Randall, Don, ed. (1986). The New Harvard Dictionary of Music. Cambridge: Belknap

    Press (Harvard University Press),

    This book for Music is specifically written for learners of Senior Three. It is built

    upon the clearly stated goals of the Competence-Based Curriculum designed by

    Rwanda Education Board under the Jurisdiction of the Ministry of Education in the

    Republic of Rwanda.

    Music is one of the subjects that are taught in Secondary Schools. And it is relevancy

    to the modern world in increasing day by day. Despite of this, Music teaching

    has remained complicated especially on the side of students due to limited

    references for this subject. For this reason, this book is here-to act as learning and

    teaching reference.

    It covers four different units which are supported by the teachers’ guide and have

    introductory activities, music scales, simple and compound time signature, chords,

    dynamics and tempo, and finally composition and performing a short play in

    different languages. At the end of each unit, we have an end unit assessments and

    glossary that are intended to guide the learners throughout the whole process of

    acquiring practical skills.