Music Dance and Drama

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).

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).

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.

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.

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.

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

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.

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).

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.

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

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.

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.

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.

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.

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.

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

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:

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.

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:

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.

2. Solfa and sing respecting dynamics and tempo

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.

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.

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.

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.

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).

ber of measures at the end of the piece

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:

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

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.

Additional songs