English edition volume 1
volume 1 Second edition
Joost Overmars Ruth van de Putte Wouter Tempelaar Mirjam Timmer Huub de Vriend Michiel Zweers
THIS BOOK BELONGS TO:
COLOFON Auteurs Joost Overmars Ruth van de Putte Wouter Tempelaar Mirjam Timmer Huub de Vriend Michiel Zweers Redactie Op schrift, Enschede Vertaling Rosie Cox Hetty Vrinds-Renou Vormgeving en beeldverwerving Ontwerpbureau NEO, Velp PrePressMediaPartners, Wolvega BenU International Picture Service, Diemen Omslag: Lucianotb (Luciano Tirabassi, Buenos Aires, Argentina) Notenschrift: Ruth van de Putte Illustraties: Henk Visscher: p. 20 Mirjam Vissers Artwork, Bussum: p. 54, 85 Susan Visser: p. 126 Illustratieverantwoording: p. 141 Informatie over de muziekstukken in Musiceren (componisten en tekstschrijvers) en de muziekfragmenten van Luisteren (discografie) is opgenomen in de docentenhandleiding.
ThiemeMeulenhoff ontwikkelt leermiddelen voor Primair Onderwijs, Voortgezet Onderwijs, Beroepsonderwijs en Volwasseneneducatie en Hoger Onderwijs Meer informatie over ThiemeMeulenhoff en een overzicht van onze leermiddelen: www.thiememeulenhoff.nl of via onze klantenservice (088) 800 20 15 Meer informatie over Intro: www.intro-online.nl ISBN 978 90 06 48097 9 Tweede druk, eerste oplage, 2012 © ThiemeMeulenhoff, Amersfoort, 2012 Alle rechten voorbehouden. Niets uit deze uitgave mag worden verveelvoudigd, opgeslagen in een geautomatiseerd gegevensbestand, of openbaar gemaakt, in enige vorm of op enige wijze, hetzij elektronisch, mechanisch, door fotokopieën, opnamen, of enig andere manier, zonder voorafgaande schriftelijke toestemming van de uitgever. Voor zover het maken van kopieën uit deze uitgave is toegestaan op grond van artikel 16 Auteurswet j° het Besluit van 23 augustus 1985, Stbl., dient men de daarvoor wettelijk verschuldigde vergoedingen te voldoen aan Stichting Publicatie- en Reproductierechten Organisatie (PRO), Postbus 3060, 2130 KB Hoofddorp (www.stichting-pro.nl). Voor het overnemen van gedeelte(n) uit deze uitgave in bloemlezingen, readers en andere compilatiewerken (artikel 16 Auteurswet) dient men zich tot de uitgever te wenden. Voor meer informatie over het gebruik van muziek, film en het maken van kopieën in het onderwijs zie www.auteursrechtenonderwijs.nl. De uitgever heeft ernaar gestreefd de auteursrechten te regelen volgens de wettelijke bepalingen. Degenen die desondanks menen zekere rechten te kunnen doen gelden, kunnen zich alsnog tot de uitgever wenden.
All rights reserved. No part of this publication may be reproduced, stored in an electronic retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior written permission of the publisher. The legally due remuneration for reproducing parts of this publication insofar as is permitted under Section 16 of the Copyright Act j° by the Decree of 23 August 1985, Statute Book, should be paid to Stichting Publicatie- en Reproductierechten Organisatie (PRO), P.O. Box 3060, 2130 KB Hoofddorp, The Netherlands (www.stichting-pro.nl). The permission of the publisher is required for the replication of any part or parts of this publication in anthologies, readers and other compiled works. For more information www.auteursrechtenonderwijs.nl The publisher has sought to regulate under the copyright laws. Those who nevertheless feel certain rights to assert, can still refer to the publisher.
Deze uitgave is voorzien van het FSC®-keurmerk. Dit betekent dat de bosbouw voor het gebruikte papier op een verantwoorde manier heeft plaatsgevonden.
Contents How Intro is set out
4
1 Close Encounters Motif and repetition Explore Make music Compose Listen Know
8 12 22 25 28
2 Let’s start the engines Variation
Explore Make music Compose Listen Know
36 40 52 56 59
3 Ready steady go Contrast
Explore Make music Compose Listen Know
66 70 80 83 87
4 Take it easy Form
Explore Make music Compose Listen Know
94 98 110 113 119
Tips and information Tips for making music, listening and composing The voice and singing tips The drum kit and playing tips The keyboard and playing tips The guitar and playing tips
124 126 127 128 129
Overview of instruments Index of terms Vocabulary Sources
130 135 136 141
How Intro is set out Explore What is this chapter about? You get to know the subject of the chapter in an imaginative way. Other art forms besides music are used. On the Intro website you can find an interactive journey of discovery to accompany this paragraph, with lots of extra audio and visual material.
Make music This paragraph contains four songs with parts to play and two instrumental pieces of music. There are a couple of questions with each song and piece of music. You can find the pieces to play and extra parts on the Intro website, and you can listen to accompanying tracks to practice with.
Compose There are four assignments where you compose and improvise. You do this with the instruments in the classroom or with special composing software on the computer. You record your composition or present it to the class. On the Intro website you can find the instrumental parts, and you can listen to accompanying tracks to practice with.
Listen This section has three listening assignments. You practice the most important concepts from the chapter with the aid of various music excerpts. You will generally do the first listening assignment classically; you can do the other two on your own. In addition there is a fourth listening assignment to be found on the Intro website.
H1.Kennen.1 H1.Kennen.2
H1.Kennen.3
Know Notes A summary of musical notation and what you need to know from this chapter about notes. Look at and listen to the explanation on the Intro website again, in your own time.
Hear Listening exercises with musical notation.
See Reading exercises with musical notation.
Write Writing exercises with musical notation.
Terms All material covered in this chapter. Test your knowledge on the Intro website at Test Yourself.
Symbols used In Intro symbols are used to • give extra information; • indicate items that are not found in the book.
Do this assignment in a group of 4 – 5 people.
Do this assignment with 2 people.
Do this assignment alone.
This is a more difficult version of the previous assignment.
You need the composing software for this assignment. It is on the CD-ROM that is in your book.
You can find extra material on the Intro website: www.intro-online.nl All listening excerpts you need for this book can be found at the Intro website: www.intro-online.nl The meaning of all words in bold type can be found in the list of terms in Know.
H1.
H1.Kennen.4 H1. H1.Kennen.4
H1.Kennen.5 H1.Kennen.5 H1.Kennen.5 H1.Kennen. H1.KeH
1
.Kennen.3
Motif and repetition Motif and repetition Motif and r H1.Kennen.2
H1.Kennen.3
H1.Kennen.3
Close s r e t n Encou
.Kennen.4 H1.Kennen.4 H1.Kennen.4 H1.Kennen.4 H1.Kennen.4 H1.Kennen.4
ennen.5 H1.Kennen.5 .5 H1.Kennen.5 H1.Kennen.5 H1.Kennen.5 H1.Kennen.5 H1.Kennen.5 H1.Kennen.5 H1.Kennen.5 H1.Kennen.5 H1.Kennen.5 H1.Kennen.5
repetition Motif and repetition page
Explore • A Musical Encounter Introduction to motif and repetition
assignment 1
8
assignment 2
12
assignment 3 assignment 4 assignment 5 assignment 6 assignment 7
14 16 18 20 21
assignment 8
22
assignment 9
23
assignment 10
24
Make music • Ease on Down the Road A song from the musical • • • • •
The Wizard of Oz Bad Day A ballad by Daniel Powter I Wanna Be Like You From the Disney movie The Jungle Book Jambo By Kenian Teddy Kalanda Harrison Keep on Walking A first piece to play Triple A piece with three parts
Compose • Close Encounters Make a space motif, transmit it and try to copy playing it • Pick Up Make a motif to the music that you can repeat easily. Stop on time! • Ease on Up / Ease on Down Make a rap and a dance that goes with it • R&Buildingblocks Work with the composing software
assignment 11
Listen • Listening assignment 12 Signals from Space • Listening assignment 13 • Listening assignment 14 • Extra listening assignment
assignment 12 assignment 13 assignment 14 extra
25 26 27
Know • Notes
• Hear • See • Write • Terms • Test yourself
28
assignment 15 assignment 16 assignment 17
29 30 31 32
8
explore
chapter 1
1
2
3
4
5 Christo & Jeanne-Claude, The Umbrellas Japan – US (Californian location), 1984-1991 Klaus Rinke, Change of location in intervals, 1972
1
2
The show ballet of the musical A Chorus Line
3
Paul Klee, Revolution of the viaduct, 1937
4
Otto Herbert Hajek, Adelaide, City Sign, 1973-1977
5
explore
1 A Musical Encounter The ground shakes. The lights at the military base go out. High in the sky something is happening. Above the flat mountain and contrasting with the darkness of the night, the gigantic shape of a spaceship appears very slowly. Watched with bated breath, the enormous vehicle approaches. Slowly, very slowly, it gets larger and larger. The lights at the base go on again. They form a large cross on the ground. There, in the centre, the spaceship descends, until it is just above the ground. The command post emits a five-tone signal. Will the beings in the gigantic vehicle receive the signal? And will they answer it? The command post repeats the signal. Suddenly a loud, low tone is heard. A window breaks. The spaceship responds. More tones follow. The command post sends the motif out again, and again the response sounds. And then again, until suddenly, cutting through the motif, five tones are heard: those five tones. This alien spaceship is imitating the motif. This is an excerpt from the movie Close Encounters of the Third Kind (1978). The music is composed by John Williams.
In search of the beginning The text contains two musical concepts that are central to this chapter: motif and repetition. The piece from H1.Verkennen.7 the movie was about a five-tone motif, which was repeated frequently.
Two hundred years ago composer Ludwig van Beethoven wrote a four-tone motif that everyone knows even H1.Verkennen.8 today.
So how do you write a piece of music; how do you start? What you need is an idea. You can get ideas by trying things out, for example by playing a few notes on a piano or guitar, or trying out a rhythm on a drum kit. You keep trying things until you think: that sounds good. You have an idea; the beginning is there.
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10
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The beginning is there! The first step is taken; you have an idea, a motif. Look at The Flintstones: you can see how important the motif is; it appears no less than eight times.
= motif = repetition
Look at the interactive journey of discovery at Explore on the Intro website.
To create a piece of music you need an idea, for example a motif. A motif is a small piece of music a couple of notes long. You can repeat a motif, either at the same pitch or at a different pitch.
!
Motif and repetition 1a
Look at Study for reptiles. The drawing is based on one motif that is repeated again and again. Color in one of the motifs.
1b
Now look at the photos on page 8. Describe or draw three of the motifs you see there.
M.C. Escher, Study for reptiles, 1939
1
1c
2
3
Look at The Flintstones on page 10. In the notation the motif is shown in blue and the repetitions in white.
H1.Verkennen.12 Write the two-tone motif in the staff.
Flint – stones Which answers are correct? Choose one from each pair. The repetitions at bars 5 and 6 are exactly the same as the motif. The repetitions at bars 5 and 6 are not exactly the same as the motif. The repetitions at bars 9 and 11 are lower than the motif. The repetitions at bars 9 and 11 are higher than the motif.
1d
My motif. Find a song that you think has a clear motif with repetition. Write down the title of the song. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .............
Think of a completely different example that contains motif and repetition. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ...
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make music 2 Ease on Down the Road
Make music
13
This song is from the musical The Wizard of Oz (1978), in which the little girl Dorothy has an adventurous journey to the Emerald City, ruled by the evil Wizard of Oz. She meets a number of strange, fantastical creatures who turn out to have very human features. Ease on Down the Road is sung by the Scarecrow. He has come off his pole and discovers to his delight that he can put one foot in front of the other and walk. You can hear this in the song: both text and music are rather Musiceren 3 joyful! The song contains a chorus and several verses.
2a
Ease on Down the Road starts with the chorus. The chorus contains the most important motif in this song. It is a three-tone motif to the words ‘Ease on down’. The three tones go: up. down. stay the same.
2b
The verse has its own motif to the words ‘Pick your left foot up’. How many tones are in this motif? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .............
This motif is often used in the verse. Write down another line in which that motif appears. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .............
2c
This song is rather joyful. How does joyful music sound to you? Put one tick for each description.
the music is fast
the music is slow
the music is loud
the music is quiet
many low notes
many high notes
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chapter 1
3 Bad Day
Make music
Bad Day (2005) is a song by Canadian singer Daniel Powter. The song describes a day that just won’t go right. Or will it … ? You’re stronger than you think. The chorus contains the following motif:
The notes of the motif are at different positions in the staff. When you sing those notes, you hear a melody. This motif is therefore called a melodic motif.
3a
Look at the motif above again. How often is this motif sung exactly like this in the chorus? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............. Are the repetitions at the same pitch or at different pitches? The same pitch. Different pitches.
3b
Now look at the verse. The melody of the first line (‘Where is the moment we needed the most?’) is repeated immediately. What is correct? The repetition is at the same pitch. The repetition is higher. The repetition is lower.
3c
Which part of this song is easiest for you to sing along to? The verse. The chorus. The bridge. Why is this, do you think? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .............
15
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4 I Wanna Be Like You
Make music
I Wanna Be Like You is from the Disney movie The Jungle Book (1967). The Jungle Book is based upon stories by Rudyard Kipling. Mowgli, a human child, is brought up by a group of wolves. He makes friends with Baloo the bear and Bagheera the panther. Baloo and Bagheera want to take him to the ‘Man-village’, but Mowgli walks away angrily. He is caught by the mad King Louis, an ape king who wants to be taken seriously and wants access to fire. This song is sung by Baloo and Louis.
I Wanna Be Like You consists of a verse and a chorus. Louis and Baloo sing it together – it is a duet. The most important motif is found in the chorus:
can
learn
B
Da-zaap bon-ronee Hap ba-dee dee-lap-da-non Hene-bebe-re Doot zaba-doo-dee-day Doo-bam doo-boo-bee-bay Bo-bom, za-ba-pa-panney
L B L B L B L B
Abba-do-dee With a reep-bon-naza Eh ba-daba doy Well-a-la-ba zini War-la-bop, boor-la-bop See-ble-bop dooney Ooh, ooh, ooh, ooh With a huh, huh, huh, huh
L B L B L B L B
Rrrawr, rrrawr Get mad, baby Hada-lada hada-lada With a hada-lada hadoo-doo Oodle-loodle-oodle-loodle Ooh-doo-daa-daa-daa Doodle-doot doodle-doot Zee-ba-da-da Haba-da
L B L B L/B
B L/B L B L/B
You! Oo-be-doo I wanna be like you Hap-dee-do-be-doo-ba I wanna walk like you, talk like you too-oo-oo You’ll see it’s true Someone like me Can learn to be like someone like me Take me home, daddy! Can learn to be like someone like you One more time Yeah! Can learn to be like someone like me!
B L
= Baloo = Louis
to be
The notes of the motif are at different positions in the staff. When you sing the notes, you hear a melody. Therefore this motif is called a melodic motif.
4a
Chorus continued
Look again at the motif above. How many notes are in this motif? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . .
And how many different pitches are used in the motif? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . .
4b
This motif appears many times in the chorus, and is slightly different each time. Look at the lyrics to the right. A couple of times Louis and Baloo sing the motif together. Which words do they then sing? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . .
4c
This song really swings: Baloo and Louis dance to it. What makes this song really swing? Choose one from each pair of answers. The melody. The rhythm. The rhyming words. The made-up words (for example ‘oobee doo’)
17
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chapter 1
5 Jambo
Jambo is a song by Teddy Kalanda Harrison of Kenya (1980). The words Hakuna Matata are sung often in the chorus. This means ‘no cares’ in Swahili. Jambo contains various motifs. The two most important are: Jambo motif
Djembe motif
Jam - bo
The Jambo motif has notes at different pitches. If you sing those notes, you hear a melody. This motif is therefore called a melodic motif. The djembe motif has notes at the same position in the staff. If you play these notes, you hear a rhythm. This motif is therefore called a rhythmic motif.
Musiceren 12
Make music
5a
Compare the Jambo motif with the djembe motif. Which of the two is an ostinato? Hint: listen to the excerpt. The Jambo motif. The djembe motif.
5b
Look at the tambourine part. Put a box around the first motif. What is the difference between part A and part B for the tambourine? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .............
5c
What is the most important message in this song? Everyone is welcome in Kenya. Kenya is a beautiful country. Kenya is a care-free country. The singer wants to bring this message over clearly. What makes the text easy to understand? The various motifs. The ostinatos.
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chapter 1
6 Keep on Walking Keep on Walking starts with a motif of five tones. That motif is repeated a couple of times: either exactly the same, or slightly different. Not only can the motif be repeated; the whole melody can be repeated. It keeps going on and on. repetition 1
motif 1
2
e
f
g
a
3
g
4
e
repetition 2 6
6a
c
g
d
7
c
8
b
c
d
e
c
repeat mark
In this question you compare the motif with repetition 1 and repetition 2. Circle the correct answers: Repetition 1 is Repetition 2 is
6b
b
a
repetition 3
5
a
g
f
at the same pitch / higher / lower than the motif. at the same pitch / higher / lower than the motif.
Repetition 3 is higher than the motif. In fact, it is not exactly a repetition. Explain this. Hint: look very carefully at the sequence of notes! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ......... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .........
6c
This piece is called Keep on Walking. Look at the four walking people in the illustration. They are drawn in such a way that they match the motif and the three repetitions. Complete the following: The motif matches Michael. Repetition 1 matches
. . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .........
Repetition 2 matches
. . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .........
Repetition 3 matches
. . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .........
Make music
7 Triple Triple consists of three parts which together make up the piece. Each part has its own staff.
7a
This question is about part 1. How often does the motif (c-d-c) appear? Note: c-d-c only. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .............
7b
Now compare part 1 to part 2. Which of the following statements are true? Part 1 is higher. Part 2 is higher. In bar 7 (see number 7) they are the same. Part 2 has more notes.
7c
Triple means ‘having three parts’. That says something about the motif: c-d-c is three tones. Listen to the piece again and think of a title that matches the atmosphere of the piece. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .............
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H1.Componeren.1
8
Close Encounters An alien tries to land on Earth. It sends out a four-tone motif. The Earthlings try to copy playing it. If that goes well, then the landing will surely be a success too!
d
e
g
a
c
What you are going to do
You will make a four-tone melodic motif on an instrument. You play this motif to the others in your group and they try to copy it.
H1.Componeren.2
How to do it • • • •
Your motif has four notes and starts with the note A. Choose the other notes from those given above. Note down your motif on the empty staff. Don’t show your motif to anyone else!
Playing and copying Someone plays his motif, and the others try to copy it. When they’ve done that, someone else plays their motif, and so on, until everyone has had a turn.
Before.
Be sure:
After. This went:
• That you always play the motif exactly the same.
well
okay
poorly
badly
• That you play the motif without making mistakes.
well
okay
poorly
badly
• That the change between playing and copying goes smoothly.
well
okay
poorly
badly
Make a new four-tone motif, but now start at one of the other tones. Don’t tell the others which note you are starting with.
Compose
23
H1.Componeren.3
9
Pick Up For Pick Up you are going to improvise. Listen to the music and make up your own motif! The music also tells you when you should stop.
a
c
d
What you are going to do
You are going to make a melodic motif of two bars. H1.Componeren.4 You play your motif along with the music and you repeat it again twice (so you play it three times).
How to do it • • • •
Use the three tones above. You can repeat them. End on the note A. Practice until you know it well. Remember it or write down the order of the notes below.
Before.
Be sure:
After. This went:
• That you play in time.
well
okay
poorly
badly
• That you play the same motif three times.
well
okay
poorly
badly
• That you stop exactly on time.
well
okay
poorly
Now use the five tones below:
e
g
a
c
d
H1.Componeren.5
badly
24
Compose
10 Ease on Up / Ease on Down You rap with words, but you also do movements. The lyrics are the motifs and the movements enhance these motifs.
What you are going to do You will make a dance rap with existing parts of song lyrics. You rap and make high and low movements. The rap and the dance go together.
How to do it • Each member of the group chooses one short sentence from the songs in this chapter (for example, ‘pick your left foot up’). Write this down below. • Invent a new rhythm for that line. You now have your own rhythmic motif. • Rap to the beat using these motifs: first after each other and then mixed. • Agree on who will rap their motif high and who will rap it low. • Swap high and low halfway through. • Together invent a surprising ending. My lyrics: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .........
Add movement • Invent a movement that goes with your motif. • If you rap high, make a high motion; if you rap low, make a low motion. • Invent a group movement for the ending.
Before.
Be sure:
After. This went:
• That you rap to the beat.
well
okay
poorly
badly
• When rapping together that you rap simultaneously, also at the end!
well
okay
poorly
badly
• That your movement is strong and matches the rhythm.
well
okay
poorly
badly
Choose from the following options: 1 Per person write a short song lyric of one line and make the dance rap with it. 2 Play your motif on a high or a low rhythm instrument. Vary between rapping and playing the instrument. Also vary between high and low.
11 R&Buildingblocks Do this composing task using the Intro composing software on your computer.
listen 12
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Signals from Space In this task you are going to listen to three pieces of music. They are excerpts in which special motifs (signals) play a role. Close Encounters of the Third Kind – John Williams John Williams wrote a five-tone motif for Close Encounters of the Third Kind.
12a
How many times is the motif played?
12b
It seems as though the instruments are playing a call and answer game. What is the difference between the answer and the call? The answer is The call is
12c
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .............
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .............
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .............
INT_1_hv_LB_1_lui_02a
Wonder – DJ Tiësto & Armin van Buuren Wonder contains several motifs. Two of these are shown here as a sketch. Put a tick by the correct pair. INT_1_hv_LB_1_lui_02c
12d
1
2
3
4
Look up the meaning of the word ostinato on pages 32-33. Why will you often find an ostinato in the music of Tiësto and Armin van Buuren? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .............
Mars – Gustav Holst Composer Gustav Holst wrote music inspired by the planets of our solar system. He gave each planet its own music and a subtitle.
12e
Which subtitle would you give to Mars? Mars, the bringer of
12f
. . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .............
Mars was given a very clear signal: an eight-tone motif: Look up the meaning of the words rhythm, melody and ostinato on pages 32-33. Which two answers are correct? The motif is a rhythm. The motif is a melody. The motif is an ostinato. The motif is not an ostinato.
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Listening assignment 13 13a
I’m the Scatman – Scatman John In this song a four-tone motif to the lyric ‘I’m the Scatman’ is heard several times. In the diagram below the H1.Luisteren.1 third tone (‘scat’) has not been colored. Is the word ‘scat’ sung higher, at the same pitch, or lower? Color in the correct box.
scat I’m
the
scat
man
scat
13b
Duj Duj – Fanfare Ciocarlia Fanfare Ciocarlia is a gypsy band from Romania. The song Duj Duj begins with a voice, then the band joins in. At a certain point the band plays a six-tone ostinato. INT_1_hv_LB_1_lui_02b Which diagram best represents this? 2
1
3
INT_1_hv_LB_1_lui_02d
The voice then sings a motif to ‘Duj Duj’ a couple of times. Think of a sketch for this motif yourself.
13c
Fifth Symphony – Ludwig van Beethoven At the start of the composition the orchestra plays the motif twice, very loudly. Then it is played by different instruments, whereby the motif is sometimes changed slightly. How often is the motif played after the first two times? Note: the tempo is quite fast. H1.Luisteren.3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .........
13d
De vierde kaart (‘The Fourth Card’) – Brainpower This rap starts with a motif played on an electric guitar. Listen to the whole excerpt and put a tick by the correct answer. The motif stays the same the whole time. The motif changes slowly. The guitar plays a different motif a couple of times. Look up the meaning of the words verse en chorus on pages 32-33. Listen to the whole excerpt again and put a tick by the correct answer. The excerpt consists of: verse – chorus – verse. The excerpt consists of: chorus – verse(s) – chorus.
Listen
Listening assignment 14 14a
Prelude nr. 4 – Frédéric Chopin In his Prelude nr. 4 for piano, composer Chopin made a melody which consists of short motifs. This melody is played with the right hand. At the same time, the left hand plays chords (several tones played at the same time). Listen to the melody. Which is correct? The melody is mostly higher. The melody is mostly lower. Now listen especially to the chords. Which is correct? The chords have shorter notes than the melody. The chords have longer notes than the melody. Now listen to the atmosphere of the music alone. Describe the atmosphere in one word. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .............
14b
Last Tango in Paris – Gotan In Last Tango in Paris the instruments come in one after the other. Each instrument plays its own motif. In which order do they come in? Put numbers next to the instruments in the correct order of play. ......... ......... ......... ......... .........
piano (melody) piano (chords) bass percussion (electronic drums) percussion (electronic tambourine)
Underline the instruments which play a melodic motif of a few tones. Hint: try to sing along.
14c
Played-A-Live (The Bongo Song) – Safri Duo Played-A-Live by Danish percussion duo Savery and Friis was a world hit in 2001. In this excerpt you hear different rhythmic motifs: • A ‘bongo’-motif (played on two drums: one high, the other low) • A ‘drum’-motif (played on a bass drum: low) Shortly after the start (after 18 seconds) you hear the ‘bongo’- motif. Which drum is most present in this motif? The high drum. The low drum. After 48 seconds the ‘drum’-motif starts. Describe this motif as precise as possible. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .............
14d
Mausoleum – Louis Andriessen This piece of music starts with a three-tone motif that is repeated over and over again. Sketch this motif with a pencil. Decide how to do this yourself. After how many repeats does a fourth tone appear? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Draw this note on your sketch.
You can find an extra listening exercise on the Intro website.
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chapter 1
Notes The type of note tells you the duration of that note, that is, how long it lasts. H1.Kennen.1 Open notes sound longer than closed notes, and flagged notes are the shortest. H1.Kennen.2 The type of note therefore tells you how long to sing a note for, or how long you need to hold the key pressed down on a keyboard. H1.Kennen.3 The ‘length’ of a note is called the value of a note, or tone duration. H1.Kennen.4
American whole note
English semibreve
4 beats
half note
minim
2 beats
quarter note
crotchet
1 beat
eighth note
quaver
½ beat
sixteenth note
semiquaver
¼ beat
H1.Kennen.5
A note is what you see, a tone is what you hear.
!
bar number 1
2
3
bar/measure
4
staff/stave
H1.Kennen.1 4 sixteenth notes can also be written like this
2 eighth notes can also be written like this bar line
repeat mark
H1.Kennen.2
H1.Kennen.3
H1.Kennen.4 H1.Ke
H1.Kennen.5 H1.Kennen.5 H1.Kenne H1.K
Go to the Intro website for an interactive explanation of Notes.
Know H1.Horen.1
15
Hear
15a
Three notes are played longer. Circle these notes.
1
15b
2
3
4
5
6
7
8
9
11
10
12
In each bar, make two quarter notes into two eighth notes by connecting them with a line. H1.Horen.3
becomes
15c
In which order are the following bars played? Put the correct order above the staffs.
H1.Horen.4
15d
In which order are the bars played? Put the correct order above the bars.
H1.Horen.5
H1.Horen.6
15e
In the following line one note is not played. Circle that note.
15f
The bars are not complete. Write the missing note or notes in the space.Vul Fill in:
Vul in:
15g
13
or of
of
In which order are the following bars played? Write the correct order above the bars.
Horen 7
29
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16
H1.Zien.1
See Close Encounters of the Third Kind – John Williams 1
2
3
4
5
6
7
All questions are about the staff above.
16a
How many bars are in this piece? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .........
16b
Which bars are repeated? Bar
16c
. . . . . . . . . . . . . . . . .. .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .........
And which bar contains a half note? Bar
16e
and bar
Which bar contains a whole note? Bar
16d
..................
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .........
How many sixteenth notes are used in this piece? . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .........
16f
There are two bars in which only quarter notes are used. Which bars are those? Bar
16g
..................
and bar
. . . . . . . . . . . . . . . . .. .
H1.Horen.6
Which bar has exactly the same rhythm as bar 4? . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .........
16h
Look at bar 6. Write down the note values you see there, one after the other. . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .........
16i
Look at the whole piece. It is based on the five-tone motif from Explore. How often do you play exactly this motif if you play the whole piece? . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .........
16j
In which bar can you see a repetition of a motif at a different pitch? Bar
..................
is a repetition at a different pitch to bar
Is this repetition higher or lower? Higher. Lower.
...................
Schri
Know
31
Schrij
17
Write
17a
Write the required notes down on the line.
Schrijven 1
H1.Schrijven
Two eighth notes and a quarter note: One whole and one half note: Four sixteenth notes:
17b
Schrijven 2
H1.Schrijven.4
. .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .............
Schrijven 2
. . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..............
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .............
Schrijven 2
Write four bars each with four beats. Use the notes given in front of the bar.
H1.Schrijven.5
H1.Schrijven.6
H1.Schrijven.7
17c
The following bars are wrong. Correct them by adding or deleting one note for each. Each bar should have four beats.
H1.Schrijven.8
17d
Below are single lines from songs. Which rhythm matches each lyric? Draw a line from the lyric to the correct rhythm.
get ’em up, goin’ down
the jungle V.I.P.
hakuna matata
you had a bad day
ijven 1 32
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jven 2
n.3
Terms The pages with terms give a summary of the material in the chapter. Here you can find the meaning of the words in bold type in the book. On the Intro website this explanation is given under the tabs. The digital terms and concepts list is more extensive: it includes the images and sounds of the musical instruments from the overview. You can check your understanding of the terms from the chapter by testing yourself on the website. Test yourself and be prepared for a test or exam.
chorus
motif
A chorus, also known as a refrain, is a section of a song that is sung several times. The lyrics (the words) and the music usually stay the same. You can usually sing along to the chorus easily.
A motif is a small piece of music of a few tones. If the motif is a melody, it is called a melodic motif. If the motif is a rhythm, it is called a rhythmic motif.
composition A piece of music can be called a composition.
ostinato
duet
A motif that is repeated again and again for a long time is called an ostinato. If it is a rhythm it is called a rhythmic ostinato. If it is a melody it is called a melodic ostinato. Ostinato is Italian for ‘stubborn’.
Duet is from the word duo and means: two. When you sing a song with two people, then you form a duo and you sing a duet.
higher and lower Higher and lower relates to pitch. When you sing a song, you sing different pitches: for example, high tones and low tones. In the example below the notes get higher and higher. H1.Schrijven.9
H1.Schrijven.10
melody H1.Schrijven.11
Melody is a very important part of music. You can sing a melody alone. Then you sing different tones. When you sing a song, you sing the melody. H1.Schrijven.12
part
A piece of music consists H1.Begrippen.1 of one or more parts, for example, a melody part, a vocal part or a bass part.
pitch You can sing or play a low tone or a high tone. This is called pitch.
repeat, repetition To repeat is to sing (or play) something again, without changing anything. You can repeat a motif, for example, or a chorus. You can repeat in two ways: • at the same pitch • at a different pitch, higher or lower
Know
rhythm Rhythm is a very important part of music. You can make a rhythym by clapping your hands, drumming on a drum, or rapping with your voice. When you clap a song, you clap the rhythm.
tone duration You can sing or play a ‘long’ tone. You can also sing or play a very ‘short’ tone. This is called the tone duration.
verse A verse is part of a song. There is never just one verse: there are always several verses. Each verse has the same music, but generally different lyrics (words). As well as verses a song often has a chorus.
Do you know all the terms? Go to the Intro website and test yourself.
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