Contents The Elements of Music Volume 1 Teacher … sample pages.pdfThe Elements of Music Volume 1...

The Elements of Music Volume 1 Teacher’s Resource Kit | v

SAM

PLE

FOREWORD . . . . . . . . . . . . . . . . . . . . . . . . . vii

ABOUT THE AUTHOR . . . . . . . . . . . . . . . viii

GOALS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ix

PHILOSOPHY . . . . . . . . . . . . . . . . . . . . . . . . . x

THE POWER OF MUSIC . . . . . . . . . . . . . . . xi

THE GIFT OF MUSIC SERIES . . . . . . . . . . . xii

KEY CONCEPTS . . . . . . . . . . . . . . . . . . . . xiii

TEACHING THE ELEMENTS OF MUSICCOURSE . . . . . . . . . . . . . . . . . . . . . . . . . . xv

THE ELEMENTS OF MUSIC —COURSE OUTLINE . . . . . . . . . . . . . . . xviii

THEORY SUMMARY FORVOLUME ONE . . . . . . . . . . . . . . . . . . . . xix

LESSON 1

What are Elements? . . . . . . . . . . . . . . . . . . . . . 1

Visible and Invisible . . . . . . . . . . . . . . . . . . . . . 1

Music Elements . . . . . . . . . . . . . . . . . . . . . . . . 1

LESSON 2

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Molecules and Soundwaves . . . . . . . . . . . . . . . 2

Vehicles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

LESSON 3

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Same but Different . . . . . . . . . . . . . . . . . . . . . . 3

Different Types of Sounds . . . . . . . . . . . . . . . . 3

LESSON 4 — REVISION ONE . . . . . . . . . . . . 4

LESSON 5

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Eyes and Seeing . . . . . . . . . . . . . . . . . . . . . . . . 5

Shapes in Language . . . . . . . . . . . . . . . . . . . . . 6

LESSON 6

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Instructions . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Remembering . . . . . . . . . . . . . . . . . . . . . . . . . . 8

LESSON 7

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Sharing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Caring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

LESSON 8 — REVISION TWO . . . . . . . . . . 10

LESSON 9

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Sounds and Silences . . . . . . . . . . . . . . . . . . . . 11

A Timeline — Notes and Rests . . . . . . . . . . . . 12

LESSON 10

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Beats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Counting . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

LESSON 11

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Movement . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Stillness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

LESSON 12 — REVISION THREE . . . . . . . . 17

LESSON 13

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

The Eighth Note and Rest . . . . . . . . . . . . . . . 19

LESSON 14

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Time Signatures . . . . . . . . . . . . . . . . . . . . . . . 20

God and Time . . . . . . . . . . . . . . . . . . . . . . . . 22

LESSON 15

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Rhythm and Words . . . . . . . . . . . . . . . . . . . . 23

Syllables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Imaginary Timelines, Beats and Accents . . . . . 24

LESSON 16 — REVISION FOUR . . . . . . . . . 25

Contents

jbng

Text Box

The Elements of Music Volume 1 Teacher Manual

vi | The Elements of Music Volume 1 Teacher’s Resource Kit

SAM

PLE

LESSON 17

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

The Keyboard . . . . . . . . . . . . . . . . . . . . . . . . 27

The Pattern of Black Notes . . . . . . . . . . . . . . 28

Rhythm Dictation andUsing the Rhythm Dictation Cards . . . . . . 28

LESSON 18

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

The Music Alphabet . . . . . . . . . . . . . . . . . . . . 29

Treble and Bass . . . . . . . . . . . . . . . . . . . . . . . 30

Keyboard exercises . . . . . . . . . . . . . . . . . . . . . 30

LESSON 19

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Finger Numbers . . . . . . . . . . . . . . . . . . . . . . . 31

Keyboard Games . . . . . . . . . . . . . . . . . . . . . . 31

Right Hand C Position . . . . . . . . . . . . . . . . . . 32

Left Hand C Position . . . . . . . . . . . . . . . . . . . 32

LESSON 20 — REVISION FIVE . . . . . . . . . . 33

LESSON 21

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Melody and Pitch . . . . . . . . . . . . . . . . . . . . . . 34

Notation — The Grand Staff . . . . . . . . . . . . . 35

LESSON 22

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Mouths, Melody and Words . . . . . . . . . . . . . 36

Melody, Communication and God . . . . . . . . . 37

LESSON 23

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Intervals of Seconds, Octaves and the Note D 38

More About Rhythm — Counting Beats . . . . 39

The Rhythm . . . . . . . . . . . . . . . . . . . . . . 39

LESSON 24 — REVISION SIX . . . . . . . . . . . 41

LESSON 25

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Interval of a Third (3rd) . . . . . . . . . . . . . . . . . 42

Melody Make-ups . . . . . . . . . . . . . . . . . . . . . 43

LESSON 26

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

The Note F . . . . . . . . . . . . . . . . . . . . . . . . . . 44

A New Song . . . . . . . . . . . . . . . . . . . . . . . . . . 45

LESSON 27

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Music in the Bible . . . . . . . . . . . . . . . . . . . . . 46

The Note G . . . . . . . . . . . . . . . . . . . . . . . . . . 46

LESSON 28 — REVISION SEVEN . . . . . . . . 48

LESSON 29

Review — ‘Same But Different’ . . . . . . . . . . . 49

The Trinity . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Two Handed Rhythm . . . . . . . . . . . . . . . . . . . 49

The Note A . . . . . . . . . . . . . . . . . . . . . . . . . . 50

LESSON 30

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Sixteenth Notes and Rests . . . . . . . . . . . . . . . 52

The Note B . . . . . . . . . . . . . . . . . . . . . . . . . . 53

LESSON 31

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Stems and the Dot . . . . . . . . . . . . . . . . . . . . . 54

Music Notation in Bible times . . . . . . . . . . . . 55

LESSON 32 — REVISION EIGHT . . . . . . . . 56

LESSON 33

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

English Rhythm Names . . . . . . . . . . . . . . . . . 58

Leger Lines . . . . . . . . . . . . . . . . . . . . . . . . . . 59

LESSON 34

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Types of Soundwaves . . . . . . . . . . . . . . . . . . . 60

Chironomy . . . . . . . . . . . . . . . . . . . . . . . . . . 61

LESSON 35

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Tones, Semitones and Sharps . . . . . . . . . . . . . 62

A Notation Timeline . . . . . . . . . . . . . . . . . . . 63

LESSON 36

Revision Nine . . . . . . . . . . . . . . . . . . . . . . . . 65

ANSWERS TOWORKSHEET QUESTIONS . . . . . . . . . . 66

SCRIPTURES . . . . . . . . . . . . . . . . . . . . . . . . 78

CD TRACK REFERENCE . . . . . . . . . . . . . . . 80

MUSIC EXAMPLES . . . . . . . . . . . . . . . . . . . 81

BIBLIOGRAPHY . . . . . . . . . . . . . . . . . . . . . . 83

jbng

Text Box


xviii | The Elements of Music Volume 1 Teacher’s Resource Kit

The Elements of Music four year course outline

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

What are elements?

Concept of visible and invisible

1. Soundwaves

2. Notation

3. Rhythm

4. Melody

Keyboard skills

5. Tonality (scales)

6. Harmony (chords)

7. Man’s Soul

8. Timbre (tonecolour)Musical instruments

9. Form (shape in music)

History: Ancient TimesMiddle AgesRenaissance/ReformationBaroque

Keyboard Arrangements Book

10. Man’s Body

11. Touch (ways of playinginstruments)

12. Dynamics (loud andsoft sounds)

13. Tempo (speed in music)

History: Classical PeriodRomantic Period

14. Man’s Spirit

History: Late 19th CenturyTwentieth Century

SAM

PLE

jbng

Text Box


2 | The Elements of Music Volume 1 Teacher’s Resource Kit

SAM

PLE

Lesson 2

COLOURINGPENCILS

MUSIC OFYOUR CHOICE

REVIEW

Elements are the building blocks used to make something. They can be visible (seen) or invisible (unseen).Bricks and wood are visible elements. Atoms are invisible elements. Music elements are invisible but we knowthey are there because we hear them with our ears. God is also invisible but He is real and we believe it in ourhearts. Say Colossians 1:16.

MOLECULES AND SOUNDWAVES

Music is made up of many invisible elements which fit together to build a piece of music. Now we shall lookat one of these elements — the soundwave. When God created the tiny atoms He also joined them togetherin groups. These groups of atoms are still so small that they are invisible to our bare eyes. They are calledmolecules. Molecules are atoms joined together.

When molecules move, they bump each other. This makes a wave-shaped pattern called a soundwave. Asoundwave contains millions of invisible molecules which move through the air to our ears like in thispicture.

VEHICLES

Vehicles, like trucks, planes and cars, carry things from one place to another. Soundwaves are vehicles thatcarry sound. Soundwaves are very important because they carry music to our ears. Trucks, planes and cars arevisible vehicles but soundwaves are invisible vehicles.

God created the atoms, molecules and soundwaves. If there were no soundwaves we would not be able tohear music at all. Music needs soundwaves as its vehicle. God has provided that vehicle. He knows our needsand provides everything we need. God is a giver and our provider.

Clap your hands once and listen to the soundwave it makes. Do it again. Shout, whisper, talk or sing andlisten to the soundwaves.

jbng

Text Box


The Elements of Music Volume 1 Teacher’s Resource Kit | 3

SAM

PLE

Lesson 3

WRITINGPENCIL

REVIEW

God and music are both invisible and are both real. We hear music through our ears and God is with us inour hearts. God made soundwaves as the vehicle to carry music to our ears. Soundwaves are moleculesbumping each other and making a wave pattern. Molecules are atoms joined together. Atoms are God’sbuilding blocks. Colossians 1:16 tells us that God created everything visible and invisible. If God had notmade soundwaves we could not hear music. Soundwaves are an important element of music.

SAME BUT DIFFERENT

God made soundwaves but He did not make them the same. They are called soundwaves because they aremolecules bumping each other, but they come in different patterns. We can say they are the same butdifferent. Many children can do many different paintings but the pictures are all called paintings. In the sameway, God made all people with bodies, but there are many different shapes and sizes. We are all the same insome ways but different in others. How are cakes the same but different? How are clothes the same butdifferent? How are houses the same but different?

DIFFERENT TYPES OF SOUNDS

Soundwaves are the same in that they are all bumping molecules making a wave pattern, but they are differentbecause the wave patterns and sounds change. Soundwaves from drums have a hitting sound. Soundwavesfrom a guitar have a vibrating sound (vibrating means wobbling). Soundwaves from a flute have a blowingsound. Soundwaves can also be high or low, loud or soft, long or short.

Track 4 Listen to some bumping molecules, making three different types of sounds. Can you guess if theyare hitting, blowing or vibrating string sounds? Are they high or low, loud or soft, long or short?

Track 5 Now listen to a piano soundwave. It starts loud then gets softer. Close your eyes and listen to itfade away. Put your hand up when you cannot hear it any longer.

Memorise this definition of soundwaves and add these actions:

Soundwaves are millions [wriggle all ten fingers] of invisible [close eyes for a fewseconds] molecules [make two molecules with your fingers by putting your middlefingers on your thumbs] which bump each other [bump the two moleculestogether] and make soundwaves [move hands along in a wave pattern] that carrymusic to our ears [finish the wave pattern at your ears].

jbng

Text Box



SAM

PLE

Lesson 13

WRITINGPENCIL

RHYTHMDICTATION

CARDS

REVIEW

Each element of music has some things which are the same and some which are different. Do you rememberwhat they are in the three elements — soundwaves, notation and rhythm? Here is a chart to help youremember.

ELEMENT SAME DIFFERENT

Soundwaves Millions of bumping molecules carrying music They can be hitting, blowing, vibrating stringto our ears. They are invisible. sounds, or high, low, long, short, forte or piano.

Notation Written instructions on paper to help us There are many different ovals, lines, shapes andremember. It shows how much the composer letters used.cares about small things and how he wants toshare his music. It is visible.

Rhythm Long and short sounds and silences moving There are many different ways of making patternsthrough a timeline. It is invisible. of sounds (notes) and silences (rests) along the

timeline.

METER

Meter means ‘to measure.’ A speedometer measures how fast a vehicle moves. A thermometer measures thetemperature. A ruler measures how long something is. A measuring jug measures how much liquid there is. Agas meter measures how much gas has been used. How do we measure how heavy something is?

In music we measure the beats along a timeline and put them into groups. We use lines called barlines and wedraw them across the timeline. They look like fence posts. In the timeline below, the short lines are the beatsand the tall lines are the barlines. In this example you can see that the beats are grouped into threes:

The gaps between the barlines are called bars.

Bar 1 Bar 2 Bar 3

In the above example, find twelve beats and four barlines. How many beats are in each bar?

jbng

Text Box



SAM

PLE

God made time on earth with a beginning, a middle and an end.

God Life on earth God

Genesis 1:1 Luke 21:33

Our own life on earth also has a beginning, a middle and an end. We are born. We live through a timeline.Our life on earth ends. The clock keeps ticking away the seconds all along the timeline.

Music is like this. When a composer makes up a piece he has a beginning, a middle and an end. He uses atimeline with beats, barlines and bars. He tells us when the end is by using a double barline.

Memorise Genesis 1:1.

THE EIGHTH NOTE AND REST

You already know many notation signs which tell us much about the types of sounds we hear in music. Thereare two more signs which are also used very often. The eighth note gets only half of a beat and looks like aquarter note with a flag:

If there are two or more eighth notes the flag can join to the next note like this:

= =

In French Time Names we say ‘ta tay.’ ‘Ta’ is for the first note and ‘tay’ is for the second note.

An eighth rest also gets only half a beat and looks like a curly number seven:

In French Time Names we quietly say ‘m’.

Track 32 Listen to the rhythm on the CD, then clap and say it by yourself.

Track 33 Listen to the next two rhythms. The first has no rests and the second has some notes changedto rests. Which rhythm sounds more interesting and has more life to it?

jbng

Text Box



SAM

PLE

Lesson 30

WRITINGPENCIL

RHYTHMDICTATION

CARDS

REVIEW

God is the same but different because He is the one true Creator but He is also the Father, Son and HolySpirit. He is also called the ‘Three-in-one’ and the ‘Trinity.’ God’s creation is not Himself but is a reflectionof His ability to create so many different things from the same building blocks of atoms and molecules eg.plants, animals, stars, planets and people. Creation is a type of picture of how God is the same but different.We can learn about Him by studying the things He created eg. music. Each of the music elements —soundwaves, notation, rhythm and melody — are the same but different. We can discover things about Godby studying them.

Soundwaves teach us that God is our Provider and Giver. Notation shows how God cares for us and wants toshare His love. He gives us instructions for our lives and wants us to remember them. Rhythm teaches thatGod gives time for activities and rest. Melody tells us that God wants us to communicate with Him.

Read Romans 1:20 and memorise some of it.

SIXTEENTH NOTES AND RESTS

So far you have learned five types of notes and rests as your chart in Lesson 16 shows. The shortest note onthe chart is the eight note which has one flag on it. Our new note and rest have two flags and are calledsixteenth notes and sixteenth rests. They are only half as long as the eighth note and have only a quarter ofa beat. Sixteenth notes are often grouped in fours with the two flags becoming two lines across the top.

=

In French Time Names we say ‘ta fa te fe.’ When counting the beats we say ‘1 e + e, 2 e + e.’ These areshown on the rhythm below.

1 2 3 e + e 4 1 e + e 2 e + e 3 + 4 + 1 2 3 4

ta ta ta fa te fe ta ta fa te fe ta fa te fe ta tay ta tay ta ta ta a

Track 44 Listen to the above rhythm played three times on the CD. The first time point to each note. Thesecond time clap and count the beats. The third time clap and say French Time Names.

jbng

Text Box



SAM

PLE

THE NOTE B

You already know the names of six notes and where they are on the Grand Staff — C D E F G A. Each letteris actually the name given to a particular soundwave and tells exactly how high or low the soundwave is. Inother words, the letter tells the pitch of the soundwave. Do you remember that pitch means how high or lowthe sounds are?

The next note is obviously B and comes after A. It makes the interval of a seventh above C. It is also a 2ndbelow C.

How many Bs are on your keyboard?

Play these intervals and notice the seven notes in the 7th.

1. C–D

2. C–E

3. C–F

4. C–G

5. C–A

6. C–B

Play

1. 7th above D

2. 7th below E

3. 7th above F

4. 7th below B

Ask some one to quiz you on the intervals from 2nd to 7th. The interval of a 7th is easy to hear because thetwo notes clash with each other.

In notation a 7th looks like this. Notice how the high B sits above the short line. (The note A has the shortline going through the middle of it.)

Track 45 Listen to each 7th and point to it as you hear it.

An interesting thing about reading intervals is that the intervals with even numbers all have one space noteand one line note. The intervals with odd numbers all have both notes as line notes or both as space notes.

Check these intervals.

jbng

Text Box


The Elements of Music Volume 1 Student Workbook | 3

SAM

PLE

Worksheet 1

WRITINGPENCIL

1.1 The building blocks used to make something are called e .

1.2 Some elements can be seen and are called v .

1.3 Some elements cannot be seen and are called i .

1.4 God’s invisible building blocks for the earth and our bodies are

called a .

1.5 Circle the things which are invisible.

hymnbook singing fingers clothes the taste of sugarperfume from a rose piano cat air

1.6 Music is invisible but we know it is real because we hear it with our ears.

Who else is invisible but we know He is still real?

We know this is true in our .

1.7 Who created music?

1.8 Tell a Bible verse about who made visible and invisible things.

1.9 Track 2 Listen to the CD and keep very still. Close your eyes and let the sounds ofthe music go through your ears.

jbng

Text Box

The Elements of Music Volume 1 Student Workbook

26 | The Elements of Music Volume 1 Student Workbook

SAM

PLE

Worksheet 13

WRITINGPENCIL

RHYTHMDICTATION

CARDS

13.1 Rhythm is and sounds

and moving through a .

13.2 ‘Meter’ means how we m music on the timeline.

Draw an arrow from the word to the correct sign.

timeline beat barline bar double barline

Draw a rainbow over each bar like the first one.

13.3 In question 13.2 there are:

3 barlines, bars, beats and double barline.

13.4 Track 34 Clap these rhythms with the CD and say FTN. Wait four beats.

a)

b)

c)

How many beats are in each bar of rhythm a)?

How many beats are in each bar of rhythm b)?

How many beats are in each bar of rhythm c)?

13.5 Rhythm Dictation Cards Make up your own rhythms using the cards you knowand adding some eighth notes and rests. Clap them, then write one below.

jbng

Text Box



SAM

PLE

13.6 God created time with three parts in it. Our lives and music also have three parts — a

b , a m and an

e . One single note (or soundwave) is also like this.

Track 35 Listen to a piano note on the CD and hear the three parts. Listencarefully for the end. Raise your hand when you think the sound has finished.

13.7 Recite Colossians 1:16, Proverbs 20:12, Ecclesiastes 3:7 and 1 Peter 5:7.

13.8 Write Genesis 1:1 in your exercise book.

13.9 Music maths Add or subtract the number of beats.

ADDITION

a) + = b) + =

c) + = d) + =

e) + = f) + =

SUBTRACTION

a) – = b) – =

c) – = d) – =

e) – = f) – =

13.10 Trace and copy two treble clefs and two bass clefs.

13.11 Read:Thank you God for giving us a timeline for rhythm to move along so we can havetimes of movement and rest, busyness and stillness, and sounds and silences.

jbng

Text Box



SAM

PLE

Worksheet 20

COLOURINGPENCILS

RHYTHMDICTATION

CARDS

REVISION FIVE

20.1 Track 58 Listen to these sounds. Tick the line which shows the direction thesound moves.

a)

b)

c)

20.2 a) Rhythm Dictation Cards Using the rhythm dictation cards do these rhythmdictations. You will hear four beats/ticks before the rhythm starts. The rhythm isplayed three times.

Listen/Clap/Say FTN/Write Stems Only

i) Track 59

ii) Track 60

d) Track 61 Which meter (time signature) is used here? Listen for the strongaccented notes for the first beat.

i) ii)

c) Track 62 Listen to this rhythm and point to each note as you hear it. It isplayed twice. The second time clap along with the CD. Wait for ‘Ready, Go’.

jbng

Text Box



SAM

PLE

20.3 On this keyboard colour the Cs red, Ds blue, Es yellow, Fs green, Gs orange, As purpleand Bs brown.

20.4 Label the hands left or right. Draw a line from each number to match the correctfinger.

54321

20.5 Keyboard games

a) Play this pattern in RH C position:

E E F G G F E D C C D E D C C3 3 4 5 5 4 3 2 1 1 2 3 2 1 1

b) Slowly play these patterns in LH C position:

i) C D E D C ii) C E G F E D C5 4 3 4 5 5 3 1 2 3 4 5

20.6 a) Make up your own rhythm in time using any notation signs you choose.Remember to add the time signature, barlines and a double barline.

b) Play your rhythm on the keyboard with RH2 on D and say FTN. Then play it inthe bass with LH2 on F.

jbng

Text Box



SAM

PLE

34.2 a) Play these melodies for Revelations 21:6 on your keyboard.

b) How are the melodies in a) the same and how are they different?

c) Make up your own melody for Revelation 21:6 using the grand staff chart. Thenplay it on your keyboard.

34.3 Last lesson we had ‘rhythm pies.’ This time we have ‘rhythm branches.’ They look likethis.

Write beside each line of notes how many notes of each kind equals the whole note atthe top. One is done for you.

jbng

Text Box



SAM

PLE

34.4 a) i) Track 63 Point to each note of this rhythm as you hear it on the CD. Waitfor ‘Ready, Go’.

ii) Track 64 Point again and say FTN. Wait for ‘Ready, Go’.

iii) Clap the rhythm by yourself.

iv) Write the counts under each note.

b) Two-handed rhythm: tap these rhythms on your lap.

same

different

swap

c) Track 65 Which meter is used?

d) Rhythm Dictation Cards Write the stems only of the rhythm you hear. Therhythm is played three times with four beats at the start.

Listen/Clap/Say FTN/Write Stems Only

Track 66

Add the time signature to make it and add barlines.

34.5 Track 67 Listen to the CD and circle the types of soundwaves you hear.

a) long short high low loud soft blowing hitting vibrating string

b) long short high low loud soft blowing hitting vibrating string

c) long short high low loud soft blowing hitting vibrating string

jbng

Text Box


The Elements of Music Volume 2 Teacher’s Manual | v

SAM

PLE

Contents

FOREWORD . . . . . . . . . . . . . . . . . . . . . . . . viii

ABOUT THE AUTHOR . . . . . . . . . . . . . . . . ix

GOALS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . x

IMPORTANT NOTE TOPARENTS AND TEACHERS . . . . . . . . . . . x

TEACHING THE ELEMENTS OF MUSICVOLUME 2 . . . . . . . . . . . . . . . . . . . . . . . . xi

THE METHOD OF TEACHING—A BIBLICAL WAY OF LEARNING . . . . . . xii

HISTORY IN THE ELEMENTSOF MUSIC . . . . . . . . . . . . . . . . . . . . . . . xvi

KEY CONCEPTS . . . . . . . . . . . . . . . . . . . xviii

HOW THE COURSE IS ORGANISED . . . . . xx

THE ELEMENTS OF MUSIC —COURSE OUTLINE . . . . . . . . . . . . . . . . xxi

THEORY SUMMARY . . . . . . . . . . . . . . . . . xxii

LESSON 1

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Beat and Meter . . . . . . . . . . . . . . . . . . . . . . . . 1

A Music Journey Through theHistory Timeline . . . . . . . . . . . . . . . . . . . . . 2

Meet the History Guides . . . . . . . . . . . . . . . . . 2

LESSON 2

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

The Whole Bar Rest . . . . . . . . . . . . . . . . . . . . . 6

A History Definition . . . . . . . . . . . . . . . . . . . . 6

The Historical Periods . . . . . . . . . . . . . . . . . . . 7

History Puzzles to Ponder . . . . . . . . . . . . . . . . 8

LESSON 3

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

The History Puzzles . . . . . . . . . . . . . . . . . . . . 10

Adding Melody to the History Poem . . . . . . . 10

People from History . . . . . . . . . . . . . . . . . . . . 11

The Building Blocks . . . . . . . . . . . . . . . . . . . . 11

LESSON 4

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Tonality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Tonality, Rhythm and Anacrusis . . . . . . . . . . . 12

Cause and Effect . . . . . . . . . . . . . . . . . . . . . . 13

LESSON 5

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Sound Flavours in Tonality . . . . . . . . . . . . . . 14

Playing Scales on the Keyboard . . . . . . . . . . . 15

Creation—Our Music Journey Begins . . . . . . 15

LESSON 6

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

The Pattern of Black and White Keys . . . . . . . 17

Tonality and God . . . . . . . . . . . . . . . . . . . . . . 18

Something to Think About . . . . . . . . . . . . . . . 18

Old Testament Composers . . . . . . . . . . . . . . . 18

LESSON 7

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Tonality and Melody . . . . . . . . . . . . . . . . . . . 21

Rhythm: The Tie . . . . . . . . . . . . . . . . . . . . . . 22

The Elements of Music in Ancient Times . . . . 22

Musical Instruments of Ancient Times . . . . . . 25

LESSON 8: REVIEW . . . . . . . . . . . . . . . . . . . 26

LESSON 9: TEST . . . . . . . . . . . . . . . . . . . . . 30

LESSON 10

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Harmony . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Introduction to the Middle Ages . . . . . . . . . . 32

LESSON 11

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Harmony, Strength and Agreement . . . . . . . . 35

Writing Down Music in the Middle Ages . . . . 36

LESSON 12

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Five Music Elements Used in the Middle Ages 39

The Byzantine Empire . . . . . . . . . . . . . . . . . . 40

jbng

Text Box


vi | The Elements of Music Volume 2 Teacher’s Manual

SAM

PLE

LESSON 13

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Melody in the Middle Ages . . . . . . . . . . . . . . 43

LESSON 14

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

The F Chord . . . . . . . . . . . . . . . . . . . . . . . . . 45

The High Middle Ages . . . . . . . . . . . . . . . . . . 46

LESSON 15

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Simple and Compound Time . . . . . . . . . . . . . 49

Instruments in the Middle Ages . . . . . . . . . . . 50

Instruments of the Middle Ages . . . . . . . . . . . 51

LESSON 16

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

The Late Middle Ages . . . . . . . . . . . . . . . . . . 52

LESSON 17

A Story—The Music Garden . . . . . . . . . . . . . 55

LESSON 19

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Reading Compound Time and Simple Time . . 60

A New Element—Soul . . . . . . . . . . . . . . . . . . 61

The Renaissance . . . . . . . . . . . . . . . . . . . . . . . 61

LESSON 20

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Tying Compound Rhythms . . . . . . . . . . . . . . 64

The Renaissance vs the Reformation . . . . . . . 65

Soul—The Will . . . . . . . . . . . . . . . . . . . . . . . 66

LESSON 21

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Rests in Compound time . . . . . . . . . . . . . . . . 67

Words and Notes . . . . . . . . . . . . . . . . . . . . . . 68

Martin Luther . . . . . . . . . . . . . . . . . . . . . . . . 68

LESSON 22

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Soul, Rhythm and Melody . . . . . . . . . . . . . . . 70

John Calvin . . . . . . . . . . . . . . . . . . . . . . . . . . 70

LESSON 23

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Styles in Music . . . . . . . . . . . . . . . . . . . . . . . . 72

The Reformation and the Roman CatholicChurch . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Results of the Reformation . . . . . . . . . . . . . . 74

LESSON 24

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

The Elements of Music in the Renaissance . . . 75

LESSON 25

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

A New Element—Timbre . . . . . . . . . . . . . . . . 80

Instruments in the Renaissance . . . . . . . . . . . 81

Instruments of the Renaissance . . . . . . . . . . . 82

LESSON 26

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

The Renaissance in England . . . . . . . . . . . . . . 84

LESSON 27: GRAND REVIEW

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

The Memory . . . . . . . . . . . . . . . . . . . . . . . . . 87

A History Message . . . . . . . . . . . . . . . . . . . . . 88

LESSON 28

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

A New Element—Form . . . . . . . . . . . . . . . . . 89

The Baroque Period . . . . . . . . . . . . . . . . . . . . 90

LESSON 29

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Form and Rhythm . . . . . . . . . . . . . . . . . . . . . 93

Edges and Cadences . . . . . . . . . . . . . . . . . . . . 93

England in the Baroque Period . . . . . . . . . . . . 94

LESSON 30

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

The Ta-Te-Fe rhythm . . . . . . . . . . . . . . . . . . . 97

The A Minor Chord . . . . . . . . . . . . . . . . . . . . 97

Baroque Composers . . . . . . . . . . . . . . . . . . . . 98

LESSON 31

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

The Ta-Fa-Tay Rhythm . . . . . . . . . . . . . . . . . 100

Imperfect Cadences . . . . . . . . . . . . . . . . . . . 100

England in the 1600–1700s . . . . . . . . . . . . . 101

jbng

Text Box


The Elements of Music Volume 2 Teacher’s Manual | vii

SAM

PLE

LESSON 32

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Equal Temperament . . . . . . . . . . . . . . . . . . . 104

Music in the Baroque . . . . . . . . . . . . . . . . . . 105

LESSON 33

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Key Signature . . . . . . . . . . . . . . . . . . . . . . . . 109

G Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Form in the Baroque . . . . . . . . . . . . . . . . . . 110

Baroque Forms of Music . . . . . . . . . . . . . . . 111

Baroque Composers and Forms They Used . 112

LESSON 34

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Ornaments and Baroque Style . . . . . . . . . . . 113

Elements of Music in the Baroque . . . . . . . . 114

Instruments of the Baroque . . . . . . . . . . . . . 116

LESSON 35

Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Rhythm and Notation in the BAroque . . . . . 117

Baroque Rhythm Notation . . . . . . . . . . . . . . 118

Grand Review . . . . . . . . . . . . . . . . . . . . . . . 119

Nine Elements of Music . . . . . . . . . . . . . . . . 120

LESSON 36: TEST . . . . . . . . . . . . . . . . . . . 121

ANSWERS TO WORKSHEETQUESTIONS . . . . . . . . . . . . . . . . . . . . . 122

ANSWERS TO TESTS . . . . . . . . . . . . . . . . 140

SCRIPTURES . . . . . . . . . . . . . . . . . . . . . . . 143

GLOSSARY . . . . . . . . . . . . . . . . . . . . . . . . . 145

MUSIC EXAMPLES . . . . . . . . . . . . . . . . . . 148

BIBLIOGRAPHY . . . . . . . . . . . . . . . . . . . . . 149

CUSTOMER SURVEY . . . . . . . . . . . . . . . . . 151

jbng

Text Box


xviii | The Elements of Music Volume 2 Teacher’s Manual

SAM

PLE

Key Concepts

Many threads run through The Elements of Music course.

THE SOUNDWAVE TRUCK

This continues from Volume 1 and its load of music element boxes gradually increases from four to nine. Thetruck is a symbol of God as a Giver and Provider. If He did not provide atoms, molecules and soundwaves wecould not hear music.

THE SIGNPOST

The signpost represents the element of notation. This contrasts with the other elements because it is a visible,written instruction. The signpost symbolises the Bible, God’s written instructions for man. Music notationand the Bible are written as instructions. A composer gives written instructions because he cares about hiscomposition and wants to share ideas. He pays attention to detail so others can understand and rememberhow the music should sound. God too cares greatly for man and wants to share His love with us. The Bible isvery detailed so we can understand and remember how He wants us to live.

THE CONCEPT OF ‘SAME BUT DIFFERENT’

Although the concept of ‘same but different’ emphasises unity, there is nonetheless much variety in combiningthe musical elements. This reflects God’s own unity and diversity as expressed in His creation. It also helps toexplain to children the concept of the Trinity and how God can be the same but different because He isThree-in-One.

As students walk through the history timeline they gain an understanding of how some things remain thesame even though man’s use of them may differ greatly. God has remained the same and is always with manthroughout history. Emmanuel means God with us. Worldly history books focus on events and people,mistakes and successes. These accounts forget that God, through His Son and with the power of the HolySpirit, was still there for man to call upon. As the history poem taught in the first few lessons says—‘Historyand man may falter but our God will never alter.’ God is always available when man makes mistakes. God isunchanging.

In music the elements remain the same but man’s use of them and the ways they are organised incompositions vary enormously throughout history. The result is many different styles of music.

CAUSE AND EFFECT

History does not just happen by chance but as a result of what people believe in their hearts. Beliefsdetermine thoughts, which determine actions. Music is affected by the beliefs, thoughts and actions of thecomposer.

jbng

Text Box


The Elements of Music Volume 2 Teacher’s Manual | xix

SAM

PLE

MAN IS CREATED IN GOD’S IMAGE

Man’s creativity is evidence that he is created in God’s image with a spirit and creative ability. Animals, plantsand rocks cannot create like man or appreciate music as an art form.

THE TIMELINE AND HISTORY

Time is like a line with a beginning, middle and an end. This contrasts with the philosophy that life is a circlewithout beginning or end, that people die and come back as someone or something else. In reality we are onlygiven one chance on our earthly timeline. Just as God created the basic building blocks of music, so did Hecreate the three main parts of history—time, place (earth) and man.

PURPOSE

Each music element has a purpose and teaches something about God. This is shown in the God-message andsupporting scriptures for each element. History has a purpose. This is not that man can learn from hismistakes and hopefully improve (as is widely taught), but that man can learn more about God.

PERSPECTIVE

This course puts man in correct perspective with the rest of God’s creation. God first, man second andcreation/music third. God gave man dominion over the work of His own hands, which includes the musicelements (Psalm 8:5).

God is much bigger than we can imagine. Man and music are smaller because they are God’s creation.Regardless of man’s actions, God is still sovereign.

FOUNDATIONAL SCRIPTURES

Romans 1:20 ‘For since the creation of the world, God’s invisible qualities—His eternal power and divinenature—have been clearly seen, being understood from what has been made, so that men are without excuse.’

Romans 15:4 ‘For everything that was written in the past was written so that, through endurance andencouragement of the scriptures, we might have hope.

2 Chronicles 7:14–15 ‘If My people, who are called by My Name, will humble themselves and pray and seekmy face and turn from their wicked ways, then will I hear from heaven and will forgive their sin and healtheir land.’

jbng

Text Box


6 | The Elements of Music Volume 2 | Teacher’s Manual

SAM

PLE

Lesson 2

RHYTHMCARDS

CD questions: 2.1 Keyboard questions: none

REVIEW

Surprise Box Take out three cards and recite them.

Beat, meter and rhythm are closely linked and all move along a timeline.

Clap and say the definitions of beat, rhythm and meter in strict time. Be sure not to get faster.

Meter is beats measured into groups—for example, twos or threes or fours.

Recite the poem about our six tour guides for our history journey.

Which element is very important for writing down both history and music?

Give four reasons why we are going on this history journey.

Recite Romans 15:4.

THE WHOLE BAR REST

In Volume 1 you learned the signs for rests. The four-beat rest is commonly known as a whole bar rest. Itcan be used for a whole bar of silence. The number of beats it gets changes according to the time signature.

For example, in time it gets two beats; in time it gets three beats; in time it gets four beats.

A HISTORY DEFINITION

The poem below is a definition of history. It describes how history involves God, man, time, places, eventsand how God is more powerful than man. God stays the same and wants us to call on Him for help.

History is His Story with a time, people, placesAnd events that have been in the past.God is big, man is small. God delights to hear us call.History and man may falter but our God will never alter.

The words of the poem are mixed with rhythm on the next page.

Track 5 Listen to it three times on the CD while following the notation on the next page. The first time,it has words. The second time you hear FTN. The third time it has counts. Point to each note as you hear it.

See Exercise 2.1 b)

jbng

Text Box


The Elements of Music Volume 2 | Teacher’s Manual | 7

SAM

PLE

Now stand up and say the poem in rhythm with the actions.

THE HISTORICAL PERIODS

Now that you know what the definition of history is, you can meet your second guide—When-guide.

WHEN When are we leaving?

We will leave as soon as you have met the other guides. There will be many destinations. Your first stop will beat the very beginning of time. Then you will travel along the timeline and stop often.

You know that a timeline is an imaginary line which time moves along. It represents past, present and future.Events occur before or after each other on the timeline. God created time. People’s lives move along thetimeline with times of activity and rest. The earth’s timeline has a beginning, a middle and an end.

We will travel along the timeline below. The dates are shown and the stops are named underneath. Thesestops are called historical periods.

See Exercise 2.4 b)

jbng

Text Box



SAM

PLE

Lesson 19

CD questions: 19.2 Keyboard questions: none

REVIEW

So far you have learned eight historical periods and their dates. The Tour Guides, What, Why, When, How,Where and Who have shown you many things about the Ancient Times and Middle Ages. You have alsolearned six elements or building blocks of music—soundwaves, notation, rhythm, melody, tonality andharmony—and what they teach about God. You know many scriptures, rhythms, meters, notes, types ofmelodies, scales, modes and music notation signs. You have travelled a long way and met many composers.WELL DONE!

Surprise Box Take out four cards and recite the verses.

READING COMPOUND TIME AND SIMPLE TIME

In compound meter each beat is divided into groups of three. In simple time each beat is in twos. Compoundtime has a feel of galloping and simple time has a feel of running. Reading compound and simple time is easybecause you look for groups of twos or threes.

In the last rhythm shown below you can see six eighth notes grouped in threes in each of the last two bars.Therefore the time signature for this meter is .

The first bar is not complete and the missing beats are in the last bar. Do any of the rhythms above have ananacrusis?

See Exercise 19.1

jbng

Text Box



SAM

PLE

A NEW ELEMENT—SOUL

The soul may seem to be an unusual music element. Soul is a word you have probably heard many times butnot thought much about. It is a very important part of each person and without one, we would be dead. Goddesigned man with a visible part, the body made of molecules, and an invisible part, the soul.

The soul has four parts which are all involved in understanding and appreciating music. These are:

1. The Will—the part that makes decisions

2. The Mind—the part that thinks and understands things

3. The Memory—the part that remembers

4. The Emotions—the feelings

If we had no soul we could not understand music or remember, express and enjoy it. The soul is a wonderfuland fascinating example of God’s design of people.

The soul is the invisible, conscious part of man. We have a will, a mind, a memory and emotions.

Track 10 Listen to the definition of soul. It is sung like a Gregorian Chant.

THE RENAISSANCE

WHEN

When are we going to the next historical period—the Renaissance?

Right now—Let’s go! The timeline for the Renaissance is shown below (and in Worksheet 2.4 b).

WHERE Where will we go?

We will stay in Europe and find out what is happening in the music garden from Lesson 17. The map on thenext page shows some of the people we will meet and where they come from.

See Exercise 19.5

WHY Why is this period called the Renaissance?

Renaissance means ‘rebirth’. In the Fifteenth Century there were more discoveries of writings from theAncient Classical Period 500 BC–500 AD. Italian scholars learned that their capital city, Rome, was thecentre of civilisation before the German invasion in 476 AD (see the timeline in Lesson 8). They wantedRome to revive the architecture, sculptures and paintings. The word Renaissance refers to the rebirth in theFifteenth and Sixteenth centuries of the ideas, philosophies and culture of the ancient Greeks and Romans.

HOW How did this rebirth occur?

It came about gradually then quickly spread. People did not wake up on New Year’s Day 1450 and say, ‘Let’sstart the Renaissance Period and keep it going for 150 years.’ They did not even know the Renaissance hadstarted. Scholars invented the word later.

You remember the story of the music garden in Lesson 17. Many Renaissance seeds were planted in the MiddleAges and did not fully blossom until the 1400–1500s. In the 1200s, Thomas Aquinas had discovered someancient writings of the Greeks such as Aristotle (Lesson 14). Aquinas tried to mix Aristotle’s beliefs with

jbng

Text Box



SAM

PLE

Lesson 30

Recording of Baroque music of your choice.

CD questions: 30.1, 30.4, 30.5 Keyboard questions: 30.2 KB arrangements: pages 24–29 may be started

REVIEW

Recite Psalm 16:5–6.

Surprise Box Pick four cards and recite them.

Who were some rulers in England?

What were two wars in the Eighteenth century?

Which part of the soul plans things? Makes decisions? Has feelings? Remembers?

What is lining out?

THE TA-TE-FE RHYTHM

You already know the rhythm ta-fa-te-fe.

It we tie the first two notes together we make a new rhythm.

See Exercise 30.1 a)

Track 41 Clap this rhythm and say FTN.

THE A MINOR CHORD

You already know the primary chords for C Major: I = C, IV = F and V = G. In the primary chords for Aminor, the pattern is exactly the same but we start on A, not C. We use the same numbers as in C majorbecause the primary chords are I IV and V.

In A minor I = A minor, IV = D minor and V = E.

A minor primary chords are based on the A harmonic minor scale with the raised seventh note—G#. Theyuse the same degree numbers as in the major scale—I IV V.

Minor chords can be indicated with a lower case ‘m’, e.g. A minor = Am, D minor = Dm. Major chords areusually left as is, e.g. C major = C, G major = G.

jbng

Text Box



SAM

PLE

Keyboard Notice the G# which is the leading note in the A scale. The G# leads home to the tonic A.Play the three chords and listen to how I and IV sound minor but V sounds major. This is because of the G#or raised seventh.

Keyboard We can turn the D and E chords upside down to make them closer to the A chord on thekeyboard as in the C chords. Play these chords with LH exactly the same way you play the C chords. Use thesame fingers and pattern but remember the G#.

See Exercise 30.2 and 30.3

BAROQUE COMPOSERS

WHO Who were some composers in the Baroque?

There were many composers during the Baroque and many works were written. In this lesson we will meet somecomposers including hymnwriters. Let’s look at some English composers first. As you read about them, find theirnames on the timeline at the end of Lesson 31. Keep in mind the history of the last two lessons. Thesecomposers were affected by the Reformation, wars, Restoration Period and many discoveries. There was greatinterest in learning new things and composers wrote many new types of compositions. During the 1600s inEngland, hymns were not accepted in the Church. They could only be used in private devotions. Englishcomposers wrote very few hymns. Later in the 1700s we will see the rise of hymns in England.

You do not have to remember all of the composers below. The list is to help you choose some recordings tolisten to. You can buy a CD or borrow from the library.

ENGLISH COMPOSERS

On the timeline in Lesson 31 find some early composers who lived in both the Renaissance and Baroque e.g.Orlando Gibbons, William Byrd, John Bull and John Dowland.

Matthew Locke (1630–1677) worked for Charles II and wrote church and secular music.

Pelham Humphrey (1647–1674) led a new burst of musical activity in the English courts after studying inFrance. He was one of the composers Charles II sent to France and Italy to study light, secular music.

John Blow (1649–1708) was the organist at Westminster Abbey and wrote sacred and secular music.

Henry Purcell (1658–1695) was a pupil of Blow and Humphrey. He became organist at Westminster Abbeyin 1679. He wrote secular and sacred music.

Jeremiah Clarke (1659–1707) was a pupil of Blow and organist at St. Paul’s Cathedral. He composed musicfor church, stage plays and harpsichord.

EUROPEAN COMPOSERS

Jean Baptiste Lully (1632–1687) was born in Italy but raised in France. He had an important position in thecourt of Louis XIV. He was also a dancer and wrote music for ballets, operas, church and dances. In those

jbng

Text Box



SAM

PLE

Lesson 33

CD questions: 33.2 Keyboard questions: 33.1KB arrangements: earlier pieces can now be transposed (see introduction to KB Arr book)

REVIEW

Surprise Box Pick four cards and recite them.

Who were some famous hymnwriters in the Eighteenth Century?

Who were some composers of the Baroque?

What is the name given to the new way of tuning instruments still used today?

What is transposition?

How many major keys are there?

Who composed The Well Tempered Klavier (48 Preludes and Fugues)?

KEY SIGNATURE

You have already learned how C scale can be transposed or shifted across to G position and still sound major.

Each time you transpose to a new key, another sharp is added to the other ones.

C major has no sharps.G major has one sharp—F#.D major has two sharps—F# C#.A major has three sharps—F# C# G#.E major has four sharps—F# C# G# D#.

This pattern continues until seven sharps are used. With so many sharps in some keys, the notation gets verycluttered and hard to read. Composers decided to write all of the sharps at the start so players could instantlyknow which scale to use. The group of sharps is called a key signature because it tells which key or scale thepiece uses. The key signature is always written just after the clef. Here are some examples of key signatures.

G CHORDS

If C scale can be transposed to G scale, then the three primary chords I IV V can also be transposed to G. Allyou do is shift your hand to G position and play exactly the same finger and note patterns. You only need toremember to play the F# in the V chord.

See Exercise 33.1

jbng

Text Box



SAM

PLE

FORM IN THE BAROQUE

WHAT We have met many Baroque composers now. What types of music did they write?

The answer to this question is found in the music element of form. Form is the shape or plan of music sectionsmoving along a timeline. This lesson we look at how composers planned their music.

Form is like cooking a cake. A cook chooses the ingredients and flavours and mixes them according to hisrecipe or plan. He puts the mixture into a tin, cooks it and it comes out in the shape or form of the tin.Likewise, a composer mixes the elements and arranges them into sections according to his plan or form.

There are three differences between a cake and a composition. Firstly, one is visible and the other is invisible.Secondly, one moves through a timeline and the other can be seen all at once. Thirdly, one has edges whichare easy to see and the other has endings or cadences which tell when a new section is starting.

See Exercise 33.2

There were many different forms or types of music in the Baroque. We will divide them into two groups—vocal and instrumental. If a work is for both voice and instruments it will go into the vocal group because thevoice is the main sound. The instrument part is often the accompaniment and adds harmonies to the vocalmelodies. Music can also be divided according to the reason the composer wrote it—sacred (for the glory ofGod) or secular (popular art music for entertainment).

The chart on the next page lists many Baroque musical forms. This will help you find a recording of someBaroque music to listen to.

WHY Why were there so many different forms of music?

The answer to this question is found in the music element of soul. The soul is made up of the will, mind, memoryand emotions. When anyone is being creative and designing something, all parts of the soul are used. Acomposer uses his will to decide to compose something. He uses his mind to think about what he is composing.Perhaps it is his job and his employer is paying him. Perhaps he has some good ideas and wants to share them.Perhaps he wants to worship and glorify God with a song of praise. The composer thinks about how he willorganise the music elements. He remembers other music he has heard and the music knowledge alreadylearned. In his mind he mixes this knowledge and forms new ideas. He designs it with shapes (sections) andplans and where sounds will occur along the timeline. He decides which instruments to use. All the time hisemotions are helping him express himself.

For a new composition, there has to be much planning, forming or shaping of musical ideas in the soul. It isthe same when an artist paints a picture or a chef cooks a delicious meal or an author writes a story. Creativepeople are always planning and forming ideas in their souls.

A good example is found in the cantatas (large choral works) of Bach. He had good reason to compose them.For many years his job was to compose a new cantata for God’s glory for each Sunday service and holy daycelebrations. We know that beliefs affect the soul which affect the body and music. Bach’s strong Christianfaith caused him to write much music for the glory of God. In fact, most of his music was written for theChurch. He used his soul, wisdom, knowledge and understanding of music. His cantatas were sung betweenthe Gospel reading and the sermon to give support and strength to the preacher’s message. Bach sometimeschose to use many melodies and words from chorales which people already knew. He planned, shaped anddesigned the music elements according to what he believed in his heart. He used his will, mind, memory andemotions to carry out his plans. The result was that he composed about 300 cantatas. Imagine what it wouldbe like going to church each Sunday and always having new music.

There are many different forms of music. Composers have different reasons for composing. In theRenaissance, many wrote for church. Many also wrote for the entertainment and pleasure of their employer.This is called art music. Art music included dances and chamber music for small groups in small rooms orchambers.

jbng

Text Box



SAM

PLE

1.3 These notation signs describe different types of soundwaves. Which element do theybelong to? Draw a line to join each one to the correct box.

1.4 a) Beat Say and clap the definition of beat.

b) Track 3: Meter Listen for the accented note (louder) which tells the first beatof a bar. You will hear four ticks first. Write the correct time signature.

i) ii) iii)

c) i) Track 4: Rhythm The rhythm is played three times. First time, point toeach note as you hear it. The second time, point and say FTN. The third time,clap and say the counts. Wait for four ticks and ‘Ready, Go.’

ii) Write the counts under each note.

d) Track 2: Meter Listen to the definition of meter put to rhythm. Clap it sayingwords, then FTN.

jbng

Text Box



SAM

PLE

1.5 Who created time?

Are time, rhythm and beat visible or invisible?

Music rhythms have short timelines lasting only seconds. A minute has a timeline 60seconds long. How long are these timelines?

One day = hours One week = days

One year = months Your life = years

One century = years One millennium = years

1.6 Read and memorise this poem about the History Guides.

I keep six honest serving men,They taught me all I knew.Their names are What and Why and WhenHow and Where and Who.

1.7 Complete these four reasons God wants us to learn history.

a) So we can learn more about .

b) So we can discover God’s for us.

c) God is still in even when things do not go well.

God stays the but people and music

.

d) God gave us a written .

1.8 What book did God have His Word notated in?

1.9 What are four reasons writers and composers write things down on paper?

jbng

Text Box



SAM

PLE

Worksheet 12

12.1 Early Middle Ages Notation

a) Add a melisma to the last note of this chant. Use neumes.

b) Sing the above chant starting on any note and following the melody line.

12.2 High Middle Ages Notation

a) Rule the middle line red to indicate F.

b) Draw the missing neumes. The solfege signs underneath tell whether to go up ordown.

c) Add a melisma to decorate the last note. Write its solfege underneath.

d) Sing the chant.

12.3 Modern Notation

a) Finish writing these scales and fill in the equivalent mode.

jbng

Text Box



SAM

PLE

b) Finish writing this chord pattern in the bass clef. Write chord names in the boxes.

c) Write above each chord in treble clef a note which agrees with each chord.

d) Keyboard Play the chord with your LH and the treble note with your RH.

12.4 a) Track 30 Point to each note as you hear it. It is played twice. The second timesay FTN. Listen to the beats and wait for ‘Ready, Go.’

What are the first and last bars called?

b) Track 31: Rhythm Dictation Write the notes of the rhythm you hear. Therhythm is played three times with four beats at the start. Draw the time signatureand barlines to make the meter four quarter beats in a bar.

c) Track 32: Melody Dictation Write the notes you hear. The first note is C. Themelody is played three times.

d) Track 33: Harmony Dictation Write the number of the chord patterns youhear. Both patterns start with a C chord—I. Each example is played twice.

i) ii)

jbng

Text Box



SAM

PLE

24.8 Draw a line to match the reference with the key words from the verses.

Genesis 1:1 deceit/deception, philosophy, tradition, world, Christ

Matthew 22:37 eat, good, soul, delight, ear, come, live

Colossians 2:8 wind, sound, everyone, born of the Spirit

Isaiah 55:8–9 psalms, hymns, spiritual songs, heart, Lord, givethanks, God, Father, name, Lord Jesus Christ

Romans 1:20 love, Lord God, heart, soul, mind

Ephesians 5:19 thoughts, ways, Lord, heavens, higher, ways

Isaiah 55:2b–3 In the beginning, God created, heaven , earth

John 3:8 creation, world, invisible, clearly seen, beingunderstood, without excuse

24.9 a) Label the parts.

b) Name the intervals on the harmonic series below. The first one is done.

jbng

Text Box



SAM

PLE

Worksheet 25

Recording of Renaissance music of your choice

25.1 a) Track 29 Listen twice to the definition of timbre. The first time words areused. The second time you will hear FTN. Memorise this definition with rhythm.

b) Ask several people to say the definition of timbre. Close your eyes, listen to thetimbre and guess who is speaking.

25.2 Fill in the missing words for the timbre God-message.

a) God designed soundwaves and people in u ways with

different c .

b) God’s signature can be seen in the d of His

c .

c) God identifies and kn everyone and wants

to know H .

25.3 Track 30 Identify the timbre of each sound by numbering the instrument in theorder you hear them.

tambourine cello flute guitar triangle piano bells

jbng

Text Box



SAM

PLE

Worksheet 33

33.1 Keyboard

a) Play C and G scales with LH using correct fingers.

b) Play C and G chords with LH using correct fingers.

c) The definition of harmony has melody and harmony. Play the melody in RH andchords in LH. The chords are tied and only played once.

d) Transpose the above definition of harmony to the key of G, then play it on thekeyboard.

jbng

Text Box



SAM

PLE

e) Play the definition of melody in the key of G.

Which chord in the key of G agrees with the notes in the melody?

Play the chord in LH while RH plays the melody.

Write the chord in each bar directly under the first note of each bar.

33.2 Track 49

a) Listen to a Baroque dance called Minuet in G by J S Bach. Listen for the cadences.

b) Why do you think the piece is called Minuet in G?

c) Listen to the minuet several times and find as many music elements as possible.Circle the correct answer.

i) Form: binary ternary

ii) Tonality: major minor

iii) Beat and Meter:

compound simple

iv) Style: monody organum

polyphonic/contrapuntal harmony and melody

33.3 Write T for true or F for False.

a) Composers use their will, mind, memory and emotions.

b) Sacred music is for worship and glorifying God.

c) Bach wrote only three cantatas.

jbng

Text Box


jbng

Text Box

The Elements of Music Volume 2 Keyboard Arrangements

Contents The Elements of Music Volume 1 Teacher … sample pages.pdfThe Elements of Music Volume 1...

Documents

Transcript of Contents The Elements of Music Volume 1 Teacher … sample pages.pdfThe Elements of Music Volume 1...