Music

Unit 1 Why music?

MusicStage 4

MUAS S4(7) 44213 Centre for Learning Innovation

Number: 44213 Title: Why music?

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Published byCentre for Learning Innovation (CLI)51 Wentworth RdStrathfield NSW 2135________________________________________________________________________________________________Copyright of this material is reserved to the Crown in the right of the State of New South Wales. Reproduction ortransmittal in whole, or in part, other than in accordance with provisions of the Copyright Act, is prohibited withoutthe written authority of the Centre for Learning Innovation (CLI).

© State of New South Wales, Department of Education and Training 2005.

This publication is copyright New South Wales Department of Education and Training (DET), however it may containmaterial from other sources which is not owned by DET. We would like to acknowledge the following people andorganisations whose material has been used:Extracts from Music Syllabus Years 7-10 © Board of Studies, NSW 2003 pp iii-ivPhotograph of Mt Bosavi, PNG courtesy T Mamu, © Seacology. ( www.seacology.org ) p 5Photograph of two women pounding rice courtesy Jim Henry, Northern Illinois UniversityCenter for South East Asian Studies

p 5

Photograph of “The Sink” www.mikropol.net/volume2/leak-g p 22Photograph of a keyboard synthesizer www.musicalinstrumentgifts.com p 60Photograph of two Senegalese children courtesy The Travel Clinic www.drwisetravel.com p 70Photograph of Sundanese children © Cooperative Baptists Fellowship www.thefellowship.info p 71Photograph of an erhu www.chinesecultureonline.com p 87Photograph of a bombo © www.argentinaxplora.com p 87Photograph of a tapan www.macedoniadirect.com p 87Photograph of a rebab © Maxwell Museum of Anthropolgy p 87Quote © James Horner www.backto titanic.com/jameshorner.html p 103Music score of theme from “Gift of a Thistle” © James Horner pp 104, 139

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CLI Project Team acknowledgement:

Writer: Margaret BradleyInstructional designer: Margaret BenfieldEditors: Peter de Vries, Wendy de VriesIllustrator: Jo LangleyMusic graphics: Wayne RichmondDesktop publishing: Margaret Benfield, Esta TserpesAudio recording: Greg Parke, Rhys D. Webb (CD)

Unit 1 Why music? i

Contents – Unit 1

Unit 1 overview .............................................................................. iii

Outcomes ............................................................................ iii

Suggested time ................................................................... iv

Resources and equipment ...................................................v

Icons ................................................................................... vii

Glossary .............................................................................. ix

Soundscapes ..................................................................................1

Responding to music ............................................................1

Music and the environment ..................................................3

Documenting sounds ...........................................................9

Discover Composer Notes .................................................11

Kitchen sounds .............................................................................17

Music with everyday objects ..............................................17

Rhythm adds variety ..........................................................26

Putting musical ideas together ...........................................29

Wade in the water ........................................................................31

Melody ................................................................................31

Finding your voice ..............................................................35

Singing a spiritual ..............................................................36

Singing in parts ..................................................................38

Body percussion ...........................................................................43

Making music .....................................................................43

Types of body percussion .................................................44

Body percussion rhythms ...................................................49

Pulse, tempo and meter .....................................................51

ii Unit 1 Why music?

Vocal and body percussion .......................................................53

Sound colour ......................................................................53

The voice and rhythm .........................................................54

Improvising with your voice ................................................57

Let’s move! .........................................................................59

Vocal styles ....................................................................................63

Vocal mimics ......................................................................63

Organising vocal sounds ...................................................67

Vocal acrobatics .................................................................68

Vocal percussion ................................................................74

Musical texture ...................................................................76

Music and emotions ....................................................................79

Express your feelings .........................................................79

Dealing with dynamics .......................................................82

Natural instruments ............................................................86

Classifying instruments ......................................................88

Sounds of the orchestra .....................................................89

Orchestral music ................................................................92

Structure in music ..............................................................95

Film music ......................................................................................99

The strings .........................................................................99

The role of music in fi lm ...................................................100

James Horner ...................................................................103

Ennio Morricone ...............................................................106

Suggested answers – Unit 1...................................................109

Exercises – Unit 1 ...................................................................... 117

Unit 1 Why music? iii

Unit 1 overview

In this unit, Why music?, you will begin by exploring the sounds of the environment and the sound sources that exist around you. You will use your voice and body to make music and consider how music is used to express emotions and its importance in fi lms. You will also learn about the instruments of the orchestra.

In each section, you will have the opportunity to explore Composer Notes, a computer resource about instruments and composing. You will also have the chance to develop concepts and skills you have studied by jamming along with a recorded backing track.

Throughout this unit you will have the opportunity to:• listen and respond to a diverse range of music• perform music composed by other people• compose and record your own music• use your own ideas to play music• explore activities on the Internet.

OutcomesBy completing the activities and exercises in this unit, you are working towards achieving the outcomes of the Music Years 7–10 syllabus as listed below.

A student:

4.1 performs in a range of musical styles demonstrating an understanding of the musical concepts

4.2 performs music using different forms of notation and different types of technology across a broad range of musical styles

4.3 performs music demonstrating solo and/or ensemble awareness

iv Unit 1 Why music?

4.4 demonstrates an understanding of musical concepts through exploring, experimenting, improvising, organising, arranging and composing

4.5 notates compositions using traditional and/or non-traditional notation

4.6 experiments with different forms of technology in the composition process

4.7 demonstrates an understanding of the musical concepts through listening, observing, responding, discriminating, analysing, discussing and recording musical ideas

4.8 demonstrates an understanding of musical concepts through aural identifi cation and discussion of the features of a range of repertoire

4.9 demonstrates musical literacy through the use of notation, terminology, and the reading and interpreting of scores used in the music selected for study

4.10 identifi es the use of technology in the music selected for study, appropriate to the musical context

4.11 demonstrates an appreciation, tolerance and respect for the aesthetic value of music as an artform

4.12 demonstrates a developing confi dence and willingness to engage in performing, composing and listening experiences.

Source: Music Years 7–10 syllabus, June 2003 < http://www.boardofstudies.nsw.edu.au/syllabus_sc/index.html#music>© Board of Studies.

Suggested timeThis unit has been written to take approximately 16 hours. Each section within the unit should take about two hours.

Your teacher may suggest a different way to organise your time as you work through the unit.

Unit 1 Why music? v

Resources and equipment To complete this unit you will need the following: • Unit 1 Why Music? printed learning resource and two audio CDs • the Composer Notes CD-ROM (Distance Education students) or

suitable alternative resources (other students) • access to the internet or other sources of information • equipment (including microphone) to record audio, such as

– a portable digital recorder such as an MP3 recorder – a computer (with appropriate software and hardware) – an audio cassette or MiniDisc recorder

• a computer or CD player to play the Why Music? audio CDs • a computer on which to install music-related software and which

has access to the internet • sound sources from the environment around you, as indicated in

the activities.

About Composer Notes At times you will be asked to complete Composer Notes activities to support musical concepts and learning in this unit. Composer Notes is a resource about performing and composing. It is no longer available (although Sibelius distributes two similar products).

If you are a NSW Distance Education student, your teacher should be able to provide you with a copy of this resource. If so, read the installation notes below.

If you do not have access to the resource, talk to your teacher about using other resources or completing different activities.

Installing Composer Notes To install Composer Notes, you will need: • the Composer Notes CD • the CD’s serial number (located on a sheet inside the case) • administrator-level access to your computer • a suitable computer on which to install the software.

vi Unit 1 Why music?

Minimum system requirements

Macintosh Windows

350 MB of free disk space 300 MHz PowerPC processor + CD-ROM drive (for installation only) 1024 x 768 colour monitor System 8.1 or later 64 MB of application RAM

350 MB of free disk space 300 MHz Intel Pentium processor CD-ROM drive (for installation only) 1024 x 768 colour monitor/16 bit colours Windows 95, 98, NT, 2000 64 MB of application RAM

To install the software, follow the installation instructions on the sheet inside the case. Do not complete the Composer Notes registration unless instructed to do so by your teacher.

The first time you open Composer Notes, enter the appropriate user name and ‘unlock code’. New South Wales Distance Education students should use the user name and unlock code provided to DEC teachers by CLI.

Recording audio on computer There are several ways you can make audio recordings (see the previous page for some ideas). One way is to use your computer. To do this, you need appropriate computer hardware and software.

You can download the audio program, Audacity, for free from the internet. It is available for Mac OS X, Windows and other operating systems. You might also have access to other audio programs.

Audacity <http://audacity.sourceforge.net/>

Audio CD Inquiries regarding the audio CD accompanying this unit should be directed to the Music Advisor, Curriculum K–12 Directorate: <www.curriculumsupport.education.nsw.gov.au/secondary/ creativearts/contact>.

CD track details are found at the end of the print unit.

Why music? CD 1 Why music? CD 2 Tracks 1–8 Soundscapes Tracks 1–11 Vocal and body percussion

Tracks 9–20 Kitchen sounds Tracks 12–21 Vocal styles

Tracks 21–38 Wade in the water Tracks 22–25 Music and emotions

Tracks 39–47 Body percussion Tracks 26–33 Film music

Unit 1 Why music? vii

Icons

Here is an explanation of the icons used in this unit.

Use a computer for this activity.

Access the Internet to complete a task or to look at suggested websites. If you do not have access to the Internet, contact your teacher for advice.

Write a response or responses as part of an activity. An answer is provided so that you can check your progress.

Listen to an audio fi le.

Record as an electronic sound fi le (for email or CD) or onto an audiotape.

Think about information or ideas. You need to pause and refl ect. You may need to make notes.

Compare your response for an activity with the one in the suggested answers section.

Perform a practical task by clapping or using other body percussion.

Perform a practical task with sound sources around you.

viii Unit 1 Why music?

Perform a practical task using your voice.

Use the resource Composer Notes.

Compose your own music.

Notate sounds from recorded examples or from your imagination.

Go to the exercises section and complete an exercise for return to your teacher.

Unit 1 Why music? ix

GlossaryThe following words, listed here with their meanings, are found in the learning material in this unit. They appear in bold the fi rst time they occur in the learning material.

accent to stress or emphasise a note often by making the sound stronger

bar a segment of time containing a specifi ed number of beats (for example 2, 3 or 4 beats) of a given duration; sometimes also called ‘measure’

beat the regular pulse of music

chorus a repeated section or refrain within a song; a group of singers performing together

compound duple meters with two beats per bar where each beat is divided into three pulses

compound meter meters in which the beat is divided into three pulses

dynamics the loudness or softness of sound

harmony two or more sounds occurring at the same time (refers to the vertical structure of music)

improvising creating music spontaneously as it is being performed

jam the act of coming together with other musicians for the purpose of playing music, often by improvising

melody succession of sounds (involving patterns of changing pitch and rhythm)

meter the organisation of beats into a regular pattern of stressed and unstressed beats

notate write music down

x Unit 1 Why music?

ostinato a musical pattern which is repeated over and over again

pitch the lowness or highness of a sound (as determined by the frequency or number of vibrations per second)

simple meter meters in which the beat is divided into two pulses

soundscape the sounds of the environment

staff the fi ve lines on which notes and other musical symbols are written

tempo the speed of the beat in a piece of music

timbre the quality of a musical tone, for example, thin, thick, light, dark, sharp, dull, smooth, rough, warm, cold (also see tone colour)

time signature a sign placed at the beginning of a piece of written music to indicate the meter of the piece

tone colour the distinctive quality of a given sound which distinguishes it from other sounds of the same pitch, dynamics etc, for example, the violin which is plucked or bowed, or the clarinet which is blown with a reed; each instrument has a unique tone colour which allows us to distinguish the sounds it makes from those made on other instruments (also see timbre)

upbeat an unaccented beat (especially the last beat of a bar); unaccented beats which begin a musical phrase are also called an anacrusis

uptempo music played at a fast beat

Soundscapes 1

Many composers have explored how to integrate everyday sounds around them in their compositions. Music which draws on the sounds of the environment is often called a soundscape.

In this section you will respond to music and consider the sounds of your environment as you learn about sound and music.

You will:• write your feelings and ideas down in response to a variety of

musical examples• listen to the sounds around you and to how other composers

have recorded their environment• make an audio recording of your own soundscape• write your soundscape using your own graphic notation• discover the pulse or beat in music.

Responding to musicWhy are we drawn to music? It usually makes us feel good or at least challenges us to hear something new or different. Imagine if the music you like didn’t exist. There would be something missing from your life.

Our favourite music gives us a chance to feel good. Think about the music you like. What are some of your favourite pieces? You can list any type of music.

Soundscapes

2 Unit 1 Why music?

Music can make us feel a lot of different emotions depending on how it has been put together. If you are angry, you can listen to certain types of music to calm you down. Sometimes you’ll play a bright uptempo piece of music so that you feel energised.

Listen to Track 1 from Why Music? CD 1. During this track you will hear extracts from fi ve pieces that you will listen to later in this unit. Write down how the music makes you feel as you listen to each extract. Listen to the track as many times as you like.

Extract 1

Extract 2

Extract 3

Extract 4

Extract 5

Soundscapes 3

Our response to music is personal. Each of us has our own way of hearing music and music affects each of us differently depending on our experience of that music.

While studying music you will hear many different types of music that you will respond to in different ways.

The main thing to remember is to be open to listen to any style of music so that you can form your own opinion as to why you like or dislike certain music. You should be able to back up your opinion with reasons as to why you hold that opinion.

You may surprise yourself. As you hear more music, you will fi nd it easier to listen to new styles of music. You will be able to enjoy a wide and diverse range of music and feel better for it.

Music and the environmentMost people experience music in some form or another throughout their lives.

Their experience may be in listening to background music in a lift; it may be as an audience member at a concert; it may be as a performer; it may be as a listener to the radio or another type of media; it may be in hearing the soundtrack to a fi lm.

Music around us plays an important role as the accompaniment to our lives. Many cultures have traditionally used music to accompany everyday activities.

Activity 1

1 Listen to Track 2 and answer the following questions.

a List the sounds you can hear.

b Where do you think these sounds were made?

4 Unit 1 Why music?

2 Listen to Track 2 again and then list the sounds that are loud or soft in the appropriate column below.

Loud sounds Soft sounds

3 Listen to Track 3 and answer the following questions.

a List the sounds you can hear.

b Where do you think these sounds were made?

4 Listen to Track 3 again and then list the sounds that are loud or soft in the appropriate column below.


Check your response by going to the suggested answers section.

Soundscapes 5

Track 2 of Why music? CD 1 is of Kaluli women and children making sago in the rainforest. The track is excerpted from a recording made by Stephen Feld in Bosavi in Papua New Guinea. He spent two months recording the sounds of the rainforest people and their environment.

Track 3 was recorded by Jack Body on the island of Java in Indonesia as four women with rice pounding poles beat rhythms on a large wooden trough. We will fi nd out more about these interlocking rhythms later.

Background musicMost of us would have heard music played for special occasions such as weddings or parties. These days music accompanies many activities in our lives, even if we don’t realise it at the time.

Today we hear recorded music on the telephone or in the supermarket, or listen to all sorts of melodies when we hear mobile phones, play computer games or surf the net. Music is all around us in our daily lives, whether it be bird songs or television themes.

6 Unit 1 Why music?

Many people listen to music while doing something else. Some people like to hear music while walking to school or work or when catching public transport.

1 When do you usually listen to music?

2 List some of the sounds that accompany your daily life.

3 What can you hear as you are reading this? Write down the sounds you hear around you.

As we sit and listen, we might hear the cackling of birds or the hum of traffi c or the chatter of people talking.

As you study music, you will start to hear sounds you have never heard before. You will be surprised how many more sounds you become aware of.

Australian composers Sarah Hopkins and Alan Lamb have explored how to combine sounds of the environment with other sounds in their compositions. The notes on the cover of their Sky Song CD explain:

The unique soundscapes created by Sarah Hopkins and Alan Lamb are refl ections of the vast Australian landscape.

Sky Song CD, Vox Australis

Listen to Sarah Hopkins and Alan Lamb’s The winds of heaven (Track 4) which uses telegraph wires and voice.

Soundscapes 7

Activity 2

Why do you think this composition is called The winds of heaven?


Alicia’s soundscapeHow much music is part of the soundscape of your life?

Alicia lives in Sydney. She often hears lorikeets cackling in her suburb and planes taking off overhead.

Alicia’s visitors from the country often complain about the sound of the planes because they rarely hear them where they live.

Living in the inner suburbs of Sydney, Alicia must have got used to the sound of planes. The bird and plane sounds are part of the soundscape or ‘backing track’ of her life.

Activity 3

1 Listen to Alicia’s soundscape (Track 5) and list the sounds you can hear.

8 Unit 1 Why music?

2 As you listen again to Track 5, describe the different types of sounds that you heard in Alicia’s soundscape. For example, are the sounds:a long or short, b high or low, c loud or soft,d rumbling, screeching, scraping, smooth?


Read the following description of Alicia’s soundscape and then answer the question below.

A plane passes overhead and one bird repeats a constant pattern while sounds of squawking lorikeets and the hum of the traffi c is heard.

The microphone is knocked and the sound of a car gets louder as it approaches and softer as it goes off into the distance. The microphone is knocked again.

Birds continue to call out with various cries over a constant repeated pattern by one bird.

Other birds squeak and chirp as another car passes. The birds chatter noisily as two more cars pass.

Several bird calls come and go, some closer and others in the distance. The traffi c becomes quieter with cars heard softly in the distance.

Another car passes and then another as the bird calls lessen and quieten.

A plane is heard taking off in the distance as more cars pass. A door opens or closes and a car starts up then another car goes past.

More bird sounds are heard and then one bird is heard in the distance.

How does the written description match what you heard?

Before you explore the sounds of your environment, take a look at one way that music can be notated (written down).

Soundscapes 9

Documenting soundsThere are several ways to document sound. This may include making an audio recording and written description of a soundscape. Another method is using music notation.

You have probably seen traditional music notation where notes are written on a staff. Here you are going to use graphic notation in which visual symbols represent the sound.

Listen to the sounds recorded on Track 6 (Why music? CD 1). Below is an example of how the sounds could be shown using graphic notation. Compare each sound with its graphic symbol.

A long continuous sound

A sound rising in pitch

Four short sounds

Four loud sounds

A high melodic phrase

In the next activity, you listen to and describe a series of sounds. You consider how you could show these sounds visually and then complete a graphic notation example.

10 Unit 1 Why music?

Activity 4

1 Listen to Track 7 from Why music? CD 1. What sounds can you hear? List and describe all the sounds in the order that you hear them.

2 Listen to the track again and consider how you could describe the sounds visually. Draw your ideas in the space below.

3 As you listen to the track again, look at the graphic notation below. This is one example of how the sounds could be translated into symbols. Complete the fi nal section.


Now that you have been introduced to graphic notation as a way of notating music, it is time to explore the sounds of your environment — your own soundscape.

Go to the exercises section and complete Exercise 1.

Soundscapes 11

Find out more about Soundscapes by visiting the following website.

<http://www.lmpc.edu.au/Music>

Select ‘Mandatory’ and follow the links to resources for this unit, Why music?.

Activity 5

Composers and musicians use various sound sources to make their music. List some of the environmental sounds that composers have used.


Discover Composer NotesComposer Notes is a computer resource you will use throughout this course to support the concepts and activities introduced. It includes information about instruments, their sounds and ranges as well as activities for composing and reading notation.

Before you begin the next activity, install Composer Notes if it is not already installed on your computer. To do this you will need:1 the Composer Notes CD2 the CD’s serial number (located on a sheet inside the case)3 Administrator level access to your computer.4 a suitable computer on which to install the software. Minimum system requirements

Macintosh Windows

350 mb of free disk space

300 MHz PowerPC processor or better

CD-ROM drive (for installation only)

1024 x 768 color monitor/thousands of colors

System 8.1 or later

64 Mb of application RAM

350 mb of free disk space

300 MHz Intel Pentium processor

CD-ROM drive (for installation only)

1024 x 768 color monitor/16 bit colors

Windows 95, 98, NT, 2000

64 Mb of application RAM


Follow the Composer Notes installation instructions on the sheet inside the case to install the software.

Note: do not complete the Composer Notes registration instructions.

If you have not used Composer Notes before, look at the Composer Notes ‘User Guide’ before you begin the activity.

1 Open Composer Notes. If prompted, enter the following registered user name and unlock code.Registered user name: CLIUnlock code: VT73CELHP6270613

2 Click on the User Guide button at the bottom of the home page to view the ‘User Guide’.

3 Read about the function or purpose of each item on the page. Make sure you understand the purpose of the items shown under the headings: - Navigation and Printing- Sound Playback.

4 Return to the home page by clicking on the Home button.

Composer Notes is divided into two main parts: ‘Composition’ and ‘Instrumentation’. You begin exploring Composer Notes by looking at one of the Composition Modules, ‘Pulse, Movement and Shape’.

Getting the beatWe all have a heartbeat and a pulse. These beats provide a constant accompaniment to our lives. Making music relies on our awareness of these beats. The next activity will help you to develop your awareness of the beat in music.

Activity 6

1 Go to Composer Notes Composition modules (click on ‘Composition’ from the home page).

2 Click on ‘Pulse, Movement and Shape’ and select ‘Concept– What is Pulse?’, the fi rst item in the pop-up list that appears.

Find out how to take your pulse and listen to its constancy.

Soundscapes 13

3 Go to the activity ‘Finding the Beat’ by clicking the Forward button. Don’t worry about the directions for a group — you will be a solo artist.

a Click on the speaker button to play the recorded backing.

b Slap your thighs or stomp your feet to the beat.

c Play the backing again and move or make a sound on the fi rst beat of the repeated pattern (there are four beats in each pattern).

d When you are comfortable playing and moving on beat 1, try playing and moving on beat 2, then on beat 3 and on beat 4.

4 Go to the activity ‘Name of the Game’ by clicking on the Forward button (twice). a Listen to the example ‘Em-i-ly’ by clicking anywhere on

the example.b Say your own name. Make it rhythmic.c Click on the speaker icon to play the musical backing and

say your name along to the fi rst beat of each bar. d Invite family members or friends to join you in this

exercise. You can alternate names and repeat them after each other. You can also say other people’s names.

5 Go to the activity, ‘Name Dance’ by clicking on the Forward button. Don’t worry about the directions for other class members — you will be a solo artist.a Complete step one of the activity:

‘Find a MOVEMENT that matches and refl ects the rhythm of your name (something that looks visually strong or interesting).’

For example, you could take some giant steps, or lots of little steps, or make fl owing movements with your arms.

b Perform the movement as you say your name on the fi rst beat (count 1 2 3 4 to yourself).

c Perform the movement only (without saying your name) on the fi rst beat.

d Alternate using sound and movement to add to your name.

e Repeat steps b–d performing on beat 2. f Repeat steps b–d performing on beat 3. g Repeat steps b–d performing on beat 4.

6 When you have completed the activity, exit Composer Notes.


The following activity will put what you learned in this section into practice.

Let’s jam!One of the most enjoyable things you can do as a musician is jam. Usually this is done with other musicians but you can also achieve a similar feeling by playing along with recorded music.

When musicians jam, they play together. They play whatever they feel fi ts with the music. During each part of this course you will have a chance to jam along with a recorded backing track.

The jam will give you the chance to build on the concepts and skills developed in your study.

In each jam session, you will be given directions as to what sound source to use. For example, you may be asked to choose a body or vocal percussion, a percussive sound from around the house or explore a vocal sound such as singing or rapping.

Activity 7

1 Make a shaker by putting seeds, rice or small pebbles into a small container such as a drink bottle.

2 Shake your new shaker to the beat of Track 8. Remember the beat is the underlying pulse of the music.

Like your heartbeat, it is constant. It only changes when the tempo changes, when the music gets faster or slower.

Our jam has 4 beats per bar. The crosses on the grid below show when you should make a sound.

1 2 3 4 1 2 3 4

X X X X X X X X

3 As you play the jam session track again, stand up and step to the beat as you shake your shaker.

Soundscapes 15

4 Play along with the jam again but shake twice to each beat. The rhythm is written on the rhythm grid below.

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

X x X x X x X x X x X x X x X x

5 Did you notice the section of the backing track (Track 8) where all the sounds stop except for one tapping sound?

This section is called a break. Usually one person uses this time to perform a solo by making up their own music.

Vary your rhythm pattern during the break. Make up your own solo as you perform.

Use the tapping sound to help keep time during the break. It occurs on the fi rst beat of each bar. The break is four bars longs and each bar has four beats.

6 Play along with the jam session several times.

Have fun and enjoy making music!

During ’Soundscapes’, you have explored the sounds of your environment and looked at how sounds describe where we are. You have been introduced to Composer Notes and looked at pulse or beat. In ‘Kitchen sounds’ you will continue to explore environmental sounds.

Kitchen sounds 17

These days musicians and composers choose from a wide palette of sounds from the whirr of a helicopter to the slap of a double bass. Think of the sounds of all the different instruments throughout the world, not to mention the sounds created by computers or nature.

In this section you will explore the sound of everyday objects found in the kitchen as you learn more about sound and music.

You will:• listen to sounds and music inspired by the environment• explore the sounds around you• record your own composition using sounds from the kitchen• clap rhythms and play them using body percussion• read and write rhythms using graphic notation.

Music with everyday objectsMuch of the inspiration for making music comes from our surroundings. As we go about our daily lives, a simple tap, scrape or slap can lead to making music from objects that lie around us.

Listen to Ciblon (Track 9, Why music? CD 1) in which Indonesian children create rhythmic music. After listening, complete the following activity.

Activity 1

1 Where do you think the players are?

2 The sounds are not all the same. How are they different?


Kitchen sounds


The rhythm patterns heard in Ciblon could be played whilst bathing or swimming. Play your own water music next time you go swimming or have a bath. Plunge your hands deep into the water or slap the surface of the water to create rhythms.

Water music for kitchen vesselsYou don’t need to be surrounded by water to make watery sounds. You can use vessels such as buckets, bottles, saucepans and bowls fi lled with water.

In the following activity you explore how water can change sounds. Complete the activity in an area where it is safe to have water. Remember not to waste water. When you change the water level, save the water so that you can use it again.

Activity 2

1 Make your own beater by wrapping a tea towel around a stick and securing it in place.

2 Choose at least three vessels such as saucepans, bowls, glasses, cups, bottles or buckets and fi ll them with water.

3 Use your beater to strike the vessels. Describe the sounds that are made.

4 Change the water level by taking out half the water in each vessel. Hit the vessels again. How has the sound changed?

5 Return some of the water to the vessels and strike them again with your beater. Listen to how the sound has changed.

Repeat this step until the water reaches its original level. How does the sound change each time the water level is increased?

Kitchen sounds 19

6 Explore the sounds you can make by hitting each vessel on different sides or near the top or bottom. How do the sounds change as you strike each vessel in different places?

Write three sentences about what you notice. Here is an example of what you might write.

The sound got lower as I hit the side of the bucket from the top to the bottom.


Now that you have explored your new sound sources a little, learn to perform a rhythm on them.

Activity 3

1 Hit your vessels in a steady beat to create a sequence of sounds. Play along with the beat recorded on Track 10. This will help you play evenly and more rhythmically.

2 Listen again and slap your hands on your thighs to feel the beat.

3 Clap the rhythm below. Practise until you are confi dent. The rhythm is recorded on Track 11. You will hear four beats counted at the start to give you the tempo (speed of the beat).

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

X X X X X X X X X X X X

4 Play the rhythm again using a series of water sounds from your three vessels. Experiment with different sounds until you have decided which sounds you want to use.

5 Decide how many times you will repeat the rhythm then practise until you feel confi dent playing your series of sounds.

6 Record your sound composition based on the rhythm above.


Self assessment

1 What did you like about the sounds you chose to use?

2 Did you keep a steady, even beat? Rate your performance.

Very steady Mostly steady Somewhat uneven Very uneven

3 Did you play the rhythm accurately? Rate your performance.

Very accurate Almost accurate Some mistakes Inaccurate

Exploring kitchen sound sourcesOur homes are full of different sound sources. You can play rhythms on the coffee table or the back of a chair. There are many more sound sources to explore from around the kitchen.

Activity 4

1 Find a saucepan lid and tie a piece of string to the handle.

2 Experiment with different ways you can produce sound.• Scrape it with your fi ngernails. • Slap it gently with your fi ngers or your palm. • Hit it with a chopstick or another stick.

3 Play a steady beat on the lid using at least two different ways you discovered of producing the sound.

4 Listen to the rhythm on Track 12. Play it using the sounds you discovered. The rhythm is written on the grid below.

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

XX X X X XX X X X XX X X X XX X X X

Kitchen sounds 21

5 Make up your own rhythm and write it on the grid below.

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

6 Play your rhythm on your saucepan lid.

Self assessment

1 What do you like most about the rhythm you made up?

2 How could you improve your performance of the rhythm?

In the next exercise, you create a composition using kitchen objects as sound sources. You then graphically notate and record it. Before beginning the exercise, try the following experiments.

You will need your saucepan lid from the previous activity, other lids, a bucket of water and some wooden or plastic bowls, and chopsticks or other utensils to use as a beater.

Remember to work in an area where it is safe to have water.

1 Strike the saucepan lid (from Activity 4) as you lower it into and raise it out of the water in your bucket.

2 Hit it once and then hit it several times continuously as you lower it into the water. Notice how the sound seems to bend when you do this.

3 Use other lids to produce sounds in the same way. Notice how each lid has a different sound.

Think about how you would describe the different sounds.Are they high or low? Are they long or short? Are they loud or soft? Are they bright or dull?

4 Place some upturned wooden or plastic bowls in a container of water and hit them with your beater. Notice how each bowl has a different pitch; the sounds may be higher or lower.


5 Now try varying the sound by using a beater such as a chopstick. Notice how the sound changes depending on how you strike it and what material the beater is made from.


Sink musicThere are many different ways to play an instrument and explore sound. Musicians have spent much time exploring unusual ways or techniques of playing their instruments.

Listen to what Australian composer and performer Graeme Leak has done in the kitchen. Listen to The Sink (Track 13).

List the sounds you think he has used.

Did you hear the following sounds: a container of rice; a running tap; hitting a frypan; water drums; hitting metal?

The Sink, Graeme Leak’s ‘portable percussion unit’ <www.mikropol.net/volume2/leak-g/leak-exhibit.html>

Kitchen sounds 23

Spend about 10 minutes exploring the sounds you can make with things in the kitchen. Here are some ideas. • Play a rhythm on the kitchen table.• Listen to water boiling.• Open and close the rubbish bin.• Turn a saucepan upside down and hit it with a chopstick, an

eggwhisk or the beater you made earlier. • Choose several saucepans and turn them over. Hit each one

and play a rhythm on them.• Hit the lids of several saucepans with your beater. • Get two spoons and put them inside each other. Hit them

against your knee and hand. (See if you or one of your friends has a copy of Spoon Man

by Savage Garden. This song features a solo played on the spoons.)

Experiment and discover your own techniques for playing a kitchen utensil.

Choose fi ve of the sounds that you discovered and describe them below. For each sound, do the following:1 name the sound source2 explain how you made the sound on the sound source3 describe the sound.


Activity 5

1 Play the following rhythm using at least one of the sounds you discovered. You can hear the rhythm performed on Track 14.

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

XX X XX X XX X XX X

2 Listen to the following rhythms played one after another (Track 15).

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

XX X XX X XX X XX X

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

X X X X X X X X

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

X XX X XX X XX X XX

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

X X XX X X XX X X XX X X XX

3 Play the four rhythms using a variety of your kitchen sounds.a Play each rhythm three times or until you are confi dent.b Play all rhythms one after another in the order they are

written above. c Play the rhythms along with Track 15.

4 Record the rhythms when you are comfortable playing them.

Self assessment

What are the strengths of your rhythm performance?

Kitchen sounds 25

Extension activity

To complete this extension activity, you will need to use resources such as books, the Internet or talk to people that you know.

You can fi nd useful links for this activity by visiting the following website.



1 List the names of some Australian musicians you know.

2 Interview a musician by email or in person. If you are unable to speak with or contact a musician, use other resources to research answers to the questions. Below is a list of questions you can ask. • When did you start to play music?• Have you ever formally studied music?• What instrument do you play?• Do you write your own material?• Have you ever been inspired to use environmental sound

in your compositions?

3 Record notes on your interview or research in the space below. Write up your report in electronic form or on a separate piece of paper.



Rhythm adds varietyIn previous activities you played rhythms using a selection of sound sources. Now you are going to look more closely at how to develop your musical ideas through rhythm.

Begin by clapping three simple rhythms.

Clap each rhythm recorded on Track 16 and then repeat the rhythm in the break. Count 1 2 3 4. Follow either the rhythm grid or the music notation as you clap.

Rhythm 1

1 2 3 4

X X X X

Rhythm 2

1 2 3 4

X X

Rhythm 3

1 2 3 4

X X

Clap Rhythm 3 again with the recording on Track 17. It is played four times. The complete rhythm pattern is written below.

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

X X X X X X X X

Kitchen sounds 27

Clap Rhythm 3 along with the recorded backing on Track 18. Then clap each of the other rhythms with the backing track.

We can organise sound as we play our musical ideas or we can write them down fi rst. In the next activity you will write your ideas down fi rst and then play them.

Activity 6

1 Write your own rhythm in the grid below.

1 2 3 4 5 6 7 8

2 Practise clapping the rhythm. Clap it four times keeping the beat steady.

3 Choose a sound source that you explored in the kitchen.

Practise playing your rhythm on your sound source. Repeat the rhythm each time you play it.

4 When you are confi dent, play your rhythm with the backing track (Track 18).

The next six rhythms include sounds which occur on the half beat. The sounds shown by the large ‘X’ in the rhythm grid are emphasised more than the sounds shown by a small ‘x’.

Clap the rhythms twice with the recording on Track 19. • Repeat each rhythm in the break. • Count ‘1 and 2 and 3 and 4 and’ as you clap. • Follow the rhythm grid the fi rst time you perform and the

music notation the second time.

Rhythm 1

1 + 2 + 3 + 4 +

X x X x X x X x


Rhythm 2

1 + 2 + 3 + 4 +

X X X X

Rhythm 3

1 + 2 + 3 + 4 +

x x x x

Rhythm 4

1 + 2 + 3 + 4 +

X x X X x X

Rhythm 5

1 + 2 + 3 + 4 +

X x X x X X

Rhythm 6

1 + 2 + 3 + 4 +

X x x X x x

You have played a number of simple and more complex rhythms, and you have created and performed your own simple rhythm. It is now time to create a more complex rhythm. You will also perform the rhythm using two kitchen sound sources.


Kitchen sounds 29

Putting musical ideas togetherIn the following Composer Notes activity, you will fi nd out how you can put musical ideas together by using a musical motif, phrases and sentences.

Activity 7

1 Open Composer Notes and click on the Composition icon to go to the ‘Guide to Composition Modules’ page.

2 Go to the fi rst page of the ‘Motif, Phrase and Sentence’ module. (Click on the icon for ‘Motif, Phrase & Sentence’ and select

item one, ‘Concept– Motif I’, in the pop-up menu.)

3 Work through the seven pages titled ‘Musical Forms – motif, phrase, sentence’. Click on the Forward and Back buttons to move through the pages.a Read the information on each page.b Complete all the tasks you are asked to do.c Listen to each musical example at least three times.

Click on the music or the purple speaker icon to listen to examples in activities.

4 When you have completed step 3, close Composer Notes.

Before you go on, check that you covered all the material in this activity.

In this activity in Composer Notes, I

® learnt that a motif is a group of notes with a distinctive rhythm or pitch pattern and listened to the famous opening motif from Beethoven’s Symphony No 5 played on the trumpet

® listened to a musical example and identifi ed its motifs

® read a description of a musical phrase and listened to an example from Beethoven’s Symphony No 5

® listened to a musical example and identifi ed its phrases

® read about musical sentences and listened to an example of an 8 bar musical sentence from Beethoven’s Symphony No 5

® listened to a musical example and identifi ed its sentences.


Find more information about making music with household objects by visiting the following website.



The following activity will put everything you learned in this unit into practice.

Let’s jam!Choose one of the sound sources you explored in ‘Kitchen sounds’ to play the following rhythm along with the jam session (Track 8).

Play along with the track several times. Remember to improvise during the four bar solo.

In ‘Kitchen sounds’ you explored sounds around the kitchen and different rhythms. In ‘Wade in the water’ you will learn a song.

Wade in the water 31

You don’t need to buy an instrument to make music. As you discovered in ‘Kitchen sounds’, we all have instruments at our fi ngertips. You can become quite inventive by discovering what is around you.

The voice is the one instrument we all have that is uniquely our own. We can use our voices in many ways by singing, speaking, imitating sounds or creating vocal percussion. In this section you will learn about melody and learn the song, Wade in the water. You will learn about the singing voice and discover how to use your voice to sing.

You will:• learn about melody and contour• listen to vocal music• explore your own voice• learn to sing the chorus of the spiritual Wade in the water

• learn to sing in parts• develop your vocal ability• record your voice.

MelodyBefore you begin to explore the voice, take a look at melody in Composer Notes.

Activity 1


2 Go to the fi rst page of the ‘Melody’ module. The page is headed ‘Concepts of Melody’.

(Click on the icon for Melody and select item one, ‘Concept–Melodic contour 1’, in the pop-up menu.)

Wade in the water


3 Read the information and click on the purple and green speaker icons to listen to the examples of melody. On a sheet of paper, draw the contours as requested.

4 Go to the next page, ‘Activities – Contour’, by clicking on the Forward button. Instead of printing the page, write out the phrases and draw the contours on a piece of paper.

5 Work through the next four pages headed, What is a melody?a Read the information.b Listen to each musical example at least three times and

follow the notation.

Note: pages with large sound fi les may be slow to load.

6 When you have completed step 5, close Composer Notes.



® learnt that melody is essentially the tune in music and that pauses can be just as important as the notes

® listened to two melodic examples

® read about melodic contour and how one of its important feature is whether the shape moves in wide leaps or smaller steps

® listened to a melodic example that used wide leaps and one that moved by step

® learnt about musical gravity and how rises and falls in a melody can create tension and energy

® listened to an example of musical gravity played on electric guitar

® discovered how pitch and rhythm come together to create melody and listened to an example from the Adagio section of Elgar’s Cello Concerto, Op. 85.


Activity 2

1 Listen to the fi ve musical extracts recorded on Track 21 (Why music? CD 1). Which instrument is common to all examples?

2 Listen to Track 21 again. Describe the quality of the voices in each extract. Are the voices high or low, smooth or harsh, male or female, strong or whispering, one or many? Does the melody have wide leaps or does it mainly move step by step?

a Extract 1, Canto alla vita

b Extract 2, Nunc aperuit nobis

c Extract 3, Niña piensa en ti

d Extract 4, Akiwowo

e Extract 5, Wade in the water



Read the information below about each of the previous examples. Listen to following tracks as you read about each piece. Close your eyes and listen until the end of the track before reading on.

1 Canto Alla Vita sung by Amici forever (Track 22)

These young opera singers have recorded a selection of songs in both Italian and English.

2 Nunc aperuit nobis performed by Sequentia (Track 23)

This tune was written by Hildegard von Bingen (1098–1179), a 12th century visionary, abbess, healer, composer, writer and saint — quite a woman of her time! Apart from composing music, she also compiled books about natural science and the healing arts.

3 Niña piensa en ti sung by Kiko (Track 24)

This Spanish song features a high male voice with backing vocals, acoustic guitar, drumkit and synthesizer.

4 Akiwowo by Olatunji (Track 25)

Babatunde Olatunji from Nigeria had international success with his group Drums of Passion.

5 Wade in the water sung by The Blind Boys of Alabama (Track 26)

The Blind Boys of Alabama have sung gospel music for over 60 years. They have played in Australia at the East Coast Blues and Roots Festival, an annual music festival held in Byron Bay.

Before you go on, listen again to The Blind Boys of Alabama singing Wade in the water (Track 26). You will learn the chorus of this song shortly.

Find more information about some of these musicians by visiting the following website.




Finding your voiceWe all have voices and are able to sing. It’s just a matter of getting used to producing a good sound. We all have our own unique vocal quality.

We need to concentrate on practising to produce a good sound. It’s like driving a car, you need to look after it so it runs well.

Since we tend to hear our voices from inside our bodies, we need to listen and learn how to warm up our voices in order to project a good sound outside our bodies. Try the following vocal warm-up.

Vocal warm-up exercise

1 Lie down and close your eyes. Imagine you are in a place where you can relax (but not in bed or you may fall asleep). Imagine you are lying by a river, in a forest or by the beach. Perhaps you have a favourite spot somewhere.

2 Concentrate on your breathing. Breathe in and out evenly.

3 Now make a sound as you breathe. Listen to your breath and make it even as you breathe in and out.

4 After a few breaths, make a long ‘aaah’ as you breathe out.

Do this a few times. Notice where your breath comes from. Watch the rise and fall of the area around your abdomen.

5 Once you feel that you have a good sound, roll over to your right side and slowly stand up, rolling up the spine.

Let your head relax forward and be the last part of your body to be aligned.

As your head fi nally faces forward, let your jaw drop open and make the sound ‘aaah’ again.

Remember to have the same relaxed feeling you had when you were lying down.

6 Roll down your spine and slowly come up again the same way. Do it a few times and notice how your sound improves.


The fi rst time you do this vocal warm-up exercise you may feel dizzy, but as you get used to using your breath to support your voice, this will pass.

Do this exercise before every music lesson and your voice will improve. If you do the exercise every day or at least twice a week, you’ll notice how your voice improves even more as you start taking care of it.

Self assessment

Answer the following questions.

1 Did your breathing become more even?

2 Do you think the sound of your voice improved after doing this exercise?

3 If it didn’t work, what do you think you could do to improve?

Try the exercise again before you continue.

Singing a spiritual We often sing songs to make us feel better. Spirituals are songs that were sung by African slaves when they were feeling lonely and abandoned in America. The lyrics of these songs even gave directions on how to escape to freedom.

Wade in the water is a spiritual and in the following activity you will learn the chorus.

Listen to a different arrangement of Wade in the water (Track 27). You will learn to sing this version of the song.


Listen again and follow the lyrics below.

Wade in the water

Wade in the waterWade in the water childrenWade in the waterGod’s gonna trouble the water (Why don’t you)

Traditional words and music arranged by Y.M. Barnwell © 1980

Notice the way the singer says the words, ‘wade in de wader’. The ‘t’ sounds in ‘the’ and ‘water’ are sung with a softer ‘d’ so they fi t in with the rhythm and sound better.

Close your eyes and continue listening if the track is still playing.

Activity 3

Follow the steps below as you learn to sing the chorus of Wade in the water.

Stand up tall when you are singing. Open your mouth wide and your sound will come out with the melodies of Wade in the water.

Remember when you sing you are using your natural instrument. Relax. There’s no need to worry. Allow yourself to do it.

1 Listen to Track 27 again if you want to become more familiar with the song before you begin learning the chorus.

2 Sing the fi rst phrase or line of the chorus. a Listen to the fi rst phrase twice (Track 28).b Sing the fi rst phrase with the recorded example. c When you feel confi dent, sing the phrase alone. d When you’ve mastered the fi rst phrase, move on to the

next step.

3 Learn the second phrase and sing it with the fi rst phrase.a Listen to the second phrase twice (Track 29).b Sing the second phrases with the recorded example. c Sing the fi rst and second phrases with the recorded

example (Track 30). d When you feel confi dent, sing the two phrases alone. e When you’ve mastered singing the fi rst two phrases,

move on to the next step.


4 Perform the fi rst, second and third phrases.a Listen to the fi rst three phrases several times (Track 31).b Sing the three phrases with the recorded example.c When you feel confi dent, sing the phrases alone. d What do you notice about the third phrase?

e Sing the fi rst, second and third phrases three times before you move on to the next step.

5 Sing the fourth phrase.a Listen to the fourth phrase (Track 32).b Sing the fourth phrase with the recorded example. c When you feel confi dent, sing the phrase alone. d When you’ve mastered the fourth phrase, move on to the

next step.

6 Sing the whole chorus.a Listen to the melody of the chorus sung once (Track 33).

Hear the way the vocal melody moves.b Sing all four phrases with the recorded example. c Try singing the chorus alone when you feel confi dent.

7 Listen to the solo melody part of Wade in the water (Track 34). Sing along with the recording. The chorus is repeated several times.

Did you notice that the melody of phrase three is the same as the melody of phrase one in the chorus?

Singing in partsYou are going to add another singing part to the chorus of Wade in the water. By adding other parts, we add harmony to our arrangement.

Listen to Wade in the water (Track 27) again. While you listen, see if you can hear vocal parts other than the main melody.

There are two other parts. You will learn to sing the lowest part.


Activity 4

1 Listen to the low part of Wade in the water sung by itself (Track 35).

The words ‘Wade in the water’ are sung over and over again. The ostinato pattern is written on the grid below.

1 + 2 + 3 + 4 +

Wade in the wa -ter

2 Play the track again. Clap the rhythm of the melody and join in singing yourself. The whole phrase is sung at the one pitch.

3 Look at the rhythm of the ostinato part written using music notation. Longer sounds are shown by longer note values.

4 When you feel confi dent singing the low part, play the solo melody of Wade in the water (Track 34) and sing the low ostinato over and over underneath it.

5 Listen to The Blind Boys of Alabama singing their arrangement of Wade in the water (Track 26).

List the differences you can hear between this track and the version you have been singing.


Now let’s explore your own voice. In the next activity, you learn a series of vocal exercises and explore different placements of your voice. For example, your voice can be placed in the front of your mouth or the back of your throat.

Remember to stand up to complete these singing exercises. Be careful not to strain your voice.


Activity 5

1 Sing the seven vocal exercises recorded on Track 36. Use the vocal phrases shown in the table below.

Step Phrase Instructions

1 maaaaaaa This sound often ends up in the back of your throat. So bring it forward to the front.

2 meeeeeeeee Pronounced ‘may’. The sound starts to move back from the front of your mouth.

3 mi i i i i i i i i i i i This sound is placed at the front of our mouth.

4 mooooooo Pronounced with a short ‘o’. This sound is placed in the middle of your mouth.

5 muuuuuu Pronounced ‘moo’.

6 ma–e–i–o–u Combine all sounds. Remember where to place each sound in your mouth.

7 ma–e–i Use this exercise to place all your sounds forward.

2 Perform the following siren vocal exercise. You can hear the fi ve sounds performed on Track 37.

1 Make a sound like a siren from high to low.

The sound will move from your head via your throat to your chest. Be careful not to strain your voice.

2 Make a deep low sound in your chest to the sound ‘aaaah’.

Place your hand on your chest to feel your breast plate resonating. Sometimes when you hear the sound of a bass at a rock concert or play loud music on your stereo, you can feel it in your chest.

3 Sing a high note to the back of the wall.

Imagine you have the rings of Saturn spinning around your head. Your head is a resonating chamber so you should be able to hear your high sound well.

4 Make an ‘aaah’ sound gently at the back of your throat.

5 Make a siren sound again using all these sounds.

This will also open up the back of your throat.


Remember if you do these vocal exercises every day, your sound will improve.

In the next exercise, you will perform both the solo and the low ostinato from Wade in the water. You will then choose one part to practise and record.

Make sure you relax and enjoy singing. Have fun while you sing. That’s what singers do. That’s why they like singing.

Go to the exercise pages and complete Exercise 4.

The following activity will put everything you learned in this section into practice.

Let’s jam!Use your voice as the instrument for this jam session. Sing along using the chorus of Wade in the water as the basis for this jam session (Track 38). Remember to improvise during the solo section.

In this section you were introduced to the voice and you sang Wade in the water. In ‘Body percussion’ you will look at how you can use your body as percussion instruments.

Body percussion 43

In order to make music we need to have an instrument or some other form of sound source. One sound source available to us all is the body.

In this section you will learn about using your body as your own rhythmic or percussion instrument. We can play rhythms using different parts of our bodies. This type of music making is called body percussion.

You will:• experiment with body percussion• listen to some body percussion• perform rhythms using body percussion• make up your own composition using body percussion.

Making musicMusic is around us everywhere. It may be in the song of a bird, the chanting of children playing or the soundtrack to the latest video game. It is part of our daily lives and forms the background to most of what we do.

Sometimes when we listen to music, we feel less lonely. Music can excite us or help us relax. Playing music improves our ability to think and concentrate.

On many levels music plays a major role in our lives. Some people choose to work within the music industry whether as musicians or production crew.

One of the best ways to enjoy music is through participating in it; by making it or appreciating it. Let’s make some music fi rst by accessing resources on the Internet.

Body percussion


Find links to resources for making music on the web by visiting the following website.



Types of body percussion Your body is your very own rhythmic or percussion instrument. You can play rhythms using different parts of your body, each producing a different sounds. Below are some of the body percussion sounds available to us.

Clapping

Clicking our fi ngers

Slapping our chest

Slapping our thighs

Stamping our feet

You can vary the body percussion sounds you produce by using different hands. You can slap your left thigh with your left hand or click the fi ngers of your right hand. You can even use both hands to slap your chest or slap your thighs.

By changing the method of playing, you can change the sounds you produce.

Let’s look more closely at different types of body percussion. One type that you have already used in this unit is clapping.

Body percussion 45

Activity 1

1 Clap the following rhythm with the recording on Track 39 (Why music? CD 1).

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

X x x x x x X x x x x X x x x x x X x x

2 Play the same rhythm again by slapping your thighs with both hands. Play along with Track 40.

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

X x x x x x X x x x x X x x x x x X x x

3 Play the rhythm again, slapping your left hand only on your left thigh.

4 Play the rhythm by slapping your right hand on your right thigh.

5 Play the rhythm by slapping your thighs with alternate hands (left then right and so on). The pattern is shown below (L = left hand on left thigh; R = right hand on right thigh).

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

L R L L R L R L R L R L R L L R L R L R

6 Experiment by playing each phrase of 4 counts using alternate hands. The pattern is shown below.

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

L L L L L L R R R R R L L L L L L R R R

7 Play the rhythm again, starting with your right hand. The grid would look like this.

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

R RR RR R L LL L L R RR RR R L L L


8 Repeat steps 2 through 7 for each of the following body percussion. Instead of slapping your thighs:a gently slap your chest with your handsb click your fi ngersc sit on a chair and gently stamp your feet on the fl oor.

(Remember L and R will refer to your left and right feet when stamping.)

9 Play the rhythms below using four types of body percussion: slapping thighs, slapping chest, clicking, stamping.

Repeat the rhythms using each method of playing given in steps 2–7 on the previous page. You can listen to the rhythms performed on Track 41.

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

X X X X X X X X X X X X X X

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

X X X X X X X X X X X X X X X X X X X X X X X X X X

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

X X X X X X X X X X X X X X X X X X

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

X X X X X X X X X X

10 Play the rhythms again. Organise your own sequence of body percussion to perform them.

11 Write your own rhythm on the grid below. Make a record of the body percussion you wish to use in the bottom row.

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

12 Practise your ideas and then record them.

Body percussion 47

Self assessment

1 How would you rate your performance?

Excellent Very good Satisfactory Fair

2 What could you do to make it better?

Notating body percussionThe rhythm pattern written on the grid below uses symbols instead of ‘X’s to show where the sounds occur. Each symbol represents the type of body percussion to use.

Listen to the pattern performed on Track 42.

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

Look back at the list of body percussion types to fi nd out what body percussion sound each symbol represents. This is one example of the types of symbols which could be created. You may like to make up your own symbols.

Activity 2

1 Perform the body percussion rhythm above. Use the type of body percussion shown by each symbol.

2 Write your own body percussion pattern in the grid below. Use symbols to represent the body percussion you use. You can make up your own symbols.

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4


3 List the symbols you used in your pattern and the body percussion each one represents.

Symbol Body percussion

2 List any other body percussion sounds you can think of.

Claps 1 by Utungun PercussionUtungun Percussion is a group of musicians who produce energetic and exciting rhythms. They combine a variety of drums and other percussion instruments with voice and movement. In Claps 1, they use body percussion to create sounds.

Activity 3

1 Listen to Claps 1 by Utungun Percussion (Track 43).

2 Listen again to Claps 1 and answer the following questions.

a What sorts of body percussion can you hear?

b What happens towards the end?


Body percussion 49

Body percussion rhythmsOur bodies provide us with one of the best sources of sound and movement. With practice, you can build up your coordination skills and you will be able to perform more complex rhythms.

Perform the following four rhythms. You can listen to the recorded examples on Track 44. Each rhythm is repeated once.

1 Clap the fi rst example.

1 2 3 4 5 6 1 2 3 4 5 6

X x x X x x X x x X x x

2 Slap thighs for the second example.

1 2 3 4 5 6 1 2 3 4 5 6

X X X X

3 Slap chest for the third rhythm.

1 2 3 4 5 6 1 2 3 4 5 6

X x X x X x X x

4 Click fi ngers to play this rhythm.

1 2 3 4 5 6 1 2 3 4 5 6

X x X X x X

Did you notice that each of the rhythms above are counted in groups of six pulses? The rhythm that Utungun Percussion use also has six pulses in a bar.

Listen to Track 45 which is an excerpt of the beginning of Claps 1. Notice how the six pulses are grouped in two lots of threes. This is called compound duple time.

Now let’s learn Utungun’s rhythm pattern.


Utungun’s rhythm patternPlay the rhythm shown in the pattern below. Clap then slap your thighs alternately with your right and left hands. Accent the pulses with the symbol ‘>’ above them.

>1 2 + 3

>4 5 + 6

R L

R

L

R L R

Perform the rhythm with the recorded excerpt (Track 45). You will need to clap the rhythm pattern 4 times.

Listen again to Claps 1 (Track 43). Notice how Utungun Percussion vary the rhythm by changing where they put the accents. They do this by changing the slaps to claps.

In the next exercise, you develop your own body percussion piece. Before you begin, learn the following body percussion pattern in preparation. It is performed on Track 46.

1 2 3 4 5 6

stamp stamp

clap clap clap

slap slap slap

1 2 3 4 5 6

stamp stamp

clap clap clap

click click click

Body percussion 51

Say the body percussion words aloud as you listen to the recording (Track 46); then substitute the sounds. Practise until you feel comfortable performing.


Pulse, tempo and meterEarlier in this unit, you learnt that pulse is the constant beat that underlies most music. In the following Composer Notes activity you will fi nd out about tempo and meter.

Meter is the organisation of beats or pulses into larger groups, such as three or four beats in a group (or bar). You will learn about simple meters and compound meters.

You will also learn about the time signature, the symbol used at the start of music notation to indicate the meter.

Activity 5


2 Go to the fi rst page of the ‘Tempo & Meter’ module. (Click on the icon for Tempo & Meter and select item one,

‘Concepts–Pulse–Tempo–Meter–Intro’, in the pop-up menu.)

3 Work through pages 1–4. These pages are headed ‘Concepts of Pulse, Tempo and Meter’. Use the Forward and Back buttons to move through the pages.

On each page, read the information and listen several times to each musical example. As you listen: a slap your thighs along with the beat b slap your thighs on the downbeat (the fi rst beat of the bar)c slap your thighs on the beat, stressing the downbeat.

4 When you have read the information and listened to the examples, close Composer Notes.


Before going on, check that you covered the activity material.


® read a defi nition of rhythm, tempo and meter

® listened to a waltz pattern, using three beats to the bar, played on a double bass

® read about time signatures and learnt about the time signature 4/4 and also about the downbeat

® listened to a blues example in 4/4 played on electric guitars

® learnt about simple meters where each beat is divided into two equal groupings

® listened to three examples of simple meters

® learnt about compound meters where each beat is divided into three equal groupings

® listened to three examples of compound meters.

In the next section, you look at another example of compound meter. But now, use the following jam session to put everything you learned in this section into practice.

Let’s jam!Choose one of the compound duple rhythms that you learnt in this section. Compound duple rhythms have six pulses grouped in two equal parts (1 2 3 4 5 6).

Perform this rhythm against the backing track (Track 47) for this jam session. Remember to improvise during the solo section.

In this section you looked at various forms of body percussion and rhythms. Next, in ‘Vocal and body percussion’, you will explore this further by adding vocal percussion to the mix.

Vocal and body percussion 53

Vocal and body percussion

Earlier in this unit, you explored the voice and also body percussion. In ‘Vocal and body percussion’ you will consider different ways they can be combined to add variety to music.

You will:• listen to an example using the voice and body percussion• learn a rhythmic vocal pattern and create your own ostinato• explore improvising with your voice• move to music.

Sound colourBefore exploring vocal and body percussion, take a look at the guitar. This instrument is played in many different musical settings from classical to jazz styles.

You may be able to recognise the sound of a guitar when you hear it played on a CD or the radio. This is because the guitar, like every instrument, has its own unique sound colour or tone colour.

Activity 1

1 Open Composer Notes and click on the Instrumentation icon to go to the ‘Instrumentation Guide’.

2 Click on the ‘Guitar’ option to go to the Guitar Main Menu.

In this activity, you are going to work through two sections: ‘Guitar Types’ and ‘Guitar open strings & ranges’.

3 Click on ‘Guitar Types’ to begin. Read the information and compare the drawings of the most common types of guitars.

4 Go to the next page, ‘Open string sounds’. Read the information and listen to the sound of the open strings played on fi ve different types of guitars. Compare the sound.


5 Go to the next page ‘Written range of the guitar’.

a Read the information.

b Listen to the pitch range of each type of guitar. The sounds are played from the lowest to highest pitch.

As you listen to the examples, consider how the sounds differ from low to high and from instrument to instrument.

6 When you have completed the steps, exit Composer Notes.

You have listened to the unique tone colour or timbre of fi ve types of guitars. During the following activities of this unit, listen carefully to the tone colour of the instruments you hear.

The voice and rhythmIn many cultures singers use their voices to make rhythmic sounds as well as sing melodies. Some musicians spontaneously call out in response to the music they’re making. Rappers or MCs express themselves through rhyming talk over beats created electronically or by real drumkits.

Voice and percussion are natural partners when playing music. In the next example, voices make their own percussive sounds.

Listen to the different ways voice and percussion are used in Mouth music by Toni Nation (Track 1, Why music? CD 2).

Play the track again and follow the listening guide below. Slap your thighs to the beat as you listen.

Listening guide for Mouth music

1 ‘Mm mm ah ah ah mm ah ah’ repeated vocal pattern or ostinatoPercussion: angklung (bamboo rattle), log drum, sticks, shakers, jingles

2 Lead vocal enters and sings two phrases ascending and descending 4 times; Ostinato continues 8 times

3 Ostinato pattern once before voice sings low yeah and variations

4 Voice rises again using nonsense syllables and shaker is heard

5 Ascending and descending vocal patterns

6 Calling sounds from high to low

7 Many voices join in pattern in unison, sensing same pattern

8 Solo ostinato heard 4 times.


Performing an ostinatoMouth music begins with a low rhythmic vocal pattern which is repeated throughout. When a melodic or rhythmic pattern is repeated like this, it is called an ostinato.

Listen to the beginning of Mouth music (Track 2). The vocal sounds of the ostinato pattern are written below.

mm mm aah aah aah mm aah aah

Activity 2

Answer the following questions about the ostinato pattern.

1 In the vocal ostinato, are the ‘mm’ sounds higher or lower than the ‘aah’ sounds?

2 Show the difference in pitch by drawing a line for each sound.The fi rst part has been done for you.

3 In Track 2, how many times is the ostinato pattern heard?


Learn to sing the ostinato from Mouth music by working through the following 8 steps. Use Track 2 as your accompaniment. You begin by learning the start and end of the ostinato pattern.

1 Say ‘mm mm’ (the beginning of the ostinato pattern) along with the recorded ostinato. Emphasise the second ‘mm’.

2 Clap the last two ‘aah aah’ sounds at the end of each ostinato pattern as you listen to the ostinato again.

3 Play the track again and say the last two ‘aah aah’ sounds as you clap them.


4 Combine both elements that you have learnt. Start at the end of the fi rst pattern and say ‘aah aah mm mm’ in rhythm. Perform along with the recorded ostinato.

5 Sing your part as you play the ostinato. Remember that it uses two pitches: the sound ‘aah’ is higher than ‘mm’.

6 Clap the rhythm of the ostinato pattern. The pattern is written in the grid below and also as music notation.

+ 1 + 2 + 3 + 4 + 5 + 6

mm mm aah aah aah mm aah aah

The ostinato begins on ‘and’ before the fi rst beat. This is called an upbeat. Accent the second ‘mm’ which occurs on beat one.

7 When you are confi dent with the rhythm, clap it with Track 2.

8 Learn to sing the whole ostinato pattern. It uses two pitches: ‘mm’ on the lower pitch and ‘aah’ on the higher one.

a Practise the whole ostinato with the excerpt (Track 2).

b Sing the ostinato confi dently by yourself.

c Sing the ostinato with the whole song (Track 1).

In the next exercise you create, perform and record your own ostinato pattern. Before you begin, complete the following three steps as preparation.

1 Listen to the three vocal patterns recorded on Tracks 3, 4 and 5.

2 Play each track again and repeat each pattern aloud.

3 Perform each pattern, repeating it several times to create an ostinato. Make the sounds percussive and rhythmic. Perform with a steady beat.



Improvising with your voiceIn Mouth music, did you notice how the main voice sings above the ostinato using a wide range of highs and lows? At times, it sounds like the singer is spontaneously creating the vocal line as she performs.

When musicians make up music as it is being performed it is called improvising. In the following activities, you will try improvising yourself. Begin by exploring the sounds you can make with your voice.

Activity 3

1 Sing the following four syllables along with the recording on Track 6. Repeat each one in the break.

la la la la la la la

tu tu tu tu tu tu

brr brr brr brr brr brr

ss ss ss ss ss

2 Choose your own syllable and then do the following.a Make up a rhythm and say your syllable.b Add pitch and sing your syllable to the rhythm.

3 Listen to the name, Alicia, performed on Track 7. You may recall listening to Alicia’s soundscape at the start of this unit. Each syllable in Alicia’s name is sounded separately.

Aaa a a a a a liii liii liii liii cia cia cia cia cia cia cia

a Play the recording several times and join in as you listen. b Perform the pattern by yourself.

4 Now do the same thing with your name. a Say your name in an unusual way. b Make up rhythm patterns for each syllable in your name.c Change the pitch so you move from high to low or low to

high as you sing syllables from your name.

5 Listen to the short improvised vocal phrase on Track 8. Repeat the phrase aloud.


6 Play Track 8 and improvise your own response.

Do this several times, improvising a different response each time. As you do so, consider what makes some of your responses more pleasing or interesting than others.

Improvising over an ostinatoWhile improvising, an experienced vocalist such as Tony Allayialis from Toni Nation explores various patterns that she already knows.

In the previous activity, you explored vocal sounds you could make with your voice. You can draw on the sounds and patterns you discovered when you improvise over an ostinato.

Improvise your own vocal part above the ostinato from Mouth music (Track 2). • Explore patterns that you have tried earlier in this unit.• Explore short melodies with your voice.• Experiment with new ideas.

Remember, the result is only limited by your imagination as to how you can use your voice.

In the next exercise, you will improvise a vocal part over the ostinato pattern you recorded in Exercise 6. As you do so, draw on the experience you have just gained in improvising.



Let’s move!Voice and percussion are used together in the music of all cultures and often people will naturally move to the music, using the music as an accompaniment for dancing.

Listen to Spiritual high (Track 9) sung by Chrissie Hynde. Follow the listening guide below.

Listening guide to Spiritual high

1 0.00 Begins with a soft and slow introduction with long notes played on the synthesizer. Rising siren-like electronic sounds lead into female vocal entry.

2 0.19 Female voice enters singing verse. Accompanied by synthesizer and electronic sounds as in introduction.

3 1.00 Rhythm section (electronic percussion and electric bass) joins in.Female voice sings verse. Synthesizer with rising and descending electronic sounds continues.

4 1.40 Female voice sings as organ rhythm enters.Backing vocals join in leading to chorus.Synthesizer and electronic sounds continue.‘The state of independence shall be’ heard twice. Second time heard with rhythm section featured.

5 2.00 Choir features with rising solo voice at beginning.Rhythm section continues with synthesizer.

6 2.20 Verse sung by female voice.Rhythm section continues with synthesizer using other keyboard sounds, for example piano.

7 3.20 Chorus sung by female voice with backing vocals. ‘The state of independence shall be’ heard twice as in Section 4.Rhythm section continues with synthesizer and keyboard sounds.

8 3.42 Voice of Martin Luther King making his famous ‘I have a dream’ speech above choir.Rhythm section continues with synthesizer and keyboard sounds.

9 4.35 Solo synthesizer sound as coda (ending)


This arrangement begins with a slow introduction using synthesizer. Synthesizers are often keyboards like the one below, though there are also guitar and wind synthesizers.

Keyboard synthesizer <www.musicalinstrumentgifts.com>

In the following activity, you will move to Spiritual high.

Activity 4

1 Play the extract of Spiritual high on Track 10. You’ll hear the the fi rst fi ve sections. As you listen, do the following.

a Make a long free movement to accompany the slow beginning. Explore ways you can move to this section.

b Step on the spot or walk around the room to the beat when the rhythm section joins in.

Step in time with the beat. That means your feet will step at the same time as you feel the beat.

2 Play Track 10 again and do the following.

a Explore other ways you can move to the slow beginning.

b When the rhythm section joins in, clap on the 1st and 3rd beats as you move. The pattern is shown in the grid below.

Practise several times before you try with the music.

1 2 3 4 1 2 3 4


3 Play Track 10 again and do the following.

a Explore new ways you can move to the slow beginning.

b When the rhythm section joins in, clap on the 2nd and 4th beats as you step to the beat. The pattern is shown in the grid. Practise several times before you try with the music.

1 2 3 4 1 2 3 4

4 Explore other ways you can move to the music. Work with either the full version of Spiritual high (Track 9) or with the abridged version (Track 10).

Consider how you may be able to move to different beats. Since Spiritual high accents or emphasises the second and fourth beats, you probably found clapping on beats 2 and 4 fi tted better with the music.

The following activity will put everything you learned in this unit into practice.

Let’s jam!Choose the voice and body percussion for this jam session.

Perform the following rhythm along with Track 11. Use vocal sounds and include at least one body percussion sound. For example, you could clap on beat one.

Improvise your own vocal solo during the break. In this piece, some instruments continue playing in the break. To know when to start your solo, listen for the words ‘solo break’ just before the break begins.

If you like, move to the music as you jam.

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

X x x X x X x x X x X x x X x X x x X x


In ‘Vocal and body percussion’ you explored guitar sounds, vocal and body percussion. In ‘Vocal styles’ you will further explore how to use the voice as a percussion instrument.

Vocal styles 63

Vocal styles

These days, thanks to globalisation and technology, we are able to experience various styles of music from around the world. Not only can we listen to the latest music, but we can also listen to music from a long time ago. The power of music to transcend as well as mark time and place is remarkable.

In ‘Vocal styles’ you will consider various styles of vocal music which come from different places and times. You will also learn about using the voice as a percussion instrument.

You will:• explore mimicry, particularly of bird sounds• use rhythm to organise sounds• listen to different examples of how the voice can be used• explore vocal percussion• compose and notate vocal rhythmic patterns.

Vocal mimicsEarlier you listened to the Kaluli people who live in the Bosavi rainforest area of Papua New Guinea. They blended their vocal sounds with the sounds of their environment.

Listen again to the sound of the Kaluli women and children making sago (Track 12, Why music? CD 2). Focus on how the voices mimic the sounds of the birds in the rainforest canopy.

Activity 1

Write down some of the sounds you can hear in the Kaluli example (Track 12). You may need to listen more than once.



What bird sounds can you mimic? Can you make a chicken sound? In the table below list the birds you can mimic and describe or write down the sound of each one.

Bird Sound

List other bird sounds that you have heard and describe or write down the sound they make.

Bird Sound

When a composer transcribes, he or she will listen to sounds and then work out how to write it down in notation. Notation provides a method for sharing and documenting music.

The famous composer Messiaen used transcriptions of bird songs as the basis for many of his piano and orchestral works. If you are interested in fi nding out more about Messiaen, go online and do a search on his name using a search engine such as Google.

Earlier, you considered how composers and musicians use various sources as inspiration for creating new sounds including the sound of birds. In this, they draw on the traditions of mimicry.

Explore mimicry and some artists who are involved in this form of music making. Find links to information by visiting the following website.



Vocal styles 65

Activity 2

Answer the following questions.

1 What is mimicry?

2 Which Australian community group has a very strong tradition of mimicry?

3 David Gulpilil is a well-known artist whose talents include mimicry.

a Where was David Gulpilil born?

b List some of David Gulpilil’s fi lms.

4 Who thought that humans learnt to sing from birds?

5 Which bird may have inspired the call ‘cooee’?

Find links to the musical examples in the remaining tasks of this activity by visiting the following website.



Note: these musical examples on the Web are streamed and are therefore blocked via the Department of Educations’ network .

Complete the rest of this activity if you are able to listen to streaming media over the Internet or can access the recordings from some other source.


6 Listen to the following examples.a ‘Kookaburra’ by David Gulpililb ‘Crow Impression’ by Christine Johnsonc ‘Clarinet and Turkey Duo’ by Leigh Hobba.

Mimic the sounds using your voice. Practise until you are happy with the result.

7 Listen to Katchikalli Dreaming. It was recorded near a pool in the bush. What environmental sounds can you hear?

8 Listen to Old linden tree. What can you hear at the beginning of this instrumental excerpt?


Bird mimic

Create your own bird-like sounds with your voice, using sounds you heard in the previous activity or sounds you can recall.

Think about where you need to place your voice to make the sound work. Does your voice come from your chest, your throat or your head? Experiment with the placement of your voice.

Go back to Activity 5 in Wade in the water and work through the exercises regarding placement of your voice again.

Select four of the new bird-like sounds you created. Write the vocal sounds you used for each one below.

Four bird-like sounds

Vocal styles 67

Organising vocal sounds When a composer decides to incorporate different sounds into a composition, he or she will decide how to organise those sounds. One way to organise sound is by creating a rhythm pattern.

The rhythm grid below shows three different bird sounds; each one has a different rhythm. Imagine what they sound like.

1 2 3 4 1 2 3 4

Aargh Aargh

Boork boork Boork boork

Caw caw-caw caw Caw caw-caw caw caw

When you are familiar with the grid, listen to the recording on Track 13. The pattern is played twice.

Activity 3

Below is the same grid written using music notation.

1 How many beats are there in each bar?

2 Copy the notation onto the lines on the next page.


Did you answer that there were four beats in each bar?

Consider what other sounds you can add to this composition. Perhaps you could add another bird sound, shake some leaves or make sounds like the wind.

Add your part below the rhythm grid on the previous page. Also write it using music notation underneath the parts you copied at the top of the page.

Perform your part with the recording (Track 13).

Vocal acrobaticsMost cultures have a characteristic way of using their voices. Many cultures use vocal cries and calls to communicate. Some nomadic people have developed piercing cries to warn others who may be passing that a certain area is already occupied.

Vocal sounds have grown out of a need for people to express themselves. These different sounds can be found in musical styles across the world. Listen and respond to the following four examples which refl ect a variety of singing styles.

Vocal styles 69

UndecidedListen to Undecided sung by Youssou N’Dour (Track 14).

Listening Guide for Youssou N’Dour’s Undecided

Bars Description

1–4 Hi-hat, tambourine on 4th beat, echoing vocals, electronic sounds at end, synthesizer.

5–8 Drums enter, fi rst 4-bar pattern continues.

9–16 Voice enters, electronic insect-like sounds added, synthesizer pattern of long notes rises.

17–20 Tambourine rhythmic pattern increases and voice rises in pitch.

21–22 Youssou N’Dour sings the word ‘undecided’.

23–29 Chorus: call from Youssou N’Dour and response from backing voices, backing sing ‘We never know’, synthesizer chords.

30 All sing the word ‘undecided’.

31–34 Opening bars return with echoing vocals.

Activity 4

1 Answer the following questions about the listening example.

a Describe the voice at the beginning of this example.

b Which instruments can you hear?

c What effects are created by the electric instruments?

2 Listen again to Undecided (Track 14). Clap on the fourth beat with the tambourine sound. The rhythm is shown in the grid.

1 2 3 4 1 2 3 4

X X


3 Play Track 14 again and add a movement on the fourth beat. You may choose to vary your clap and use another body percussion sound such as slapping your thighs.

Stand up so you can move easily.

4 Listen to the extract recorded on Track 15. You’ll hear the word ‘undecided’ sung. It occurs twice during the song. Sing the word aloud several times.

5 Play Undecided (Track 14) again. Move to the beat and join in singing the word ‘undecided’ when you hear it. Remember, it occurs twice, the fi rst time after ‘yeah’.


Youssou N’Dour comes from Senegal in Africa and is well known for his interesting mix of traditional Senegalese style and language with electronic back beats and English. His hit song Seven seconds was sung with Neneh Cherry.

BubukaListen to the opening of Bubuka by Indonesian jazz fusion group Krakatau (Track 16).

Notice how the synthesizer plays long spacious sounds below the voice. Sometimes other synthesizer sounds are also added.

Vocal styles 71

Activity 5

1 Listen to the fi nal 20 seconds of the extract from Bubuka (start from about 1:55 seconds into Track 16). Draw the shape of the vocal line in the space below. Take note how the vocal line moves from low to high.

2 Stand up and create a short movement that shows how the vocal line moves.

3 Play Track 16 again and move with the vocal line.


The style of singing in Bubuka is called beluk and was traditionally sung by the Sundanese people of West Java in Indonesia. Krakatau use this style of singing to create new songs. This piece is often played as an opening number in their concerts.


SadnessListen three times to the extract from Sadness by Enigma (Track 17).Slap your thighs to the beat each time you listen.

Listening Guide to Sadness

1 0.00 Solo high male voice enters followed by response from male chorus

2 0.09 Electronic beats and rhythm section enters

3 0.18 Male chorus joins inElectronic beats and rhythm section continues

4 0.31 Synthesizer playing two bass sounds enters with belltree and electronic soundsElectronic beats and rhythm section continues

5 0.50 Solo high male voice returns with synthesizer chordElectronic beats and rhythm section continues

6 1.10 Response from male chorusElectronic beats and rhythm section continues

Activity 6

List some differences between this example and the fi rst two.


The performers of this song have created a new feel by adding electronic beats to an old style of singing. At the beginning of this song you hear male voices singing Gregorian chant, a style of sacred music sung in the church.

Gregorian chant manuscript from the late fi fteenth century (www.loc.gov/exhibits/vatican/music.html)

Vocal styles 73

I gotta styleListen three times to I gotta style by Victor Riley from Broken Hill in New South Wales and Morganics (Track 18).

Write a few lines about your impression of this song.

Morganics accompanies Victor by beatboxing, creating a backing track through using vocal percussion. With the development of digital recording such as minidisc recording it has become possible to record your own music easily.

Find more information about some of these musicians by visiting the following website.




Vocal percussionAs the name suggests, vocal percussion is the art of making percussive-like sounds with your voice. You heard an example of one type of vocal percussion, beatboxing, in I gotta style.

While vocal percussion often imitates the sound of instruments such as drums, it can involve mimicking any percussive sound (sounds made by hitting or striking two objects together). In the following rhythm patterns, you use your voice to imitate the sounds of machines. Make the sounds rhythmic and percussive.

Activity 7

1 Listen to the following rhythms performed on Track 19. Say each two-bar rhythm after the example.

Rhythm 1

1 2 3 4 1 2 3 4

boom ch ch boom ch ch boom ch ch boom ch ch

Rhythm 2

1 2 3 4 1 2 3 4

sh sh sh sh

Rhythm 3

1 2 3 4 1 2 3 4

tik tik tik tik tik tik tik tik tik tik tik tik

Rhythm 4

1 2 3 4 1 2 3 4

brrr brrr

Vocal styles 75

2 Listen to the four rhythms performed together (Track 20). They are written together on one grid below. Play the track four times and perform each rhythm pattern in turn.

1 2 3 4 1 2 3 4

boom ch ch boom ch ch boom ch ch boom ch ch

sh sh sh sh

tik tik tik tik tik tik tik tik tik tik tik tik

brrr brrr

3 Listen to another example of machine rhythms (Track 21).

1 2 3 4 1 2 3 4

vroom vroom

clickclack

clickclack

clickclack

clickclack

ping pong ping pong

boing boing boing boing

4 Perform each part in the rhythm with the recording (Track 21). You will need to play the track four times.

Create movements to accompany each part as you perform it.

In the next exercise, you will use your own ideas to create a vocal percussion rhythm chart.

Listen to the rhythm and sounds of your environment for ideas. Choose sounds that will work together well.



Musical textureIn the following Composer Notes activity you look at the concept called texture. Musical texture refers to the layers which can be heard in a musical composition and how these layers relate to one another.

Activity 8

1 Open Composer Notes and click on the Composition icon to go to the ‘Guide to Composition Modules’.

2 Click on ‘Musical Texture’ and select ‘Concepts- Musical Texture I’ from the pop-up menu which appears.

3 Work through the next nine pages.

a Read and think about the information on each page.

b Listen more than once to each musical example and look at the music notation.

c Make a connection between the musical examples and what you read.

4 When you reach the page headed ‘Adding Musical Texture to Pulse & Movement’, exit Composer Notes.

Before you go on, check that you covered all the material.

In this activity in Composer Notes, I:

® learnt about the concept of texture in music including the idea of light or thin textures and dark or heavy textures.

® read about the following types of musical texture• monophony• homophony• polyphony• canon• ostinato• drone (including a drone used as a rhythmic ostinato).

® listened several times to examples of each type of texture

® read about how dynamic contrasts relate to texture and add interest in music as well as how instrument colours complement and contrast with one another.

Vocal styles 77

Activity 9

Match the following musical textures with their meaning by drawing a connecting line.

monophony several parts imitate the original line or phrase but entries are staggererd (as in a ‘round’)

homophony a single melodic line with other parts providing a supporting accompaniment

canon a rhythm or melodic pattern which is repeated over and over

ostinato a single line with everyone making the same movement at the same time


Listen to the vocal examples you heard earlier in this section and consider how texture is used in these examples. Think about how you would describe the texture.

The following activity will put everything you learnt in this unit into practice.

Let’s jam!Choose vocal percussion sounds for this jam session.

Perform the following rhythm or choose a rhythm from those you have learned to accompany the backing track (Track 11). Remember to improvise during the solo section.

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

XX X XX X X XX X XX X X

In ‘Vocal styles’ you explored mimicry and listened to a range of vocal styles. You also explore vocal percussion, creating your own vocal percussion patterns. Next you will look at instrumental sounds, particularly those of the orchestra.

Music and emotions 79

Music and emotions

In this section you will learn about sound and instruments, particularly orchestral instruments. You will discover how composers choose various sounds to express feelings.

Music is well known for its expressive qualities. It can help us feel many different emotions. You will learn about some of the ways music can do this.

You will:• create your own composition to express a range of emotions• look at dynamics and listen to the sound of orchestral

instruments at a range of different dynamic levels• develop your skills in recognising the sound qualities of a

variety of instruments• discover the instruments of the orchestra• use the Internet to explore websites featuring orchestral

instruments and sounds• explore how composers use music to express emotions• play rhythms with an orchestral listening example• identify different musical structures.

Express your feelingsAt the beginning of this unit you considered how music can make us feel different emotions. For example, a bright uptempo piece can make us feel energised. You listened to some different musical examples and wrote down how the music made you feel.

Music is a form of expression by which musicians and composers communicate different feelings to their audiences. Because music is able to express and help us feel many different emotions, it has become an important ingredient for fi lm-makers.


Circle the face which closely resembles how you feel today.

Select a sound source you used earlier in this unit. It might be body percussion, your voice or a sound source from the kitchen.

Play the following example of ‘excited’ on your sound source by interpreting the graphic notation.

In the following activity you will improvise sounds to express different emotions and then use graphic notation to record them.


Activity 1

1 Choose three emotions from the opposite page and express each one by making up your own music on your sound sources.

2 Vary the dynamics (the loudness and softness) of your sounds as you improvise.

a Describe the sounds when they are louder.

b Describe the sounds when they are softer.

3 List the three emotions you chose for this activity and notate the sounds you created for each emotion using your own graphic notation.

Emotion Graphic notation

4 Perform your sounds for a family member or friend. Ask them to guess which emotions you are expressing.

Were they right? If they responded differently, why do you think they chose a different emotion?


Now that you have improvised emotions on your sound source, create a composition which incorporates a sequence of emotions.



Dealing with dynamicsDynamics refers to the loudness and softness of sound. Composers use dynamics to create physical and emotional responses in their listeners, a powerful ingredient in fi lm music.

When notating music, letters are used to mark the dynamic level at which it should be performed. These dynamic markings include:

pp very soft ff very loud

p soft f loud

mp moderately soft mf moderately loud

In the following Composer Notes activity you will listen to string, woodwind and brass instruments playing at a range of dynamic levels. This activity will help you identify the dynamics used by different instruments to create various effects and sustain interest.

Activity 2

1 Open Composer Notes and click on Instrumentation to go to the ‘Instrumentation guide’.

2 Listen to the violin, viola, cello and double bass play a range of dynamic levels.

a Click on ‘Strings’ in the Instrumentation Guide to display the Strings main menu, ‘Orchestral Stringed Instruments’.

b Click on ‘String Dynamics’ and from the pop-up menu, select ‘Violin’, then ‘Violin: pp-p’.

c Work through the eleven (11) pages describing String dynamics. Click on the Forward and Back buttons to move through the pages.

- Look at the music notation and observe the dynamic markings.

- Listen to the examples more than once and consider the dynamic level of the performance.


3 Listen to the fl ute, clarinet, alto sax, tenor sax and oboe play a range of dynamic levels.

a Use the Navigation icon at the bottom of the page to go to the Woodwinds Main Menu.

To do this, click on the Navigation icon. Select ‘Instrumentation’ and then ‘Woodwinds Main Menu’ from the pop-up menu.

b Click on ‘Woodwind dynamics’ and from the pop-up menu select ‘Flute’ then ‘Flute: pp-p’.

c Work through the pages describing Woodwind dynamics.



4 Listen to the trumpet, trombone and horn play a range of dynamic levels.

a Go to the Brass Main Menu and click on Brass Dynamics. From the pop-up menu select ‘Trumpet’ then ‘Trpt: p’.

b Work through the pages describing Brass dynamics.



Notice how brass instruments are louder than the other instruments you have listened to. The softest dynamic level shown is p and the loudest ff f, which is very very loud.

5 When you have listened to the string, woodwind and brass instruments playing at a range of dynamic levels, exit Composer Notes.




® listened to the violin, viola, cello and double bass play a range of dynamic levels

® listened to the fl ute, clarinet, alto sax, tenor sax and oboe play a range of dynamic levels

® listened to the trumpet, trombone and horn play a range of dynamic levels

® learnt about dynamic markings in music notation (pp p mp mf f ff ff f).

Instruments and dynamicsComposers and musicians often consider how their listeners will respond emotionally to their music through their choice of instruments and dynamics.

The way we respond emotionally to music is personal and yet there are certain responses that are common.

Film composers draw on these common responses such as when loud brassy sounds accompany a procession or soothing strings are heard during a love scene.

Activity 3

1 List the emotions you think could be expressed with loud sounds.

2 List the emotions you think could be expressed with soft sounds.


3 How could you express the following emotions in music? List the qualities the music would have. Describe the instruments, dynamics and tempo you would use.

a anger

b love

c excitement

d happiness

e sadness

f disappointment

4 Choose another emotion and describe how you would convey the emotion with music. Consider instruments and dynamics.



Natural instrumentsEarlier in this unit, you looked at how people make music from the sounds of their immediate environment. You listened to examples online from people who had been inspired to recreate the sounds around them. Music making has always been infl uenced by the sounds of the surrounding environment.

Most cultures have developed musical instruments from the natural materials from their environment, such as wood and skin. Many of these sound-making devices are similar from one culture to another. Different instruments have been produced with their own unique sound qualities depending on the materials from which they have been made.

Drum beatsThe most simple instrument made from wood and skin is the drum. Drums of all shapes and sizes are found throughout the world. They are attractive instruments to play as they are an extension of our own body percussion.

Most people are fascinated by drummers and will join in and play with them at the fi rst opportunity. They may simply join in drumming the beat or play more complicated rhythms.

Rhythm underpins most music and a strong rhythm will generally make people want to dance or clap along to the music.

Encourage your brothers and sisters or friends to move to a favourite piece of music. Invite the adults in your family to do the same. Moving to music is a great way to exercise.

In the following activity, you will move and drum to music you listened to earlier in this unit.

You can drum on the table or the back or seat of a chair or you can make your own drum using a bottle with a lid or another vessel covered with a piece of rubber secured with a rubber band.


Activity 4

1 Play the extract from Spiritual high (Track 10, Why music? CD 2) and move to the music.

2 Listen again to Track 10. Drum on the beat once the rhythm section joins in (approximately 1 minute from the start).

You can drum with your hand or fi ngers or experiment by using beaters such as chopsticks or two other sticks.

3 Choose another example of your own rhythmic music on CD, television or radio and discover the beat by playing along.

4 Move by stepping or dancing around the room as you listen to reinforce your feeling for the beat.

Instruments around the worldInstruments have formed the basis of music making across the world since the earliest times when cavemen hit stones together to play rhythms and made fl utes from bones to play melodies. The erhu of China or the rebab of Indonesia and the Middle East are two-stringed fi ddles. The bombo of South America or the tapan from Eastern Europe are two headed drums played with a soft headed beater and a stick.


Some instruments have travelled from one place to another with traders. The guitar found its way to the island of Java via the Portuguese sailors who sailed through the Spice Islands of Indonesia.

Classifying instrumentsInstruments are usually identifi ed by what they are made from or how the sound is produced.

The instruments of the orchestra are organised into four families: string, woodwind, brass and percussion.

Other instruments throughout the world are often classifi ed according to how the sound is produced. The four types are 1 aerophones — instruments which are blown2 membranophones — instruments with a vibrating skin3 chordophones — string instruments4 idiophones — instruments which are struck or shaken.

In the following activity you will research and then categorise a number of instruments according to whether they are aerophones, membranophones, chordophones or idiophones.

Find links to information about the instruments listed in the activity by visiting the following website.



Activity 5

1 Research the following ten instruments. If you are able to, listen to the sounds of these instruments. Consider how the sound is produced on each one.

agogo kena rebana angklung ceng ceng kopyak

guiro ocarina tapan vielle revop

2 Categorise the instruments by writing each name in the appropriate column on the chart on the next page.


Aerophones(blown)

Membranophones(skin)

Chordophones(string)

Idiophones(struck or shaken)


Sounds of the orchestraThe instruments in the orchestra may be made from similar materials to the instruments you just discovered but they are grouped in a different way. They are grouped into four families: strings, woodwind, brass and percussion.

Find links to web resources about the instruments of the orchestra for the following activity by visiting the following website.



If you do not have access to the Internet, use other resources to complete the activity.

Activity 6

1 Listen to several examples of the sound of a violin. Consider the distinctive qualities of this instrument’s sound.Is the sound high or low? Is the sound soft or loud?Is the sound smooth or short? Is the sound light or dark?In what other ways can I describe the sound?

Write your description of the sound of the violin below.


2 Listen to examples of the sound of the fl ute and observe what the instrument looks like.

Describe the sound of the fl ute.

3 Listen to examples of other instruments from the string, woodwind, brass and percussion families.

Consider the distinctive sound qualities of each one. Think about the questions listed above.

4 Choose one instrument from each family and complete the table below.

Family Instrument name Description of sound

String

Woodwind

Brass

Percussion


Test your ability to recognise the instruments of the orchestra. Find links to orchestral instrument games by visiting the following website.




Exploring timbreImagine the variety of sounds available to a composer of orchestral music. Each instrument has its own unique sound colour or timbre and can be combined with others to create different sounds.

Imagine you have been asked to arrange a piece of music for up to six instruments. In the following Internet activity you will have the opportunity to explore the impact of combining different sound colours and more. You will hear how a composer’s choice of instruments affects the way the music sounds.

Find links to sites relevant to the ‘instrumentation’ activity below by visiting the following website.



Activity 7

1 Spend time exploring at least one online instrumentation or orchestration resource.

Experiment by assigning different instruments to play different parts. - Listen to each instrument play each role by itself. - Assign the instruments to different roles and listen to the

combined effect. Swap roles and listen again.- Compare the sound of each instrument in each role.

2 What does the word ‘instrumentation’ mean?



Orchestral musicIn this section you will hear a variety of orchestral music and consider the range of sound colours available to composers for orchestra.

An orchestra can number up to 100 musicians. Imagine the variety of instruments this represents. You will look at which instruments make up the orchestra. But fi rst, listen to a sample of orchestral music from different musical periods.

The instruments of the orchestra have always been associated with strong emotions from the gentle sounds of Prelude to the afternoon of a faun by Debussy (1862–1918) to the strident sounds of Ride of the Valkyries from The Valkyrie Act III by Wagner (1813–1883).

Activity 8

Example 1 Prelude to the afternoon of a faun

1 Lie down with your eyes closed and listen at least three times to Prelude to the afternoon of a faun by Debussy (Track 22).

a List the instruments you can hear.

b Listen again and write a sentence or two about what happens in the music. Consider these questions.a Are all the instruments playing together? b Is the music loud or soft?c Do they play high or low notes?

c What emotions do you think the composer is expressing.


Example 2 Ride of the Valkyries

2 Listen to Ride of the Valkyries from The Valkyrie Act III by Wagner (Track 23).

a Listen again and draw a picture in response to the music.

b Write a sentence to describe how this music is different from the last example by Debussy.

Example 3 La mourisque

3 Listen to La mourisque, which was written in the 16th century. It is played by the Sydney Symphony Orchestra (Track 24).

a Does the music change the way you feel as you listen to this example? Write one word to describe your feelings.

b Name the fi rst instrument you hear. How it is played?

c List the types of instruments of the orchestra played.

d Describe the occasion when this music might be played. Explain why you think this.



La mourisqueThe third example in the last activity is called La mourisque from Arrangements of Elizabethan dances by Alan Bonds.

La mourisque was written in the Renaissance by the composer Tielman Susato (ca. 1500–1563) and more recently scored for full orchestra by Alan Bonds. Many dance works were written at this time because Queen Elizabeth I liked to dance.

Follow the listening guide below as you listen to La mourisque (Track 24).

Listening guide for La mourisque

1 Snare drum roll (Bars 1–2).

2 Brass play theme A twice (Bars 3–10).

3 Strings echo and play theme A twice (Bars 11–18).

4 Woodwind and percussion play theme B twice (Bars 19–26).

5 Strings echo theme B twice (Bars 27–34).

6 Brass play theme A twice (Bars 35–42).

7 Strings echo and play A theme twice (Bars 43–54).

8 Long sustained note with crescendo (gets louder) to end in Bar 54.


Clap the rhythm below as you listen again to Track 24.

Perform the rhythm on a shaker as you play along again with La mourisque.

Now play the rhythm below as you perform again with La mourisque. Notice how the rhythm is different from the previous rhythm you played.

Structure in musicThe previous listening example of La mourisque has a ternary structure. Let’s discover what that means by fi nding out more in Composer Notes.

Activity 9

1 Open Composer Notes and click on the Composition icon to go to the ‘Guide to composition modules’.

2 Click on the Structure icon and select ‘Structure Examples’in the pop-up menu and then ‘Concept– Binary Form’ in the next pop-up menu.

3 Work through the next fi ve pages.

a Read and think about the information on each page.

b Listen more than once to each musical example and look at the music notation.

4 When you reach the page headed ‘Composing and Musical Structure: Activity’, exit Composer Notes.




® learnt about three traditional forms in music:• binary form• ternary form• sonata form

® listened several times to examples of binary and ternary form

® read about the palindrome and other musical forms

® learnt about contrasts between sections as a musical structure.

Activity 10

1 Match the following musical structures with their meaning by drawing a connecting line.

sonata form made up of two balanced parts; the pattern is often described as AB

binary form made of three parts; the fi rst and third parts consist of similar material and the second or middle part contrasts; the pattern is often described as ABA

ternary form made up of three parts which are called exposition, development and recapitulation

2 Contrasts between sections can be used as a musical structure or way of organising musical sounds.

List three elements a composer might contrast from one section to another and give an example of each. An example is given for you.

Tempo: a fast section followed by a slow section.


3 The eight numbers below represent the eight sections shown in the ‘Listening guide for La mourisque’ (page 94). Section 1 is an introduction and section 8 is a coda or ending.

a Draw boxes around the numbers representing sections 2–7 to show how the structure of La mourisque is ternary form.

b Label each box to show the pattern of ternary form.

(Hint: decide how many parts ternary form has, then listen to La Mourisque and use the listening guide to help you decide which sections of La Mourisque belong in each part.)

Intro Coda

1 2 3 4 5 6 7 8


Let’s jam!Use the shaker you used earlier or another sound source from around you for this jam session.

Perform the rhythm below along with the backing track (Track 25). It is the rhythm you used to accompany La Mourisque. Remember to improvise during the solo section.

In ‘Film music’ you will explore music for fi lm and how composers use the emotional qualities of music to add to the visual component of a fi lm.

Film music 99

Film music

In this section you will learn about how composers use orchestral music for fi lm scores and why this music plays an important role in a fi lm’s success.

You will:• explore the string instruments of the orchestra• listen to string instruments and how composers use these

sounds• learn about the role of music in fi lm• explore how composers manipulate sound to create certain

responses• listen to and explore the work of two fi lm composers, James

Horner and Ennio Morricone.

The stringsString instruments of the orchestra are often heard in fi lm music. You investigated string instruments in the last section when you explored the instruments of the orchestra.

In the following Composer Notes activity you will familiarise yourself even more with the sound of the string family of the orchestra.

Activity 1

1 Open Composer Notes and click on Instrumentation to go to the ‘Instrumentation guide’.

2 Click on ‘Strings’ icon , then at the next screen click on ‘Comparison of Orchestral Strings’.

3 Read the information and listen to the musical examples contrasting the four string instruments of the orchestra.


4 Work through the next four pages. These pages tell about the range and open string sounds of each of these instruments.

5 Work through the next three pages. These pages tell about how string players use the bow.

6 When you have completed the page ‘Bowing Chart’, exit Composer Notes.



® learnt about the four orchestral string instruments — the violin, viola, cello and double bass — including how they are similar and how they differ

® listened to a musical extract performed on each string instrument as well as to the sound of the open strings and the pitch range of each instrument

® read about how the bow is used by string players and the way the forward and backward movement of the bow is shown in written music

® learnt how the slur indicates the notes to be played in a single bow

® listened to one melody bowed in three different ways and considered how the direction of the bow effects the sound produced

® investigated the Bowing chart and listened to the different durations of bowed notes.

The role of music in fi lmIs there a fi lm you remember because of its music?

Did the music make a big impression on you as you watched the fi lm? Did you fi nd yourself humming the theme music as you left the cinema?

Sometimes you are hardly aware of the music in a fi lm because it is so closely related to the plot. Other times the music stands out as it helps to emphasise what is happening on the screen.

Have you ever thought why music is such an essential ingredient to a fi lm’s success these days, when, not so long ago, audiences watched silent movies?

Imagine how fi lms were screened early last century without sound! They were called silent movies.

Film music 101

Musicians would perform live music to keep the audience from dozing off. Often a pianist or organist would play to keep the audience awake and interested.

As the audiences grew, so did the number of musicians performing. Small orchestras used to travel with the fi lm before someone discovered how to put the sound and the fi lm onto the same tape.

Once that was achieved, musicians were no longer needed at the screening. Instead the fi lm composer and sound designer would work closely together with the director to develop suitable music and sound to add to the visual component.


A fi lm soundtrack is the sound that accompanies a fi lm. It usually includes the fi lm score (music especially written for the fi lm) and sound effects that echo the action. Music is recorded in a studio using session musicians and often includes a large orchestra.

Orchestral music is often used for fi lm scores because of its ability to stir emotions. Howard Shore wrote the music for The Lord of the Rings for a full orchestra. It is now performed at concerts without the fi lm being shown. Many symphony orchestras include excerpts from fi lm scores in their public performances.

Film music has become an important ingredient for a fi lm’s success and a theme song or score is often successful in its own right. The song, ‘My heart will go on’ from the fi lm Titanic became a hit on the charts and sold 10 million copies in the United States and 28 million worldwide.

Titanic won two Oscars for Best Original Score and Best Original Song and was known for being the most successful motion picture soundtrack in history.

Activity 2

1 Why is music an important ingredient for fi lm? Give reasons.

2 List the names of fi lm composers you know.

If you are having diffi culty naming any fi lm composers, try one or more of the following suggestions .

a Ask your family or friends.

b Search the Internet for ‘fi lm composer’.

c Visit <http://www.lmpc.edu.au/Music> for links to specifi c sites relevant to fi lm music (select ‘Mandatory’ and follow the links to resources for this unit, Why music?).


Film music 103

Next time you watch a fi lm, check the credits for the name of the composer. You may notice that certain names keep coming up as composers tend to specialise in this area.

You will now fi nd out about two well-known fi lm composers: James Horner and Ennio Morricone. You will become familiar with the work of each composer by studying a composition they wrote for fi lm.

James HornerOne of the best known composers for fi lm is James Horner. He has scored over 100 fi lms including Titanic, Aliens, A beautiful mind, How the Grinch stole Christmas and The four feathers.

Horner often combines traditional harmonies of the orchestra with ethnic instruments and electronic sounds. He remarked,

‘Films speak to me right away. The atmosphere, the overall mood dictates the kind of orchestra I will use. Watching a fi lm the fi rst few times, I make a charcoal sketch; later I put the colours in.’

<www.backtotitanic.com/jameshorner.html>

James Horner also wrote the fi lm score for Braveheart, the historic fi lm set in Scotland starring Mel Gibson.

Listen twice to ‘A gift of a thistle’ (Track 26, Why music? CD 2). Horner wrote this piece for the fi lm Braveheart. The second time you listen, follow the listening guide below.

Listening guide for ‘A gift of a thistle’

1 Opens with a descending melody of long notes bowed on the strings followed by an ascending solo fl ute melody.

2 Once the melody has descended, a chord is heard plucked on a string instrument.

3 The bagpipes enter accompanied by the strings with bowed notes on the low strings and plucked notes on the high strings. A motif from the melody fi rst heard on the fl ute is developed by the bagpipes.

4 The strings play the second part of the fl ute melody before the solo fl ute melody echoes the fi nal phrase played earlier by the bagpipes.


Activity 3

Answer the following questions. As you do so, think about how music supports a fi lm.

1 Which instrument does James Horner use to let us know that the fi lm Braveheart is located in Scotland?

2 What styles of string playing does Horner use? Think back to the Composer Notes exercise about string instruments you completed earlier.


Listen again to ‘A gift of a thistle’ (Track 26). Follow the melody written on the staff below.

Listen for the entry of the instruments marked above the notation and check that you are at the correct place.

The term ‘rubato’ means that the tempo of the melody is fl exible; some notes may be lengthened and others shortened. The music returns to a strict tempo at the marking ‘a tempo’.

Film music 105

When you are confi dent that you can follow the notation accurately, try the next activity.

Activity 4

In each of the three tracks listed below you will hear the melody of ‘A gift of a thistle’ performed on a fl ute. However the melody will stop before the end.

Follow the melody written on the opposite page as you listen to each track. When the fl ute stops playing, write down the number of the bar and note at which it stopped.

The fi rst one has been answered for you. It indicates that the fl ute stops on the fi rst note in bar 17.

Make sure you listen until the end of the track.

1 Track 27 bar 17, note 1

2 Track 28 __________________

3 Track 29 __________________


Now that you have practised reading music notation as you listen to a musical example, complete the following exercise.


Find more information about the fi lm music of James Horner by visiting the following website.



What fi lms have you seen that James Horner scored?


Ennio MorriconeAnother famous fi lm composer with 400 fi lm soundtracks to his credit is Ennio Morricone. He began scoring movies in the sixties and won two awards — a Golden Globe and a BAFTA — for Best Original Score for The Mission in 1986. His son Andrea is also a composer.

The following example of Morricone’s music, from the fi lm The Mission, demonstrates how varying the dynamics can create a sense of urgency and tension in music.

Morricone also describes the location of this fi lm by using the sound of fl utes and bongos to show that the story takes place in South America.

Listen twice to an excerpt from The Mission by Ennio Morricone (Track 32). Notice how he uses strings to build up the sound.

The second time you listen, follow the listening guide below.

Listening guide to The Mission

1 Choir sings sounds of long duration.

2 A fl ute melody using long notes with sparse percussive sounds and plucked strings.

3 Build up as rhythmic bowed strings and bongos enter with the choir. This section builds to a crescendo (gradually getting louder).

4 The fl ute melody returns.

5 The strings repeat the melody to build up in pitch and dynamics with brass

Activity 5

1 Slap your thighs to play the following rhythm. It is the rhythm that the strings play (section 3 of the listening guide). The melody is bowed in a detached manner.

Practise the rhythm with the excerpt provided (Track 33). You will need to repeat the rhythm 8 times.

Film music 107

2 Below is music notation showing the pitch of the repeated melody. Sing the melody using a short vocal sound such as ‘ah’. Play Track 33 as accompaniment.

3 When you feel confi dent, perform with Track 32.

In the fi nal exercise for this unit, you imagine that you are a young fi lm composer who has been asked to compose a short soundtrack.

As you complete this composition task, draw on the knowledge and skills you have developed throughout this unit.


Let’s jam!Use the rhythm that you just performed from The Mission to accompany the backing track (Track 25) in this jam session. The rhythm is written again below.

Remember to improvise during the solo section.

This completes the fi rst unit ‘Why music?’.

The next unit, ‘Music of our place’, looks at the music of Australia, particularly of our Indigenous people.

Suggested answers 109

Suggested answers – Unit 1

Check your responses against these suggested answers. These may be more detailed than yours. Also some answers will vary because often there is not one correct answer, but rather different supportable opinions.

Soundscapes

Activity 1

1 a birds, sound of digging, laughter, voices, hum of insects, wind in the trees, singing, pounding, whistling

b in a rainforest

2

3 a pounding or drumming, voices (children and adults), water

b in a village

4

Activity 2

The sounds are like the wind. They sound far away, peaceful. The high voice sounds like it is fl oating in space. Other sounds echo like they are in a vast, empty place.

Activity 3

1 Lots of different bird sounds including lorikeets. Cars going past on the road, sounds of cars in the distance and the hum of traffi c in the background. Moving or bumping the audio recorder. Door thumping, and car starting. Two aeroplanes rumble overhead.


voices singingpoundingwhistlinglaughter

hum of insectswind in the treesmost of the bird calls


pounding on wood (drumming) voiceswater


2 The car sounds are low and long. When they pass closeby they get louder and then fade away as they woosh by. In the distance they hum. The birds squawk, chirp and cackle. Their sounds are short and high. Some are loud. They are often repeated patterns. The planes create a rumbling sound and are long and low. The door opens or closes with a clatter. The sound of the car starting is a very short quick repeated sound.

Activity 4

1 The sound of scissors opening and closing quickly and rhythmically seven times; this sound pattern is repeated.The sound of a metal utensil scraping the inside of a metal pot then the sound of it hitting the side; The sounds of plates clattering; The pot is stirred and hit again; The sound of a grater being tapped twice and then scraped; the grater sound pattern is repeated; The sound of pouring water is then heard three times.

3 Compare your fi nal section of the graphic notation to the one below. There is no one correct answer to this task.

Activity 5

Telegraph wires, bird calls, boat horns, Sydney Harbour Bridge, grain silos and many, many more.

Kitchen sounds

Activity 1

1 The players are in a river.

2 Some sounds are short and some are long; some are high and some are low; some are louder and heavier and others softer and lighter.

Activity 2

3 The sounds will be unique and depend on the vessel and how you strike it. Some suggested words: dull, bright, deep, high, low, short, long, ringing, clunking.

4 It is higher.


5 The sound gets lower each time the water level is increased.

6 An example of what you might write appears on the page.

Extension activity

1 Paul Kelly, Paulini, Savage Garden, Silverchair. You may also have included other Australian musicians such as Sarah Hopkins, Alan Lamb, Graeme Leak or Nigel Westlake.

Wade in the water

Activity 2

1 The voice is the instrument which is common to all musical examples.

2 Example 1 Canto alla vitaA man with a rich but gentle voice sings in another language (Italian) ; his voice is not low; a woman with a smooth high voice joins in singing softly in harmony. They sing in an operatic style (like opera singers). The melody moves step by step

Example 2 Nunc aperuit nobisHigh and low female choir, smooth and strong, resonant, echoing, sustained notes. Long vocal sounds (drone) are heard beneath shorter vocal sounds (melisma). The melody moves step by step.

Example 3 Nina piensa en ti A high young male voice sings in another language (Spanish). A lower male voice quietly harmonises. The main voice is sweet but also a bit rasping. It is strong. The melody moves step by step.

Example 4 AkiwowoA chorus of several male and female voices sing in harmony. The sounds are smooth and gentle. One man sings high solo phrases between the chorus. The melody moves step by step.

Example 5 Wade in the waterSeveral voices; mostly low male voices but also some higher male voices are heard. They are strong, smooth but also at times rough and wailing. They sing different parts which harmonise. The melody is a combination of step by step and wide leaps.

Activity 4

5 The Blind Boys of Alabama sing verses as well as the chorus. They have instrumental accompaniment. The chorus is sung by deep male voices.


Body percussion

Activity 3

2 a The body percussion sounds include: clapping, stamping, slapping thighs and chests, clicking and vocal percussion.

b They get faster.


Activity 2

1 lower

2

3 The pattern is repeated eight (8) times.

Vocal styles

Activity 1

birds, sound of digging or pounding, voices, hum of insects, wind in the trees, singing, whistling

Activity 2

1 Mimicry refers to the imitation or the representation of sounds heard in nature.

2 Aboriginal community

3 a Maningrida in the Northern Territory

b Walkabout, The tracker, Last wave, Crocodile Dundee, Rabbit proof fence

4 the Ancient Greeks

5 the Whipbird

7 birds, water

8 bird sound

Activity 3

1 four beats in each bar


Activity 4

1 a an unusual call like yodelling

b voice, tambourine, drums, synthesizer/keyboard, electronics

c bass, keyboard and extra insectlike sounds

Activity 5

1

Activity 6

Except for the solo at the start, a male chorus sings the melody. The vocal melody is smoother, more fl owing than in the other pieces. The singers in the other examples included unusual calls like yodelling.

Activity 9

monophony several parts imitate the original line or phrase but entries are staggered (as in a ‘round’)

homophony a single melodic line with other parts providing a supporting accompaniment

canon a phrase, rhythm which is repeated over and over

ostinato a single line with everyone making the same movement at the same time

Music and emotions

Activity 1

2 a The sounds are clearer when they are louder. It makes you pay attention to the sound.

b The sound are more gentle and further away when they are softer.

Activity 3

1 angry, excited, happy

2 sad, disappointed, romantic


3 a anger: loud, many instruments playing together, short, sharp, low sounds played quickly, dark or heavy texture; fast tempo, gradually getting faster

b love: smooth, sweet sounds, gentle music, soft, fl ute, violins; slow tempo

c excitement: loud, brass and many other sounds, a strong melody, rich texture; fast tempo, gradually getting faster

d happiness: rhythmical, percussion, woodwind and trumpet. warm sounds, rich texture; moderate tempo

e sadness: soft low sounds, thin texture; slow tempo

f disappointment: soft, short sounds, falling melody contour; slow tempo

Activity 5

3

Aerophones(blown)

Membranophones(skin)

Chordophones(string)

Idiophones(struck or beaten)

kenaocarina

rebanatapan

revopvielle

agogoceng ceng kopyakguiroangklung

Activity 6

1 Suggested description: The sound of the violin is high, bright and sweet. It can play loudly and strongly as well as softly and gently. When played with the bow, the sounds are often long and smooth. When the strings are plucked the sound is soft and light.

2 Suggested description: The sound of the fl ute is high, clear and smooth.

Activity 7

2 the art of arranging a piece of music for a particular combination of instruments (deciding who plays what parts on which instruments)

Activity 8

1 a fl ute, oboe, harp, horn, violin and other strings, brass

b Suggested ideas: The fl ute plays alone then other instruments join in. The music gently rises and falls; it begins softly and gradually builds up. The sounds are light and high. Midway the sounds become more urgent, suggesting danger. Then the music builds up and fi nally becomes gentle again at the end.


c Suggested: serene or calm, sleepy, contented, wistful, romantic, happy

2 b The music is more exciting; it swirls. The brass instruments feature and they are loud and strong. Other instruments play fast repeated notes.

3 a excited

b roll on the snare drum

c brass, percussion, woodwind and strings

d The music could be played for a royal procession or celebration. It sounds like a fanfare. The drum and brass instruments make it sound like a march.

Activity 10

1 sonata form made up of two balanced parts. The pattern is often described as AB.

binary form made of three parts. The fi rst and third parts consist of similar material and the second or middle part contrasts. The pattern is often described as ABA.

ternary form made up of three parts which are called exposition, development and recapitulation.

2 dynamics: a loud section followed by a soft section, then loud againpitch: one section features violins then next section features cellostone colour: the melody played on fl ute, then on the cello

3

Film music

Activity 2

1 It helps to emphasise what is happening on screen and stir emotions in the audience. It helps to keep the audience interested in the movie.

Activity 3

1 bagpipes

2 bowed and plucked, varying dynamics

Intro A B A Coda

1 2 3 4 5 6 7 8


Activity 4




Exercises 117

Exercises – Unit 1

Below is a list of the items which need to be returned to your teacher for each exercise in this unit.

Check that you have completed and returned all the required work at the end of each section.

Soundscapes

Exercise 1: Soundscapes

c Exercise sheet including information about your soundscape, your graphic notation as well as your self assessment

c Recording of your soundscape

Kitchen Sounds

Exercise 2: Kitchen sounds

c Exercise sheet including your graphic symbols, graphic notation and self assessment

c Recording of your kitchen sounds composition

Exercise 3: Kitchen rhythms

c Exercise sheet including your rhythm grid and self assessment

c Two recordings: your rhythm and your improvisation

Wade in the water

Exercise 4: Wade in the water

c Exercise sheet including your self assessment

c Vocal recording

Body percussion

Exercise 5: Body percussion

c Exercise sheet including your body percussion rhythm and self assessment

c Recording of your body percussion composition



Exercise 6: Vocal ostinato

c Exercise sheet including your rhythm grids and self assessment

c Recording of your vocal ostinato

Exercise 7: Vocal improvisation

c Exercise sheet including your self assessment

c Recording of your vocal improvisation

Vocal styles

Exercise 8: Vocal styles

c Exercise sheet including your vocal percussion chart and self assessment

c Recording of your vocal percussion rhythm

Music and emotions

Exercise 9: Music and emotions

c Exercise sheet including your graphic notation and self assessment

c Audio recording of your composition

Film music

Exercise 10: Listening and reading music notation

c Exercise sheet including your answers

Exercise 11: Film music

c Exercise sheet including your notated composition and self assessment

c Recording of your soundtrack

c The visual material which your soundtrack accompanies

Exercises 119

Name ______________________

Year __________ Class ______

Exercise 1: Soundscapes

1 Make a 20–30 second audio recording of your environment (for example, using a cassette player or your computer).

As you record, list the sounds you hear. These sounds are part of your soundscape.

2 Listen to the recording of your soundscape and add any sounds you hear that you have not already listed above.

3 Organise your sounds into two groups: ‘natural’ and ‘man-made’. List your sounds in the table below.

Natural sounds Man-made sounds

4 Write a description of your soundscape.

Are the sounds long or short, loud or soft, high or low. What other adjectives could you use to describe the sounds of your soundscape?


5 Document your soundscape using graphic notation.

a Create symbols to represent the sounds you heard.

b Notate your soundscape in the space on the opposite page using the symbols you have chosen.

c Add a key to show the meaning of the symbols.

Return the audio recording you made of your soundscape when you return your soundscape graphic notation to your teacher.

Self assessment

1 What did you discover about your environment when you listened to your recorded soundscape?

2 Is there anything you would change in your graphic notation if you were to do it again? Why or why not?

Exercises 121

Notate your soundscape and add the symbol key here.

Exercises 123

Name ______________________

Year __________ Class ______

Exercise 2: Kitchen sounds

1 Decide which kitchen sounds you want to use in your composition. Decide which sound sources you will use and the sounds that you will make on them.

2 Create graphic symbols to represent the kitchen sounds that you will include in your composition. You may want to look back at the section on graphic notation in ‘Soundscapes’.

Draw each symbol and then describe the sound it represents in the table below.

Symbol Sound (description)

2 Decide how you will organise your sounds (which sound will follow another).

Consider the following questions as you decide. Is the sound long or short? Is it loud or soft? Is it high or low? Is it repeated? Is it continuous?


4 Notate your composition in graphic notation, using the symbols from your list.

5 Record your composition when you have practised performing it.

Self assessment

1 Describe one of your sound sources and why you used it.

2 Would you change the sounds and/or their organisation in your composition, if you were to revise it? Why or why not?

Exercises 125

Name ______________________

Year __________ Class ______

Exercise 3: Kitchen rhythms

1 Create a rhythm which is four beats in length.

a Decide when you want sounds to occur. Include at least one sound that occurs on the half beat (+).

b Write your rhythm in the grid below.

1 + 2 + 3 + 4 +

2 Practise clapping your rhythm.

Repeat the rhythm four times without stopping to make a longer rhythm of 16 beats. Keep the beat steady throughout.

3 Choose two sound sources that you experimented with in ‘Kitchen sounds’. The sounds should be different in pitch; one sound source should sound higher than the other.

You may want to spend some time trying different ideas before moving on to the next step. You will perform your rhythms on these sound sources.

4 Play rhythms from ‘Kitchen Sounds’ on the sound sources you have chosen. Listen to the effect of incorporating two pitches.

Experiment by swapping the sound source used for particular notes in the rhythm. Listen to how you can change the sound of the rhythm by using the two pitches in different ways.

5 Experiment with different ways of playing your own rhythm on your sound sources.

6 Choose one way of playing your rhythm that you think produces an interesting musical result.

7 Practise playing your rhythm composition four times without stopping (to create a rhythm of 16 beats).

8 Record your performance when you are confi dent.


9 Improvise (make up) your own rhythms using your sound sources. Play along with the backing track (Track 20).

10 Record yourself improvising to the backing track.

Self assessment

1 When performing your rhythm, did you keep a steady, even beat? Rate your performance.

Very even Mostly even Somewhat uneven Very uneven

2 What was interesting about the way you chose to play your rhythm on your two sound sources?

3 What were two positive features of the rhythms you improvised?

Exercises 127

Name ______________________

Year __________ Class ______

Exercise 4: Wade in the water

1 Sing the low ostinato part as you listen to the solo melody from Wade in the water (Track 32).

2 Sing the melody as you listen to the low ostinato of Wade in the water (Track 33).

3 Choose the part you prefer and practise until you are comfortable with your performance.

4 Record your performance.

Self assessment




Exercises 129

Name ______________________

Year __________ Class ______

Exercise 5: Body percussion

1 Explore once more the sounds you can make using body percussion. Experiment to fi nd new ones.

2 Create a body percussion rhythm. Use symbols to write it in the grid below. Your composition should:

a consist of two groups of six pulses and use at least three different body percussion sounds

b be able to be performed by one person (you).

You may want to listen again to Claps 1 (Track 41) for ideas on how you can use body percussion in your own composition.

1 2 3 4 5 6

1 2 3 4 5 6


3 Make a list of the symbols you used and their meaning in the chart on the next page.

Symbol Explanation

4 Practise performing your composition as an ostinato, repeating it over and over again.

5 Create a vocal part to accompany your body percussion.

You may like to make a long siren-like sound or you may wish to sing a short vocal ostinato or melody while playing your body percussion.

6 Write your vocal part on the grid on the previous page (if you’ve used all rows, write the vocal part underneath).

7 Practise your composition.

8 Record your performance.

Self assessment




Exercises 131

Name ______________________

Year __________ Class ______

Exercise 6: Vocal ostinato

1 Make up your own 4 beat rhythm to use as the basis for a vocal ostinato pattern. Write your rhythm in the grid below.

1 + 2 + 3 + 4 +

2 Experiment with using different vocal sounds to perform your rhythm pattern.

3 Write your rhythm again to show the vocal sounds you have decided to use. (You can show sounds of different pitch by writing them higher or lower in the box.)

1 + 2 + 3 + 4 +

4 Practise performing your rhythm.

a Repeat it eight (8) times to create an ostinato.

b You may add some body percussion sounds if you think this enhances your vocal ostinato.

5 When you are comfortable with your performance, record your ostinato (repeated 8 times).

Self assessment




Exercises 133

Name ______________________

Year __________ Class ______

Exercise 7: Vocal improvisation

Improvise a vocal part above the ostinato you recorded in Exercise 6. You may use ideas you have explored earlier.

Improvise above the ostinato at least four more times. Each time, record your performance.

Listen to your recordings and select the improvisation which you think is most effective for return to your teacher.

Self assessment

1 Which recording did you select to return to your teacher? Why did you think this improvisation was the most effective?

2 What do you think are the less positive aspects of your improvisation?

3 What do you think are the most positive aspects of your improvisation?

Exercises 135

Name ______________________

Year __________ Class ______

Exercise 8: Vocal styles

1 Create a vocal percussion rhythm and write it in the grid below. Write each part on a separate line of the grid.

Listen to the rhythms and sounds of your environment and draw on ideas you have already used in this unit. Choose sounds that will work well together.

1 2 3 4 1 2 3 4

2 Practise performing your vocal percussion rhythm. Repeat it several times to form an ostinato pattern.

• Perform each part separately.

• Perform the sounds percussively and rhythmically.

• Ask friends or family members to help you perform all parts simultaneously.

3 When you feel comfortable with the performance, make an audio recording.

Self assessment



2 What pleased you most about your vocal percussion rhythm?


Exercises 137

Name ______________________

Year __________ Class ______

Exercise 9: Music and emotions

1 Create a composition which includes a sequence of at least three different emotions, for example, love, anger and happiness.

a Use the emotions and sounds you improvised in Activity 1 as a starting point.

b You may include other emotions as well or instead of these emotions.

c You may express the same emotion more than once in your composition.

d Organise the sequence of emotions in your composition. For example, you may want to: i tell a storyii gradually build excitement or drama iii contrast emotions.

2 Practise performing your composition and then make an audio recording of your performance.

3 Write your composition using graphic notation on the back of this page. Include a chart which explains your symbols.

Self assessment

1 How did you organise the sequence of emotions and why?

2 Which emotion do you think you expressed best and why?

3 How could you improve the performance of your composition?


Notate your composition here.

Exercises 139

Name ______________________

Year __________ Class ______

Exercise 10: Listening and reading music notation

Listen to ‘A gift of a thistle’ played on the following tracks and follow the music notation below.

Write down the number of the note and bar where it stops. Make sure you listen until the end of the track.

1 Track 30 ______________________________________________

2 Track 31 ______________________________________________

Exercises 141

Name ______________________

Year __________ Class ______

Exercise 11: Film music

Imagine that you are a young fi lm composer just beginning your career. A well-respected movie director is considering you for the job of composing the soundtrack for a new fi lm.

The fi lm director has asked you to submit a sample of your work and given you the following instructions.

Complete the task as instructed by the fi lm director. 1 In creating your composition, draw on the concepts and skills

you have developed in this unit.2 You may ask other people to help record your composition.3 Notate your composition on the other side of this sheet.

If there is not enough room, use a separate sheet.

Find resources and ideas for visual material by visiting the following website.



Instructions:

1 Create a composition to accompany a short fi lm, cartoon

or other story sequence or photo slideshow.

2 Your composition should be between 30 seconds to

1 minute in length and should express more than one

emotion.

3 Choose any visual material (short fi lm, cartoon, story

sequence or slideshow) that you think is suitable and

gives you ideas for composing.

4 You must submit both a recording of your soundtrack

and the visual material it accompanies.

5 You should notate your composition using graphic

notation or traditional music notation or a combination

of the two. You should submit the notation.

6 If you are composing to still images, note when the

images change in the notated music.


Notate your composition here.

Self assessment

1 How would you rate the success of your soundtrack?


2 Explain why you chose your answer in question 1.

3 Tell about your soundtrack and the knowledge and skills from the unit that you applied to your composition.

Unit 1 Why music?

Why Music? 44214, 44215 Track List for CD 1 and CD 2The accompanying CD sound recording is copyright New South Wales Department ofEducation and Training (DET), however it also contains tracks which are made availableunder an agreement between DET NSW and AMCOS/ARIA. We would like toacknowledge the following people and organisations whose material has been used:

CD &tracknumber

Track title Composer Performer Album title Recordcompany

CD11, 13

The sink Graeme Leak Graeme Leak MusicalEnvironments

CD1 1 Prelude to theafternoon of afaun

Debussy MontrealSymphonyOrchestra

2003 SydneySymphonyEducationProgram

Decca

CD1 1 Undecided N’Dour/Rykiel/FayeBSDA(Sengal)

YoussouN’Dour

One World Sony Music Inc.Licensed fromSony MusicEntertainmentAustralia Ltd

CD1 1 Mouth music Toni Nation Universal LoreCD1 1 La mourisque Tielman

Susato/ AlanBonds

SydneySymphony


Decca

CD1 2 Making sago Stephen Feld Voices of theRainforest

RYKODISC

CD1 3 Interlude:Kotekan

Jack Body Suara:EnvironmentMusic fromJava

Ode

CD1 4 Winds ofheaven

Sarah Hopkinsand AlanLamb

Sarah Hopkinsand AlanLamb

Sky Song Vox Australis

CD1 5 Alicia’ssoundscape

CLI

CD1 6 Activity 7 –four sounds

CLI

CD1 7 Kitchensounds

CLI

CD1 8 Jam 1 & 2 CLICD1 9 Interlude:

CiblonJack Body Suara:

EnvironmentMusic fromJava

Ode

CD1 10 The beat CLICD1 11,12, 14

3 rhythmpatterns

CLI

CD1 15 Four rhythms CLICD1 16 Three rhythms CLICD1 17 Rhythm 3 CLICD1 18 Backing track CLICD1 19 Six rhythms CLICD1 20 Backing track

exercise 2CLI

Unit 1 Why music?

CD &tracknumber


CD1 21,22

Canto alla vito Music: Galbiatiand Dettori.Lyrics: Cheope

The OperaBand

Amici Forever RCA Victor

CD1 21,23

Nunc aperuitnobis

Hildegard vonBingen

Sequentia Canticles ofEcstasy

DeutscheHarmonia Mundi

CD1 21,24

Nina piensa enti

David JimenezPintena

Kiko Alhambra Sattva Music

CD1 21,25

Akiwowo (acapella)

BabatundeOlatunji

Drums ofPassion: thebeat

RYKODISC

CD1 21,26

Wade in thewater

Blind Boys ofAlabama

Higher Ground RealWorldRecords

CD127–35

Wade in thewater

YsayeBarnwell

Singing in theAfricanAmericanTradition

HomespunTapes

CD1 36 Vocalexercises

CLI

CD1 37 Siren vocalexercises

CLI

CD1 38 Wade in thewater backingtrack

YsayeBarnwell

Singing in theAfricanAmericanTradition

HomespunTapes

CD139–42

Four rhythmpatterns

CLI

CD1 43 Claps 1 Greg Sheehan UtungunPercussion

Zing UtungunPercussion

CD1 44 Four rhythmsCD1 45 Claps 1 Greg Sheehan Utungun

PercussionZing Utungun

PercussionCD1 46 Body

percussionpattern

CLI

CD1 47 Backing trackfor jam

CLI

CD2 1, 2 Mouth Music Toni Nation Universal LoreCD2 3 Vocal pattern

1CLI

CD2 4 Vocal pattern2

CLI

CD2 5 Vocal pattern3

CLI

CD2 6 Four syllables CLICD2 7 Alicia CLICD2 8 Vocal

improvisationCLI

CD29, 10

Spiritual high Hood/ShowbizJon &Vangelis/Martin LutherKing

Moodswings One World BMG EurodiscLtd. Underlicence fromBMG AustraliaLtd

Unit 1 Why music?

CD &tracknumber


CD2 11 Jam 5 & 6 CLICD2 12 Making sago Stephen Feld Voices of the

rainforestRYKODISC

CD2 13 Bird rhythm CLICD2 14,15

Undecided N’Dour/Rykie/Faye

YoussouN’Dour

One World Sony Music Inc.Licensed fromSony MusicEntertainmentAustralia Ltd

CD2 16 Bubuka Krakatua Mystical mist AquariusCD2 17 Sadness Curly

MC/DavidFairstein/F. Gregorian

Enigma One World VirginSchallplattenGmbH.Licensedcourtesy of EMIMusic AustraliaPty Ltd

CD2 18 I gotta style Victor Rileyand Morganics

Evolve/All UMob 2

MOR03

CD2 19 Machine 1 (1-4)

CLI

CD2 20 Machine 1 (all) CLICD2 21 Machine 2 (all) CLICD2 22 Prelude to the

afternoon of afaun

Debussy MontrealSymphonyOrchestra


Decca

CD2 23 Ride of theValkyries

Wagner MelbourneSymphonyOrchestra


MSO

CD2 24 La mourisque TielmanSusato/ AlanBonds

SydneySymphony


Decca

CD2 25 Jam 7 & 8 CLICD2 26 A gift of a

thistleJames Horner James Horner One World B.H. Finance

C.V. Licensedfrom UniversalMusic AustraliaPty Ltd

CD227–31

Thistle excerpt James Horner MargaretBradley

CD232–33

The mission EnnioMorricone

EnnioMorricone

One World Virgin RecordsLtd. Licensedcourtesy of EMIMusic AustraliaPty Ltd

Centre for Learning InnovationNSW Department of Education and Training

Music

Documents

Transcript of Music