emc notes inc

Teacher Manual

Step-by-Step Classroom Music II

5

Dear Educator

Thank you for taking the time to peruse Step-by-Step Classroom Music This grade music curriculum has been created for a classroom teacher to deliver a General Music program Step-by-Step Classroom Music teacher resources contain full lesson plans with clearly specified curriculum expectations at top of each lesson The music lesson plans give extra explanation and teacher notes and have blackline masters and tests for students In grade 1 the fundamentals of music are taught and in each successive year they are reviewed and built upon If you have found us via this pdf document we encourage you to visit the website wwwemcnotescom to look at our other music curriculum products in this series and to view our SMART board music lessons and the new online music composition application This sample contains links to audio in mp3 format To access this click on the text that reads ldquoPlay trackhelliprdquo and the mp3 track will open in another window If you have any questions or problems viewing or listening to the audio email paulmauroemcnotescom

Yours truly

The emc notes inc team

emc notes incpetermauroemcnotescom

Tel 905-575-4449 Toll free 1-877-246-1763 | Fax 1-866-551-53821119 Fennell St E PO Box 61507 Hamilton Ontario Canada L8T 5A1

wwwemcnotescom

Dear Educator

Thank you for taking the time to peruse Step-by-Step Classroom Music This grade music curriculum has been created for a classroom teacher to deliver a General Music program Step-by-Step Classroom Music teacher resources contain full lesson plans with clearly specified curriculum expectations at top of each lesson The music lesson plans give extra explanation and teacher notes and have blackline masters and tests for students In grade 1 the fundamentals of music are taught and in each successive year they are reviewed and built upon If you have found us via this pdf document we encourage you to visit the website wwwemcnotescom to look at our other music curriculum products in this series and to view our SMART board music lessons and the new online music composition application This sample contains links to audio in mp3 format To access this click on the text that reads ldquoPlay trackhelliprdquo and the mp3 track will open in another window If you have any questions or problems viewing or listening to the audio email paulmauroemcnotescom

Yours truly

The emc notes inc team

emc notes incpetermauroemcnotescom

Tel 905-575-4449 Toll free 1-877-246-1763 | Fax 1-866-551-53821119 Fennell St E PO Box 61507 Hamilton Ontario Canada L8T 5A1

wwwemcnotescom

Limited reproduction permission The author grants permission to individual teachers who have purchased this book to reproduce the activity sheets and fill-in charts as needed for use with their own students

Reproduction for an entire school or school district or for commercial use is prohibited

Design and Layout by Paul Mauro

Step-by-Step Classroom Music II Grade 5 is published and exclusively distributed by

emc notes inc1119 Fennell St E PO Box 61507Hamilton Ontario Canada L8T 5A1

For sales and copyright inquiries please contact emc notes inc

Phone 9055754449Toll-free 18772461763Fax 1-866-551-5382or e-mail salesemcnotescom

Additional products can be found at

wwwemcnotescom

Step-by-Step Classroom Music II Grade 5 by Vincent J Rinaldo PhD

We acknowledge the financial support of the Government of Canada through the Canada Book Fund for our publishing activities

978-1-897491-50-8

All rights reserved Printed in Canada

Copyright copy 2010 by emc notes inc

Table of Contents

Lesson one CriTiCaLLy responding To MusiC 1

Family of Instrument Card 3 Vivaldirsquos Winter Sheet 4

Lesson Two The Bass CLef 5

Bass Clef Sheet 7 Bass Clef Practice Sheet 8

Lesson Three piTCh and The Bass sTaff 9

Teacher Note Notes on the Treble and Bass Staves 12 Treble Spaces Card 13 Treble Lines Card 14 Treble Staff Alphabet Card 15 Bass Spaces Card 16 Bass Lines Card 17 Bass Staff Alphabet Card 18 Bass Staff Worksheets 1 amp 2 19 Bass Staff Answer Sheets 1 amp 2 21

Lesson four Bass sTaff noTaTion 23

Above and Below the Bass Staff Card 25 Note Breakdown 26 Rest Breakdown 27 Stem Direction Card 28 Stem Length Card 29 Stem Direction Worksheet 30 Stem Direction Answer Sheet 31

Lesson five MeTre (68 TiMe) 32

Identifying Metre Worksheet 34 Identifying Metre Answer Sheet 35

Lesson six forM rondeau and rondo parT 1 36

Teacher Note The Rondo 38

Lesson seven forM The rondo parT 2 39

44 Time Signature Card 42 Notation Definition Sheet 43 Notation Example Rondeau 44 Notation Example Rondeau Shortened Score 45 8va and 8vb Worksheet 46 8va and 8vb Answer Sheet 47

Lesson eighT forM The rondo parT 3 48 Mouretrsquos New Rondo Assignment 50 Fingering chart for recorder 51

Lesson nine synCopaTion and The new rondeau 52 Teacher Note Syncopation 57

Table of Contents

Rondeau Syncopation Activity Sheet 58

Lesson Ten synCopaTion and TexTure 59 Teacher Note Vietnamese Instruments 61 Artists Note 65

Lesson eLeven TexTure 67 Teacher Note Texture 69 Texture Score (Master Copy) 70 Texture Score 1 (Student Copy) 71 Texture Score 2 (Student Copy) 72 Texture Score 3 (Student Copy) 73 Texture Score 4 (Student Copy) 74

Lesson TweLve sharp Key signaTures 75

Teacher Note Sharp Key Signature 77 C G D A amp E Scale Card 78 Sharp Key Signatures Pattern Card 79 Sharp Scales with Key Signatures 80 Sharp Key Signature Worksheet 81 Sharp Key Signature Answer Sheet 82 Practice Score 1 83 Practice Score 2 84

Lesson ThirTeen a Major sCaLe 85

Semitone Card 90 Whole Tone Card 1 91 Whole Tone Card 2 92 A Major Scale Card 93 A Major Scale Worksheet 94 Solfegravege and the A Major Scale Card 95 Musical Scoring Sheet 96

Lesson fourTeen soLfegravege and The a penTaToniC sCaLe 97

Solfegravege and the A Pentatonic Scale Card 99

Lesson fifTeen fLaT Key signaTures 100

C F Bb Eb amp Ab Scale Card 102 Flat Key Signatures Teacher Note 103 Flat Key Signatures Pattern Card 104 Flat Scales with Key Signatures 105 Flat Key Signature Worksheet 106 Flat Key Signature Answer Sheet 107 Practice Score 1 108 Practice Score 2 109

Lesson sixTeen eb Major sCaLe 110 Eb Major Scale Card 113 Eb Major Scale Worksheet 114 Solfegravege and the Eb Major Scale Card 115 Musical Scoring Sheet 1 116 Musical Scoring Sheet 2 117

Table of Contents

LESSON SEVENTEEN COMPOSING A THEME SONG USING A PENTATONIC SCALE 118 Musical Elements Review 120 Solfegravege and the C Pentatonic Scale Card 121 C Pentatonic Scoring Sheet 122 Melody Map Scoring Sheet 123

LESSON EIGHTEEN COMPOSITION (STEPS SKIPS AND INTERVALS) 124

Intervals Improvisation Sheet 126

LESSON NINETEEN A HARMONIC MINOR SCALE 127

A Harmonic Minor Scale Card 130 A Harmonic Minor Scale Worksheet 131

LESSON TWENTy COMPOSING WITH BACKING TRACKS 132

D Harmonic Minor Scale Card 134 D Harmonic Minor Scale Composition Worksheet 135

LESSON TWENTy-ONE COMPOSING WITH BACKING TRACKS 136

ExTENSION LESSONS 138

LESSON TWENTy-TWO E MAJOR SCALE 139 Major Scale Card 142 Major Scale Worksheet 143 Solfegravege and the E Major Scale Card 144 Musical Scoring Sheet 145

LESSON TWENTy-THREE Ab MAJOR SCALE 147

Ab Major Scale Card 149 Ab Major Scale Worksheet 150 Solfegravege and the Ab Major Scale Card 151 Musical Scoring Sheet 152

END NOTES 154

v

Cd Track List

Track 1 A Vivaldi Four Seasons Winter (I Allegro non molto)Track 2 Beethoven Symphony No 5 in C minor Op 67 First MovementTrack 3 Verdi Rigoletto Act III La donna e mobileTrack 4 Grieg Morning Mood from Peer Gynt Track 5 Jean-Joseph Mouret RondeaufromldquoSinfoniedeFanfaresrdquoTrack 6 Syncopation Example 1Track 7 Syncopation Example 2Track 8 Village Dances by Khac Chi EnsembleTrack 9 After the Rain by Khac ChiTrack 10 Texture Score Track 11 D Harmonic Minor Backing TrackTrack 12 D Harmonic Minor Improvisation

59

Lesson ten

TopiC Syncopation and Texture

CurriCuLuM expeCTaTions

Students will

C21 Expressdetailedpersonalresponsestomusicalperformancesinavarietyofways C22 Identify the elements used in the music they perform listen to and create and

describehowtheyareused C23 Identify and give examples of their strengths and areas for growth as musical

performerscreatorsinterpretersandaudiencemembers C31 Identify the role of music in a community today and compare it to its role in a

communityofthepast(middleagesnowvoyageurs) C32 Demonstrate an awareness through listening of the characteristics of musical

formsandtraditionsofdiversetimesplacesandcommunities(MedievalIndianclassical Islamic Aboriginal)

oBjeCTive By the end of the lesson students will demonstrate the important role that is played by syncopation and texture music and convey either in pictorial or verbal form the feelings or emotions associated with its use

MaTeriaLs Teacher Note Vietnamese Instruments Artists Note Track 8 Village Dances Track 9 After the Rain

Lesson raTionaLe

Syncopation and texture play very important roles in music They are found not only as part of the instrumental rhythm but also in the vocal rhythms This lesson will focus on the appreciation of a form of music performed on instruments not indigenous to North American or European culture This lesson is divided into two parts and will require a minimum of two periods to complete

suggesTed Lesson seQuenCe

Part 1 Syncopation1 Review the four instrument families (brass woodwind string percussion) and how

each produces sound (brass instruments through the vibration of the performerrsquos lips woodwind instruments through the vibration of a reed stringed instruments through the vibration of a string and percussion instruments through striking rubbing or shaking)

2 Introduce the students to the various instruments by showing the cards and talking briefly about each one

3 Askthestudentstocategorizethesenewinstrumentsintofamiliesbasedonhoweach produces sound

60

4 Explain that although these instruments appear to be related to many western instru-ments the sounds that they produce are quite unique

5 Play Track 8 Village Dances and have the students listen closely to the sounds of the instruments Ask the students if they can identify which instrument is playing the melody (The melody is played on the Dan Bau)

6 Review the term syncopation (See Syncopation Note)

7 Replay Track 8 and have the students listen closely to the rhythm of the piece There is a distinct syncopation accenting (1 - amp 3 -) Replay the track and have the students clap along

Part 28 Review the three types of texture from the previous lesson (monophonic homopho-

nic polyphonic)

9 Play Track 8 and ask the students which examples are present in the song (The song is an example of homophonic texture however towards the end when the vocals are introduced the texture is polyphonic as two distinct melodies can be heard indepen-dently of one another

10 Ask the students to describe in their own words what feelings they would connect with the music they just heard and create a word wall of their responses

11 Play Track 9 After the Rain and have the students listen closely to the instrumenta-tion

12 How does this song differ in instrumentation and sound from the previous track

13 What emotions would they most associate with this piece of music What are some images that they think of when they hear the song

14 Replay each track and ask the students to select one of the two songs and create a pictorial landscape that depicts what they are hearing

assessMenT sTraTegies

The assessment should focus on the studentrsquos ability to discern syncopation Students should also be encouraged to link syncopation with an emotion or feeling that they experience when it is heard using pictorial form The final assessment should focus on the texture of the music brought to the forefront by the instrumentation Students shouldbeabletorecognizehomophonicandpolyphonictexture

Lesson ten

Table of Contents

Rondeau Syncopation Activity Sheet 58

Lesson Ten synCopaTion and TexTure 59 Teacher Note Vietnamese Instruments 61 Artists Note 65

Lesson eLeven TexTure 67 Teacher Note Texture 69 Texture Score (Master Copy) 70 Texture Score 1 (Student Copy) 71 Texture Score 2 (Student Copy) 72 Texture Score 3 (Student Copy) 73 Texture Score 4 (Student Copy) 74

Lesson TweLve sharp Key signaTures 75

Teacher Note Sharp Key Signature 77 C G D A amp E Scale Card 78 Sharp Key Signatures Pattern Card 79 Sharp Scales with Key Signatures 80 Sharp Key Signature Worksheet 81 Sharp Key Signature Answer Sheet 82 Practice Score 1 83 Practice Score 2 84

Lesson ThirTeen a Major sCaLe 85

Semitone Card 90 Whole Tone Card 1 91 Whole Tone Card 2 92 A Major Scale Card 93 A Major Scale Worksheet 94 Solfegravege and the A Major Scale Card 95 Musical Scoring Sheet 96

Lesson fourTeen soLfegravege and The a penTaToniC sCaLe 97

Solfegravege and the A Pentatonic Scale Card 99

Lesson fifTeen fLaT Key signaTures 100

C F Bb Eb amp Ab Scale Card 102 Flat Key Signatures Teacher Note 103 Flat Key Signatures Pattern Card 104 Flat Scales with Key Signatures 105 Flat Key Signature Worksheet 106 Flat Key Signature Answer Sheet 107 Practice Score 1 108 Practice Score 2 109

Lesson sixTeen eb Major sCaLe 110 Eb Major Scale Card 113 Eb Major Scale Worksheet 114 Solfegravege and the Eb Major Scale Card 115 Musical Scoring Sheet 1 116 Musical Scoring Sheet 2 117

Table of Contents

LESSON SEVENTEEN COMPOSING A THEME SONG USING A PENTATONIC SCALE 118 Musical Elements Review 120 Solfegravege and the C Pentatonic Scale Card 121 C Pentatonic Scoring Sheet 122 Melody Map Scoring Sheet 123

LESSON EIGHTEEN COMPOSITION (STEPS SKIPS AND INTERVALS) 124

Intervals Improvisation Sheet 126

LESSON NINETEEN A HARMONIC MINOR SCALE 127

A Harmonic Minor Scale Card 130 A Harmonic Minor Scale Worksheet 131

LESSON TWENTy COMPOSING WITH BACKING TRACKS 132

D Harmonic Minor Scale Card 134 D Harmonic Minor Scale Composition Worksheet 135

LESSON TWENTy-ONE COMPOSING WITH BACKING TRACKS 136

ExTENSION LESSONS 138

LESSON TWENTy-TWO E MAJOR SCALE 139 Major Scale Card 142 Major Scale Worksheet 143 Solfegravege and the E Major Scale Card 144 Musical Scoring Sheet 145

LESSON TWENTy-THREE Ab MAJOR SCALE 147

Ab Major Scale Card 149 Ab Major Scale Worksheet 150 Solfegravege and the Ab Major Scale Card 151 Musical Scoring Sheet 152

END NOTES 154

v

Cd Track List

Track 1 A Vivaldi Four Seasons Winter (I Allegro non molto)Track 2 Beethoven Symphony No 5 in C minor Op 67 First MovementTrack 3 Verdi Rigoletto Act III La donna e mobileTrack 4 Grieg Morning Mood from Peer Gynt Track 5 Jean-Joseph Mouret RondeaufromldquoSinfoniedeFanfaresrdquoTrack 6 Syncopation Example 1Track 7 Syncopation Example 2Track 8 Village Dances by Khac Chi EnsembleTrack 9 After the Rain by Khac ChiTrack 10 Texture Score Track 11 D Harmonic Minor Backing TrackTrack 12 D Harmonic Minor Improvisation

59

Lesson ten

TopiC Syncopation and Texture

CurriCuLuM expeCTaTions

Students will

C21 Expressdetailedpersonalresponsestomusicalperformancesinavarietyofways C22 Identify the elements used in the music they perform listen to and create and

describehowtheyareused C23 Identify and give examples of their strengths and areas for growth as musical

performerscreatorsinterpretersandaudiencemembers C31 Identify the role of music in a community today and compare it to its role in a

communityofthepast(middleagesnowvoyageurs) C32 Demonstrate an awareness through listening of the characteristics of musical

formsandtraditionsofdiversetimesplacesandcommunities(MedievalIndianclassical Islamic Aboriginal)

oBjeCTive By the end of the lesson students will demonstrate the important role that is played by syncopation and texture music and convey either in pictorial or verbal form the feelings or emotions associated with its use

MaTeriaLs Teacher Note Vietnamese Instruments Artists Note Track 8 Village Dances Track 9 After the Rain

Lesson raTionaLe

Syncopation and texture play very important roles in music They are found not only as part of the instrumental rhythm but also in the vocal rhythms This lesson will focus on the appreciation of a form of music performed on instruments not indigenous to North American or European culture This lesson is divided into two parts and will require a minimum of two periods to complete

suggesTed Lesson seQuenCe

Part 1 Syncopation1 Review the four instrument families (brass woodwind string percussion) and how

each produces sound (brass instruments through the vibration of the performerrsquos lips woodwind instruments through the vibration of a reed stringed instruments through the vibration of a string and percussion instruments through striking rubbing or shaking)

2 Introduce the students to the various instruments by showing the cards and talking briefly about each one

3 Askthestudentstocategorizethesenewinstrumentsintofamiliesbasedonhoweach produces sound

60

4 Explain that although these instruments appear to be related to many western instru-ments the sounds that they produce are quite unique

5 Play Track 8 Village Dances and have the students listen closely to the sounds of the instruments Ask the students if they can identify which instrument is playing the melody (The melody is played on the Dan Bau)

6 Review the term syncopation (See Syncopation Note)

7 Replay Track 8 and have the students listen closely to the rhythm of the piece There is a distinct syncopation accenting (1 - amp 3 -) Replay the track and have the students clap along

Part 28 Review the three types of texture from the previous lesson (monophonic homopho-

nic polyphonic)

9 Play Track 8 and ask the students which examples are present in the song (The song is an example of homophonic texture however towards the end when the vocals are introduced the texture is polyphonic as two distinct melodies can be heard indepen-dently of one another

10 Ask the students to describe in their own words what feelings they would connect with the music they just heard and create a word wall of their responses

11 Play Track 9 After the Rain and have the students listen closely to the instrumenta-tion

12 How does this song differ in instrumentation and sound from the previous track

13 What emotions would they most associate with this piece of music What are some images that they think of when they hear the song

14 Replay each track and ask the students to select one of the two songs and create a pictorial landscape that depicts what they are hearing

assessMenT sTraTegies

The assessment should focus on the studentrsquos ability to discern syncopation Students should also be encouraged to link syncopation with an emotion or feeling that they experience when it is heard using pictorial form The final assessment should focus on the texture of the music brought to the forefront by the instrumentation Students shouldbeabletorecognizehomophonicandpolyphonictexture

Lesson ten

Table of Contents

LESSON SEVENTEEN COMPOSING A THEME SONG USING A PENTATONIC SCALE 118 Musical Elements Review 120 Solfegravege and the C Pentatonic Scale Card 121 C Pentatonic Scoring Sheet 122 Melody Map Scoring Sheet 123

LESSON EIGHTEEN COMPOSITION (STEPS SKIPS AND INTERVALS) 124

Intervals Improvisation Sheet 126

LESSON NINETEEN A HARMONIC MINOR SCALE 127

A Harmonic Minor Scale Card 130 A Harmonic Minor Scale Worksheet 131

LESSON TWENTy COMPOSING WITH BACKING TRACKS 132

D Harmonic Minor Scale Card 134 D Harmonic Minor Scale Composition Worksheet 135

LESSON TWENTy-ONE COMPOSING WITH BACKING TRACKS 136

ExTENSION LESSONS 138

LESSON TWENTy-TWO E MAJOR SCALE 139 Major Scale Card 142 Major Scale Worksheet 143 Solfegravege and the E Major Scale Card 144 Musical Scoring Sheet 145

LESSON TWENTy-THREE Ab MAJOR SCALE 147

Ab Major Scale Card 149 Ab Major Scale Worksheet 150 Solfegravege and the Ab Major Scale Card 151 Musical Scoring Sheet 152

END NOTES 154

v

Cd Track List

Track 1 A Vivaldi Four Seasons Winter (I Allegro non molto)Track 2 Beethoven Symphony No 5 in C minor Op 67 First MovementTrack 3 Verdi Rigoletto Act III La donna e mobileTrack 4 Grieg Morning Mood from Peer Gynt Track 5 Jean-Joseph Mouret RondeaufromldquoSinfoniedeFanfaresrdquoTrack 6 Syncopation Example 1Track 7 Syncopation Example 2Track 8 Village Dances by Khac Chi EnsembleTrack 9 After the Rain by Khac ChiTrack 10 Texture Score Track 11 D Harmonic Minor Backing TrackTrack 12 D Harmonic Minor Improvisation

59

Lesson ten

TopiC Syncopation and Texture

CurriCuLuM expeCTaTions

Students will

C21 Expressdetailedpersonalresponsestomusicalperformancesinavarietyofways C22 Identify the elements used in the music they perform listen to and create and

describehowtheyareused C23 Identify and give examples of their strengths and areas for growth as musical

performerscreatorsinterpretersandaudiencemembers C31 Identify the role of music in a community today and compare it to its role in a

communityofthepast(middleagesnowvoyageurs) C32 Demonstrate an awareness through listening of the characteristics of musical

formsandtraditionsofdiversetimesplacesandcommunities(MedievalIndianclassical Islamic Aboriginal)

oBjeCTive By the end of the lesson students will demonstrate the important role that is played by syncopation and texture music and convey either in pictorial or verbal form the feelings or emotions associated with its use

MaTeriaLs Teacher Note Vietnamese Instruments Artists Note Track 8 Village Dances Track 9 After the Rain

Lesson raTionaLe

Syncopation and texture play very important roles in music They are found not only as part of the instrumental rhythm but also in the vocal rhythms This lesson will focus on the appreciation of a form of music performed on instruments not indigenous to North American or European culture This lesson is divided into two parts and will require a minimum of two periods to complete

suggesTed Lesson seQuenCe

Part 1 Syncopation1 Review the four instrument families (brass woodwind string percussion) and how

each produces sound (brass instruments through the vibration of the performerrsquos lips woodwind instruments through the vibration of a reed stringed instruments through the vibration of a string and percussion instruments through striking rubbing or shaking)

2 Introduce the students to the various instruments by showing the cards and talking briefly about each one

3 Askthestudentstocategorizethesenewinstrumentsintofamiliesbasedonhoweach produces sound

60

4 Explain that although these instruments appear to be related to many western instru-ments the sounds that they produce are quite unique

5 Play Track 8 Village Dances and have the students listen closely to the sounds of the instruments Ask the students if they can identify which instrument is playing the melody (The melody is played on the Dan Bau)

6 Review the term syncopation (See Syncopation Note)

7 Replay Track 8 and have the students listen closely to the rhythm of the piece There is a distinct syncopation accenting (1 - amp 3 -) Replay the track and have the students clap along

Part 28 Review the three types of texture from the previous lesson (monophonic homopho-

nic polyphonic)

9 Play Track 8 and ask the students which examples are present in the song (The song is an example of homophonic texture however towards the end when the vocals are introduced the texture is polyphonic as two distinct melodies can be heard indepen-dently of one another

10 Ask the students to describe in their own words what feelings they would connect with the music they just heard and create a word wall of their responses

11 Play Track 9 After the Rain and have the students listen closely to the instrumenta-tion

12 How does this song differ in instrumentation and sound from the previous track

13 What emotions would they most associate with this piece of music What are some images that they think of when they hear the song

14 Replay each track and ask the students to select one of the two songs and create a pictorial landscape that depicts what they are hearing

assessMenT sTraTegies

The assessment should focus on the studentrsquos ability to discern syncopation Students should also be encouraged to link syncopation with an emotion or feeling that they experience when it is heard using pictorial form The final assessment should focus on the texture of the music brought to the forefront by the instrumentation Students shouldbeabletorecognizehomophonicandpolyphonictexture

Lesson ten

v

Cd Track List

Track 1 A Vivaldi Four Seasons Winter (I Allegro non molto)Track 2 Beethoven Symphony No 5 in C minor Op 67 First MovementTrack 3 Verdi Rigoletto Act III La donna e mobileTrack 4 Grieg Morning Mood from Peer Gynt Track 5 Jean-Joseph Mouret RondeaufromldquoSinfoniedeFanfaresrdquoTrack 6 Syncopation Example 1Track 7 Syncopation Example 2Track 8 Village Dances by Khac Chi EnsembleTrack 9 After the Rain by Khac ChiTrack 10 Texture Score Track 11 D Harmonic Minor Backing TrackTrack 12 D Harmonic Minor Improvisation

59

Lesson ten

TopiC Syncopation and Texture

CurriCuLuM expeCTaTions

Students will

C21 Expressdetailedpersonalresponsestomusicalperformancesinavarietyofways C22 Identify the elements used in the music they perform listen to and create and

describehowtheyareused C23 Identify and give examples of their strengths and areas for growth as musical

performerscreatorsinterpretersandaudiencemembers C31 Identify the role of music in a community today and compare it to its role in a

communityofthepast(middleagesnowvoyageurs) C32 Demonstrate an awareness through listening of the characteristics of musical

formsandtraditionsofdiversetimesplacesandcommunities(MedievalIndianclassical Islamic Aboriginal)

oBjeCTive By the end of the lesson students will demonstrate the important role that is played by syncopation and texture music and convey either in pictorial or verbal form the feelings or emotions associated with its use

MaTeriaLs Teacher Note Vietnamese Instruments Artists Note Track 8 Village Dances Track 9 After the Rain

Lesson raTionaLe

Syncopation and texture play very important roles in music They are found not only as part of the instrumental rhythm but also in the vocal rhythms This lesson will focus on the appreciation of a form of music performed on instruments not indigenous to North American or European culture This lesson is divided into two parts and will require a minimum of two periods to complete

suggesTed Lesson seQuenCe

Part 1 Syncopation1 Review the four instrument families (brass woodwind string percussion) and how

each produces sound (brass instruments through the vibration of the performerrsquos lips woodwind instruments through the vibration of a reed stringed instruments through the vibration of a string and percussion instruments through striking rubbing or shaking)

2 Introduce the students to the various instruments by showing the cards and talking briefly about each one

3 Askthestudentstocategorizethesenewinstrumentsintofamiliesbasedonhoweach produces sound

60

4 Explain that although these instruments appear to be related to many western instru-ments the sounds that they produce are quite unique

5 Play Track 8 Village Dances and have the students listen closely to the sounds of the instruments Ask the students if they can identify which instrument is playing the melody (The melody is played on the Dan Bau)

6 Review the term syncopation (See Syncopation Note)

7 Replay Track 8 and have the students listen closely to the rhythm of the piece There is a distinct syncopation accenting (1 - amp 3 -) Replay the track and have the students clap along

Part 28 Review the three types of texture from the previous lesson (monophonic homopho-

nic polyphonic)

9 Play Track 8 and ask the students which examples are present in the song (The song is an example of homophonic texture however towards the end when the vocals are introduced the texture is polyphonic as two distinct melodies can be heard indepen-dently of one another

10 Ask the students to describe in their own words what feelings they would connect with the music they just heard and create a word wall of their responses

11 Play Track 9 After the Rain and have the students listen closely to the instrumenta-tion

12 How does this song differ in instrumentation and sound from the previous track

13 What emotions would they most associate with this piece of music What are some images that they think of when they hear the song

14 Replay each track and ask the students to select one of the two songs and create a pictorial landscape that depicts what they are hearing

assessMenT sTraTegies

The assessment should focus on the studentrsquos ability to discern syncopation Students should also be encouraged to link syncopation with an emotion or feeling that they experience when it is heard using pictorial form The final assessment should focus on the texture of the music brought to the forefront by the instrumentation Students shouldbeabletorecognizehomophonicandpolyphonictexture

Lesson ten

59

Lesson ten

TopiC Syncopation and Texture

CurriCuLuM expeCTaTions

Students will

C21 Expressdetailedpersonalresponsestomusicalperformancesinavarietyofways C22 Identify the elements used in the music they perform listen to and create and

describehowtheyareused C23 Identify and give examples of their strengths and areas for growth as musical

performerscreatorsinterpretersandaudiencemembers C31 Identify the role of music in a community today and compare it to its role in a

communityofthepast(middleagesnowvoyageurs) C32 Demonstrate an awareness through listening of the characteristics of musical

formsandtraditionsofdiversetimesplacesandcommunities(MedievalIndianclassical Islamic Aboriginal)

oBjeCTive By the end of the lesson students will demonstrate the important role that is played by syncopation and texture music and convey either in pictorial or verbal form the feelings or emotions associated with its use

MaTeriaLs Teacher Note Vietnamese Instruments Artists Note Track 8 Village Dances Track 9 After the Rain

Lesson raTionaLe

Syncopation and texture play very important roles in music They are found not only as part of the instrumental rhythm but also in the vocal rhythms This lesson will focus on the appreciation of a form of music performed on instruments not indigenous to North American or European culture This lesson is divided into two parts and will require a minimum of two periods to complete

suggesTed Lesson seQuenCe

Part 1 Syncopation1 Review the four instrument families (brass woodwind string percussion) and how

each produces sound (brass instruments through the vibration of the performerrsquos lips woodwind instruments through the vibration of a reed stringed instruments through the vibration of a string and percussion instruments through striking rubbing or shaking)

2 Introduce the students to the various instruments by showing the cards and talking briefly about each one

3 Askthestudentstocategorizethesenewinstrumentsintofamiliesbasedonhoweach produces sound

60

4 Explain that although these instruments appear to be related to many western instru-ments the sounds that they produce are quite unique

5 Play Track 8 Village Dances and have the students listen closely to the sounds of the instruments Ask the students if they can identify which instrument is playing the melody (The melody is played on the Dan Bau)

6 Review the term syncopation (See Syncopation Note)

7 Replay Track 8 and have the students listen closely to the rhythm of the piece There is a distinct syncopation accenting (1 - amp 3 -) Replay the track and have the students clap along

Part 28 Review the three types of texture from the previous lesson (monophonic homopho-

nic polyphonic)

9 Play Track 8 and ask the students which examples are present in the song (The song is an example of homophonic texture however towards the end when the vocals are introduced the texture is polyphonic as two distinct melodies can be heard indepen-dently of one another

10 Ask the students to describe in their own words what feelings they would connect with the music they just heard and create a word wall of their responses

11 Play Track 9 After the Rain and have the students listen closely to the instrumenta-tion

12 How does this song differ in instrumentation and sound from the previous track

13 What emotions would they most associate with this piece of music What are some images that they think of when they hear the song

14 Replay each track and ask the students to select one of the two songs and create a pictorial landscape that depicts what they are hearing

assessMenT sTraTegies

The assessment should focus on the studentrsquos ability to discern syncopation Students should also be encouraged to link syncopation with an emotion or feeling that they experience when it is heard using pictorial form The final assessment should focus on the texture of the music brought to the forefront by the instrumentation Students shouldbeabletorecognizehomophonicandpolyphonictexture

Lesson ten

60

4 Explain that although these instruments appear to be related to many western instru-ments the sounds that they produce are quite unique

5 Play Track 8 Village Dances and have the students listen closely to the sounds of the instruments Ask the students if they can identify which instrument is playing the melody (The melody is played on the Dan Bau)

6 Review the term syncopation (See Syncopation Note)

7 Replay Track 8 and have the students listen closely to the rhythm of the piece There is a distinct syncopation accenting (1 - amp 3 -) Replay the track and have the students clap along

Part 28 Review the three types of texture from the previous lesson (monophonic homopho-

nic polyphonic)

9 Play Track 8 and ask the students which examples are present in the song (The song is an example of homophonic texture however towards the end when the vocals are introduced the texture is polyphonic as two distinct melodies can be heard indepen-dently of one another

10 Ask the students to describe in their own words what feelings they would connect with the music they just heard and create a word wall of their responses

11 Play Track 9 After the Rain and have the students listen closely to the instrumenta-tion

12 How does this song differ in instrumentation and sound from the previous track

13 What emotions would they most associate with this piece of music What are some images that they think of when they hear the song

14 Replay each track and ask the students to select one of the two songs and create a pictorial landscape that depicts what they are hearing

assessMenT sTraTegies

The assessment should focus on the studentrsquos ability to discern syncopation Students should also be encouraged to link syncopation with an emotion or feeling that they experience when it is heard using pictorial form The final assessment should focus on the texture of the music brought to the forefront by the instrumentation Students shouldbeabletorecognizehomophonicandpolyphonictexture

Lesson ten

61

Copyright copy 2010 emc notes inc

The dan Bauisaone-stringzitherwhichisnativetoVietnam It is constructed of a long narrow sound box with a tall curved stem that is made from a water buf-falo horn which is inserted into the box at one end The single string runs between the sound box and a small wooden gourd attached to the stem The stem is bent to change the pitch of the string

The player touches the string lightly with the heel of the hand at harmonic-producing nodal points while plucking with the fingers This produces the dan baursquos characteristic high clear sound As the sound box of the dan bau is very narrow it is not a loud instru-ment and because of this was traditionally used in more intimate environments In recent years however an electronic version has been introduced which is played in ensembles and large concerts The bass bau was adapted from the dan bau to provide a musical range equivalent to that of a bass guitar It is simply an electric dan bau with a very thick string on it

Krsquoni is a special form of stick fiddle found only in Vietnam It wasdevelopedfromtheone-stringldquoviolinrdquofoundinsomeethnicgroups (Bahnar Gia Rai E De xe Dang Pako and Hre) who lived in the Truong Son-Tay Nguyen region in the South Cen-tral Highlands of Vietnam The modern krsquoni has two strings The player sits holding the instrument between both legs

The krsquoni does not have a resonating chamber or sound box Rath-er the strings are attached by silk cords to a small fishrsquos scale or plastic resonating disc that is held in the playerrsquos mouth The playerrsquos mouth acts as the resonating chamber and precise move-ments of the lips and tongue create a broad range of tonal colors

and emotional expression giving the krsquoni its unique sound Thus the sounds are altered almost evoking human pronunciation

Krsquolongput is another instrument unique to Viet-nam It is made from a series of large bamboo pipes of varying lengths each either closed at one end or open at both ends The pipes are placed on their sides with the open ends facing the musician who has no direct contact with the instrument Instead the player cups both hands and claps quietly According to a legend this

instrument is the residence of the goddess Mother Rice and is therefore closely associated with agriculture The instrument is played exclusively by women in the field and at specific festivities which include the closing of the rice storage house and welcoming the New year

Teacher note vietnamese instruments10

62

Copyright copy 2010 emc notes inc

The krsquolongput is native to the Bahnar people of the central highlands who are said to have created it after hearing the wind blowing into the openings of bamboo in the forest

Trsquorung is a suspended bamboo xylophone which is closely associ-ated with the spiritual life of the Bahnar TSedan Giarai Ede and other ethnic minority people in the Central Highlands of Vietnam The original instruments were simply made using a series of bam-boo pipes struck with small sticks There are three types of Trung high medium and bass The mod-ern trsquorung has been largely improved having three rows of pipes spanning three full octaves (about 48 tubes) which make it fully chromatic

Tre Lac is a pair of bamboo tubes mounted on a bamboo frame and tuned an octave apart The tubes are in different lengths and are cut halves at the upper two-thirds A node closes the lower end of each tube Two prongs extend out and fit loosely intoacorrespondingslotofthehorizontalbasetubeThebaseof the frame is attached by a handle which is held by a player When shaken the concussion of the tubes against the base produces a pitch Since each instrument makes only one pitch it takes many tre lacs to make a complete melody The Tre lac is popular throughout Southeast Asia but it originated from Indo-nesia where t is known by the name Angklung

dan Moi (Jawharp)isusuallymadefrombronzeorbambooIt is held loosely between the two lips in front but not close to the teeth It can be found in many cultures around the world and made from a variety of materi-als Among some ethnicities in Vietnam the Dan Moi

is used to express the feelings of lovers The Dan Moi is an instrument for both men and women and could be played anywhere

Khen be is a six to fourteen-pipe bamboo mouth-organ of the Thai people who live on the Highland regions of Vietnam Versions are also found in Laos Northern Thailand and Southern China EachtubecontainsasmallbronzeorsilverreedAll tubes are bound together into two rows and extend through both sides of the wind chamberKhen be is an instrument that is played exclusively

Teacher note vietnamese instruments

63

Copyright copy 2010 emc notes inc

by men It is usually used to accompany singing and dancing in the moonlight As night falls down young men come and play the Khen be below the houses-on-stilts of their be-loved girls to open their hearts Sometimes the Khen is played during working time such as on the way to the paddies

Ken Bau is a Vietnamese conical double reed instrument with the body of the instrument made from either a gourd or metal bell It is related to the Chinese so-na which came from the Middle Eastern zurna

dan nguyet is known as a dan kim in Southern Vietnam The dan nguyet is a two-string long-neck lute with substantially raised frets and a moon-shaped body Fretted it produces the pitches associ-ated with the pentatonic scale Other pitches subtle ornamenta-tions and nuances are achieved by pressing the string towards the neck with varying pressures This technique of fretting is extremely difficult but results in a very beautiful and expressive tone Nguyet is used to accompany Van singing Hue singing Tai tu singing Bat am music ceremonial music and traditional stage orchestra Today it is also used as a solo instrument

dinh pa is found in the South Central Highland regions of Vietnam It is made from a number of large bamboo tubes fastened in two rows and stood upright It is played by striking the top ends of the pipes with a padded stick although originally the open hand was used The bass dinh pa is simply a much larger version of the dinh pa

Teacher note vietnamese instruments

64

Copyright copy 2010 emc notes inc

dan Tranh is a sixteen string member of the AsianlongzitherfamilyItisaverysubtleand responsive instrument which is strung with very light metal strings The dan tranh is almost identical in shape and form to the zhengofSouthernChina

Images and information provided by Khac Chi Bamboo Music wwwkhacchicom

Teacher note vietnamese instruments

65

Copyright copy 2010 emc notes inc

Ho Chi Khac (pronounced Ho Chee Kac) is the worlds premierevirtuosoontheDanBau(onestringzither)aswellas a composer and a music researcher Chis innovative developments on the dan bau have been heard in concerts throughout North America Europe and Asia

Chi attended the National School of Music studying Dan Bau and traditional music theory with many of Vietnams top per-formers and instructors His education included the music of China Korea India and Europe as well as a number of years of field studies in rural Vietnam In 1977 the Department of Culture chose Chi as one of four people to train for five years as an advanced instructor in theory composition conducting

andperformanceDuringthistraininghewassenttoTashkentinUzbekistantostudyconducting and traditional music instruction

Upon completing this training Chi became one of the first masters instructors in the new Department of Traditional Music at Hanoi National Conservatory (formerly the National Music School) Chi became the Assistant Head of the Department in 1987 and took on the duties as conductor of the Conservatorys acclaimed Traditional Music Orchestra Chi has been presented with many awards in both composition and performance includ-ingFirstPrizeinthe1982VietnamCompetitionofProfessionalInstrumentaliststheGolden Award at the1985 International Folk Festival of World youth in Moscow and First PrizeinthegovernmentsannualImprovementofTraditionalInstrumentsofVietnamin1988

He came to Vancouver Canada in 1992 He has taught Vietnamese instruments at the University of British Columbia and continues to perform internationally with his ensem-bleHoang Bic Ngoc (pronounced wong ngoc bic) isanexceptionalvocalistarrangerandmulti-instrumentalistShespecializesonthedanbau and a number of very rare instruments from Vietnamrsquos rural and mountainous re-gions including the trsquorung (bamboo xylophone) krsquolongput (percussion tubles) and ko ni Bic has toured internationally both as a solo artist and with the Khac Chi Bamboo Music

Bic began studying music at age 8 and attended the Hanoi Music and Arts College for 5 years Then she entered the Hanoi National Conservatory of Music in 1979 Bic was for-tunate to study under a number of Vietnamrsquos top masters teachers and performers and she has received numerous invitations to perform with many of Vietnamrsquos most prestigious musical ensembles It was during her time as a student that she began her career as a regular performer and arranger for national and international radio and television She graduated

artists note11

66

Copyright copy 2010 emc notes inc

with honors from the Hanoi National Conservatory of Music in 1987 and was immediately invited to return to the Hanoi Music and Arts College as an instructor

Although teaching full time Bic remains an active performer She was the first woman toreceivetheFirstPrizefordanbauinthe1988VietnamCompetitionofProfessionalInstrumentalists In 1989 she won the Golden Award at the International Folk Festival of World youth in North Korea and she has also been credited with being the first woman to perform on the Koni

Since moving to Canada in 1992 Bic has taught Vietnamese instruments at the Universi-ty of British Columbia She has been expanding her musical repertoire by performing with a number of world music and new music artists and includes in her performances works by Canadian contemporary composers

Images and information provided by Khac Chi Bamboo Music wwwkhacchicom

artists note

62

Copyright copy 2010 emc notes inc

The krsquolongput is native to the Bahnar people of the central highlands who are said to have created it after hearing the wind blowing into the openings of bamboo in the forest

Trsquorung is a suspended bamboo xylophone which is closely associ-ated with the spiritual life of the Bahnar TSedan Giarai Ede and other ethnic minority people in the Central Highlands of Vietnam The original instruments were simply made using a series of bam-boo pipes struck with small sticks There are three types of Trung high medium and bass The mod-ern trsquorung has been largely improved having three rows of pipes spanning three full octaves (about 48 tubes) which make it fully chromatic

Tre Lac is a pair of bamboo tubes mounted on a bamboo frame and tuned an octave apart The tubes are in different lengths and are cut halves at the upper two-thirds A node closes the lower end of each tube Two prongs extend out and fit loosely intoacorrespondingslotofthehorizontalbasetubeThebaseof the frame is attached by a handle which is held by a player When shaken the concussion of the tubes against the base produces a pitch Since each instrument makes only one pitch it takes many tre lacs to make a complete melody The Tre lac is popular throughout Southeast Asia but it originated from Indo-nesia where t is known by the name Angklung

dan Moi (Jawharp)isusuallymadefrombronzeorbambooIt is held loosely between the two lips in front but not close to the teeth It can be found in many cultures around the world and made from a variety of materi-als Among some ethnicities in Vietnam the Dan Moi

is used to express the feelings of lovers The Dan Moi is an instrument for both men and women and could be played anywhere

Khen be is a six to fourteen-pipe bamboo mouth-organ of the Thai people who live on the Highland regions of Vietnam Versions are also found in Laos Northern Thailand and Southern China EachtubecontainsasmallbronzeorsilverreedAll tubes are bound together into two rows and extend through both sides of the wind chamberKhen be is an instrument that is played exclusively

Teacher note vietnamese instruments

63

Copyright copy 2010 emc notes inc

by men It is usually used to accompany singing and dancing in the moonlight As night falls down young men come and play the Khen be below the houses-on-stilts of their be-loved girls to open their hearts Sometimes the Khen is played during working time such as on the way to the paddies

Ken Bau is a Vietnamese conical double reed instrument with the body of the instrument made from either a gourd or metal bell It is related to the Chinese so-na which came from the Middle Eastern zurna

dan nguyet is known as a dan kim in Southern Vietnam The dan nguyet is a two-string long-neck lute with substantially raised frets and a moon-shaped body Fretted it produces the pitches associ-ated with the pentatonic scale Other pitches subtle ornamenta-tions and nuances are achieved by pressing the string towards the neck with varying pressures This technique of fretting is extremely difficult but results in a very beautiful and expressive tone Nguyet is used to accompany Van singing Hue singing Tai tu singing Bat am music ceremonial music and traditional stage orchestra Today it is also used as a solo instrument

dinh pa is found in the South Central Highland regions of Vietnam It is made from a number of large bamboo tubes fastened in two rows and stood upright It is played by striking the top ends of the pipes with a padded stick although originally the open hand was used The bass dinh pa is simply a much larger version of the dinh pa

Teacher note vietnamese instruments

64

Copyright copy 2010 emc notes inc

dan Tranh is a sixteen string member of the AsianlongzitherfamilyItisaverysubtleand responsive instrument which is strung with very light metal strings The dan tranh is almost identical in shape and form to the zhengofSouthernChina

Images and information provided by Khac Chi Bamboo Music wwwkhacchicom

Teacher note vietnamese instruments

65

Copyright copy 2010 emc notes inc

Ho Chi Khac (pronounced Ho Chee Kac) is the worlds premierevirtuosoontheDanBau(onestringzither)aswellas a composer and a music researcher Chis innovative developments on the dan bau have been heard in concerts throughout North America Europe and Asia

Chi attended the National School of Music studying Dan Bau and traditional music theory with many of Vietnams top per-formers and instructors His education included the music of China Korea India and Europe as well as a number of years of field studies in rural Vietnam In 1977 the Department of Culture chose Chi as one of four people to train for five years as an advanced instructor in theory composition conducting

andperformanceDuringthistraininghewassenttoTashkentinUzbekistantostudyconducting and traditional music instruction

Upon completing this training Chi became one of the first masters instructors in the new Department of Traditional Music at Hanoi National Conservatory (formerly the National Music School) Chi became the Assistant Head of the Department in 1987 and took on the duties as conductor of the Conservatorys acclaimed Traditional Music Orchestra Chi has been presented with many awards in both composition and performance includ-ingFirstPrizeinthe1982VietnamCompetitionofProfessionalInstrumentaliststheGolden Award at the1985 International Folk Festival of World youth in Moscow and First PrizeinthegovernmentsannualImprovementofTraditionalInstrumentsofVietnamin1988

He came to Vancouver Canada in 1992 He has taught Vietnamese instruments at the University of British Columbia and continues to perform internationally with his ensem-bleHoang Bic Ngoc (pronounced wong ngoc bic) isanexceptionalvocalistarrangerandmulti-instrumentalistShespecializesonthedanbau and a number of very rare instruments from Vietnamrsquos rural and mountainous re-gions including the trsquorung (bamboo xylophone) krsquolongput (percussion tubles) and ko ni Bic has toured internationally both as a solo artist and with the Khac Chi Bamboo Music

Bic began studying music at age 8 and attended the Hanoi Music and Arts College for 5 years Then she entered the Hanoi National Conservatory of Music in 1979 Bic was for-tunate to study under a number of Vietnamrsquos top masters teachers and performers and she has received numerous invitations to perform with many of Vietnamrsquos most prestigious musical ensembles It was during her time as a student that she began her career as a regular performer and arranger for national and international radio and television She graduated

artists note11

66

Copyright copy 2010 emc notes inc

with honors from the Hanoi National Conservatory of Music in 1987 and was immediately invited to return to the Hanoi Music and Arts College as an instructor

Although teaching full time Bic remains an active performer She was the first woman toreceivetheFirstPrizefordanbauinthe1988VietnamCompetitionofProfessionalInstrumentalists In 1989 she won the Golden Award at the International Folk Festival of World youth in North Korea and she has also been credited with being the first woman to perform on the Koni

Since moving to Canada in 1992 Bic has taught Vietnamese instruments at the Universi-ty of British Columbia She has been expanding her musical repertoire by performing with a number of world music and new music artists and includes in her performances works by Canadian contemporary composers

Images and information provided by Khac Chi Bamboo Music wwwkhacchicom

artists note

63

Copyright copy 2010 emc notes inc

by men It is usually used to accompany singing and dancing in the moonlight As night falls down young men come and play the Khen be below the houses-on-stilts of their be-loved girls to open their hearts Sometimes the Khen is played during working time such as on the way to the paddies

Ken Bau is a Vietnamese conical double reed instrument with the body of the instrument made from either a gourd or metal bell It is related to the Chinese so-na which came from the Middle Eastern zurna

dan nguyet is known as a dan kim in Southern Vietnam The dan nguyet is a two-string long-neck lute with substantially raised frets and a moon-shaped body Fretted it produces the pitches associ-ated with the pentatonic scale Other pitches subtle ornamenta-tions and nuances are achieved by pressing the string towards the neck with varying pressures This technique of fretting is extremely difficult but results in a very beautiful and expressive tone Nguyet is used to accompany Van singing Hue singing Tai tu singing Bat am music ceremonial music and traditional stage orchestra Today it is also used as a solo instrument

dinh pa is found in the South Central Highland regions of Vietnam It is made from a number of large bamboo tubes fastened in two rows and stood upright It is played by striking the top ends of the pipes with a padded stick although originally the open hand was used The bass dinh pa is simply a much larger version of the dinh pa

Teacher note vietnamese instruments

64

Copyright copy 2010 emc notes inc

dan Tranh is a sixteen string member of the AsianlongzitherfamilyItisaverysubtleand responsive instrument which is strung with very light metal strings The dan tranh is almost identical in shape and form to the zhengofSouthernChina

Images and information provided by Khac Chi Bamboo Music wwwkhacchicom

Teacher note vietnamese instruments

65

Copyright copy 2010 emc notes inc

Ho Chi Khac (pronounced Ho Chee Kac) is the worlds premierevirtuosoontheDanBau(onestringzither)aswellas a composer and a music researcher Chis innovative developments on the dan bau have been heard in concerts throughout North America Europe and Asia

Chi attended the National School of Music studying Dan Bau and traditional music theory with many of Vietnams top per-formers and instructors His education included the music of China Korea India and Europe as well as a number of years of field studies in rural Vietnam In 1977 the Department of Culture chose Chi as one of four people to train for five years as an advanced instructor in theory composition conducting

andperformanceDuringthistraininghewassenttoTashkentinUzbekistantostudyconducting and traditional music instruction

Upon completing this training Chi became one of the first masters instructors in the new Department of Traditional Music at Hanoi National Conservatory (formerly the National Music School) Chi became the Assistant Head of the Department in 1987 and took on the duties as conductor of the Conservatorys acclaimed Traditional Music Orchestra Chi has been presented with many awards in both composition and performance includ-ingFirstPrizeinthe1982VietnamCompetitionofProfessionalInstrumentaliststheGolden Award at the1985 International Folk Festival of World youth in Moscow and First PrizeinthegovernmentsannualImprovementofTraditionalInstrumentsofVietnamin1988

He came to Vancouver Canada in 1992 He has taught Vietnamese instruments at the University of British Columbia and continues to perform internationally with his ensem-bleHoang Bic Ngoc (pronounced wong ngoc bic) isanexceptionalvocalistarrangerandmulti-instrumentalistShespecializesonthedanbau and a number of very rare instruments from Vietnamrsquos rural and mountainous re-gions including the trsquorung (bamboo xylophone) krsquolongput (percussion tubles) and ko ni Bic has toured internationally both as a solo artist and with the Khac Chi Bamboo Music

Bic began studying music at age 8 and attended the Hanoi Music and Arts College for 5 years Then she entered the Hanoi National Conservatory of Music in 1979 Bic was for-tunate to study under a number of Vietnamrsquos top masters teachers and performers and she has received numerous invitations to perform with many of Vietnamrsquos most prestigious musical ensembles It was during her time as a student that she began her career as a regular performer and arranger for national and international radio and television She graduated

artists note11

66

Copyright copy 2010 emc notes inc

with honors from the Hanoi National Conservatory of Music in 1987 and was immediately invited to return to the Hanoi Music and Arts College as an instructor

Although teaching full time Bic remains an active performer She was the first woman toreceivetheFirstPrizefordanbauinthe1988VietnamCompetitionofProfessionalInstrumentalists In 1989 she won the Golden Award at the International Folk Festival of World youth in North Korea and she has also been credited with being the first woman to perform on the Koni

Since moving to Canada in 1992 Bic has taught Vietnamese instruments at the Universi-ty of British Columbia She has been expanding her musical repertoire by performing with a number of world music and new music artists and includes in her performances works by Canadian contemporary composers

Images and information provided by Khac Chi Bamboo Music wwwkhacchicom

artists note

64

Copyright copy 2010 emc notes inc

dan Tranh is a sixteen string member of the AsianlongzitherfamilyItisaverysubtleand responsive instrument which is strung with very light metal strings The dan tranh is almost identical in shape and form to the zhengofSouthernChina

Images and information provided by Khac Chi Bamboo Music wwwkhacchicom

Teacher note vietnamese instruments

65

Copyright copy 2010 emc notes inc

Ho Chi Khac (pronounced Ho Chee Kac) is the worlds premierevirtuosoontheDanBau(onestringzither)aswellas a composer and a music researcher Chis innovative developments on the dan bau have been heard in concerts throughout North America Europe and Asia

Chi attended the National School of Music studying Dan Bau and traditional music theory with many of Vietnams top per-formers and instructors His education included the music of China Korea India and Europe as well as a number of years of field studies in rural Vietnam In 1977 the Department of Culture chose Chi as one of four people to train for five years as an advanced instructor in theory composition conducting

andperformanceDuringthistraininghewassenttoTashkentinUzbekistantostudyconducting and traditional music instruction

Upon completing this training Chi became one of the first masters instructors in the new Department of Traditional Music at Hanoi National Conservatory (formerly the National Music School) Chi became the Assistant Head of the Department in 1987 and took on the duties as conductor of the Conservatorys acclaimed Traditional Music Orchestra Chi has been presented with many awards in both composition and performance includ-ingFirstPrizeinthe1982VietnamCompetitionofProfessionalInstrumentaliststheGolden Award at the1985 International Folk Festival of World youth in Moscow and First PrizeinthegovernmentsannualImprovementofTraditionalInstrumentsofVietnamin1988

He came to Vancouver Canada in 1992 He has taught Vietnamese instruments at the University of British Columbia and continues to perform internationally with his ensem-bleHoang Bic Ngoc (pronounced wong ngoc bic) isanexceptionalvocalistarrangerandmulti-instrumentalistShespecializesonthedanbau and a number of very rare instruments from Vietnamrsquos rural and mountainous re-gions including the trsquorung (bamboo xylophone) krsquolongput (percussion tubles) and ko ni Bic has toured internationally both as a solo artist and with the Khac Chi Bamboo Music

Bic began studying music at age 8 and attended the Hanoi Music and Arts College for 5 years Then she entered the Hanoi National Conservatory of Music in 1979 Bic was for-tunate to study under a number of Vietnamrsquos top masters teachers and performers and she has received numerous invitations to perform with many of Vietnamrsquos most prestigious musical ensembles It was during her time as a student that she began her career as a regular performer and arranger for national and international radio and television She graduated

artists note11

66

Copyright copy 2010 emc notes inc

with honors from the Hanoi National Conservatory of Music in 1987 and was immediately invited to return to the Hanoi Music and Arts College as an instructor

Although teaching full time Bic remains an active performer She was the first woman toreceivetheFirstPrizefordanbauinthe1988VietnamCompetitionofProfessionalInstrumentalists In 1989 she won the Golden Award at the International Folk Festival of World youth in North Korea and she has also been credited with being the first woman to perform on the Koni

Since moving to Canada in 1992 Bic has taught Vietnamese instruments at the Universi-ty of British Columbia She has been expanding her musical repertoire by performing with a number of world music and new music artists and includes in her performances works by Canadian contemporary composers

Images and information provided by Khac Chi Bamboo Music wwwkhacchicom

artists note

65

Copyright copy 2010 emc notes inc

Ho Chi Khac (pronounced Ho Chee Kac) is the worlds premierevirtuosoontheDanBau(onestringzither)aswellas a composer and a music researcher Chis innovative developments on the dan bau have been heard in concerts throughout North America Europe and Asia

Chi attended the National School of Music studying Dan Bau and traditional music theory with many of Vietnams top per-formers and instructors His education included the music of China Korea India and Europe as well as a number of years of field studies in rural Vietnam In 1977 the Department of Culture chose Chi as one of four people to train for five years as an advanced instructor in theory composition conducting

andperformanceDuringthistraininghewassenttoTashkentinUzbekistantostudyconducting and traditional music instruction

Upon completing this training Chi became one of the first masters instructors in the new Department of Traditional Music at Hanoi National Conservatory (formerly the National Music School) Chi became the Assistant Head of the Department in 1987 and took on the duties as conductor of the Conservatorys acclaimed Traditional Music Orchestra Chi has been presented with many awards in both composition and performance includ-ingFirstPrizeinthe1982VietnamCompetitionofProfessionalInstrumentaliststheGolden Award at the1985 International Folk Festival of World youth in Moscow and First PrizeinthegovernmentsannualImprovementofTraditionalInstrumentsofVietnamin1988

He came to Vancouver Canada in 1992 He has taught Vietnamese instruments at the University of British Columbia and continues to perform internationally with his ensem-bleHoang Bic Ngoc (pronounced wong ngoc bic) isanexceptionalvocalistarrangerandmulti-instrumentalistShespecializesonthedanbau and a number of very rare instruments from Vietnamrsquos rural and mountainous re-gions including the trsquorung (bamboo xylophone) krsquolongput (percussion tubles) and ko ni Bic has toured internationally both as a solo artist and with the Khac Chi Bamboo Music

Bic began studying music at age 8 and attended the Hanoi Music and Arts College for 5 years Then she entered the Hanoi National Conservatory of Music in 1979 Bic was for-tunate to study under a number of Vietnamrsquos top masters teachers and performers and she has received numerous invitations to perform with many of Vietnamrsquos most prestigious musical ensembles It was during her time as a student that she began her career as a regular performer and arranger for national and international radio and television She graduated

artists note11

66

Copyright copy 2010 emc notes inc

with honors from the Hanoi National Conservatory of Music in 1987 and was immediately invited to return to the Hanoi Music and Arts College as an instructor

Although teaching full time Bic remains an active performer She was the first woman toreceivetheFirstPrizefordanbauinthe1988VietnamCompetitionofProfessionalInstrumentalists In 1989 she won the Golden Award at the International Folk Festival of World youth in North Korea and she has also been credited with being the first woman to perform on the Koni

Since moving to Canada in 1992 Bic has taught Vietnamese instruments at the Universi-ty of British Columbia She has been expanding her musical repertoire by performing with a number of world music and new music artists and includes in her performances works by Canadian contemporary composers

Images and information provided by Khac Chi Bamboo Music wwwkhacchicom

artists note

66

Copyright copy 2010 emc notes inc

with honors from the Hanoi National Conservatory of Music in 1987 and was immediately invited to return to the Hanoi Music and Arts College as an instructor

Although teaching full time Bic remains an active performer She was the first woman toreceivetheFirstPrizefordanbauinthe1988VietnamCompetitionofProfessionalInstrumentalists In 1989 she won the Golden Award at the International Folk Festival of World youth in North Korea and she has also been credited with being the first woman to perform on the Koni

Since moving to Canada in 1992 Bic has taught Vietnamese instruments at the Universi-ty of British Columbia She has been expanding her musical repertoire by performing with a number of world music and new music artists and includes in her performances works by Canadian contemporary composers

Images and information provided by Khac Chi Bamboo Music wwwkhacchicom

artists note