Course: Electronic Music - Grades 6, 7, 8

Transcription

1 Course: Electronic Music - Grades 6, 7, 8 Overview of Course Electronic Music meets for a full year on alternating days. The program includes the areas of performance, listening skills, music theory and composition. No prior knowledge of music is necessary to enroll in the course. Students with varying musical abilities and backgrounds are eligible to enroll. Interactive software and electronic instruments (guitars, bass guitars, drums, keyboards and microphones) are the primary tools used. In addition, a Group Education Controller, video assessments and the use of the Internet are also included in the teaching process. It is our greatest aspiration to bring awareness to all students that music is connected to all disciplines of life. Performing students will be made aware that practicing a piece of music is the same idea as studying for a test or researching a report. Students are taught that long term goals (playing a piece of music) hinge upon the success of short term goals (daily practice). The majority of our students who go onto the workforce will eventually work in a team and deal cooperatively with others. Electronic Music class reinforces that concept without exception everyday of the year. Instructional Philosophy Through how organized sounds move and interrelate, the Garden City Public Schools music department strives to heighten, sustain, refine, and extend human emotional life while engaged in the struggle to create beauty. Knowledge and Skills Objectives The use of computers, electronic instruments and other technology allows for individualized advancement and goals throughout the 6 th, 7 th and 8 th grades.

2 2 Students will be introduced to the techniques involved in playing instruments and discover the aspects of music theory. In addition, they will gain knowledge of the musical elements: Melody Harmony Timbre Rhythm Dynamics Texture Form By discerning, contrasting, comparing, identifying and unifying these elements the students will explore the world of music. Applying them to the performance of one or more instruments will reinforce the understanding of how music works. Units of Study Refer to pages 3 10 of this document for an description and explanation of the units of study covered. All of the subjects are worked on at various times over the course of the middle school years. (continued)

3 Electronic (Classroom) Music Grades 6-8 : Instructional Curriculum for Formulated by Mr. Michael George Russo russom@gcufsd.net Areas of Music Covered : Performance (Instrumental Ability) Listening (Aural Skills/ Analysis) Performance (Instrumental Ability) Instrumental Instruction Software / Video Based Criteria: Teach Me Piano Levels 1-12 (For both methods) o Assess by level not song/piece o Set modest goals for beginners. o Hand out printed packets of pieces for take-home practice. Tips: -Software integrates lessons and practice areas. More advanced students may not require extensive use of the lesson area during the early stages. -Encourage the practice of not looking down at hands. -Use games within programs and supplement with the program Musical Space Invaders to enhance note and rhythm reading skill. Notes: More advanced students (those who take lessons) may begin at and achieve higher levels. Keyboard / Piano 3 Composition (Creating Music) Theory (Understanding How Music Works) Ensemble Performance Baroque/Classical (or any possible style) pieces for group performance. o Start with 4 part chorales, etc. and determine when more extensive pieces are appropriate. Assign most difficult parts to more skilled students. o The primary purpose is to provide the experience of playing with a group. It is unrealistic to expect these students to achieve advanced music reading skills when they are not studying privately and are not eligible for lesson pullouts. Allow for the extensive use of written fingering & note names as well as tapes/cds/midi files that can be listened to repeatedly. Standard Blues/Rock/Jazz songs performed in groups (I. IV, V) o Songs should incorporate very basic chord patterns (I-IV-V) and inversions. o Standards are preferred, as songs that are currently student favorites tend to NOT withstand the test of time. o If songs are selected correctly almost all students can be successful assign less demanding, repetitive parts to encourage participation by more students. o (See guitar, bass guitar, and drum kit) Notes: This may not include ALL students. Some students may opt against group performance and therefore it should not be compulsory. It should not, however, be reserved for advanced students those who have no/little experience can be assigned very simple parts. Look for the dedication/interest level before that of instrumental proficiency. Triads and inversions (C, D, E, F, G, A, B MAJOR & minor) should be a strong part of the keyboard/piano instruction and ensemble. The use of notated music is NOT essential a basic understanding and the ability to perform chord progressions is the aim. 1. Allowing classmates to assist each other with all aspects of performance is an indispensable tool for progress. Those who take private lessons usually take pride in helping out. 2. Keep in mind that the Music Ace programs have lessons and games that can contribute to the learning of notes and rhythms on the keyboard/piano. 3. Remember that this is not a course solely dedicated to learning of piano. Therefore, expectations should be geared towards enthusiasm and involvement. This can best be achieved by self-paced learning. Success at one level, for example, should be a prerequisite for moving on to the next. Time frames for completion should be flexible and without the pressure and perceived competition often associated with traditional exams.

4 G u i t a r T i p s 4 1. Students tend to enjoy holding the guitar and imagining the possibility of being a rock star. They discuss the various colors, amps, effects, gadgets, and models often associated with guitar playing. They talk about their favorite rock bands and guitarists. Naturally, if this gets excessive, it can detract from the actual learning of the guitar. Coaching, encouragement and the words get those fingers moving and repeat [that] several times will be a significant part of the process. 2. The use of electric guitars is preferred. It allows individualized headphone practice and electric guitars are generally easier to play (strings are lighter and lower). In addition, electronic tuners are indispensable as a time saving device. Students can quickly tune their guitar without assistance. Yes, acoustic instruments have a beautiful sound. Many private teachers, including myself, prefer them. In a classroom situation, however, you can t beat electrics. The motivation factor should also be considered generally, adolescents find it hard to resist the allure of an electric guitar. Software / Video Based Criteria: Software E-Media Guitar 1 Teach Me Guitar Play Pro Guitar Desktop Guitarist Video Rock Guitar 1 Guitar Basics 1 Barre Chord Basics Blues Guitar 1 Guitar (For both methods) o Assess by improvements in agility and coordination. o Set modest goals for beginners (as with piano). o Encourage the use of the Internet at home for supplementing instruction. Be careful, however, to discourage the process of mental learning as a way of avoiding actual practicing as with other instruments, nothing works better than the physical act of playing and the use of constant repetition. Standard Blues/Rock/Jazz songs performed in groups. o Stress the use of open chords, power chords, and barre chords. o Provide frequent opportunities for listening (to recordings) and mimicking (the instructor and/or other, more advanced students). Mostly rhythm guitar (with selected lead riffs) o Develop right hand (up/down) strumming technique. o Encourage the exercise of the weak fingers ring and pinky. Melodic and harmonic improvisation o Use scale patterns o Introduce the basic six (MAJ. & min.) chords in a major key: I-ii-iii-IV-V-vi And have them improvise chord progressions. Tips: IMPORTANT: -Reading keyboard/piano notation should take precedence over that of the guitar (especially at this age). The guitar is physically demanding in the early stages. It is unrealistic to expect the same results as which is achieved through private lessons. Technique, scale / riff patterns, and chords should be the main concern. Again, let the piano be the instrument where note-reading skills are developed. IMPORTANT: -Students at this age level want to get playing quickly reserve the guitar theory and notation for very the very serious students and even then until after a feeling of playing accomplishment has been reached Get them playing or a high drop-out rate may be the result

5 5 The major challenge of teaching classroom guitar involves the physical demands of the instrument. Piano and drums provide results with somewhat less effort in the early stages of instruction. Methods of dealing with this may include allowing short or mini practice sessions during class instead of dedicating an entire 40 minutes to the guitar. In this way, the student can return to the keyboard or theory software whenever guitar distress occurs. In addition, practice partners or groups may be assigned so that students can encourage each other and more advanced students (some taking private instruction) can assist beginners. Notes: As with piano,,software and videotapes are ideal for dealing with both beginners and more advanced players. Closely monitored independent projects can be implemented. This will obviously be reserved for those quite interested in guitar. Video Based Criteria: Bass Guitar 1 Bass Guitar 2 Bass Guitar Standard Blues/Rock/Jazz songs performed in groups Keyboard bass is an option essentially the same music as the bass guitar but sometimes more practical for the greatest number of students. Basic patterns can be applied to both bass guitar & bass keyboard Notes: Those who have trouble chording the guitar may opt for bass. Notes: This is great for both guitarists AND keyboard (piano) players. 1. The bass guitar is usually an adjunct to the 6-string guitar. The fact that the strings of the bass (E, A, D, G) are the same as those of the lowest 4 strings of the guitar gives the impression that the only difference is that the bass has thicker (lower) strings. In fact, the bass is more of a partner to the drum kit it provides more of a rhythmic foundation to an ensemble. 2. The fact that the bass does not require as much finger agility and almost always calls for ONLY single notes and not chords should be considered when a student doesn t seem to be progressing with the guitar but still desires a guitar experience. 3. Bass instruction is often more productive when the student is permitted to practice in small doses, so frustration with the concept that a bass doesn t offer the same satisfaction as the guitar when being played in isolation from other instruments (ensemble). Drum Kit Tips 1. Group drum instruction at this age level can turn in to a nightmare, so to speak. It s hard enough to silence an adult with drumsticks (or chopsticks) in his/her hands. Strict rules and restrictions are necessary in order to get work done. 2. Drums, unlike other instruments, can be practiced, to some degree, anywhere with a couple of pencils with erasers. Remind the class of this benefit. 3. Unmonitored students tend to merely whack drums randomly and unmusically. Students should be reminded to stay on task. If they master the drum kit pattern, they should either move on to more advanced material (fills, transitions, etc.) OR they should move on to another instrument or activity until new drum material is presented in class.

6 6 Video Based Criteria Drum Basics 1&2 Introduction to Drum Kit Drum Kit o SEE GUITAR BULLETS (Above) o Emphasis should be on limbs right, left hand and right foot. Left-foot hi-hat should be reserved for those studying privately. o Begin with the learning and playing of one part at a time for instance, 1/8 note hi-hat pattern or the snare on beats 2 & 4. Then continue with 2 parts at a time such as playing the bass drum (right foot) and the snare (left hand) simultaneously. Finally, perform all 3 parts. The process may take several weeks. o Permit students to work in pairs or groups. Standard Blues/Rock/Jazz songs performed in groups. o Three basic patterns are applied to songs duple (2/4 & 4/4), swing (in a triplet feel ), and compound (6/8) o Provide frequent opportunities for listening (to recordings) and mimicking (the instructor and/or other, more advanced students). Fills & Transitions o Keep them very simple o Encourage the exercise of the weak hand left Tips: -Chopsticks can be used on the back of chairs or edges of tables and are relatively quiet reserve the electronic sets as a reward for mastering the rhythm patterns. -Chanting word rhythms can make all the difference. Number counting is important but often doesn t instill a sense of the rhythm. For example, Let s go out can be chanted as a dotted quarter-eighth- half rhythm (bass drum) eventually, add the words hey and now to the snare on beats 2 & 4. In this case, both word rhythms can be performed together (they don t conflict). Finally, apply the words to the drum patterns. It s amazing how well this works. Students often have fun applying their own word phrases to rhythms. -Accompaniment recordings are also valuable the goal of developing a sense of the steady beat and applying rhythm patterns to it can be more quickly reached by motivating with recordings. Notes: Students should be given the option of making the drums a primary instrument continuing on with rudiments and more advanced patterns. Integrate Rhythm Theory o Discuss how the rhythms on the drum kit can directly apply and be compared to other instruments (i.e. the steady 1/8 notes of the hi-hat can be transferred to the power chord pattern on the guitar. The dotted quarter followed by an eighth note pattern played on the bass (kick) drum can be used for a bass guitar part). o Encourage the identification of certain rhythms (drums or otherwise) on recordings. Notes: Advanced drumming for the majority of students is unrealistic. Rather, aim for each student having an opportunity to accompany other instruments by playing basic patterns and occasional fills. Use this as a fun assessment.

7 Listening (Aural Skills / Analysis) Elements of Music (Resulting in a Variety of Styles) Aspects of Each Element Implementation Rhythm Melody Harmony Texture Tempo o Fast/Slow o Getting Faster or Slower o Gradations o Fermata Meter o Simple / Compound o Duple / Triple o Irregular / Odd Rhythm Patterns Metric Accent Register o High / Medium / Low Direction o Upward / Downward o Up and Down Phrase o Long - Short o Same - Different Tonality o MAJOR -minor o Pentatonic other o Tonal - Atonal Characteristics o Monophonic one melody alone o Homophonic one melody with accompaniment o Polyphonic several melodies together Dynamics Variances o Soft / Loud o Getting softer (decrescendo) o Getting Louder (crescendo) Beat o Strong / Weak o Getting Faster or Slower o Rubato (Flexibility) Duration Melodic Rhythm Intervals o Steps o Leaps o Repeated Tones Range o Wide o Narrow Cadence o Strong / Weak Melodic Sequence Chords o Triads o Major- minor o Augmented-Diminished Density o Thick / Thin o Mixed Mixed textures Dynamic Accents 7 Demonstrate an element s aspect by showing what it is NOT for instance, take a familiar song/piece, which is traditionally UN-syncopated, and arrange it in a syncopated manner. Do the reverse syncopate Happy Birthday or the Ode to Joy theme. Another example would be to interchange timbres an orchestral piece done with piano etc. Changing Major tonality to minor is also effective. Patriotic tunes (traditionally Major) can be converted to minor. Start with the isolation of ONE element then work up to allowing students to identify and analyze two or more. Form may be the most important of the elements in regard to music appreciation it demands the listening of an entire piece. A primary goal should be a complete aesthetic experience. This requires that the listeners be exposed to a whole movement or piece or song. Don t expect school children to simply listen to music. You must request that they listen FOR something. This puts the ball in their court. They now have to prove they are listening. (i.e. Raise your hand when the trumpet enters or ask if melodic sequences, motives, crescendos, etc. are present in the music being played.

8 8 Timbre (Tone Color) The Medium of Performance Form Voice o Soprano o Alto o Tenor o Bass Folk Instruments Electronic Repetition (same) (AAA) Instrumental o Strings o Woodwinds o Brass o Percussion Keyboard Variation (A1 A2 A3 A4, etc.) Incorporate related arts in lessons. Use poetry, paintings, dance, photography and film to compare and explain musical elements. Abstract paintings can represent atonality. Poems can reinforce the element of musical form. Show patterns in dance and relate them to music. Use games, props, movement, performance (participation) to aid in learning and understanding. WDYH (What Do You Hear?) charts are great to give visual support. Contrast (different) (AB ABA ABACA) Cumulative Call & Response Free Form Isolate and remove parts of music take out the violin part and ask which part is absent play an isolated part while the class views the multipart score and require they identify the single part. 1. Score reading (while listening) is, in itself, valuable. It allows for the sense of sight to bolster the hearing process. Stopping the music at a certain measure (be sure measures are numbered) and having students select the correct measure is useful. 2. Be sure to include other activities as part of the listening for process writing answers, multiple choice or true/false quizzes, playing percussion or keyboards and/or clapping, Composing (Creating Music) Composing Melodies Lyric Writing Composing Chord Progressions Formulating Rhythm Patterns Using Notation / Sequencing Software, students can easily experiment with sound compositions. The goal is to allow a random, free style approach to develop towards a more structured, organized piece of music.

9 Theory (Understanding How Music Works) Software Music Ace One Pitch Staff Notation Keyboard Dynamics Timbre Music Ace Two: Beat Tempo Rhythm Key Signatures Duration Keyboard Duration Tonality Harmony Essentials of Music Theory 1 (Alfred s): Tip: Use more than one program to reinforce and enhance the learning of specific concepts. For example, study key signatures in Music Ace and review and/or assess the knowledge in Essentials of Music Theory. Units of Study 1. Introduction to the Staff 2. Introduction to the Piano Keyboard 3. Playing with Pitch 4. The ABC s of the Piano Keyboard 5. More Piano ABC s 6. The ABC s of the Staff 7. The ABC s of the Treble Staff 8. More Treble Staff ABC s 9. Keyboard Review 10. Below the Treble Staff 11. Above the Treble Staff 12. Loud and Soft, Same Pitch 1. Beat and Tempo 2. Hearing Rhythms 3. Review 1: Note Names 4. Review 2: Sharps and Flats 5. Basic Rhythm Notation 6. The Quarter Rest 7. Keys Signatures and Major Scales 8. Melody 9. The Measure 10. Sharp Key Signatures 11. Notes Longer than a Beat 12. More Sharp Key Signatures Unit 1 Lesson 01: The Staff, Notes & Pitches Lesson 02: Treble Clef & Staff Lesson 03: Bass Clef & Staff Lesson 04: The Grand Staff & Ledger Lines (The Middle Notes) Lesson 05: Ledger Lines (Low & High Notes) Ear Training for Lessons Review of Lessons Unit 3 Lesson 10: Tetrachords and Major Scales Lesson 11: The Sharp Scales G & D Major Lesson 12: The Flat Scales F & Bb Major Lesson 13: Key Signatures The Sharp Keys Ear Training for Lessons Review of Lessons Unit 5 Lesson 18: Dynamic Signs Lesson 19: Tempo Marks Lesson 20: Articulation Lesson 21: D.C., D.S., Coda & Fine Ear Training for Lessons Review of Lessons Extracted from Alfred s Essentials of Music Theory and Harmonic Vision s Music Ace Concepts 13. The ABC s of the Bass Staff 14. Above the Bass Staff 15. Below the Bass Staff 16. Same Pitch, Different Timbres 17. The ABC s of the Grand Staff 18. Half Steps and Whole Steps 19. More ABC s of the Grand Staff 20. Sharps and Flats 21. Sharps and Flats on the Staff 22. More Sharps & Flats on the Staff 23. The Key Signature 24. Introduction to Major Scales 13. Dotted Quarter Notes 14. Flat Key Signatures 15. Rests 16. More Flat Key Signatures 17. Syncopation 18. Sixteenth Notes 19. Minor Scales 20. Three Sounds Per Beat 21. The Time Signature 22. Intervals 23. The 6/8 Time Signature 24. Introduction to Harmony Unit 2 Lesson 06: Note Values Lesson 07: Measure, Bar line & Double Bar Lesson 08: 4/4 Time Signature and Note Values Lesson 09: Whole, Half, and Quarter Rests Ear Training for Lessons Review of Lessons Unit 4 Lesson 14: Repeat Sign, 1 st & 2 nd Endings Lesson 15: Eighth Notes Lesson 16: Eighth Rests Lesson 17: Dotted Quarter Note Ear Training for Lessons Review of Lessons Unit 6 Lesson 22: Flats Lesson 23: Sharps Lesson 24: Naturals Lesson 25: Whole Steps, Half Steps & Enharmonic Notes Ear Training for Lessons Review of Lessons

10 All of the following units are works on at various times over the course of the year. 10 Essentials of Music Theory 2 (Alfred s): Tip: It isn t always necessary to follow a consecutive order when covering the lessons and units. A flexible approach is possible. For example, study specific concepts, which may apply to material presented in a current performance, composition or listening lesson. Essentials of Music Theory 3 (Alfred s): Tip: Make theory like a challenging game; where the students try to outdo previous scores use the games in Music Ace, the Reviews in Essentials and the drills in Dolphin Don. Keep scores and use rewards. Unit 7 Lesson 26: Tetrachords and Major Scales Lesson 27: The Sharp Scales G & D Major Lesson 28: The Flat Scales F & Bb Major Lesson 29: Key Signatures The Sharp Keys Lesson 30: Key Signatures The Flat Keys Ear Training for Lessons Review of Lessons Unit 9 Lesson 35: Perfect and Major Intervals Lesson 36: Minor Intervals Lesson 37: Augmented and Diminished Intervals Lesson 38: Solfege and Transposition Ear Training for Lessons Review of Lessons Unit 11 Lesson 43: 3/8 and 6/8 Time Signatures Lesson 44: 3/8 and 6/8 Time Signatures at Fast Tempos Lesson 45: Eighth Note Triplets Lesson 46: Incomplete Measures (Pick Up Notes) and Syncopation Ear Training for Lessons Review of Lessons Unit 13 Lesson 51: Triads 1 st Inversion Lesson 52: Triads 2 nd Inversion Lesson 53: V7 Chord 1 st, 2 nd, 3 rd Inversions Lesson 54: Figured Bass Lesson 55: Major Chord Progressions Ear Training for Lessons Review of Lessons Unit 15 Lesson 60: The Primary Triads in Minor Keys Lesson 61: Minor Chord Progressions Lesson 62: Modes Related to the Major Scale: Ionian, Mixolydian and Lydian. Lesson 63: Modes Related to the Minor Scale: Aeolian, Dorian, Phrygian, Locrian Ear Training for Lessons Review of Lessons Unit 17 Lesson 68: Harmonizing a Melody in a Minor Key Lesson 69: Composing a Melody in a Major Key Lesson 70: 12-Bar Blues Chord Progression Lesson 71: The Blues Scale Ear Training for Lessons Review of Lessons Unit 8 Lesson 31: The Remaining Major Scales with Key Signatures Lesson 32: Chromatic Scales Lesson 33: Intervals Lesson 34: Circle of 5ths Ear Training for Lessons Review of Lessons Unit 10 Lesson 39: Sixteenth Notes Lesson 40: Sixteenth Rests Lesson 41: Dotted Eighth Notes Lesson 42: Common Time and Cut Time (Alla Breve) Ear Training for Lessons Review of Lessons Unit 12 Lesson 47: Triads Lesson 48: Primary and Major Triads Lesson 49: Scale Degree Names Lesson 50: The V7 (Dominant 7 th) Chord Ear Training for Lessons Review of Lessons Unit 14 Lesson 56: Minor Scales Lesson 57: Natural, Harmonic and Melodic Minor Scales Lesson 58: Minor Triads Lesson 59: Augmented and Diminished Triads Ear Training for Lessons Review of Lessons Unit 16 Lesson 64: Harmonizing a Melody in a Major Key Lesson 65: Broken Chords and Arpeggiated Accompaniment Lesson 66: Passing and Neighboring Tones Lesson 67: Composing a Melody in a Major Key Ear Training for Lessons Review of Lessons Unit 18 Lesson 72: Basic Forms of Music Motive and Phrase Lesson 73: AB (Binary) Form Lesson 74: ABA (Ternary) Form Lesson 75: Rondo Form Ear Training for Lessons Review of Lessons 72-75

11 11