LEARNING RESOURCE SPA - MUSIC

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LEARNING RESOURCE

SPA - MUSIC

MUSIC THEORY:

Form

Grade 8 – Quarter 3

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LEARNING RESOURCE for MUSIC

MUSIC THEORY:

FORM

GRADE 8, QUARTER 3

Republic Act 8293, section 176 states that: No copyright shall subsist in any work of the Government of the Philippines. However, prior approval of the government agency or office wherein the work is created shall be necessary for exploitation of such work for profit. Such agency or office may, among other things, impose as a condition the payment of royalties.

Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names, trademarks, etc.) included in this Learning Resource are owned by their respective copyright holders.

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Published by the National Commission for Culture and the Arts

For inquiries or feedback, please write or call:

NATIONAL COMMISSION FOR CULTURE AND THE ARTS 633 General Luna Street, Intramuros, Manila

E-mail: info@ncca.gov.ph

Trunkline: (02) 85272192 8527-2202 8527-2210 8527-2195 to 97 8527-2217 to 18 Development Team of the Learning Resource

Writers: Asherine Joanne M. Roa Dennesse Abigail F. Nadal Editor: Jose S. Soliman, Jr.

Cover Illustrator: William Matawaran Layout Artist: Arvin Manuel R. Villalon

Management Team: Marichu Tellano and Henrietta Kangleon (NCCA), Tanya P. Lopez (PerfLab)

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FOREWORD

Welcome to this Learning Resource for Music.

This Learning Resource was developed by experts from the National Commission for Culture and the Arts as a reference to aid you in developing rich, meaningful, and empowering learning in the creative fields. Every effort has been exerted to produce a Self-Learning Learning Resource that incorporates the most fundamental elements and principles of each discipline, while providing a spiraled, scaffolded, and multi-sensory approach to allow you to explore your innate creativity while building discipline and rigor in your chosen discipline.

Each lecture, activity, or reflection here is designed to be meaningful. Each one designed to build from the previous one, and each one with the objective of building up for the next skill or competence. We hope that you will find these activities challenging but empowering, and that your potential as a Filipino artist and Creative is further enhanced and inspired.

These Learning Resources take into consideration the various limitations and challenges brought about by the current situation and provide you with the flexibility to manage content and pace to your individual needs while maintaining standards for creativity, embodying 21^st Century skills, and aspiring towards artistic excellence. Beyond compilations of dry information, these Learning Resources seek to develop Higher Order Thinking Skills of Analysis, Evaluation, and Creation.

If you are planning to use this Resource as a facilitator or teacher, you are expected to guide and orient your learners in the proper and efficient use of this Learning Resource. Most, if not all activities, will entail exploration, investigation, and experimentation, as such it is imperative that you, as the facilitator, establish the guidelines which will allow your students to be creative but within responsible, safe, and academically-sound limits. Your guidance and mentorship is expected and encouraged throughout the learning process.

We look forward to your journey as an artist, MABUHAY!

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INTRODUCTION AND OBJECTIVES

Dear Readers,

In this Learning Resource, two of the basic elements of Music will be introduced, specifically Form and Texture. Various musical concepts and components that will be discussed will enable us to broaden our knowledge in theory and apply it in performance practice, analysis, improvisation, and composition. The topics included in this Learning Resource are continuation of the discussions on Basic Music Theory during the previous grade level.

At the end of this Learning Resource, you will be able to:

• demonstrate how basic concepts on form and texture are used to create music;

• analyze selected musical pieces and identify its form and texture in music;

• perform songs in various texture and form.

The Learning Resource may be used for, and is applicable to, the following DepEd Code:

SPA_MIM8-II-s4

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I. FORM

TOPIC 1

Rondo and Strophic

Strophic is a form in Music that features a stanza or longer phrase that is repeated over and over. It has the same repeating melody but changing lyrics. It can be observed in hymns, traditional ballads, and many other simple or complex types of song.

Suggested Activity:

Perform a strophic song. Here are some songs that you can choose from or use other examples of song in strophic form.

• Sitsiritsit (Filipino Folk) Sitsiritsit, alibangbang Salaginto,salagubang.

Ang babae sa lansangan Kung gumiri'y parang tandang

Santo Niño sa Pandacan Puto seco sa tindahan

Kung ayaw kang magpautang Uubusin ka ng langgam.

Mama, mama namamangka Pasakayin yaring bata Pagdating sa Maynila Ipagpalit sa manika

Ale, aleng namamayong, Pasukubin yaring sanggol Pagdating sa Malabon, Ipagpalit ng Bagoong

• Leron Leron Sinta (Filipino Folk) Leron, leron, sinta, buko ng papaya, Dala-dala'y buslo, sisidlan ng

bunga.Pagdating sa dulo'y nabali ang sanga.Kapos kapalaran, humanap ng iba

Gumising ka, Neneng, tayo'y manampalok

Dalhin mo ang buslong sisidlan ng hinog. Pagdating sa dulo'y lalamba- lambayog. Kumapit ka, Neneng, baka ka mahulog

Ako'y ibigin mo, lalaking matapang Ang baril ko'y pito, ang sundang ko'y siyam

Ang lalakarin ko'y parte ng dinulang Isang pinggang pansit ang aking kalaban

A A A

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• Stille Nacht or Silent Night (Christmas Carol)

• Amazing Grace (Traditional)

• Scarborough Fair (Traditional)

Rondo is an Italian word which means round wherein an instrumental form keeps coming back with a refrain. Musical pieces in this form can exhibit a five-part or seven-part pattern represented by letters ABACA, ACACABA or even ABACADA. Section or part A represents the main theme while part B usually contrasts the first part and part C can be described as an extended or developing section. The seven-part pattern may or may not be symmetrical.

A music map can also show the parts or form of a song or musical piece. Instead of using letters (A, B, C), creativity can be used to show the parts of a composition with lines, shapes, colors, and other objects appropriate to the specific song.

Suggested Activity:

A. Give 1 example of Rondo and Strophic form. Explain what you have heard in the examples that you give by making a music map.

Rondo Form

Title of Piece: __________________________

Composer: _____________________________

Strophic Form

Title of Piece: __________________________

Composer: _____________________________

A B A C A A B A C A B A

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TOPIC 2

Sonata Allegro, Concerto, Theme and Variations

Sonata-Allegro, also called as sonata form or first-movement form, is a large-scale form in Music that consists of three main sections: exposition, development, and recapitulation. The exposition introduces the first subject (A) in tonic key as well as the contrasting or second subject(B) which is in dominant key. It is followed by the development section wherein the material or subject from the exposition is explored through harmonic and textural possibilities. The development usually changes in any key distant to what was introduced in the exposition. The thematic material or subject returns in the recapitulation which is in tonic key. It may end with a coda, or also known as the tailpiece or concluding section.

The table shows the pattern of sonata form. Some analysis of compositions includes exact measure numbers for each section or part.

Exposition Development Recapitulation

A: I (tonic) B: V (dominant)

V or other keys A: I B: I

Suggested Activity:

A. Listen to Mozart’s Piano Sonata in C Major, No 16, K. 545. Analyze the musical piece and identify the 3 sections or parts. Complete the table in analyzing the piece and use the example above as basis. Use the link to listen or scan the QR code.

https://youtu.be/dNbqRC4xtEg

Exposition Development Recapitulation

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Concerto is usually in three movements but there are exceptions depending on the composer and even in era or time. It is a work for solo instruments with the accompaniment of an orchestra that suggests a blending and contrasting combination.

Some concertos have cadenzas heard at the end that showcases the virtuosity of the player.

Theme and Variations is a form that features a repeated theme or material with altered elements in music. The variations can be heard or observed as changes in harmony, melody, rhythm, timbre, and other elements of music. Below are excerpts of Mozart’s 12 Variations on Ah, vous dirai-je Maman K.265. Observe how the theme (tema) changes.

Theme:

1

^st

Variation:

2

^nd

Variation:

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Suggested Activity:

A. Listen to examples of variations and describe each piano piece. The first example is 12 Variations on Ah, vous dirai-je Maman K.265 by Wolfgang Amadeus Mozart and the other one is Variations on Atin Cu Pung Singsing, an arrangement by Agot Espino. Use the link to listen or scan the QR code.

https://youtu.be/8LvN4WV3RtM https://youtu.be/RvwuMCb1hv0

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II. TEXTURE

TOPIC 3

Monophony, Homophony, Polyphony

Monophony can be a single melody without any accompaniment or a unison of various voices. Below is the excerpt of the melody of Bagbagto , a Cordilleran children’s game song about the bountiful harvest of sweet potatoes.

Another example of monophonic music is the Gregorian chant that features single melodic line without any accompanying chordal music, instrument, or orchestra.

Homophony is a melodic line with chordal accompaniment, may it be vocal with instrumental chord accompaniment or solo with accompaniment. Shown below is the same melody of Bagbagto but this time with chord accompaniment.

Some hymns are homophonic or based on chords with parts or voices that move together with almost the same rhythm unlike in polyphonic hymns. Look at the excerpt of the hymn, It is Well with My Soul, by Philip Bliss and is written for voice in four parts.

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IT IS WELL WITH MY SOUL

Phillip Bliss

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Polyphony consists of various melodies that sound simultaneously and are perceived as independent even though they are related. The term polyphony is derived from the Greek word for “many sounds”.

Some songs with the same time signature and key signature can be performed simultaneously which is also called as partner songs. A common example of this is the combination of folk songs Pamulinawen and Leron Leron Sinta.

LERON LERON SINTA

PAMULINAWEN

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Suggested Activities:

A. The texture can also be shown through visual representations. Identify what texture each illustration represents.

1. Vvvv

2. Ggg

3. B. In partners or in groups, perform both Filipino folk songs Pamulinawen and

Leron Leron Sinta. If partners and groups is not possible for online setting, try to

perform both songs and combine the audio or videos.

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LEARNING RESOURCE SPA - MUSIC