TMEG MIDTERM REVIEWER

LESSON 1: Music and Children Objectives

Introduction
- Music has always been a part of man's culture. Throughout history, we can see many
instances where music has a place in our lives. As infants, our parents (especially our
mothers) sang to us lullabies to comfort and put us to sleep. As children, we grew up
listening to songs that taught us about the world we live in-places, people, customs,
things, nature, and events.
- Music also awoke in us feelings, right conduct, faith, values, and noble ideals, such as
nationalism and love of country. To an individual, music can be a cherished personal
possession-it may have a sentimental value. As a collective people. The value of music
may be greatly multiplied-it may unify people toward a common goal, or it may
intimidate and discourage an opposing foe.
- Suh is the wonderful nature of music. Yet, if we look into our current educational system,
why are subjects such as music and the arts always overlooked? Why are these generally
the first to be eliminated when there are budget constraints? There is such a huge talent
pool of young musicians in our country, yet for the most part, this potential remains
untapped. Support for music and the arts are relatively inadequate, considering our
population to be already pegged at more than 100 million. There have been many good
intentions done in the past, but we need to back up those intentions with a clear direction.
We begin by establishing a foundation why music must be integrated into elementary
education and its benefits. In this lesson, we shall also look at music in its different
facets: as an art, a language, and an exact science.

THINK: Music - Why Teach It?

- I am sure that in the past, you have heard many people advocating about the advantages
of teaching music. There have been many researches made in the past, and the literature
is full of examples-from the Mozart effect to increasing test scores and music as a tool for
therapy among others. However, there is one key concept that each music educator must
understand and keep in mind.
- Our primary goal is not to create a future audience who will watch and listen to recitals,
concerts, musicals, and opera productions. We are not bent on training children to be
professional concert pianists, divas, rock stars, rappers, actor-musicians, recording artists,
composers, or the like. We do not expect them to represent our country in international
competitions and bring honor and prestige to our nation (though that would be great). Our
foremost goal is simpler, honest, less ego- centric, yet practical and noble.
Our main goal is to develop in them a love and enjoyment for music-to teach them how to attain
satisfaction whether they may be composers, interpreters, or listeners in teaching music, we
must be able to give children equal and various opportunities for them to be able to experience
music as composers, interpreters, or listeners. Let me explain these three in further detail:
1. Composers-We allow children, as composers, to contemplate and perceive the world
around them, and let them examine both the common and the rare. We do not expect
them to write a full song or a symphony, but we give them chances to improvise and
experiment on creating musical ideas based on what they perceive around them. Young
children. have a naturally "honest," innocent, and unbiased perception (schema) of their
surroundings.
2. Interpreters-The path of the interpreter is usually that of a performer. He/she is tasked to
give meaning and life to the creations of composers. Children can interpret music either
by their ability to "play by ear or by reading musical notation, both traditional and
nontraditional. Since not one human being is alike, a single piece of music may be
interpreted.
3. Listeners- The listener is not to be judged as a passive partaker in the music-making
process. Listeners do not merely enjoy the complementary efforts of the composer and
the interpreter, they are the ones who "evaluate, critique, and try to understand the
message being put forth by the composer and the interpreter. Listeners also investigate
connections between the music, the composer, the interpreter, and many other factors,
such as historical political, and cultural contexts. In a way, listeners also determine
through their reception of a musical piece whether it is a success or a flop.

What is the Mozart effect?

- October 1993, researchers Dr. Gordon Shaw, Frances Rauscher, and Katherine Ky made
a research exposing college students to some of Mozart's plano music before taking
aspatial reasoning test Students who listened to Mozart's munic prior to the test scored
wignificantly higher compared to those who did not. Their research, a one-page article
originally titled "Music and spatial task performance." Was popularized and coined by
the media as the "Mozart effect." Hence the name.
- As we continue working with our young students, we, teachers, should be aware which of
these three paths our students' strengths are aligned and which needs reinforcement. We
must be able to label our learning activities, whether they are oriented toward composing,
interpreting, or listening.
- Life poses many challenging problems, and through music, we can equip our young
students in improving their achievement levels and provide them avenues for using
creative solutions.
Here are just a few of the benefits of music in a child's development:
 1. Music enhances cognitive skills in reading, language development, and proficiency. Early
musical training develops areas of the brain related to reading and language, since music
in itself is also a language, and it requires its own notation to read. Lyrics in songs also
help to retain word usage, grammar, pronunciation, and vocabulary.
2. Music simultaneously activates many areas of the brain. Children learn to perform
various skills all at once when making music such as: listening, staying in tune and
keeping in time, memorizing, imagination to convey a message, using different body
parts, and following instructions.
3. Music improves mathematical and reasoning skills. There is a running joke that most
musicians are quite bad at arithmetic. On the contrary, music employs math extensively.
Where some mathematical formulas remain theoretical ideas, music is very tangible and
can be realized immediately by human senses. Music also teaches reasoning since it
teaches. and searches for meaning through the relationships between notes and groups of
notes which in turn determines what kind of sound/s is/are produced.
4. Music helps in creative thinking. Music, like most other arts, is highly subjective. There
are some aspects of music that are not absolute Children learn that there are many
solutions to arrive at a common answer, or that there may be more than one right answer,
Music also helps in thinking "out of the box.
5. Music helps improve motor skills and coordination. For instance, when playing the piano,
one has to look at sheet music to read the notes, use his/her hands to strike the keys, listen
whether the notes are correct in pitch and rhythm, and press the pedal's with the foot
Activities like these train finer muscle control and coordination between the brain and
various body parts.
Music As an Art, a Language, and a Science
- To be truly effective musicians, we must have a thorough understanding of the nature of
music. No, it does not require us to be virtuosos in a particular instrument-performing and
teaching are two separate worlds. There are those who are good in performing but cannot
teach, while there are some who can teach but cannot perform. Ideally, we must strive to
strike a happy balance between these two. Realistically, especially here in the
Philippines, we earn a living by being proficient enough in both teaching and performing
music, as the opportunity arises. Being able to do both skills can contribute to a more
enriching and satisfying career. In the course of our teaching, we should keep in mind
that music is unique compared to other fields, in that it is an art, a language, and a science
all at the same time.
1. Music as an art - As mentors, we are to guide our elementary students on how to
develop an aesthetic taste for music, since there are some types of music which are not
quite appropriate to be heard by young children either because these might be too
complex or boring or might contain text that are not fit for young listeners' innocent ears,
 there are many ways that music can be enjoyed or experienced as an art, such as: familiar
music
a. A sense of affinity when hearing familiar music
b. An emotional appeal when hearing distinct tunes and how they are arranged
c. A certain detachment for music that is too complex or hard to understand of relate to
d. An awareness in the use of form;
e. A sense of recognition whether music is played accurately, with or without feelings;
and evokes a mental image or stirs up the imagination for an idea being put across by
the music.
2. Music as a language- Since it is a universal language, we aim for children to have the
ability to use music as a means for communication and self expression. This is achieved
through activities that encourage them to compose simple songs and tunes, and also
through listening experiences where they get to understand how others express and
communicate through music.
3. Music as a science - Music is an exact science, and it is important that students, as they
continually progress in their learning, would be familiar with technical concepts, such as
tonality, compound meters, and the like. A lack of awareness of music as a science will
not help in unlocking it being also appreciated as an art. As guides, we, teachers, should
ask questions like: "When does a child need to know that a key signature of three sharps
may either be A major or F# minor?" When does this knowledge became useful for the
child?

LESSON 2 - APPRECIATING MUSIC

Appreciation
- According to Merriam- Webster's Dictionary, the term appreciation means "an ability
to understand the worth, quality, or importance of something, having a full awareness or
understanding of something."
What is Music Appreciation
- To appreciate music means to love it understandingly.
- Glenn (1936) noted that it is an “effort to give music meaning in the lives of children”

Characteristic of Music Appreciation

1. Nurture a desirable attitude towards music.
2. Understanding with enjoyment
3. Create activities where students can learn skills with pleasure.
4. Activities must be tied with a child interest.
5. Recognition of Musical Details.
 6. Diverse Music engagement.
7. Listening Activities Must be always guided.
8. Multicultural Exposure- Expose student to music from different culture.
9. Early Exposure to quality music.
10.Perfection is not always the goal

- The goal of a teacher, students would attain a similar degree of understanding, sensitivity,
and awareness about music.
- Music experiences in class should bring about enjoyment, satisfaction, and
understanding.
Music Appreciation in Education
 Art appreciation courses:
• typically offered in college as general education subjects.
 K – 12 Curriculum
• opportunity to instill music appreciation early.
 Every Music lesson, should be an appreciation lesson.
Outcomes of Music Appreciation
 Intellectual Response:
• Knowledge of Musical Elements.
• (“I know something about that song, it is in E major!”)
 Affective Response:
• Emotional connection and inspiration from music.
• (“I love hearing the chorus of that song, its inspires me to do great things.”)

LESSON 3 – Listening
THINK: Listening as a Refined Aural Skill
We hear music in an almost day-to-day basis.
- personalized phone playlists,
- radio,
- television,
- social media,
- advertisements,
- church services,
 - flag ceremonies,
- birthdays, and other special occasions
- chirping of birds a form of therapeutic music.
The most direct way of "consuming" and appreciating music is to hear and listen to it, since it is
an aural phenomenon.
Difference between hearing and listening
HEARING
 Hearing is mostly passive-we, humans, hear a lot of sounds simultaneously without
paying attention to them.
 It is a basic sensory function, requiring no conscious effort.
Listening
 Listening is a process which actively engages our brains as well as our ears.
 Merriam-Webster's Dictionary defines: "to pay attention to someone or something in
order to hear what is being said, sung, played, etc.”
 It is an active process that involves focusing on and interpreting sounds. It requires
intentional effort and attention.
 It is considered to be one of the four language skills, and music is a language.
In music education, our goal is to train students to be active listeners, helping them connect
what they hear to broader concepts and ideas.
LISTENING TO A MARCH
• How can a drumbeat pattern depict a march?
• How does the drumbeat relate to the movement of the feet?
• Does the tempo reflect a military march or a funeral march?
These are some sample questions that we, teachers, should be prepared to formulate and ask our
students in the course of their music listening sessions.
 When playing music for the class, teachers should guide students to identify musical
elements, understand the relationships between sounds, notes, silence, and lyrics, and
connect these to other concepts like art, math, or events.
 This approach is time-efficient, engages students more than lectures, and enhances focus
and attention.
 When actively listening, asking questions can deepen the learner's knowledge,
understanding, and appreciation of the music.
Here are some sample questions:
1. What musical instruments am I hearing? How many are there? Are these stringed
instruments? brass instruments? wind instruments? percussion instruments?
2. Is it a solo or a group performance?
3. What do the lyrics say? Do the lyrics fit the music?
4. What key is the music written?
5. What is the tempo (speed) of the music? How does it affect the character of the piece? If
it was played or sung slower or faster, how would the character change?
6. How does the music make me feel? What is its general mood?
7. Are there chords used in the piece? Are they in major or minor?
8. Are the lyrics based on a literary work, such as a poem?
9. How does the melody move? In steps, skips, or leaps? Does it stay in one place?
10.Are there places where the tonality modulates to a different key? What effect does it give
to the listener?
11.What is the form or structure of the piece?
12.What is the music's message? Can I relate it to an idea, thing, animal, person, place, or
event?
Using recordings in class can be challenging as students' attention may wander. To keep them
engaged during listening activities, consider these techniques:
1. Be a good listening model
• When listening, the teacher must show that he/ She is engaged whiledoing so.
• Avoid using this time to look at your notes or your lesson plan, or else the students would
notice that you yourself are not listening attentively.
• React to what you hear in the recording. Smile,frown, laugh, and show facial expressions.
• Students copy what they see and observe in their teachers
2. Ask questions and give comments
• While listening to music, you can pause to highlight important sections. These moments
are ideal for asking questions or providing commentary to deepen understanding.
• Before the song continues to the next line, pause the recording and ask the class why the
stanza was repeated. Is it to emphasize a point or create an echo effect? These questions
stimulate critical thinking and subjective reasoning.
 3. Repetition is Key
• Give students ample time to hear details by repeating sections of the recording as needed.
You don’t have to play the entire piece—focus on key parts for study.
• This also ensures that children will not get bored listening to a long selection, or get tired
of waiting for these parts to be heard.
• By fostering active listening, we equip our students with the tools to appreciate the
beauty, complexity, and power of music. This skill will serve them well throughout their
lives, enhancing their enjoyment of music, their understanding of the world, and their
ability to communicate effectively.

LESSON 4 SINGING
Introduction
- It is hard to imagine a child of the 21th century whose preschool environment did not
have any contact with vocal music. The world we live in is a singing world. Media, such
as radio, television, and the internet, bombard us with music, both vocal and instrumental,
on a day-to-day basis. There are games that young children play that incorporate singing.
The chirping of birds, chimes, buzzing of bees, and the sounds from mechanical toys are
also there together with sounds of pets, ticking of the clock, and the singing from other
family members.
- Whether or not the children are able to identify these sounds as music is irrelevant, as
long as these aural experiences have been part of their background. Because of this, we
may safely conclude that most, if not all, children come to school with a little background
on music.
THINK: Singing as an Experiential Aspect to Learning
- Singing is one of the most central activities that must be incorporated in the music
learning experience. It is interesting to note that even other subjects taught at school use
songs for memory reinforcement, understanding, and enjoyment of certain topics.
- Singing offers an excellent means of self- expression and emotional release. It is also
useful for identifying one's set with people, places, events, things, and ideas. In some
cases, we can relate much to the songs that will become the characters in the songs we
sing Filipinos are naturally inclined to music, especially singing The nation has produced
many talented artists, and there is a great love for the activity, as seen with the wide
popularity of karaoke and videokie bars and booths. After a long day's work, we unwind
and bond with our friends through singing, and this gives us emotional satisfaction.
- Singing may have considered to be most important phase of music learning in elementary
school. A wide range of musical concepts and experiences can be attained through
 singing, such as reading notation, dynamics, forms, rhythms, and tempo among many
others. The voice is the instrument that all human beings have and it is readily accessible.
- Singing can also be a way for students to experience for themselves the emotions of other
people, For example, in the course of their learning a song about planting rice (such as
"Magtanim ay Di Biro 1, students get a glimpse of if how tiring and backbreaking job it
is to to work the fields. the They also get to appreciate their own culture more and value
the labor of rice farmers who feed the nation When singing in a group, children learn to
be sensitive and cooperative, responsive to the instructions given to them so that the
group can perform well as a single unit.
It is important to note that we ca cannot train our in our elementary students effectively in
music if we do not have a certain acceptable degree of vocal competency. We, teachers, need
not be accomplished singers or have an exquisite singing tone. But we must possess the ability
to read notes and to sing them correctly, in the right pitch and in the right rhythm. While it
would be ideal for the teacher to be in perfect or absolute pitch, it is alright to utilize tuning
forks, pitch pipes, or any melodic instrument available in the school.
Here are some areas to consider when teaching singing activities:
1. Choosing children's songs. This requires most careful consideration, for we would not want
to damage our students vocal faculties.
A. Teach songs that have simple rhythmic patterns. The difficulty can increase as they
progress.
B. Teach songs that are appropriate for their level of understanding. Basically What this
means is that do not teach Grade 6 songs Grade 3 students.
C. Teach songs that have words or lyrics that are not provocative/suggest double meanings,
which may cause confusion and/or embarrassment, especially to upper grade levels
(Grades 4-1.
D. Consider the breathing lengths of children. Do not expect them to sing long phrases if
their physique cannot allow them to.
E. Consider the range of the songs you are teaching. It is important to evaluate the vocal
range of your students, as the songs you choose might be either too high or too low for
them to sing. Also, take note that their voices change (students' voice ranges in Grades 1-
3 will eventually change as their bodies grow and enter Grades 4-6). You may listen to
recordings to hear for yourself whether or not the voice ranges of your chosen song/s are
applicable to your students.
F. Consider which vocal registers are to be used (either head tone or chest tone).
G. As much as possible, teach a wide range of music from different cultures, but also
emphasize our own traditional and folk Filipino songs, which are sadly falling into
neglect. This will teach our students to learn and preserve their national heritage and
identity.
 H. Select songs that are realistic (based on real life) and also imaginative (fiction), for
variety.
2. Aim for good singing attributes. Here are some goals that teachers should constantly aim
for when teaching songs:
a. Good tone quality
b. Correct speed or tempo
c. Right posture
d. Correct breathing
e. Proper pronunciation of lyrics
f. Correct performance of notated musical symbols
g. Appropriate emotional response
3. Identify which method of learning should be used: by rote or by note. There are two ways
of teaching songs to elementary students, either by rote (that is, by listening repeatedly without
the use of musical notation) or by note (learning how to read musical symbols, such as notes
and rests). Ideally, we should aim to balance between developing the aural and the visual
capabilities of our students.
Usually, rote singing is used for teaching songs that are hard to read. Students are then left with
no choice but to learn them by ear, thus developing their ability to create and recreate music.
There are two ways of teaching by rote:
a. Whole song Approach-This can be used to teach songs which can easily imitated by
children. These are usually short, repetitive and to remember
b. Phrase-by-phrase approach - This approach is used to teach songs which are more
difficult to learn and have to be into sections or phrases.
On the other hand, learning by note incorporates activities such as using sol- fa syllables, which
are more easily associated and assimilated into the aural experience, as these syllables seem to
perfectly "match" the tones they represent. When teaching pitches, it is important that students
not only learn the pitch letters (A, B, C, up to G), but also "experience" them-that is, to sing
them using sol-fa syllables. There is a certain disconnect when singing letters since they do not
correspond that naturally to the pitches as compared to sol-fa syllables, Also, solfeggio
exercises usually do not require children to sing pitches using letters, but in sol-fa syllables.
- Another effective method in note singing is the use of body parts to associate with pitches.
Such is the case when using Curwen Hand Signals, where each hand symbol represents a pitch.
4. Identify the marks of a poor singer. In some of our music classes, there wil be always some
children who are musically inept, who are unable to "carry a tune." It is our duty as teachers to
quickly identify them, so that we may devise strategies to help them improve. We are not to
segregate them from class, for this might affect them adversely. Here are some marks of a poor
singer;
 a. Oral problems. These refer to speech problems that impede speaking or correct
pronunciation.
b. Aural problems. These refer to the difficulty in pitch perception, this is what
happens when a student cannot sing correctly in tune, or the inability to identify
which pitches are high, low, and their relation to other pitches. These require much
ear training and listening exercises.
c. Lack of confidence. This is characterized by stage fright, extreme anxiety, and lack
of voice projection or volume.
d. Memory problems. These refer to the inability to properly commit the lyrics and/or
the music to memory, both cognitively and also in terms of muscle memory.
In the four problems previously stated, the most troublesome to solve would be aural problems.
Here are a few suggestions that may help:
a. Listening exercises that identify between high and low pitches
b. Tone matching exercises where a student should reproduce correctly a given pitch. These
may take a lot of time and repetition. Start with one pitch, then gradually increase the
number of pitches to be matched. Using sol fa syllables is highly recommended.
c. Singing a short phrase, composed of a few pitches only. The number of pitches may be
increased gradually.

LESSON 5 RHYTHM
Introduction
- Rhythm, one of the most important elements of music, is present in our everyday lives-in
nature, in speech, and in how we move. The change of seasons, the daily schedules we
have, the day and night cycle, and the ebb and flow of tides are just but a few examples
which remind us of the presence of rhythm.
- Every person has certain sensitivity to rhythm- it may be active or dormant. Just listen to
your heartbeat and you would know everyone has rhythm in them.
THINK: Experiencing Rhythm and Tempo
- Rhythm is a regular, orderly recurrence of sound and lance, the aspect of music that
gives forward movement. In music, the value of rhythm is of utmost importance together
with tempo, which dictates how slow or how fast these rhythms are to be realized. These
two concepts are usually always closely connected to each other. It is evident that
children have an innate love for motion as seen in their interest in games play, and other
physical activities. Rhythm and tempo offer a lot of opportunities that lend not only
musical understanding, but also enjoyment for elementary students.
 - As music teachers, we have to create avenues for our students to tangibly experience
rhythm, for it is one of the fundamental factors of life. In music, rhythm contributes to
learning through these ways:
1. Rhythm helps develop a child's imagination and in expression of feelings and thoughts,
especially through bodily motions.
2. Rhythm helps build muscular control and coordination Generating a physical response is
the proper approach to teaching rhythm. Body motions used in activities must have an
initial emphasis on big motions (children must first learn how to coordinate bigger
muscles before smaller muscles).
3. Rhythm develops pattern identification skills and helps create meaning when a student
sees or hears these patterns on a piece of music.
4. Rhythm can aid children experience how to work and perform cooperatively with others.
Here are some body motions that teachers may incorporate in teaching rhythmic activities:
1. Clapping the beats of a melody or rhythmic pattern
2. Walking or marching
3. Skipping, hopping, or jumping
4. Running
5. Pushing and/or pulling
6. Stretching
Here are some general goals that must be achieved when doing these activities:
1. Identifying pulses or beats, and also which beats are strong and which are weak.
2. Identifying slow from fast motions, and the ability to do them either fast or slow,
3. Alertness in doing physical responses.
4. Understanding the form and interpretation of music.

LESSON 6 – MUSICAL CONTENT ON MELODY

ACCIDENTALS
- These are signs written to either raise or lower a pitch by a half step or a whole step.
FIVE COMMONLY USED ACCIDENTALS
1. SHARP ♯
2. FLAT ♭
3. NATURAL ♮
4. DOUBLE SHARP 𝄪
5. DOUBLE FLAT 𝄫
SHARP
- Is used to raise a pitch one halF step. A sharp symbol (♯) is written before a note or
pitch. The effect of a sharp is good only for one measure.

FLAT
- Is used to lower a pitch one half step. A flat symbol (b) is written before a note or
pitch. The effect of a sharp is good only for one measure, unless it is written in the key
signature (the area between the clef and the time signature) that denotes what key a piece
of music is in.

E or MI
E flat or MI flat
HOW TO PLAY E (MI) TO E-FLAT ON A KEYBOARD

NATURAL
- natural ( ♮) cancels a flat or sharp from either a preceding note or from the key signature.
ENHARMONIC EQUIVALENCE
(C=D, D=E, F=G, G=A, A=B).
- When two notes sound the same but are written as two different notes on the staff.
Black keys (C=D, D=E, F=G, G=A, A=B).
White keys (C=B, E=F, D=C, etc.).

• Double sharp
• Double flat
DOUBLE SHARP
- Double Sharp- raises a pitch by one whole step or two half steps to the original note.
DOUBLE FLAT
- Lowers a pitch by one whole step or two half step.
CORRECT AND INCORRECT WAYS TO DRAW ACCIDENTALS.

MUSIC SHEET

LETTER

INTERVALS
- Intervals - Basically, it is the distance relationship between two pitches. Intervals may be
melodic (that is, the two pitches are sounded separately, one after the other) or harmonic
(when two pitches are sounded together simultaneously).
The intervals between pitches in a melody gives us an idea about its pattern and contour.
These are determined by the interval used, whether there are steps, skips, or huge leaps between
pitches. We can draw a line graph of melody's shape to see how it moves.
The image below is an example of melodic intervals, where pitches are played separately. In
the image, we can see that contour of the three-note figure continuously goes down and is made
up of two skips. The interval between the first and the second pitch is a skip; a 4th down while
the interval between the second and the third pitch or note skips a 3rd downward.

The image below is an example of harmonic intervals the same notes, where pitches sound
altogether at the same time.
To better understand intervals, we should review the concept of whole steps and half steps. We
will be able to clearly understand this by looking at the piano keyboard image below. A half
step also called semitone; is the distance between two immediately adjacent keys, whether
black or white. A whole step or a whole stone is an interval made up of two semitones.

The picture below shows that a half step can also occur between two white keys, such as in the
case of number 7:B to C(Ti to Do) and number 8:E to F(Mi to Fa)
LESSON 7 – ON TEACHING MELODY
THINK: Points to Ponder When Teaching Melody
Setting Goals
- It is important to set specific goals or objectives for each music lesson. However, the
teacher should also be ready to be flexible as the pacing of the class might be different
from his/her initial expectations.
On the Procedures
- Now that we are aware of the content topics within the scope of melody, let us proceed in
the next step: the procedures. When writing a lesson plan, you may divide your
Procedures section into two: ffl) Direct Instruction and ff2) Exercises and Activities.
1. Direct Instruction- This is the part where you basically give a lecture to the class, explaining
facts, ideas, concepts, and principles: Mostly, it is a one-way flow of communication, from the
teacher to the student, but questions from the students must also be entertained and answered.
Answers to student’s questions may be delayed if the answer can be more fully appreciated and
understood through the context of an accompanying activity, which is the next part.
2. Exercises and Activities- This is the part where students can engage more deeply with the
musical concepts as they get to experience these tangibly Music is a living subject, and there
are many activities that can be utilized in a lesson, such as the following:
a. Listening
b. Reading ff either standard notation or alternate symbols)
c. Imitating ff recreating)
d. Responding
e. Creating ffcomposing)
f. Performing ffincludes movement)
g. Analyzing
h. Applying
i. Evaluating
It is important to note, however, that Exercises and Activities need not always be done after the
Direct Instruction; sometimes, it can be done first, depending on the discretion of the teacher
and the applicability to the content.
Sample Activities for Learning Content Related to Melody
The following activities may be used or may serve as a guide for other possible activities when
teaching topics pertaining to melody
1. For identifying pitches or sounds whether they are high or low (For Grades 1 And 2)
Activity: Determining high and low sounds.
Procedure: Use recordings of sounds found in the environment and let the students listen,
analyze, and categorize whether these are high-pitched of low-pitched sounds. Use of
colorful visual aids will be helpful. For example:
 Rumble of die Bus Engine
 Squeaking Mouse
 Waterfall
- After letting the children hear these sounds from the environment, let them listen to
sounds of different musical instruments. You may again use recordings or actual
instruments, if these are available. On the board, you may draw a wavy line to represent
the sea. Prepare drawings of a bird and a available for teaching music. A guitar may also
be used, but a piano is preferable as a tool for instruction since it is easier to see and teach
pitches and intervals through a piano keyboard instead of guitar frets. A good alternative
is to download and use smartphone piano apps for teaching music.
- Firstly, it is imperative that the teacher gains a familianty of the keyboard geography of a
piano. He/she has to listen well to the pitch produced by each piano key as he/she inputs
 it in the smartphone and teach these to the students accordingly whether it is a do fa, mi,
or sol), Intervals, both melodic and harmonic, can also be taught this way.
- The teacher may connect his/her smartphone to an amplifier or speaker, so that the whole
class may hear the lesson. Lastly, a visual aid such as a drawing of the piano keyboard
shown on the blackboard or at the front of the class can greatly help since the teacher can
point out the pitches or intervals simultaneously as they are being played through the
smartphone app.
Considerations for Materials Used
Some indispensable materials are to be used quite extensively when teaching melody. These
are the following:
1. Audio Recordings/Videos
2. Visual Aids-posters, stickers, illustrations
3. Musical Instruments-both standard and improvised fffound in the classroom)
Considerations for Evaluation
- Ideally, evaluations may be done through observation and/or actual musical performance
of the students, rather than giving them written quizzes or exams, though these may also
be used sometimes. For melody, the foremost considerations when evaluating
elementary students are the following:
1. Students can recognize whether a melody goes up or down and can compare which
pitches are higher or lower in relation to other pitches.
2. Students can imitate a pitch or a series of pitches correctly by either singing or humming
it.
3. Students can partially transpose familiar songs into C, F, or G major ffdoes not have to be
a complete song).
4. Students can tell whether a piece or song is in a major or a minor key.
Other Considerations
- It is also beneficial to incorporate a "Closure" section in our music lesson plans. This is
usually done at the tail end of a lesson-where the teacher gives praise, encouragement,
and affirmation to the students. This is to put value in the students' efforts when
participating in the music activities in class.

LESSON 8 - MUSICAL CONTENT ON RHYTHM AND TEMPO

Tempo and rhythm are fundamental elements in music that dictate the pace and timing of
musical compositions.
Tempo refers to the speed at which a piece of music is performed, setting the overall mood and
energy of the music, whether it's fast and lively or slow and melancholic.
Rhythm, on the other hand, is the intricate pattern of beats and accents that create the heartbeat
of a song, giving it structure and groove, and often serving as the driving force behind musical
movement.
1. Rhythm - is the placement of sounds in time, in a regular and repeated pattern.
2. Meter -rhythmic pattern constituted by the grouping of basic temporal units, called beats,
into. regular measures, or bars
a. Simple Meter- meters in which the beat divides into two, and then further subdivides into
four.
b. Compound Meter- Compound meter in music is a time signature that divides the beat into
groups of three or more smaller, equally spaced subdivisions. Unlike simple meters,
which divide the beat into twos (such as 2/4 or 4/4), compound meters use time
signatures like 6/8, 9/8, or 12/8.
c. Duple Meter - refers to a time signature or rhythmic pattern where each measure is
divided into two beats. It's characterized by a strong emphasis on the first beat and a
weaker emphasis on the second beat. Common time signatures for duple meter include
2/4, 4/4, and 6/8.
d. Triple Meter is a time signature or rhythmic structure where each measure is divided into
three beats. This means that you'll typically hear a recurring pattern of three strong beats
or accents in each bar of music.
e. Quadruple Meter- is a time signature that organizes musical rhythms into groups of four
beats per measure. Each beat in quadruple meter is typically subdivided into two smaller
beats, creating a strong emphasis on the first beat of each measure.
Downbeats -In quadruple meter in music, downbeats refer to the strong, accented beats within a
measure. Quadruple meter has four beats per measure, and the first beat is typically the
strongest, or the "downbeat." It provides a sense of stability and marks the beginning of each
measure.
Upbeats -In music, "upbeats" in quadruple meter refer to the weak beats within a measure.
Quadruple meter typically consists of four beats per measure, with the first beat being the
strongest (the downbeat) and the third beat also having some emphasis.
3.Ostinato - refers to a repeating musical motif, phrase, or pattern that is played or sung
repeatedly throughout a composition. It serves as a persistent and unchanging foundation, often
in the background, while other musical elements like melody, harmony, or rhythm evolve
around it.
Different Notes and Their Time Values
a. Whole note a musical note equal to one measure of four beats
RHYTHM
Grades 1, 2, and 3:
- Difference between Sound and Silence
- Steady Beats
- Simple Rhythmic Patterns
- Ostinato
For Grades 4 and 5:
- Notes and Rests
- Rhythmic Patterns
- Meter and Simple Time Signatures
- Ostinato
For Grades 6:
- Same content as Grade 4 and 5, with me addition of time signature
TEMPO
For Grades 1 and 2:
- Speed of Sound it Music
- Difference between Slow and Fast in Music
For grade 3:
- Same content as Grades 1 and 2, with the addition of conducting gestures
For Grade 4:
- Tempo Markings: Largo and Presto
For Grades 5 and 6:
- Tempo Markings: Largo, Presto, Allegro, Moderato, Andante, Vivace, Ritardando and
Accelerando

Now, let us review some important musical concepts under Rhythm:

1. Rhythm - is the aspect that covers the flow and movement of music as ordered in time.
2. Meter- is a repeating pattern of strong and weak beats. Meter can be categorized between
simple and compound.
a. Simple Meter- is the type of meter wherein each beat in a measure of music can be naturally
divided into two equal parts.
b. Compound Meter- is the type of meter wherein each beat in a measure of music can be
naturally divided into three equal parts.
The common types of meter used are: duple, triple, and quadruple meter.
a. Duple Meter- is the type of meter where beats are grouped in twos.
The best example of this is a march, reflecting the movement of our two feet. See
the following example: ONE TWO, ONE TWO, ONE TWO; or left right, left right
1 2 1 2 1 2 (There is a natural strong accent on beat one; beat two is the weak beat)
b. Triple meter - is timе tуре от meter where beats are grouped in threes.
An example of song that uses this meter is "Bahay Kubo". ONE TWO THREE,
ONE TWO THREE 1 2 3 1 2 3 (there is a natural strong accent on beat one, while
two and three are both weak beats)
c. Quadruple Meter- is the type of meter consisting of four beats.
An example in the Christmas song "hark the Herald Angels Sing" ONE TWO
THREE FOUR, ONE TWO THREE FOUR 1 2 3 4 1 2 3 4
(One and three are the strongly accented beats, while two and four are weak beats. Note: Beat
one is slightly stronger than beat theme, even if both of them are considered strong beats)
Downbeats and Upbeats
- A downbeat is the first beat in a bar or measure of music, and usually has the strongest
accent.
- An upbeat is the last beat in a previous bar of measure of music that immediately follows
a downbeat, in the me quadruple meter example above, the first beat is the downbeat,
while the fourth beat is the upbeat.
Ostinato- is a short consistently repeated pattern found all throughout a piece of music or in
one of its sections. It may be melodic or rhythmic in nature. In a melodic or ostinata, sometimes
the pattern and/or pitch is slightly changed for variation.
Different Notes and Their Time Values
- Notes are symbols that depict how high or low a musical pitch is, and also its duration.
Time Signature
- It is a sign placed at the beginning of a musical composition to indicate its meter. It is
made up of two numerals. A common mistake is to consider these two numerals as a
fraction, for it is not. The upper number indicates how many beats or counts there are in
one measure, while the lower number tells what kind of notes (whole, quarter, half,
eighth, etc.) receives one beat.
Conducting Gestures
- Conducting with the hands is important to ensure that performance sing or play together
in time and to donate what meter or time signature a piece of music is of. Look at the
following illustrations for the different gestures when conducting different time
signatures.

Narca, Gina Oheman, Albert

DEFINITION OF TERMS
Aural- People who are aural learners, learn best through listening to information and
conversation, as well as when listening to music.
Crescendo- is an Italian word derived from crescere which translates to "to grow"
Decrescendo- a gradual decrease in volume of a musical passage.
De Capo- It is an Italian words that mean "from the beginning"
Dal Segno- It is the Italian word meaning "form the sign"
Multiple Melodic Line- the simultaneous combination of two or more tones or melodic lines.
Octave-an interval whose higher note has a sound wave frequency of vibration twice. that its
lower note.
Rondo- is piece that begins with a refrain (an A section) that alternates with episodes (B and C)
Single Melodic Line-musical texture made up of a single unaccompanied melodic line.
Strophic-songs that repeat the same basic multi-phrase unit throughout.
Triad- consists of three notes stacked in consecutive thirds
Unison- are playing exactly the same notes or the same melodic line
LESSON 9 - On Teaching Rhythm and Tempo
Considerations When Teaching Rhythm and Tempo
1. Rhythm can be tangibly realized, that is, it can be experienced and heard.
Engage your students by letting them hear sound recordings of rhythmic patterns if
possible. You may also do bodily movements that the students can imitate, such as
clapping, tapping, or using readily available materials inside a classroom.
2. Be realistic in setting goals. Young children are sometimes clumsy, and their
motor skills are not that refined yet. Be patient as rhythm can be quite frustrating at
times to teach. When teaching about rhythmic patterns, do examples very slowly,
gradually increasing the speed as the children get better.
3. 3. Listen! Be sure that when teaching rhythmic patterns, you are setting the right
example: correct and consistent. Students will sense that you do not know what
you are teaching if you cannot perform or act out what you say. Be quick to
intervene when students make a rhythmic mistake.
4. 4. Always be ready to answer students' questions. Be honest as well. If you do
not know an answer to a particular question, tell them that you will research about
it first. Do not pretend that you know something that you don't, especially in music
since it is an abstract art form; your students might get confused and misinformed.
Always consult references such as musical dictionaries or websites, or ask people
who are an authority in music or who have gained some substantial musical
experience.
5. When teaching the time values of notes and rests, sometimes it is hard to
understand how the concept of 1/2 beat or 1/4 beat mean. To illustrate this, use
syllables or words to subdivide the beat.
EXAMPLE:

In the image above, we can see eighth notes in pairs. An eighth note's value is 1/2 of a beat. We
use the word "and" to represent one half of a beat. This particular example is in 4/4 time
signature.
In the picture above, we can see consecutive sixteenth notes in 3/4 time signature. The main
beats are shown in large numbers. A sixteenth note is 4 a beat, and to show this, we divide a
beat into four equal parts. To demonstrate this, say the main beats (large numbers) loudly and
with emphasis, while the subdivided beats (small numbers) softer. You may also use different
syllables. such as: "1-ta-da-da, 2-ta-da-da, 3-ta-da-da" or other suitable syllables. You may also
assign a body gesture such as a clap or a stomping of the feet to go along with the main beats to
reinforce the steadiness of the rhythm.

Sample Activities for Teaching Rhythm

1. Listening for Steady Beats (For Grades 1 to 3)
• A good way for students to understand this concept is to let them place their hands on
their chests, feeling the consistency of their own heartbeats. If there is a way they can
 listen to theirs or their classmates' heartbeats, the better. Other sounds that students may
listen to for this activity are the following:
-Ticking of clock
-Walking Feet
-Stethoscope
2. Echo Clapping and Body Percussion (For Grades 1 to 3)
• Before doing this exercise, be sure to give a direct instruction (short lecture) about the
difference between sound and silence, and also about the concept of steady beats.
• First, you may ask the students to listen to the teacher (you) as you clap a short and
simple rhythmic pattern. After that, ask the students to imitate the pattern you just did.
Start slowly, then gradually increase the speed and the difficulty of your rhythmic
patterns. This way, the students will develop their aural (listening) ability.
• Another way of doing this is using visual aids representing beats where they should clap
and beats where they should be silent. Do not use musical notation yet, instead use
drawings or icons that represent pulse and rhythm.
3. Using Rhythm Flash Cards (For Grades 4 to 6)
• Once you have explained the different notes, rests, and their respective time values, a
good way to practice the students' counting and coordination skills is to use random flash
cards that present a rhythmic pattern that they may clap, tap, or sing.

TEMPO
• Tempo is the speed at which a piece of music is played, usually measured in beats
per minute (BPM). It dictates the pacing of the rhythm and contributes to the mood
and intensity of the music.
• Tempo affects the emotional tone of music.
• Standard Tempo Markings: From very slow (Largo at 40-60 BPM) to very fast
(Presto at 168-200 BPM), different tempos create different effects. For example, a
slower tempo may feel more reflective, while a faster one adds energy and
excitement.
• Tempo is often manipulated within pieces to create tension and release.
Accelerando (speeding up) and ritardando (slowing down) are two techniques
used to add dynamic interest.
Relationship Between Rhythm and Tempo
 • Rhythm and tempo work hand-in-hand. Tempo gives structure to rhythm, and
rhythm defines how that tempo is articulated. A steady tempo ensures that rhythm
maintains cohesion, while the variety of rhythmic patterns adds complexity to a
fixed tempo.
Sample Activities for Teaching Tempo
2. Modified Dance Freeze (applicable for Grades 1 and 2)
- Is a simple activity wherein the teacher manipulates the playback speed of a music
recording.
3. Conducting Gestures (applicable from Grades 3 to 6)
- When teaching conducting gestures, it is advised to demonstrate them first in front of the
class. Do the gestures slowly, saying out the beats loudly (1, 2, 3, 4, etc.) as you conduct.
When conducting, it is important to note where the strong beats are.

LESSON 10 - Musical Content on Timbre

THINK: Overview and Review
- First, it would be helpful to get an overview of content topics under this musical element.
Presented below is an outline prepared for you and is based on the current version of the
Department of Education's (DepEd) Curriculum for Music:
Timbre
For Grade 1:
Quality of Sound in Music
- Difference between Speaking and Singing
For Grade 2:
Quality of Sound in Music
- Introduction to Voice Production Differentiation in Sound Quality Introduction to
Musical Instruments
For Grade 3:
- Voice Production Techniques
- Variations in Sound Quality
- similar
- Different
For Grade 4
-Variations of Sound
a. Instrumental
b. Vocal
For Grade 5:
Vocal and Instrumental Sounds
Basic Voice Range Classifications:
a Soprano b. Alto c. Tenor d. Bass
Aural and Visual Identification of Instruments in:
d. Drum and Lyre Band
e. Rondalla
f. Native Bamboo Orchestra ("Pangkat Kawayan")
For Grade 6:
Introduction to instruments of the Western Orchestra
- Now that we have attained a bird's-eye view of what content topics are supposed to be
taught, let us refresh and review some musical topics that may be abstract or a little
difficult to understand.
Timbre
- also known as tone color, refers to the character of a sound that differentiates one
musical instrument or voice from another. It gives a certain identity to a musical
instrument. Music may be divided into two major categories that which is produced by
our own bodies, exemplified by the voice (vocal music); and music that is produced by
playing instruments (instrumental music). In both of these categories, music may be
played in different ways such as the following:

a. Solo
- The word "solo" means "alone" in Italian. It is a musical composition for a single
instrument without accompaniment, or a work wherein a single instrument or voice is
featured eminently throughout, even with accompaniment.
- Accompaniment is the background music that supports a principal part or parts. Let us
look at the image below to understand more clearly what this means:
The example in the image is the Filipino kundiman, "Mutya ng Pasig." by Nicanor
Abelardo, written for voice and piano. The voice is the solont while the piano is the
accompaniment, supporting the vocal line. In the image above, the soloist's line begins in the
second system, labeled "Canto an Italian term for the song. The piano plays alone during the
first five measures of the piece, giving an introduction.
 b. Duet
- Basically, it is a musical composition written for two parts or two prominent parts
supported by an accompaniment.
c. Trio
- It is a musical composition written for three parts, either for voice or instruments
d. Ensemble
- It is a musical composition written for a relatively large group of performers. Some
examples of ensembles are choirs, orchestras, and bands However, small musical groups
of four or five people may still be considered as an ensemble.
Voice Range Classifications: Soprano, Alto, Tenor, and Bass
Here are the four most common classifications which denote a person's voice range.
a. Soprano
- It is a type of human voice with the highest pitch, usually possessed by women, though
there are some boys who are classified under this type in their younger years, but change
as they grow and mature. In a SATE (Soprano, Alto, Tenor, and Bass) choir setting, it
is the topmost voice.
b. Alto
- Also called contralto, it is a low female voice. In an SATB choir piece. It is the second
highest part.
c. Tenor
- This range is the naturally highest occurring type of voice in adult males
d. Bass
- This is the lowest sounding male voice.
In reality, there are more voice range classifications, such as the baritone, mezzo soprano, bass
baritone, and lyric soprano, but for elementary students, the four above mentioned will suffice.
Identifying Ensemble Instruments
- In this section, we will discuss and take a look at different musical ensembles and the
instruments that comprise them.
1. Drum and Lyre Band - Also called a drum and lyre corps, it is a type of Filipino
marching band that was derived from the drum and bugle corps, for reasons of it being more
economically feasible to maintain and organize.
- It is made up primarily of two sections: the lyre section, which plays the melody, and the
drum section, which functions as the accompaniment part. Usually made up of around 3ff
to 4ff members, a drum and lyre corps also has a complementary color guard, members
(majorettes) who carry and represent a group or institution's flag and/or other symbols
and emblems. Instruments found within this band are the following:
 a. Lyre - Also called bell lyre, it is a portable percussion instrument where a set of tuned
steel bars are hit by either metal or wooden mallets
b. Snare Drum- It is composed of a cylinder-shaped shell with two heads usually made out
of wood or metal. This shell has two heads, the bottom part outfitted with gut wires or
strings called snares that run parallel to one another. The upper head, also called the
batter head, is usually struck with wooden sticks.
c. Tenor Drum- A deep cylindrical drum, it is struck with felt-headed or side drum sticks, It
is not outfitted with snares. It is also called a long drum.
d. Bass Drum- Also consisting of a cylindrical shell with two heads, this drum is bigger,
around 36 inches in diameter and 16 inches deep
e. Cymbals- Usually held by hand in pairs, these instruments provide loud, occasional
accents while marching. These are broad circular plates with a small bump or boss in the
middle. Cymbals are usually made of tin and copper alloy.
Instruments of the Drum and Lyre Band:
- Bell Lyre
- Snare Onan
- Bass Drum
- Tenor Drum
- Crean Cymbals.
4. Rondalla - Originating from Spain, it is an ensemble (performing group) that was later
customized and transformed to fit Filipino culture. Also called the Filipino "stringed
band," these groups play a wide range of repertoire, from folk modern, and even foreign
classical music. These are mostly transcriptions of other vocal and instrumental
compositions. The usual instruments found within a rondalla are the bandurria, laud,
octavina, guitar, and double bass.
Rondallas are found throughout the country, especially in many public schools.
a. Bandurria- It is a small stringed instrument derived from the quitar, has six courses
(strings in pairs) of metal strings, tuned into fourths Usually, it plays the top (treble) part.
It is played by using a small pick or piece used to pluck a stringed instrument, usually
made of plastic, metal, ivory, or a shell.
b. Laud-Similar to the bandurria, this plucked instrument is also tuned in fourths, but is
pitched one octave lower. It is relatively bigger than the bandurria.
c. Octavina It has a shape almost exactly like the guitar, but has a set of 14 strings. This
plucked instrument shares the same tuning as the laud.
d. Guitar - Plucked either with or without a plectrum, the guitar has six strings, a single
open round sound hole, a slightly curved back, and sides in the figure of a waist. It is one
of the most widely used and popular musical instruments.
 e. Double Bass - Also called contrabass, it is the largest of the bowed string instruments
and has the lowest pitch, it is related to the violin viola, and cello, it can be played either
by plucking or with a bow
Instruments of the Rondalla:
- Banduria
- Laud

5. Native Bamboo Ensemble ("Pangkat Kawayan") - It is a unique Filipino performing

group or ensemble that uses nontraditional bamboo instruments, sourced locally. Also
known as the "Singing Bamboos of the Philippines." this group is composed of
musically talented elementary students from Manila and Quezon City. It was founded on
September 6, 1966. The instruments this group uses are the bamboo tube or
"bumbong," the bamboo marimba or "talungating, the bamboo piano or
"tipangklung," the bamboo flute or "tulall." the bamboo knockers or "kalatok," and
the bamboo musical rattles or "angklung."
Instruments of the Native Bamboo Ensemble:
- Kalatok
- Talungating
- Bumbong
- Argung

4. The Western Orchestra- The modern orchestra is divided into several sections, namely: the
strings, the woodwinds, the brasses, and the percuesion A conductor usually leads an
orchestra. The term "orchestra" is of Greek origin, which referred to the area directly in front
of the stage in concert halls theaters, and other performance venues Strings Section The
instruments of this section produce sounds by either bowing or tight strings attached to a hollow
resonating box that amplifies the sound. plucking
a. Violin - A stringed instrument that is commonly bowed but may also be plucked, it has a
hollow, resonating body made of wood with an attached neck and peg box. Its
fingerboard, just like all the other instruments in this section does not have frets. It has
four strings and is the highest-pitched member d this section. It can be played. either as a
solo or an ensemble instrument.
b. Viola - Slightly larger than the violin, it is the second highest- pitched member of the
violin family. Music for the viola is usually notated in the alto clef and s four strings are
tuned a fifth below that of the violin.
c. Cello Also called violoncello, it is the second lowest-pitched of the bowed string
instruments and possesses a deep, rich tone in its low register. Due to I size, the cello is
played between one's legs. It has a lower range than the viola.
 d. Double Bass - Also called contrabass, it is the largest of the bowed string instruments
and has the lowest pitch and range. It can be played either by plucking or with a bow.
Woodwinds Section
The instruments of this section were initially constructed out of wood, but today some of them
are made out of metal. Blowing wind into a tube sets up vibrations that in turn make sounds.
a. The flute is a long, slender, cylindrical shape instrument wherein the player blows
through a side hole. It is held horizontally. Its timbre is usually gentle, light, and airy, but
can also stand out clearly when played in a higher register.
b. Clarinet Sound is produced by blowing into a reed (a small piece of cane) which
vibrates. Slightly conical in shape, it is usually made of ebony, Its timbre is rich and
flexible, clase to the sound of a human voice.
c. Oboe Just like clarinet, the oboe uses a reed, but in this case, it has a double reed.
Blowing air into an oboe is relatively harder since a player has to force air between two
reeds which are lashed together. Because of this, the oboe has a crisp and focused sound.
Before a performance, the oboe usually gives the standard tuning pitch (A or Lal to the
entire orchestra.
d. Bassoon-Another double reed instrument, the bassoon is a low-ranged woodwind, bigger
and longer than the other woodwind instruments. Its bore is folded in the middle to
reduce its lengthy exterior dimensions.
Brass Section
- Brass instruments tend to be the loudest of the wind instruments. To produce a sound, the
player blows into a small metal mouthpiece which makes the lips vibrate. This vibration
sets up vibrations inside the brass tube.
a. Trumpet-It is the instrument with the highest range in this section. It has a bright and
powerful tone, It is usually used in martial or military themes. Pitches are controlled by a
valve that either connects or disconnects the main tubes with the secondary tubes.
b. French Horn-It is lower, mellower than the trumpet. Its tube is coiled into a somewhat
circular fashion, which gives it its distinct shape.
c. Trombone Instead of using a valve like the trumpet and the French horn, the trombone
uses a sliding mechanism to produce and control pitches. The trombone has a lower range
than the trumpet
d. Tuba-Having a low register, this instrument usually is the foundation for the brass
section. It is less flexible than the other brass instruments.
Percussion Section
- Percussion instruments produce sound by striking or hitting them with wooden or metal
mallets or sticks. Some percussion instruments have a definite pitch, such as the
 timpani, xylophone, tubular bells, and marimba, while others have indefinite pitches
like gongs and drums.
a. Timparii or Kettledrums-These are large drums that are capable of being tuned into exact
low pitches or sounds. These are usually played in groups of two or three. Specialized
drumsticks called timpani sticks or timpani mallets are used in hitting the drumhead to
produce sounds.
b. Glockenspiel-Related to the lyre, this instrument has small steel bars that when struck,
produce a brilliant, penetrating sound.
c. Celesta-Not played with sticks or mallets, the celesta has a keyboard and is played
similarly like a piano, though it is smaller in size. It produces a delicate, metallic sound.
d. Marimba-Usually mounted on stands, a marimba is played like the xylophone in that it is
struck with mallets. It is originally an African instrument. It has resonators under each of
its bars.
e. Triangle - It is a small handheld triangular instrument made of metal that gives a bright,
sparkling sound when struck.
f. Snare Drum It is composed of a cylinder-shaped shell with two heads, usually made out
of wood or metal. This shell has two heads, the bottom part outfitted with gut wires or
strings called snares that run parallel to one another. The upper head, also called the
batter head, is usually struck with wooden sticks.
g. Tenor Drum-A deep cylindrical drum, it is struck with felt-headed or side drum sticks. It
is not outfitted with snares. It is also called a long drum.
h. Bass Drum-Also consisting of a cylindrical shell with two heads, this drum is bigger,
around 36 inches in diameter and tti6 inches deep.

LESSON 11 - ON TEACHING TIMBRE

Posts 10 Ponder Wien Teaching Timbre
The following are several questions that an elementary music teacher has to think about before
teaching lessons pertaining to timbre:
1. How do I teach the difference between speaking and singing? (For Grade 1)
- One activity that you may do is to find an example of a song based on a poem. A good
example would be nursery rhyme songs like "Humpty Dumpty." Let the students recite it
first as a poem, then afterward, let them sing it as a song. Afterward, you may ask them to
describe the similarities and the differences between speaking and singing, such as the
construction of phrases and sentences and how they are delivered when singing and when
speaking.
2. How do I teach different qualities of sound? (For Grades 1 to 3)
- Choose an easy song that the students are familiar with Ask one student to sing a small
part of that song. Afterward, ask another student, then another to sing the same part of
that song. While each student sings instruct the entire class to listen and to compare the
 qualities of the voices of each of their classmates who sang the song. Each student voice
is different, so they will have to come up with different adjectives to describe their
classmates voices. Encourage them to use a wide array of words or ideas. Another
activity that you may use is to play a recording of different sounds found in the
environment.
- As you play each track or recording, let the students guess what it is. It can be the sound
of an animal, a thing, a person, or an event. You may also ask them to draw or create a
visual representation of the sound they heard. If crayons are available, let them color it as
well. After that let them present their artworks to class. This can be called a "Listening
Game." Young children are fond of imitating things they see or hear. List down a thing,
an animal, or an idea and let the students act out sounds appropriate for each example you
give. If they can perform the sound together with bodily movements, it would be better.
3. How do I present the topic ghout different musical instruments? (For Grades 4 to 6)
- As always, when introducing musical instruments to the class, ideally, the teacher has to
prepare audio recordings along with visuals or pictures of the instruments being taught.
Play the recordings frequently so that the students can take note of the differences
between the instruments. Ask them also to describe the sounds that each instrument
produces, and what makes each of them unique. If some of the instruments are available
at school, then bring these to the class so that the students can have a hands-on
experience with these.
4. How do I teach them about the differences between SATB (Soprano, Alto, Tenor,
Bass) voices? (For Grade 5)
- Recordings may be used to differentiate these voice classifications. If the teacher can find
an audio or a video recording of a duet between two female voices (such as the Flower
Duet of Leo Delibesff opera "Lakme"), it would be a great listening exercise so that the
students can hear which voice sings the upper line (Soprano) and which sings the lower
line (Alto). Do the same procedure to differentiate between Tenor and Bass voices.
Afterward, the teacher may use a recording of a full SATB choir for the students to listen
to.

LESSON 12- Musical Content on Harmony and Texture

THINK: Overview and Review
- First, it would be helpful to get an overview of content topics under these two musical
elements. The following outline has been prepared for you to already know what to
expect.
Harmony
For Grade 4:
- Simultaneous Sounding of Two Tones or Pitches
For Grade 5:
- Introduction to Major Triads
For Grade 6:
- Primary Chords Harmony in Group Performances
Texture
For Grades 1 and 2:
- Thickness and Thinness in Music
- Difference of Single Melodic Line versus Simultaneous Occurrence of Multiple Melodic
Lines
For Grade 3:
- Same content as Grades 1 and 2, with the addition of two-part rounds and partner songs
For Grade 4:
- Difference between Ostinato and Descant
For Grade 5:
Densities of Musical Sound:
- Three-part Vocal or Instrumental Texture
- Three-part Round Songs
For Grade 6:
Variations in Texture:
- Monophony
- Polyphony
- Homophony
Now, let us review some important musical concepts under Harmony:
1. Harmony is the relationship between two or more pitches sounded together at the same
time.
2. Harmonic Interval - is the distance between two pitches or notes that sound together, as
opposed to melodic intervals, where the two pitches are played one after another.
 - The image on the previous page shows harmonic intervals. In notation, notes are stacked
vertically on top of each other to show that they are to be sounded or played
simultaneously. In the first measure is a 2nd interval, which is between Do (C) and Re
(D). Do is the lower note, while Re is the higher note. The last measure is an interval
called an octave (Bve). The bottom note is middle C (C4 in the piano keyboard), while
the upper note is also C but one octave higher (C5). Try to locate these intervals using a
smartphone piano app and listen to how each of these intervals sounds when played
together.
3. Consonance and Dissonance - are two types of harmonic intervals. Consonances
basically sound stable and do not require resolution. Dissonances, on the other hand,
sound unresolved and somehow "hanging." and therefore, they need to resolve to a
consonance.
The Consonant intervals are the following:
a. Unison (same two notes played together)
b. 5th or Perfect 5th
c. Octave (8ve)
d. Major and minor 3rds
e. Major and minor 6ths
The Dissonant intervals are the following:
a. Major and minor 2nds
b. Major and minor 7ths
Note: The interval 4th or Perfect 4th is considered a dissonance in common practice but may
also be considered as a consonance in special occasions depending on how it is written.
4. Chords and Triads - A chord is a set of three or more pitches which are sounded together at
the same time. In music notation, chords are written like these:

Chords are stacked vertically one on top of the other. The most basic form of chord is the
triad, aptly called so because it is made up of three notes. Look at the image below of how a
C major triad is formed:
The C major triad is formed by three notes: the root (the bottom note, C or Do), the third (E),
and the fifth (in this case, G). The third and the fifth are called as such because they are a third
and a fifth interval from the root respectively. This is the pattern to be used for all major triads
in whatever key The bottom note is the root which is the home key of a particular scale, say C
major for this example. Add the note which is a major third (3rd) above the root (E), then add
the note which is a perfect fifth (5th) above the root (G).
For triads in a minor key, the pattern is different. A minor key sounds rather sad and less bright
in color compared to a major key.

The image above is an A minor triad. The root note is A (La), the third is C, and the fifth is E.
There is a difference in the harmonic intervals used in a minor triad. After determining the root
which is A (La), the next note is a minor third (3rd) above the root. The fifth is the same as in a
major triad, in that a perfect fifth above the root is also used.
Look at the following images to see the pattern of harmonic intervals used when constructing
major and minor triads.
The image on the previous page is a C major triad. The harmonic interval between the bottom
note or root (C) and the middle note (called the third) is a major third. The harmonic interval
between the middle note and the top note (or fifth) is a minor third. This is the pattern for
constructing all major triads in any given key.

The image above is an A minor triad. This triad is in A minor (Am). The harmonic interval
between the bottom note or root (A or La) and the middle note is a minor third. The harmonic
interval between the middle note and the top note (or fifth) is a major third. This is the pattern
for constructing minor triads in any key. Chords can either be major, minor, augmented, or
diminished in nature.
5. Primary Triads - are the most commonly used chords in Western tonal music. Many
popular songs are built around these three triads. See the illustration below about these primary
triads.

In the image above, we see a series of chords set on C major. The triads inside the boxes are the
primary triads. The first one, C major, is called the tonic, the first scale degree. It is represented
by a capital Roman letter I because its quality is major. Triads that have a minor quality are
written with small Roman letters. The fourth triad, F major, is called the subdominant; while
the fifth triad, G major, is the dominant. These are three primary chords in the key of C
major.
The tonic or home key is diametrically opposed to the dominant. They are like opposite poles in
a magnet. Try to listen to a piece of music and decipher if a part is in the tonic or already in the
dominant. A song or piece of music usually begins with the tonic, progresses to the dominant,
then ends or returns back to the tonic.
Texture
1. Texture
- refers to the blending and manipulating of different sounds and melodic lines happening
simultaneously in music. The idea is derived from textiles, which are sometimes made up
of several component threads woven together.
- While melody is realized in the "horizontal dimension of music, texture is observed in the
"vertical dimension of music. Texture can be categorized as monophonic, polyphonic,
and homophonic in nature, explained in greater detail below. Texture can also be
generally perceived as the number of voices or instruments used and how these are
manipulated to create variations in the thinness and thickness of sound layers, either by
adding or reducing parts, or employing variations in timbre, and other means. Texture
may also be imitative or nonimitative.
2. Ostinato
- is a short, consistently repeated pattern found all throughout a piece of music or in
one of its sections. It is evident in African music. Translated literally, ostinato means
"stubborn."
3. Descant
- in music, descant can have more than one meaning. Generally, a descant is the
highest voice in a composition, usually separated uniquely from the other voices.
Descant may also mean counterpoint, or the harmonic relationship between multiple
voices in a song
4. Variations in Texture
a. Monophony is music that consists only of one single melodic line without any
background support or accompaniment. It comes from a Greek word that means "mono
= one: "phone" = voice. An example of this is when a person. whistles a tune all by
himself/herself.
b. Polyphony is music that consists of several melodic lines. combined simultaneously.
These melodic lines are usually treated equally in importance and interest. Origin: "poly"
many; "phone" = voice. Examples are round songs, Canon in D, and fugues from the
Baroque era, especially those composed by Johann Sebastian Bach
c. Homophony EXPE Pa consist sing the app or class, 1. M 2 P 3. F 4. M is a type of texture
wherein one melodic line or part is given primary Interest and is given a subordinate
supporting accompaniment. Origin: "homo" same. "phone" voice. An example of this is
when a person sings while playing chords in a guitar.
NOTESSSSSS
Musical Content on Melody

● It is the element of music that is considered the most expressive and meaningful.
PITCH
● Refers to the highness or lowness of a sound.
● Pitches are represented by notes written on the staff.
● Pitched are labelled in two standard ways: by Letters or by “sol-fa” syllable
Two standard ways:

Pitch Letter Corresponding “sol-fa” syllable

A La
B Ti

C Do

D Re

E Mi

F Fa

G Sol

● Pitches are written on the staff. Pitches may be written on the lines or in spaces.
● A staff is a group of five horizontal lines and four spaces where pitches are notated.
● A grand staff is a pair of two staves written together.

CLEFS
● Clefs are symbols placed at the beginning of a staff to show positions of pitches.
● There are three commonly used clefs, but for elementary music, we shall only be using
two: the Treble Clef (G-Clef) and the Bass Clef (F-Clef)
● Pitches written on the treble clef generally sound higher than those written on the bass
clef.
Ledger Lines, Bar Lines, Measure & Brace

Note: For this instance, Pitch and Note refer to the same thing and may be used
interchangeably
  For Treble clef notes on lines: Every Good Boy Does Fine
 For Treble clef on spaces: FACE
 For the Bass clef notes on line: Good Boys Do Fine Always
 For the Bass clef notes on spaces: All Cows Eat Grass

Vertical lines called bar lines divide the staff or grand staff into measures

Familiarizing with melodic intervals

ACTIVITY: (FOR GRADE 4 – 6)

Associating the beginning or chorus of a familiar song with a particular melodic interval
How do I teach pitches and intervals in the absence of a classroom musical instrument?
• Firstly, it is imperative that the teacher gains a familiarity of the keyboard
geography of a piano.
• And teach these to the students accordingly (whether it is a do fa, mi, or sol)
• The teacher may connect his/her smartphone to an amplifier or speaker, so that the
whole class may hear the lesson.
Considerations for Materials Used
AUDIO RECORDINGS AND VIDEOS
 They provide a versatile tool for students of all ages and skill levels, supporting their
understanding, practice, and performance.
VISUAL ARTS- POSTERS, STICKERS, ILLUSTRATIONS
 Visual notation, such as sheet music, provides a tangible representation of sound, helping
students understand the relationship between notes and their pitch.
MUSICAL INSTRUMENTS
 They provide a hands-on, engaging, and effective way for students to learn and practice
music, developing their skills, creativity, and confidence.

Considerations for Evaluation

- Students can recognize whether a melody goes up or down and can compare which
pitches are higher or lower in relation to other pitches.
 - Students can imitate a pitch or a series of pitches correctly by either singing or humming
it.
- Students can partially transpose familiar songs into C, F, or G major (does not have to be
a complete song).
- Students can tell whether a piece or song is in a major or a minor key
- It is also beneficial to incorporate a “Closure” section in our music lesson plans.

WHAT IS SCALE OR SCALING?

• A scale in music is like a set of notes arranged in a specific order, moving from low to
high or high to low.
• Think of it as a musical "ladder" that helps musicians know which notes sound good
together.

Kind of Scales
MAJOR
- A sequence of notes that tends to sound happy or bright.
MINOR
- A sequence of notes that tends to sound sadder or more serious.