The Elements of Music Volume 1 Teacher Manual
Contents
FOREWORD . . . . . . . . . . . . . . . . . . . . . . . . . vii
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Sharing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
LE
ABOUT THE AUTHOR . . . . . . . . . . . . . . . viii
LESSON 7
GOALS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ix
Caring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
PHILOSOPHY . . . . . . . . . . . . . . . . . . . . . . . . . x
LESSON 8 — REVISION TWO . . . . . . . . . . 10
THE POWER OF MUSIC . . . . . . . . . . . . . . . xi
LESSON 9
THE GIFT OF MUSIC SERIES . . . . . . . . . . . xii
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Sounds and Silences . . . . . . . . . . . . . . . . . . . . 11
KEY CONCEPTS . . . . . . . . . . . . . . . . . . . . xiii
A Timeline — Notes and Rests . . . . . . . . . . . . 12
TEACHING THE ELEMENTS OF MUSIC
COURSE . . . . . . . . . . . . . . . . . . . . . . . . . . xv
LESSON 10
THEORY SUMMARY FOR
VOLUME ONE . . . . . . . . . . . . . . . . . . . . xix
LESSON 1
What are Elements? . . . . . . . . . . . . . . . . . . . . . 1
Visible and Invisible . . . . . . . . . . . . . . . . . . . . . 1
Music Elements . . . . . . . . . . . . . . . . . . . . . . . . 1
LESSON 2
Beats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
MP
THE ELEMENTS OF MUSIC —
COURSE OUTLINE . . . . . . . . . . . . . . . xviii
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Counting . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
LESSON 11
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Movement . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Stillness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
LESSON 12 — REVISION THREE . . . . . . . . 17
LESSON 13
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Molecules and Soundwaves . . . . . . . . . . . . . . . 2
The Eighth Note and Rest . . . . . . . . . . . . . . . 19
Vehicles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
SA
LESSON 3
LESSON 14
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Time Signatures . . . . . . . . . . . . . . . . . . . . . . . 20
Same but Different . . . . . . . . . . . . . . . . . . . . . . 3
God and Time . . . . . . . . . . . . . . . . . . . . . . . . 22
Different Types of Sounds . . . . . . . . . . . . . . . . 3
LESSON 4 — REVISION ONE . . . . . . . . . . . . 4
LESSON 5
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Eyes and Seeing . . . . . . . . . . . . . . . . . . . . . . . . 5
Shapes in Language . . . . . . . . . . . . . . . . . . . . . 6
LESSON 15
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Rhythm and Words . . . . . . . . . . . . . . . . . . . . 23
Syllables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Imaginary Timelines, Beats and Accents . . . . . 24
LESSON 16 — REVISION FOUR . . . . . . . . . 25
LESSON 6
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Instructions . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Remembering . . . . . . . . . . . . . . . . . . . . . . . . . . 8
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The Elements of Music Volume 1 Teacher Manual
LESSON 27
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
The Keyboard . . . . . . . . . . . . . . . . . . . . . . . . 27
Music in the Bible . . . . . . . . . . . . . . . . . . . . . 46
The Pattern of Black Notes . . . . . . . . . . . . . . 28
The Note G . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Rhythm Dictation and
Using the Rhythm Dictation Cards . . . . . . 28
LESSON 28 — REVISION SEVEN . . . . . . . . 48
LESSON 18
LE
LESSON 17
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
The Music Alphabet . . . . . . . . . . . . . . . . . . . . 29
Treble and Bass . . . . . . . . . . . . . . . . . . . . . . . 30
Keyboard exercises . . . . . . . . . . . . . . . . . . . . . 30
LESSON 19
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Finger Numbers . . . . . . . . . . . . . . . . . . . . . . . 31
Keyboard Games . . . . . . . . . . . . . . . . . . . . . . 31
LESSON 29
Review — ‘Same But Different’ . . . . . . . . . . . 49
The Trinity . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Two Handed Rhythm . . . . . . . . . . . . . . . . . . . 49
The Note A . . . . . . . . . . . . . . . . . . . . . . . . . . 50
LESSON 30
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Sixteenth Notes and Rests . . . . . . . . . . . . . . . 52
The Note B . . . . . . . . . . . . . . . . . . . . . . . . . . 53
LESSON 31
Left Hand C Position . . . . . . . . . . . . . . . . . . . 32
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
MP
Right Hand C Position . . . . . . . . . . . . . . . . . . 32
LESSON 20 — REVISION FIVE . . . . . . . . . . 33
LESSON 21
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Stems and the Dot . . . . . . . . . . . . . . . . . . . . . 54
Music Notation in Bible times . . . . . . . . . . . . 55
LESSON 32 — REVISION EIGHT . . . . . . . . 56
Melody and Pitch . . . . . . . . . . . . . . . . . . . . . . 34
LESSON 33
Notation — The Grand Staff . . . . . . . . . . . . . 35
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
LESSON 22
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
English Rhythm Names . . . . . . . . . . . . . . . . . 58
Leger Lines . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Mouths, Melody and Words . . . . . . . . . . . . . 36
LESSON 34
Melody, Communication and God . . . . . . . . . 37
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
LESSON 23
SA
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Types of Soundwaves . . . . . . . . . . . . . . . . . . . 60
Chironomy . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Intervals of Seconds, Octaves and the Note D 38
LESSON 35
More About Rhythm — Counting Beats . . . . 39
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
TheRFRhythm . . . . . . . . . . . . . . . . . . . . . . 39
LESSON 24 — REVISION SIX . . . . . . . . . . . 41
LESSON 25
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Interval of a Third (3rd) . . . . . . . . . . . . . . . . . 42
Tones, Semitones and Sharps . . . . . . . . . . . . . 62
A Notation Timeline . . . . . . . . . . . . . . . . . . . 63
LESSON 36
Revision Nine . . . . . . . . . . . . . . . . . . . . . . . . 65
Melody Make-ups . . . . . . . . . . . . . . . . . . . . . 43
ANSWERS TO
WORKSHEET QUESTIONS . . . . . . . . . . 66
LESSON 26
SCRIPTURES . . . . . . . . . . . . . . . . . . . . . . . . 78
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
CD TRACK REFERENCE . . . . . . . . . . . . . . . 80
The Note F . . . . . . . . . . . . . . . . . . . . . . . . . . 44
A New Song . . . . . . . . . . . . . . . . . . . . . . . . . . 45
MUSIC EXAMPLES . . . . . . . . . . . . . . . . . . . 81
BIBLIOGRAPHY . . . . . . . . . . . . . . . . . . . . . . 83
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The Elements of Music Volume 1 Teacher Manual
The Elements of Music four year course outline
VOLUME 1
VOLUME 2
VOLUME 3
VOLUME 4
What are elements?
Concept of visible and invisible
1. Soundwaves
2. Notation
3. Rhythm
4. Melody
LE
Keyboard skills
5. Tonality (scales)
6. Harmony (chords)
7. Man’s Soul
8. Timbre (tonecolour)
Musical instruments
9. Form (shape in music)
MP
History: Ancient Times
Middle Ages
Renaissance/Reformation
Baroque
Keyboard Arrangements Book
10. Man’s Body
11. Touch (ways of playing
instruments)
12. Dynamics (loud and
soft sounds)
13. Tempo (speed in music)
SA
History: Classical Period
Romantic Period
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14. Man’s Spirit
History: Late 19th Century
Twentieth Century
The Elements of Music Volume 1 Teacher Manual
Lesson 2
REVIEW
MUSIC OF
YOUR CHOICE
LE
COLOURING
PENCILS
Elements are the building blocks used to make something. They can be visible (seen) or invisible (unseen).
Bricks and wood are visible elements. Atoms are invisible elements. Music elements are invisible but we know
they are there because we hear them with our ears. God is also invisible but He is real and we believe it in our
hearts. Say Colossians 1:16.
MOLECULES AND SOUNDWAVES
MP
Music is made up of many invisible elements which fit together to build a piece of music. Now we shall look
at one of these elements — the soundwave. When God created the tiny atoms He also joined them together
in groups. These groups of atoms are still so small that they are invisible to our bare eyes. They are called
molecules. Molecules are atoms joined together.
SA
When molecules move, they bump each other. This makes a wave-shaped pattern called a soundwave. A
soundwave contains millions of invisible molecules which move through the air to our ears like in this
picture.
VEHICLES
Vehicles, like trucks, planes and cars, carry things from one place to another. Soundwaves are vehicles that
carry sound. Soundwaves are very important because they carry music to our ears. Trucks, planes and cars are
visible vehicles but soundwaves are invisible vehicles.
God created the atoms, molecules and soundwaves. If there were no soundwaves we would not be able to
hear music at all. Music needs soundwaves as its vehicle. God has provided that vehicle. He knows our needs
and provides everything we need. God is a giver and our provider.
Clap your hands once and listen to the soundwave it makes. Do it again. Shout, whisper, talk or sing and
listen to the soundwaves.
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The Elements of Music Volume 1 Teacher Manual
Lesson 3
REVIEW
LE
WRITING
PENCIL
God and music are both invisible and are both real. We hear music through our ears and God is with us in
our hearts. God made soundwaves as the vehicle to carry music to our ears. Soundwaves are molecules
bumping each other and making a wave pattern. Molecules are atoms joined together. Atoms are God’s
building blocks. Colossians 1:16 tells us that God created everything visible and invisible. If God had not
made soundwaves we could not hear music. Soundwaves are an important element of music.
SAME BUT DIFFERENT
MP
God made soundwaves but He did not make them the same. They are called soundwaves because they are
molecules bumping each other, but they come in different patterns. We can say they are the same but
different. Many children can do many different paintings but the pictures are all called paintings. In the same
way, God made all people with bodies, but there are many different shapes and sizes. We are all the same in
some ways but different in others. How are cakes the same but different? How are clothes the same but
different? How are houses the same but different?
DIFFERENT TYPES OF SOUNDS
Soundwaves are the same in that they are all bumping molecules making a wave pattern, but they are different
because the wave patterns and sounds change. Soundwaves from drums have a hitting sound. Soundwaves
from a guitar have a vibrating sound (vibrating means wobbling). Soundwaves from a flute have a blowing
sound. Soundwaves can also be high or low, loud or soft, long or short.
Track 4 Listen to some bumping molecules, making three different types of sounds. Can you guess if they
are hitting, blowing or vibrating string sounds? Are they high or low, loud or soft, long or short?
SA
Track 5 Now listen to a piano soundwave. It starts loud then gets softer. Close your eyes and listen to it
fade away. Put your hand up when you cannot hear it any longer.
Memorise this definition of soundwaves and add these actions:
Soundwaves are millions [wriggle all ten fingers] of invisible [close eyes for a few
seconds] molecules [make two molecules with your fingers by putting your middle
fingers on your thumbs] which bump each other [bump the two molecules
together] and make soundwaves [move hands along in a wave pattern] that carry
music to our ears [finish the wave pattern at your ears].
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The Elements of Music Volume 1 Teacher Manual
Lesson 13
REVIEW
LE
WRITING
PENCIL
RHYTHM
DICTATION
CARDS
Each element of music has some things which are the same and some which are different. Do you remember
what they are in the three elements — soundwaves, notation and rhythm? Here is a chart to help you
remember.
SAME
Soundwaves
Millions of bumping molecules carrying music
to our ears. They are invisible.
They can be hitting, blowing, vibrating string
sounds, or high, low, long, short, forte or piano.
Notation
Written instructions on paper to help us
remember. It shows how much the composer
cares about small things and how he wants to
share his music. It is visible.
There are many different ovals, lines, shapes and
letters used.
Long and short sounds and silences moving
through a timeline. It is invisible.
There are many different ways of making patterns
of sounds (notes) and silences (rests) along the
timeline.
Rhythm
METER
DIFFERENT
MP
ELEMENT
Meter means ‘to measure.’ A speedometer measures how fast a vehicle moves. A thermometer measures the
temperature. A ruler measures how long something is. A measuring jug measures how much liquid there is. A
gas meter measures how much gas has been used. How do we measure how heavy something is?
SA
In music we measure the beats along a timeline and put them into groups. We use lines called barlines and we
draw them across the timeline. They look like fence posts. In the timeline below, the short lines are the beats
and the tall lines are the barlines. In this example you can see that the beats are grouped into threes:
The gaps between the barlines are called bars.
Bar 1
Bar 2
Bar 3
In the above example, find twelve beats and four barlines. How many beats are in each bar?
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The Elements of Music Volume 1 Teacher Manual
God made time on earth with a beginning, a middle and an end.
God
Life on earth
God
Genesis 1:1
Luke 21:33
LE
Our own life on earth also has a beginning, a middle and an end. We are born. We live through a timeline.
Our life on earth ends. The clock keeps ticking away the seconds all along the timeline.
MP
Music is like this. When a composer makes up a piece he has a beginning, a middle and an end. He uses a
timeline with beats, barlines and bars. He tells us when the end is by using a double barline.
Memorise Genesis 1:1.
THE EIGHTH NOTE AND REST
You already know many notation signs which tell us much about the types of sounds we hear in music. There
are two more signs which are also used very often. The eighth note gets only half of a beat and looks like a
quarter note with a flag:
F
If there are two or more eighth notes the flag can join to the next note like this:
FF =
FFFF =
ž
SA
In French Time Names we say ‘ta tay.’ ‘Ta’ is for the first note and ‘tay’ is for the second note.
An eighth rest also gets only half a beat and looks like a curly number seven:
In French Time Names we quietly say ‘m’.
Track 32 Listen to the rhythm on the CD, then clap and say it by yourself.
R R
FžFž
R
Track 33 Listen to the next two rhythms. The first has no rests and the second has some notes changed
to rests. Which rhythm sounds more interesting and has more life to it?
R R R
R RŒR
R R R R R
RŒRŒRŒR
RŒ
The Elements of Music Volume 1 Teacher’s Resource Kit | 19
The Elements of Music Volume 1 Teacher Manual
Lesson 30
RHYTHM
DICTATION
CARDS
LE
WRITING
PENCIL
REVIEW
God is the same but different because He is the one true Creator but He is also the Father, Son and Holy
Spirit. He is also called the ‘Three-in-one’ and the ‘Trinity.’ God’s creation is not Himself but is a reflection
of His ability to create so many different things from the same building blocks of atoms and molecules eg.
plants, animals, stars, planets and people. Creation is a type of picture of how God is the same but different.
We can learn about Him by studying the things He created eg. music. Each of the music elements —
soundwaves, notation, rhythm and melody — are the same but different. We can discover things about God
by studying them.
MP
Soundwaves teach us that God is our Provider and Giver. Notation shows how God cares for us and wants to
share His love. He gives us instructions for our lives and wants us to remember them. Rhythm teaches that
God gives time for activities and rest. Melody tells us that God wants us to communicate with Him.
Read Romans 1:20 and memorise some of it.
SIXTEENTH NOTES AND RESTS
So far you have learned five types of notes and rests as your chart in Lesson 16 shows. The shortest note on
the chart is the eight note which has one flag on it. Our new note and rest have two flags and are called
sixteenth notes and sixteenth rests. They are only half as long as the eighth note and have only a quarter of
a beat. Sixteenth notes are often grouped in fours with the two flags becoming two lines across the top.
YYYY =
SA
In French Time Names we say ‘ta fa te fe.’ When counting the beats we say ‘1 e + e, 2 e + e.’ These are
shown on the rhythm below.
1
2
3
e + e
4
1
e +
e
2
e + e
3
+ 4
+
1
2
3
4
ta ta ta fa te fe
ta
ta fa te fe ta fa te fe ta tay ta tay
ta
ta
ta
a
Track 44 Listen to the above rhythm played three times on the CD. The first time point to each note. The
second time clap and count the beats. The third time clap and say French Time Names.
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The Elements of Music Volume 1 Teacher Manual
THE NOTE B
You already know the names of six notes and where they are on the Grand Staff — C D E F G A. Each letter
is actually the name given to a particular soundwave and tells exactly how high or low the soundwave is. In
other words, the letter tells the pitch of the soundwave. Do you remember that pitch means how high or low
the sounds are?
How many Bs are on your keyboard?
LE
The next note is obviously B and comes after A. It makes the interval of a seventh above C. It is also a 2nd
below C.
Play these intervals and notice the seven notes in the 7th.
C–D
2.
C–E
3.
C–F
4.
C–G
5.
C–A
6.
C–B
1.
7th above D
2.
7th below E
3.
7th above F
4.
7th below B
Play
MP
1.
Ask some one to quiz you on the intervals from 2nd to 7th. The interval of a 7th is easy to hear because the
two notes clash with each other.
SA
In notation a 7th looks like this. Notice how the high B sits above the short line. (The note A has the short
line going through the middle of it.)
Track 45 Listen to each 7th and point to it as you hear it.
An interesting thing about reading intervals is that the intervals with even numbers all have one space note
and one line note. The intervals with odd numbers all have both notes as line notes or both as space notes.
Check these intervals.
The Elements of Music Volume 1 Teacher’s Resource Kit | 53
The Elements of Music Volume 1 Student Workbook
Worksheet 1
LE
WRITING
PENCIL
e
1.1
The building blocks used to make something are called
1.2
Some elements can be seen and are called
1.3
Some elements cannot be seen and are called
1.4
God’s invisible building blocks for the earth and our bodies are
1.5
a
.
i
.
Circle the things which are invisible.
hymnbook
1.6
.
MP
called
v
.
singing
fingers
perfume from a rose
clothes
the taste of sugar
piano
cat
air
Music is invisible but we know it is real because we hear it with our ears.
Who else is invisible but we know He is still real?
We know this is true in our
Who created music?
SA
1.7
.
1.8
Tell a Bible verse about who made visible and invisible things.
1.9
Track 2 Listen to the CD and keep very still. Close your eyes and let the sounds of
the music go through your ears.
The Elements of Music Volume 1 Student Workbook | 3
The Elements of Music Volume 1 Student Workbook
Worksheet 13
13.1
Rhythm is
and
RHYTHM
DICTATION
CARDS
sounds
moving through a
and
13.2
LE
WRITING
PENCIL
‘Meter’ means how we
m
music on the timeline.
Draw an arrow from the word to the correct sign.
beat
barline
bar
double barline
MP
timeline
Draw a rainbow over each bar like the first one.
13.3
In question 13.2 there are:
3
13.4
barlines,
bars,
beats and
double barline.
Track 34 Clap these rhythms with the CD and say FTN. Wait four beats.
SA
a)
b)
c)
How many beats are in each bar of rhythm a)?
How many beats are in each bar of rhythm b)?
How many beats are in each bar of rhythm c)?
13.5
Rhythm Dictation Cards Make up your own rhythms using the cards you know
and adding some eighth notes and rests. Clap them, then write one below.
26 | The Elements of Music Volume 1 Student Workbook
.
The Elements of Music Volume 1 Student Workbook
God created time with three parts in it. Our lives and music also have three parts — a
b
,a
m
e
. One single note (or soundwave) is also like this.
and an
LE
13.6
Track 35 Listen to a piano note on the CD and hear the three parts. Listen
carefully for the end. Raise your hand when you think the sound has finished.
13.7
Recite Colossians 1:16, Proverbs 20:12, Ecclesiastes 3:7 and 1 Peter 5:7.
13.8
Write Genesis 1:1 in your exercise book.
13.9
Music maths Add or subtract the number of beats.
ADDITION
c)
e)
I+
=
Π+ R =
F + ž =
b)
d)
f)
SUBTRACTION
a)
X
–
I =
Π=
I – =
R
–
SA
c)
e)
X + X =
MP
a)
b)
d)
f)
+
I +
=
=
R – ž =
–
R
–
=
=
13.10
Trace and copy two treble clefs and two bass clefs.
13.11
Read:
Thank you God for giving us a timeline for rhythm to move along so we can have
times of movement and rest, busyness and stillness, and sounds and silences.
The Elements of Music Volume 1 Student Workbook | 27
The Elements of Music Volume 1 Student Workbook
Worksheet 20
REVISION FIVE
20.1
Track 58 Listen to these sounds. Tick the line which shows the direction the
sound moves.
a)
c)
a)
MP
b)
20.2
RHYTHM
DICTATION
CARDS
LE
COLOURING
PENCILS
Rhythm Dictation Cards Using the rhythm dictation cards do these rhythm
dictations. You will hear four beats/ticks before the rhythm starts. The rhythm is
played three times.
Listen/Clap/Say FTN/Write Stems Only
Track 59
ii)
Track 60
SA
i)
d)
Track 61 Which meter (time signature) is used here? Listen for the strong
accented notes for the first beat.
i)
c)
ii)
Track 62 Listen to this rhythm and point to each note as you hear it. It is
played twice. The second time clap along with the CD. Wait for ‘Ready, Go’.
46 | The Elements of Music Volume 1 Student Workbook
The Elements of Music Volume 1 Student Workbook
On this keyboard colour the Cs red, Ds blue, Es yellow, Fs green, Gs orange, As purple
and Bs brown.
20.4
Label the hands left or right. Draw a line from each number to match the correct
finger.
LE
20.3
20.5
MP
5
4
3
2
1
Keyboard games
a) Play this pattern in RH C position:
E E
3 3
F
4
G
5
G
5
F
4
E
3
D
2
C
1
C
1
D
2
E
3
D
2
C
1
C
1
G
1
F
2
E
3
D
4
b) Slowly play these patterns in LH C position:
D
4
E
3
D
4
C
5
SA
i) C
5
20.6
ii)
C
5
E
3
C
5
a) Make up your own rhythm in time using any notation signs you choose.
Remember to add the time signature, barlines and a double barline.
b) Play your rhythm on the keyboard with RH2 on D and say FTN. Then play it in
the bass with LH2 on F.
The Elements of Music Volume 1 Student Workbook | 47
The Elements of Music Volume 1 Student Workbook
a) Play these melodies for Revelations 21:6 on your keyboard.
LE
34.2
MP
b) How are the melodies in a) the same and how are they different?
c) Make up your own melody for Revelation 21:6 using the grand staff chart. Then
play it on your keyboard.
Last lesson we had ‘rhythm pies.’ This time we have ‘rhythm branches.’ They look like
this.
SA
34.3
Write beside each line of notes how many notes of each kind equals the whole note at
the top. One is done for you.
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The Elements of Music Volume 1 Student Workbook
a) i)
Track 63 Point to each note of this rhythm as you hear it on the CD. Wait
for ‘Ready, Go’.
LE
34.4
ii)
Track 64 Point again and say FTN. Wait for ‘Ready, Go’.
iii) Clap the rhythm by yourself.
iv) Write the counts under each note.
b) Two-handed rhythm: tap these rhythms on your lap.
MP
same
different
swap
c)
d)
Track 65 Which meter is used?
Rhythm Dictation Cards Write the stems only of the rhythm you hear. The
rhythm is played three times with four beats at the start.
SA
Listen/Clap/Say FTN/Write Stems Only
Track 66
Add the time signature to make it
34.5
and add barlines.
Track 67 Listen to the CD and circle the types of soundwaves you hear.
a) long short
high low
loud soft
blowing hitting vibrating string
b) long short
high low
loud soft
blowing hitting vibrating string
c) long short
high low
loud soft
blowing hitting vibrating string
The Elements of Music Volume 1 Student Workbook | 99
The Elements of Music Volume 2 Teacher Manual
Contents
FOREWORD . . . . . . . . . . . . . . . . . . . . . . . . viii
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Tonality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
LE
ABOUT THE AUTHOR . . . . . . . . . . . . . . . . ix
LESSON 4
GOALS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . x
IMPORTANT NOTE TO
PARENTS AND TEACHERS . . . . . . . . . . . x
TEACHING THE ELEMENTS OF MUSIC
VOLUME 2 . . . . . . . . . . . . . . . . . . . . . . . . xi
THE METHOD OF TEACHING—
A BIBLICAL WAY OF LEARNING . . . . . . xii
KEY CONCEPTS . . . . . . . . . . . . . . . . . . . xviii
HOW THE COURSE IS ORGANISED . . . . . xx
THE ELEMENTS OF MUSIC —
COURSE OUTLINE . . . . . . . . . . . . . . . . xxi
THEORY SUMMARY . . . . . . . . . . . . . . . . . xxii
LESSON 1
Cause and Effect . . . . . . . . . . . . . . . . . . . . . . 13
LESSON 5
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Sound Flavours in Tonality . . . . . . . . . . . . . . 14
Playing Scales on the Keyboard . . . . . . . . . . . 15
Creation—Our Music Journey Begins . . . . . . 15
LESSON 6
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
The Pattern of Black and White Keys . . . . . . . 17
MP
HISTORY IN THE ELEMENTS
OF MUSIC . . . . . . . . . . . . . . . . . . . . . . . xvi
Tonality, Rhythm and Anacrusis . . . . . . . . . . . 12
Tonality and God . . . . . . . . . . . . . . . . . . . . . . 18
Something to Think About . . . . . . . . . . . . . . . 18
Old Testament Composers . . . . . . . . . . . . . . . 18
LESSON 7
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Tonality and Melody . . . . . . . . . . . . . . . . . . . 21
Rhythm: The Tie . . . . . . . . . . . . . . . . . . . . . . 22
The Elements of Music in Ancient Times . . . . 22
Beat and Meter . . . . . . . . . . . . . . . . . . . . . . . . 1
Musical Instruments of Ancient Times . . . . . . 25
A Music Journey Through the
History Timeline . . . . . . . . . . . . . . . . . . . . . 2
LESSON 8: REVIEW . . . . . . . . . . . . . . . . . . . 26
Meet the History Guides . . . . . . . . . . . . . . . . . 2
LESSON 9: TEST . . . . . . . . . . . . . . . . . . . . . 30
SA
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
LESSON 2
LESSON 10
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
The Whole Bar Rest . . . . . . . . . . . . . . . . . . . . . 6
Harmony . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
A History Definition . . . . . . . . . . . . . . . . . . . . 6
Introduction to the Middle Ages . . . . . . . . . . 32
The Historical Periods . . . . . . . . . . . . . . . . . . . 7
History Puzzles to Ponder . . . . . . . . . . . . . . . . 8
LESSON 11
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
LESSON 3
Harmony, Strength and Agreement . . . . . . . . 35
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Writing Down Music in the Middle Ages . . . . 36
The History Puzzles . . . . . . . . . . . . . . . . . . . . 10
Adding Melody to the History Poem . . . . . . . 10
People from History . . . . . . . . . . . . . . . . . . . . 11
The Building Blocks . . . . . . . . . . . . . . . . . . . . 11
LESSON 12
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Five Music Elements Used in the Middle Ages 39
The Byzantine Empire . . . . . . . . . . . . . . . . . . 40
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The Elements of Music Volume 2 Teacher Manual
LESSON 13
LESSON 23
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Melody in the Middle Ages . . . . . . . . . . . . . . 43
Styles in Music . . . . . . . . . . . . . . . . . . . . . . . . 72
LESSON 14
The Reformation and the Roman Catholic
Church . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
The F Chord . . . . . . . . . . . . . . . . . . . . . . . . . 45
The High Middle Ages . . . . . . . . . . . . . . . . . . 46
LESSON 15
Results of the Reformation . . . . . . . . . . . . . . 74
LE
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
LESSON 24
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
The Elements of Music in the Renaissance . . . 75
Simple and Compound Time . . . . . . . . . . . . . 49
LESSON 25
Instruments in the Middle Ages . . . . . . . . . . . 50
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Instruments of the Middle Ages . . . . . . . . . . . 51
A New Element—Timbre . . . . . . . . . . . . . . . . 80
LESSON 16
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Instruments of the Renaissance . . . . . . . . . . . 82
LESSON 26
MP
The Late Middle Ages . . . . . . . . . . . . . . . . . . 52
Instruments in the Renaissance . . . . . . . . . . . 81
LESSON 17
A Story—The Music Garden . . . . . . . . . . . . . 55
LESSON 19
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Reading Compound Time and Simple Time . . 60
A New Element—Soul . . . . . . . . . . . . . . . . . . 61
The Renaissance . . . . . . . . . . . . . . . . . . . . . . . 61
LESSON 20
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
The Renaissance in England . . . . . . . . . . . . . . 84
LESSON 27: GRAND REVIEW
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
The Memory . . . . . . . . . . . . . . . . . . . . . . . . . 87
A History Message . . . . . . . . . . . . . . . . . . . . . 88
LESSON 28
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
A New Element—Form . . . . . . . . . . . . . . . . . 89
The Baroque Period . . . . . . . . . . . . . . . . . . . . 90
The Renaissance vs the Reformation . . . . . . . 65
LESSON 29
Soul—The Will . . . . . . . . . . . . . . . . . . . . . . . 66
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
SA
Tying Compound Rhythms . . . . . . . . . . . . . . 64
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Form and Rhythm . . . . . . . . . . . . . . . . . . . . . 93
LESSON 21
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Rests in Compound time . . . . . . . . . . . . . . . . 67
Edges and Cadences . . . . . . . . . . . . . . . . . . . . 93
England in the Baroque Period . . . . . . . . . . . . 94
Words and Notes . . . . . . . . . . . . . . . . . . . . . . 68
LESSON 30
Martin Luther . . . . . . . . . . . . . . . . . . . . . . . . 68
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
LESSON 22
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Soul, Rhythm and Melody . . . . . . . . . . . . . . . 70
John Calvin . . . . . . . . . . . . . . . . . . . . . . . . . . 70
The Ta-Te-Fe rhythm . . . . . . . . . . . . . . . . . . . 97
The A Minor Chord . . . . . . . . . . . . . . . . . . . . 97
Baroque Composers . . . . . . . . . . . . . . . . . . . . 98
LESSON 31
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
The Ta-Fa-Tay Rhythm . . . . . . . . . . . . . . . . . 100
Imperfect Cadences . . . . . . . . . . . . . . . . . . . 100
England in the 1600–1700s . . . . . . . . . . . . . 101
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The Elements of Music Volume 2 Teacher Manual
LESSON 32
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Equal Temperament . . . . . . . . . . . . . . . . . . . 104
Music in the Baroque . . . . . . . . . . . . . . . . . . 105
LESSON 33
LE
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Key Signature . . . . . . . . . . . . . . . . . . . . . . . . 109
G Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Form in the Baroque . . . . . . . . . . . . . . . . . . 110
Baroque Forms of Music . . . . . . . . . . . . . . . 111
Baroque Composers and Forms They Used . 112
LESSON 34
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Ornaments and Baroque Style . . . . . . . . . . . 113
Elements of Music in the Baroque . . . . . . . . 114
MP
Instruments of the Baroque . . . . . . . . . . . . . 116
LESSON 35
Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Rhythm and Notation in the BAroque . . . . . 117
Baroque Rhythm Notation . . . . . . . . . . . . . . 118
Grand Review . . . . . . . . . . . . . . . . . . . . . . . 119
Nine Elements of Music . . . . . . . . . . . . . . . . 120
LESSON 36: TEST . . . . . . . . . . . . . . . . . . . 121
ANSWERS TO WORKSHEET
QUESTIONS . . . . . . . . . . . . . . . . . . . . . 122
ANSWERS TO TESTS . . . . . . . . . . . . . . . . 140
SA
SCRIPTURES . . . . . . . . . . . . . . . . . . . . . . . 143
GLOSSARY . . . . . . . . . . . . . . . . . . . . . . . . . 145
MUSIC EXAMPLES . . . . . . . . . . . . . . . . . . 148
BIBLIOGRAPHY . . . . . . . . . . . . . . . . . . . . . 149
CUSTOMER SURVEY . . . . . . . . . . . . . . . . . 151
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The Elements of Music Volume 2 Teacher Manual
Key Concepts
THE SOUNDWAVE TRUCK
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Many threads run through The Elements of Music course.
This continues from Volume 1 and its load of music element boxes gradually increases from four to nine. The
truck is a symbol of God as a Giver and Provider. If He did not provide atoms, molecules and soundwaves we
could not hear music.
THE SIGNPOST
MP
The signpost represents the element of notation. This contrasts with the other elements because it is a visible,
written instruction. The signpost symbolises the Bible, God’s written instructions for man. Music notation
and the Bible are written as instructions. A composer gives written instructions because he cares about his
composition and wants to share ideas. He pays attention to detail so others can understand and remember
how the music should sound. God too cares greatly for man and wants to share His love with us. The Bible is
very detailed so we can understand and remember how He wants us to live.
THE CONCEPT OF ‘SAME BUT DIFFERENT’
Although the concept of ‘same but different’ emphasises unity, there is nonetheless much variety in combining
the musical elements. This reflects God’s own unity and diversity as expressed in His creation. It also helps to
explain to children the concept of the Trinity and how God can be the same but different because He is
Three-in-One.
As students walk through the history timeline they gain an understanding of how some things remain the
same even though man’s use of them may differ greatly. God has remained the same and is always with man
throughout history. Emmanuel means God with us. Worldly history books focus on events and people,
mistakes and successes. These accounts forget that God, through His Son and with the power of the Holy
Spirit, was still there for man to call upon. As the history poem taught in the first few lessons says—‘History
and man may falter but our God will never alter.’ God is always available when man makes mistakes. God is
unchanging.
SA
In music the elements remain the same but man’s use of them and the ways they are organised in
compositions vary enormously throughout history. The result is many different styles of music.
CAUSE AND EFFECT
History does not just happen by chance but as a result of what people believe in their hearts. Beliefs
determine thoughts, which determine actions. Music is affected by the beliefs, thoughts and actions of the
composer.
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MAN IS CREATED IN GOD’S IMAGE
Man’s creativity is evidence that he is created in God’s image with a spirit and creative ability. Animals, plants
and rocks cannot create like man or appreciate music as an art form.
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THE TIMELINE AND HISTORY
Time is like a line with a beginning, middle and an end. This contrasts with the philosophy that life is a circle
without beginning or end, that people die and come back as someone or something else. In reality we are only
given one chance on our earthly timeline. Just as God created the basic building blocks of music, so did He
create the three main parts of history—time, place (earth) and man.
PURPOSE
Each music element has a purpose and teaches something about God. This is shown in the God-message and
supporting scriptures for each element. History has a purpose. This is not that man can learn from his
mistakes and hopefully improve (as is widely taught), but that man can learn more about God.
MP
PERSPECTIVE
This course puts man in correct perspective with the rest of God’s creation. God first, man second and
creation/music third. God gave man dominion over the work of His own hands, which includes the music
elements (Psalm 8:5).
God is much bigger than we can imagine. Man and music are smaller because they are God’s creation.
Regardless of man’s actions, God is still sovereign.
FOUNDATIONAL SCRIPTURES
Romans 1:20 ‘For since the creation of the world, God’s invisible qualities—His eternal power and divine
nature—have been clearly seen, being understood from what has been made, so that men are without excuse.’
Romans 15:4 ‘For everything that was written in the past was written so that, through endurance and
encouragement of the scriptures, we might have hope.
SA
2 Chronicles 7:14–15 ‘If My people, who are called by My Name, will humble themselves and pray and seek
my face and turn from their wicked ways, then will I hear from heaven and will forgive their sin and heal
their land.’
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The Elements of Music Volume 2 Teacher Manual
Lesson 2
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RHYTHM
CARDS
CD questions: 2.1
REVIEW
Keyboard questions: none
Surprise Box Take out three cards and recite them.
Beat, meter and rhythm are closely linked and all move along a timeline.
Clap and say the definitions of beat, rhythm and meter in strict time. Be sure not to get faster.
Meter is beats measured into groups—for example, twos or threes or fours.
Recite the poem about our six tour guides for our history journey.
MP
Which element is very important for writing down both history and music?
Give four reasons why we are going on this history journey.
Recite Romans 15:4.
THE WHOLE BAR REST
In Volume 1 you learned the signs for rests. The four-beat rest is commonly known as a whole bar rest. It
can be used for a whole bar of silence. The number of beats it gets changes according to the time signature.
For example, in
time it gets two beats; in
time it gets three beats; in
time it gets four beats.
A HISTORY DEFINITION
SA
The poem below is a definition of history. It describes how history involves God, man, time, places, events
and how God is more powerful than man. God stays the same and wants us to call on Him for help.
History is His Story with a time, people, places
And events that have been in the past.
God is big, man is small. God delights to hear us call.
History and man may falter but our God will never alter.
The words of the poem are mixed with rhythm on the next page.
Track 5 Listen to it three times on the CD while following the notation on the next page. The first time,
it has words. The second time you hear FTN. The third time it has counts. Point to each note as you hear it.
See Exercise 2.1 b)
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The Elements of Music Volume 2 Teacher Manual
Now stand up and say the poem in rhythm with the actions.
THE HISTORICAL PERIODS
Now that you know what the definition of history is, you can meet your second guide—When-guide.
When are we leaving?
SA
WHEN
We will leave as soon as you have met the other guides. There will be many destinations. Your first stop will be
at the very beginning of time. Then you will travel along the timeline and stop often.
You know that a timeline is an imaginary line which time moves along. It represents past, present and future.
Events occur before or after each other on the timeline. God created time. People’s lives move along the
timeline with times of activity and rest. The earth’s timeline has a beginning, a middle and an end.
We will travel along the timeline below. The dates are shown and the stops are named underneath. These
stops are called historical periods.
See Exercise 2.4 b)
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The Elements of Music Volume 2 Teacher Manual
LE
Lesson 19
CD questions: 19.2
REVIEW
Keyboard questions: none
So far you have learned eight historical periods and their dates. The Tour Guides, What, Why, When, How,
Where and Who have shown you many things about the Ancient Times and Middle Ages. You have also
learned six elements or building blocks of music—soundwaves, notation, rhythm, melody, tonality and
harmony—and what they teach about God. You know many scriptures, rhythms, meters, notes, types of
melodies, scales, modes and music notation signs. You have travelled a long way and met many composers.
WELL DONE!
MP
Surprise Box Take out four cards and recite the verses.
READING COMPOUND TIME AND SIMPLE TIME
In compound meter each beat is divided into groups of three. In simple time each beat is in twos. Compound
time has a feel of galloping and simple time has a feel of running. Reading compound and simple time is easy
because you look for groups of twos or threes.
SA
In the last rhythm shown below you can see six eighth notes grouped in threes in each of the last two bars.
Therefore the time signature for this meter is .
The first bar is not complete and the missing beats are in the last bar. Do any of the rhythms above have an
anacrusis?
See Exercise 19.1
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The Elements of Music Volume 2 Teacher Manual
A NEW ELEMENT—SOUL
The soul may seem to be an unusual music element. Soul is a word you have probably heard many times but
not thought much about. It is a very important part of each person and without one, we would be dead. God
designed man with a visible part, the body made of molecules, and an invisible part, the soul.
The soul has four parts which are all involved in understanding and appreciating music. These are:
The Will—the part that makes decisions
2.
The Mind—the part that thinks and understands things
3.
The Memory—the part that remembers
4.
The Emotions—the feelings
LE
1.
If we had no soul we could not understand music or remember, express and enjoy it. The soul is a wonderful
and fascinating example of God’s design of people.
The soul is the invisible, conscious part of man. We have a will, a mind, a memory and emotions.
Track 10 Listen to the definition of soul. It is sung like a Gregorian Chant.
WHEN
MP
THE RENAISSANCE
When are we going to the next historical period—the Renaissance?
Right now—Let’s go! The timeline for the Renaissance is shown below (and in Worksheet 2.4 b).
WHERE
Where will we go?
We will stay in Europe and find out what is happening in the music garden from Lesson 17. The map on the
next page shows some of the people we will meet and where they come from.
SA
See Exercise 19.5
WHY
Why is this period called the Renaissance?
Renaissance means ‘rebirth’. In the Fifteenth Century there were more discoveries of writings from the
Ancient Classical Period 500 BC–500 AD. Italian scholars learned that their capital city, Rome, was the
centre of civilisation before the German invasion in 476 AD (see the timeline in Lesson 8). They wanted
Rome to revive the architecture, sculptures and paintings. The word Renaissance refers to the rebirth in the
Fifteenth and Sixteenth centuries of the ideas, philosophies and culture of the ancient Greeks and Romans.
HOW
How did this rebirth occur?
It came about gradually then quickly spread. People did not wake up on New Year’s Day 1450 and say, ‘Let’s
start the Renaissance Period and keep it going for 150 years.’ They did not even know the Renaissance had
started. Scholars invented the word later.
You remember the story of the music garden in Lesson 17. Many Renaissance seeds were planted in the Middle
Ages and did not fully blossom until the 1400–1500s. In the 1200s, Thomas Aquinas had discovered some
ancient writings of the Greeks such as Aristotle (Lesson 14). Aquinas tried to mix Aristotle’s beliefs with
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LE
Lesson 30
Recording of Baroque music of your choice.
CD questions: 30.1, 30.4, 30.5
REVIEW
Recite Psalm 16:5–6.
Keyboard questions: 30.2
KB arrangements: pages 24–29 may be started
Surprise Box Pick four cards and recite them.
Who were some rulers in England?
What were two wars in the Eighteenth century?
MP
Which part of the soul plans things? Makes decisions? Has feelings? Remembers?
What is lining out?
THE TA-TE-FE RHYTHM
You already know the rhythm ta-fa-te-fe.
It we tie the first two notes together we make a new rhythm.
See Exercise 30.1 a)
SA
Track 41 Clap this rhythm and say FTN.
THE A MINOR CHORD
You already know the primary chords for C Major: I = C, IV = F and V = G. In the primary chords for A
minor, the pattern is exactly the same but we start on A, not C. We use the same numbers as in C major
because the primary chords are I IV and V.
In A minor I = A minor, IV = D minor and V = E.
A minor primary chords are based on the A harmonic minor scale with the raised seventh note—G#. They
use the same degree numbers as in the major scale—I IV V.
Minor chords can be indicated with a lower case ‘m’, e.g. A minor = Am, D minor = Dm. Major chords are
usually left as is, e.g. C major = C, G major = G.
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Keyboard Notice the G# which is the leading note in the A scale. The G# leads home to the tonic A.
Play the three chords and listen to how I and IV sound minor but V sounds major. This is because of the G#
or raised seventh.
See Exercise 30.2 and 30.3
WHO
MP
BAROQUE COMPOSERS
LE
Keyboard We can turn the D and E chords upside down to make them closer to the A chord on the
keyboard as in the C chords. Play these chords with LH exactly the same way you play the C chords. Use the
same fingers and pattern but remember the G#.
Who were some composers in the Baroque?
There were many composers during the Baroque and many works were written. In this lesson we will meet some
composers including hymnwriters. Let’s look at some English composers first. As you read about them, find their
names on the timeline at the end of Lesson 31. Keep in mind the history of the last two lessons. These
composers were affected by the Reformation, wars, Restoration Period and many discoveries. There was great
interest in learning new things and composers wrote many new types of compositions. During the 1600s in
England, hymns were not accepted in the Church. They could only be used in private devotions. English
composers wrote very few hymns. Later in the 1700s we will see the rise of hymns in England.
You do not have to remember all of the composers below. The list is to help you choose some recordings to
listen to. You can buy a CD or borrow from the library.
ENGLISH COMPOSERS
SA
On the timeline in Lesson 31 find some early composers who lived in both the Renaissance and Baroque e.g.
Orlando Gibbons, William Byrd, John Bull and John Dowland.
Matthew Locke (1630–1677) worked for Charles II and wrote church and secular music.
Pelham Humphrey (1647–1674) led a new burst of musical activity in the English courts after studying in
France. He was one of the composers Charles II sent to France and Italy to study light, secular music.
John Blow (1649–1708) was the organist at Westminster Abbey and wrote sacred and secular music.
Henry Purcell (1658–1695) was a pupil of Blow and Humphrey. He became organist at Westminster Abbey
in 1679. He wrote secular and sacred music.
Jeremiah Clarke (1659–1707) was a pupil of Blow and organist at St. Paul’s Cathedral. He composed music
for church, stage plays and harpsichord.
EUROPEAN COMPOSERS
Jean Baptiste Lully (1632–1687) was born in Italy but raised in France. He had an important position in the
court of Louis XIV. He was also a dancer and wrote music for ballets, operas, church and dances. In those
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The Elements of Music Volume 2 Teacher Manual
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Lesson 33
CD questions: 33.2 Keyboard questions: 33.1
KB arrangements: earlier pieces can now be transposed (see introduction to KB Arr book)
REVIEW
Surprise Box Pick four cards and recite them.
Who were some famous hymnwriters in the Eighteenth Century?
Who were some composers of the Baroque?
What is the name given to the new way of tuning instruments still used today?
What is transposition?
How many major keys are there?
MP
Who composed The Well Tempered Klavier (48 Preludes and Fugues)?
KEY SIGNATURE
You have already learned how C scale can be transposed or shifted across to G position and still sound major.
Each time you transpose to a new key, another sharp is added to the other ones.
C major has no sharps.
G major has one sharp—F#.
D major has two sharps—F# C#.
A major has three sharps—F# C# G#.
E major has four sharps—F# C# G# D#.
SA
This pattern continues until seven sharps are used. With so many sharps in some keys, the notation gets very
cluttered and hard to read. Composers decided to write all of the sharps at the start so players could instantly
know which scale to use. The group of sharps is called a key signature because it tells which key or scale the
piece uses. The key signature is always written just after the clef. Here are some examples of key signatures.
G CHORDS
If C scale can be transposed to G scale, then the three primary chords I IV V can also be transposed to G. All
you do is shift your hand to G position and play exactly the same finger and note patterns. You only need to
remember to play the F# in the V chord.
See Exercise 33.1
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FORM IN THE BAROQUE
WHAT
We have met many Baroque composers now. What types of music did they write?
LE
The answer to this question is found in the music element of form. Form is the shape or plan of music sections
moving along a timeline. This lesson we look at how composers planned their music.
Form is like cooking a cake. A cook chooses the ingredients and flavours and mixes them according to his
recipe or plan. He puts the mixture into a tin, cooks it and it comes out in the shape or form of the tin.
Likewise, a composer mixes the elements and arranges them into sections according to his plan or form.
There are three differences between a cake and a composition. Firstly, one is visible and the other is invisible.
Secondly, one moves through a timeline and the other can be seen all at once. Thirdly, one has edges which
are easy to see and the other has endings or cadences which tell when a new section is starting.
See Exercise 33.2
MP
There were many different forms or types of music in the Baroque. We will divide them into two groups—
vocal and instrumental. If a work is for both voice and instruments it will go into the vocal group because the
voice is the main sound. The instrument part is often the accompaniment and adds harmonies to the vocal
melodies. Music can also be divided according to the reason the composer wrote it—sacred (for the glory of
God) or secular (popular art music for entertainment).
The chart on the next page lists many Baroque musical forms. This will help you find a recording of some
Baroque music to listen to.
WHY
Why were there so many different forms of music?
The answer to this question is found in the music element of soul. The soul is made up of the will, mind, memory
and emotions. When anyone is being creative and designing something, all parts of the soul are used. A
composer uses his will to decide to compose something. He uses his mind to think about what he is composing.
Perhaps it is his job and his employer is paying him. Perhaps he has some good ideas and wants to share them.
Perhaps he wants to worship and glorify God with a song of praise. The composer thinks about how he will
organise the music elements. He remembers other music he has heard and the music knowledge already
learned. In his mind he mixes this knowledge and forms new ideas. He designs it with shapes (sections) and
plans and where sounds will occur along the timeline. He decides which instruments to use. All the time his
emotions are helping him express himself.
SA
For a new composition, there has to be much planning, forming or shaping of musical ideas in the soul. It is
the same when an artist paints a picture or a chef cooks a delicious meal or an author writes a story. Creative
people are always planning and forming ideas in their souls.
A good example is found in the cantatas (large choral works) of Bach. He had good reason to compose them.
For many years his job was to compose a new cantata for God’s glory for each Sunday service and holy day
celebrations. We know that beliefs affect the soul which affect the body and music. Bach’s strong Christian
faith caused him to write much music for the glory of God. In fact, most of his music was written for the
Church. He used his soul, wisdom, knowledge and understanding of music. His cantatas were sung between
the Gospel reading and the sermon to give support and strength to the preacher’s message. Bach sometimes
chose to use many melodies and words from chorales which people already knew. He planned, shaped and
designed the music elements according to what he believed in his heart. He used his will, mind, memory and
emotions to carry out his plans. The result was that he composed about 300 cantatas. Imagine what it would
be like going to church each Sunday and always having new music.
There are many different forms of music. Composers have different reasons for composing. In the
Renaissance, many wrote for church. Many also wrote for the entertainment and pleasure of their employer.
This is called art music. Art music included dances and chamber music for small groups in small rooms or
chambers.
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The Elements of Music Volume 2 Student Workbook
These notation signs describe different types of soundwaves. Which element do they
belong to? Draw a line to join each one to the correct box.
1.4
a) Beat Say and clap the definition of beat.
MP
LE
1.3
b)
Track 3: Meter Listen for the accented note (louder) which tells the first beat
of a bar. You will hear four ticks first. Write the correct time signature.
i)
iii)
Track 4: Rhythm The rhythm is played three times. First time, point to
each note as you hear it. The second time, point and say FTN. The third time,
clap and say the counts. Wait for four ticks and ‘Ready, Go.’
SA
c) i)
ii)
ii) Write the counts under each note.
d)
Track 2: Meter Listen to the definition of meter put to rhythm. Clap it saying
words, then FTN.
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1.5
Who created time?
Are time, rhythm and beat visible or invisible?
One day =
One year =
One century =
1.6
LE
Music rhythms have short timelines lasting only seconds. A minute has a timeline 60
seconds long. How long are these timelines?
hours
One week =
months
Your life =
years
days
years
One millennium =
years
Read and memorise this poem about the History Guides.
1.7
MP
I keep six honest serving men,
They taught me all I knew.
Their names are What and Why and When
How and Where and Who.
Complete these four reasons God wants us to learn history.
a) So we can learn more about
b) So we can discover God’s
for us.
even when things do not go well.
c) God is still in
God stays the
SA
.
but people and music
.
d) God gave us a written
.
1.8
What book did God have His Word notated in?
1.9
What are four reasons writers and composers write things down on paper?
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12.1
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Worksheet 12
Early Middle Ages Notation
a) Add a melisma to the last note of this chant. Use neumes.
b) Sing the above chant starting on any note and following the melody line.
High Middle Ages Notation
MP
12.2
a) Rule the middle line red to indicate F.
b) Draw the missing neumes. The solfege signs underneath tell whether to go up or
down.
c) Add a melisma to decorate the last note. Write its solfege underneath.
SA
d) Sing the chant.
12.3
Modern Notation
a) Finish writing these scales and fill in the equivalent mode.
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The Elements of Music Volume 2 Student Workbook
LE
b) Finish writing this chord pattern in the bass clef. Write chord names in the boxes.
c) Write above each chord in treble clef a note which agrees with each chord.
a)
Track 30 Point to each note as you hear it. It is played twice. The second time
say FTN. Listen to the beats and wait for ‘Ready, Go.’
MP
Keyboard Play the chord with your LH and the treble note with your RH.
What are the first and last bars called?
b)
Track 31: Rhythm Dictation Write the notes of the rhythm you hear. The
rhythm is played three times with four beats at the start. Draw the time signature
and barlines to make the meter four quarter beats in a bar.
c)
Track 32: Melody Dictation Write the notes you hear. The first note is C. The
melody is played three times.
SA
12.4
d)
d)
Track 33: Harmony Dictation Write the number of the chord patterns you
hear. Both patterns start with a C chord—I. Each example is played twice.
i)
ii)
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The Elements of Music Volume 2 Student Workbook
24.8
Draw a line to match the reference with the key words from the verses.
Genesis 1:1
deceit/deception, philosophy, tradition, world, Christ
Matthew 22:37
eat, good, soul, delight, ear, come, live
Isaiah 55:8–9
Romans 1:20
Ephesians 5:19
Isaiah 55:2b–3
John 3:8
a) Label the parts.
psalms, hymns, spiritual songs, heart, Lord, give
thanks, God, Father, name, Lord Jesus Christ
love, Lord God, heart, soul, mind
thoughts, ways, Lord, heavens, higher, ways
In the beginning, God created, heaven , earth
creation, world, invisible, clearly seen, being
understood, without excuse
MP
24.9
wind, sound, everyone, born of the Spirit
LE
Colossians 2:8
SA
b) Name the intervals on the harmonic series below. The first one is done.
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Worksheet 25
Recording of Renaissance music of your choice
a)
Track 29 Listen twice to the definition of timbre. The first time words are
used. The second time you will hear FTN. Memorise this definition with rhythm.
MP
25.1
b) Ask several people to say the definition of timbre. Close your eyes, listen to the
timbre and guess who is speaking.
25.2
Fill in the missing words for the timbre God-message.
a) God designed soundwaves and people in
different
c
ways with
.
SA
b) God’s signature can be seen in the
c
d
of His
.
c) God identifies and
kn
everyone and wants
to know
25.3
u
H
.
Track 30 Identify the timbre of each sound by numbering the instrument in the
order you hear them.
tambourine
cello
flute
guitar
triangle
piano
bells
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Keyboard
a) Play C and G scales with LH using correct fingers.
MP
b) Play C and G chords with LH using correct fingers.
c) The definition of harmony has melody and harmony. Play the melody in RH and
chords in LH. The chords are tied and only played once.
d) Transpose the above definition of harmony to the key of G, then play it on the
keyboard.
SA
33.1
LE
Worksheet 33
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e) Play the definition of melody in the key of G.
Which chord in the key of G agrees with the notes in the melody?
Play the chord in LH while RH plays the melody.
Write the chord in each bar directly under the first note of each bar.
33.2
Track 49
MP
a) Listen to a Baroque dance called Minuet in G by J S Bach. Listen for the cadences.
b) Why do you think the piece is called Minuet in G?
c) Listen to the minuet several times and find as many music elements as possible.
Circle the correct answer.
i)
Form:
ii) Tonality:
binary
ternary
major
minor
SA
iii) Beat and Meter:
compound
iv) Style:
33.3
simple
monody
organum
polyphonic/contrapuntal
harmony and melody
Write T for true or F for False.
a) Composers use their will, mind, memory and emotions.
b) Sacred music is for worship and glorifying God.
c) Bach wrote only three cantatas.
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The Elements of Music Volume 2 Keyboard Arrangements