1 Unit 1
Chords and lutes
Worksheets
1.
Download and change the false sentences to make them true.
1. The Gregorian chant was composed by a Pope.
2. Gregorian is a Greek chant that is the main origin of oriental music.
3. It was compiled around the 8th century.
4. It was the chant of the Protestant church.
5. Gregorian comes from a king named Gregorio I.
1.
2.
3.
4.
5.
2.
Listen to Gregorian music and fill in the listening chart in the OLC: subject,
language, texture, instruments/voices, rhythm and composer.
Subject
Language
Texture
Instruments
/voices
Rhythm
Composer
Listening 1
3.
Download and fill in with the right word.
1. Secular music was music out of the ........
2. It developed mainly in ...... in the .............. centuries.
3. The ............. were poets and ............. who created that music and played it for
the ………
4. The ............. only performed but didn’t compose.
5. They accompanied their .............. with instruments such as ....................
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4.
Listen to troubadour music and fill in the listening chart in the OLC:
subject, language, texture, instruments/voices, rhythm and composer.
Subject
Language
Texture
Instruments
/voices
Rhythm
Composer
Listening 2
5.
Download, answer and fill in the gaps about the Cantigas.
1. Why do you think the Cantigas are secular music?
Because of the l................ that was g...................... and the popular subject that
was: ..............
2. What is a cantiga? A type of .......
3. The structure of a cantiga is the alternation of a ............. + .................
4. Why are the Cantigas so important? Research on the internet.
6.
Download and do the ‘Elastic sentences’ activity about Gregorian chant.
1. Gregorian chant is intended for .....
2. It was performed in ..............
3. It has 3..................
3. a. S........ style: each syllable of the text is sung.......
3. b. M........ style: each syllable of the text is sung.......
3. c. N......... style: each syllable of the text is sung.......
7.
Download and do the ‘Matching’ activity.
1. A scale.
A. Bourdon.
2. A sustained sound.
B. Dorian.
3. A scale in D.
C. Melodies with modes.
4. A medieval sound.
D. Mode.
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8.
See the glossary: useful expressions in regard to playing the recorder.
• Hold your recorder.
• "Left hand on top and right hand always ready".
• Don't eat the mouth piece!
• Correctly place your fingers sealing the holes: you are fingerprinted!
• Place the recorder on your chin, and 'play' the piece with your chin (without
blowing).
• Blow into your recorder softly; it is not a trumpet!
• Tongue each note.
9.
Download and do the ‘Elastic sentences’ activity in the OLC.
1. Many medieval instruments had existed since ................
2. There was a variety of instruments with ......
3. The instruments in the Middle Ages were used mainly in …………….
4. The troubadours were accompanied by ……..
5. In the church the most used instrument was …………..
10.
‘A word beginning with...’
a) Prepare your list of medieval instruments.
b) Write your questions for your partner to guess. Cut out the OLC diagram and
give it to your partner.
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11.
See the ‘Matching’ activity in the OLC.
1. Everything related to simultaneous sounds.
A. Harmony.
2. Two or more notes played simultaneously.
B. Interval.
3. The difference in pitch between 2 notes.
C. Chord.
12.
Download and do the ‘Elastic sentences’ activity.
There are 2 kinds of intervals: ......................................................
We
know
the
name
of
an
interval
..........................................................................
13.
counting
in
the
order
See the glossary: useful expressions in regard to rhythm.
LANGUAGE OF INSTRUCTIONS:
•
Notice how….
•
Mark the beats you hear.
•
Keep marking the beat.
•
Clap along to ….
•
Follow it in your head (= without marking them).
•
Synchronise with it.
14.
See the glossary: useful expressions in regard to singing.
A. TRAINING YOUR VOICE:
•
Pitch your voice correctly.
•
Tune your voice correctly.
•
Repeat, rising by a semitone.
•
Keep your voice in good form.
B. READING MUSIC:
•
Read music on a stave.
•
Mark the beat.
•
Read silently in your head.
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C. PREPARING TO SING: WARM UPS
Singing posture.

Stand tall with your knees relaxed and weight equally distributed.

Shoulders down with arms relaxed at your sides.

Gently stretch your neck and hold your head high, keeping your chin
parallel to the ground.

If you sit, sit up straight.

Raise your cheeks and smile with your eyes and eyebrows.
Physical warm ups.

Roll your shoulders slowly in large circles.

Move your head to loosen your neck.

Stand on one leg and roll your ankles. Swap to the other.

Stretch your arms above your head, leaning to one side and the other.

Shake your lower arm and your whole arm until floppy and loose.

Roll your hands at the wrist and wiggle your fingers.

Loosen your jaw by chewing imaginary gum, exaggerating the movement.

With one hand gently tap or slap along your arm, top and bottom, down
the sides, across the chest and tummy, down your legs, anywhere to
vitalize yourself.
Breathing.

Place your hands beneath your rib cage and find your diaphragm. When
you breathe in, it should move outwards (and your posture should remain
unchanged).

Think of blowing up a balloon: you have to take deep breath and exhale
steadily.

Try a long hiss like a slow puncture or blowing out lighted candles evenly
and gently.
Humming.

Generate a hum and move the pitch around. Put your hand on your nose to
feel the vibration.

Mmmm, and open your mouth still humming and develop the sound to ooo-a-e (this helps people that don't instantly latch on to a pitch).

Sing this at different pitches.

Sing this with different consonants as t, b and p.
D. TEN BASIC RULES FOR REHEARSALS AND CHOIRS CONCERTS.
Know the place that you occupy in the choir in the secondary school. If there are
changes in specific songs, the teacher will tell you. Remember them.
Sing standing up, and your posture must be maintained adequately. It’s very
important to sing standing up with your knees relaxed, your shoulders back,
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your head in a neutral position, and arms relaxed by your sides. If you hold the
song-sheet, do not change position and don't cover your smiling face. Always
look straight ahead.
Silence is very important during rehearsals and concerts. (Obviously not while
singing, vocalising or warming up, and between exercises).
Also avoid reactions if there are errors in rehearsals or concerts. If there are
doubts or comments, as is usual in class, ask for help by raising your hand.
Concentrating and listening to yourself and others is important, and guarantees
the improvement of your voice and the choir.
Smiling not only gives a good impression but it also improves your sound.
Always sing looking to the front.
Always follow the conductor's instructions.
Arrive punctually to rehearsals and get to your place quickly.
Respect the dress code, and enter and leave in an orderly way so to obtain a
good image of your performance.
15. Listen and fill in the listening chart in the OLC about Arabic music:
melodies, scales, structure, instruments/voices and rhythm.
Melodies
Scales
Structure
Instruments/
voices
Rhythm
Track
16,
17 and 18
16.
Download and do the ‘Right text question’ activity.
1. Your teacher will read/explain the text.
2. Write 5 questions with your partner about reggae.
3. Your teacher will check the questions.
4. Give your question to answer to the next pair.
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5. Swap.
17. Write a ‘Who am I?’ question about reggae musicians or groups and ask
your partner. Swap.
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