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MUSIC Int roduct ion to Mu s i c Seconda r y In Tune This book is a collective work, conceived, designed and created by the Editorial department at Santillana, under the supervision of Teresa Grence Ruiz. The following team has collaborated in this material: Writers María Larumbe Martín Cristina Rubio Barba Editor Juan José Castro Díaz Project editor Eva Herrero González Managing editor Mercedes Rubio Cordovés Do not write in this book. Do all the activities in your notebook.

L E A R N I N G PAT H ➔ Reflect and discuss about your own personal experience related to the topic covered in the unit, so that your learning process starts and becomes meaningful. ➔ Make connections. Exercise your mind to remember what you already know. Draw on the knowledge you have acquired in previous units or years, in other subjects or from your own experiences. ESSENTIAL KNOWLEDGE 1. Rhythm and beat 2. Body percussion 3. Writing music 4. Properties of sound 5. Sound and hearing 6. Soundscapes 7. Enjoy the concert! CONNECT WITH REALITY How many different sounds can you make with your body? When we clap our hands or tap our feet, can we call it music? Which everyday sounds bother you? Can excessive sound or noise be bad for our health? When is it better to be silent? 1 Rhythm in our blood ES0000000151526 228810_UNIDAD_01_112297.indd 7 24/1/22 18:09 Intensity 15. NAME the intensity of each piece and explain how it changes throughout them. ➔ Autumn f rom The Four Seasons by Antonio Vivaldi . ➔ Largo f rom New World Symphony by Antonin Dvorák . ➔ Egmont Overture by Ludwig van Beethoven . Intensit y tells us if a sound is loud or quiet . In music, we call this dynamics and we express them with dynamic indicators . They are Italian words and we usually wr ite their abbrev iations under the stave. To show that the dynamics of the music gradually increases or decreases , we use some symbols called hairpins. 16. PERFORM Falling Slowly by Glen Hansard and Marketa Irglova, f rom the f ilm Once. Pay attention to the changes in dynamics. I Fall mp don't - ing know slow you, - ly, but eyes I that want know you me, all and the I more can't for go that. back. p Words Moods fall that through take me me and ways e - fool - rase me, me, and and I I'm can't paint ed re black. act. - - pp mf mf dim. dim. Take this sink - ing boat and point it home, we've still got time. Raise your hope - ful voice you have a choice; you'll mak e it no (2 times) w. 44 & ∑ & ∑ ∑ & ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ w œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ w and_al pp p mp mf f ff piani ssimo piano mezzopiano mezzoforte forte forti ssimo moderately quietly ver y quietly quietly moderately loudly loudly ver y loudly i n d i c a t o rs a b b re v i a t i o n s m e a n i n g cresc. crescendo gradually more loudly dim. diminuendo gradually more quietly a b b re v i a t i o n s h a i r p i n s i n d i c a t o rs m e a n i n g 14 I Rhythm in our blood ES0000000151526 228810_UNIDAD_01_112297.indd 14 24/1/22 18:09 Flamenco 3. ACCOMPANY this f lamenco song. Use palma s seca s for the louder beats and palmas sordas for the other beats. Cup your hands to perform the sound of palmas sordas and regul ar cl apping for the palmas secas. 1 2 1 2 3 4 5 6 7 8 9 10 Body percussion is a fundamental par t of f lamenco. Cante (singing) and toque (guitar play ing) are accompanied by different t y pes of hand claps , and also by finger clicks and zapateado (tapping the f loor) per formed with shoes with a hard sole and nails on the toe and the heel . Gumboot dance 4. DANCE Baba Baxolele, South Af rican song. In zapateado, the dancer taps the f loor with the whole foot , half the foot , the heel , the edge of the heel or the toe. These basic movements are combined to make different rhythms. Take a step in the indicated direction. Take a step and slap the boot with both hands. Gumboot dance appeared at the end of the 19th centur y in the mines of South Afr ica . The workers , mostly black men , per formed ver y hard and dangerous tasks . They were forbidden from talking or singing while they worked , so they invented a way to communicate that used the sound of their gumboots . Today, this dance is a symbol of the fight against the racism and repression that black people in South Afr ica suffered . Perform ever ything 3 times, quicker and quicker. 6 (twice) 3 (twice) 5 (twice) 1 (twice) 2 (twice) 4 9 ES0000000151526 228810_UNIDAD_01_112297.indd 9 24/1/22 18:09 33 10. FIND your own tessitura, using a keyboard to help you. ➔ Start with the lowest note that you can sing and go up to the highest note, without straining your voice. All the notes should have the same dynamics and duration . What is your tessitura? ➔ Look at the keyboard in the previous page. Which are the notes that all types of voices can sing? Children's voices have a high-pitched timbre and in music they are called treble voices. 11. PERFORM the song Cerf -Volant f rom the f ilm Les Chori stes by Bruno Coulais. Cer f - vo l ant , - vo l ant - au vent , ne t 'ar - rê - t e pas. Vers l a m er, haut dans l es ai rs un en fant - t e vo i t . Vo - yage i n - so l ent , - t rou - bl es e ni - vrant s, - a m ours - i n - no cent es - sui vent - t a vo i e, sui vent - t a vo i e. Cer f - vo l ant , - vo l ant - au vent , ne t 'ar - rê - t e pas. Vers l a m er, haut dans l es ai rs, un en fant - t e vo i t . Et dans l a t our m ent e, - t es ai l es t r i om - phan t es. - N 'ou - bl i e pas de re - ve - ni r vers m oi . 43 & & & ∑ & œ œ œ ‰ œ j œ œ œ œ œ œ œ ˙ ˙ ˙ œ œ œ ‰ œ j œ œ œ œ œ œ œ œ œ ‰ œ j ˙ Œ œ œ œ ‰ œ j ˙ Œ Œ œ Œ œ œ œ ‰ œ j œ œ œ œ œ j ‰ œ œ œ ˙ œ œ œ ‰ œ j œ œ Œ œ œ œ œ ˙ ˙ ˙ œ œ œ ‰ œ j œ œ œ œ œ œ œ œ œ ‰ œJ ˙ Œ œ œ œ ‰ œJ œ œ œ œ ‰ œ j œ œ ˙ œ ˙ Œ mp (2 times) 12. FIND OUT what a speech pathologist is. The voice is an exceptional instrument that we must learn to look af ter. Bad habits like shouting, clearing your throat or coughing, drinking cold drinks, not resting enough, spending too much time in smoky places or singing in the wrong tessitura can damage our speech organs. Voice disorders are called dysphonia. Dysphonia that isn't cured or treated properly can become aphonia, which is total voice loss. Another example of chronic damage is vocal nodules, which are growths that form on the vocal cords and produce hoarseness and diff iculty in making certain sounds. ES0000000151526 228810_UNIDAD_02_112303.indd 33 24/1/22 19:05 2 B U I L D U P YO U R K N OW L E D G E : ES S E N T I A L K N OW L E D G E STA R T I N G P O I N T: T H E L E A R N I N G S I T UAT I O N 1 ➔ Apply your previous musical knowledge with a practical activity before learning about a new topic that will require developing new musical skills and competences. ➔ Acquire essential knowledge from the clear and well-structured content. ➔ Go further and discover supplementary topics that extend your knowledge of music. P R ACT I S E YO U R S K I L L S : T H E CO R E S K I L L S 3 ➔ Express yourself and develop your creativity through the performance of vocal and instrumental pieces of music, accompaniments and dances; and improvising, creating and collaborating with your classmates on producing different types of artistic products. ➔ Use the backing tracks specifically designed for each activity. ➔ Inspire yourself with the provided video and audio materials. ➔ Enjoy a carefully selected, varied and enriching musical repertoire. 2 I Learning path

R E A D I N G If music is made up of sounds, how can people with hearing loss enjoy it? We often think that music is exclusively for people who can hear, but the experiences of people with hearing loss make us rethink how we understand sound. Hearing is a sensation that happens in the brain when sound waves made by a vibrating object reach it. To be precise, the perception of sound happens in a place the size of a golf ball, called the auditory cortex. According to the latest research, people with hearing loss register sounds in the same part of the brain. However, instead of analysing information that they receive from the hearing organs (which are damaged), they process the vibrations of the sound that they perceive with their whole bodies. Anyone who has been near a loudspeaker in a disco knows how it feels when music makes your whole body vibrate. This discovery can help us to understand why so many people with hearing loss have dedicated their whole lives to music, overcoming their physical limitations and perceiving sound in different ways. Beethoven is one of the most well-known examples. It's said that he cut the legs off his piano to perceive the vibrations more clearly when he played. And his hearing loss didn't stop him from composing some of the most famous pieces in the history of music. Today, Evelyn Glennie is one of the most well-known musicians with hearing loss. She has won two Grammy Awards and recorded many albums. This exceptional percussionist can identify the exact pitch of any note by feeling its vibration in different parts of her body: ‘For some reason, we tend to differentiate between hearing a sound and feeling a vibration,’ she says, ‘but they're actually the same thing.’ Fortunately, there are more and more musical activities designed for people with hearing loss. In some concerts, for example, balls filled with air are given out so that the audience can feel the music in their hands. And sometimes wooden boxes are installed for people to lie on and feel the vibrations all over their bodies. After all, nobody wants to live without the pleasure of music. Can people with hearing loss listen to music? Key questions 1 What do we call the part of the brain that perceives sound? What function does it carry out? 2 Which two musicians with hearing loss are mentioned in the text? 3 Watch a video of Evelyn Glennie on the Internet . What did you notice most about her preformance? 4 Find information about the Sound Shirt . What it is? What functions does it have? 26 I Rhythm in our blood ES0000000151526 228810_UNIDAD_01_112297.indd 26 24/1/22 18:09 Appendix ES0000000151526 228810_FINALES_112302.indd 137 25/1/22 9:24 ➔ Critical thinking. Analyse a news article and answer the questions that will help you to think about and show your reasoning. Make connections between music and other subject areas and share your knowledge. ➔ Don't stop now! Find the terms that you can't remember in the glossary, check the recorder fingering chart and the basic chords on the guitar and the keyboard to perform the suggested pieces of music. O R G A N I S E YO U R I D E AS S O U N D I t s p ro p e r t i e s a re … Th e y ' re s h o w n w i t h … Intensity It distinguishes between loud and quiet sounds. Dynamic indicators: p p p m p m f f f f d i m . c re s c . Pitch It distinguishes between high and low sounds. Musical notes on the stave and the treble clef: S O U N D WAV E S An object vibrates. The waves travel through the air, water or another medium, and reach our hearing organs. Regular and organised and they feel pleasant . This type of waves are called sound. Irregular and disorganised and they feel unpleasant . This type of waves are called noise. Th e y ' re p ro d u ce d w h e n … Th e y ' re d i f f e re n t d e p e n d i n g o n … Th e y a re m e a s u re d i n … Th e y c a n b e … An excess of sound and noise in our surroundings is called noise pollution and can be ver y dangerous for our health. The result of all the sounds in a space at a given momet is called soundscape. Their f requency, which determines the pitch of the sound (more in high sounds and less in low sounds). Hert z (Hz). Their amplitude, which determines the intensity of the sound (larger in loud sounds and smaller in quiet sounds). Decibels (dB). Their duration. Seconds (s). & œ œ œ œ œ œ œ œ It distinguishes between long and short sounds. Duration Note values and their rests: h q e x Timbre It identif ies what we hear. The name of the instrument or type of voice. 23 ES0000000151526 228810_UNIDAD_01_112297.indd 23 24/1/22 18:09 7 Name the property of sound described in each sentence. a . Property that distinguishes between long and short sounds . b. Property that distinguishes between high and low sounds . c . Property that distinguishes between loud and quiet sounds . d . Property that identif ies what we hear. 8 Make a similar pyramid diagram for the corresponding rests. e e e e e e e e q q q q h h x x x x x x x x x x x x x x x x w 9 Look at the example. Then copy and complete the equivalents in your notebook. Finally, do the same with semiquavers. w 5 4 q 1 w 5 e 2 5 3 5 10 Write this rhythm on a stave with the following notes in your notebook. Sol Re Re Do' Mi Si La Fa Re 44œ œ œ œ œ œ œ œ ˙ / C H EC K YO U R P R O G R E S S 1 Copy and complete in your notebook. In music, means a pattern of sounds . These patterns can be organised into , which are parts in which musical time is divided . Some of these parts are than others . 2 Name three types of body percussion. 3 Write where these dances are f rom in your notebook. a . Gumboot dance. b. Fl amenco. c . Haka. 4 Copy and correct the sentences. a . The stave is a set of four lines and three spaces where we write music. b. The treble clef starts on the f irst line of the stave. c . We use the neutral clef to write low notes and it starts on the fourth line of the stave. d . We use the bass clef to write rhythms, which is why it doesn't show any musical note. 5 Find the correct treble clef and draw it several times. On which line of the stave does it start? Why? 6 Name the four properties of sound. a . Pitch , timbre, intensity and amplitude. b. Duration , f requency, timbre and silence. c . Duration , pitch , intensity and timbre. d . Timbre, pitch , duration and rhythm . 24 I Rhythm in our blood ES0000000151526 228810_UNIDAD_01_112297.indd 24 24/1/22 18:09 ➔ Organise your ideas and make sure that you have learnt the essential knowledge with the help of the concept maps which include the main contents of the unit. ➔ Check and apply what you have learnt through the numerous activities included in this material. ➔ Assess your learning process and be aware of what you have learnt and the way you have built this knowledge. SA B E R ES BÁS I CO S 4 R E I N FO R C E YO U R K N OW L E D G E : CH EC K YO U R P R O G R ES S 5 R E F L EC T A N D R ES E A R CH 6 G O F U R T H E R ➔ Check the LibroMedia and discover all the videos, audio recordings and multimedia materials associated with this book. 7 A N D T H E R E ' S M O R E . . . 3

UNIT • • Classical music. Venues for the performance of classical music and concert etiquette. The programme. • • Active listening to Danse Macabre, C. Saint-Saëns. • • Active listening to the Habanera f rom Suite No. 2 f rom Carmen , G. Bizet . • • Analysis of an excerpt of the Habanera f rom the opera Carmen (2010). • • Digital editing of scores. • • Melody. Types of melodic lines. Chords. • • Antecedent and consequent musical phrases. • • Musical patterns: call and response, and echo. • • Canon. 4 Classical music 7 1 • • How the voice works: breathing process, vocal cords, vocal resonators and articulation. • • Active listening to Ay, Tri ste que Vengo, J. del Encina. 2 An exceptional voice 27 1 Rhythm in our blood 7 • • Analysis of a scene f rom the f ilm Pitch Perfect (2012). • • Sound and hearing: sound waves, how sound is measured and the hearing organs. • • Soundscapes, noise pollution and silence. • • Active listening to the William Tell Overt ure, G. Rossini. • • Rhythm and beat . • • Writing music: the stave, the one-line stave and the clef. • • The properties of sound and how they are represented with musical notation: duration, pitch, intensity and timbre. Listening and perception ES SEN T I A L K N OWL ED GE • • Glossar y of musical terms. • • Recorder f ingering chart . • • Chords on the guitar. • • Chords on the keyboard. Performance, improvisation and • • Vocal exercises and techniques. • • The recorder and how to play it . • • The metre: the beat and types of metre. • • Sound-lengthening signs: dot , tie and fermata sign. • • Repeat signs: begin- and end-repeat signs, f irst- and second-time signs, Da Capo and Da Capo al Fine. • • The ostinato. • • Accompaniment with vocal resources of Mambo No. 5, D. Pérez Prado. 3 Countless instruments 49 • • Analysis of a scene f rom the f ilm The Soloist (2009). • • Viewing how some electrophones, wind, string and percussion instruments are played. • • Active listening to the Theme f rom The Young Person 's Guide to t he Orchest ra , B. Britten. • • Active listening to Feuillet Inèdit No. 4, O. Messiaen. • • Active listening to Csardas, V. Monti. • • Active listening to the Allegro con brio f rom Symphony No. 5, L. van Beethoven. • • The keyboard and how to play it . • • Tempo and metronome markings. • • Inter vals: tones and semitones. • • Accidentals: the sharp, the f lat and the natural . The key signature. • • Performance of Jolie Blon , traditional Cajun song. • • Active listening to Jota f rom Siete Canciones Populares Españolas, M. de Falla. • • Viewing how some traditional instruments of Spain are played: the tambourine, the square hand drum, the spoons, the three-holed pipe, the tabor and the psalterium. • • Recording of a podcast . • • Anacrusis. • • Types of scales: diatonic and pentatonic scales. • • Accompaniment with body percussion of Cortando la Rosa, traditional song f rom Spain. • • Performance of Funga Alaf ia , traditional song f rom Nigeria. 5 Musical roots 93 • • Viewing how the drum kit and the electric and bass guitars are played. • • Active listening to Rock Around t he Clock , M. C. Freedman and J. E. Myers. • • Analysis of a scene f rom the f ilm Ray (2004). • • Active listening to Self -Dest ruct ion , Stop the Violence Movement . • • Performance of a rock and roll dance. • • Creation of a rap over a backing track provided. • • Rhythmic effects: syncopation and off-beat notes. • • Performance of In t he Mood , G. Miller. • • Performance of I Got Rhyt hm , G. Gershwin. 6 Urban sounds 115 APPENDIX 137 4 I Contents

Contexts and cultures • • Performance of a gumboot dance to Baba Baxolele, traditional song f rom South Af rica. • • Accompaniment with cups of When I 'm Gone, A. P. Carter. • • Performance of Oh , When t he Saint s, traditional song f rom the United States. • • Performance of Falling Slowly f rom the f ilm Once, G. Hansard and M. Irglova. • • Creation and performance of a soundscape with body percussion. • • Music with body percussion and its presence in different musical traditions: f lamenco, gumboot dance and haka. • • Reading Can people wit h hearing loss li sten to music?, dealing with music and hearing loss. • • Classical or formal music. • • Asian classical music. • • Vocal and instrumental ensembles. • • Organisation of the instruments in a symphony orchestra. • • Reading A surpri se concert, dealing with classical music and the context in which it is performed. • • Performance of the Rondo f rom Eine Kleine Nachtmusik , W. A. Mozart . • • Performance of Sakura , Sakura , traditional song f rom Japan. • • Performance in canon of I Like t he Flowers, traditional song f rom England. • • Performance of Ode to Joy f rom Symphony No. 9, L. van Beethoven. • • Performance of Oh , False One f rom The Pirates of Penanze, A. Sullivan. • • Performance of Papageno f rom The Magic Flute, W. A. Mozart . theatrical creation • • Classif ication of types of voice according to tessitura. • • Reading The power of a song about the use of music in humanitarian aid projects. • • Performance of I Am so Proud f rom The Mikado, A. Sullivan. • • Performance of The Zulu Warrior, traditional song f rom South Af rica. • • Performance of Cerf -Volant f rom the f ilm Les Chori stes, B. Coulais. • • Performance of O Haupt voll Blut und Wunden f rom St . Matt hew Passion , J. S. Bach. • • Performance of Edelwei ss f rom the f ilm The Sound of Music, R. Rodgers and O. Hammerstein II. • • Performance of Scarborough Fair, traditional song f rom England. • • Performance of Lascia Ch´ io Pianga f rom Rinaldo, G. F. Händel . • • Creation of a piece of beatboxing f rom the melodic and rhythmic excerpts provided. • • Objects that make a sound: prehistoric and traditional instruments. • • Making musical instruments: the luthier. • • Classif ication of instruments: strings, wind, percussion and electrophones. • • Reading Music from rubbi sh , dealing with the role of music and education in social transformation. • • Making an instrument with recycled materials and creation of rhythms to accompany songs with the instrument . • • Creation of a digital instrument f ile. • • Performance of The Lion Sleeps Tonight , S. Linda. • • Performance of the Minuet f rom Septet, L. van Beethoven. • • Traditional or folk music. Functions of traditional music all over the world. • • Instruments, ensembles and traditional dances of Spain. • • Flamenco. • • Reading Venues for f lamenco, dealing with the cafés cantantes and their role in the development of f lamenco. • • Accompaniment with objects that make a sound of La Loba Parda, traditional song f rom Spain. • • Performance of Tú , Gitana , J. Afonso, with traditional lyrics, arranged by Luar na Lubre. • • Performance of Esku Dant za, traditional dance f rom the Basque Countr y. • • Performance of Rosa María , A. Sánchez Pecino. • • Performance of Molly Malone, traditional song f rom Ireland. • • Performance of Blues in C, M. Á. de la Ossa. • • Performance of Banana Boat Song, traditional song f rom Jamaica. • • Popular music. • • Jazz and rock and roll . The big band and the rock band. • • Styles of popular music in the 20th and 21st centuries. • • Non-Western popular music. • • Reading Inspirat ion or plagiari sm? about copyright . • • Performance of All My Loving, The Beatles. • • Performance of Should I Stay or Should I Go?, The Clash. • • Performance of Wonder wall , Oasis. • • Performance of Stand by Me, B. E. King, J. Leiber and M. Stoller. 5

ESSENTIAL KNOWLEDGE 1. Rhythm and beat 2. Body percussion 3. Writing music 4. Properties of sound 5. Sound and hearing 6. Soundscapes 7. Enjoy the concert! CONNECT WITH REALITY How many different sounds can you make with your body? When we clap our hands or tap our feet, can we call it music? Which everyday sounds bother you? Can excessive sound or noise be bad for our health? When is it better to be silent? 1 Rhythm in our blood

Rhythm is present in many aspects of nature: we can f ind it in our heartbeat , the waves in the sea, the cycle of day and night or the seasons of the year. When we listen to music or perform a rhythm or a melody, we naturally clap or tap our feet to the beat . 1. Rhythm and beat 1. ACCOMPANY Where Is t he Love? by Black Eyed Peas with this series of sounds. In music, rhythm means a pattern of sounds. These patterns are organised into beats. The beat means the equal parts in which musical time is divided. Some beats are louder than others. This creates a different emphasis when the louder beat is one in every two, in every three or in every four. 2. BEAT OUT these rhythms by patting your legs. Emphasise the louder beats. ➔ Ever y two beats (The Syncopated Clock by Leroy Anderson): 1 2 1 2 1 2 1 2 ➔ Ever y three beats (Walt z of t he Flowers by Pyotr Ilyich Tchaikovsky): 1 2 3 1 2 3 1 2 3 ➔ Ever y four beats (Baby Elephant Walk by Henr y Mancini): 1 2 3 4 1 2 3 4 2. Body percussion The human body is the perfect instrument. We can sing beautiful melodies with our voices and make all types of rhythms with body percussion, like clapping our hands, clicking our fingers or patting our legs. clap f inger click pat your hand on your chest f inger click 1 2 3 4 8 I Rhythm in our blood

Flamenco 3. ACCOMPANY this f lamenco song. Use palma s seca s for the louder beats and palmas sordas for the other beats. Cup your hands to perform the sound of palmas sordas and regul ar cl apping for the palmas secas. 1 2 1 2 3 4 5 6 7 8 9 10 Body percussion is a fundamental par t of f lamenco. Cante (singing) and toque (guitar play ing) are accompanied by different t y pes of hand claps , and also by finger clicks and zapateado (tapping the f loor) per formed with shoes with a hard sole and nails on the toe and the heel . Gumboot dance 4. DANCE Baba Baxolele, South Af rican song. In zapateado, the dancer taps the f loor with the whole foot , half the foot , the heel , the edge of the heel or the toe. These basic movements are combined to make different rhythms. Take a step in the indicated direction. Take a step and slap the boot with both hands. Gumboot dance appeared at the end of the 19th centur y in the mines of South Afr ica . The workers , mostly black men , per formed ver y hard and dangerous tasks . They were forbidden from talking or singing while they worked , so they invented a way to communicate that used the sound of their gumboots . Today, this dance is a symbol of the fight against the racism and repression that black people in South Afr ica suffered . Perform ever ything 3 times, quicker and quicker. 6 (twice) 3 (twice) 5 (twice) 1 (twice) 2 (twice) 4 9

The haka 5. FIND on the Internet the All Blacks rugby team performing the haka. What do their movements look like? The haka is an ancient war dance from the Maor i culture in New Zealand . It consists of a ser ies of v igorous movements per formed simultaneously in a group, accompanied with body percussion. At the same time, the per formers recite a chant with loud voices . 3. Writing music 6. LISTEN to the Allegro f rom Cello Concerto in B Minor by Antonin Dvorák. Could you easily learn this piece by heart? An effective way to remember music is to wr ite it down. Western musical notation is a code used all over the world for representing music graphically. It consists of var ious elements . The stave We write music on a stave, a set of five lines and four spaces where we write the notes and all the other musical symbols. We count the lines and spaces of the stave from the bottom up. One-line stave When we aren' t per forming musical notes , but only rhy thms , we use a stave with just one line. The clef The first thing that we wr ite on the stave is the clef, which shows the name of each note on the stave. There are several t y pes of clef, but the most common is the treble clef. It star ts on the second line of the stave and it shows the note Sol or G on this line. 7. LEARN how to write the treble clef and practise it in your notebook. & œ Other clefs ➔ We use the bass clef to write low notes. It starts on the fourth line of the stave and it shows the note Fa or F on this line. ? œ ➔ We use the neutral clef to write rhythms, which is why it doesn't show pitched notes. / 5 4 3 2 1 4 spaces 5 lines 4 3 2 1 For a long time, music passed f rom one generation to the next orally, but today we have musical notation to represent it graphically so that it endures over time. 10 I Rhythm in our blood

4. Properties of sound There are four proper ties that help us to distinguish one sound from another : duration , pitch , intensit y and timbre. We can show all these proper ties with musical notation. Duration 8. SAY the correct order of the rhythms. A 44 / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ B 44 / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ C 44 / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Duration tells us if a sound is long or shor t . We represent it with note values and their cor responding rests . The note value that usually represents the beat is the crotchet , but it could be any note value. name note value rest equivalent semibreve 4 crotchets w h q e x minim crotchet 1 crotchet 2 crotchets quaver 1/2 a crotchet semiquaver 1/4 of a crotchet 9. TAP the rhythms with your foot and perform them with hand claps. Then make up a third rhythm and write it on a one-line stave. 44 / ˙ œ Œ œ œ œ Œ œ œ œ œ œ œ œ 44 / œ Œ ‰ œ j ‰ œ j œ œ œ œ œ œ œ œ œ œ œ ˙ 1 2 Parts of a note ➔ The parts of a note value are: ➔ When quavers and semiquavers go together, their f lags join each other like this. iq jjjq flag stem notehead e q 11

10. ACCOMPANY When I 'm Gone by Alvin Pleasant Carter. ➔ Put a pencil holder or a pl astic cup upside down on the ta ble and practise this series of movements . 1 1 2 3 2 1 4 5 1 6 7 8 9 10 11 44 / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ➔ Practise the movements until you can perform them at the speed of the music. ➔ Watch this scene f rom the f ilm Pitch Perfect in which the actor Anna Kendrick performs the song Cups (When I 'm Gone) and discuss it with your cl assmates . Pitch 11. SAY which of these instruments makes lower sounds. 1 2 1 Clap your hands. 2 Pat the table with the right hand. 3 Pat the table with the lef t hand. 4 Lif t the cup with the right hand. 6 Turn the cup around with the lef t hand. 7 Pat the top of the cup with the right hand. 8 Hit the bottom of the cup against the table. 9 Pass the cup to the right hand facing up. 10 Pat the table with the lef t hand. 11 T urn the cup around and place it in the initial position. 5 Place the cup on the table again. 1 12 I Rhythm in our blood

Do or C Re or D Mi or E Fa or F Sol or G La or A Si or B Do' or C' Re' or D' & œ œ œ œ œ œ œ œ œ Pitch tells us if a sound is high or low. We represent it with the help of the clef and the different musical notes on the stave. The lower lines and spaces of the stave cor respond to the lower notes , and the higher lines and spaces to the higher notes . When a note is too high or too low to wr ite it on the stave, as is the case of middle Do or C , we wr ite them on ex tra lines called leger lines. 12. SING the scores with the names for the notes. 44 & œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ 44 & ˙ œ œ œ œ œ œ œ œ ˙ œ œ ˙ 1 2 13. COPY and complete the score with the indicated musical notes and the correct note values in your notebook. Then perform it . Do Mi Sol Sol Sol Sol Fa Mi Re Do Mi Do Mi Sol Do' Si La Fa 42 & & œ œ œ œ œ œ œ œ 14. PERFORM Oh , When t he Saint s, a traditional song f rom the United States. Oh, w hen t he sa int s go m arch - i ng i n, oh, w hen t he num ber, - oh, w hen t he saint s go m arch - i ng i n. 44 & & Œ œ œ œ w Œ œ œ œ w Œ œ œ œ œ ˙ Œ Œ œ œ œ ˙ ˙ ˙ ˙ w (3 times) sa int s go m arch - i ng i n, Oh Lord, I w ant t o be_i n t hat & ˙ ˙ ˙ ˙ w Œ œ œ œ ˙ Œ œ ˙ ˙ Oh, w hen t he sa int s go arch - i ng i n, oh, hen t he num ber, - oh, hen t he saint s go m arch - i ng i n. 44 Œ œ Œ œ œ ˙ Œ Œ œ œ ˙ ˙ (3 ti es) sa int s go arch - i ng i n, h Lord, I ant t o be_i n t hat ˙ ˙ ˙ ˙ Œ œ œ ˙ Œ œ ˙ h, hen t he sa int s go m arch - i ng i n, oh, w hen t he nu ber, - oh, w hen t he saint s go arch - i ng i n. 44Œ œ œ œ ˙ (3 times) sa int s go m arch - i ng i n, Oh Lord, I w ant t o be_i n t hat œ ˙ Œ ˙ Some animals communicate with sounds that humans can't hear. For example, dolphins and bats use ver y high sounds, called ultrasound, to communicate and to orientate themselves. Elephants use inf rasound, which is a ver y low sound that they make when they stamp their feet . Oh, w hen t he sa int s go m arch - i ng i n, oh, w hen t he num ber, - oh, w hen t he saint s go m arch - i ng i n. 44Œ œ œ œ w Œ œ œ œ w Œ œ œ œ œ ˙ Œ Œ œ œ œ ˙ ˙ ˙ ˙ w (3 times) sa int s go m arch - i ng i n, Oh Lord, I w ant t o be_i n t hat ˙ ˙ ˙ ˙ w Œ œ œ œ ˙ Œ œ ˙ ˙ l e g e r l i n e 13

Intensity 15. NAME the intensity of each piece and explain how it changes throughout . ➔ Autumn f rom The Four Seasons by Antonio Vivaldi . ➔ Largo f rom New World Symphony by Antonin Dvorák . ➔ Egmont Overture by Ludwig van Beethoven . Intensit y tells us if a sound is loud or quiet . In music, we call this dynamics and we express them with dynamic indicators . They are Italian words and we usually wr ite their abbrev iations under the stave. To show that the dynamics of the music gradually increase or decrease, we use some symbols called hairpins. 16. PERFORM Falling Slowly by Glen Hansard and Marketa Irglova, f rom the f ilm Once. Pay attention to the changes in dynamics. I Fall mp don't - ing know slow you, - ly, but eyes I that want know you me, all and the I more can't for go that. back. p Words Moods fall that through take me me and ways e - fool - rase me, me, and and I I'm can't paint ed re black. act. - - pp mf mf dim. dim. Take this sink - ing boat and point it home, we've still got time. Raise your hope - ful voice you have a choice; you'll mak e it no (2 times) w. 44 & ∑ & ∑ ∑ & ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ w œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ w and_al pp p mp mf f ff piani ssimo piano mezzopiano mezzoforte forte forti ssimo moderately quietly ver y quietly quietly moderately loudly loudly ver y loudly i n d i c a t o rs a b b re v i a t i o n s m e a n i n g cresc. crescendo gradually more loudly dim. diminuendo gradually more quietly a b b re v i a t i o n s h a i r p i n s i n d i c a t o rs m e a n i n g 14 I Rhythm in our blood

Do you notice the changes in dynamics? And between high and low sounds? What sensations do you notice? Can you tell the difference between timbers? Can you follow the beat of the music? Chirp, chirp, chirp, chirp, chirp, chirp, chirp, chirp. Tzzzzz, tzzzzz. Ssssss, ssssss. 42 42 42 42 / / / / Œ œ Œ œ œ œ Ó ‰ œ j œ j ‰ ‰ œ j œ j ‰ ‰ œ j œ j Croak, croak, croak, croak. ‰ ‰ œ j œ j ‰ Ó ˙ Ó ˙ ˙ Ó ˙ Ó (4 times) Timbre allows us to identif y different people's voices, to guess their age or sex, to get an idea of where they come f rom and even to tell how a person is feeling. Timbre 17. PERFORM with these sounds vocally. Timbre is the unique sound of each voice, instr ument , animal or object , and it helps us to distinguish what we are hear ing. The instr ument or voice that per forms each par t in a piece of music is shown at the star t of the score. 18. TRY OUT any computer program that allows you to modif y the voice. ➔ Record your voice and explore the dif ferent settings the software has . Find out how the properties of sound change. 5. Sound and hearing 19. CONDUCT this experiment . Then answer. ➔ Stand next to a powerf ul speaker, protect your ears with ear plugs, and put your hands on the speaker. ➔ Take notice of your body sensations while someone pl ays music with dif ferent dynamics, pitches and timbres . 15

In the air, sound waves travel at a speed of 340 metres per second, but they travel at almost 1,500 metres per second in water. This is why dolphins and whales can communicate with each other at distances of up to 30 kilometres. Sound When an object v ibrates , it emits sound waves that travel through the air, water or another medium until they reach our ears . The sound wave of a long sound v ibrates for longer than the sound wave of a shor t sound . long sound short sound The sound wave of a high sound v ibrates more quick ly than the sound wave of a low sound . high sound low sound The sound wave of a loud sound has taller waves than the sound wave of a quiet sound . loud sound quiet sound 20. LOOK at the change in this sound wave and choose the right answer. From a scientific point of v iew, sound waves are responsible for the difference of sound and noise. The sound waves of music are regular and organised , and they feel pleasant , while the sound waves of noise are ir regular and disorganised , and they feel unpleasant . sound noise At f irst it's high and then it gets lower. No! It starts forte and ends piano. 1 2 16 I Rhythm in our blood

a quiet room light traff ic a whisper a large off ice in working hours waves on the beach a scream a rock concert a vacuum cleaner a car horn a plane taking off A tuning fork is an object that helps us to perform in tune — that is, perform musical notes at the right pitch. When we hit it , it vibrates 440 times per second (440 Hz). This is the f requency of the note La or A. How sound is measured A lthough we can' t see sound waves travelling through air, they are a physical phenomenon that can be measured and analysed with special dev ices . The duration of a sound depends on how much time a sound wave lasts ( longer or shor ter waves) and we measure it in seconds. The pitch of a sound depends on the frequency of the v ibration of the sound waves (number of v ibrations per second ). We measure it in her tz (Hz). The intensit y of a sound depends on the amplitude of its waves ( larger or smaller waves). We measure this in decibels (dB). 21. FIND OUT how many decibels these sounds approximately have. ➔ The threshold of hearing is the minimum sound level that we need to hear a sound. Humans can hear sounds louder than 0 dB. ➔ The threshold of pain is the sound level f rom which a sound becomes unbearable and painful . For human beings this threshold is 120 dB. 17

The hearing organs 22. FIND OUT what functions earwax has in the human body. We can hear sound and noise thanks to our ears, which have three par ts: Outer ear: in this par t , the ears receive sound waves and send them through the ear canal . Middle ear: in this par t, a membrane called the eardr um vibrates when the sound waves reach it and it transmits these vibrations to a ser ies of small bones. I n ner ea r: i n t h i s pa r t , a spi r a l- shaped cav it y ca l led t he coch lea conver t s t he v ibr at ion s of t he sou nd waves i nto elec t r ica l impu l ses . These a re t r a n sm it ted v ia t he aud itor y ner ve to t he br a i n . 2 6. Soundscapes 23. LOOK at the pictures and write a list of sounds that you might hear in each of these places. Then share it with the rest of the class and discuss. A soundscape is the result of all the sounds in a space at a given moment . The sound of a place is unique, like its traditions or the accent of its inhabitants . Today, our soundscapes have become more uniform. The sound of traffic is generally present in most people's lives , threatening the diversit y of our acoustic env ironment . outer ear middle ear inner ear ear auditory nerve cochlea eardrum ear canal 1 18 I Rhythm in our blood

24. RECORD a soundscape and play it for the rest of the class. Then answer. ➔ Can you hear sounds of human activity? And sounds f rom nature? ➔ Do some sounds stand out more than others? 25. MAKE a summer storm soundscape with body percussion. Follow the instructions. 7 THE STORM IS GOING AWAY. Pat your legs again and gradually less quickly and less hard. 8 THE LAST DROPS OF RAIN. Click your f ingers gradually more slowly, until you stop completely. 5 THE RAIN POURS DOWN. Pat your legs vigorously and quickly. 6 THERE IS MORE THUNDER . Hit the table hard, and then do it twice more gently. 3 THE RAIN GETS HEAVIER. Pat your legs with alternate palms and gradually increase the speed and intensity. 4 THE THUNDER STARTS. Hit the table hard, and then do it twice more gently. 1 A LIGHT BREEZE STARTS TO BLOW. Rub the palms of your hands together gently. 2 SOME RAINDROPS START TO FALL . Start to click your f ingers, f irst slowly and then gradually more quickly. 19

Noise pollution 26. ASSESS the sound level at your school . ➔ In a group, measure the sound level in your cl assroom during a lesson , writing down the ma ximum and minimum levels . You can use a sound meter or download an app to measure the sound level with your mobile phone. ➔ Write a list of possible measures to reduce noise at your school . In groups of four, discuss your proposals and make a new list that includes the measures that you f ind more effective. ➔ Make some posters of your measurements and hang them in the halls and classrooms to raise the awareness among other students at your school . Excessive sound and noise around us is called noise pollution , and it can be ver y annoy ing and even bad for our health. According to the WHO ( World Health Organisation), a level of more than 65 dB around us is dangerous for our physical and mental health . However, more than 130 million people are exposed to this level of noise ever y day. Levels of sound and noise up to 80 dB can cause listener fatigue, stress , insomnia , ir r itabilit y and aggressiveness . The r isk increases above 90 dB. This level can cause ir reparable damage, such as par tial or complete loss of hear ing. An isolated noise of over 160 dB ( like an explosion or a gunshot) can cause a per forated eardr um or other ir reversible injur ies . Our behav iour is key to reducing noise pollution , as we all are par tly responsible for the levels of sound and noise in our sur roundings . Silence 27. LISTEN to the Allegro f rom Symphony No. 2 by Anton Bruckner. Can you imagine how this piece of music would sound without rests? What is the importance of silence in our everyday life? 28. COMPLETE this melody with only rests in your notebook. Then perform it . 44 & œJ œ œ œ œ œ œ œ œ j œ œ œ œ œ Silence helps us to memor ise, learn and , in general , it has ver y positive effects on us and our sur roundings . Without silence, music can' t exist , as music is the result of the combination of sound and silence. The recommended limit in classrooms is 35 dB, but in reality the levels of noise in primar y and secondar y schools of ten reach 80 dB. A long time ago, a philosopher called Pythagoras said: ‘A fool is known by his speech, a wise man by his silence.’ 20 I Rhythm in our blood

7. Enjoy the concert! William Tell by Gioachino Rossini Gioachino Rossini was born in Italy in 1792 . Both his mother and father were musicians . By the time Rossini finished his musical studies , he already stood out as a composer. He wrote all kinds of operas . In 1823 he moved to France, where he premiered his opera William Tell in French six years later. A lthough Rossini composed it at the age of 32 , lived for 40 more years and was a celebrated and famous composer in his time, he never composed another opera . William Tell is based on the stor y of a crossbowman famous for his good aim. The governor of A ltdor f (Switzerland ) got angr y when he heard that William didn' t bow when he passed by a symbol of the governor's power one morning. The governor ar rested him, but he promised to release him if he passed a test . William Tell had to shoot an apple off the head of his own son , with just one ar row, from 80 steps away. He split the apple r ight down the middle. When they asked him why he wanted two ar rows if he could only use one, Tell replied that the other ar row was to kill the governor if the first ar row missed . They impr isoned the crossbowman again , but he managed to escape and kill the governor. The Swiss people revolted and the fight for independence star ted . 29. LISTEN to the end of the Wi lliam Tell Overture. An overture is the orchestral piece of music at the start of an opera and it presents the main melodies of the work . ➔ Follow the beat and f ind the parts where the music imitates the rhythm of horses galloping. ➔ Accompany the music with body percussion . Follow the rhythm and dynamics for each part . 21

44˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ / ∑ ∑ introduction mf œ œ œ Œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ / œ œ œ Œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ / part B mf œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ / part A mp f œ Œ œ Œ œ œ œ Œ œ œ œ œ œ œ œ Œ / œ Œ œ Œ œ œ œ Œ œ œ œ œ œ œ œ Œ / f part C bridge ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ / mp œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ / part A mp ➔ Match each part with its dynamics . ➔ Name the note values used for the accompaniment you have performed . ➔ Find out the names of other operas by Gioachino Rossini . ver y loudly loudly moderately loudly moderately quietly quietly ver y quietly part C part B bridge introduction part A 22 I Rhythm in our blood

O R G A N I S E YO U R I D E AS S O U N D I t s p ro p e r t i e s a re … Th e y ' re s h o w n w i t h … Intensity It distinguishes between loud and quiet sounds. Dynamic indicators: p p p m p m f f f f d i m . c re s c . Pitch It distinguishes between high and low sounds. Musical notes on the stave and the treble clef: S O U N D WAV E S An object vibrates. The waves travel through the air, water or another medium, and reach our hearing organs. Regular and organised and they feel pleasant . This type of waves are called sound. Irregular and disorganised and they feel unpleasant . This type of waves are called noise. Th e y ' re p ro d u ce d w h e n … Th e y ' re d i f f e re n t d e p e n d i n g o n … Th e y ' re m e a s u re d i n … Th e y c a n b e … An excess of sound and noise in our surroundings is called noise pollution and can be ver y dangerous for our health. The result of all the sounds in a space at a given moment is called soundscape. Their f requency, which determines the pitch of the sound (faster in high sounds and slower in low sounds). Hert z (Hz). Their amplitude, which determines the intensity of the sound (larger in loud sounds and smaller in quiet sounds). Decibels (dB). Their duration. Seconds (s). & œ œ œ œ œ œ œ œ It distinguishes between long and short sounds. Duration Note values and their rests: h q e x Timbre It identif ies what we hear. The name of the instrument or type of voice. 23

7 Name the property of sound described in each sentence. a . Property that distinguishes between long and short sounds . b. Property that distinguishes between high and low sounds . c . Property that distinguishes between loud and quiet sounds . d . Property that identif ies what we hear. 8 Make a similar pyramid diagram for the corresponding rests. e e e e e e e e q q q q h h x x x x x x x x x x x x x x x x w 9 Look at the example. Then copy and complete the equivalents in your notebook. Finally, do the same with semiquavers. w 5 4 q 1 w 5 e 2 5 3 5 10 Write this rhythm on a stave with the following notes in your notebook. Sol Re Re Do' Mi Si La Fa Re 44œ œ œ œ œ œ œ œ ˙ / C H EC K YO U R P R O G R E S S 1 Copy and complete in your notebook. In music, means a pattern of sounds . These patterns are organised into , which are parts in which musical time is divided . Some of these parts are than others . 2 Name three types of body percussion. 3 Write where these dances are f rom in your notebook. a . Gumboot dance. b. Fl amenco. c . Haka. 4 Copy and correct the sentences. a . The stave is a set of four lines and three spaces where we write music. b. T he treble clef starts on the f irst line of the stave. c . We use the neutral clef to write low notes, and it starts on the fourth line of the stave. d . W e use the bass clef to write rhythms, which is why it doesn't show any pitched notes . 5 Find the correct treble clef and draw it several times. On which line of the stave does it start? Why? 6 Name the four properties of sound. a . Pitch , timbre, intensity and amplitude. b. Duration , f requency, timbre and silence. c . Duration , pitch , intensity and timbre. d . Timbre, pitch , duration and rhythm . 24 I Rhythm in our blood

16 Which properties are different in each pair? 1 2 mf 44 & w mp 44 & ˙ Ó mp 44 & w mf 44 & w p 44 & w 4 ff 44 & w 3 ff 44 & w ff 44 & w 17 Which property does each one measure? 1 decibel (dB) 2 hert z (Hz) 3 second (s) 18 Label the parts of the hearing organs and explain their functions in your notebook. 1 2 5 4 3 19 Answer the questions in your notebook. a . What is musical notation? b. What is a one-line stave? c . What types of clef do you know? d . What are the dynamic indicators? e. Which property of sound helps us to identif y what we hear? f. What is noise pollution? 11 Add up the values and write the total in your notebook. 1 q q 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ q 3 h q q 4 w 5 œ œ œ œ œ œ œ œ œ œ 6 q 7 œ œ œ œ œ œ œ œ œ œ œ œ 8 e h œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 12 Combine the note values in the previous activity and create a rhythm of two beats, another of three beats and one of four beats. 13 Copy and write the names for the notes. Which is the highest note? And the lowest? 44 & & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 44 & & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 14 Write the dynamic indicators that correspond to these abbreviations, f rom quietest to loudest , in your notebook. f mp pp mf p ff 15 Copy and correct this table. pianissimo mp ver y quietly piano p quietly mezzopiano pp moderately loudly mezzoforte mf moderately quietly forte ff loudly fortissimo f gradually more loudly crescendo dim . ver y loudly diminuendo cresc . gradually more quietly 25

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