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
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