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
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