A song and a dance vocabulary power up unit 1 7 B

A trip to Rio Julia and her family traveled from New York to visit Rio de Janeiro in Brazil. Julia's cousin Gabriela lived there. They all went to the opening night of the Olympics. The stadium was very crowded. It made Julia nervous. Everyone screamed and cheered. Their seats were far away. Julia could barely see. The music was loud. It made her head hurt. Julia had been happy to visit Rio. Now she just wanted to go home. Gabriela woke Julia up the next morning. "There's another Olympic event today!" she said. Julia did not want to go, but she smiled and got ready. The families walked through shady streets. Gabriela's street ended at a beach. Julia stopped and stared. Tall buildings stood along the beach. Olympic racing boats floated on the water. There was a big mountain behind them. "That's Sugarloaf Mountain," Gabriela said. It was beautiful. The next day, Julia ran to Gabriela's room. "We're going up Sugarloaf Mountain!" she said. They rode a cable car. It hung high above the city. Julia stared out the window. White buildings stood above the green jungle. They went to a big market. Julia tasted a mango. It was not like the mangoes at home. It was juicy and sweet! They went to an Olympic swimming race. Gabriela's brother, Chaz, cheered, "Go Brazil!" "Brazil is not even in this event!" Gabriela said. "Oh." Chaz said. He smiled at Julia. "Go Americа!" It was Julia's last day in Rio. They went to Grandma and Grandpa's. Julia remembered the house. She had visited when she was five. Grandpa had taught her to dance. It felt like home. Grandma made a spicy bean stew. After lunch, they went to an Olympic football game. "The crowd is very noisy," Julia said. "I'm scared." "Don't worry," Grandpa said. "Football fans are one big family." At the stadium, the crowd seemed even louder. Julia held Grandpa's hand. Brazil got the ball. Everyone cheered. Julia got caught up in the game. She cheered, too. Then, Brazil scored a goal. The crowd cheered. Grandpa lifted Julia in the air. They sang a song with the crowd to celebrate.

Ostinato Music Definition Ostinato (plural – ostinati or ostinatos) is an Italian word meaning obstinate or persistent and is used in music to describe a musical phrase or rhythm that is repeated persistently. The repeated pattern could be a melody, a figure in the bass – called a basso ostinato or simply a repeated rhythmic idea. An ostinato may be played for an entire piece of music or just during one section. The key aspect to remember in the definition of an ostinato is that it is a pattern that is repeated persistently in a piece of music. Rhythmic Ostinato A rhythmic ostinato is a rhythmic pattern that is persistently repeated. It will often be played on an untuned percussion instrument (e.g. snare drum, triangle, etc..). However, rhythmic ostinati can also be found in parts played on pitched instruments where the note pitch stays the same or where the pitches change as the phrase is repeated. The key characteristic is that it is the rhythm that is persistently repeated.In Maurice Ravel’s “Bolero” the use of a rhythmic ostinato brings a magical and almost hypnotic feel to the piece as the percussive pattern contrasts with the sweeping and almost improvisatory nature of the flute melody. Have a look at the pattern below and listen to its use in the audio extract: Rhythmic Ostinato Example from Ravel Bolero.A rhythmic ostinato is an excellent technique that composers use for creating drama and tension. One of the most famous examples of this is from “Mars” by Gustav Holst. Have a look/listen to the rhythmic pattern: Rhythmic Ostinato Example from Gustav Holst Mars. This rhythmic pattern is played relentlessly throughout the piece and forms the basis for the intense drama associated with the subject – Mars, the god of war! Have a listen to this extract of the piece performed by the United States Air Force Band:You can hear how the relentless sound of a rhythmic ostinato is extremely effective at building tension as the music around it changes and develops. This effect is heightened in the extract from Mars as the bass note remains on a G throughout the extract and acts as a pedal point. Not surprisingly, rhythmic ostinati are used widely in dramatic film music. Hans Zimmer is a film composer who makes considerable use of this technique across the many film scores he has written. Have a listen to the opening from his theme for the film “Pirates of the Caribbean” performed by the Auckland Symphony Orchestra:You can hear that there are a number of different ostinati in many of the different parts that are layered to produce the overall sound. Here is the rhythmic ostinato that forms the basis of the melody line: Rhythmic Ostinato Example Hans ZimmerMelodic ostinato A melodic ostinato is a repeated pattern where both the rhythm and the melody form the basis for the repeated pattern. These often occur in the bass part where they are called a basso ostinato. Basso Ostinato A basso ostinato is a repeated pattern in the bass part of a piece. This technique became particularly popular in the 17th century where a number of Baroque dances were based upon ostinati in the bass part. In dances such as the passacaglia the bass remained constant throughout the piece whilst the other parts developed. This technique is called “ground bass” and you can have a look at my lesson on ground bass for some examples of this. The most famous example of a basso ostinato is Pachelbel’s Canon in D. Ostinati Examples in Contemporary Music Rhythmic and melodic ostinatos have had a massive influence on contemporary popular music across a wide range of genres. This can be seen in 2 main ways: Riffs (short melodic phrases) – these are effectively contemporary expressions of ostinato. Loops – rhythmic and melodic phrases are repeated to create the characteristic sound of contemporary productions. As a result, you will probably be able to find examples of the use of repeated patterns/ostinati in most contemporary songs. However, there are some songs where the use of an ostinato provides the clear foundation for the song and these are useful examples to listen to. Examples of Ostinati Riffs Seven Nation Army by White Stripes The guitar riff from Seven Nation Army is one of the most famous modern guitar riffs and is used as an ostinato that plays throughout the song. It is an excellent example of a melodic ostinato:Back in Black by AC/DC The opening guitar riff in this song is another great example:Examples of Loops Loops are repeated patterns that are clearly built on the concept of ostinati. They are used widely in contemporary music. Hip hop songs often use loops as the foundation for the track. Still D.R.E by Dr. Dre ft. Snoop Dogg In this song a piano loop plays throughout the whole track and forms the foundation of the song:

A skunk and a king Ding dang dong. The skunk rang for the king. "Go away, skunk! You stink!." "But I can sing a song and wink at you. You will like it." "I don't think so!." "I can play ping-pong on a swing. You will like it." The king closed the door and left the skunk alone. Ding dang dong. The skunk rang the door again. "Go away, skunk!" You stink!" the king came out and said. "But I can make a stinky stink. You will like it."

Feliz Navidad, Carlos! School was out for winter break. Carlos and his family packed to go to Monterrey, Mexico. "It's our first trip back since we moved to America," said Carlos. "I can't wait to see everyone!" Carlos sat by the window on the airplane. He saw clouds and blue sky. Then he saw the mountains around Monterrey. "We're almost there!" he said. Carlos's aunt, uncle, and cousins met them at the airport. "Feliz Navidad!" said his uncle. "You are home! This will be a wonderful celebration, now!" They had arrived in time to join in Las Posadas. Candles in paper bags lined the sidewalks. Neighborhood children acted out Mary and Joseph's journey to Bethlehem. Carlos, Selena, and Mateo walked the Posada with their cousins. They knocked on the first door. They sang a song and asked, "May we stay?" They were told "No." They knocked on the second door. They were told "No" again. They knocked on the third door. "Come in!" the neighbors said. A fiesta was inside! There were sweets and hot chocolate for everyone. There was even a piñata! "May I try to break the piñata?" Carlos asked. "I play baseball at my school. I can swing hard." Carlos was blindfolded. He hit the piñata and it split open! Treats and toys spilled out everywhere. They heard a boom and pop pop. "Fireworks!" Mateo yelled. Red, green, and blue lights filled the night sky. "It's so beautiful!" said his cousin. At midnight, the family walked to the old church. Inside, the dark church glowed from the light of candles. It was very quiet. Carlos watched the candles flicker all around him. Back at their uncle's home, they found more food and treats waiting for them. "This Navidad has been the best!" said Carlos. "We are lucky." "We can celebrate with our new friends in America and our family here in Mexico." Carlos, Selena, and Mateo were ready for sleep. But Selena remembered something. "Papa, when will we open our presents?" she asked. "We will each open one tomorrow, and the rest on January 6, Three Kings Day," Papa said. "I hope I get a calendar," Carlos said to Mama. "I'll put a star in December," said Carlos. "So I know when we'll come back for Navidad, again!"

To understand melody in music, think about some music you’re familiar with. If you were asked to hum it, what would that sound like? The part of the music that you’d hum is the melody. It’s the main thread of sound that your brain tracks and holds onto when you’re listening to music. In vocal music, the melody is sung by the lead singer. Other vocalists can provide harmony and instruments can add accompaniment, but the melody is the star of the show.What are the characteristics of melody in music? How do you describe a melody in music? A melody needs to have two things. The first is a sequence of notes, or pitches, which range from high to low. The second is rhythm, which is the timing and duration of each note. These two simple elements can create an incredible variety of combinations. Even though a melody only consists of one note at a time, it can convey so much energy and emotion. Melodies can be fast and sparkly, like “The Flight of the Bumblebee.” They can be slow and majestic, like “Finlandia.” They might be sweeping and graceful, like a Strauss waltz. Or they can be fun and exciting, like your favorite pop tunes that you love to sing along with. Melodies often tell you a lot about where a piece of music comes from. It’s easy to recognize and identify melodies from different folk traditions such as the Japanese folk song “Sakura” or the Irish tune “Star of the County Down.” Learn how to play your favorite melodies on piano, and more! Sign up now. What is melody in music? Here are some examples. Here is the famous melody for the song “Lean on Me” written out on a staff. Notice the way that the notes move up, down, and then repeat. What is melody in music? Example of Lean On Me notes on treble staff. A melody all by itself is great, but music can be even more fun when there’s an accompaniment. Here are a few bars of “Lean on Me” with the accompaniment written out. As you listen to this song, notice how the accompaniment has a very similar rhythm and movement to the melody. Then there’s that one note in the bass line that comes along every measure with its own rhythm, which adds some extra energy and movement to the song. What makes a good melody? When you create a melody, there are four types of movement you can use: Repeat (same note) Step (up or down) Skip (up or down) Leap (up or down) Stepping and repeating are the most common types of melodic motion, and this makes a melody easier to sing. Most “hummable” tunes use steps and repeats almost exclusively. This kind of melody is called conjunct. Beethoven’s “Ode to Joy,” one of the most famous melodies of all time.Skips and leaps are generally more sparing in melodies, but when thoughtfully placed they can have a powerful emotional impact. Tunes with a lot of leaps are called disjunct. Listen to Sarah Brightman sing All I Ask of You from The Phantom of the Opera starting at 0:39. This is a very disjunct melody, and challenging to sing. Great melodies also incorporate patterns that blend unity, repetition, and contrast. Our ears love patterns, but they also love novelty and growth. A good melody incorporates all of these elements. For example, listen to John William’s “Princess Leia Theme.” Can you hear the repeated pattern in the melody that gradually moves higher as the theme progresses? Now listen to the way it changes and develops into something that fits with what came before but sounds new at the same time. This is some great melodic writing! Can melody exist without rhythm? There is no way for a melody to exist without rhythm. Even if your melody only has one note, that note has a duration, and that’s the rhythm. If your melody has two notes, how long those notes last and how much time passes between hearing them is also a rhythm. A melody in music can often be recognized even when it’s performed with different rhythms. This frequently happens in live performances of pop, rock, and jazz, in which singers typically improvise slight rhythmic differences with each performance. No two renditions are exactly the same, and this constant reinterpretation keeps the music fresh. How to make a melody for a song on piano Creating your own melodies on the piano is easy and fun! There are so many ways you can discover a melody all your own. Here are a few ideas. Get some inspiration from the world around you. What can you hear right now? A clock ticking? A bird song? A car passing by your house? See if you can find some notes on the piano that imitate the sounds you hear. Think of a feeling you’d like to put into a melody. What are some ways you could make a string of notes sound happy, sad, angry, or maybe just thoughtful. Choose a line from a poem you like, or write your own. Read it out loud and put some feeling into it. Did your voice rise and fall in pitch as you were reading? Now go to the piano, start on any note you like, and try to imitate what happened when you read. Go up when your voice naturally went up, go down when your voice naturally went down. How did that sound? Now you have the perfect melody to go with those words. Too many keys on the piano? The truth is, most melodies use only a limited number of different notes. Try creating a melody using only the black keys. These form what’s called a pentatonic scale. It’s used in a lot of folk music traditions around the world and can be a great place to start if you want to create your own melodies. Remember, when you create your melody, keep it simple. Use repeated notes and steps, but add a few skips to keep things interesting. One tip about leaps: when you do put in a big leap, try doubling back and filling in the empty space you leaped over. This keeps the melody self-contained and easier to sing. Also, see if you can use the same patterns of notes and rhythms to give the melody unity, but also change those patterns to give it variety. There is no right or wrong way to create your own music. Keep trying combinations of notes and rhythms until you find something that you like. How many bars and notes are in a melody? Many types of music tend to have a prescribed number of bars, or measures. This will vary widely between different genres, and creates an overall sense of musical structure. If you’re writing a pop song, a verse will usually have between eight and sixteen bars. The prechorus that follows often has just four bars, and this “foreshortening” creates a sense of acceleration, driving the listener toward the chorus. The number of notes can also vary widely. A melody in music needs at least two notes, and a long and complex one can have hundreds or even thousands of notes. What is a countermelody in music? How many melodies should a song have? A counter melody is a melodic line that interacts with the primary melody as an independent but supportive voice. A great example of this is the song “We Don’t Talk about Bruno.” Each character sings their own melody during the piece, but these melodies all combine at the end as countermelodies. This produces a musical texture known as counterpoint. The same thing happens in “One Day More” from Les Miserables. The different melodies are first sung separately, but end up being combined in a splendid, complex texture that leads the music to its thrilling conclusion. The difference between a countermelody and regular harmony is that harmony usually supports the rhythms of the melody. A countermelody will move more independently, with different rhythms from those of the melody, and will often sound “melodic” when sung or played all by itself. A melodic song should have one main melody. This is the part that the lead voice sings. It’s usually in the spotlight, and will be the most memorable part of the music. Anything else is either harmony, countermelody, or accompaniment. Does all music have to have a melody? A piece of music doesn’t have to have a melody. There are many different kinds of music without melody. For example, a lot of music played on percussion instruments won’t have a melody. Listen to this example of Tahitian drumming. This is some great music, exciting and fun to listen to, but you’d have a hard time humming it. It’s music, but it doesn’t have a melody. Rap music is another style of music where there doesn’t have to be a melody. In rap, words are chanted rather than sung. The performer will raise and lower the pitch of their voice for emphasis, but it’s the rhythm of the words that creates most of the music. Music can even lack any melody, at least in some sections. Listen to the opening chords of “Duel of the Fates.” This choral passage is all about harmony, with little rhythmic variance or sense of melody. But it makes an effective contrast with the next section, which is bustling with rapid instrumental melodies. In some pieces, there are multiple melodic lines but there is no one main melody. When music is made up of equally important countermelodies, it creates a contrapuntal texture. Baroque composer J.S. Bach was one of the greatest masters of this style, such as in his Little Fugue in G minor. It starts with a single melodic line, the subject, but then a countermelody is added, and then more and more until several melodic lines are playing together. It’s fun to listen to, but once all the countermelodies are playing together it becomes hard to decide which part to hum along with! You’ll also hear a lot of counterpoint in jazz music, in which the different instruments are all playing together and improvising their own melodies that combine to create a rich, thick musical texture. Experience the wonder of melody in music! Whether you’re humming your favorite tune, or creating a new song all your own, melody is a memorable, shareable part of music. Enrich your music experience by being aware of, listening for, and enjoying the melodies all around you.

Get Smart Plus 3 M6 Sing a song - Look and write.

A piece that’s sung as opposed to played. Answer: Cantata A hymn tune of the Lutheran church. Answer: Chorale A part for keyboard (harpsichord or organ) and cello or bass. The keyboard player reads the cello line and provides an accompaniment based on the figured Bass. Answer: Basso continuo The numbers written under the cello part indicating chords and their positions to the keyboard player. Answer: Figured Bass A piece for choir. Answer: Chorus A style of singing that is more related in pitch and rhythm to speech than song. In the 18th Century it was used extensively in Opera as “Dialogue” between Characters. Answer: Recitative (Dry) Accompanied only by continuo. Answer: Recitativo secco More expressive and accompanied by the orchestra. Answer: Recitativo stromentato Contrapuntal device whereby a motif or phrase is presented successively by different voices. Answer: Imitation To turn a motif or phrase “up-side down”. Answer: Inversion A song for 1 or more voices, popular in Opera and Cantata as a contrast with Recitative. Answer: Aria A type of piece that was written as a set of variations on an Ostinato. Answer: Chaconne A musical idea repeating many times. Answer: Ostinato A sustained or repeated note over which the harmonies change. Answer: Pedal Point Point of rest. Answer: Cadence Change of key. Answer: Modulation Where the composer gives prominence or illustrates words in musical terms. Answer: Word Painting A motif that has more than 1 note per syllable is said to be melismatic. Often used as word painting. Answer: Melisma Where 1 note per syllable is used. Answer: Syllabic A polyphonic composition in which a part is imitated by 1 or more parts so that successive statements of the melody overlap. Answer: Canon Any rhythmically independent movement between parts. Answer: Polyphony A combination of 2 or more independent melodies. Answer: Counterpoint A structure consisting of 3 sections-ABA. Answer: Ternary Form Back to the beginning as in the Da Capo Aria. Answer: Da Capo (D.C.) Back to the sign. Answer: Dal Segno (D.S.) A motif which is repeated at a different pitch in the same part. Answer: Sequence

What Is Rhythm in Music? Rhythm is the pattern of sound, silence, and emphasis in a song. In music theory, rhythm refers to the recurrence of notes and rests (silences) in time. When a series of notes and rests repeats, it forms a rhythmic pattern. In addition to indicating when notes are played, musical rhythm also stipulates how long they are played and with what intensity. This creates different note durations and different types of accents.Why Is Rhythm Important in Music? Rhythm functions as the propulsive engine of a piece of music, and it gives a composition structure. Most musical ensembles contain a rhythm section responsible for providing the rhythmic backbone for the entire group. Drums, percussion, bass, guitar, piano, and synthesizer may all be considered rhythm instruments, depending on the context. However, all members of a music group bear responsibility for their own rhythmic performances and play the musical beats and rhythmic patterns indicated by the piece's composer.7 Elements of Rhythm in Music Several core elements comprise the fundamentals of musical rhythm. 1. Time signature: A musical time signature indicates the number of beats per measure. It also indicates how long these beats last. In a time signature with a 4 on the bottom (such as 2/4, 3/4, 4/4, 5/4, etc.), a beat corresponds with a quarter note. So in a 4/4 time (also known as "common time"), each beat is the length of a quarter note, and every four beats form a full measure. In 5/4 time, every five beats form a full measure. In a time signature with an 8 on the bottom (such as 3/8, 6/8, or 9/8), a beat corresponds with an eighth note. 2. Meter: Standard Western music theory divides time signatures into three types of musical meter: duple meter (where beats appear in groups of two), triple meter (where beats appear in groups of three), and quadruple meter (where beats appear in groups of four). Meter is not tied to note values; for instance, a triple meter could involve three half notes, three quarter notes, three eighth notes, three sixteenth notes, or three notes of any duration. Musicians and composers regularly mix duple and triple meter in their work; Igor Stravinsky's "The Rite of Spring" is a textbook example of such a technique. 3. Tempo: Tempo is the speed at which a piece of music is played. There are three primary ways that tempo is communicated to players: beats per minute, Italian terminology, and modern language. Beats per minute (or BPM) indicates the number of beats in one minute. Certain Italian words like largo, andante, allegro, and presto convey tempo change by describing the speed of the music. Finally, some composers indicate tempo with casual English words such as “fast,” “slow,” “lazy,” “relaxed,” and “moderate.” 4. Strong beats and weak beats: Rhythm combines strong beats and weak beats. Strong beats include the first beat of each measure (the downbeat), as well as other heavily accented beats. Both popular music and classical music combine strong beats and weak beats to create memorable rhythmic patterns. 5. Syncopation: Syncopated rhythms are those that do not align with the downbeats of individual measures. A syncopated beat will put its emphasis on traditional weak beats, such as the second eighth note in a measure of 4/4. Complex rhythms tend to include syncopation. While these rhythms may be more difficult for a beginning musician to pick up, they tend to sound more striking than non-syncopated rhythmic patterns. 6. Accents: Accents refer to special emphases on certain beats. To understand accents, think of a piece of poetry. A poetic meter, such as iambic pentameter, may dictate a specific mixture of stressed syllables and unstressed syllables. Musical accents are no different. Different rhythms may share a time signature and tempo, but they stand out from one another by accenting different notes and beats. 7. Polyrhythms: To achieve a particularly ambitious sense of rhythm, an ensemble may employ polyrhythm, which layers one type of rhythm on top of another. For instance, a salsa percussion ensemble may feature congas and bongos playing 4/4 time, while the timbales concurrently play a pattern in 3/8. This creates a dense rhythmic stew and, when properly executed, it can yield incredibly danceable rhythm patterns. Polyrhythms originated in African drumming, and they’ve spread to all sorts of genres worldwide, from Afro-Caribbean to Indian to progressive rock, jazz, and contemporary classical.

Related quizzes

Related quizzes