Subject: 

MUSIC

Term:

FIRST TERM

Week:

WEEK 6

Class:

SS 1

Topic:

Identification of tone/pitches: Tonality, Sight-reading: (i) Simple Melodies (ii) Simple four-part music

Previous lesson: 

The pupils have previous knowledge of

Cadences: (a) Close and open scores (b) Four Part Harmony

that was taught as a topic in the previous lesson

 

Behavioural objectives:

At the end of the lesson, the learners will be able to

• Define Tonality
• Differentiate between sight reading and sight singing
• Write the letter names of these musical notes under each of these musical notes under each of them

 

Instructional Materials:

• Wall charts
• Pictures
• Related Online Video
• Flash Cards
• Keyboard

 

 

Methods of Teaching:

• Class Discussion
• Group Discussion
• Asking Questions
• Explanation
• Role Modelling
• Role Delegation

 

Reference Materials:

• Scheme of Work
• Online Information
• Textbooks
• Workbooks
• Basic Education Curriculum
• Workbooks

 

 

CONTENT:

1.  What is tonality?

Tonality is a system of musical composition that is based on the arrangement of notes and chords within a particular key. This system is used in Western music, and it helps to create a sense of order and structure within a piece of music. Tonality can be thought of as a way to give musical pieces a “home base,” from which they can branch out and explore different harmonic possibilities.

2. What are the elements of tonality?

The three main elements of tonality are key, mode, and scale. The key of a piece of music is its “home base,” which gives the music its overall tonal center. The mode is the scale that is used within the key, and it gives the music its particular character. The scale is a series of notes that are ordered by pitch, and it helps to define the intervals within the key.

3. How does tonality create a sense of order and structure in music?

Tonality creates a sense of order and structure in music by giving pieces a tonal center, or “home base.” This tonal center helps to define the harmonic possibilities within a piece of music, and it gives the music a sense of direction. By using the elements of tonality, composers can create musical pieces that are both interesting and easy to follow.

4. What are some of the benefits of using tonality in music?

Some of the benefits of using tonality in music include:

-It helps to create a sense of order and structure within a piece of music.

-It gives the music a tonal center, or “home base,” from which it can branch out and explore different harmonic possibilities.

-It helps to define the intervals within a key, which can make a piece of music easier to follow.

-It can add interest and character to a piece of music.

5. Are there any drawbacks to using tonality in music?

One potential drawback to using tonality in music is that it can make a piece of music sound “repetitive” if it is used too often. This is because tonality creates a sense of order and structure within a piece of music, and this can sometimes be limiting. Another potential drawback is that tonality can sometimes make a piece of music sound “safe” or “boring” if it is not used creatively.

6. What are some ways that tonality can be used creatively in music?

Some ways that tonality can be used creatively in music include:

-Using tonality to create contrast within a piece of music. For example, a composer could use tonality to create a sense of tension and release by alternating between different keys.

-Using tonality to create unexpected harmonic progressions. This can be done by “modulating” to unexpected keys, or by using chromaticism.

What is Sight-Reading and Singing?

Sight-reading is the ability to read and sing a piece of music on sight, without any prior preparation or knowledge of the piece. It is a skill that is often required of musicians, especially in classical and jazz contexts. Singing sight-reading can be particularly challenging, as it requires the musician to process both the pitch and rhythm.

One of the best ways to improve sight-reading ability is to practice regularly. Another helpful tip is to try to relax while sight-reading, and to focus on the music rather than on the notes themselves. It can also be helpful to break a piece of music down into smaller sections, and to sight-read one section at a time.

Differentiate between sight reading and sight singing.

Sight reading is the ability to read and sing a piece of music on sight, without any prior preparation or knowledge of the piece. It is a skill that is often required of musicians, especially in classical and jazz contexts. Singing sight-reading can be particularly challenging, as it requires the musician to process both the pitch and rhythm.

Sight singing, on the other hand, is the ability to sing a piece of music without any prior preparation. This skill is often required of vocalists, especially in classical and jazz contexts. Sight singing can be particularly challenging, as it requires the musician to process both the pitch and rhythm.

What is arpeggio?

An arpeggio is a musical technique where notes in a chord are played in succession, rather than all at once. Arpeggios can be played on any instrument, but they are particularly common on piano and guitar. Arpeggios can add interest and variety to a piece of music, and they can also be used to create a sense of tension and release.

How to play an arpeggio on the piano?

To play an arpeggio on the piano, you will need to find the notes of the chord that you wish to play. Once you have found the notes, you will need to play them in succession, rather than all.

Importance of key signature in sight singing.

1.Key signatures can help to establish the tonality of a piece of music.

2. They can help to define the intervals within a key, which can make a piece of music easier to follow.

3. They can add interest and character to a piece of music.

4. They can help to create a sense of unity within a piece of music.

5. They can help to create a sense of contrast within a piece of music.

GUIDING PRINCIPLES IN SIGHT-READING/SINGING.

 

Follow these steps below:

 

1.  Identify the clefs used at the beginning of the stave.

2.  Identify the key (either major or minor) using the key signature.

3.  Recognize the time Signature. Sometimes they are not written but it is expected of the student to know it from his knowledge of Rudiments of Music.

4.  Establish your tonic note i.e where “doh” begins from and, the tonic solfa or the name of the first musical note with which the music started.

5.  Glance through the piece of music without singing. Note the Dynamics used if there are.

6.  Pay special attention to the contours, the leaps or the up and down movements of the melodic line.

7.  Establish the rhythmic pattern using the Time Signature. Check if the first note is an arpeggio (off beat) or not and then take off.

8.  Take a slow rhythmic pattern or movement based on the Time Signature.

9.  Start singing aloud gently phrase by phrase either by using the tonic solfa, letter names or vowel sounds.

10.  Repeat the exercise over and over again.

11.  Memorize the melody or the part you are singing.

12.  You can now hum or apply other vowels to the music.

13.  Avoid rushing or skipping these procedures. Any impatience will cause musical imperfection.

 

EVALUATION:

1.  What is the first guiding principle in sight singing using staff?

2.  What is the musical note in tonic solfa from where you begin your bearing in sight singing?

3.  What is the importance of key signature in sight singing?

4.  What is arpeggio?

5. Mention 5 other guiding principles in sight singing using staff.

 

 

 

 

 

PRESENTATION:

 

The topic is presented step by step

 

Step 1:

The class teacher revises the previous topics

 

Step 2.

He introduces the new topic

 

Step 3:

The class teacher allows the pupils to give their own examples and he corrects them when the needs arise

 

CONCLUSION:

The class teacher wraps up or concludes the lesson by giving out short notes to summarize the topic that he or she has just taught.

The class teacher also goes round to make sure that the notes are well copied or well written by the pupils.

He or she makes the necessary corrections when and where the needs arise.