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GCSE COMPOSITION

GUIDE

CENTRE NUMBER-

CENTRE NAME-

CANDIATE NUMBER-

CANDIDATE NAME-

SPECIFICATION CODE AND TITLE-

ASSIGNMENT TITLE-

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World Music

Music of the Caribbean

Africa

India

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Contents

1. What is Expected?

2. Key words (for Appraisal)

3. Key Signatures

4. Time Signatures

5. Transposing instruments

6. Structures

7. Chords: chord progressions and chord mapping; creating a structure for your song using chords; how to make your chords a little different

8. Creating a good melody

9. Styles

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10. Manuscript (to jot down

ideas)

11. Log

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COMPOSITION

= 10%

APPRAISAL

= 10%

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WHAT IS EXPECTED? Candidates are required to compose one

piece of music Must choose two or more of the five Areas

of Study There must be a link to one of the three

strands

Candidates have up to 20 hours of Supervised Time in which to complete the composition, under informal supervision.

Candidates’ work must be monitored during this period by the teacher so that he/she is able to authenticate it as the candidate’s own.

There is no time limit in terms of the duration of the composition but candidates should be aware of the need to demonstrate sufficient development of musical ideas in the music and, as a consequence, very short pieces may not allow for this. __________________________________________________

Candidates appraise the process and the outcome of the composition in relation to the Areas of Study and indicate the link to the strand

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Candidates have up to 2 hours of Controlled Time for the appraisal which must be undertaken as an individual exercise under formal supervision.

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What do I need to hand in?A recording of the final completed composition. This must be in a format that can be played on an external device such as CD or mini-disc. The recording may be made using live performers, ICT or a combination of both.

A musical score.In this case, a score is understood to be any written format that is appropriate to the particular genre of music presented. This could include: staff notation, graphic notation, tab, a written account detailing the structure and content of the music, a combination of some or all of these. In all circumstances, the score should accurately reflect the intentions of the candidate and bear close resemblance to the music presented in the recording.

A written appraisal of the process of composition and the final outcome. This will be completed in an appraisal booklet, supplied by AQA.

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Candidates must complete the composition, with the exception of research and

preparation, under informal supervision.

Assessment Criteria The Composition

Compositions will be marked according to the following six bands of assessment in combination with the musical aspects listed above.

Sense of musical balance

Creation and development of musical ideas

Understanding of the chosen

medium

Appropriate and idiomatic

use of instruments, voices and

other sound sources

Appropriate uses of musical

elements, devices,

techniques and conventions.

20–17 The composition is musically stimulating, interesting and satisfying.

The candidate demonstrates the successful and imaginative creation of musical ideas in relation to the Areas of Study and strand.

There is a sense of completeness in the music and there is evidence of development of the musical ideas.

Writing for instruments, voices and sound sources is idiomatic.

The score is accurate and contains detailed performance directions appropriate to the chosen style of the music.

16–13 The composition is imaginative and largely satisfying.

The candidate demonstrates a sound sense of understanding of musical ideas in relation to the Areas of Study and strand.

There is a sense of wholeness in the music with some development of the musical ideas.

Writing for instruments, voices and sound sources demonstrates understanding of the techniques required.

The score contains sufficient detail to reflect the candidate’s intentions, though some details may be missing.

12–10 The composition is largely effective.

The candidate demonstrates some understanding of the musical ideas in relation to the Areas of Study and strand.

There is a competent handling of the musical ideas.

Writing for instruments, voices and sound sources demonstrates some understanding of the techniques required.

The score shows some accuracy but may contain some omissions and/or inaccuracies

9–7 The composition is partially effective.

The candidate demonstrates limited understanding of the musical ideas in relation to the Areas of Study and strand.

There are some limitations in the handling of the musical ideas.

Writing for instruments, voices and sound sources may present inconsistencies in their deployment.

The score shows some musical ideas clearly.

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6–4 The composition works but at a basic level.

The candidate demonstrates a basic understanding of the musical ideas presented in relation to the Areas of Study and strand.

There may be some incoherence in the handling of musical ideas.

Writing for instruments, voices and sound sources appears simplistic and may lack finish.

The score shows inconsistencies and is not accurately presented.

3–1 The composition is very rudimentary.

The candidate demonstrates a rudimentary understanding of the ideas in relation to the Areas of Study and strand.

Musical ideas lack coherence and may appear incomplete.

Writing for instruments, voices and sound sources lacks understanding.

The score is inaccurate and incomplete.

0 The candidate’s work shows no evidence of the skills being assessed

Your Appraisal is marked 20 – Marks are broken down below…

20 –16• Appraisals at this level demonstrate a thorough understanding of the success of the composition in relation to the Areas of Study and strand.• There is a detailed and accurate description of the composing process and a sound understanding of how the music has been developed. Problems and difficulties are readily acknowledged and solutions identified. These are clearly evidenced in the composition. Any weakness in the composition has been identified.• The candidate demonstrates a thorough knowledge of the essential musical elements, characteristics and conventions relating to the Areas of Study and strand.• The candidate uses a wide range of relevant musical vocabulary.• There will be few, if any, errors in spelling, grammar and punctuation.

15 –11• Appraisals at this level demonstrate a broad understanding of the success of the composition in relation to the Areas of Study and strand.• There is an accurate description of the composing process and a clear understanding of how the music has evolved. There is an awareness of problems and difficulties encountered and solutions suggested. • The candidate demonstrates a broad knowledge of the essential musical elements, characteristics and conventions relating to the Areas of Study and strand. • The candidate uses musical vocabulary relevant to the chosen task accurately and in context.• There may be errors in spelling, grammar and punctuation, but they will be infrequent.

10 –6• Appraisals at this level demonstrate some understanding of the success of the composition in relation to the Areas of Study and strand.

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• There is some understanding of the composing process and an understanding of how the music has been created. There is some awareness of problems and difficulties encountered although remedies and solutions may not always be in evidence.• The candidate demonstrates that s/he has some knowledge of musical elements, characteristics and conventions relating to the Areas of Study and strand. • Some musical vocabulary associated with the Areas of Study and strand is used appropriately.• Errors in spelling, grammar and punctuation may be noticeable and intrusive and suggest a weakness in these areas, though the candidate’s meaning will be discernible.

5 –1• Appraisals at this level demonstrate limited understanding of the success of the composition in relation to the Areas of Study and strand.• Comments on the composing process focus on technical demands but lack understanding of how ideas have been created and developed. There is little or no awareness of problems or difficulties encountered with little or no evidence of remedies or solutions.• Knowledge of musical elements, characteristics and conventions relating to the Areas of Study and strand are limited or entirely lacking. • Musical vocabulary associated with the Areas of Study and strand may be sparse or inappropriately used.• Errors in spelling, grammar and punctuation may be intrusive, making the answer difficult to follow.

0 The candidate’s work shows no evidence of the skills being assessed

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Semi Breve = 4

Minim = 2

Crotchet = 1

Quaver = ½

Tempo - speedDynamics – volume of soundPitch – frequency of soundTexture – layers of soundTimbre – quality of soundStructure – how music is buildDuration – how long the sound is

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Key Words

NotationNote lengths and rests from semibreve to semiquaver including dotted notes and tripletsPitch names and their places on the treble clef from GI to CIIStave, scoreTreble and bass clefsBar and double bar lines, repeat marksKey signatures and keys up to at least three sharps and flatsTime signatures: simple duple, triple, quadruple, and compound dupleSharp, flat, naturalPhrase marks, tieOrnaments, decoration and their signs: trill, turn, mordent, acciaccatura, grace note.

RhythmAnacrusis/up-beatOff-beat/syncopation, dottedMetre/pulseRest/silenceCross-rhythm, polyrhythmSwung/swing rhythmTala (Indian)Keteg, gongan (Gamelan)Son, clave (Salsa)Chaal (Bhangra).

Melody/PitchStepwise, scalic, passing note, leapIntervals; unison, 2nd 3rd 4th 5th 6th 7th, octave, tone, semitoneScales: Major, minor, chromatic, blue scale,Raga (Indian)Slendro, pelog (Gamelan)RangeBend/slide/glissando.

HarmonyDiatonic, dissonant, atonal, chromaticChords: major, minor, seventh, tonic, sub-dominant, dominant, blue noteCadences: perfect, imperfect, plagal, interruptedBlock chords/chordal, arpeggio/broken chord, triad, compingPrimary triads, simple harmony, harmonic progression, harmonic rhythmModulation: tonic, sub-dominant, dominant, relative minor, relative majorDrone12 bar blues.

TempoLargo, andante, moderato, allegro, vivace, presto

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AccelerandoRallentando/ritenutoAllargandoRubatoPause.

Dynamicsff to pp (including Italian names), crescendo and diminuendo in words and symbols.

ArticulationStaccato, tongued, legato/slurredPizzicato, arcoTremoloAccent/sforzando.

Instruments/Ensembles/TimbreStandard orchestral instruments and their familiesPianoContinuo – harpsichord, organ, celloOrchestra, brass band, wind band, wind quintet, string orchestra, string quartet, duet, trio,jazz groupElectronic and pop instrumentsBasic instruments that relate to:Jazz, Indian Classical Music, Gamelan, Salsa, Tango, Bhangra, American folk and Irish folk.

Voices/Ensembles/TimbreVoices: soprano, mezzo soprano, alto/contralto, tenor, baritone, bass, treble, counter-tenorA cappellaSyllabic, melismaticSolo, lead singer, backing vocals, chorus/choirScatWord paintingSonero and choro (Salsa).

Melodic and compositional devicesRepetition, sequence, imitation, ostinatoInversion, retrogradeRiffImprovisation/improvisedDialogue, question and answer phrases, call and response, pregon and choro (Salsa)Walking bassFills, stabsHook.

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TextureSolo, monophonic, thick, thinHomophonic/chordalPolyphonic, contrapuntal, counterpointUnison, parallel motion, contrary motionCounter melody, descant, obbligatoMelody and accompanimentHeterophony (Gamelan).

StructureBinary, ternary, rondo, variationStrophic, through composedGround bassRound, canon, fugueIntroduction, coda, bridge, tagCadenzaVerse and chorusInstrumental break, middle eightBasic, restart, wall (American line dance).

Large structuresConcerto, symphony, sonata, oratorioChamber Music – string quartet, wind quintet, concerto grosso.

Musical PeriodsBaroque, Classical, Romantic, Modern.

TechnologySynthesiser, drum machine, mixing desk, sequencer, multitracking, overdubbing, amplification,sampler, sampling, scratching, DJ, decks, looping, groove, panningMIDI, computerDigital effects, (FX), reverb, echo, distortion, attack, delayVocoder, quantisingRemix, collage, overlay.

Dance stylesTango – Argentine tango, ballroom tango, tango nuevo, electro tangoAmerican line-dance – country and western, barn dance, hustleIrish Dance – step-dance, reel, jig, slip, hornpipe, ceiliDisco and club dance – acid house, rave, techno, jungle, drum’n’bass, garage, trance, ambient.

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Key Signatures

Crucial things to know about scales and keys:1. There are 2 main types of scale/key – Major and Minor (major sounds happy, minor sounds sad).2. There is a major and a minor scale for every note (including sharps and flats) – this means that there are 12 major and 12 minor scales.3. Each scale has a different number of sharps and flats in it.

When composing you will have to decide the following….

1. Which key (or scale) to write it in.2. Whether to write it in major or minor (this will largely depend on

what mood you want to create).3. Which note of the scale to write it on (different notes have

distinctive tones to them. e.g. Bb Major is a very rich key, whilst F# Major is very bright in tone). You will also need to think about the range of the instrument you are writing for, and the difficulty of the piece (keys with a greater number of sharps and flats tend to be more difficult to play in).

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Time SignatureTime signatures contain two numbers.

The top number indicates the number of beats in each bar. The bottom number is a code for what the beat is measured in.

The common codes for the bottom number are:

4 = crotchet beats 8 = quaver beats 2 = minim beats

This means there are four crotchet beats in each bar.

This means there are two minim beats in each bar.

This means there are six quaver beats in each bar

REMEMBERJigs - count in 3. Time signature = 6/8, 9/8 or 12/8 eg. 6/8 has 6 quavers in a bar. (say did-dl-y).

Reels - count in 4. Time signature= 4/4 or 2/4.Remember Jig = 3 letters. Reel = 4 letters

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Transposing instrumentsTransposing instruments are usually brass and woodwind. The notes they play come out higher or lower than the notes written in the music. For example, when a clarinet plays a C from the clarinet part, it comes out as a Bb.

Ordinary instruments such as violins and pianos are tuned to the key of C. This is called concert pitch.

Transposing instruments are tuned to different keys. For example clarinets are tuned to Bb and alto saxophones are tuned to Eb

Music for transposing instruments has to be written out a bit higher or lower than it would be for instruments that don’t transpose. It needs a different key signature too, so the intervals sound the stay the same.

Transposing instruments in Bb sound notes one tone lower than concert pitch.

To get them to play a concert pitch C you have to write D. All the notes in the written part look one tone higher than they sound.

Transposing instruments in Eb sound notes a minor third higher than concert pitch.

To get them to play a concert pitch C you have to write an A. All the notes in the written part look a minor third lower than they sound.

The most common transposing instruments are:

In Bb = clarinet, tenor saxophone, trumpet and cornet, tuba

In F = French HornIf you are composing for an ensemble with concert pitch instruments and transposing instruments, write all the parts at concert pitch first, then transpose the ones that need transposing after.

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Structuring your pieceMost good pieces have a clear shape of form.

Rondo Form

Binary Form

There is an A section followed by a B section in a different key (both sections are usually repeated). It usually follows the pattern of key changes outlined below:

Baroque dances typically had a Binary Form structure

Each new section contrasts in some way to what has gone before it. You will find that most composers writing a Rondo Form piece will use changes in melody, key and harmony to contrast the different sections.

Each of the sections sound like complete pieces of music in themselves – you could play just the A Section of a Ternary Form piece and it would not “feel” like it must continue onto a new section. This is because it ends on a perfect/authentic cadence.The B Section is usually written in a key that is closely related to the key of the A Section

Ternary Form

The B section also usually has a different mood to the A Section. If the A Section is upbeat and lively then the B Section will often be more subdued.

Compound Ternary

This is when each of the sections (A-B-A) are subdivided into a clear Ternary Form structure as in the diagram below. Examples of Compound Ternary Form include trios and minuets.

An example of Rondo form= Mozart’s Rondo in D major K.311

An example of Ternary Form = “Alla Hornpipe” by Handel from The Water Music.

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If you are going to employ a standard form such as ternary, rondo or Binary, try to combine the basic structure with some of your own ideas.

A piece in ternary from has the structure:

A(first idea)

B(new idea)

A(first idea again)

You could make this more interesting by:

Varying the A section when it comes back Combining the elements of tune A and B in the final section (or in a

coda added after the third section)

It is really important to have an overall picture of your piece!

Try to think about how each small musical idea fits to the bigger picture.

Beginnings and endings are important. What is the first thing the listeners will hear? Will the piece fade-out or a dramatic climax? It is sometimes helpful to compose the end (or the climax) of a piece first and then work out how to get to that point.

Once you have developed some good musical ideas, bring these ideas back to give a sense of shape to your piece. You could change or develop your ideas too.

You could do this by: writing rhythmic or melodic variation; transpose the idea; add or change chords; add a countermelody; use different sounds (instruments, voices or music technology); use more or fewer instruments or voices; vary the texture; use the idea backwards or upside down; transform part of your idea into something new; play your idea faster or slower; you could try bouncing your idea between two separate groups of musicians.

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Chords

A chord is three or more notes played at the same time. Some combinations of notes sound especially good together, and have special names. You can write great songs with just a few chords and there are six standard chords you can use in each key. This example is in the key of C (it is the easiest to start with because there are no sharps or flats in the key).

These six chords are...

Three of these chords, I, IV, and V, are "major" chords, and are named using upper-case Roman numerals.

Major chords sound happy, and uplifting. Many songs use only chords I, IV and V.

The other three chords,ii,iii, and vi, are "minor" chords and are named using lower-case Roman numerals. Minor chords generally sound sad or dramatic.

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Chord Progressions & Chord Map

To write a song you need to decide which chords to use and in what order. Firstly, the I chord sounds like 'home' in any key and you should think about starting and ending with the I chord. (This is the chord of C in the key of C).

Certain chords work well with others. Here is a chord map to help you work out your progressions:

You need to follow these rules...

1. You can go from I to anywhere else.

2. Once you're away from I, choose arrows to follow until you get

back there.

3. You can stay in one box as long as you like before moving on.

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Creating A Structure For Your Song Using Chords There is no fixed rule for how often you should change from chord to chord but one chord per bar is common. (Count four beats per bar – or three beats per bar in a waltz). Arrange your music into phrases that are 4, 8 or 12 bars long. A common technique is to have a question phrase followed by an answer phrase. The 'question' phrase would end on a Chord V and this would be followed by an 'answer' phrase which ends on a Chord I. eg. I - vi - IV – V - I - ii - V - I Here are some other example chord sequences: I - I - IV – II - V - I – VI - I - IV - IV - I - IV - V – II - iii - vi - ii - ii - V - I – V I - IV - ii - V - I - ii - V - I You could use the bottom note of each chord as a bassline in your left hand on the piano, and play a different rhythm in the right hand. You could repeat the same chords all the way through the song(Like 'Price Tag' I-iii-vi-IV). For greater contrast – and development of ideas, look at composing THREE chord sequences: 

Verse Chorus Middle 8

 

How to Make Your Chords a Little Different... Here are some ideas to make your chords stand out from the rest. InversionsInvert the chord. Change the order you play the notes of the chord. (Play E, G, C or G,C,E instead of C,E,G). Sevenths

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Use seventh chords. Add another note to the chord – seven notes above the bottom note. In this example, a B has been added to aC chord. C,E,G,B. .Slash ChordsTry different bass notes in the left hand. These are often written using a slash to separate the chord name and the bass note.e.g. C/B is a C chord (C,E,G) with a B in the Bass.Dm7/C is a Dm7 chord (D,F,A,C) with a C in the Bass. ArpeggiateInstead of playing the notes of the chords together, experiment playing them one (or two) at a time in different patterns and rhythms. SuspensionsA suspension (sus chord) replaces a usual chord tone with an adjacent note. In a Sus4 the third note of the scale is replaced with the fourth note of the scale in the chord. e.g Csus4 is C,F,G instead of C,E,G.

 

 

 

 

 

 

 

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Creating a good melodyOnce you have created your chord sequence you need to write a melody. 

The notes of your melody should be based around the notes used in your chords.

Use notes that are not in the chord too, particularly notes that are next to chord notes – BUT – move stepwise back to the chord note.

Avoid too many big leaps in your melody.

Use REPETITION & SEQUENCES in your melody. Even if you are just repeating a few notes.

Think about the SHAPE of your melody. Most melodies don't just rise in pitch or descend in pitch. This would sound more like a scale than a melody.

Most melodies rise and fall, often in an 'arch' shape.

Pop songs usually have a chorus with a melody which is higher than the verse. This means that the verse ends with the melody rising.

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Think about the Cadences you use !

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What style are composing in? Have you researched this style? Do you know the features

of this style?Plainchant

Plainchants were written by monks for singing in their monastery church The words are Latin religious texts, sung as part of the Mass (Church

service) Plainchant is unaccompanied with no fixed rhythm. All the voices sing in unison (everybody sings the same notes) Plainchant is monophonic Plainchant is traditionally sung by an all-male choir Plainchant has free meter – this means that there is no time signature at

the beginning of the music and none of the notes have stems to tell you how long they are.

For variety, the melody in some plainchant is passed between grops of voices. In antiphony the melody passes between two choirs at opposite ends of the church. In call and response the melody is passed between a soloist/ small group and the full choir.

Plainchant is modal- the notes used come from modes

Baroque and Classical Melodies Baroque composers used major and minor scales Modulating was a good way of creating contrast in music in Baroque Dynamics change suddenly Harmonies are kept simple The melody includes lots of ornamentation The texture of Baroque music is often contrapuntal Baroque composers LOVED the HARPSICHORD ! Other instrument used in Baroque music were: flute, recorder, oboe,

bassoon, orang and orchestral stings

Classical music tunes were very balanced- they tended to have equal four-bar phrases, split into a two-bar question and two-bar answer.

Classical music used fewer ornaments Classical composers used binary, ternary, rondo and variation forms but

they also came up with a new structure called SONATA FORM Dynamics were more subtle in Classical music, using crescendos and

diminuendos, not just changing suddenly The piano was invented in about 1700. It got to be more popular than the

harpsichord because you could vary the dynamics. CLASSICAL COMPOSERS WENT WILD FOR THE PIANO!

The Classical period also saw the birth of the clarinet and orchestras

Romantic Melodies Use of chromatic notes

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Atonal Whole tone scales – creates a hazy dreamy effect *In the whole tone scale

all the notes are a tone apart. None of them stands out ina melody, and you don’t get that character from being in a certain key that you do with major and minor scales- so a melody that is written using a whole tone scale is ATONAL

Colourful chords (with added 9th and 13ths) Chose instruments with exactly the right timbre to play different melodies

20 th Century Atonality 12- note system/ serialism (12 chromatic notes in a set order) Prime order in retrograde= Notes in reverse order Prime order inverted= Intervals between notes turned upside down Prime order in retrograde inversion= inverted notes in reverse order Prime order transposed= Notes of prime order (or one of the

variations) shifted up or down- these are moved in semi-tones Notes from the prime order, or any of the variations, could be played in

the bassline or melody in any octave Groups of notes from the prime order and variations may be piled up to

create chords

The Blues Blues scale = flatten the 3rd and 7th by a semi tone. (The 5th may also be

flattened) The flattened notes are known as ‘Blues Notes’ Blues melodies have swinging offbeat rhythms Use of syncopation Melodies are in normal ‘Straight’ rhythms, the beats are split up into

equal halves In the blues, the first bit of the beat steals some time from the second

beat. The first beat ends up slightly longer and with more oomph. This gives the music a swinging feel.

12 bars long Chords used are I IV and V The 12 bar pattern is repeated through out You can make new chords by adding the minor 7ths

The 12 Bar Blues Chord Pattern

Chord I Chord I Chord I Chord IChord IV Chord IV Chord I Chord IChord V Chord IV Chord I Chord I

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Lyrics Structure

1st Line: State the problem.2nd Line: Repeat 1st line.3rd Line: State half of the solution (or consequence).4th Line: State the second half of the solution (or consequence).

India Classical Music

The melody is improvised on the sitar Uses a scale called a raga (each rage is named after a different time of

day) The notes in a raga scale may be different on the way down from the ones

on the way up Some ragas have rules for individual notes in the scale There could be notes that are always played quickly, notes that have to

be decorated, or notes that have to be played tivra (slightly sharp) or komal (slightly flat)

Notes of the raga scale are called: sa, ri, ga, am, pa, dha and ni (Unlike Western scales, ragas don’t always have the full set of notes)

Sometimes the melody part is taken by a singer instead of the sitar. The tabla is the rhythm section The tabla player plays a rhythm called the tala The first beat is called the sam All the performers in the group play together on each sam and the whole

piece ends on a sam. Sometimes the audience joins in and claps along with the tala. The tambura creates the harmony. The Tambura’s part is often described

as a drone- it is quite repetitive and is based upon two notes A typical Raga has four sections.

The Alap – introduces the notes of the chosen raga (no beat or pulse to the melody at this point)

The Jhor –Music speeds up and music begins to get more rhythmic

The Jhal – The fast and exciting section !

The ‘Gat’ or ‘Bandish’ – the tabla player comes in, at last ! The group plays a pre-composed piece called the ‘gat’ (the gat is from instruments only! The ‘Bandish’ is for singers), players add improvisations to the ‘Gat’ or ‘Bandish’, and pass their musical ideas around in sort of a musical questions and answer.

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Caribbean Music

Salsa 4/4 time with syncopation Acoustic and bass guitar or band with trumpets, saxophones, electric

guitars, drum kit and latin percussion Often uses three-beat rhythms with two long beats followed by a short

beat Often uses call and response Simple harmony Verse and chorus songs Topical, witty lyrics - often satirical

Soca Use of horns and Latin percussion with loud fast percussion beats Very loud bass guitar Repeated chord sequences Rhythmic nonsense words Lyrics about love and partying

Mento Guitar, banjo and drums Strophic (verse-repeating) form Lighthearted lyrics of everyday life Precursor to ska and reggae

Ska Fuses American rhythm 'n' blues (R&B) with mento rhythms Uses electric guitars and jazzy horn section (trumpets, saxophones and

trombones) Uses characteristic offbeat jumpy rhythms Has lyrics about local issues

Reggae Electric guitars and drums line-up Amplified bass guitar riffs (short repeated patterns) An association with rastafarianism (a religious movement worshipping

haile selassie) Characteristic rhythm in 4/4 with missing beat emphasis Use of repeated offbeat quavers Use of dub remixing techniques where effects such as delay are added Simple chord sequences Verse and chorus form Political themes in lyrics

Rocksteady Rhythms more relaxed than ska Stresses on beats 2 and 4 Loud bass guitar playing steady 4/4 beat Political themes in lyrics

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Merengue Merengue was originally the national dance of the Dominican Republic

and has African and Spanish influences. Traditional instruments - tambora (a type of double-headed drum), guiro,

cuatro, accordion Trumpets and saxophones playing an important part A fast 2/4 beat Catchy melodies and rhythms Syncopated rhythms played by tambora Call and response Simple harmony - much use of tonic and dominant Mambo - instrumental interludes Slick choreographed stage presentation Lyrics of love and everyday life

African Music

Rhythmic ostinato Master drummer to control the performance Call and response Syncopation Solo sections Monorhythms Polyrhythms Cross rhythms (2 beats against 3 beats) Polymetric i.e. 3/4 , 4/4 and 5/4 time all together Master drummer- controls what is played in the group, controls the

tempo. Very rhythmic Melodies are usually organised within a scale of four, five, six, or seven

notes. They tend to use small melodic intervals (lots of 2nds and 3rds) and often use recurring patterns and descending phrases.

African singing often includes glissandos (slides which are sometimes known as portamento) and slurs, whistles, yodels and swoops and types of sound such as a raspy or buzzy quality.

African Drums: Atumpani Drums Gankogui (gong gong) Gome Drums Axatse (shaker) Donno Drum Brekfte

The pitched instruments are:

Fontomfrom drums Kora Mbira Balafon Mouth Bow Five string Zither

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Atsimevu

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Log and EvaluationDate Progress Notes

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Date Progress Notes

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Date Progress Notes

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