1

Ark Secondary Music Programme

About this unit:

In this unit you will perform a famous piece of Baroque music which com-

bines a repeated bass line that stay the same with melodic ideas that are

ever-changing. You will develop your ability to play the keyboard using

both hands and practise performing on any melodic instrument you are

learning to play. You will learn about performance practices in the late

18th century, and compose your own Baroque melody fit for a royal court.

What’s in it for me?

This unit provides you with a further opportunity to strengthen your

keyboard skills, which can be applied to all kinds of music making. You will

develop your ability to maintain your own individual part against a pulse,

and will unlock the secret to writing melodies, chords and basslines that

harmonise - an essential skill for all aspiring composers and songwriters.

Name: Teaching group:

Unit 4:

The Beauty of

Baroque Music

2

Key concepts

Element Banked knowledge New vocabulary and concepts

in this unit

Structure

The order of musical

ideas

Bar, ostinato, intro, outro,

groove, verse, chorus,

ostinato, bridge

Ground bass

Pitch and

melody

The horizontal

arrangement of sound

Step, leap, phrase, Q+A

melody, treble clef, stave,

major scale, pentatonic

scale, degrees of a scale,

range

Bass clef, sharp, root, 3rd, 5th,

octave, passing note, ornament,

trill, ascending, descending

Harmony and

tonality

The vertical

arrangement of sound

Triad, major and minor

triads, primary and second-

ary chords, root note,

harmonic sequence

Inversion

Texture

The layers of sound

Unison, layered,

polyrhythmic, solo, melody

and accompaniment, 2-part

texture, full, sparse

Polyphonic, contrapuntal,

canon, entry, bassline

Tempo, metre

and duration

The organization of

rhythm

Pulse, on the beat,

syncopation, polyrhythms,

crotchets, quavers, minims,

semibreves, rests, simple

time signatures

Dynamics and

sonority

The volume of music

and quality of sound

Basic dynamics (pp to ff),

crescendo, diminuendo,

legato, staccato, strum

Continuo, harpsichord, spread

chord, cello, violin, bowed,

(paired) slur

In this unit you will experience different elements that together

make up every kind of music. When we look at music, we can ‘zone

in’ on each of these elements, to help us better understand what is

going on.

3

Community wheel

How to use this booklet

You will use this booklet in every music lesson.

There might also be times when you will need to take this booklet

home to continue your musical learning. These ‘home’ activities are at

the back of this booklet, from page 30 onwards.

There is also a list of video lessons from Oak National Academy; your

teacher will tell you which lesson to watch if you’re at home.

4

The keyboard

In the Year 7 ’The Power of the Pentatonic’ unit you learned the names of the pitches of

the keyboard (A to G), but can you remember them?

1. The keyboard and the treble clef

The treble clef

You also learned about staff notation—how we show different

pitches and rhythms by placing ‘notes’ on a set of 5 lines (the stave).

The rhymes we used to help us remember the pitches in the treble clef

can be found below:

Do now:

1. Write the names of the missing pitches on the keyboard below:

Do now:

2. Write the names of the following treble clef pitches underneath each note:

G C D A

Treble clef

Spaces Lines

____ ____ ____ ____ ____ ____ ____ ____

Every Green Bus Drives Fast

5

2. Canon in D—Melody 1

Last lesson we explored our first melody from Pachelbel’s Canon.

Do now: Answer the following questions -

1. Which instrument was this melody originally written for?

2. Which playing technique would the performer use to play this melody?

Striking Strumming Plucking Bowing

3. The first melody (notated below) moves entirely by step. Write down whether each step is

ascending or descending The first two have been completed for you:

4. Write in the note names of the five pitches (indicated by a *)

(Check page 4 for help if you need to!)

Do now: Identify one similarity and one difference between melodies 1 and 2 (see page 14).

Similarity:

Difference:

Melody 3 is written below. For the last bar of this melody:

1. Write the name of each pitch below the stave

2. Write down which finger you should use above the stave

Melody 1

*___

*___ *___ *___ *___ C# B C#

3. Canon in D—Melodies 2 and 3

Last lesson we explored two more melodies from Pachelbel’s Canon.

Melody 3

3. Add a label to show where finger 2 has to cross over 1/the thumb (cross)

4. Add a label to show where finger 4 needs to stretch upwards a little (stretch)

1 3 5 4 3 1 3 2 1 2 1 4

D F# A G F# D F# E D B D A

1 3 5 4 3 1 3 2 1 2 1 4

6

5. The texture of Pachelbel’s Canon

Last lesson we learned how to play in canon by ‘entering’ the piece at different times, and

gradually building up a polyphonic or contrapuntal texture.

Do now:

What is a canon? (Not sure? Check page 9 or the glossary.)

By filling in the empty boxes, complete the diagram below to show a 3 part canon playing

over a ground bass:

Bars: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Violin 1 Melody 1 Melody 2

Violin 2 Melody 1 Melody 2

Violin 3

Cello Ground bass Ground bass Ground bass Ground bass

4. Canon in D—Melody 4

Last lesson we learned to play melody 4.

Do now:

1. This melody contains dotted rhythms. On which beats of the bar should the first two

notes be played? (Circle your answers.)

2. Slurs ( ) can be seen over pairs of quavers. How should these be played?

3. Draw the symbol that tells you to play a C natural instead of a C sharp:

4. What is the name of this ornament ( ) and how do you play it?

1 + 2 + 3 + 4 +

Melody 4

7

6. Features of Baroque music

Do now: fill in the missing words from the box below. Watch out: there are some words

you do not need! (Refer to the information on page 9 of your booklet if you need help.)

1. __________________ musical textures were common during the Baroque period.

2. Baroque melodies were often decorated with __________________.

3. Baroque orchestras were often small, consisting of wind and __________ instruments.

4. The major and ___________ key system was established during the Baroque period.

5. ___________, Vivaldi and Handel are all famous Baroque composers.

6. Much Baroque music was influenced by ______________.

7. The end of the Baroque period coincides with the death of J.S. Bach in ___________.

ornaments monophonic string minor polyphonic/contrapuntal

brass 1750 1600 religion Debussy electronica Bach

The music you have been learning to play was composed during the Baroque period.

Can you remember some of the key features of music written at this time?

7. Basso continuo

Last lesson you learned to play the ground bass from Pachelbel’s Canon and considered the role of the basso continuo.

Do now:

1. What is a ground bass? (Check the glossary on page x if you can’t remember.)

2. Circle two instruments that might form a basso continuo:

Violin Harpsichord Cello Trumpet Clarinet

This ’do now’ continues on the next page ...

8

7. Basso continuo (continued)

3. The ground bass and basso continuo were used frequently in which musical

period?

Renaissance Baroque Classical Romantic Modern

4. Basso continuo instruments would play the bass line and fill out the harmony (by

playing chords). Complete the table below to show the missing chords:

Ground

bass

D A B F# G

Chords

A

F#

D

F#

D

B

A

8. Chords and melody

Do now: Complete the following melody by adding a pitch from the chord in each gap

(marked with a *). Show your answers using letter names, staff notation, or both!

Remember, many melodies often move mostly by step so try to do this!

Tria

d

5th A B C# D E F# G

3rd F# G A B C# D E

Root D E F# G A B C#

Chord name D major E minor F# minor G major A major B minor C#dim

I ii iii IV V vi vii Position

Ch

ord

s in

th

e

ke

y o

f D

ma

jor

*___

Chords

IV I V

*___ *___ D A A G D Pitches

D

major

A

major

G

major

9

Pachelbel’s Canon

Pachelbel’s Canon is the common name for the piece ‘Canon and Gigue

for 3 violins and basso continuo’ by the German Baroque composer, Jo-

hann Pachelbel.

Although this piece was originally written around 1690, it has been a

source of inspiration for many modern musicians and is widely

performed today, both in its original and re-imagined forms.

Baroque basics

The piece is made up from two musical ideas:

Johann Pachelbel

1653-1706

A ground bass A canon

A bassline which repeats over and over

again. In Pachelbel’s Canon the bassline

repeats 28 times! During the Baroque

period, a ground bass was typically played

by a basso continuo (see below).

Music during the Baroque period had:

• Elaborate melodies decorated with

ornaments

• Major and minor keys

• Polyphonic/contrapuntal textures

• String and wind instruments (and

the formation of small orchestras)

• The use of basso continuo

A basso continuo was the Baroque equiva-

lent of a modern day ‘rhythm section’, and

usually included an instrument (harpsichord

or organ) to fill out the harmony by playing

chords, and a low melodic instrument (such

as the cello) to play a bassline.

+

A canon occurs when different instruments

or voices sing or play the same melody but

start at different times. The canon in this

piece sounds over the ground bass, and

contributes a weaving, ever-changing

melody. It was written for 3 violins.

The Baroque period (1600-1750) is one of several musical periods in the development of

Western classical music.

14

50

16

00

1

75

0

18

20

19

00

M O D E R N

During the Baroque period, both life

and music was heavily influenced by

religion.

Art forms including architecture,

painting, music and dance, were

dramatic, energetic, fancy and

grand!

In general, people tended to live in

extreme poverty or extreme wealth.

Concerts for the general public were

rare, and composers (including

Bach, Vivaldi and Handel) were

either employed by the church,

court, or wealthy patrons.

10

9. Passing notes

Do now:

1. What is a passing note? (Check last week’s work if you can’t remember.)

2. Add the letter/note names of the 4 missing pitches.

3. Circle the 3 passing notes in the melody below (you’re looking for a note in between

two others, such as A B C or E F# G):

Pitches F# G A D E B A

Last lesson we learned how Pachelbel used passing notes in some of the melodies he

composed.

10. Canon and ground bass

Do now:

1. Which two of the diagrams below might show a canon? (circle your answer)

2. Which two of the diagrams below might show a ground bass? (circle your answer)

A B C D

A B C D

Throughout this unit we have been learning about repetition and change.

Violin 1 « ❖ ❖

Violin 2 « ❖ ❖

Violin 3 « ❖ ❖

Cello ¤

Violin 1 ❖

Violin 2 ❖

Violin 3 ❖

Cello ⚫ ⚫ ⚫ ⚫

Violin 1 ❖ ⧫

Violin 2 ❖

Violin 3

Cello ⚫

Violin 1 ❖

Violin 2 ❖

Violin 3

Cello ⚫

A

C

B

D

11

TASK 1: Playing ‘Canon in D’

Task:

The art department wishes to put on an exhibition of student work inspired by

paintings by the Baroque masters. They have asked you to provide some live

music from the same historical period to create a fitting atmosphere.

Success:

Successful outcomes will include:

• Playing the notes and rhythms of your part accurately and fluently

• Being able to maintain your own part and fit this with parts played by

others

• Playing with appropriate expression and performance techniques

Process

Use the steps below to help guide your practice for your performance:

1 Play the D

major scale

Learn where the notes of the D major scale are on the

keyboard and ensure you can use different fingers and

change position with your right hand.

2 Learn to play

the melodies

The melodies in the canon are increasingly challenging to

play. Start with Melody 1, and once you have mastered this

move on to Melody 2 and so on. Remember: sing it, hear it

in your head, say it, and then practise it with your right

hand.

3 Learn to play

in canon

Play the melodies in canon. Locking in the different parts

will take some focused practice, as other players will be

performing different bars/melodies at different times!

4 Expression

and

articulation

Consider which melodies might be played louder, and

which might be played quieter. Where are melodies

legato, and where are melodies staccato?

5 Fluency Play from start to finish a few times to build confidence.

Do not stop if you make a mistake.

12

The key of D major

Many of the melodies in the canon move up and down the scale of D major. Let’s begin by

learning to play this scale:

D

1 2 3 1 2 3 4 5

E

F#

G A B D

C#

Thumb under

The scale of D major

Notes of the treble clef (recap)

Treble clef

Stave

Middle C

Pachelbel’s Canon is in the key of D major, which has two sharps in the key signature:

F# and C#

# The sharp sign tells you to

raise the pitch of a note by

a semitone. On a

keyboard this is the very

Key

signature: D

major,

F# and C#

Time

signature: 4

beats in a bar

D E F# G A B C# D

To be able to move up and down the keyboard fluently we need to change hand position.

The numbers above the notes show fingering that will allow you to do this. On the way up

tuck your thumb under to play G. On the way down, cross finger 3 over to play F#.

13

Performing Pachelbel’s Canon

Over the next few lessons, you will be shown how to play a number of

Pachelbel’s melodies that gradually become more elaborate, and there-

fore more challenging to play. These are on page 14.

Learn each of these at your own pace, and only move on to a new

melody when you have mastered the previous one. By mastered, we

mean that you can play it perfectly every time. Use the table on page

15 to track your progress.

These melodies are played over a repeating bassline (a ground bass)

which your teacher will play to you. As you learn to play each melody,

listen to how it fits with the ground bass, too.

Fingering

Remember - using the fingering indicated on the

music will, in time, enable you to play accurately

and fluently.

The thumbs on each hand are always ‘finger’

number 1.

Articulation

Through articulation we can give character to music.

Look out for slurs indicating you should play legato

(smooth) and dots above notes indicating you

should play staccato (detached).

Dynamics

Another way we can shape music is through

dynamics. Think about which of the melodies

you feel could be played louder, and which

might be played quieter, and why.

The basso continuo

If you are a more experienced keyboard player, you may wish to

take on the role of basso continuo in your performance, playing

the ground bass with your left hand and the spread chords with

your right hand at the same time. To achieve more in your

performance, you can improvise around the chords provided as

your piece develops.

14

Melody 1

The melodies of the canon

Melody 2

Melody 3

Melody 4

(Melody 3b)

(Melody 4b)

Chords

Ground Bass

Pachelbel’s Canon can be thought of as a number of linked melodies:

15

Practice log and tracker

Extension

Melody

1

Melody

2

Melody

3

Melody

4

Melody

3b

Melody

4b

D major

scale

I am learning to play this

I can sometimes play this

successfully

I can perform this success-

fully every time

Lesson 1 (Melody 1)

Reflecting on your work and setting targets

Play the right pitches

Play the right rhythms

Use the correct fingering

Play fluently

Add dynamics and expression

Perform the trill in melody 4

Fit my part with those played by others

Enter the canon at the right time

Achieve a pleasing balance with my group

At the end of each rehearsal you will be invited to reflect on what is going well and what

still needs some work. Some of the phrases below might help you to focus your thoughts:

Use the table below to help you track your progress throughout Task 1.

Use an appropriate instrument sound on the keyboard

Play in the correct octave

Change hand position smoothly

Play legato or staccato as indicated

Which of the following did you achieve

today? (tick boxes)

Tick one box below which describes the

best next step for you:

I can find the notes of melody 1 on the keyboard

I can play melody 1 with my right hand using the correct fingering

I can play melody 1 with my right hand accurately and fluently using the correct fingering

Your own idea?

To use the correct fingering when I play melody 1

To keep a steady pulse as I play melody 1 (every note exactly the same length)

To be able to read the notated music more quickly

Your own idea?

16

Lesson 2

Lesson 4

Lesson 5

Lesson 3

Things I achieved musically today Things to work on next lesson

Things I achieved today Things to work on next lesson

Things I achieved today Things to work on next lesson

Ready for

Task 2?

Use this

3-point

check to

find out!

Can you:

I may need some more

help with this I’m ready

• Find notes used in the D major scale on the keyboard with ease?

• Change hand position easily when play-ing melodies with your right hand?

• Confidently maintain your own part when others are playing something different?

17

Pe

rform

an

ce

pla

n

Use

this p

ag

e to

pla

n w

ho

will p

lay w

ha

t with

in yo

ur e

nse

mb

le p

erfo

rma

nc

e o

f Pa

che

lbe

l’s Ca

no

n. E

ac

h co

lum

n

in th

e ta

ble

be

low

rep

rese

nts o

ne

state

me

nt o

f the

gro

un

d b

ass (4

ba

rs of m

usic

).

Gro

up

me

mb

er

1 2

3 4

5

6 7

8

9 1

0 1

1

12

1

3 1

4 1

5 1

6

17

18

19

20

2

1 2

2 2

3 2

4

25

26

27

28

2

9 3

0 3

1 3

2

33

34

35

36

Me

lod

y 1

__

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__

Me

lod

y 1

__

__

__

M

elo

dy 1

__

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__

Me

lod

y 1

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__

M

elo

dy 1

Ba

ck

ing

trac

k?

G

rou

nd

ba

ss G

rou

nd

ba

ss G

rou

nd

ba

ss G

rou

nd

ba

ss G

rou

nd

ba

ss G

rou

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ba

ss G

rou

nd

ba

ss G

rou

nd

ba

ss G

rou

nd

ba

ss

1

2

3

4

5

6

7

8

9

Wh

o w

ill pla

y th

e g

rou

nd

ba

ss?

Yo

u c

ou

ld:

•

Use

the

ba

ck

ing

trac

k p

rovid

ed

•

Ask

you

r tea

ch

er to

pla

y the

gro

un

d

ba

ss

•

Ask

som

eo

ne

in th

e c

lass to

pla

y it for

you

if the

y kn

ow

ho

w

•

Use

you

r left h

an

d to

pla

y the

gro

un

d

ba

ss wh

ilst pla

ying

the

me

lod

ies w

ith

you

r righ

t ha

nd

Ke

y d

ec

ision

s to b

e m

ad

e

Wh

ich p

erfo

rme

r en

ters th

e c

an

on

first?

•

Th

e p

erfo

rme

r to e

nte

r the

can

on

first sh

ou

ld b

e th

e g

rou

p m

em

be

r

wh

o h

as le

arn

ed

to p

lay th

e m

ost

me

lod

ies.

Wh

at sh

ou

ld I d

o if I ru

n o

ut o

f me

lo-

die

s to p

lay

?

•

Sim

ply re

pe

at th

e m

elo

die

s you

can

pla

y un

til the

en

d o

f you

r

pe

rform

an

ce.

Wh

en

an

d h

ow

do

we

fin

ish o

ur p

erfo

rma

nc

e?

Wh

en

all p

laye

rs ha

ve e

nte

red

the

ca

no

n a

nd

pla

yed

the

me

lo-

die

s the

y ha

ve le

arn

ed

you

will n

ee

d to

brin

g yo

ur

pe

rform

an

ce

to a

clo

se.

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u sh

ou

ld fi

nish

you

r pie

ce

by p

layin

g

an

d h

old

ing

ch

ord

I (D m

ajo

r).

Th

e b

est tim

e to

do

this is a

t the

en

d o

f

a re

pe

tition

of th

e g

rou

nd

ba

ss.

Th

e ro

ot n

ote

sho

uld

be

he

ld in

the

ba

ss.

5th

A

3rd

F

#

Ro

ot

D

D

ma

jor

I

18

Overall, how happy were you with the quality of your group’s performance?

1 2 3 4 5 6 7 8 9 10

Performance evaluation

WWW:

EBI:

WWW:

EBI:

Choose one element from the com-

munity wheel (page 3) and describe

how it affected/supported your perfor-

mance:

Teacher remarks

Your individual contribution (how well did you perform your part?)

Ensemble work (how well did your group perform together?)

Include comments about

which melodies you learned

to play, and how well you:

• Played the right pitches

• Played the right rhythms

• Played fluently

• Played slurs, trills, stacca-

to as indicated

• Used dynamics to give

contrast to different

melodies

Include comments about how

well:

• Everyone played to a

shared pulse

• Players entered the canon

at the correct time

• You were able to fit the

different parts together

• You could hear all the

parts clearly

19

TASK 2: Stylistic composition

Task:

It is almost 50 years since the manuscript (notated music) of Pachelbel’s Canon

was discovered. In celebration of this, compose some new melodies in a

similar style that will fit over this famous ground bass.

Success:

Successful outcomes will include:

• Creating a simple 4-bar melody that fits the accompanying harmony

• Developing a more elaborate 4-bar melody that includes passing notes

and interesting rhythms

• Structuring the melodies into a canon, creating a polyphonic/contrapuntal

texture

Process

Use the following steps to guide you through this task:

1 Learn how the

bassline and

harmony are

linked

Learn to play Pachelbel’s famous ground bass and

how different chords are built upon each pitch.

2 Analyse Pach-

elbel’s melo-

dies

Understand how Pachelbel created this piece of

music by analysing some of the melodies you

played in Task 1

3 Compose a

simple melody

Compose a simple 4-bar melody by following

Pachelbel’s approach

4 Compose elabo-

rate melodies Develop some more elaborate melodies

5 Create a

canon

Structure the melodies you have composed into a

canon, creating a polyphonic/contrapuntal texture

20

6. The ground bass

By now you will have heard Pachelbel’s ground bass many times.

Bass clef

Stave

Middle C

As it is low in pitch it is notated using the bass clef. The notes of the bass clef are in differ-

ent places on the stave to those on the treble clef, and we therefore will learn two new

rhymes: Spaces Lines

Some of the notes of the ground bass are so low that they don’t fit on the stave. When this

happens, we use ledger lines to expand the stave:

Ledger lines

1 2 1 2 1 2 1 2 Fingering (LH)

D A B F# __ D __ __

• Remember to play with your left hand (LH)

• Start on the D below middle C

• Identify where the bassline moves by step or by

leap. Can you spot a pattern?

• Use the suggested fingering to support smooth

for learning to play the ground bass

21

D major scale

TR

IAD

5th A B C# D E F# G

3rd F# G A B C# D E

Root D E F# G A B C#

Chord name D major E minor F# minor G major A major B minor C#dim

I ii iii IV V vi vii Position

Spread chord

Play the notes one after

another from low to high

Ch

ord

s in

th

e

ke

y o

f D

ma

jor

Primary Primary Primary Secondary Secondary Secondary

Basso continuo

Complete the chart below to build chords/triads on each note of the ground bass:

D A B F# G D G A

Chor

ds

A

F#

D

D major

C#

A

A major

B

B minor

D

B

G

G major

E

A

A major

Form a basso continuo group

To get a feel for the sound of this accompaniment you

could work in pairs to play the basso continuo. One per-

son should play the ground bass (lower, LH) and the oth-

er should play the chords (higher, RH).

Continuo musicians

often play ‘spread

chords’.

Basso continuo is a form of musical accompaniment used commonly during the Baroque

period.

It consists of a bassline (typically played by a low string instrument such as the cello or bass

viol) to which harmony is added (by an instrument such as a harpsichord or organ).

We can easily create a basso continuo for Pachelbel’s Canon, but to do this we need to

know the chords found in the key of D major:

22

6. Checking understanding

Name these pitches in the bass clef; the first one has been done for you:

A

1. What is a ground bass?

A) A bass line

B) A repeated bass line

C) Something played with the left hand

2. What are ledger lines?

A) Extra lines in a stave

B) Short lines under and above the stave

C) Lines for bass clef pitches

3. Which hand do you play a ground bass with?

A) Right hand

B) Left hand

C) Either hand

4. How do you build a chord above a bass line?

A) You choose three pitches in a scale

B) You choose the root, 2nd and 3rd pitches in a scale

C) You choose the root, 3rd and 5th pitches in a scale

5. Which pitches are in the chords of D major?

A) D G B

B) D F A

C) D F# A

6. What is a basso continuo group?

A) A group of bass instruments that play a ground bass

B) A group of bass instruments that accompany a melody

C) A group of bass instruments that play a ground bass and chords

23

Analysing Pachelbel’s Melodies

Composing a simple melody

TR

IAD

5th A E F# C# D A D E

3rd F# C# D A B F# B C#

Root D A B F# G D G A

Chord name D major A major B minor F# minor G major D major G major A major

I V vi iii IV I IV Position V

Notice 3 key features of this melody:

• Uses only notes of the chord being played

• Every note equal length (minim = 2 beats)

• Moves entirely by step to create a smooth line

Create your own melody in this style. Your melody should only use notes of the chord

being played, and only contain minims.

Use the table below to help you do this (circling one note from each chord) and make sure

you play as you go, to check you like the shape of the melody you are creating!

TR

IAD

5th A E F# C# D A D E

3rd F# C# D A B F# B C#

Root D A B F# G D G A

Chord name D major A major B minor F# minor G major D major G major A major

I V vi iii IV I IV Position V

Final melody

Optional notation

You are going to start by creating a simple melody, similar in style to the one composed by

Pachelbel at the start of his canon. Let’s take closer look at what he did:

Chords: D A Bm F#m G D G A

24

7. Checking understanding

Name these pitches in the treble clef; the first one has been done for you:

F

1. What is a melody?

A) The highest line in a piece of music

B) The lowest line in a piece of music

C) A line that only moves by step

2. What does stepwise mean?

A) A melody that moves from one pitch to another in order—A B C D

B) A melody that moves from one pitch to another in small leaps—A C B D

C) A melody that contains minims

3. How can you ensure that a melody harmonises with the accompanying chords?

A) Use the pitches in a D major scale

B) Use the pitches in the chords

C) Use the pitches in the bass line

4. In which musical period did Pachelbel compose?

A) The Classical period

B) The Romantic period

C) The Baroque period

5. What is a canon?

A) When different instruments play the same melody but start at different times.

B) When different instruments play the same melody and start at the same time.

C) When different instruments play different melodies but start at different times.

6. What is a triad?

A) A chord of 2 notes

B) A chord of 3 notes

C) A chord of 4 notes

25

Analysing Pachelbel’s Melodies

TR

IAD

5th A E F# C# D A D E

3rd F# C# D A B F# B C#

Root D A B F# G D G A

Chord name D major A major B minor F# minor G major D major G major A major

I V vi iii IV I IV Position V

Note that, although the passing notes can not

be found in the chord being played, they can all

be found in the scale of D major.

Composing more elaborate melodies

Create a more elaborate melody in this style. Use the scale of D major and the chords be-

ing played to improvise phrases that use notes of the triad, passing notes, and contain

dotted rhythms or other interesting rhythms.

Use the table below to help you keep track of when the chords change, and make sure you

play as you go, to check you like the sound of the melody you are creating. T

RIA

D

5th A E F# C# D A D E

3rd F# C# D A B F# B C#

Root D A B F# G D G A

Chord name D major A major B minor F# minor G major D major G major A major

Final melody

Optional notation

D E F# G A B C# D

As Pachelbel’s Canon continues, we know that the melodies become more interesting. In

melody 3 below, Pachelbel introduces passing notes - notes that do not belong to the

linked chord - to create a smoother melody line. Find and circle the three passing notes

below:

26

8. Checking understanding

Circle two passing notes in this melody:

1. What is a passing note?

A) A note in the middle of two others

B) A note that a stepwise melody moves through

C) A note that is in a scale

2. What does stepwise mean?

A) A melody that moves from one pitch to another in order—A B C D

B) A melody that moves from one pitch to another in small leaps—A C B D

C) A melody that contains minims

3. How can you ensure that a melody is successful?

A) Use the pitches in a D major scale

B) Use the pitches in the chords

C) Use the pitches in the chords and include some passing notes

4. Why might you include passing notes in a melody?

A) To add interest to the melody

B) To make the melody better

C) To ensure the melody move smoothly

5. Which is a good approach to writing a melody?

A) Choose notes from the triad and then include passing notes

B) Include passing notes and then choose notes from the triad

C) Choose pitches from the D major scale and then include passing notes

6. What is a triad?

A) A chord of 4 notes

B) A chord of 2 notes

C) A chord of 3 notes

D E F# E A B C# D

27

Create a canon

Using the melodies you have created, it’s time to create a canon!

Reflection on composition

Step one

My simple melody My partner’s melody My elaborate melody Pachelbel melody 3

(4 bars) (4 bars) (4 bars) (4 bars)

Step two

LIVE PERFORMANCE OPTION MUSIC TECHNOLOGY OPTION

• In pairs, put the melodies you have

created in an order. Borrow one or

two from Pachelbel if you need to

(example 1). Teach each other how to

play the new melodies you have com-

posed.

• Put the melodies you have com-

posed in a final order. Borrow one

or two from Pachelbel if you need to

(example 2).

• Perform this in canon, i.e. one player

coming in 4 bars after the other. You

may wish to ask your teacher or a

friend to play the ground bass, too.

• Copy this onto a number of different

tracks, making sure each copy of the

full melody begins 4 bars after the

previous entry.

Example 1

Composing a simple

melody using notes

from the chord and

minims (2-beat notes).

Composing a more

elaborate melody

using passing notes and

interesting rhythms.

Creating a canon from

the melodies I

composed. (What did

the result sound like?)

Write a comment about the quality of the music you created for each of the following

tasks:

Composing a simple melo-

dy using notes from the

chord and minims (2-beat

notes)

(e.g. My simple melody used notes from the chords but had lots of leaps so sounded a bit bumpy).

My simple melody Pachelbel melody 1 My elaborate melody Pachelbel melody 3

(4 bars) (4 bars) (4 bars) (4 bars) Example 2

28

Unit consolidation through listening

As well as developing your performing and composing skills, during this unit you will have

expanded your knowledge of musical concepts in the Baroque period, and have the

opportunity to show what you have learned in the following two listening tasks:

Listen to this piece of music, and decide whether the following statements are true or false:

True False

1. This piece is in a major key like Pachelbel’s Canon

2. This piece has 4 beats in a bar (a time signature of 4/4) like

Pachelbel’s Canon

3. There is a ground bass in this piece

4. The bassline moves mostly by step

5. The bassline is mostly ascending

6. This piece has a polyphonic/contrapuntal texture

7. A harpsichord can be heard playing in this piece

8. This piece sounds like it was written in the Baroque period (8)

Extract 1: Pachelbel’s Canon (Pachelbel, 1653-1706)

Extract 2: Crucifixus (J.S. Bach, 1685—1750)

/12 Total mark

1. Describe one feature of the first melody played on the violin:

2. Describe two features of the bassline of this extract:

3. What word best describes the way the melodies are layered to create a polyphonic/

contrapuntal texture? (1)

(2)

(1)

29

Unit glossary (alphabetical)

Term Definition

Ascending Rising, getting higher.

Bassline The lowest part of the music. The foundation.

Basso continuo An accompanying part which includes a bass line and harmonies,

typically played on a keyboard instrument and with other

Canon A canon occurs when different instruments or voices sing or play

the same melody but start at different times.

Cello A low string instrument, held upright between the legs of the

player.

Descending Falling, getting lower.

Entry The point at which a performer in an ensemble/group starts or

resumes playing.

Ground bass A short bassline which is repeated continuously throughout a

piece.

Harpsichord A keyboard instrument with strings that are plucked (instead of

hammered) as the keys are pressed.

Octave The name given to the distance between two notes with the same

name, such as A to A or E to E; they are eight notes apart.

Ornament A decoration (or embellishment) added to a melody, such as a trill.

Passing note A note not belonging to the harmony, but used to create a smooth

melody line, such as A B C or E F# G.

Polyphonic/

contrapuntal

A type of texture involving two or more parts which each have a

melody of their own.

Root note The foundation/lowest note of a chord. The note from which the

chord is named - D in a D major chord, for example.

Sharp (#) A symbol to indicate that the pitch of a note should be raised by a

semitone; usually a black key to the right of the natural note.

Slur A symbol indicating that a group of notes should be played legato

(smoothly).

Spread chord The playing of notes of a chord one after another in quick succes-

sion, instead of at the same time.

Trill The rapid alternating between two neighbouring notes (a type of

ornament), such as ABABABABABAB and so on!

Violin A high-pitched string instrument, positioned under the chin of the

player.

30

Home Learning

For these lessons, you should watch the Oak National Academy video

for each lesson. (If you can’t, then complete as much of the following

pages as possible.)

The following pages are for ‘home’ learning. Your teacher will tell you

which activities to complete.

You might also need a piece of paper and an instrument (this could

be on an app).

Sometimes you will need to watch a video on YouTube or listen to a

piece of music.

Each ‘home’ lesson is divided into four parts:

• Recap or Explore

• Learn more

• Create

• Checking understanding

31

Lesson 1: Melody 1

Explore

Turn to page 4 and read the questions.

Answer the questions.

Learn More

Read page 9 carefully, and then answer these questions:

1. What is the proper name of the piece ‘Pachelbel’s Canon’?

2. When was the piece composed?

3. Name the two musical ideas that are in this piece:

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

4. When was the Baroque period in music?

5. Name two musical facts about the Baroque period.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Create

Read page 12 carefully.

On a table, practise the finger pattern for the D major scale with your right hand:

1 2 3, 1 2 3 4 5 (up)

5 4 3 2 1, 3 2 1 (down)

If you have a keyboard at home, that’s wonderful. If not, use/download a piano app on a

phone or computer.

Try and play the D major scale with the correct fingers on this! (It might be too small to do

this.)

32

Lesson 1: Melody 1

Create

Now learn to play melody 1 with your right hand. Hold every note for 2 beats (count 1 2 in

your head before moving onto the next note).

The numbers above the notes are the correct fingers to use.

The letters below are the pitches to play.

3 2 1 4 3 2 3 4

F# E D C# B A B C#

Here’s the first note (F#):

Checking understanding

Turn to the bottom of page 15, and read the table carefully.

• What did you achieve?

• What are your next steps?

33

Lesson 2: Melodies 2 and 3

Recap 1

Turn to the top of page 5 and read the questions for Lesson 2.non in D—Melody

Answer the questions.

Recap 2

Label the pitches of melody 1 on the keyboard below:

Which finger does melody 1 start with?

Which pitch does melody 1 start with?

How many beats in each note in this melody?

Practise melody 1 until you can play it accurately (no mistakes) and fluently (no hesitation).

Learn More

Compose a stepwise melody in D major, similar to melody 1 in Pachelbel’s Canon.

Make sure that the pitches are in alphabetical order, and next to each other on the piano:

A to B

A to D

Notate your melody here, in letter names or notes on the stave:

34

Lesson 2: Melodies 2 and 3

Create

Now learn to play melody 2 with your right hand. Hold every note for 2 beats (count 1 2 in

your head before moving onto the next note).

The numbers above the notes are the correct fingers to use.

The letters below are the pitches to play.

5 4 3 2 1 3 4 2

D C# B A G F# G E

Here’s the first note (D):

Here’s melody 3. Write down three ways in which this melody is different to melodies 1 and

2:

1) 2) 3)

The dots mean that you play staccato, which is Italian for ‘short and detached’. Imagine the

keys are hot, and very quickly bounce your fingers off each key!

Learn to play melody 3 (all notes are only 1 beat each so get moving!):

1 3 5 4 3 1 3 2 1 2 1 4 3 5 4 3

Checking understanding

Turn to page 16, and fill in the boxes for Lesson 2.

35

Lesson 3: Melody 4

Recap

Turn to the bottom of page 5 and read the questions carefully.

Answer the questions accurately.

Learn More

Which melodies had minims (2 beat notes)?

Which melody had crotchets? (1 beat notes)?

Which melody used staccato?

How do you play staccato notes?

What were the targets you set last week? (Look at page 16).

Are the melodies getting simpler, or more complicated? Give a reason for your answer.

Let’s learn about melody 4:

Here’s a dotted crotchet and a quaver.

Say out loud ‘1 and 2 and’ lots of times in a row

Now whisper ‘and 2’ = ‘1 (and 2) and’

Now say ‘1 (and 2) and’ and clap on the 1 …….. And

Can you play this dotted rhythm on the piano or a keyboard app?

Here are four quavers. These are half a beat each.

Say ‘3 and 4’ lots of times in a row.

Say the first bar … 1 (and 2) and 3 and 4 and

36

Lesson 3: Melody 4

Learn More

Let’s learn to play melody 4:

1 3 3 4 3 2 1 3 3 4 3 2 1 3 3 2 1 2 1

A F# F# G F# E D D D E D C# B D D C B C A

Top Tips!

In this melody, you have both C# and C natural.

C natural is in the last bar, twice.

Here they are on the keyboard:

C#

C natural

Play these two notes legato or smoothly, with no gap in between them.

Create

Practise melody 4 on a keyboard or app.

Practise melodies 1, 2 and 3.

Now play these in order: 1, 2, 3, 4.

What happens if you play them in a different order?

Checking understanding

Turn to page 16, and fill in the boxes for Lesson 3.

37

Lesson 4: Canon

Recap

Turn to page 6 and read the questions.

Answer the questions; you might need to research the answers for questions 3 and 4.

Why do you think composers choose to add slurs and trills to their melodies?

Why do you think pop melodies don’t have these?

Learn More

Find a recording of ‘Pachelbel’s Canon’ online. Here’s one on YouTube:

Pachelbel’s Canon in D major for three violins

Listen to it carefully.

True or false?

• All performers are playing the same music (melodies 1-4) • They enter at different times (after 4 bars) This is called playing in canon. The texture gets fuller, and becomes polyphonic or contra-puntal. Read about a canon on page 9. Complete this sentence: A canon is . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Create

You might have sung ‘Frere Jacques’, ‘London’s Burning’ or ‘Row, row, row your boat’ at

primary school. These are all similar to a canon.

Turn to page 17 and read it carefully.

Fill in the table on page 17.

Unless you live with other keyboard players, it will be difficult to play a canon. Why?

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

38

Lesson 4: Canon

Create

We understand that a canon must have more than one performer.

You have learnt to play 4 melodies from ‘Pachelbel’s Canon’. Now play them in

different orders:

• 1, 3, 2, 4

• 4, 3, 2, 1

• 3, 4, 1, 2

• Any order of your choice

Write down which is your chosen order, and why:

My chosen order is . . . . . . . . . . . . . . . because . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Checking understanding

Turn to page 16, and fill in the boxes for Lesson 4.

39

Lesson 5: Performance Assessment

Explore

Turn to the bottom of page 6 and read the questions about texture.

Answer the questions accurately.

Learn More

Continue to practise your version of ‘Pachelbel’s Canon’ (the four melodies in the order

you’ve chosen).

How successful are you?

• I can play all 4 melodies in time with a pulse (ask someone in your home to tap their foot

or clap along to your playing)

• I make no mistakes in rhythm or pitch

• I use the correct right hand fingers

• I do not stop between the four melodies

• I play melodies 1, 2 and 3 legato (smoothly)

• I add staccato to melody 4

Create

If you can, record yourself playing the four melodies.

Then share this recording with your music teacher.

Checking understanding

Ready for

Task 2?

Use this

3-point

check to

find out!

Can you:

I may need some more

help with this I’m ready

• Find notes used in the D major scale on the keyboard with ease?

• Change hand position easily when play-ing melodies with your right hand?

• Confidently play all four melodies with your right hand?

40

Lesson 6: Ground bass and chords

Recap

Turn to the top of page 7 and read the questions.

Answer the questions.

Learn More

A ground bass is a repeated ‘bass line’. Baroque composers, like Pachelbel and Purcell, com-

posed ground basses.

Here is Pachelbel’s famous ground bass:

1 2 1 2 1 2 1 2

D A B F# G D G A

On a keyboard or an app, learn to play this with your left hand (thumb and finger 2).

Every note lasts for 2 beats (count 1 2 in your head before you move on to the next pitch, like

melodies 1 and 2.)

Now read page 21, and complete the chord chart.

Create

Compose a ground bass. Like Pachelbel, do the following:

• Use pitches in D major (D E F# G A B C#)

• Have every note as a minim (2 beats)

• Have 4 bars

Notate your melody below, in letter names, or as notes on the stave (on the next page):

41

Lesson 6: Ground bass and chords

Create

Compose a ground bass. Like Pachelbel, do the following:

• Use pitches in D major (D E F# G A B C#)

• Have every note as a minim (2 beats)

• Have 4 bars

Notate your melody here, in letter names or notes on the stave:

Now practise playing it, until you can repeat it fluently, lots of times in a row!

Checking understanding

Turn to page 22.

Answer the multiple choice questions on this page.

42

Lesson 7: Composing a simple melody

to fit given harmony

Recap

Turn to the bottom of page 7 and read the questions about basso continuo.

Answer the questions at the top of page 8.

Learn More 2

Read page 19, all about Task 2.

Let’s look at melody 1 again. Remember it?

F# E

Label the pitches; the first two have been done for you.

True or false? Correct the sentence if you think it is false.

• The melody moves by step (F# to E to D — in alphabetical order)

• The pitches move line to space to line to space on the stave

• Every note is a crotchet (one beat)

Now let’s find out how Pachelbel composed this melody. It was easy … he simply took notes

from the chords:

F# E D C# B A B C#

5th A E F# C# D A D E

3rd F# C# D A B F# B C#

Root D A B F# G D G A

43

Lesson 7: Composing a simple melody

to fit given harmony

Checking understanding

Turn to page 24.

Answer the multiple choice questions on this page.

Create

Here are Pachelbel’s chords. Highlight one pitch in every chord:

Wonderful! You’ve composed a melody!

Now play it. What does it sound like?

Does the melody jump about (D to A, for example) or move by step (D to E, for example)?

Now improve your melody, checking that it moves by step.

When you’re happy, notate it below:

5th A E F# C# D A D E

3rd F# C# D A B F# B C#

Root D A B F# G D G A

44

Lesson 8: Adding passing notes

Explore

Turn to the bottom of page 8 and read the questions.

Answer the questions.

Learn More

What are passing notes? A passing note is a note you pass through to reach another note. It

usually fills a ‘gap’ in the melody. For example, G would be the passing note:

In this melody, D would be the passing note:

In these melodies, circle the passing notes:

Where is the passing note in these melodies? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Now add the missing passing notes:

As Pachelbel’s Canon continues, we know that the melodies become more interesting. In

melody 3 below, Pachelbel introduces passing notes - notes that do not belong to the linked

chord - to create a smoother melody line. Find and circle the three passing notes below:

C D E

D E F# A G F#

B C# D D C B

D B A C#

B G F# D

45

Lesson 8: Adding passing notes

Create

Now compose a 4-bar melody that uses passing notes.

Experiment with different pitches on your keyboard app before you notate

(write down) your melody.

Tips for success:

• Begin on D

• Check the pitches in the chords (remember to only use these pitches):

• Use only crotchets (one-beat notes) like Pachelbel

• Make sure there are 4 crotchets in every bar

• Include passing notes to move by step!

Checking understanding

Turn to page 26.

Answer the multiple choice questions on this page.

Final melody

5th A E F# C# D A D E

3rd F# C# D A B F# B C#

Root D A B F# G D G A

46

Lesson 9: Layering melodies

Explore

Turn to the top of page 10 and read the questions.

Answer the questions.

Learn More

Listen to a recording of this song on YouTube: Jubilate Deo by Michael Praetorius

True or false?

• All singers are performing the same melody

• Different groups enter at different times (in canon)

• The texture does not change

• This creates a polyphonic texture

Write a definition of a canon:

A canon is . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Why will it be difficult to perform a canon today?

It will be difficult to perform a canon today because . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Create

You have composed two melodies in Lessons 7 and 8.

You have also learnt to play 4 melodies from Pachelbel’s Canon.

Now practise these 6 melodies until you can play them in time with a pulse, accurately

(no mistakes in pitch or rhythm) and fluently (without hesitating or stopping).

47

Lesson 9: Layering melodies

Create

You have composed two melodies in Lessons 7 and 8.

You have also learnt to play 4 melodies from Pachelbel’s Canon.

Now decide which order to perform these melodies in.

Write down the order below:

1.

2.

3.

4.

5.

6.

Why have you decided to perform them in this order?

Checking understanding

Is there a canon? Y/N

Is there a ground bass? Y/N

What about in these two structures?

Violin 1 Melody 1 Melody 1 Melody 3 Melody 2

Violin 2 Melody 1 Melody 2 Melody 3

Violin 3 Melody 3 Melody 2

Cello Ground

bass

Ground

bass

Ground

bass

Violin 1 Melody 1 Melody 2 Melody 3 Melody 4

Violin 2 Melody 1 Melody 2 Melody 3

Violin 3 Melody 1 Melody 2

Cello Ground

bass

Ground

bass

Ground

bass

Ground

bass

Violin 1 Melody 1 Melody 3 Melody 2

Violin 2 Melody 1 Melody 2 Melody 3

Violin 3 Melody 1 Melody 3 Melody 2

Cello Ground

bass

Ground

bass

Ground

bass

Ground

bass

48

Lesson 10: Analysing Baroque Music

Explore

Turn to the bottom of page 10 and read the questions.

Answer the questions.

Learn More

You will listen to two pieces of Baroque music. Find these on YouTube:

Pachelbel’s Canon

Bach: Crucifixus

Turn to page 28—here are the questions you will need to answer.

Listen to the music as many times as you need to.

Checking understanding

Turn to page 27.

Answer the questions at the bottom of this page.

Create

Imagine you are promoting/advertising a con-

cert of Baroque music. Write 5 sentences

about what the audience will hear. Include

information about:

• How we know the music is Baroque

• Instruments and the basso continuo

group

• Layers in the texture

• How the melody links with the harmony

• What a ground bass is

49

Lesson Title Oak Lesson Number Completed?

Melody 1 1

Melodies 2 and 3 2

Melody 4 3

Canon 4

Performance Assessment 5

Ground bass and chords 7 and 8

Composing a simple melody to

fit given harmony

10

Adding passing notes 11

Layering melodies 13

Analysing Baroque Music

Video lessons from Oak National Academy

www.thenational.academy