The concepts of music

Duration

The speed of a piece of music as well as the lengths of sound and organisation of notes and rests.

Pitch

The highness and lowness of sound and their combinations.

Tone colour

The instruments, voices and performing media used in a piece of music as well as describing the quality of the sound using adjectives.

Structure

The order of sections and ideas in a piece of music.

Texture

The layers of sound.

Dynamics and expressive techniques

Dynamics refers to the volume (loudness/softness) of sound. Expressive techniques refer to the manipulation of other concepts for expressive or stylistic purposes.

 

Duration

Definitions

Beat

The consistent pulse of a piece of music.

Rhythm

Long and short sounds organised into patterns.

Time Signature

How many beats and what type of beats are in each bar.

Tempo

The speed of a piece of music.

Note Values

The length of individual notes and rests described as short or long.

Syncopation

When a rhythm is played or accented off the beat

Ostinato

A short, repeated rhythmic or melodic pattern.

Anacrusis

When the first and last bar of a piece of music add up to one whole bar. It is also known as a ‘pick up’.

Multimetre

When the time signatures change throughout a piece of music.

Duration match up

Draw a line to match the duration word to its definition or colour code them with textas or pencils.

Duration	Definition
Tempo	When the first and last bar of a piece of music add up to one whole bar. It is also known as a ‘pick up’.
Multimetre	The consistent pulse of a piece of music.
Beat	Long and short sounds organised into patterns.
Ostinato	How many beats and what type of beats are in each bar.
Backbeat	The speed of a piece of music.
Syncopation	The length of individual notes and rests described as short or long.
Rhythm	When a rhythm is played or accented off the beat.
Time signature	An accent placed on beats two and four.
Note values	A short, repeated rhythmic or melodic pattern.
Anacrusis	When the time signatures change throughout a piece of music.

 

Note values

Note name	Note	Rest name	Rest	Value
semibreve		semibreve rest		four beats
minim		minim rest		two beats
crotchet		crotchet rest		one beat
quaver		quaver rest		½ beat
semiquaver		semiquaver rest		¼ beat

 

Dotted notes

A dot next to a note adds half the value of the original note. For example:

Note name	Note	Value
dotted minim		3 beats
dotted crotchet		1 ½ beats
dotted quaver		¾ beat

Extension

Note name	Note	Value
dotted semibreve		6 beats
dotted semiquaver		3/8 beat

Triplets

A triplet is three notes performed in the time of two. For example:

Note name	Note	Value
quaver triplet		one beat
crotchet triplet		two beats
semiquaver triplet		½ beat

 

Time signatures

A time signature tells us how many beats and what type of beats per bar. It consists of two numbers written on top of one another at the beginning of a piece of music.
The top number tells us how many beats are in each bar. For example, four.
The bottom number tells us what type of beats are in each bar. For example, crotchet beats. The time signature below stands for 4 crotchet beats per bar.

When the bottom number is a 2 they are minim beats.
When the bottom number is a 4 they are crotchet beats.
When the bottom number is an 8 they are quaver beats.
When the bottom number is a 16 they are semiquaver beats.

Simple time

Simple time is based on whole beats like crotchets or minims. For example, the following time signatures are examples of simple time:

Compound time

Compound time is based on dotted beats such as dotted crotchets and will sound like there are three fast pulses within in each main beat. The following time signatures are examples of compound time:

Multimetre

Multimetre is when a piece of music changes time signatures throughout the piece. This creates rhythmic interest in a piece of music. For example, the time signature may change from 4/4 to 5/4 to ¾.

 

Tempo

Tempo is the speed of a piece of music. The following Italian terms are commonly used to describe the tempo of a piece of music:

• Largo – slowly (40 – 60 bpm)
• Adagio – at ease (66 – 76 bpm)
• Andante – at an easy walking pace (76 – 108 bpm)
• Moderato – at a moderate speed (108 – 120 bpm)
• Allegro – fast and lively (120 – 156 bpm)
• Vivace – very fast (156 – 176 bpm)
• Presto – very fast (168 – 200 bpm)

 

Syncopation  

Syncopation is when a rhythm is played off the beat. There are three types of syncopation. Syncopation using rests, syncopation using ties and syncopation using accents. Listen to each excerpt and clap the rhythm through as a class. You may even like to mark where the beat falls with sticks above the music.

Duration — what am I listening for?

There are many elements within the concept of duration to listen for when you are analysing a piece of music. Students are to discuss and define the following elements with the concept of duration and write them down in their books:

• beat – is the beat strong or weak? Definite or indefinite?
• time signature – what is the time signature? Does it contain multimetre?
• note values – listen to the note values of each individual instrument. Are they long or short? Could you identify them in more detail? For example, quavers, crotchets, minims.
• syncopation – identify if any syncopation is used and the type of syncopation used. For example, accents, rests or ties.
• bar lengths – are the bar lengths regular or does it contain multimetre?
• tempo – identify the tempo using Italian terms.

Steps

1. Identify the structure of the first two sections (or more)
2. The first paragraph should contain duration elements that are common to the whole excerpt. For example, time signature, tempo, bar lengths and beat.
3. The following paragraphs should outline the note values and rhythmic devices used for each individual instrument in each section. For example, crotchets, quavers and syncopation.
4. Other musical observations may be included if they relate to or support the duration element.
5. Students are to write the following model response in their books (done as a class.)

Verse 1

The verse begins in 4/4 time at a moderato tempo. It contains regular bar lengths and the beat is strong and definite due to the accent placed on beat 1 by all instruments and the chords changing once per bar.
The note values sung by the male vocalist include mainly short note values such as semiquavers thorough to minims and uses syncopation using rests and ties. The electric guitar plays a 1 bar syncopated repeated rhythm using chords. The note values are very short and include mainly semiquavers. The synthesizer plays chords on beat 1 of each bar using semibreves.

Prechorus

The note values of the vocals change and become longer in duration by using more minims at the ends of phrases. The synthesizer and guitar remain the same, however, a bass is added which rhythmically doubles the synthesizer by playing semibreves on the beat to outline the chord progression.

Pitch definitions

Tonality

Whether a piece is in a major or minor key.

Melody

The tune of a piece of music.

Harmony

The chords (two or more notes combined) that provide the pitch accompaniment to the melody. It can be described as consonant (nice sounding) or dissonant (clashing sounding).

Shape

Whether the notes of an instrument are moving in steps or leaps.

Contour

Whether the notes of an instrument are either ascending, descending or a combination.

Range

The distance between the lowest and highest notes heard. For example, small, medium or wide.

Register

Whether an instrument is playing in its low, middle or high register.

Rate of harmonic change

How often the chords change. For example, once per bar, twice per bar.

Pitch— what am I listening for?

There are many elements within the concept of pitch to listen for when you are analysing a piece of music. Students are to discuss and define the following elements with the concept of pitch and write them down in their books.

• Tonality – is the piece in a major or minor key?
• Melody – which instrument provides the main melody in the piece?
• Shape – do the notes of the melody move in steps or leaps or a combination?
• Contour – are the notes of the melody ascending or descending or a combination?
• Range – describe whether the notes of the melody use a small, medium or wide range of notes.
• Register – describe if the main melodic instrument is using its low, middle or high register.
• Harmony – are the chords used consonant or dissonant?

 

Scales

A scale is a pattern of ascending and descending notes which move in small steps known as tones and semitones.
A tone is a whole step. For example, from C to D.
A semitone is a half-step. For example, from C to C#.

Major scales

A major scale is made up of the following pattern:
T, T, S, T, T, T, S.
Play through the following major scales on your own instrument or virtual keyboard, and label the tones and semitones.

 

Minor scales

There are three types of minor scales: the natural minor scale, the harmonic minor scale and the melodic minor scale. A minor scale is made up of the following pattern:
T, S, T, T, S, T, T.
The pattern above is for the natural minor scale which only uses the key signature.
Play through the following natural minor scales on your own instrument or virtual keyboard and label the tones and semitones.

 

Melodic minor scales

A melodic minor scale uses the same pattern as the natural minor scale, however on the way up the scale, the 6th and 7th notes are raised. On the way down the 6th and 7th return to their normal notes and you play the key signature only. Play through the following melodic minor scales on your instrument or keyboard. How would you distinguish them from the other types of minor scales?

 

Scale composition

For this activity you will need:

• your instrument or a keyboard
• manuscript, a rubber and a pencil or
• digital notation software such as Musescore, Noteflight or Sibelius.
  

Steps

• Choose your favourite scale from the scales we have learnt so far.
• Choose to compose either a 4 bar, 8 bar or 12 bar composition.
• Write the clef you are going to use at the very start of the manuscript. For example, treble or bass clef.
• Write down the time signature of 4/4 after the clef on the first line only.
• Create a rhythm first - write out an interesting rhythm using only crotchets, quavers and minims. Clap through this rhythm to see if it flows and is interesting. You may also use rests if you wish. Adjust the rhythm if you need to.
• Using your instrument, experiment with playing notes to this rhythm using your chosen scale to see which sound best. You must start and end your composition on the first note of your chosen scale. For example, if you are using A harmonic minor scale you must start and end the piece on an A.
• Write out the notes on the stave.
• Check that each bar adds up to four counts and that the stems are going in the correct direction. Add a double bar line at the end to show that the piece is finished. Add a title if you wish.
• Extension - add articulation and dynamics.
• Perform and record your composition on your phone or device for submission.

Triads

A triad is made up of three notes. When constructing a major or minor triad, you must use the first, third and fifth degrees of the scale.

 

Intervals

An interval is the distance between two notes. Watch the Intervals (00:06:27) date accessed 11/11/2020 video to learn about how intervals are formed. Below is a list of common intervals found in music. Listen and sing through these intervals together as a class:

The pentatonic scale

Performance

Perform the first verse and chorus of ‘Shake It Off’ by Taylor Swift on either your voice or instrument by using the audio and score links below:
‘Shake It Off’ (00:04:01) by Taylor Swift (date accessed 11/11/2020) audio
‘Shake it Off’ by Taylor Swift (date accessed 11/11/2020) score
Then, discuss and answer the following questions:

1. What key is this piece in? (look at the key signature)
2. Look at the notes carefully. What are the note names used in the piece? For example, C, D.
3. How many notes/pitches are used in total and what are they?
   

That’s right! ‘Shake It Off’ only uses five pitches. This is called the pentatonic scale.
The pentatonic scale is a scale made up of five pitches. The 1st, 2nd, 3rd, 5th and 6th note of the major scale.
In C, the pentatonic scale is written below. Play through this scale on your instrument or keyboard.

 

Structure

Structure can be described as the form of a piece of music and how it is put together in different sections.

Forms

The forms of structure below are most commonly used in music.
Binary form – refers to a composition with two main sections, called A and B. Section A is followed by section B which is made up of different musical material. Sometimes these sections are marked by repeat signs.
Ternary form – has three sections. A, B and then a return to section A. The B section uses contrasting musical material. Sometimes there will be modifications or additions to the concepts of music in section A when it returns.
Rondo form – has many sections. It starts with the main theme in section A, followed by a number of new sections. The form is A B A C A.
Theme and variations – The main theme is usually a distinctive melody which is then changed and adapted in subsequent sections through the concepts of music. Theme and variations was widely used in the classical period.
Through composed – a piece which is continuous with just one main section. It doesn’t repeat any sections but develops the one idea continuously.
Strophic form – is a form where there are several verses, each with different words but the same musical accompaniment. Hymns and blues pieces follow strophic form.
Verse/chorus form – is a structure used in popular music. It may contain sections such as verse, prechorus, chorus, bridge, intro, outro or solo.

Structure composition activity

Composition/performance/listening

In this activity, students will create short compositions in small groups which will then be put together to demonstrate the following forms:

• through form
• binary form
• ternary form
• rondo form.

Steps

• In small groups of four to five, students are to create an eight bar composition (A) that consists of the following:
• eight bars in length
• uses a 3/4, 4/4 or 6/8 time signature
• uses a pentatonic scale
• a melody
• harmonic/rhythmic accompaniment
• Students are to perform their composition to the class and record it on their phones or other digital device.
• Students are then to repeat the process above creating a (B) section which must address the following:
• eight bars in length
• uses a pentatonic scale
• the texture must change (for example become thicker or thinner)
• Students are to perform and record their performance on their phones or devices.
• Students repeat the same process for a (C) section but this section must only contain rhythmic instruments, percussion or body percussion.
• Students are then to use these three sections of musical material to create through form, binary form, ternary form and rondo form. Play through each of these structures.
• Students are then to perform to the class one of these structures and record the performance on their phones. The class is to identify which structure each group have performed.
• Distribute the graphic notation grid. In groups, students must notate each section of the composition using graphic notation grids. They may choose to do this using graphic notation, traditional notation or a combination of both. Examples are provided.
• Homework: Students are to analyse one of their compositions according to pitch and duration using the audio and score they have created.

 

Verse chorus form

Verse chorus form is a structure most commonly used in popular music. It consists of several repeated sections. These sections may include:

Intro

Otherwise known as the introduction, the intro establishes the melodic, harmonic and rhythmic material related to the verse and/or chorus of the piece. It is usually only instrumental.

Verse

The verse is one of the main sections of the song where the vocals will enter. The verse will be repeated several times throughout a song. Each verse will contain the same harmonic progression and melody but use different lyrics.

Pre-chorus

The pre-chorus functions to connect the verse to the chorus, typically using subdominant chords or other transitional harmonies.

Chorus

The chorus is repeated throughout the song using the same harmonic foundation and lyrics. It is almost always of greater musical and emotional intensity than the verse. It also often contains a ‘hookline’ which is when the title of the song is used in the chorus.

Bridge

The bridge is a transitional section towards the end of the song which provides contrast through its new musical material.

Solo/instrumental

The solo section is designed to showcase an instrumentalist and usually uses harmonic accompaniment taken from the verse or chorus.

Outro

The outro is the last section of the song. It often uses chords from the chorus or verse and the vocalist may improvise or ‘ad lib’.

 

Woodwind

Flute, oboe, clarinet, bassoon, bass clarinet, piccolo, alto saxophone, soprano saxophone, tenor saxophone, baritone saxophone.

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Brass

Trumpet, trombone, french horn, tuba.

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Strings

Double bass, cello, viola, violin, harp.

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Tuned percussion

Vibraphone, xylophone, marimba, glockenspiel, timpani.

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Untuned percussion

Bongos, maracas, cymbal, guiro, tambourine, cowbell, claves, woodblock, snare drum, triangle, bass drum, bells.

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Tone colour research task

 

Texture

What am I listening for?

Texture refers to how many layers of sound you can hear and what those layers are doing. When analysing texture, you need to listen for the following elements:

• thick or thin? Is the texture thick or thin in each section and why? Does the texture change between sections and how? For example, addition and subtraction of instruments, dynamic changes, complexity of rhythm.
• what is the phonic?
• monophonic – one melody
• homophonic – one melody with harmonic accompaniment
• polyphonic – two or more melodies with or without harmonic accompaniment