Electronic Music Grades 6-8



Electronic Music Grades 6-8 : Garden City Middle School(Music Theory / Performance Through Contemporary Music... -Rock/Pop/Folk/Hip-Hop/Classic/Motown/etc.-)Instructional Curriculum Formulated by Mr. Russo Email: russom@ Areas of Music Covered :Performance (Instrumental Ability)Composition (Creating Music)Listening/Appreciation (Aural Skills/ Analysis)Theory (Understanding How Music Works)Performance (Instrumental Ability)Instrumental InstructionEnsemble PerformanceKeyboard / PianoSoftware / Video Based Criteria:Teach Me Piano Levels 1-12Synthesia(For both methods)Assess by level not song/pieceSet modest goals for beginners.Hand out printed packets of pieces for take-home practice.Tips:-Software integrates ‘lessons’ and ‘practice areas’. More advanced students may not require extensive use of the lesson area during the early stages.-Encourage the practice of not looking down at hands.-Use games within programs and supplement with the program ‘Musical Space Invaders’ to enhance note and rhythm reading skill.Baroque/Classical (or any possible style) pieces for group performance.Start with 4 part chorales, etc. and determine when more extensive pieces are appropriate. Assign most difficult parts to more skilled students.The primary purpose is to provide the experience of playing with a group. It is unrealistic to expect these students to achieve advanced music reading skills when they are not studying privately and are not eligible for lesson pullouts. Allow for the extensive use of written fingering & note names as well as tapes/CDs/MIDI files that can be listened to repeatedly.Standard Blues/Rock/Jazz songs performed in groups (I. IV, V)Songs should incorporate very basic chord patterns (I-IV-V) and inversions.Standards are preferred, as songs that are currently student favorites tend to NOT withstand the test of time.If songs are selected correctly almost all students can be successful…assign less demanding, repetitive parts to encourage participation by more students. (See guitar, bass guitar, and drum kit)Notes: More advanced students (those who take lessons) may begin at and achieve higher levels.Notes: This may not include ALL students. Some students may opt against group performance and therefore it should not be compulsory. It should not, however, be reserved for advanced students…those who have no/little experience can be assigned very simple parts. Look for the dedication/interest level before that of instrumental proficiency. Triads and inversions (C, D, E, F, G, A, B MAJOR & minor) should be a strong part of the keyboard/piano instruction and ensemble. The use of notated music is NOT essential…a basic understanding and the ability to perform chord progressions is the aim.Allowing classmates to assist each other with all aspects of performance is an indispensable tool for progress. Those who take private lessons usually take pride in helping out.Keep in mind that the Music Ace programs have lessons and games that can contribute to the learning of notes and rhythms on the keyboard/piano.Remember that this is not a course solely dedicated to learning of piano. Therefore, expectations should be geared towards enthusiasm and involvement. This can best be achieved by self-paced learning. Success at ‘one’ level, for example, should be a prerequisite for moving on to the ‘next’. Time frames for completion should be flexible and without the pressure and perceived competition often associated with traditional exams.Guitar TipsStudents tend to enjoy holding the guitar and imagining the possibility of being a rock star. They discuss the various colors, amps, effects, gadgets, and models often associated with guitar playing. They talk about their favorite rock bands and guitarists. Naturally, if this gets excessive, it can detract from the ‘actual’ learning of the guitar. Coaching, encouragement and the words “get those fingers moving” and “repeat [that] several times” will be a significant part of the process.The use of ‘electric’ guitars is preferred. It allows individualized headphone practice and electric guitars are generally easier to play (strings are lighter and lower). In addition, electronic tuners are indispensable as a time saving device. Students can quickly tune their guitar without assistance. Yes, acoustic instruments have a beautiful sound. Many private teachers, including myself, prefer them. In a classroom situation, however, you can’t beat electrics. The motivation factor should also be considered…generally, adolescents find it hard to resist the allure of an electric guitar.Guitar & UkuleleSoftware / Video Based Criteria:SoftwareE-Media Guitar 1Teach Me GuitarPlay Pro GuitarDesktop GuitaristVideoRock Guitar 1Guitar Basics 1Barre Chord BasicsBlues Guitar 1(For both methods)Assess by improvements in agility and coordination.Set modest goals for beginners (as with piano).Encourage the use of the Internet at home for supplementing instruction. Be careful, however, to discourage the process of mental ‘learning’ as a way of avoiding actual practicing…as with other instruments, nothing works better than the physical act of playing and the use of constant repetition.Standard Blues/Rock/Jazz songs performed in groups.Stress the use of open chords, power chords, and barre chords.Provide frequent opportunities for listening (to recordings) and mimicking (the instructor and/or other, more advanced students).Mostly rhythm guitar (with selected lead riffs)Develop right hand (up/down) strumming technique.Encourage the exercise of the weak fingers…ring and pinky.Melodic and harmonic improvisationUse scale patternsIntroduce the ‘basic’ six (MAJ. & min.) chords in a major key: I-ii-iii-IV-V-viAnd have them improvise chord progressions.Tips:IMPORTANT:-Reading keyboard/piano notation should take precedence over that of the guitar (especially at this age). The guitar is physically demanding in the early stages. It is unrealistic to expect the same results as which is achieved through private lessons. Technique, scale / riff patterns, and chords should be the main concern. Again, let the piano be the instrument where note-reading skills are developed.IMPORTANT:-Students at this age level want to get playing quickly…reserve the guitar theory and notation for very the very serious students and even then until after a feeling of playing accomplishment has been reachedGet them playing or a high ‘drop-out’ rate may be the resultThe major challenge of teaching classroom guitar involves the physical demands of the instrument. Piano and drums provide results with somewhat less effort in the early stages of instruction. Methods of dealing with this may include allowing short or mini practice sessions during class instead of dedicating an entire 40 minutes to the guitar. In this way, the student can return to the keyboard or theory software whenever guitar distress occurs. In addition, practice partners or groups may be assigned so that students can encourage each other and more advanced students (some taking private instruction) can assist beginners.Notes: As with piano, ,software and videotapes are ideal for dealing with both beginners and more advanced players. Closely monitored independent projects can be implemented. This will obviously be reserved for those quite interested in guitar.Bass GuitarVideo Based Criteria:Bass Guitar 1Bass Guitar 2Standard Blues/Rock/Jazz songs performed in groupsKeyboard bass is an option…essentially the same music as the bass guitar but sometimes more practical for the greatest number of students.Basic patterns can be applied to both bass guitar & bass keyboardNotes: Those who have trouble ‘chording’ the guitar may opt for bass.Notes: This is great for both guitarists AND keyboard (piano) players. The bass guitar is usually an adjunct to the 6-string guitar. The fact that the strings of the bass (E, A, D, G) are the same as those of the lowest 4 strings of the guitar gives the impression that the only difference is that the bass has thicker (lower) strings. In fact, the bass is more of a partner to the drum kit…it provides more of a rhythmic foundation to an ensemble.The fact that the bass does not require as much finger agility and almost always calls for ONLY single notes and not chords should be considered when a student doesn’t seem to be progressing with the guitar but still desires a ‘guitar’ experience.Bass instruction is often more productive when the student is permitted to practice in small doses”, so frustration with the concept that a bass doesn’t offer the same satisfaction as the guitar when being played in isolation from other instruments (ensemble). Drum Kit Video Based CriteriaDrum Basics 1&2Introduction to Drum KitSEE GUITAR BULLETS (Above)Emphasis should be on limbs…right, left hand and right foot. Left-foot hi-hat should be reserved for those studying privately.Begin with the learning and playing of one part at a time…for instance, 1/8 note hi-hat pattern or the snare on beats 2 & 4. Then continue with 2 parts at a time …such as playing the bass drum (right foot) and the snare (left hand) simultaneously. Finally, perform all 3 parts. The process may take several weeks.Permit students to work in pairs or groups.Tips:-Chopsticks can be used on the back of chairs or edges of tables and are relatively quiet…reserve the electronic sets as a reward for mastering the rhythm patterns. -Chanting word rhythms can make all the difference. Number counting is important but often doesn’t instill a ‘sense’ of the rhythm. For example, “Let’s___ go out” can be chanted as a‘dotted quarter-eighth- half’ rhythm (bass drum)…eventually, add the words “hey” and “now” to the snare on ‘beats 2 & 4’. In this case, both word rhythms can be performed together (they don’t conflict). Finally, apply the words to the drum patterns. It’s amazing how well this works. Students often have fun applying their own word phrases to rhythms.-Accompaniment recordings are also valuable…the goal of developing a ‘sense’ of the steady beat and applying rhythm patterns ‘ to it’ can be more quickly reached by motivating with recordings. Standard Blues/Rock/Jazz songs performed in groups.Three basic patterns are applied to songs…duple (2/4 & 4/4), swing (in a triplet ‘feel’), and compound (6/8)Provide frequent opportunities for listening (to recordings) and mimicking (the instructor and/or other, more advanced students).Fills & TransitionsKeep them very simpleEncourage the exercise of the weak hand…leftIntegrate Rhythm TheoryDiscuss how the rhythms on the drum kit can directly apply and be compared to other instruments (i.e. the steady 1/8 notes of the hi-hat can be transferred to the power chord pattern on the guitar. The dotted quarter followed by an eighth note pattern played on the bass (kick) drum can be used for a bass guitar part).Encourage the identification of certain rhythms (drums or otherwise) on recordings.Notes: Students should be given the option of making the drums a primary instrument…continuing on with rudiments and more advanced patterns.Notes: Advanced drumming for the majority of students is unrealistic. Rather, aim for each student having an opportunity to accompany other instruments by playing basic patterns and occasional fills. Use this as a ‘fun’ assessment.Drum Kit TipsGroup drum instruction at this age level can turn in to a nightmare, so to speak. It’s hard enough to silence an adult with drumsticks (or chopsticks) in his/her hands. Strict rules and restrictions are necessary in order to get work done.Drums, unlike other instruments, can be practiced, to some degree, anywhere with a couple of pencils with erasers. Remind the class of this benefit.Unmonitored students tend to merely ‘whack’ drums randomly and unmusically. Students should be reminded to ‘stay on task’. If they master the drum kit pattern, they should either move on to more advanced material (fills, transitions, etc.) OR they should move on to another instrument or activity until new drum material is presented in class.Listening (Aural Skills / Analysis)Elements of Music (Resulting in a Variety of Styles)Aspects of Each ElementImplementationRhythmTempoFast/SlowGetting Faster or SlowerGradationsFermataBeatStrong / WeakGetting Faster or SlowerRubato (Flexibility)Demonstrate an element’s aspect by showing what it ‘is NOT’…for instance, take a familiar song/piece, which is traditionally UN-syncopated, and arrange it in a syncopated manner. Do the reverse …syncopate ‘Happy Birthday’ or the ‘Ode to Joy theme’.Another example would be to interchange timbres…an orchestral piece done with piano…etc.Changing Major tonality to minor is also effective. Patriotic tunes (traditionally Major) can be converted to minor.Start with the isolation of ONE element then work up to allowing students to identify and analyze two or more.Form may be the most important of the elements in regard to music appreciation … it demands the listening of an entire piece. A primary goal should be a complete aesthetic experience. This requires that the listeners be exposed to a whole movement or piece or song.Don’t expect school children to simply listen ‘to’ music. You must request that they listen ‘FOR’ something. This puts the ball in their court. They now have to prove they are listening. (i.e. Raise your hand when the trumpet enters …or ask if melodic sequences, motives, crescendos, etc. are present in the music being played.MeterSimple / CompoundDuple / TripleIrregular / OddDurationRhythm PatternsMelodic RhythmMetric AccentMelodyRegisterHigh / Medium / LowIntervalsStepsLeapsRepeated TonesDirectionUpward / DownwardUp and DownRangeWideNarrowPhraseLong - ShortSame - DifferentCadenceStrong / WeakMelodic SequenceHarmonyTonalityMAJOR -minorPentatonic – otherTonal - AtonalChordsTriadsMajor- minorAugmented-DiminishedTextureCharacteristicsMonophonic –one melody …aloneHomophonic – one melody…with accompanimentPolyphonic – several melodies…togetherDensityThick / ThinMixedMixed texturesDynamicsVariances Soft / LoudGetting softer (decrescendo)Getting Louder (crescendo)Dynamic AccentsTimbre (Tone Color)…“The Medium of Performance”VoiceSopranoAltoTenorBassInstrumentalStringsWoodwindsBrassPercussionIncorporate related arts in lessons. Use poetry, paintings, dance, photography and film to compare and explain musical elements. Abstract paintings can represent atonality. Poems can reinforce the element of musical form. Show patterns in dance and relate them to music.Use games, props, movement, performance (participation) to aid in learning and understanding. WDYH (What Do You Hear?) charts are great to give visual support.Isolate and remove ‘parts’ of music …take out the violin part and ask which part is absent…play an isolated part while the class views the multi-part score and require they identify the single part.Folk InstrumentsKeyboardElectronicFormRepetition (same)(AAA)Variation(A1 A2 A3 A4, etc.)Contrast (different)(AB – ABA – ABACA)Call & ResponseCumulativeFree FormScore reading (while listening) is, in itself, valuable. It allows for the sense of ‘sight’ to bolster the ‘hearing’ process. Stopping the music at a certain measure (be sure measures are numbered) and having students select the correct measure is useful.Be sure to include other activities as part of the listening ‘for’ process…writing answers, multiple choice or true/false quizzes, playing percussion or keyboards and/or clapping, Composing (Creating Music)Composing MelodiesLyric WritingComposing Chord ProgressionsFormulating Rhythm PatternsUsing Notation / Sequencing Software, students can easily experiment with sound compositions.The goal is to allow a random, free style approach to develop towards a more structured, organized piece of music. Theory (Understanding How Music Works)Extracted from Alfred’s Essentials of Music Theory and Harmonic Vision’s Music Ace SoftwareConceptsMusic Ace OneIntroduction to the StaffIntroduction to the Piano KeyboardPlaying with PitchThe ABC’s of the Piano KeyboardMore Piano ABC’sThe ABC’s of the StaffThe ABC’s of the Treble StaffMore Treble Staff ABC’sKeyboard ReviewBelow the Treble StaffAbove the Treble StaffLoud and Soft, Same PitchThe ABC’s of the Bass StaffAbove the Bass StaffBelow the Bass StaffSame Pitch, Different TimbresThe ABC’s of the Grand StaffHalf Steps and Whole StepsMore ABC’s of the Grand StaffSharps and FlatsSharps and Flats on the StaffMore Sharps & Flats on the StaffThe Key SignatureIntroduction to Major ScalesPitchStaffNotationKeyboardDynamicsTimbreMusic Ace Two:Beat and TempoHearing RhythmsReview 1: Note NamesReview 2: Sharps and FlatsBasic Rhythm NotationThe Quarter RestKeys Signatures and Major ScalesMelodyThe MeasureSharp Key SignaturesNotes Longer than a BeatMore Sharp Key SignaturesDotted Quarter NotesFlat Key SignaturesRestsMore Flat Key SignaturesSyncopationSixteenth NotesMinor ScalesThree Sounds Per BeatThe Time SignatureIntervalsThe 6/8 Time SignatureIntroduction to HarmonyBeatTempoRhythmKey SignaturesDurationKeyboardDurationTonalityHarmonyEssentials of Music Theory 1 (Alfred’s):Unit 1Lesson 01: The Staff, Notes & PitchesLesson 02: Treble Clef & StaffLesson 03: Bass Clef & StaffLesson 04: The Grand Staff & Ledger Lines (The Middle Notes)Lesson 05: Ledger Lines (Low & High Notes)Ear Training for Lessons 01-05Review of Lessons 01-05Unit 2Lesson 06: Note ValuesLesson 07: Measure, Bar line & Double BarLesson 08: 4/4 Time Signature and Note ValuesLesson 09: Whole, Half, and Quarter RestsEar Training for Lessons 06-09Review of Lessons 06-09Tip: Use more than one program to reinforce and enhance the learning of specific concepts. For example, study key signatures in Music Ace and review and/or assess the knowledge in Essentials of Music Theory.Unit 3Lesson 10: Tetrachords and Major ScalesLesson 11: The Sharp Scales G & D MajorLesson 12: The Flat Scales F & Bb MajorLesson 13: Key Signatures – The Sharp KeysEar Training for Lessons 26-30Review of Lessons 26-30Unit 4Lesson 14: Repeat Sign, 1st & 2nd EndingsLesson 15: Eighth NotesLesson 16: Eighth RestsLesson 17: Dotted Quarter NoteEar Training for Lessons 14-17Review of Lessons 14-17Unit 5Lesson 18: Dynamic SignsLesson 19: Tempo MarksLesson 20: ArticulationLesson 21: D.C., D.S., Coda & FineEar Training for Lessons 18-21Review of Lessons 18-21Unit 6Lesson 22: FlatsLesson 23: SharpsLesson 24: NaturalsLesson 25: Whole Steps, Half Steps & Enharmonic NotesEar Training for Lessons 22-25Review of Lessons 22-25Essentials of Music Theory 2 (Alfred’s):Unit 7Lesson 26: Tetrachords and Major ScalesLesson 27: The Sharp Scales G & D MajorLesson 28: The Flat Scales F & Bb MajorLesson 29: Key Signatures – The Sharp KeysLesson 30: Key Signatures – The Flat KeysEar Training for Lessons 26-30Review of Lessons 26-30Unit 8Lesson 31: The Remaining Major Scales with Key SignaturesLesson 32: Chromatic ScalesLesson 33: IntervalsLesson 34: Circle of 5thsEar Training for Lessons 31-34Review of Lessons 31-34Tip: It isn’t always necessary to follow a consecutive order when covering the lessons and units. A flexible approach is possible. For example, study specific concepts, which may apply to material presented in a current ‘performance’, ‘composition’ or ‘listening’ lesson. Unit 9Lesson 35: Perfect and Major IntervalsLesson 36: Minor IntervalsLesson 37: Augmented and Diminished IntervalsLesson 38: Solfege and TranspositionEar Training for Lessons 35-38Review of Lessons 35-38Unit 10Lesson 39: Sixteenth NotesLesson 40: Sixteenth RestsLesson 41: Dotted Eighth NotesLesson 42: Common Time and Cut Time (Alla Breve)Ear Training for Lessons 39-42Review of Lessons 39-42Unit 11Lesson 43: 3/8 and 6/8 Time SignaturesLesson 44: 3/8 and 6/8 Time Signatures at Fast TemposLesson 45: Eighth Note TripletsLesson 46: Incomplete Measures (Pick Up Notes) and SyncopationEar Training for Lessons 43-46Review of Lessons 43-46Unit 12Lesson 47: TriadsLesson 48: Primary and Major TriadsLesson 49: Scale Degree NamesLesson 50: The V7 (Dominant 7th) ChordEar Training for Lessons 47-50Review of Lessons 47-50Essentials of Music Theory 3 (Alfred’s):Unit 13Lesson 51: Triads—1st InversionLesson 52: Triads—2nd InversionLesson 53: V7 Chord—1st, 2nd, 3rd InversionsLesson 54: Figured BassLesson 55: Major Chord ProgressionsEar Training for Lessons 51-55Review of Lessons 51-55Unit 14Lesson 56: Minor ScalesLesson 57: Natural, Harmonic and Melodic Minor ScalesLesson 58: Minor TriadsLesson 59: Augmented and Diminished TriadsEar Training for Lessons 56-59Review of Lessons 56-59Tip: Make theory like a challenging game; where the students try to outdo previous scores…use the games in Music Ace, the Reviews in Essentials and the drills in Dolphin Don. Keep scores and use rewards.Unit 15Lesson 60: The Primary Triads in Minor KeysLesson 61: Minor Chord ProgressionsLesson 62: Modes Related to the Major Scale: Ionian, Mixolydian and Lydian.Lesson 63: Modes Related to the Minor Scale: Aeolian, Dorian, Phrygian, LocrianEar Training for Lessons 60-63Review of Lessons 60-63Unit 16Lesson 64: Harmonizing a Melody in a Major KeyLesson 65: Broken Chords and Arpeggiated AccompanimentLesson 66: Passing and Neighboring TonesLesson 67: Composing a Melody in a Major KeyEar Training for Lessons 64-67Review of Lessons 64-67Unit 17Lesson 68: Harmonizing a Melody in a Minor Key Lesson 69: Composing a Melody in a Major KeyLesson 70: 12-Bar Blues Chord ProgressionLesson 71: The Blues ScaleEar Training for Lessons 68-71Review of Lessons 68-71Unit 18Lesson 72: Basic Forms of Music – Motive and PhraseLesson 73: AB (Binary) FormLesson 74: ABA (Ternary) FormLesson 75: Rondo FormEar Training for Lessons 72-75Review of Lessons 72-75Music Ace DeluxeLesson SampleMusic Ace DeluxeGAMES (Quizes / Assessments) Sample:Thirty six exciting multi-level games (one per lesson) sharpen music skills and improve retention of important lesson concepts. Colorful animated 3-D graphics, digitized sound effects, bonus points and high scores provide fun, interactive entertainment. Users can select novice or advanced difficulty settings. ................
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