emc notes inc
Teacher Manual
Step-by-Step Classroom Music II
5
Dear Educator
Thank you for taking the time to peruse Step-by-Step Classroom Music This grade music curriculum has been created for a classroom teacher to deliver a General Music program Step-by-Step Classroom Music teacher resources contain full lesson plans with clearly specified curriculum expectations at top of each lesson The music lesson plans give extra explanation and teacher notes and have blackline masters and tests for students In grade 1 the fundamentals of music are taught and in each successive year they are reviewed and built upon If you have found us via this pdf document we encourage you to visit the website wwwemcnotescom to look at our other music curriculum products in this series and to view our SMART board music lessons and the new online music composition application This sample contains links to audio in mp3 format To access this click on the text that reads ldquoPlay trackhelliprdquo and the mp3 track will open in another window If you have any questions or problems viewing or listening to the audio email paulmauroemcnotescom
Yours truly
The emc notes inc team
emc notes incpetermauroemcnotescom
Tel 905-575-4449 Toll free 1-877-246-1763 | Fax 1-866-551-53821119 Fennell St E PO Box 61507 Hamilton Ontario Canada L8T 5A1
wwwemcnotescom
Limited reproduction permission The author grants permission to individual teachers who have purchased this book to reproduce the activity sheets and fill-in charts as needed for use with their own students
Reproduction for an entire school or school district or for commercial use is prohibited
Design and Layout by Paul Mauro
Step-by-Step Classroom Music II Grade 5 is published and exclusively distributed by
emc notes inc1119 Fennell St E PO Box 61507Hamilton Ontario Canada L8T 5A1
For sales and copyright inquiries please contact emc notes inc
Phone 9055754449Toll-free 18772461763Fax 1-866-551-5382or e-mail salesemcnotescom
Additional products can be found at
wwwemcnotescom
Step-by-Step Classroom Music II Grade 5 by Vincent J Rinaldo PhD
We acknowledge the financial support of the Government of Canada through the Canada Book Fund for our publishing activities
978-1-897491-50-8
All rights reserved Printed in Canada
Copyright copy 2010 by emc notes inc
Table of Contents
Lesson one CriTiCaLLy responding To MusiC 1
Family of Instrument Card 3 Vivaldirsquos Winter Sheet 4
Lesson Two The Bass CLef 5
Bass Clef Sheet 7 Bass Clef Practice Sheet 8
Lesson Three piTCh and The Bass sTaff 9
Teacher Note Notes on the Treble and Bass Staves 12 Treble Spaces Card 13 Treble Lines Card 14 Treble Staff Alphabet Card 15 Bass Spaces Card 16 Bass Lines Card 17 Bass Staff Alphabet Card 18 Bass Staff Worksheets 1 amp 2 19 Bass Staff Answer Sheets 1 amp 2 21
Lesson four Bass sTaff noTaTion 23
Above and Below the Bass Staff Card 25 Note Breakdown 26 Rest Breakdown 27 Stem Direction Card 28 Stem Length Card 29 Stem Direction Worksheet 30 Stem Direction Answer Sheet 31
Lesson five MeTre (68 TiMe) 32
Identifying Metre Worksheet 34 Identifying Metre Answer Sheet 35
Lesson six forM rondeau and rondo parT 1 36
Teacher Note The Rondo 38
Lesson seven forM The rondo parT 2 39
44 Time Signature Card 42 Notation Definition Sheet 43 Notation Example Rondeau 44 Notation Example Rondeau Shortened Score 45 8va and 8vb Worksheet 46 8va and 8vb Answer Sheet 47
Lesson eighT forM The rondo parT 3 48 Mouretrsquos New Rondo Assignment 50 Fingering chart for recorder 51
Lesson nine synCopaTion and The new rondeau 52 Teacher Note Syncopation 57
Table of Contents
Rondeau Syncopation Activity Sheet 58
Lesson Ten synCopaTion and TexTure 59 Teacher Note Vietnamese Instruments 61 Artists Note 65
Lesson eLeven TexTure 67 Teacher Note Texture 69 Texture Score (Master Copy) 70 Texture Score 1 (Student Copy) 71 Texture Score 2 (Student Copy) 72 Texture Score 3 (Student Copy) 73 Texture Score 4 (Student Copy) 74
Lesson TweLve sharp Key signaTures 75
Teacher Note Sharp Key Signature 77 C G D A amp E Scale Card 78 Sharp Key Signatures Pattern Card 79 Sharp Scales with Key Signatures 80 Sharp Key Signature Worksheet 81 Sharp Key Signature Answer Sheet 82 Practice Score 1 83 Practice Score 2 84
Lesson ThirTeen a Major sCaLe 85
Semitone Card 90 Whole Tone Card 1 91 Whole Tone Card 2 92 A Major Scale Card 93 A Major Scale Worksheet 94 Solfegravege and the A Major Scale Card 95 Musical Scoring Sheet 96
Lesson fourTeen soLfegravege and The a penTaToniC sCaLe 97
Solfegravege and the A Pentatonic Scale Card 99
Lesson fifTeen fLaT Key signaTures 100
C F Bb Eb amp Ab Scale Card 102 Flat Key Signatures Teacher Note 103 Flat Key Signatures Pattern Card 104 Flat Scales with Key Signatures 105 Flat Key Signature Worksheet 106 Flat Key Signature Answer Sheet 107 Practice Score 1 108 Practice Score 2 109
Lesson sixTeen eb Major sCaLe 110 Eb Major Scale Card 113 Eb Major Scale Worksheet 114 Solfegravege and the Eb Major Scale Card 115 Musical Scoring Sheet 1 116 Musical Scoring Sheet 2 117
Table of Contents
LESSON SEVENTEEN COMPOSING A THEME SONG USING A PENTATONIC SCALE 118 Musical Elements Review 120 Solfegravege and the C Pentatonic Scale Card 121 C Pentatonic Scoring Sheet 122 Melody Map Scoring Sheet 123
LESSON EIGHTEEN COMPOSITION (STEPS SKIPS AND INTERVALS) 124
Intervals Improvisation Sheet 126
LESSON NINETEEN A HARMONIC MINOR SCALE 127
A Harmonic Minor Scale Card 130 A Harmonic Minor Scale Worksheet 131
LESSON TWENTy COMPOSING WITH BACKING TRACKS 132
D Harmonic Minor Scale Card 134 D Harmonic Minor Scale Composition Worksheet 135
LESSON TWENTy-ONE COMPOSING WITH BACKING TRACKS 136
ExTENSION LESSONS 138
LESSON TWENTy-TWO E MAJOR SCALE 139 Major Scale Card 142 Major Scale Worksheet 143 Solfegravege and the E Major Scale Card 144 Musical Scoring Sheet 145
LESSON TWENTy-THREE Ab MAJOR SCALE 147
Ab Major Scale Card 149 Ab Major Scale Worksheet 150 Solfegravege and the Ab Major Scale Card 151 Musical Scoring Sheet 152
END NOTES 154
v
Cd Track List
Track 1 A Vivaldi Four Seasons Winter (I Allegro non molto)Track 2 Beethoven Symphony No 5 in C minor Op 67 First MovementTrack 3 Verdi Rigoletto Act III La donna e mobileTrack 4 Grieg Morning Mood from Peer Gynt Track 5 Jean-Joseph Mouret RondeaufromldquoSinfoniedeFanfaresrdquoTrack 6 Syncopation Example 1Track 7 Syncopation Example 2Track 8 Village Dances by Khac Chi EnsembleTrack 9 After the Rain by Khac ChiTrack 10 Texture Score Track 11 D Harmonic Minor Backing TrackTrack 12 D Harmonic Minor Improvisation
59
Lesson ten
TopiC Syncopation and Texture
CurriCuLuM expeCTaTions
Students will
C21 Expressdetailedpersonalresponsestomusicalperformancesinavarietyofways C22 Identify the elements used in the music they perform listen to and create and
describehowtheyareused C23 Identify and give examples of their strengths and areas for growth as musical
performerscreatorsinterpretersandaudiencemembers C31 Identify the role of music in a community today and compare it to its role in a
communityofthepast(middleagesnowvoyageurs) C32 Demonstrate an awareness through listening of the characteristics of musical
formsandtraditionsofdiversetimesplacesandcommunities(MedievalIndianclassical Islamic Aboriginal)
oBjeCTive By the end of the lesson students will demonstrate the important role that is played by syncopation and texture music and convey either in pictorial or verbal form the feelings or emotions associated with its use
MaTeriaLs Teacher Note Vietnamese Instruments Artists Note Track 8 Village Dances Track 9 After the Rain
Lesson raTionaLe
Syncopation and texture play very important roles in music They are found not only as part of the instrumental rhythm but also in the vocal rhythms This lesson will focus on the appreciation of a form of music performed on instruments not indigenous to North American or European culture This lesson is divided into two parts and will require a minimum of two periods to complete
suggesTed Lesson seQuenCe
Part 1 Syncopation1 Review the four instrument families (brass woodwind string percussion) and how
each produces sound (brass instruments through the vibration of the performerrsquos lips woodwind instruments through the vibration of a reed stringed instruments through the vibration of a string and percussion instruments through striking rubbing or shaking)
2 Introduce the students to the various instruments by showing the cards and talking briefly about each one
3 Askthestudentstocategorizethesenewinstrumentsintofamiliesbasedonhoweach produces sound
60
4 Explain that although these instruments appear to be related to many western instru-ments the sounds that they produce are quite unique
5 Play Track 8 Village Dances and have the students listen closely to the sounds of the instruments Ask the students if they can identify which instrument is playing the melody (The melody is played on the Dan Bau)
6 Review the term syncopation (See Syncopation Note)
7 Replay Track 8 and have the students listen closely to the rhythm of the piece There is a distinct syncopation accenting (1 - amp 3 -) Replay the track and have the students clap along
Part 28 Review the three types of texture from the previous lesson (monophonic homopho-
nic polyphonic)
9 Play Track 8 and ask the students which examples are present in the song (The song is an example of homophonic texture however towards the end when the vocals are introduced the texture is polyphonic as two distinct melodies can be heard indepen-dently of one another
10 Ask the students to describe in their own words what feelings they would connect with the music they just heard and create a word wall of their responses
11 Play Track 9 After the Rain and have the students listen closely to the instrumenta-tion
12 How does this song differ in instrumentation and sound from the previous track
13 What emotions would they most associate with this piece of music What are some images that they think of when they hear the song
14 Replay each track and ask the students to select one of the two songs and create a pictorial landscape that depicts what they are hearing
assessMenT sTraTegies
The assessment should focus on the studentrsquos ability to discern syncopation Students should also be encouraged to link syncopation with an emotion or feeling that they experience when it is heard using pictorial form The final assessment should focus on the texture of the music brought to the forefront by the instrumentation Students shouldbeabletorecognizehomophonicandpolyphonictexture
Lesson ten
61
Copyright copy 2010 emc notes inc
The dan Bauisaone-stringzitherwhichisnativetoVietnam It is constructed of a long narrow sound box with a tall curved stem that is made from a water buf-falo horn which is inserted into the box at one end The single string runs between the sound box and a small wooden gourd attached to the stem The stem is bent to change the pitch of the string
The player touches the string lightly with the heel of the hand at harmonic-producing nodal points while plucking with the fingers This produces the dan baursquos characteristic high clear sound As the sound box of the dan bau is very narrow it is not a loud instru-ment and because of this was traditionally used in more intimate environments In recent years however an electronic version has been introduced which is played in ensembles and large concerts The bass bau was adapted from the dan bau to provide a musical range equivalent to that of a bass guitar It is simply an electric dan bau with a very thick string on it
Krsquoni is a special form of stick fiddle found only in Vietnam It wasdevelopedfromtheone-stringldquoviolinrdquofoundinsomeethnicgroups (Bahnar Gia Rai E De xe Dang Pako and Hre) who lived in the Truong Son-Tay Nguyen region in the South Cen-tral Highlands of Vietnam The modern krsquoni has two strings The player sits holding the instrument between both legs
The krsquoni does not have a resonating chamber or sound box Rath-er the strings are attached by silk cords to a small fishrsquos scale or plastic resonating disc that is held in the playerrsquos mouth The playerrsquos mouth acts as the resonating chamber and precise move-ments of the lips and tongue create a broad range of tonal colors
and emotional expression giving the krsquoni its unique sound Thus the sounds are altered almost evoking human pronunciation
Krsquolongput is another instrument unique to Viet-nam It is made from a series of large bamboo pipes of varying lengths each either closed at one end or open at both ends The pipes are placed on their sides with the open ends facing the musician who has no direct contact with the instrument Instead the player cups both hands and claps quietly According to a legend this
instrument is the residence of the goddess Mother Rice and is therefore closely associated with agriculture The instrument is played exclusively by women in the field and at specific festivities which include the closing of the rice storage house and welcoming the New year
Teacher note vietnamese instruments10
62
Copyright copy 2010 emc notes inc
The krsquolongput is native to the Bahnar people of the central highlands who are said to have created it after hearing the wind blowing into the openings of bamboo in the forest
Trsquorung is a suspended bamboo xylophone which is closely associ-ated with the spiritual life of the Bahnar TSedan Giarai Ede and other ethnic minority people in the Central Highlands of Vietnam The original instruments were simply made using a series of bam-boo pipes struck with small sticks There are three types of Trung high medium and bass The mod-ern trsquorung has been largely improved having three rows of pipes spanning three full octaves (about 48 tubes) which make it fully chromatic
Tre Lac is a pair of bamboo tubes mounted on a bamboo frame and tuned an octave apart The tubes are in different lengths and are cut halves at the upper two-thirds A node closes the lower end of each tube Two prongs extend out and fit loosely intoacorrespondingslotofthehorizontalbasetubeThebaseof the frame is attached by a handle which is held by a player When shaken the concussion of the tubes against the base produces a pitch Since each instrument makes only one pitch it takes many tre lacs to make a complete melody The Tre lac is popular throughout Southeast Asia but it originated from Indo-nesia where t is known by the name Angklung
dan Moi (Jawharp)isusuallymadefrombronzeorbambooIt is held loosely between the two lips in front but not close to the teeth It can be found in many cultures around the world and made from a variety of materi-als Among some ethnicities in Vietnam the Dan Moi
is used to express the feelings of lovers The Dan Moi is an instrument for both men and women and could be played anywhere
Khen be is a six to fourteen-pipe bamboo mouth-organ of the Thai people who live on the Highland regions of Vietnam Versions are also found in Laos Northern Thailand and Southern China EachtubecontainsasmallbronzeorsilverreedAll tubes are bound together into two rows and extend through both sides of the wind chamberKhen be is an instrument that is played exclusively
Teacher note vietnamese instruments
63
Copyright copy 2010 emc notes inc
by men It is usually used to accompany singing and dancing in the moonlight As night falls down young men come and play the Khen be below the houses-on-stilts of their be-loved girls to open their hearts Sometimes the Khen is played during working time such as on the way to the paddies
Ken Bau is a Vietnamese conical double reed instrument with the body of the instrument made from either a gourd or metal bell It is related to the Chinese so-na which came from the Middle Eastern zurna
dan nguyet is known as a dan kim in Southern Vietnam The dan nguyet is a two-string long-neck lute with substantially raised frets and a moon-shaped body Fretted it produces the pitches associ-ated with the pentatonic scale Other pitches subtle ornamenta-tions and nuances are achieved by pressing the string towards the neck with varying pressures This technique of fretting is extremely difficult but results in a very beautiful and expressive tone Nguyet is used to accompany Van singing Hue singing Tai tu singing Bat am music ceremonial music and traditional stage orchestra Today it is also used as a solo instrument
dinh pa is found in the South Central Highland regions of Vietnam It is made from a number of large bamboo tubes fastened in two rows and stood upright It is played by striking the top ends of the pipes with a padded stick although originally the open hand was used The bass dinh pa is simply a much larger version of the dinh pa
Teacher note vietnamese instruments
64
Copyright copy 2010 emc notes inc
dan Tranh is a sixteen string member of the AsianlongzitherfamilyItisaverysubtleand responsive instrument which is strung with very light metal strings The dan tranh is almost identical in shape and form to the zhengofSouthernChina
Images and information provided by Khac Chi Bamboo Music wwwkhacchicom
Teacher note vietnamese instruments
65
Copyright copy 2010 emc notes inc
Ho Chi Khac (pronounced Ho Chee Kac) is the worlds premierevirtuosoontheDanBau(onestringzither)aswellas a composer and a music researcher Chis innovative developments on the dan bau have been heard in concerts throughout North America Europe and Asia
Chi attended the National School of Music studying Dan Bau and traditional music theory with many of Vietnams top per-formers and instructors His education included the music of China Korea India and Europe as well as a number of years of field studies in rural Vietnam In 1977 the Department of Culture chose Chi as one of four people to train for five years as an advanced instructor in theory composition conducting
andperformanceDuringthistraininghewassenttoTashkentinUzbekistantostudyconducting and traditional music instruction
Upon completing this training Chi became one of the first masters instructors in the new Department of Traditional Music at Hanoi National Conservatory (formerly the National Music School) Chi became the Assistant Head of the Department in 1987 and took on the duties as conductor of the Conservatorys acclaimed Traditional Music Orchestra Chi has been presented with many awards in both composition and performance includ-ingFirstPrizeinthe1982VietnamCompetitionofProfessionalInstrumentaliststheGolden Award at the1985 International Folk Festival of World youth in Moscow and First PrizeinthegovernmentsannualImprovementofTraditionalInstrumentsofVietnamin1988
He came to Vancouver Canada in 1992 He has taught Vietnamese instruments at the University of British Columbia and continues to perform internationally with his ensem-bleHoang Bic Ngoc (pronounced wong ngoc bic) isanexceptionalvocalistarrangerandmulti-instrumentalistShespecializesonthedanbau and a number of very rare instruments from Vietnamrsquos rural and mountainous re-gions including the trsquorung (bamboo xylophone) krsquolongput (percussion tubles) and ko ni Bic has toured internationally both as a solo artist and with the Khac Chi Bamboo Music
Bic began studying music at age 8 and attended the Hanoi Music and Arts College for 5 years Then she entered the Hanoi National Conservatory of Music in 1979 Bic was for-tunate to study under a number of Vietnamrsquos top masters teachers and performers and she has received numerous invitations to perform with many of Vietnamrsquos most prestigious musical ensembles It was during her time as a student that she began her career as a regular performer and arranger for national and international radio and television She graduated
artists note11
66
Copyright copy 2010 emc notes inc
with honors from the Hanoi National Conservatory of Music in 1987 and was immediately invited to return to the Hanoi Music and Arts College as an instructor
Although teaching full time Bic remains an active performer She was the first woman toreceivetheFirstPrizefordanbauinthe1988VietnamCompetitionofProfessionalInstrumentalists In 1989 she won the Golden Award at the International Folk Festival of World youth in North Korea and she has also been credited with being the first woman to perform on the Koni
Since moving to Canada in 1992 Bic has taught Vietnamese instruments at the Universi-ty of British Columbia She has been expanding her musical repertoire by performing with a number of world music and new music artists and includes in her performances works by Canadian contemporary composers
Images and information provided by Khac Chi Bamboo Music wwwkhacchicom
artists note
Dear Educator
Thank you for taking the time to peruse Step-by-Step Classroom Music This grade music curriculum has been created for a classroom teacher to deliver a General Music program Step-by-Step Classroom Music teacher resources contain full lesson plans with clearly specified curriculum expectations at top of each lesson The music lesson plans give extra explanation and teacher notes and have blackline masters and tests for students In grade 1 the fundamentals of music are taught and in each successive year they are reviewed and built upon If you have found us via this pdf document we encourage you to visit the website wwwemcnotescom to look at our other music curriculum products in this series and to view our SMART board music lessons and the new online music composition application This sample contains links to audio in mp3 format To access this click on the text that reads ldquoPlay trackhelliprdquo and the mp3 track will open in another window If you have any questions or problems viewing or listening to the audio email paulmauroemcnotescom
Yours truly
The emc notes inc team
emc notes incpetermauroemcnotescom
Tel 905-575-4449 Toll free 1-877-246-1763 | Fax 1-866-551-53821119 Fennell St E PO Box 61507 Hamilton Ontario Canada L8T 5A1
wwwemcnotescom
Limited reproduction permission The author grants permission to individual teachers who have purchased this book to reproduce the activity sheets and fill-in charts as needed for use with their own students
Reproduction for an entire school or school district or for commercial use is prohibited
Design and Layout by Paul Mauro
Step-by-Step Classroom Music II Grade 5 is published and exclusively distributed by
emc notes inc1119 Fennell St E PO Box 61507Hamilton Ontario Canada L8T 5A1
For sales and copyright inquiries please contact emc notes inc
Phone 9055754449Toll-free 18772461763Fax 1-866-551-5382or e-mail salesemcnotescom
Additional products can be found at
wwwemcnotescom
Step-by-Step Classroom Music II Grade 5 by Vincent J Rinaldo PhD
We acknowledge the financial support of the Government of Canada through the Canada Book Fund for our publishing activities
978-1-897491-50-8
All rights reserved Printed in Canada
Copyright copy 2010 by emc notes inc
Table of Contents
Lesson one CriTiCaLLy responding To MusiC 1
Family of Instrument Card 3 Vivaldirsquos Winter Sheet 4
Lesson Two The Bass CLef 5
Bass Clef Sheet 7 Bass Clef Practice Sheet 8
Lesson Three piTCh and The Bass sTaff 9
Teacher Note Notes on the Treble and Bass Staves 12 Treble Spaces Card 13 Treble Lines Card 14 Treble Staff Alphabet Card 15 Bass Spaces Card 16 Bass Lines Card 17 Bass Staff Alphabet Card 18 Bass Staff Worksheets 1 amp 2 19 Bass Staff Answer Sheets 1 amp 2 21
Lesson four Bass sTaff noTaTion 23
Above and Below the Bass Staff Card 25 Note Breakdown 26 Rest Breakdown 27 Stem Direction Card 28 Stem Length Card 29 Stem Direction Worksheet 30 Stem Direction Answer Sheet 31
Lesson five MeTre (68 TiMe) 32
Identifying Metre Worksheet 34 Identifying Metre Answer Sheet 35
Lesson six forM rondeau and rondo parT 1 36
Teacher Note The Rondo 38
Lesson seven forM The rondo parT 2 39
44 Time Signature Card 42 Notation Definition Sheet 43 Notation Example Rondeau 44 Notation Example Rondeau Shortened Score 45 8va and 8vb Worksheet 46 8va and 8vb Answer Sheet 47
Lesson eighT forM The rondo parT 3 48 Mouretrsquos New Rondo Assignment 50 Fingering chart for recorder 51
Lesson nine synCopaTion and The new rondeau 52 Teacher Note Syncopation 57
Table of Contents
Rondeau Syncopation Activity Sheet 58
Lesson Ten synCopaTion and TexTure 59 Teacher Note Vietnamese Instruments 61 Artists Note 65
Lesson eLeven TexTure 67 Teacher Note Texture 69 Texture Score (Master Copy) 70 Texture Score 1 (Student Copy) 71 Texture Score 2 (Student Copy) 72 Texture Score 3 (Student Copy) 73 Texture Score 4 (Student Copy) 74
Lesson TweLve sharp Key signaTures 75
Teacher Note Sharp Key Signature 77 C G D A amp E Scale Card 78 Sharp Key Signatures Pattern Card 79 Sharp Scales with Key Signatures 80 Sharp Key Signature Worksheet 81 Sharp Key Signature Answer Sheet 82 Practice Score 1 83 Practice Score 2 84
Lesson ThirTeen a Major sCaLe 85
Semitone Card 90 Whole Tone Card 1 91 Whole Tone Card 2 92 A Major Scale Card 93 A Major Scale Worksheet 94 Solfegravege and the A Major Scale Card 95 Musical Scoring Sheet 96
Lesson fourTeen soLfegravege and The a penTaToniC sCaLe 97
Solfegravege and the A Pentatonic Scale Card 99
Lesson fifTeen fLaT Key signaTures 100
C F Bb Eb amp Ab Scale Card 102 Flat Key Signatures Teacher Note 103 Flat Key Signatures Pattern Card 104 Flat Scales with Key Signatures 105 Flat Key Signature Worksheet 106 Flat Key Signature Answer Sheet 107 Practice Score 1 108 Practice Score 2 109
Lesson sixTeen eb Major sCaLe 110 Eb Major Scale Card 113 Eb Major Scale Worksheet 114 Solfegravege and the Eb Major Scale Card 115 Musical Scoring Sheet 1 116 Musical Scoring Sheet 2 117
Table of Contents
LESSON SEVENTEEN COMPOSING A THEME SONG USING A PENTATONIC SCALE 118 Musical Elements Review 120 Solfegravege and the C Pentatonic Scale Card 121 C Pentatonic Scoring Sheet 122 Melody Map Scoring Sheet 123
LESSON EIGHTEEN COMPOSITION (STEPS SKIPS AND INTERVALS) 124
Intervals Improvisation Sheet 126
LESSON NINETEEN A HARMONIC MINOR SCALE 127
A Harmonic Minor Scale Card 130 A Harmonic Minor Scale Worksheet 131
LESSON TWENTy COMPOSING WITH BACKING TRACKS 132
D Harmonic Minor Scale Card 134 D Harmonic Minor Scale Composition Worksheet 135
LESSON TWENTy-ONE COMPOSING WITH BACKING TRACKS 136
ExTENSION LESSONS 138
LESSON TWENTy-TWO E MAJOR SCALE 139 Major Scale Card 142 Major Scale Worksheet 143 Solfegravege and the E Major Scale Card 144 Musical Scoring Sheet 145
LESSON TWENTy-THREE Ab MAJOR SCALE 147
Ab Major Scale Card 149 Ab Major Scale Worksheet 150 Solfegravege and the Ab Major Scale Card 151 Musical Scoring Sheet 152
END NOTES 154
v
Cd Track List
Track 1 A Vivaldi Four Seasons Winter (I Allegro non molto)Track 2 Beethoven Symphony No 5 in C minor Op 67 First MovementTrack 3 Verdi Rigoletto Act III La donna e mobileTrack 4 Grieg Morning Mood from Peer Gynt Track 5 Jean-Joseph Mouret RondeaufromldquoSinfoniedeFanfaresrdquoTrack 6 Syncopation Example 1Track 7 Syncopation Example 2Track 8 Village Dances by Khac Chi EnsembleTrack 9 After the Rain by Khac ChiTrack 10 Texture Score Track 11 D Harmonic Minor Backing TrackTrack 12 D Harmonic Minor Improvisation
59
Lesson ten
TopiC Syncopation and Texture
CurriCuLuM expeCTaTions
Students will
C21 Expressdetailedpersonalresponsestomusicalperformancesinavarietyofways C22 Identify the elements used in the music they perform listen to and create and
describehowtheyareused C23 Identify and give examples of their strengths and areas for growth as musical
performerscreatorsinterpretersandaudiencemembers C31 Identify the role of music in a community today and compare it to its role in a
communityofthepast(middleagesnowvoyageurs) C32 Demonstrate an awareness through listening of the characteristics of musical
formsandtraditionsofdiversetimesplacesandcommunities(MedievalIndianclassical Islamic Aboriginal)
oBjeCTive By the end of the lesson students will demonstrate the important role that is played by syncopation and texture music and convey either in pictorial or verbal form the feelings or emotions associated with its use
MaTeriaLs Teacher Note Vietnamese Instruments Artists Note Track 8 Village Dances Track 9 After the Rain
Lesson raTionaLe
Syncopation and texture play very important roles in music They are found not only as part of the instrumental rhythm but also in the vocal rhythms This lesson will focus on the appreciation of a form of music performed on instruments not indigenous to North American or European culture This lesson is divided into two parts and will require a minimum of two periods to complete
suggesTed Lesson seQuenCe
Part 1 Syncopation1 Review the four instrument families (brass woodwind string percussion) and how
each produces sound (brass instruments through the vibration of the performerrsquos lips woodwind instruments through the vibration of a reed stringed instruments through the vibration of a string and percussion instruments through striking rubbing or shaking)
2 Introduce the students to the various instruments by showing the cards and talking briefly about each one
3 Askthestudentstocategorizethesenewinstrumentsintofamiliesbasedonhoweach produces sound
60
4 Explain that although these instruments appear to be related to many western instru-ments the sounds that they produce are quite unique
5 Play Track 8 Village Dances and have the students listen closely to the sounds of the instruments Ask the students if they can identify which instrument is playing the melody (The melody is played on the Dan Bau)
6 Review the term syncopation (See Syncopation Note)
7 Replay Track 8 and have the students listen closely to the rhythm of the piece There is a distinct syncopation accenting (1 - amp 3 -) Replay the track and have the students clap along
Part 28 Review the three types of texture from the previous lesson (monophonic homopho-
nic polyphonic)
9 Play Track 8 and ask the students which examples are present in the song (The song is an example of homophonic texture however towards the end when the vocals are introduced the texture is polyphonic as two distinct melodies can be heard indepen-dently of one another
10 Ask the students to describe in their own words what feelings they would connect with the music they just heard and create a word wall of their responses
11 Play Track 9 After the Rain and have the students listen closely to the instrumenta-tion
12 How does this song differ in instrumentation and sound from the previous track
13 What emotions would they most associate with this piece of music What are some images that they think of when they hear the song
14 Replay each track and ask the students to select one of the two songs and create a pictorial landscape that depicts what they are hearing
assessMenT sTraTegies
The assessment should focus on the studentrsquos ability to discern syncopation Students should also be encouraged to link syncopation with an emotion or feeling that they experience when it is heard using pictorial form The final assessment should focus on the texture of the music brought to the forefront by the instrumentation Students shouldbeabletorecognizehomophonicandpolyphonictexture
Lesson ten
61
Copyright copy 2010 emc notes inc
The dan Bauisaone-stringzitherwhichisnativetoVietnam It is constructed of a long narrow sound box with a tall curved stem that is made from a water buf-falo horn which is inserted into the box at one end The single string runs between the sound box and a small wooden gourd attached to the stem The stem is bent to change the pitch of the string
The player touches the string lightly with the heel of the hand at harmonic-producing nodal points while plucking with the fingers This produces the dan baursquos characteristic high clear sound As the sound box of the dan bau is very narrow it is not a loud instru-ment and because of this was traditionally used in more intimate environments In recent years however an electronic version has been introduced which is played in ensembles and large concerts The bass bau was adapted from the dan bau to provide a musical range equivalent to that of a bass guitar It is simply an electric dan bau with a very thick string on it
Krsquoni is a special form of stick fiddle found only in Vietnam It wasdevelopedfromtheone-stringldquoviolinrdquofoundinsomeethnicgroups (Bahnar Gia Rai E De xe Dang Pako and Hre) who lived in the Truong Son-Tay Nguyen region in the South Cen-tral Highlands of Vietnam The modern krsquoni has two strings The player sits holding the instrument between both legs
The krsquoni does not have a resonating chamber or sound box Rath-er the strings are attached by silk cords to a small fishrsquos scale or plastic resonating disc that is held in the playerrsquos mouth The playerrsquos mouth acts as the resonating chamber and precise move-ments of the lips and tongue create a broad range of tonal colors
and emotional expression giving the krsquoni its unique sound Thus the sounds are altered almost evoking human pronunciation
Krsquolongput is another instrument unique to Viet-nam It is made from a series of large bamboo pipes of varying lengths each either closed at one end or open at both ends The pipes are placed on their sides with the open ends facing the musician who has no direct contact with the instrument Instead the player cups both hands and claps quietly According to a legend this
instrument is the residence of the goddess Mother Rice and is therefore closely associated with agriculture The instrument is played exclusively by women in the field and at specific festivities which include the closing of the rice storage house and welcoming the New year
Teacher note vietnamese instruments10
62
Copyright copy 2010 emc notes inc
The krsquolongput is native to the Bahnar people of the central highlands who are said to have created it after hearing the wind blowing into the openings of bamboo in the forest
Trsquorung is a suspended bamboo xylophone which is closely associ-ated with the spiritual life of the Bahnar TSedan Giarai Ede and other ethnic minority people in the Central Highlands of Vietnam The original instruments were simply made using a series of bam-boo pipes struck with small sticks There are three types of Trung high medium and bass The mod-ern trsquorung has been largely improved having three rows of pipes spanning three full octaves (about 48 tubes) which make it fully chromatic
Tre Lac is a pair of bamboo tubes mounted on a bamboo frame and tuned an octave apart The tubes are in different lengths and are cut halves at the upper two-thirds A node closes the lower end of each tube Two prongs extend out and fit loosely intoacorrespondingslotofthehorizontalbasetubeThebaseof the frame is attached by a handle which is held by a player When shaken the concussion of the tubes against the base produces a pitch Since each instrument makes only one pitch it takes many tre lacs to make a complete melody The Tre lac is popular throughout Southeast Asia but it originated from Indo-nesia where t is known by the name Angklung
dan Moi (Jawharp)isusuallymadefrombronzeorbambooIt is held loosely between the two lips in front but not close to the teeth It can be found in many cultures around the world and made from a variety of materi-als Among some ethnicities in Vietnam the Dan Moi
is used to express the feelings of lovers The Dan Moi is an instrument for both men and women and could be played anywhere
Khen be is a six to fourteen-pipe bamboo mouth-organ of the Thai people who live on the Highland regions of Vietnam Versions are also found in Laos Northern Thailand and Southern China EachtubecontainsasmallbronzeorsilverreedAll tubes are bound together into two rows and extend through both sides of the wind chamberKhen be is an instrument that is played exclusively
Teacher note vietnamese instruments
63
Copyright copy 2010 emc notes inc
by men It is usually used to accompany singing and dancing in the moonlight As night falls down young men come and play the Khen be below the houses-on-stilts of their be-loved girls to open their hearts Sometimes the Khen is played during working time such as on the way to the paddies
Ken Bau is a Vietnamese conical double reed instrument with the body of the instrument made from either a gourd or metal bell It is related to the Chinese so-na which came from the Middle Eastern zurna
dan nguyet is known as a dan kim in Southern Vietnam The dan nguyet is a two-string long-neck lute with substantially raised frets and a moon-shaped body Fretted it produces the pitches associ-ated with the pentatonic scale Other pitches subtle ornamenta-tions and nuances are achieved by pressing the string towards the neck with varying pressures This technique of fretting is extremely difficult but results in a very beautiful and expressive tone Nguyet is used to accompany Van singing Hue singing Tai tu singing Bat am music ceremonial music and traditional stage orchestra Today it is also used as a solo instrument
dinh pa is found in the South Central Highland regions of Vietnam It is made from a number of large bamboo tubes fastened in two rows and stood upright It is played by striking the top ends of the pipes with a padded stick although originally the open hand was used The bass dinh pa is simply a much larger version of the dinh pa
Teacher note vietnamese instruments
64
Copyright copy 2010 emc notes inc
dan Tranh is a sixteen string member of the AsianlongzitherfamilyItisaverysubtleand responsive instrument which is strung with very light metal strings The dan tranh is almost identical in shape and form to the zhengofSouthernChina
Images and information provided by Khac Chi Bamboo Music wwwkhacchicom
Teacher note vietnamese instruments
65
Copyright copy 2010 emc notes inc
Ho Chi Khac (pronounced Ho Chee Kac) is the worlds premierevirtuosoontheDanBau(onestringzither)aswellas a composer and a music researcher Chis innovative developments on the dan bau have been heard in concerts throughout North America Europe and Asia
Chi attended the National School of Music studying Dan Bau and traditional music theory with many of Vietnams top per-formers and instructors His education included the music of China Korea India and Europe as well as a number of years of field studies in rural Vietnam In 1977 the Department of Culture chose Chi as one of four people to train for five years as an advanced instructor in theory composition conducting
andperformanceDuringthistraininghewassenttoTashkentinUzbekistantostudyconducting and traditional music instruction
Upon completing this training Chi became one of the first masters instructors in the new Department of Traditional Music at Hanoi National Conservatory (formerly the National Music School) Chi became the Assistant Head of the Department in 1987 and took on the duties as conductor of the Conservatorys acclaimed Traditional Music Orchestra Chi has been presented with many awards in both composition and performance includ-ingFirstPrizeinthe1982VietnamCompetitionofProfessionalInstrumentaliststheGolden Award at the1985 International Folk Festival of World youth in Moscow and First PrizeinthegovernmentsannualImprovementofTraditionalInstrumentsofVietnamin1988
He came to Vancouver Canada in 1992 He has taught Vietnamese instruments at the University of British Columbia and continues to perform internationally with his ensem-bleHoang Bic Ngoc (pronounced wong ngoc bic) isanexceptionalvocalistarrangerandmulti-instrumentalistShespecializesonthedanbau and a number of very rare instruments from Vietnamrsquos rural and mountainous re-gions including the trsquorung (bamboo xylophone) krsquolongput (percussion tubles) and ko ni Bic has toured internationally both as a solo artist and with the Khac Chi Bamboo Music
Bic began studying music at age 8 and attended the Hanoi Music and Arts College for 5 years Then she entered the Hanoi National Conservatory of Music in 1979 Bic was for-tunate to study under a number of Vietnamrsquos top masters teachers and performers and she has received numerous invitations to perform with many of Vietnamrsquos most prestigious musical ensembles It was during her time as a student that she began her career as a regular performer and arranger for national and international radio and television She graduated
artists note11
66
Copyright copy 2010 emc notes inc
with honors from the Hanoi National Conservatory of Music in 1987 and was immediately invited to return to the Hanoi Music and Arts College as an instructor
Although teaching full time Bic remains an active performer She was the first woman toreceivetheFirstPrizefordanbauinthe1988VietnamCompetitionofProfessionalInstrumentalists In 1989 she won the Golden Award at the International Folk Festival of World youth in North Korea and she has also been credited with being the first woman to perform on the Koni
Since moving to Canada in 1992 Bic has taught Vietnamese instruments at the Universi-ty of British Columbia She has been expanding her musical repertoire by performing with a number of world music and new music artists and includes in her performances works by Canadian contemporary composers
Images and information provided by Khac Chi Bamboo Music wwwkhacchicom
artists note
Limited reproduction permission The author grants permission to individual teachers who have purchased this book to reproduce the activity sheets and fill-in charts as needed for use with their own students
Reproduction for an entire school or school district or for commercial use is prohibited
Design and Layout by Paul Mauro
Step-by-Step Classroom Music II Grade 5 is published and exclusively distributed by
emc notes inc1119 Fennell St E PO Box 61507Hamilton Ontario Canada L8T 5A1
For sales and copyright inquiries please contact emc notes inc
Phone 9055754449Toll-free 18772461763Fax 1-866-551-5382or e-mail salesemcnotescom
Additional products can be found at
wwwemcnotescom
Step-by-Step Classroom Music II Grade 5 by Vincent J Rinaldo PhD
We acknowledge the financial support of the Government of Canada through the Canada Book Fund for our publishing activities
978-1-897491-50-8
All rights reserved Printed in Canada
Copyright copy 2010 by emc notes inc
Table of Contents
Lesson one CriTiCaLLy responding To MusiC 1
Family of Instrument Card 3 Vivaldirsquos Winter Sheet 4
Lesson Two The Bass CLef 5
Bass Clef Sheet 7 Bass Clef Practice Sheet 8
Lesson Three piTCh and The Bass sTaff 9
Teacher Note Notes on the Treble and Bass Staves 12 Treble Spaces Card 13 Treble Lines Card 14 Treble Staff Alphabet Card 15 Bass Spaces Card 16 Bass Lines Card 17 Bass Staff Alphabet Card 18 Bass Staff Worksheets 1 amp 2 19 Bass Staff Answer Sheets 1 amp 2 21
Lesson four Bass sTaff noTaTion 23
Above and Below the Bass Staff Card 25 Note Breakdown 26 Rest Breakdown 27 Stem Direction Card 28 Stem Length Card 29 Stem Direction Worksheet 30 Stem Direction Answer Sheet 31
Lesson five MeTre (68 TiMe) 32
Identifying Metre Worksheet 34 Identifying Metre Answer Sheet 35
Lesson six forM rondeau and rondo parT 1 36
Teacher Note The Rondo 38
Lesson seven forM The rondo parT 2 39
44 Time Signature Card 42 Notation Definition Sheet 43 Notation Example Rondeau 44 Notation Example Rondeau Shortened Score 45 8va and 8vb Worksheet 46 8va and 8vb Answer Sheet 47
Lesson eighT forM The rondo parT 3 48 Mouretrsquos New Rondo Assignment 50 Fingering chart for recorder 51
Lesson nine synCopaTion and The new rondeau 52 Teacher Note Syncopation 57
Table of Contents
Rondeau Syncopation Activity Sheet 58
Lesson Ten synCopaTion and TexTure 59 Teacher Note Vietnamese Instruments 61 Artists Note 65
Lesson eLeven TexTure 67 Teacher Note Texture 69 Texture Score (Master Copy) 70 Texture Score 1 (Student Copy) 71 Texture Score 2 (Student Copy) 72 Texture Score 3 (Student Copy) 73 Texture Score 4 (Student Copy) 74
Lesson TweLve sharp Key signaTures 75
Teacher Note Sharp Key Signature 77 C G D A amp E Scale Card 78 Sharp Key Signatures Pattern Card 79 Sharp Scales with Key Signatures 80 Sharp Key Signature Worksheet 81 Sharp Key Signature Answer Sheet 82 Practice Score 1 83 Practice Score 2 84
Lesson ThirTeen a Major sCaLe 85
Semitone Card 90 Whole Tone Card 1 91 Whole Tone Card 2 92 A Major Scale Card 93 A Major Scale Worksheet 94 Solfegravege and the A Major Scale Card 95 Musical Scoring Sheet 96
Lesson fourTeen soLfegravege and The a penTaToniC sCaLe 97
Solfegravege and the A Pentatonic Scale Card 99
Lesson fifTeen fLaT Key signaTures 100
C F Bb Eb amp Ab Scale Card 102 Flat Key Signatures Teacher Note 103 Flat Key Signatures Pattern Card 104 Flat Scales with Key Signatures 105 Flat Key Signature Worksheet 106 Flat Key Signature Answer Sheet 107 Practice Score 1 108 Practice Score 2 109
Lesson sixTeen eb Major sCaLe 110 Eb Major Scale Card 113 Eb Major Scale Worksheet 114 Solfegravege and the Eb Major Scale Card 115 Musical Scoring Sheet 1 116 Musical Scoring Sheet 2 117
Table of Contents
LESSON SEVENTEEN COMPOSING A THEME SONG USING A PENTATONIC SCALE 118 Musical Elements Review 120 Solfegravege and the C Pentatonic Scale Card 121 C Pentatonic Scoring Sheet 122 Melody Map Scoring Sheet 123
LESSON EIGHTEEN COMPOSITION (STEPS SKIPS AND INTERVALS) 124
Intervals Improvisation Sheet 126
LESSON NINETEEN A HARMONIC MINOR SCALE 127
A Harmonic Minor Scale Card 130 A Harmonic Minor Scale Worksheet 131
LESSON TWENTy COMPOSING WITH BACKING TRACKS 132
D Harmonic Minor Scale Card 134 D Harmonic Minor Scale Composition Worksheet 135
LESSON TWENTy-ONE COMPOSING WITH BACKING TRACKS 136
ExTENSION LESSONS 138
LESSON TWENTy-TWO E MAJOR SCALE 139 Major Scale Card 142 Major Scale Worksheet 143 Solfegravege and the E Major Scale Card 144 Musical Scoring Sheet 145
LESSON TWENTy-THREE Ab MAJOR SCALE 147
Ab Major Scale Card 149 Ab Major Scale Worksheet 150 Solfegravege and the Ab Major Scale Card 151 Musical Scoring Sheet 152
END NOTES 154
v
Cd Track List
Track 1 A Vivaldi Four Seasons Winter (I Allegro non molto)Track 2 Beethoven Symphony No 5 in C minor Op 67 First MovementTrack 3 Verdi Rigoletto Act III La donna e mobileTrack 4 Grieg Morning Mood from Peer Gynt Track 5 Jean-Joseph Mouret RondeaufromldquoSinfoniedeFanfaresrdquoTrack 6 Syncopation Example 1Track 7 Syncopation Example 2Track 8 Village Dances by Khac Chi EnsembleTrack 9 After the Rain by Khac ChiTrack 10 Texture Score Track 11 D Harmonic Minor Backing TrackTrack 12 D Harmonic Minor Improvisation
59
Lesson ten
TopiC Syncopation and Texture
CurriCuLuM expeCTaTions
Students will
C21 Expressdetailedpersonalresponsestomusicalperformancesinavarietyofways C22 Identify the elements used in the music they perform listen to and create and
describehowtheyareused C23 Identify and give examples of their strengths and areas for growth as musical
performerscreatorsinterpretersandaudiencemembers C31 Identify the role of music in a community today and compare it to its role in a
communityofthepast(middleagesnowvoyageurs) C32 Demonstrate an awareness through listening of the characteristics of musical
formsandtraditionsofdiversetimesplacesandcommunities(MedievalIndianclassical Islamic Aboriginal)
oBjeCTive By the end of the lesson students will demonstrate the important role that is played by syncopation and texture music and convey either in pictorial or verbal form the feelings or emotions associated with its use
MaTeriaLs Teacher Note Vietnamese Instruments Artists Note Track 8 Village Dances Track 9 After the Rain
Lesson raTionaLe
Syncopation and texture play very important roles in music They are found not only as part of the instrumental rhythm but also in the vocal rhythms This lesson will focus on the appreciation of a form of music performed on instruments not indigenous to North American or European culture This lesson is divided into two parts and will require a minimum of two periods to complete
suggesTed Lesson seQuenCe
Part 1 Syncopation1 Review the four instrument families (brass woodwind string percussion) and how
each produces sound (brass instruments through the vibration of the performerrsquos lips woodwind instruments through the vibration of a reed stringed instruments through the vibration of a string and percussion instruments through striking rubbing or shaking)
2 Introduce the students to the various instruments by showing the cards and talking briefly about each one
3 Askthestudentstocategorizethesenewinstrumentsintofamiliesbasedonhoweach produces sound
60
4 Explain that although these instruments appear to be related to many western instru-ments the sounds that they produce are quite unique
5 Play Track 8 Village Dances and have the students listen closely to the sounds of the instruments Ask the students if they can identify which instrument is playing the melody (The melody is played on the Dan Bau)
6 Review the term syncopation (See Syncopation Note)
7 Replay Track 8 and have the students listen closely to the rhythm of the piece There is a distinct syncopation accenting (1 - amp 3 -) Replay the track and have the students clap along
Part 28 Review the three types of texture from the previous lesson (monophonic homopho-
nic polyphonic)
9 Play Track 8 and ask the students which examples are present in the song (The song is an example of homophonic texture however towards the end when the vocals are introduced the texture is polyphonic as two distinct melodies can be heard indepen-dently of one another
10 Ask the students to describe in their own words what feelings they would connect with the music they just heard and create a word wall of their responses
11 Play Track 9 After the Rain and have the students listen closely to the instrumenta-tion
12 How does this song differ in instrumentation and sound from the previous track
13 What emotions would they most associate with this piece of music What are some images that they think of when they hear the song
14 Replay each track and ask the students to select one of the two songs and create a pictorial landscape that depicts what they are hearing
assessMenT sTraTegies
The assessment should focus on the studentrsquos ability to discern syncopation Students should also be encouraged to link syncopation with an emotion or feeling that they experience when it is heard using pictorial form The final assessment should focus on the texture of the music brought to the forefront by the instrumentation Students shouldbeabletorecognizehomophonicandpolyphonictexture
Lesson ten
61
Copyright copy 2010 emc notes inc
The dan Bauisaone-stringzitherwhichisnativetoVietnam It is constructed of a long narrow sound box with a tall curved stem that is made from a water buf-falo horn which is inserted into the box at one end The single string runs between the sound box and a small wooden gourd attached to the stem The stem is bent to change the pitch of the string
The player touches the string lightly with the heel of the hand at harmonic-producing nodal points while plucking with the fingers This produces the dan baursquos characteristic high clear sound As the sound box of the dan bau is very narrow it is not a loud instru-ment and because of this was traditionally used in more intimate environments In recent years however an electronic version has been introduced which is played in ensembles and large concerts The bass bau was adapted from the dan bau to provide a musical range equivalent to that of a bass guitar It is simply an electric dan bau with a very thick string on it
Krsquoni is a special form of stick fiddle found only in Vietnam It wasdevelopedfromtheone-stringldquoviolinrdquofoundinsomeethnicgroups (Bahnar Gia Rai E De xe Dang Pako and Hre) who lived in the Truong Son-Tay Nguyen region in the South Cen-tral Highlands of Vietnam The modern krsquoni has two strings The player sits holding the instrument between both legs
The krsquoni does not have a resonating chamber or sound box Rath-er the strings are attached by silk cords to a small fishrsquos scale or plastic resonating disc that is held in the playerrsquos mouth The playerrsquos mouth acts as the resonating chamber and precise move-ments of the lips and tongue create a broad range of tonal colors
and emotional expression giving the krsquoni its unique sound Thus the sounds are altered almost evoking human pronunciation
Krsquolongput is another instrument unique to Viet-nam It is made from a series of large bamboo pipes of varying lengths each either closed at one end or open at both ends The pipes are placed on their sides with the open ends facing the musician who has no direct contact with the instrument Instead the player cups both hands and claps quietly According to a legend this
instrument is the residence of the goddess Mother Rice and is therefore closely associated with agriculture The instrument is played exclusively by women in the field and at specific festivities which include the closing of the rice storage house and welcoming the New year
Teacher note vietnamese instruments10
62
Copyright copy 2010 emc notes inc
The krsquolongput is native to the Bahnar people of the central highlands who are said to have created it after hearing the wind blowing into the openings of bamboo in the forest
Trsquorung is a suspended bamboo xylophone which is closely associ-ated with the spiritual life of the Bahnar TSedan Giarai Ede and other ethnic minority people in the Central Highlands of Vietnam The original instruments were simply made using a series of bam-boo pipes struck with small sticks There are three types of Trung high medium and bass The mod-ern trsquorung has been largely improved having three rows of pipes spanning three full octaves (about 48 tubes) which make it fully chromatic
Tre Lac is a pair of bamboo tubes mounted on a bamboo frame and tuned an octave apart The tubes are in different lengths and are cut halves at the upper two-thirds A node closes the lower end of each tube Two prongs extend out and fit loosely intoacorrespondingslotofthehorizontalbasetubeThebaseof the frame is attached by a handle which is held by a player When shaken the concussion of the tubes against the base produces a pitch Since each instrument makes only one pitch it takes many tre lacs to make a complete melody The Tre lac is popular throughout Southeast Asia but it originated from Indo-nesia where t is known by the name Angklung
dan Moi (Jawharp)isusuallymadefrombronzeorbambooIt is held loosely between the two lips in front but not close to the teeth It can be found in many cultures around the world and made from a variety of materi-als Among some ethnicities in Vietnam the Dan Moi
is used to express the feelings of lovers The Dan Moi is an instrument for both men and women and could be played anywhere
Khen be is a six to fourteen-pipe bamboo mouth-organ of the Thai people who live on the Highland regions of Vietnam Versions are also found in Laos Northern Thailand and Southern China EachtubecontainsasmallbronzeorsilverreedAll tubes are bound together into two rows and extend through both sides of the wind chamberKhen be is an instrument that is played exclusively
Teacher note vietnamese instruments
63
Copyright copy 2010 emc notes inc
by men It is usually used to accompany singing and dancing in the moonlight As night falls down young men come and play the Khen be below the houses-on-stilts of their be-loved girls to open their hearts Sometimes the Khen is played during working time such as on the way to the paddies
Ken Bau is a Vietnamese conical double reed instrument with the body of the instrument made from either a gourd or metal bell It is related to the Chinese so-na which came from the Middle Eastern zurna
dan nguyet is known as a dan kim in Southern Vietnam The dan nguyet is a two-string long-neck lute with substantially raised frets and a moon-shaped body Fretted it produces the pitches associ-ated with the pentatonic scale Other pitches subtle ornamenta-tions and nuances are achieved by pressing the string towards the neck with varying pressures This technique of fretting is extremely difficult but results in a very beautiful and expressive tone Nguyet is used to accompany Van singing Hue singing Tai tu singing Bat am music ceremonial music and traditional stage orchestra Today it is also used as a solo instrument
dinh pa is found in the South Central Highland regions of Vietnam It is made from a number of large bamboo tubes fastened in two rows and stood upright It is played by striking the top ends of the pipes with a padded stick although originally the open hand was used The bass dinh pa is simply a much larger version of the dinh pa
Teacher note vietnamese instruments
64
Copyright copy 2010 emc notes inc
dan Tranh is a sixteen string member of the AsianlongzitherfamilyItisaverysubtleand responsive instrument which is strung with very light metal strings The dan tranh is almost identical in shape and form to the zhengofSouthernChina
Images and information provided by Khac Chi Bamboo Music wwwkhacchicom
Teacher note vietnamese instruments
65
Copyright copy 2010 emc notes inc
Ho Chi Khac (pronounced Ho Chee Kac) is the worlds premierevirtuosoontheDanBau(onestringzither)aswellas a composer and a music researcher Chis innovative developments on the dan bau have been heard in concerts throughout North America Europe and Asia
Chi attended the National School of Music studying Dan Bau and traditional music theory with many of Vietnams top per-formers and instructors His education included the music of China Korea India and Europe as well as a number of years of field studies in rural Vietnam In 1977 the Department of Culture chose Chi as one of four people to train for five years as an advanced instructor in theory composition conducting
andperformanceDuringthistraininghewassenttoTashkentinUzbekistantostudyconducting and traditional music instruction
Upon completing this training Chi became one of the first masters instructors in the new Department of Traditional Music at Hanoi National Conservatory (formerly the National Music School) Chi became the Assistant Head of the Department in 1987 and took on the duties as conductor of the Conservatorys acclaimed Traditional Music Orchestra Chi has been presented with many awards in both composition and performance includ-ingFirstPrizeinthe1982VietnamCompetitionofProfessionalInstrumentaliststheGolden Award at the1985 International Folk Festival of World youth in Moscow and First PrizeinthegovernmentsannualImprovementofTraditionalInstrumentsofVietnamin1988
He came to Vancouver Canada in 1992 He has taught Vietnamese instruments at the University of British Columbia and continues to perform internationally with his ensem-bleHoang Bic Ngoc (pronounced wong ngoc bic) isanexceptionalvocalistarrangerandmulti-instrumentalistShespecializesonthedanbau and a number of very rare instruments from Vietnamrsquos rural and mountainous re-gions including the trsquorung (bamboo xylophone) krsquolongput (percussion tubles) and ko ni Bic has toured internationally both as a solo artist and with the Khac Chi Bamboo Music
Bic began studying music at age 8 and attended the Hanoi Music and Arts College for 5 years Then she entered the Hanoi National Conservatory of Music in 1979 Bic was for-tunate to study under a number of Vietnamrsquos top masters teachers and performers and she has received numerous invitations to perform with many of Vietnamrsquos most prestigious musical ensembles It was during her time as a student that she began her career as a regular performer and arranger for national and international radio and television She graduated
artists note11
66
Copyright copy 2010 emc notes inc
with honors from the Hanoi National Conservatory of Music in 1987 and was immediately invited to return to the Hanoi Music and Arts College as an instructor
Although teaching full time Bic remains an active performer She was the first woman toreceivetheFirstPrizefordanbauinthe1988VietnamCompetitionofProfessionalInstrumentalists In 1989 she won the Golden Award at the International Folk Festival of World youth in North Korea and she has also been credited with being the first woman to perform on the Koni
Since moving to Canada in 1992 Bic has taught Vietnamese instruments at the Universi-ty of British Columbia She has been expanding her musical repertoire by performing with a number of world music and new music artists and includes in her performances works by Canadian contemporary composers
Images and information provided by Khac Chi Bamboo Music wwwkhacchicom
artists note
Table of Contents
Lesson one CriTiCaLLy responding To MusiC 1
Family of Instrument Card 3 Vivaldirsquos Winter Sheet 4
Lesson Two The Bass CLef 5
Bass Clef Sheet 7 Bass Clef Practice Sheet 8
Lesson Three piTCh and The Bass sTaff 9
Teacher Note Notes on the Treble and Bass Staves 12 Treble Spaces Card 13 Treble Lines Card 14 Treble Staff Alphabet Card 15 Bass Spaces Card 16 Bass Lines Card 17 Bass Staff Alphabet Card 18 Bass Staff Worksheets 1 amp 2 19 Bass Staff Answer Sheets 1 amp 2 21
Lesson four Bass sTaff noTaTion 23
Above and Below the Bass Staff Card 25 Note Breakdown 26 Rest Breakdown 27 Stem Direction Card 28 Stem Length Card 29 Stem Direction Worksheet 30 Stem Direction Answer Sheet 31
Lesson five MeTre (68 TiMe) 32
Identifying Metre Worksheet 34 Identifying Metre Answer Sheet 35
Lesson six forM rondeau and rondo parT 1 36
Teacher Note The Rondo 38
Lesson seven forM The rondo parT 2 39
44 Time Signature Card 42 Notation Definition Sheet 43 Notation Example Rondeau 44 Notation Example Rondeau Shortened Score 45 8va and 8vb Worksheet 46 8va and 8vb Answer Sheet 47
Lesson eighT forM The rondo parT 3 48 Mouretrsquos New Rondo Assignment 50 Fingering chart for recorder 51
Lesson nine synCopaTion and The new rondeau 52 Teacher Note Syncopation 57
Table of Contents
Rondeau Syncopation Activity Sheet 58
Lesson Ten synCopaTion and TexTure 59 Teacher Note Vietnamese Instruments 61 Artists Note 65
Lesson eLeven TexTure 67 Teacher Note Texture 69 Texture Score (Master Copy) 70 Texture Score 1 (Student Copy) 71 Texture Score 2 (Student Copy) 72 Texture Score 3 (Student Copy) 73 Texture Score 4 (Student Copy) 74
Lesson TweLve sharp Key signaTures 75
Teacher Note Sharp Key Signature 77 C G D A amp E Scale Card 78 Sharp Key Signatures Pattern Card 79 Sharp Scales with Key Signatures 80 Sharp Key Signature Worksheet 81 Sharp Key Signature Answer Sheet 82 Practice Score 1 83 Practice Score 2 84
Lesson ThirTeen a Major sCaLe 85
Semitone Card 90 Whole Tone Card 1 91 Whole Tone Card 2 92 A Major Scale Card 93 A Major Scale Worksheet 94 Solfegravege and the A Major Scale Card 95 Musical Scoring Sheet 96
Lesson fourTeen soLfegravege and The a penTaToniC sCaLe 97
Solfegravege and the A Pentatonic Scale Card 99
Lesson fifTeen fLaT Key signaTures 100
C F Bb Eb amp Ab Scale Card 102 Flat Key Signatures Teacher Note 103 Flat Key Signatures Pattern Card 104 Flat Scales with Key Signatures 105 Flat Key Signature Worksheet 106 Flat Key Signature Answer Sheet 107 Practice Score 1 108 Practice Score 2 109
Lesson sixTeen eb Major sCaLe 110 Eb Major Scale Card 113 Eb Major Scale Worksheet 114 Solfegravege and the Eb Major Scale Card 115 Musical Scoring Sheet 1 116 Musical Scoring Sheet 2 117
Table of Contents
LESSON SEVENTEEN COMPOSING A THEME SONG USING A PENTATONIC SCALE 118 Musical Elements Review 120 Solfegravege and the C Pentatonic Scale Card 121 C Pentatonic Scoring Sheet 122 Melody Map Scoring Sheet 123
LESSON EIGHTEEN COMPOSITION (STEPS SKIPS AND INTERVALS) 124
Intervals Improvisation Sheet 126
LESSON NINETEEN A HARMONIC MINOR SCALE 127
A Harmonic Minor Scale Card 130 A Harmonic Minor Scale Worksheet 131
LESSON TWENTy COMPOSING WITH BACKING TRACKS 132
D Harmonic Minor Scale Card 134 D Harmonic Minor Scale Composition Worksheet 135
LESSON TWENTy-ONE COMPOSING WITH BACKING TRACKS 136
ExTENSION LESSONS 138
LESSON TWENTy-TWO E MAJOR SCALE 139 Major Scale Card 142 Major Scale Worksheet 143 Solfegravege and the E Major Scale Card 144 Musical Scoring Sheet 145
LESSON TWENTy-THREE Ab MAJOR SCALE 147
Ab Major Scale Card 149 Ab Major Scale Worksheet 150 Solfegravege and the Ab Major Scale Card 151 Musical Scoring Sheet 152
END NOTES 154
v
Cd Track List
Track 1 A Vivaldi Four Seasons Winter (I Allegro non molto)Track 2 Beethoven Symphony No 5 in C minor Op 67 First MovementTrack 3 Verdi Rigoletto Act III La donna e mobileTrack 4 Grieg Morning Mood from Peer Gynt Track 5 Jean-Joseph Mouret RondeaufromldquoSinfoniedeFanfaresrdquoTrack 6 Syncopation Example 1Track 7 Syncopation Example 2Track 8 Village Dances by Khac Chi EnsembleTrack 9 After the Rain by Khac ChiTrack 10 Texture Score Track 11 D Harmonic Minor Backing TrackTrack 12 D Harmonic Minor Improvisation
59
Lesson ten
TopiC Syncopation and Texture
CurriCuLuM expeCTaTions
Students will
C21 Expressdetailedpersonalresponsestomusicalperformancesinavarietyofways C22 Identify the elements used in the music they perform listen to and create and
describehowtheyareused C23 Identify and give examples of their strengths and areas for growth as musical
performerscreatorsinterpretersandaudiencemembers C31 Identify the role of music in a community today and compare it to its role in a
communityofthepast(middleagesnowvoyageurs) C32 Demonstrate an awareness through listening of the characteristics of musical
formsandtraditionsofdiversetimesplacesandcommunities(MedievalIndianclassical Islamic Aboriginal)
oBjeCTive By the end of the lesson students will demonstrate the important role that is played by syncopation and texture music and convey either in pictorial or verbal form the feelings or emotions associated with its use
MaTeriaLs Teacher Note Vietnamese Instruments Artists Note Track 8 Village Dances Track 9 After the Rain
Lesson raTionaLe
Syncopation and texture play very important roles in music They are found not only as part of the instrumental rhythm but also in the vocal rhythms This lesson will focus on the appreciation of a form of music performed on instruments not indigenous to North American or European culture This lesson is divided into two parts and will require a minimum of two periods to complete
suggesTed Lesson seQuenCe
Part 1 Syncopation1 Review the four instrument families (brass woodwind string percussion) and how
each produces sound (brass instruments through the vibration of the performerrsquos lips woodwind instruments through the vibration of a reed stringed instruments through the vibration of a string and percussion instruments through striking rubbing or shaking)
2 Introduce the students to the various instruments by showing the cards and talking briefly about each one
3 Askthestudentstocategorizethesenewinstrumentsintofamiliesbasedonhoweach produces sound
60
4 Explain that although these instruments appear to be related to many western instru-ments the sounds that they produce are quite unique
5 Play Track 8 Village Dances and have the students listen closely to the sounds of the instruments Ask the students if they can identify which instrument is playing the melody (The melody is played on the Dan Bau)
6 Review the term syncopation (See Syncopation Note)
7 Replay Track 8 and have the students listen closely to the rhythm of the piece There is a distinct syncopation accenting (1 - amp 3 -) Replay the track and have the students clap along
Part 28 Review the three types of texture from the previous lesson (monophonic homopho-
nic polyphonic)
9 Play Track 8 and ask the students which examples are present in the song (The song is an example of homophonic texture however towards the end when the vocals are introduced the texture is polyphonic as two distinct melodies can be heard indepen-dently of one another
10 Ask the students to describe in their own words what feelings they would connect with the music they just heard and create a word wall of their responses
11 Play Track 9 After the Rain and have the students listen closely to the instrumenta-tion
12 How does this song differ in instrumentation and sound from the previous track
13 What emotions would they most associate with this piece of music What are some images that they think of when they hear the song
14 Replay each track and ask the students to select one of the two songs and create a pictorial landscape that depicts what they are hearing
assessMenT sTraTegies
The assessment should focus on the studentrsquos ability to discern syncopation Students should also be encouraged to link syncopation with an emotion or feeling that they experience when it is heard using pictorial form The final assessment should focus on the texture of the music brought to the forefront by the instrumentation Students shouldbeabletorecognizehomophonicandpolyphonictexture
Lesson ten
61
Copyright copy 2010 emc notes inc
The dan Bauisaone-stringzitherwhichisnativetoVietnam It is constructed of a long narrow sound box with a tall curved stem that is made from a water buf-falo horn which is inserted into the box at one end The single string runs between the sound box and a small wooden gourd attached to the stem The stem is bent to change the pitch of the string
The player touches the string lightly with the heel of the hand at harmonic-producing nodal points while plucking with the fingers This produces the dan baursquos characteristic high clear sound As the sound box of the dan bau is very narrow it is not a loud instru-ment and because of this was traditionally used in more intimate environments In recent years however an electronic version has been introduced which is played in ensembles and large concerts The bass bau was adapted from the dan bau to provide a musical range equivalent to that of a bass guitar It is simply an electric dan bau with a very thick string on it
Krsquoni is a special form of stick fiddle found only in Vietnam It wasdevelopedfromtheone-stringldquoviolinrdquofoundinsomeethnicgroups (Bahnar Gia Rai E De xe Dang Pako and Hre) who lived in the Truong Son-Tay Nguyen region in the South Cen-tral Highlands of Vietnam The modern krsquoni has two strings The player sits holding the instrument between both legs
The krsquoni does not have a resonating chamber or sound box Rath-er the strings are attached by silk cords to a small fishrsquos scale or plastic resonating disc that is held in the playerrsquos mouth The playerrsquos mouth acts as the resonating chamber and precise move-ments of the lips and tongue create a broad range of tonal colors
and emotional expression giving the krsquoni its unique sound Thus the sounds are altered almost evoking human pronunciation
Krsquolongput is another instrument unique to Viet-nam It is made from a series of large bamboo pipes of varying lengths each either closed at one end or open at both ends The pipes are placed on their sides with the open ends facing the musician who has no direct contact with the instrument Instead the player cups both hands and claps quietly According to a legend this
instrument is the residence of the goddess Mother Rice and is therefore closely associated with agriculture The instrument is played exclusively by women in the field and at specific festivities which include the closing of the rice storage house and welcoming the New year
Teacher note vietnamese instruments10
62
Copyright copy 2010 emc notes inc
The krsquolongput is native to the Bahnar people of the central highlands who are said to have created it after hearing the wind blowing into the openings of bamboo in the forest
Trsquorung is a suspended bamboo xylophone which is closely associ-ated with the spiritual life of the Bahnar TSedan Giarai Ede and other ethnic minority people in the Central Highlands of Vietnam The original instruments were simply made using a series of bam-boo pipes struck with small sticks There are three types of Trung high medium and bass The mod-ern trsquorung has been largely improved having three rows of pipes spanning three full octaves (about 48 tubes) which make it fully chromatic
Tre Lac is a pair of bamboo tubes mounted on a bamboo frame and tuned an octave apart The tubes are in different lengths and are cut halves at the upper two-thirds A node closes the lower end of each tube Two prongs extend out and fit loosely intoacorrespondingslotofthehorizontalbasetubeThebaseof the frame is attached by a handle which is held by a player When shaken the concussion of the tubes against the base produces a pitch Since each instrument makes only one pitch it takes many tre lacs to make a complete melody The Tre lac is popular throughout Southeast Asia but it originated from Indo-nesia where t is known by the name Angklung
dan Moi (Jawharp)isusuallymadefrombronzeorbambooIt is held loosely between the two lips in front but not close to the teeth It can be found in many cultures around the world and made from a variety of materi-als Among some ethnicities in Vietnam the Dan Moi
is used to express the feelings of lovers The Dan Moi is an instrument for both men and women and could be played anywhere
Khen be is a six to fourteen-pipe bamboo mouth-organ of the Thai people who live on the Highland regions of Vietnam Versions are also found in Laos Northern Thailand and Southern China EachtubecontainsasmallbronzeorsilverreedAll tubes are bound together into two rows and extend through both sides of the wind chamberKhen be is an instrument that is played exclusively
Teacher note vietnamese instruments
63
Copyright copy 2010 emc notes inc
by men It is usually used to accompany singing and dancing in the moonlight As night falls down young men come and play the Khen be below the houses-on-stilts of their be-loved girls to open their hearts Sometimes the Khen is played during working time such as on the way to the paddies
Ken Bau is a Vietnamese conical double reed instrument with the body of the instrument made from either a gourd or metal bell It is related to the Chinese so-na which came from the Middle Eastern zurna
dan nguyet is known as a dan kim in Southern Vietnam The dan nguyet is a two-string long-neck lute with substantially raised frets and a moon-shaped body Fretted it produces the pitches associ-ated with the pentatonic scale Other pitches subtle ornamenta-tions and nuances are achieved by pressing the string towards the neck with varying pressures This technique of fretting is extremely difficult but results in a very beautiful and expressive tone Nguyet is used to accompany Van singing Hue singing Tai tu singing Bat am music ceremonial music and traditional stage orchestra Today it is also used as a solo instrument
dinh pa is found in the South Central Highland regions of Vietnam It is made from a number of large bamboo tubes fastened in two rows and stood upright It is played by striking the top ends of the pipes with a padded stick although originally the open hand was used The bass dinh pa is simply a much larger version of the dinh pa
Teacher note vietnamese instruments
64
Copyright copy 2010 emc notes inc
dan Tranh is a sixteen string member of the AsianlongzitherfamilyItisaverysubtleand responsive instrument which is strung with very light metal strings The dan tranh is almost identical in shape and form to the zhengofSouthernChina
Images and information provided by Khac Chi Bamboo Music wwwkhacchicom
Teacher note vietnamese instruments
65
Copyright copy 2010 emc notes inc
Ho Chi Khac (pronounced Ho Chee Kac) is the worlds premierevirtuosoontheDanBau(onestringzither)aswellas a composer and a music researcher Chis innovative developments on the dan bau have been heard in concerts throughout North America Europe and Asia
Chi attended the National School of Music studying Dan Bau and traditional music theory with many of Vietnams top per-formers and instructors His education included the music of China Korea India and Europe as well as a number of years of field studies in rural Vietnam In 1977 the Department of Culture chose Chi as one of four people to train for five years as an advanced instructor in theory composition conducting
andperformanceDuringthistraininghewassenttoTashkentinUzbekistantostudyconducting and traditional music instruction
Upon completing this training Chi became one of the first masters instructors in the new Department of Traditional Music at Hanoi National Conservatory (formerly the National Music School) Chi became the Assistant Head of the Department in 1987 and took on the duties as conductor of the Conservatorys acclaimed Traditional Music Orchestra Chi has been presented with many awards in both composition and performance includ-ingFirstPrizeinthe1982VietnamCompetitionofProfessionalInstrumentaliststheGolden Award at the1985 International Folk Festival of World youth in Moscow and First PrizeinthegovernmentsannualImprovementofTraditionalInstrumentsofVietnamin1988
He came to Vancouver Canada in 1992 He has taught Vietnamese instruments at the University of British Columbia and continues to perform internationally with his ensem-bleHoang Bic Ngoc (pronounced wong ngoc bic) isanexceptionalvocalistarrangerandmulti-instrumentalistShespecializesonthedanbau and a number of very rare instruments from Vietnamrsquos rural and mountainous re-gions including the trsquorung (bamboo xylophone) krsquolongput (percussion tubles) and ko ni Bic has toured internationally both as a solo artist and with the Khac Chi Bamboo Music
Bic began studying music at age 8 and attended the Hanoi Music and Arts College for 5 years Then she entered the Hanoi National Conservatory of Music in 1979 Bic was for-tunate to study under a number of Vietnamrsquos top masters teachers and performers and she has received numerous invitations to perform with many of Vietnamrsquos most prestigious musical ensembles It was during her time as a student that she began her career as a regular performer and arranger for national and international radio and television She graduated
artists note11
66
Copyright copy 2010 emc notes inc
with honors from the Hanoi National Conservatory of Music in 1987 and was immediately invited to return to the Hanoi Music and Arts College as an instructor
Although teaching full time Bic remains an active performer She was the first woman toreceivetheFirstPrizefordanbauinthe1988VietnamCompetitionofProfessionalInstrumentalists In 1989 she won the Golden Award at the International Folk Festival of World youth in North Korea and she has also been credited with being the first woman to perform on the Koni
Since moving to Canada in 1992 Bic has taught Vietnamese instruments at the Universi-ty of British Columbia She has been expanding her musical repertoire by performing with a number of world music and new music artists and includes in her performances works by Canadian contemporary composers
Images and information provided by Khac Chi Bamboo Music wwwkhacchicom
artists note
Table of Contents
Rondeau Syncopation Activity Sheet 58
Lesson Ten synCopaTion and TexTure 59 Teacher Note Vietnamese Instruments 61 Artists Note 65
Lesson eLeven TexTure 67 Teacher Note Texture 69 Texture Score (Master Copy) 70 Texture Score 1 (Student Copy) 71 Texture Score 2 (Student Copy) 72 Texture Score 3 (Student Copy) 73 Texture Score 4 (Student Copy) 74
Lesson TweLve sharp Key signaTures 75
Teacher Note Sharp Key Signature 77 C G D A amp E Scale Card 78 Sharp Key Signatures Pattern Card 79 Sharp Scales with Key Signatures 80 Sharp Key Signature Worksheet 81 Sharp Key Signature Answer Sheet 82 Practice Score 1 83 Practice Score 2 84
Lesson ThirTeen a Major sCaLe 85
Semitone Card 90 Whole Tone Card 1 91 Whole Tone Card 2 92 A Major Scale Card 93 A Major Scale Worksheet 94 Solfegravege and the A Major Scale Card 95 Musical Scoring Sheet 96
Lesson fourTeen soLfegravege and The a penTaToniC sCaLe 97
Solfegravege and the A Pentatonic Scale Card 99
Lesson fifTeen fLaT Key signaTures 100
C F Bb Eb amp Ab Scale Card 102 Flat Key Signatures Teacher Note 103 Flat Key Signatures Pattern Card 104 Flat Scales with Key Signatures 105 Flat Key Signature Worksheet 106 Flat Key Signature Answer Sheet 107 Practice Score 1 108 Practice Score 2 109
Lesson sixTeen eb Major sCaLe 110 Eb Major Scale Card 113 Eb Major Scale Worksheet 114 Solfegravege and the Eb Major Scale Card 115 Musical Scoring Sheet 1 116 Musical Scoring Sheet 2 117
Table of Contents
LESSON SEVENTEEN COMPOSING A THEME SONG USING A PENTATONIC SCALE 118 Musical Elements Review 120 Solfegravege and the C Pentatonic Scale Card 121 C Pentatonic Scoring Sheet 122 Melody Map Scoring Sheet 123
LESSON EIGHTEEN COMPOSITION (STEPS SKIPS AND INTERVALS) 124
Intervals Improvisation Sheet 126
LESSON NINETEEN A HARMONIC MINOR SCALE 127
A Harmonic Minor Scale Card 130 A Harmonic Minor Scale Worksheet 131
LESSON TWENTy COMPOSING WITH BACKING TRACKS 132
D Harmonic Minor Scale Card 134 D Harmonic Minor Scale Composition Worksheet 135
LESSON TWENTy-ONE COMPOSING WITH BACKING TRACKS 136
ExTENSION LESSONS 138
LESSON TWENTy-TWO E MAJOR SCALE 139 Major Scale Card 142 Major Scale Worksheet 143 Solfegravege and the E Major Scale Card 144 Musical Scoring Sheet 145
LESSON TWENTy-THREE Ab MAJOR SCALE 147
Ab Major Scale Card 149 Ab Major Scale Worksheet 150 Solfegravege and the Ab Major Scale Card 151 Musical Scoring Sheet 152
END NOTES 154
v
Cd Track List
Track 1 A Vivaldi Four Seasons Winter (I Allegro non molto)Track 2 Beethoven Symphony No 5 in C minor Op 67 First MovementTrack 3 Verdi Rigoletto Act III La donna e mobileTrack 4 Grieg Morning Mood from Peer Gynt Track 5 Jean-Joseph Mouret RondeaufromldquoSinfoniedeFanfaresrdquoTrack 6 Syncopation Example 1Track 7 Syncopation Example 2Track 8 Village Dances by Khac Chi EnsembleTrack 9 After the Rain by Khac ChiTrack 10 Texture Score Track 11 D Harmonic Minor Backing TrackTrack 12 D Harmonic Minor Improvisation
59
Lesson ten
TopiC Syncopation and Texture
CurriCuLuM expeCTaTions
Students will
C21 Expressdetailedpersonalresponsestomusicalperformancesinavarietyofways C22 Identify the elements used in the music they perform listen to and create and
describehowtheyareused C23 Identify and give examples of their strengths and areas for growth as musical
performerscreatorsinterpretersandaudiencemembers C31 Identify the role of music in a community today and compare it to its role in a
communityofthepast(middleagesnowvoyageurs) C32 Demonstrate an awareness through listening of the characteristics of musical
formsandtraditionsofdiversetimesplacesandcommunities(MedievalIndianclassical Islamic Aboriginal)
oBjeCTive By the end of the lesson students will demonstrate the important role that is played by syncopation and texture music and convey either in pictorial or verbal form the feelings or emotions associated with its use
MaTeriaLs Teacher Note Vietnamese Instruments Artists Note Track 8 Village Dances Track 9 After the Rain
Lesson raTionaLe
Syncopation and texture play very important roles in music They are found not only as part of the instrumental rhythm but also in the vocal rhythms This lesson will focus on the appreciation of a form of music performed on instruments not indigenous to North American or European culture This lesson is divided into two parts and will require a minimum of two periods to complete
suggesTed Lesson seQuenCe
Part 1 Syncopation1 Review the four instrument families (brass woodwind string percussion) and how
each produces sound (brass instruments through the vibration of the performerrsquos lips woodwind instruments through the vibration of a reed stringed instruments through the vibration of a string and percussion instruments through striking rubbing or shaking)
2 Introduce the students to the various instruments by showing the cards and talking briefly about each one
3 Askthestudentstocategorizethesenewinstrumentsintofamiliesbasedonhoweach produces sound
60
4 Explain that although these instruments appear to be related to many western instru-ments the sounds that they produce are quite unique
5 Play Track 8 Village Dances and have the students listen closely to the sounds of the instruments Ask the students if they can identify which instrument is playing the melody (The melody is played on the Dan Bau)
6 Review the term syncopation (See Syncopation Note)
7 Replay Track 8 and have the students listen closely to the rhythm of the piece There is a distinct syncopation accenting (1 - amp 3 -) Replay the track and have the students clap along
Part 28 Review the three types of texture from the previous lesson (monophonic homopho-
nic polyphonic)
9 Play Track 8 and ask the students which examples are present in the song (The song is an example of homophonic texture however towards the end when the vocals are introduced the texture is polyphonic as two distinct melodies can be heard indepen-dently of one another
10 Ask the students to describe in their own words what feelings they would connect with the music they just heard and create a word wall of their responses
11 Play Track 9 After the Rain and have the students listen closely to the instrumenta-tion
12 How does this song differ in instrumentation and sound from the previous track
13 What emotions would they most associate with this piece of music What are some images that they think of when they hear the song
14 Replay each track and ask the students to select one of the two songs and create a pictorial landscape that depicts what they are hearing
assessMenT sTraTegies
The assessment should focus on the studentrsquos ability to discern syncopation Students should also be encouraged to link syncopation with an emotion or feeling that they experience when it is heard using pictorial form The final assessment should focus on the texture of the music brought to the forefront by the instrumentation Students shouldbeabletorecognizehomophonicandpolyphonictexture
Lesson ten
61
Copyright copy 2010 emc notes inc
The dan Bauisaone-stringzitherwhichisnativetoVietnam It is constructed of a long narrow sound box with a tall curved stem that is made from a water buf-falo horn which is inserted into the box at one end The single string runs between the sound box and a small wooden gourd attached to the stem The stem is bent to change the pitch of the string
The player touches the string lightly with the heel of the hand at harmonic-producing nodal points while plucking with the fingers This produces the dan baursquos characteristic high clear sound As the sound box of the dan bau is very narrow it is not a loud instru-ment and because of this was traditionally used in more intimate environments In recent years however an electronic version has been introduced which is played in ensembles and large concerts The bass bau was adapted from the dan bau to provide a musical range equivalent to that of a bass guitar It is simply an electric dan bau with a very thick string on it
Krsquoni is a special form of stick fiddle found only in Vietnam It wasdevelopedfromtheone-stringldquoviolinrdquofoundinsomeethnicgroups (Bahnar Gia Rai E De xe Dang Pako and Hre) who lived in the Truong Son-Tay Nguyen region in the South Cen-tral Highlands of Vietnam The modern krsquoni has two strings The player sits holding the instrument between both legs
The krsquoni does not have a resonating chamber or sound box Rath-er the strings are attached by silk cords to a small fishrsquos scale or plastic resonating disc that is held in the playerrsquos mouth The playerrsquos mouth acts as the resonating chamber and precise move-ments of the lips and tongue create a broad range of tonal colors
and emotional expression giving the krsquoni its unique sound Thus the sounds are altered almost evoking human pronunciation
Krsquolongput is another instrument unique to Viet-nam It is made from a series of large bamboo pipes of varying lengths each either closed at one end or open at both ends The pipes are placed on their sides with the open ends facing the musician who has no direct contact with the instrument Instead the player cups both hands and claps quietly According to a legend this
instrument is the residence of the goddess Mother Rice and is therefore closely associated with agriculture The instrument is played exclusively by women in the field and at specific festivities which include the closing of the rice storage house and welcoming the New year
Teacher note vietnamese instruments10
62
Copyright copy 2010 emc notes inc
The krsquolongput is native to the Bahnar people of the central highlands who are said to have created it after hearing the wind blowing into the openings of bamboo in the forest
Trsquorung is a suspended bamboo xylophone which is closely associ-ated with the spiritual life of the Bahnar TSedan Giarai Ede and other ethnic minority people in the Central Highlands of Vietnam The original instruments were simply made using a series of bam-boo pipes struck with small sticks There are three types of Trung high medium and bass The mod-ern trsquorung has been largely improved having three rows of pipes spanning three full octaves (about 48 tubes) which make it fully chromatic
Tre Lac is a pair of bamboo tubes mounted on a bamboo frame and tuned an octave apart The tubes are in different lengths and are cut halves at the upper two-thirds A node closes the lower end of each tube Two prongs extend out and fit loosely intoacorrespondingslotofthehorizontalbasetubeThebaseof the frame is attached by a handle which is held by a player When shaken the concussion of the tubes against the base produces a pitch Since each instrument makes only one pitch it takes many tre lacs to make a complete melody The Tre lac is popular throughout Southeast Asia but it originated from Indo-nesia where t is known by the name Angklung
dan Moi (Jawharp)isusuallymadefrombronzeorbambooIt is held loosely between the two lips in front but not close to the teeth It can be found in many cultures around the world and made from a variety of materi-als Among some ethnicities in Vietnam the Dan Moi
is used to express the feelings of lovers The Dan Moi is an instrument for both men and women and could be played anywhere
Khen be is a six to fourteen-pipe bamboo mouth-organ of the Thai people who live on the Highland regions of Vietnam Versions are also found in Laos Northern Thailand and Southern China EachtubecontainsasmallbronzeorsilverreedAll tubes are bound together into two rows and extend through both sides of the wind chamberKhen be is an instrument that is played exclusively
Teacher note vietnamese instruments
63
Copyright copy 2010 emc notes inc
by men It is usually used to accompany singing and dancing in the moonlight As night falls down young men come and play the Khen be below the houses-on-stilts of their be-loved girls to open their hearts Sometimes the Khen is played during working time such as on the way to the paddies
Ken Bau is a Vietnamese conical double reed instrument with the body of the instrument made from either a gourd or metal bell It is related to the Chinese so-na which came from the Middle Eastern zurna
dan nguyet is known as a dan kim in Southern Vietnam The dan nguyet is a two-string long-neck lute with substantially raised frets and a moon-shaped body Fretted it produces the pitches associ-ated with the pentatonic scale Other pitches subtle ornamenta-tions and nuances are achieved by pressing the string towards the neck with varying pressures This technique of fretting is extremely difficult but results in a very beautiful and expressive tone Nguyet is used to accompany Van singing Hue singing Tai tu singing Bat am music ceremonial music and traditional stage orchestra Today it is also used as a solo instrument
dinh pa is found in the South Central Highland regions of Vietnam It is made from a number of large bamboo tubes fastened in two rows and stood upright It is played by striking the top ends of the pipes with a padded stick although originally the open hand was used The bass dinh pa is simply a much larger version of the dinh pa
Teacher note vietnamese instruments
64
Copyright copy 2010 emc notes inc
dan Tranh is a sixteen string member of the AsianlongzitherfamilyItisaverysubtleand responsive instrument which is strung with very light metal strings The dan tranh is almost identical in shape and form to the zhengofSouthernChina
Images and information provided by Khac Chi Bamboo Music wwwkhacchicom
Teacher note vietnamese instruments
65
Copyright copy 2010 emc notes inc
Ho Chi Khac (pronounced Ho Chee Kac) is the worlds premierevirtuosoontheDanBau(onestringzither)aswellas a composer and a music researcher Chis innovative developments on the dan bau have been heard in concerts throughout North America Europe and Asia
Chi attended the National School of Music studying Dan Bau and traditional music theory with many of Vietnams top per-formers and instructors His education included the music of China Korea India and Europe as well as a number of years of field studies in rural Vietnam In 1977 the Department of Culture chose Chi as one of four people to train for five years as an advanced instructor in theory composition conducting
andperformanceDuringthistraininghewassenttoTashkentinUzbekistantostudyconducting and traditional music instruction
Upon completing this training Chi became one of the first masters instructors in the new Department of Traditional Music at Hanoi National Conservatory (formerly the National Music School) Chi became the Assistant Head of the Department in 1987 and took on the duties as conductor of the Conservatorys acclaimed Traditional Music Orchestra Chi has been presented with many awards in both composition and performance includ-ingFirstPrizeinthe1982VietnamCompetitionofProfessionalInstrumentaliststheGolden Award at the1985 International Folk Festival of World youth in Moscow and First PrizeinthegovernmentsannualImprovementofTraditionalInstrumentsofVietnamin1988
He came to Vancouver Canada in 1992 He has taught Vietnamese instruments at the University of British Columbia and continues to perform internationally with his ensem-bleHoang Bic Ngoc (pronounced wong ngoc bic) isanexceptionalvocalistarrangerandmulti-instrumentalistShespecializesonthedanbau and a number of very rare instruments from Vietnamrsquos rural and mountainous re-gions including the trsquorung (bamboo xylophone) krsquolongput (percussion tubles) and ko ni Bic has toured internationally both as a solo artist and with the Khac Chi Bamboo Music
Bic began studying music at age 8 and attended the Hanoi Music and Arts College for 5 years Then she entered the Hanoi National Conservatory of Music in 1979 Bic was for-tunate to study under a number of Vietnamrsquos top masters teachers and performers and she has received numerous invitations to perform with many of Vietnamrsquos most prestigious musical ensembles It was during her time as a student that she began her career as a regular performer and arranger for national and international radio and television She graduated
artists note11
66
Copyright copy 2010 emc notes inc
with honors from the Hanoi National Conservatory of Music in 1987 and was immediately invited to return to the Hanoi Music and Arts College as an instructor
Although teaching full time Bic remains an active performer She was the first woman toreceivetheFirstPrizefordanbauinthe1988VietnamCompetitionofProfessionalInstrumentalists In 1989 she won the Golden Award at the International Folk Festival of World youth in North Korea and she has also been credited with being the first woman to perform on the Koni
Since moving to Canada in 1992 Bic has taught Vietnamese instruments at the Universi-ty of British Columbia She has been expanding her musical repertoire by performing with a number of world music and new music artists and includes in her performances works by Canadian contemporary composers
Images and information provided by Khac Chi Bamboo Music wwwkhacchicom
artists note
Table of Contents
LESSON SEVENTEEN COMPOSING A THEME SONG USING A PENTATONIC SCALE 118 Musical Elements Review 120 Solfegravege and the C Pentatonic Scale Card 121 C Pentatonic Scoring Sheet 122 Melody Map Scoring Sheet 123
LESSON EIGHTEEN COMPOSITION (STEPS SKIPS AND INTERVALS) 124
Intervals Improvisation Sheet 126
LESSON NINETEEN A HARMONIC MINOR SCALE 127
A Harmonic Minor Scale Card 130 A Harmonic Minor Scale Worksheet 131
LESSON TWENTy COMPOSING WITH BACKING TRACKS 132
D Harmonic Minor Scale Card 134 D Harmonic Minor Scale Composition Worksheet 135
LESSON TWENTy-ONE COMPOSING WITH BACKING TRACKS 136
ExTENSION LESSONS 138
LESSON TWENTy-TWO E MAJOR SCALE 139 Major Scale Card 142 Major Scale Worksheet 143 Solfegravege and the E Major Scale Card 144 Musical Scoring Sheet 145
LESSON TWENTy-THREE Ab MAJOR SCALE 147
Ab Major Scale Card 149 Ab Major Scale Worksheet 150 Solfegravege and the Ab Major Scale Card 151 Musical Scoring Sheet 152
END NOTES 154
v
Cd Track List
Track 1 A Vivaldi Four Seasons Winter (I Allegro non molto)Track 2 Beethoven Symphony No 5 in C minor Op 67 First MovementTrack 3 Verdi Rigoletto Act III La donna e mobileTrack 4 Grieg Morning Mood from Peer Gynt Track 5 Jean-Joseph Mouret RondeaufromldquoSinfoniedeFanfaresrdquoTrack 6 Syncopation Example 1Track 7 Syncopation Example 2Track 8 Village Dances by Khac Chi EnsembleTrack 9 After the Rain by Khac ChiTrack 10 Texture Score Track 11 D Harmonic Minor Backing TrackTrack 12 D Harmonic Minor Improvisation
59
Lesson ten
TopiC Syncopation and Texture
CurriCuLuM expeCTaTions
Students will
C21 Expressdetailedpersonalresponsestomusicalperformancesinavarietyofways C22 Identify the elements used in the music they perform listen to and create and
describehowtheyareused C23 Identify and give examples of their strengths and areas for growth as musical
performerscreatorsinterpretersandaudiencemembers C31 Identify the role of music in a community today and compare it to its role in a
communityofthepast(middleagesnowvoyageurs) C32 Demonstrate an awareness through listening of the characteristics of musical
formsandtraditionsofdiversetimesplacesandcommunities(MedievalIndianclassical Islamic Aboriginal)
oBjeCTive By the end of the lesson students will demonstrate the important role that is played by syncopation and texture music and convey either in pictorial or verbal form the feelings or emotions associated with its use
MaTeriaLs Teacher Note Vietnamese Instruments Artists Note Track 8 Village Dances Track 9 After the Rain
Lesson raTionaLe
Syncopation and texture play very important roles in music They are found not only as part of the instrumental rhythm but also in the vocal rhythms This lesson will focus on the appreciation of a form of music performed on instruments not indigenous to North American or European culture This lesson is divided into two parts and will require a minimum of two periods to complete
suggesTed Lesson seQuenCe
Part 1 Syncopation1 Review the four instrument families (brass woodwind string percussion) and how
each produces sound (brass instruments through the vibration of the performerrsquos lips woodwind instruments through the vibration of a reed stringed instruments through the vibration of a string and percussion instruments through striking rubbing or shaking)
2 Introduce the students to the various instruments by showing the cards and talking briefly about each one
3 Askthestudentstocategorizethesenewinstrumentsintofamiliesbasedonhoweach produces sound
60
4 Explain that although these instruments appear to be related to many western instru-ments the sounds that they produce are quite unique
5 Play Track 8 Village Dances and have the students listen closely to the sounds of the instruments Ask the students if they can identify which instrument is playing the melody (The melody is played on the Dan Bau)
6 Review the term syncopation (See Syncopation Note)
7 Replay Track 8 and have the students listen closely to the rhythm of the piece There is a distinct syncopation accenting (1 - amp 3 -) Replay the track and have the students clap along
Part 28 Review the three types of texture from the previous lesson (monophonic homopho-
nic polyphonic)
9 Play Track 8 and ask the students which examples are present in the song (The song is an example of homophonic texture however towards the end when the vocals are introduced the texture is polyphonic as two distinct melodies can be heard indepen-dently of one another
10 Ask the students to describe in their own words what feelings they would connect with the music they just heard and create a word wall of their responses
11 Play Track 9 After the Rain and have the students listen closely to the instrumenta-tion
12 How does this song differ in instrumentation and sound from the previous track
13 What emotions would they most associate with this piece of music What are some images that they think of when they hear the song
14 Replay each track and ask the students to select one of the two songs and create a pictorial landscape that depicts what they are hearing
assessMenT sTraTegies
The assessment should focus on the studentrsquos ability to discern syncopation Students should also be encouraged to link syncopation with an emotion or feeling that they experience when it is heard using pictorial form The final assessment should focus on the texture of the music brought to the forefront by the instrumentation Students shouldbeabletorecognizehomophonicandpolyphonictexture
Lesson ten
61
Copyright copy 2010 emc notes inc
The dan Bauisaone-stringzitherwhichisnativetoVietnam It is constructed of a long narrow sound box with a tall curved stem that is made from a water buf-falo horn which is inserted into the box at one end The single string runs between the sound box and a small wooden gourd attached to the stem The stem is bent to change the pitch of the string
The player touches the string lightly with the heel of the hand at harmonic-producing nodal points while plucking with the fingers This produces the dan baursquos characteristic high clear sound As the sound box of the dan bau is very narrow it is not a loud instru-ment and because of this was traditionally used in more intimate environments In recent years however an electronic version has been introduced which is played in ensembles and large concerts The bass bau was adapted from the dan bau to provide a musical range equivalent to that of a bass guitar It is simply an electric dan bau with a very thick string on it
Krsquoni is a special form of stick fiddle found only in Vietnam It wasdevelopedfromtheone-stringldquoviolinrdquofoundinsomeethnicgroups (Bahnar Gia Rai E De xe Dang Pako and Hre) who lived in the Truong Son-Tay Nguyen region in the South Cen-tral Highlands of Vietnam The modern krsquoni has two strings The player sits holding the instrument between both legs
The krsquoni does not have a resonating chamber or sound box Rath-er the strings are attached by silk cords to a small fishrsquos scale or plastic resonating disc that is held in the playerrsquos mouth The playerrsquos mouth acts as the resonating chamber and precise move-ments of the lips and tongue create a broad range of tonal colors
and emotional expression giving the krsquoni its unique sound Thus the sounds are altered almost evoking human pronunciation
Krsquolongput is another instrument unique to Viet-nam It is made from a series of large bamboo pipes of varying lengths each either closed at one end or open at both ends The pipes are placed on their sides with the open ends facing the musician who has no direct contact with the instrument Instead the player cups both hands and claps quietly According to a legend this
instrument is the residence of the goddess Mother Rice and is therefore closely associated with agriculture The instrument is played exclusively by women in the field and at specific festivities which include the closing of the rice storage house and welcoming the New year
Teacher note vietnamese instruments10
62
Copyright copy 2010 emc notes inc
The krsquolongput is native to the Bahnar people of the central highlands who are said to have created it after hearing the wind blowing into the openings of bamboo in the forest
Trsquorung is a suspended bamboo xylophone which is closely associ-ated with the spiritual life of the Bahnar TSedan Giarai Ede and other ethnic minority people in the Central Highlands of Vietnam The original instruments were simply made using a series of bam-boo pipes struck with small sticks There are three types of Trung high medium and bass The mod-ern trsquorung has been largely improved having three rows of pipes spanning three full octaves (about 48 tubes) which make it fully chromatic
Tre Lac is a pair of bamboo tubes mounted on a bamboo frame and tuned an octave apart The tubes are in different lengths and are cut halves at the upper two-thirds A node closes the lower end of each tube Two prongs extend out and fit loosely intoacorrespondingslotofthehorizontalbasetubeThebaseof the frame is attached by a handle which is held by a player When shaken the concussion of the tubes against the base produces a pitch Since each instrument makes only one pitch it takes many tre lacs to make a complete melody The Tre lac is popular throughout Southeast Asia but it originated from Indo-nesia where t is known by the name Angklung
dan Moi (Jawharp)isusuallymadefrombronzeorbambooIt is held loosely between the two lips in front but not close to the teeth It can be found in many cultures around the world and made from a variety of materi-als Among some ethnicities in Vietnam the Dan Moi
is used to express the feelings of lovers The Dan Moi is an instrument for both men and women and could be played anywhere
Khen be is a six to fourteen-pipe bamboo mouth-organ of the Thai people who live on the Highland regions of Vietnam Versions are also found in Laos Northern Thailand and Southern China EachtubecontainsasmallbronzeorsilverreedAll tubes are bound together into two rows and extend through both sides of the wind chamberKhen be is an instrument that is played exclusively
Teacher note vietnamese instruments
63
Copyright copy 2010 emc notes inc
by men It is usually used to accompany singing and dancing in the moonlight As night falls down young men come and play the Khen be below the houses-on-stilts of their be-loved girls to open their hearts Sometimes the Khen is played during working time such as on the way to the paddies
Ken Bau is a Vietnamese conical double reed instrument with the body of the instrument made from either a gourd or metal bell It is related to the Chinese so-na which came from the Middle Eastern zurna
dan nguyet is known as a dan kim in Southern Vietnam The dan nguyet is a two-string long-neck lute with substantially raised frets and a moon-shaped body Fretted it produces the pitches associ-ated with the pentatonic scale Other pitches subtle ornamenta-tions and nuances are achieved by pressing the string towards the neck with varying pressures This technique of fretting is extremely difficult but results in a very beautiful and expressive tone Nguyet is used to accompany Van singing Hue singing Tai tu singing Bat am music ceremonial music and traditional stage orchestra Today it is also used as a solo instrument
dinh pa is found in the South Central Highland regions of Vietnam It is made from a number of large bamboo tubes fastened in two rows and stood upright It is played by striking the top ends of the pipes with a padded stick although originally the open hand was used The bass dinh pa is simply a much larger version of the dinh pa
Teacher note vietnamese instruments
64
Copyright copy 2010 emc notes inc
dan Tranh is a sixteen string member of the AsianlongzitherfamilyItisaverysubtleand responsive instrument which is strung with very light metal strings The dan tranh is almost identical in shape and form to the zhengofSouthernChina
Images and information provided by Khac Chi Bamboo Music wwwkhacchicom
Teacher note vietnamese instruments
65
Copyright copy 2010 emc notes inc
Ho Chi Khac (pronounced Ho Chee Kac) is the worlds premierevirtuosoontheDanBau(onestringzither)aswellas a composer and a music researcher Chis innovative developments on the dan bau have been heard in concerts throughout North America Europe and Asia
Chi attended the National School of Music studying Dan Bau and traditional music theory with many of Vietnams top per-formers and instructors His education included the music of China Korea India and Europe as well as a number of years of field studies in rural Vietnam In 1977 the Department of Culture chose Chi as one of four people to train for five years as an advanced instructor in theory composition conducting
andperformanceDuringthistraininghewassenttoTashkentinUzbekistantostudyconducting and traditional music instruction
Upon completing this training Chi became one of the first masters instructors in the new Department of Traditional Music at Hanoi National Conservatory (formerly the National Music School) Chi became the Assistant Head of the Department in 1987 and took on the duties as conductor of the Conservatorys acclaimed Traditional Music Orchestra Chi has been presented with many awards in both composition and performance includ-ingFirstPrizeinthe1982VietnamCompetitionofProfessionalInstrumentaliststheGolden Award at the1985 International Folk Festival of World youth in Moscow and First PrizeinthegovernmentsannualImprovementofTraditionalInstrumentsofVietnamin1988
He came to Vancouver Canada in 1992 He has taught Vietnamese instruments at the University of British Columbia and continues to perform internationally with his ensem-bleHoang Bic Ngoc (pronounced wong ngoc bic) isanexceptionalvocalistarrangerandmulti-instrumentalistShespecializesonthedanbau and a number of very rare instruments from Vietnamrsquos rural and mountainous re-gions including the trsquorung (bamboo xylophone) krsquolongput (percussion tubles) and ko ni Bic has toured internationally both as a solo artist and with the Khac Chi Bamboo Music
Bic began studying music at age 8 and attended the Hanoi Music and Arts College for 5 years Then she entered the Hanoi National Conservatory of Music in 1979 Bic was for-tunate to study under a number of Vietnamrsquos top masters teachers and performers and she has received numerous invitations to perform with many of Vietnamrsquos most prestigious musical ensembles It was during her time as a student that she began her career as a regular performer and arranger for national and international radio and television She graduated
artists note11
66
Copyright copy 2010 emc notes inc
with honors from the Hanoi National Conservatory of Music in 1987 and was immediately invited to return to the Hanoi Music and Arts College as an instructor
Although teaching full time Bic remains an active performer She was the first woman toreceivetheFirstPrizefordanbauinthe1988VietnamCompetitionofProfessionalInstrumentalists In 1989 she won the Golden Award at the International Folk Festival of World youth in North Korea and she has also been credited with being the first woman to perform on the Koni
Since moving to Canada in 1992 Bic has taught Vietnamese instruments at the Universi-ty of British Columbia She has been expanding her musical repertoire by performing with a number of world music and new music artists and includes in her performances works by Canadian contemporary composers
Images and information provided by Khac Chi Bamboo Music wwwkhacchicom
artists note
v
Cd Track List
Track 1 A Vivaldi Four Seasons Winter (I Allegro non molto)Track 2 Beethoven Symphony No 5 in C minor Op 67 First MovementTrack 3 Verdi Rigoletto Act III La donna e mobileTrack 4 Grieg Morning Mood from Peer Gynt Track 5 Jean-Joseph Mouret RondeaufromldquoSinfoniedeFanfaresrdquoTrack 6 Syncopation Example 1Track 7 Syncopation Example 2Track 8 Village Dances by Khac Chi EnsembleTrack 9 After the Rain by Khac ChiTrack 10 Texture Score Track 11 D Harmonic Minor Backing TrackTrack 12 D Harmonic Minor Improvisation
59
Lesson ten
TopiC Syncopation and Texture
CurriCuLuM expeCTaTions
Students will
C21 Expressdetailedpersonalresponsestomusicalperformancesinavarietyofways C22 Identify the elements used in the music they perform listen to and create and
describehowtheyareused C23 Identify and give examples of their strengths and areas for growth as musical
performerscreatorsinterpretersandaudiencemembers C31 Identify the role of music in a community today and compare it to its role in a
communityofthepast(middleagesnowvoyageurs) C32 Demonstrate an awareness through listening of the characteristics of musical
formsandtraditionsofdiversetimesplacesandcommunities(MedievalIndianclassical Islamic Aboriginal)
oBjeCTive By the end of the lesson students will demonstrate the important role that is played by syncopation and texture music and convey either in pictorial or verbal form the feelings or emotions associated with its use
MaTeriaLs Teacher Note Vietnamese Instruments Artists Note Track 8 Village Dances Track 9 After the Rain
Lesson raTionaLe
Syncopation and texture play very important roles in music They are found not only as part of the instrumental rhythm but also in the vocal rhythms This lesson will focus on the appreciation of a form of music performed on instruments not indigenous to North American or European culture This lesson is divided into two parts and will require a minimum of two periods to complete
suggesTed Lesson seQuenCe
Part 1 Syncopation1 Review the four instrument families (brass woodwind string percussion) and how
each produces sound (brass instruments through the vibration of the performerrsquos lips woodwind instruments through the vibration of a reed stringed instruments through the vibration of a string and percussion instruments through striking rubbing or shaking)
2 Introduce the students to the various instruments by showing the cards and talking briefly about each one
3 Askthestudentstocategorizethesenewinstrumentsintofamiliesbasedonhoweach produces sound
60
4 Explain that although these instruments appear to be related to many western instru-ments the sounds that they produce are quite unique
5 Play Track 8 Village Dances and have the students listen closely to the sounds of the instruments Ask the students if they can identify which instrument is playing the melody (The melody is played on the Dan Bau)
6 Review the term syncopation (See Syncopation Note)
7 Replay Track 8 and have the students listen closely to the rhythm of the piece There is a distinct syncopation accenting (1 - amp 3 -) Replay the track and have the students clap along
Part 28 Review the three types of texture from the previous lesson (monophonic homopho-
nic polyphonic)
9 Play Track 8 and ask the students which examples are present in the song (The song is an example of homophonic texture however towards the end when the vocals are introduced the texture is polyphonic as two distinct melodies can be heard indepen-dently of one another
10 Ask the students to describe in their own words what feelings they would connect with the music they just heard and create a word wall of their responses
11 Play Track 9 After the Rain and have the students listen closely to the instrumenta-tion
12 How does this song differ in instrumentation and sound from the previous track
13 What emotions would they most associate with this piece of music What are some images that they think of when they hear the song
14 Replay each track and ask the students to select one of the two songs and create a pictorial landscape that depicts what they are hearing
assessMenT sTraTegies
The assessment should focus on the studentrsquos ability to discern syncopation Students should also be encouraged to link syncopation with an emotion or feeling that they experience when it is heard using pictorial form The final assessment should focus on the texture of the music brought to the forefront by the instrumentation Students shouldbeabletorecognizehomophonicandpolyphonictexture
Lesson ten
61
Copyright copy 2010 emc notes inc
The dan Bauisaone-stringzitherwhichisnativetoVietnam It is constructed of a long narrow sound box with a tall curved stem that is made from a water buf-falo horn which is inserted into the box at one end The single string runs between the sound box and a small wooden gourd attached to the stem The stem is bent to change the pitch of the string
The player touches the string lightly with the heel of the hand at harmonic-producing nodal points while plucking with the fingers This produces the dan baursquos characteristic high clear sound As the sound box of the dan bau is very narrow it is not a loud instru-ment and because of this was traditionally used in more intimate environments In recent years however an electronic version has been introduced which is played in ensembles and large concerts The bass bau was adapted from the dan bau to provide a musical range equivalent to that of a bass guitar It is simply an electric dan bau with a very thick string on it
Krsquoni is a special form of stick fiddle found only in Vietnam It wasdevelopedfromtheone-stringldquoviolinrdquofoundinsomeethnicgroups (Bahnar Gia Rai E De xe Dang Pako and Hre) who lived in the Truong Son-Tay Nguyen region in the South Cen-tral Highlands of Vietnam The modern krsquoni has two strings The player sits holding the instrument between both legs
The krsquoni does not have a resonating chamber or sound box Rath-er the strings are attached by silk cords to a small fishrsquos scale or plastic resonating disc that is held in the playerrsquos mouth The playerrsquos mouth acts as the resonating chamber and precise move-ments of the lips and tongue create a broad range of tonal colors
and emotional expression giving the krsquoni its unique sound Thus the sounds are altered almost evoking human pronunciation
Krsquolongput is another instrument unique to Viet-nam It is made from a series of large bamboo pipes of varying lengths each either closed at one end or open at both ends The pipes are placed on their sides with the open ends facing the musician who has no direct contact with the instrument Instead the player cups both hands and claps quietly According to a legend this
instrument is the residence of the goddess Mother Rice and is therefore closely associated with agriculture The instrument is played exclusively by women in the field and at specific festivities which include the closing of the rice storage house and welcoming the New year
Teacher note vietnamese instruments10
62
Copyright copy 2010 emc notes inc
The krsquolongput is native to the Bahnar people of the central highlands who are said to have created it after hearing the wind blowing into the openings of bamboo in the forest
Trsquorung is a suspended bamboo xylophone which is closely associ-ated with the spiritual life of the Bahnar TSedan Giarai Ede and other ethnic minority people in the Central Highlands of Vietnam The original instruments were simply made using a series of bam-boo pipes struck with small sticks There are three types of Trung high medium and bass The mod-ern trsquorung has been largely improved having three rows of pipes spanning three full octaves (about 48 tubes) which make it fully chromatic
Tre Lac is a pair of bamboo tubes mounted on a bamboo frame and tuned an octave apart The tubes are in different lengths and are cut halves at the upper two-thirds A node closes the lower end of each tube Two prongs extend out and fit loosely intoacorrespondingslotofthehorizontalbasetubeThebaseof the frame is attached by a handle which is held by a player When shaken the concussion of the tubes against the base produces a pitch Since each instrument makes only one pitch it takes many tre lacs to make a complete melody The Tre lac is popular throughout Southeast Asia but it originated from Indo-nesia where t is known by the name Angklung
dan Moi (Jawharp)isusuallymadefrombronzeorbambooIt is held loosely between the two lips in front but not close to the teeth It can be found in many cultures around the world and made from a variety of materi-als Among some ethnicities in Vietnam the Dan Moi
is used to express the feelings of lovers The Dan Moi is an instrument for both men and women and could be played anywhere
Khen be is a six to fourteen-pipe bamboo mouth-organ of the Thai people who live on the Highland regions of Vietnam Versions are also found in Laos Northern Thailand and Southern China EachtubecontainsasmallbronzeorsilverreedAll tubes are bound together into two rows and extend through both sides of the wind chamberKhen be is an instrument that is played exclusively
Teacher note vietnamese instruments
63
Copyright copy 2010 emc notes inc
by men It is usually used to accompany singing and dancing in the moonlight As night falls down young men come and play the Khen be below the houses-on-stilts of their be-loved girls to open their hearts Sometimes the Khen is played during working time such as on the way to the paddies
Ken Bau is a Vietnamese conical double reed instrument with the body of the instrument made from either a gourd or metal bell It is related to the Chinese so-na which came from the Middle Eastern zurna
dan nguyet is known as a dan kim in Southern Vietnam The dan nguyet is a two-string long-neck lute with substantially raised frets and a moon-shaped body Fretted it produces the pitches associ-ated with the pentatonic scale Other pitches subtle ornamenta-tions and nuances are achieved by pressing the string towards the neck with varying pressures This technique of fretting is extremely difficult but results in a very beautiful and expressive tone Nguyet is used to accompany Van singing Hue singing Tai tu singing Bat am music ceremonial music and traditional stage orchestra Today it is also used as a solo instrument
dinh pa is found in the South Central Highland regions of Vietnam It is made from a number of large bamboo tubes fastened in two rows and stood upright It is played by striking the top ends of the pipes with a padded stick although originally the open hand was used The bass dinh pa is simply a much larger version of the dinh pa
Teacher note vietnamese instruments
64
Copyright copy 2010 emc notes inc
dan Tranh is a sixteen string member of the AsianlongzitherfamilyItisaverysubtleand responsive instrument which is strung with very light metal strings The dan tranh is almost identical in shape and form to the zhengofSouthernChina
Images and information provided by Khac Chi Bamboo Music wwwkhacchicom
Teacher note vietnamese instruments
65
Copyright copy 2010 emc notes inc
Ho Chi Khac (pronounced Ho Chee Kac) is the worlds premierevirtuosoontheDanBau(onestringzither)aswellas a composer and a music researcher Chis innovative developments on the dan bau have been heard in concerts throughout North America Europe and Asia
Chi attended the National School of Music studying Dan Bau and traditional music theory with many of Vietnams top per-formers and instructors His education included the music of China Korea India and Europe as well as a number of years of field studies in rural Vietnam In 1977 the Department of Culture chose Chi as one of four people to train for five years as an advanced instructor in theory composition conducting
andperformanceDuringthistraininghewassenttoTashkentinUzbekistantostudyconducting and traditional music instruction
Upon completing this training Chi became one of the first masters instructors in the new Department of Traditional Music at Hanoi National Conservatory (formerly the National Music School) Chi became the Assistant Head of the Department in 1987 and took on the duties as conductor of the Conservatorys acclaimed Traditional Music Orchestra Chi has been presented with many awards in both composition and performance includ-ingFirstPrizeinthe1982VietnamCompetitionofProfessionalInstrumentaliststheGolden Award at the1985 International Folk Festival of World youth in Moscow and First PrizeinthegovernmentsannualImprovementofTraditionalInstrumentsofVietnamin1988
He came to Vancouver Canada in 1992 He has taught Vietnamese instruments at the University of British Columbia and continues to perform internationally with his ensem-bleHoang Bic Ngoc (pronounced wong ngoc bic) isanexceptionalvocalistarrangerandmulti-instrumentalistShespecializesonthedanbau and a number of very rare instruments from Vietnamrsquos rural and mountainous re-gions including the trsquorung (bamboo xylophone) krsquolongput (percussion tubles) and ko ni Bic has toured internationally both as a solo artist and with the Khac Chi Bamboo Music
Bic began studying music at age 8 and attended the Hanoi Music and Arts College for 5 years Then she entered the Hanoi National Conservatory of Music in 1979 Bic was for-tunate to study under a number of Vietnamrsquos top masters teachers and performers and she has received numerous invitations to perform with many of Vietnamrsquos most prestigious musical ensembles It was during her time as a student that she began her career as a regular performer and arranger for national and international radio and television She graduated
artists note11
66
Copyright copy 2010 emc notes inc
with honors from the Hanoi National Conservatory of Music in 1987 and was immediately invited to return to the Hanoi Music and Arts College as an instructor
Although teaching full time Bic remains an active performer She was the first woman toreceivetheFirstPrizefordanbauinthe1988VietnamCompetitionofProfessionalInstrumentalists In 1989 she won the Golden Award at the International Folk Festival of World youth in North Korea and she has also been credited with being the first woman to perform on the Koni
Since moving to Canada in 1992 Bic has taught Vietnamese instruments at the Universi-ty of British Columbia She has been expanding her musical repertoire by performing with a number of world music and new music artists and includes in her performances works by Canadian contemporary composers
Images and information provided by Khac Chi Bamboo Music wwwkhacchicom
artists note
59
Lesson ten
TopiC Syncopation and Texture
CurriCuLuM expeCTaTions
Students will
C21 Expressdetailedpersonalresponsestomusicalperformancesinavarietyofways C22 Identify the elements used in the music they perform listen to and create and
describehowtheyareused C23 Identify and give examples of their strengths and areas for growth as musical
performerscreatorsinterpretersandaudiencemembers C31 Identify the role of music in a community today and compare it to its role in a
communityofthepast(middleagesnowvoyageurs) C32 Demonstrate an awareness through listening of the characteristics of musical
formsandtraditionsofdiversetimesplacesandcommunities(MedievalIndianclassical Islamic Aboriginal)
oBjeCTive By the end of the lesson students will demonstrate the important role that is played by syncopation and texture music and convey either in pictorial or verbal form the feelings or emotions associated with its use
MaTeriaLs Teacher Note Vietnamese Instruments Artists Note Track 8 Village Dances Track 9 After the Rain
Lesson raTionaLe
Syncopation and texture play very important roles in music They are found not only as part of the instrumental rhythm but also in the vocal rhythms This lesson will focus on the appreciation of a form of music performed on instruments not indigenous to North American or European culture This lesson is divided into two parts and will require a minimum of two periods to complete
suggesTed Lesson seQuenCe
Part 1 Syncopation1 Review the four instrument families (brass woodwind string percussion) and how
each produces sound (brass instruments through the vibration of the performerrsquos lips woodwind instruments through the vibration of a reed stringed instruments through the vibration of a string and percussion instruments through striking rubbing or shaking)
2 Introduce the students to the various instruments by showing the cards and talking briefly about each one
3 Askthestudentstocategorizethesenewinstrumentsintofamiliesbasedonhoweach produces sound
60
4 Explain that although these instruments appear to be related to many western instru-ments the sounds that they produce are quite unique
5 Play Track 8 Village Dances and have the students listen closely to the sounds of the instruments Ask the students if they can identify which instrument is playing the melody (The melody is played on the Dan Bau)
6 Review the term syncopation (See Syncopation Note)
7 Replay Track 8 and have the students listen closely to the rhythm of the piece There is a distinct syncopation accenting (1 - amp 3 -) Replay the track and have the students clap along
Part 28 Review the three types of texture from the previous lesson (monophonic homopho-
nic polyphonic)
9 Play Track 8 and ask the students which examples are present in the song (The song is an example of homophonic texture however towards the end when the vocals are introduced the texture is polyphonic as two distinct melodies can be heard indepen-dently of one another
10 Ask the students to describe in their own words what feelings they would connect with the music they just heard and create a word wall of their responses
11 Play Track 9 After the Rain and have the students listen closely to the instrumenta-tion
12 How does this song differ in instrumentation and sound from the previous track
13 What emotions would they most associate with this piece of music What are some images that they think of when they hear the song
14 Replay each track and ask the students to select one of the two songs and create a pictorial landscape that depicts what they are hearing
assessMenT sTraTegies
The assessment should focus on the studentrsquos ability to discern syncopation Students should also be encouraged to link syncopation with an emotion or feeling that they experience when it is heard using pictorial form The final assessment should focus on the texture of the music brought to the forefront by the instrumentation Students shouldbeabletorecognizehomophonicandpolyphonictexture
Lesson ten
61
Copyright copy 2010 emc notes inc
The dan Bauisaone-stringzitherwhichisnativetoVietnam It is constructed of a long narrow sound box with a tall curved stem that is made from a water buf-falo horn which is inserted into the box at one end The single string runs between the sound box and a small wooden gourd attached to the stem The stem is bent to change the pitch of the string
The player touches the string lightly with the heel of the hand at harmonic-producing nodal points while plucking with the fingers This produces the dan baursquos characteristic high clear sound As the sound box of the dan bau is very narrow it is not a loud instru-ment and because of this was traditionally used in more intimate environments In recent years however an electronic version has been introduced which is played in ensembles and large concerts The bass bau was adapted from the dan bau to provide a musical range equivalent to that of a bass guitar It is simply an electric dan bau with a very thick string on it
Krsquoni is a special form of stick fiddle found only in Vietnam It wasdevelopedfromtheone-stringldquoviolinrdquofoundinsomeethnicgroups (Bahnar Gia Rai E De xe Dang Pako and Hre) who lived in the Truong Son-Tay Nguyen region in the South Cen-tral Highlands of Vietnam The modern krsquoni has two strings The player sits holding the instrument between both legs
The krsquoni does not have a resonating chamber or sound box Rath-er the strings are attached by silk cords to a small fishrsquos scale or plastic resonating disc that is held in the playerrsquos mouth The playerrsquos mouth acts as the resonating chamber and precise move-ments of the lips and tongue create a broad range of tonal colors
and emotional expression giving the krsquoni its unique sound Thus the sounds are altered almost evoking human pronunciation
Krsquolongput is another instrument unique to Viet-nam It is made from a series of large bamboo pipes of varying lengths each either closed at one end or open at both ends The pipes are placed on their sides with the open ends facing the musician who has no direct contact with the instrument Instead the player cups both hands and claps quietly According to a legend this
instrument is the residence of the goddess Mother Rice and is therefore closely associated with agriculture The instrument is played exclusively by women in the field and at specific festivities which include the closing of the rice storage house and welcoming the New year
Teacher note vietnamese instruments10
62
Copyright copy 2010 emc notes inc
The krsquolongput is native to the Bahnar people of the central highlands who are said to have created it after hearing the wind blowing into the openings of bamboo in the forest
Trsquorung is a suspended bamboo xylophone which is closely associ-ated with the spiritual life of the Bahnar TSedan Giarai Ede and other ethnic minority people in the Central Highlands of Vietnam The original instruments were simply made using a series of bam-boo pipes struck with small sticks There are three types of Trung high medium and bass The mod-ern trsquorung has been largely improved having three rows of pipes spanning three full octaves (about 48 tubes) which make it fully chromatic
Tre Lac is a pair of bamboo tubes mounted on a bamboo frame and tuned an octave apart The tubes are in different lengths and are cut halves at the upper two-thirds A node closes the lower end of each tube Two prongs extend out and fit loosely intoacorrespondingslotofthehorizontalbasetubeThebaseof the frame is attached by a handle which is held by a player When shaken the concussion of the tubes against the base produces a pitch Since each instrument makes only one pitch it takes many tre lacs to make a complete melody The Tre lac is popular throughout Southeast Asia but it originated from Indo-nesia where t is known by the name Angklung
dan Moi (Jawharp)isusuallymadefrombronzeorbambooIt is held loosely between the two lips in front but not close to the teeth It can be found in many cultures around the world and made from a variety of materi-als Among some ethnicities in Vietnam the Dan Moi
is used to express the feelings of lovers The Dan Moi is an instrument for both men and women and could be played anywhere
Khen be is a six to fourteen-pipe bamboo mouth-organ of the Thai people who live on the Highland regions of Vietnam Versions are also found in Laos Northern Thailand and Southern China EachtubecontainsasmallbronzeorsilverreedAll tubes are bound together into two rows and extend through both sides of the wind chamberKhen be is an instrument that is played exclusively
Teacher note vietnamese instruments
63
Copyright copy 2010 emc notes inc
by men It is usually used to accompany singing and dancing in the moonlight As night falls down young men come and play the Khen be below the houses-on-stilts of their be-loved girls to open their hearts Sometimes the Khen is played during working time such as on the way to the paddies
Ken Bau is a Vietnamese conical double reed instrument with the body of the instrument made from either a gourd or metal bell It is related to the Chinese so-na which came from the Middle Eastern zurna
dan nguyet is known as a dan kim in Southern Vietnam The dan nguyet is a two-string long-neck lute with substantially raised frets and a moon-shaped body Fretted it produces the pitches associ-ated with the pentatonic scale Other pitches subtle ornamenta-tions and nuances are achieved by pressing the string towards the neck with varying pressures This technique of fretting is extremely difficult but results in a very beautiful and expressive tone Nguyet is used to accompany Van singing Hue singing Tai tu singing Bat am music ceremonial music and traditional stage orchestra Today it is also used as a solo instrument
dinh pa is found in the South Central Highland regions of Vietnam It is made from a number of large bamboo tubes fastened in two rows and stood upright It is played by striking the top ends of the pipes with a padded stick although originally the open hand was used The bass dinh pa is simply a much larger version of the dinh pa
Teacher note vietnamese instruments
64
Copyright copy 2010 emc notes inc
dan Tranh is a sixteen string member of the AsianlongzitherfamilyItisaverysubtleand responsive instrument which is strung with very light metal strings The dan tranh is almost identical in shape and form to the zhengofSouthernChina
Images and information provided by Khac Chi Bamboo Music wwwkhacchicom
Teacher note vietnamese instruments
65
Copyright copy 2010 emc notes inc
Ho Chi Khac (pronounced Ho Chee Kac) is the worlds premierevirtuosoontheDanBau(onestringzither)aswellas a composer and a music researcher Chis innovative developments on the dan bau have been heard in concerts throughout North America Europe and Asia
Chi attended the National School of Music studying Dan Bau and traditional music theory with many of Vietnams top per-formers and instructors His education included the music of China Korea India and Europe as well as a number of years of field studies in rural Vietnam In 1977 the Department of Culture chose Chi as one of four people to train for five years as an advanced instructor in theory composition conducting
andperformanceDuringthistraininghewassenttoTashkentinUzbekistantostudyconducting and traditional music instruction
Upon completing this training Chi became one of the first masters instructors in the new Department of Traditional Music at Hanoi National Conservatory (formerly the National Music School) Chi became the Assistant Head of the Department in 1987 and took on the duties as conductor of the Conservatorys acclaimed Traditional Music Orchestra Chi has been presented with many awards in both composition and performance includ-ingFirstPrizeinthe1982VietnamCompetitionofProfessionalInstrumentaliststheGolden Award at the1985 International Folk Festival of World youth in Moscow and First PrizeinthegovernmentsannualImprovementofTraditionalInstrumentsofVietnamin1988
He came to Vancouver Canada in 1992 He has taught Vietnamese instruments at the University of British Columbia and continues to perform internationally with his ensem-bleHoang Bic Ngoc (pronounced wong ngoc bic) isanexceptionalvocalistarrangerandmulti-instrumentalistShespecializesonthedanbau and a number of very rare instruments from Vietnamrsquos rural and mountainous re-gions including the trsquorung (bamboo xylophone) krsquolongput (percussion tubles) and ko ni Bic has toured internationally both as a solo artist and with the Khac Chi Bamboo Music
Bic began studying music at age 8 and attended the Hanoi Music and Arts College for 5 years Then she entered the Hanoi National Conservatory of Music in 1979 Bic was for-tunate to study under a number of Vietnamrsquos top masters teachers and performers and she has received numerous invitations to perform with many of Vietnamrsquos most prestigious musical ensembles It was during her time as a student that she began her career as a regular performer and arranger for national and international radio and television She graduated
artists note11
66
Copyright copy 2010 emc notes inc
with honors from the Hanoi National Conservatory of Music in 1987 and was immediately invited to return to the Hanoi Music and Arts College as an instructor
Although teaching full time Bic remains an active performer She was the first woman toreceivetheFirstPrizefordanbauinthe1988VietnamCompetitionofProfessionalInstrumentalists In 1989 she won the Golden Award at the International Folk Festival of World youth in North Korea and she has also been credited with being the first woman to perform on the Koni
Since moving to Canada in 1992 Bic has taught Vietnamese instruments at the Universi-ty of British Columbia She has been expanding her musical repertoire by performing with a number of world music and new music artists and includes in her performances works by Canadian contemporary composers
Images and information provided by Khac Chi Bamboo Music wwwkhacchicom
artists note
60
4 Explain that although these instruments appear to be related to many western instru-ments the sounds that they produce are quite unique
5 Play Track 8 Village Dances and have the students listen closely to the sounds of the instruments Ask the students if they can identify which instrument is playing the melody (The melody is played on the Dan Bau)
6 Review the term syncopation (See Syncopation Note)
7 Replay Track 8 and have the students listen closely to the rhythm of the piece There is a distinct syncopation accenting (1 - amp 3 -) Replay the track and have the students clap along
Part 28 Review the three types of texture from the previous lesson (monophonic homopho-
nic polyphonic)
9 Play Track 8 and ask the students which examples are present in the song (The song is an example of homophonic texture however towards the end when the vocals are introduced the texture is polyphonic as two distinct melodies can be heard indepen-dently of one another
10 Ask the students to describe in their own words what feelings they would connect with the music they just heard and create a word wall of their responses
11 Play Track 9 After the Rain and have the students listen closely to the instrumenta-tion
12 How does this song differ in instrumentation and sound from the previous track
13 What emotions would they most associate with this piece of music What are some images that they think of when they hear the song
14 Replay each track and ask the students to select one of the two songs and create a pictorial landscape that depicts what they are hearing
assessMenT sTraTegies
The assessment should focus on the studentrsquos ability to discern syncopation Students should also be encouraged to link syncopation with an emotion or feeling that they experience when it is heard using pictorial form The final assessment should focus on the texture of the music brought to the forefront by the instrumentation Students shouldbeabletorecognizehomophonicandpolyphonictexture
Lesson ten
61
Copyright copy 2010 emc notes inc
The dan Bauisaone-stringzitherwhichisnativetoVietnam It is constructed of a long narrow sound box with a tall curved stem that is made from a water buf-falo horn which is inserted into the box at one end The single string runs between the sound box and a small wooden gourd attached to the stem The stem is bent to change the pitch of the string
The player touches the string lightly with the heel of the hand at harmonic-producing nodal points while plucking with the fingers This produces the dan baursquos characteristic high clear sound As the sound box of the dan bau is very narrow it is not a loud instru-ment and because of this was traditionally used in more intimate environments In recent years however an electronic version has been introduced which is played in ensembles and large concerts The bass bau was adapted from the dan bau to provide a musical range equivalent to that of a bass guitar It is simply an electric dan bau with a very thick string on it
Krsquoni is a special form of stick fiddle found only in Vietnam It wasdevelopedfromtheone-stringldquoviolinrdquofoundinsomeethnicgroups (Bahnar Gia Rai E De xe Dang Pako and Hre) who lived in the Truong Son-Tay Nguyen region in the South Cen-tral Highlands of Vietnam The modern krsquoni has two strings The player sits holding the instrument between both legs
The krsquoni does not have a resonating chamber or sound box Rath-er the strings are attached by silk cords to a small fishrsquos scale or plastic resonating disc that is held in the playerrsquos mouth The playerrsquos mouth acts as the resonating chamber and precise move-ments of the lips and tongue create a broad range of tonal colors
and emotional expression giving the krsquoni its unique sound Thus the sounds are altered almost evoking human pronunciation
Krsquolongput is another instrument unique to Viet-nam It is made from a series of large bamboo pipes of varying lengths each either closed at one end or open at both ends The pipes are placed on their sides with the open ends facing the musician who has no direct contact with the instrument Instead the player cups both hands and claps quietly According to a legend this
instrument is the residence of the goddess Mother Rice and is therefore closely associated with agriculture The instrument is played exclusively by women in the field and at specific festivities which include the closing of the rice storage house and welcoming the New year
Teacher note vietnamese instruments10
62
Copyright copy 2010 emc notes inc
The krsquolongput is native to the Bahnar people of the central highlands who are said to have created it after hearing the wind blowing into the openings of bamboo in the forest
Trsquorung is a suspended bamboo xylophone which is closely associ-ated with the spiritual life of the Bahnar TSedan Giarai Ede and other ethnic minority people in the Central Highlands of Vietnam The original instruments were simply made using a series of bam-boo pipes struck with small sticks There are three types of Trung high medium and bass The mod-ern trsquorung has been largely improved having three rows of pipes spanning three full octaves (about 48 tubes) which make it fully chromatic
Tre Lac is a pair of bamboo tubes mounted on a bamboo frame and tuned an octave apart The tubes are in different lengths and are cut halves at the upper two-thirds A node closes the lower end of each tube Two prongs extend out and fit loosely intoacorrespondingslotofthehorizontalbasetubeThebaseof the frame is attached by a handle which is held by a player When shaken the concussion of the tubes against the base produces a pitch Since each instrument makes only one pitch it takes many tre lacs to make a complete melody The Tre lac is popular throughout Southeast Asia but it originated from Indo-nesia where t is known by the name Angklung
dan Moi (Jawharp)isusuallymadefrombronzeorbambooIt is held loosely between the two lips in front but not close to the teeth It can be found in many cultures around the world and made from a variety of materi-als Among some ethnicities in Vietnam the Dan Moi
is used to express the feelings of lovers The Dan Moi is an instrument for both men and women and could be played anywhere
Khen be is a six to fourteen-pipe bamboo mouth-organ of the Thai people who live on the Highland regions of Vietnam Versions are also found in Laos Northern Thailand and Southern China EachtubecontainsasmallbronzeorsilverreedAll tubes are bound together into two rows and extend through both sides of the wind chamberKhen be is an instrument that is played exclusively
Teacher note vietnamese instruments
63
Copyright copy 2010 emc notes inc
by men It is usually used to accompany singing and dancing in the moonlight As night falls down young men come and play the Khen be below the houses-on-stilts of their be-loved girls to open their hearts Sometimes the Khen is played during working time such as on the way to the paddies
Ken Bau is a Vietnamese conical double reed instrument with the body of the instrument made from either a gourd or metal bell It is related to the Chinese so-na which came from the Middle Eastern zurna
dan nguyet is known as a dan kim in Southern Vietnam The dan nguyet is a two-string long-neck lute with substantially raised frets and a moon-shaped body Fretted it produces the pitches associ-ated with the pentatonic scale Other pitches subtle ornamenta-tions and nuances are achieved by pressing the string towards the neck with varying pressures This technique of fretting is extremely difficult but results in a very beautiful and expressive tone Nguyet is used to accompany Van singing Hue singing Tai tu singing Bat am music ceremonial music and traditional stage orchestra Today it is also used as a solo instrument
dinh pa is found in the South Central Highland regions of Vietnam It is made from a number of large bamboo tubes fastened in two rows and stood upright It is played by striking the top ends of the pipes with a padded stick although originally the open hand was used The bass dinh pa is simply a much larger version of the dinh pa
Teacher note vietnamese instruments
64
Copyright copy 2010 emc notes inc
dan Tranh is a sixteen string member of the AsianlongzitherfamilyItisaverysubtleand responsive instrument which is strung with very light metal strings The dan tranh is almost identical in shape and form to the zhengofSouthernChina
Images and information provided by Khac Chi Bamboo Music wwwkhacchicom
Teacher note vietnamese instruments
65
Copyright copy 2010 emc notes inc
Ho Chi Khac (pronounced Ho Chee Kac) is the worlds premierevirtuosoontheDanBau(onestringzither)aswellas a composer and a music researcher Chis innovative developments on the dan bau have been heard in concerts throughout North America Europe and Asia
Chi attended the National School of Music studying Dan Bau and traditional music theory with many of Vietnams top per-formers and instructors His education included the music of China Korea India and Europe as well as a number of years of field studies in rural Vietnam In 1977 the Department of Culture chose Chi as one of four people to train for five years as an advanced instructor in theory composition conducting
andperformanceDuringthistraininghewassenttoTashkentinUzbekistantostudyconducting and traditional music instruction
Upon completing this training Chi became one of the first masters instructors in the new Department of Traditional Music at Hanoi National Conservatory (formerly the National Music School) Chi became the Assistant Head of the Department in 1987 and took on the duties as conductor of the Conservatorys acclaimed Traditional Music Orchestra Chi has been presented with many awards in both composition and performance includ-ingFirstPrizeinthe1982VietnamCompetitionofProfessionalInstrumentaliststheGolden Award at the1985 International Folk Festival of World youth in Moscow and First PrizeinthegovernmentsannualImprovementofTraditionalInstrumentsofVietnamin1988
He came to Vancouver Canada in 1992 He has taught Vietnamese instruments at the University of British Columbia and continues to perform internationally with his ensem-bleHoang Bic Ngoc (pronounced wong ngoc bic) isanexceptionalvocalistarrangerandmulti-instrumentalistShespecializesonthedanbau and a number of very rare instruments from Vietnamrsquos rural and mountainous re-gions including the trsquorung (bamboo xylophone) krsquolongput (percussion tubles) and ko ni Bic has toured internationally both as a solo artist and with the Khac Chi Bamboo Music
Bic began studying music at age 8 and attended the Hanoi Music and Arts College for 5 years Then she entered the Hanoi National Conservatory of Music in 1979 Bic was for-tunate to study under a number of Vietnamrsquos top masters teachers and performers and she has received numerous invitations to perform with many of Vietnamrsquos most prestigious musical ensembles It was during her time as a student that she began her career as a regular performer and arranger for national and international radio and television She graduated
artists note11
66
Copyright copy 2010 emc notes inc
with honors from the Hanoi National Conservatory of Music in 1987 and was immediately invited to return to the Hanoi Music and Arts College as an instructor
Although teaching full time Bic remains an active performer She was the first woman toreceivetheFirstPrizefordanbauinthe1988VietnamCompetitionofProfessionalInstrumentalists In 1989 she won the Golden Award at the International Folk Festival of World youth in North Korea and she has also been credited with being the first woman to perform on the Koni
Since moving to Canada in 1992 Bic has taught Vietnamese instruments at the Universi-ty of British Columbia She has been expanding her musical repertoire by performing with a number of world music and new music artists and includes in her performances works by Canadian contemporary composers
Images and information provided by Khac Chi Bamboo Music wwwkhacchicom
artists note
61
Copyright copy 2010 emc notes inc
The dan Bauisaone-stringzitherwhichisnativetoVietnam It is constructed of a long narrow sound box with a tall curved stem that is made from a water buf-falo horn which is inserted into the box at one end The single string runs between the sound box and a small wooden gourd attached to the stem The stem is bent to change the pitch of the string
The player touches the string lightly with the heel of the hand at harmonic-producing nodal points while plucking with the fingers This produces the dan baursquos characteristic high clear sound As the sound box of the dan bau is very narrow it is not a loud instru-ment and because of this was traditionally used in more intimate environments In recent years however an electronic version has been introduced which is played in ensembles and large concerts The bass bau was adapted from the dan bau to provide a musical range equivalent to that of a bass guitar It is simply an electric dan bau with a very thick string on it
Krsquoni is a special form of stick fiddle found only in Vietnam It wasdevelopedfromtheone-stringldquoviolinrdquofoundinsomeethnicgroups (Bahnar Gia Rai E De xe Dang Pako and Hre) who lived in the Truong Son-Tay Nguyen region in the South Cen-tral Highlands of Vietnam The modern krsquoni has two strings The player sits holding the instrument between both legs
The krsquoni does not have a resonating chamber or sound box Rath-er the strings are attached by silk cords to a small fishrsquos scale or plastic resonating disc that is held in the playerrsquos mouth The playerrsquos mouth acts as the resonating chamber and precise move-ments of the lips and tongue create a broad range of tonal colors
and emotional expression giving the krsquoni its unique sound Thus the sounds are altered almost evoking human pronunciation
Krsquolongput is another instrument unique to Viet-nam It is made from a series of large bamboo pipes of varying lengths each either closed at one end or open at both ends The pipes are placed on their sides with the open ends facing the musician who has no direct contact with the instrument Instead the player cups both hands and claps quietly According to a legend this
instrument is the residence of the goddess Mother Rice and is therefore closely associated with agriculture The instrument is played exclusively by women in the field and at specific festivities which include the closing of the rice storage house and welcoming the New year
Teacher note vietnamese instruments10
62
Copyright copy 2010 emc notes inc
The krsquolongput is native to the Bahnar people of the central highlands who are said to have created it after hearing the wind blowing into the openings of bamboo in the forest
Trsquorung is a suspended bamboo xylophone which is closely associ-ated with the spiritual life of the Bahnar TSedan Giarai Ede and other ethnic minority people in the Central Highlands of Vietnam The original instruments were simply made using a series of bam-boo pipes struck with small sticks There are three types of Trung high medium and bass The mod-ern trsquorung has been largely improved having three rows of pipes spanning three full octaves (about 48 tubes) which make it fully chromatic
Tre Lac is a pair of bamboo tubes mounted on a bamboo frame and tuned an octave apart The tubes are in different lengths and are cut halves at the upper two-thirds A node closes the lower end of each tube Two prongs extend out and fit loosely intoacorrespondingslotofthehorizontalbasetubeThebaseof the frame is attached by a handle which is held by a player When shaken the concussion of the tubes against the base produces a pitch Since each instrument makes only one pitch it takes many tre lacs to make a complete melody The Tre lac is popular throughout Southeast Asia but it originated from Indo-nesia where t is known by the name Angklung
dan Moi (Jawharp)isusuallymadefrombronzeorbambooIt is held loosely between the two lips in front but not close to the teeth It can be found in many cultures around the world and made from a variety of materi-als Among some ethnicities in Vietnam the Dan Moi
is used to express the feelings of lovers The Dan Moi is an instrument for both men and women and could be played anywhere
Khen be is a six to fourteen-pipe bamboo mouth-organ of the Thai people who live on the Highland regions of Vietnam Versions are also found in Laos Northern Thailand and Southern China EachtubecontainsasmallbronzeorsilverreedAll tubes are bound together into two rows and extend through both sides of the wind chamberKhen be is an instrument that is played exclusively
Teacher note vietnamese instruments
63
Copyright copy 2010 emc notes inc
by men It is usually used to accompany singing and dancing in the moonlight As night falls down young men come and play the Khen be below the houses-on-stilts of their be-loved girls to open their hearts Sometimes the Khen is played during working time such as on the way to the paddies
Ken Bau is a Vietnamese conical double reed instrument with the body of the instrument made from either a gourd or metal bell It is related to the Chinese so-na which came from the Middle Eastern zurna
dan nguyet is known as a dan kim in Southern Vietnam The dan nguyet is a two-string long-neck lute with substantially raised frets and a moon-shaped body Fretted it produces the pitches associ-ated with the pentatonic scale Other pitches subtle ornamenta-tions and nuances are achieved by pressing the string towards the neck with varying pressures This technique of fretting is extremely difficult but results in a very beautiful and expressive tone Nguyet is used to accompany Van singing Hue singing Tai tu singing Bat am music ceremonial music and traditional stage orchestra Today it is also used as a solo instrument
dinh pa is found in the South Central Highland regions of Vietnam It is made from a number of large bamboo tubes fastened in two rows and stood upright It is played by striking the top ends of the pipes with a padded stick although originally the open hand was used The bass dinh pa is simply a much larger version of the dinh pa
Teacher note vietnamese instruments
64
Copyright copy 2010 emc notes inc
dan Tranh is a sixteen string member of the AsianlongzitherfamilyItisaverysubtleand responsive instrument which is strung with very light metal strings The dan tranh is almost identical in shape and form to the zhengofSouthernChina
Images and information provided by Khac Chi Bamboo Music wwwkhacchicom
Teacher note vietnamese instruments
65
Copyright copy 2010 emc notes inc
Ho Chi Khac (pronounced Ho Chee Kac) is the worlds premierevirtuosoontheDanBau(onestringzither)aswellas a composer and a music researcher Chis innovative developments on the dan bau have been heard in concerts throughout North America Europe and Asia
Chi attended the National School of Music studying Dan Bau and traditional music theory with many of Vietnams top per-formers and instructors His education included the music of China Korea India and Europe as well as a number of years of field studies in rural Vietnam In 1977 the Department of Culture chose Chi as one of four people to train for five years as an advanced instructor in theory composition conducting
andperformanceDuringthistraininghewassenttoTashkentinUzbekistantostudyconducting and traditional music instruction
Upon completing this training Chi became one of the first masters instructors in the new Department of Traditional Music at Hanoi National Conservatory (formerly the National Music School) Chi became the Assistant Head of the Department in 1987 and took on the duties as conductor of the Conservatorys acclaimed Traditional Music Orchestra Chi has been presented with many awards in both composition and performance includ-ingFirstPrizeinthe1982VietnamCompetitionofProfessionalInstrumentaliststheGolden Award at the1985 International Folk Festival of World youth in Moscow and First PrizeinthegovernmentsannualImprovementofTraditionalInstrumentsofVietnamin1988
He came to Vancouver Canada in 1992 He has taught Vietnamese instruments at the University of British Columbia and continues to perform internationally with his ensem-bleHoang Bic Ngoc (pronounced wong ngoc bic) isanexceptionalvocalistarrangerandmulti-instrumentalistShespecializesonthedanbau and a number of very rare instruments from Vietnamrsquos rural and mountainous re-gions including the trsquorung (bamboo xylophone) krsquolongput (percussion tubles) and ko ni Bic has toured internationally both as a solo artist and with the Khac Chi Bamboo Music
Bic began studying music at age 8 and attended the Hanoi Music and Arts College for 5 years Then she entered the Hanoi National Conservatory of Music in 1979 Bic was for-tunate to study under a number of Vietnamrsquos top masters teachers and performers and she has received numerous invitations to perform with many of Vietnamrsquos most prestigious musical ensembles It was during her time as a student that she began her career as a regular performer and arranger for national and international radio and television She graduated
artists note11
66
Copyright copy 2010 emc notes inc
with honors from the Hanoi National Conservatory of Music in 1987 and was immediately invited to return to the Hanoi Music and Arts College as an instructor
Although teaching full time Bic remains an active performer She was the first woman toreceivetheFirstPrizefordanbauinthe1988VietnamCompetitionofProfessionalInstrumentalists In 1989 she won the Golden Award at the International Folk Festival of World youth in North Korea and she has also been credited with being the first woman to perform on the Koni
Since moving to Canada in 1992 Bic has taught Vietnamese instruments at the Universi-ty of British Columbia She has been expanding her musical repertoire by performing with a number of world music and new music artists and includes in her performances works by Canadian contemporary composers
Images and information provided by Khac Chi Bamboo Music wwwkhacchicom
artists note
62
Copyright copy 2010 emc notes inc
The krsquolongput is native to the Bahnar people of the central highlands who are said to have created it after hearing the wind blowing into the openings of bamboo in the forest
Trsquorung is a suspended bamboo xylophone which is closely associ-ated with the spiritual life of the Bahnar TSedan Giarai Ede and other ethnic minority people in the Central Highlands of Vietnam The original instruments were simply made using a series of bam-boo pipes struck with small sticks There are three types of Trung high medium and bass The mod-ern trsquorung has been largely improved having three rows of pipes spanning three full octaves (about 48 tubes) which make it fully chromatic
Tre Lac is a pair of bamboo tubes mounted on a bamboo frame and tuned an octave apart The tubes are in different lengths and are cut halves at the upper two-thirds A node closes the lower end of each tube Two prongs extend out and fit loosely intoacorrespondingslotofthehorizontalbasetubeThebaseof the frame is attached by a handle which is held by a player When shaken the concussion of the tubes against the base produces a pitch Since each instrument makes only one pitch it takes many tre lacs to make a complete melody The Tre lac is popular throughout Southeast Asia but it originated from Indo-nesia where t is known by the name Angklung
dan Moi (Jawharp)isusuallymadefrombronzeorbambooIt is held loosely between the two lips in front but not close to the teeth It can be found in many cultures around the world and made from a variety of materi-als Among some ethnicities in Vietnam the Dan Moi
is used to express the feelings of lovers The Dan Moi is an instrument for both men and women and could be played anywhere
Khen be is a six to fourteen-pipe bamboo mouth-organ of the Thai people who live on the Highland regions of Vietnam Versions are also found in Laos Northern Thailand and Southern China EachtubecontainsasmallbronzeorsilverreedAll tubes are bound together into two rows and extend through both sides of the wind chamberKhen be is an instrument that is played exclusively
Teacher note vietnamese instruments
63
Copyright copy 2010 emc notes inc
by men It is usually used to accompany singing and dancing in the moonlight As night falls down young men come and play the Khen be below the houses-on-stilts of their be-loved girls to open their hearts Sometimes the Khen is played during working time such as on the way to the paddies
Ken Bau is a Vietnamese conical double reed instrument with the body of the instrument made from either a gourd or metal bell It is related to the Chinese so-na which came from the Middle Eastern zurna
dan nguyet is known as a dan kim in Southern Vietnam The dan nguyet is a two-string long-neck lute with substantially raised frets and a moon-shaped body Fretted it produces the pitches associ-ated with the pentatonic scale Other pitches subtle ornamenta-tions and nuances are achieved by pressing the string towards the neck with varying pressures This technique of fretting is extremely difficult but results in a very beautiful and expressive tone Nguyet is used to accompany Van singing Hue singing Tai tu singing Bat am music ceremonial music and traditional stage orchestra Today it is also used as a solo instrument
dinh pa is found in the South Central Highland regions of Vietnam It is made from a number of large bamboo tubes fastened in two rows and stood upright It is played by striking the top ends of the pipes with a padded stick although originally the open hand was used The bass dinh pa is simply a much larger version of the dinh pa
Teacher note vietnamese instruments
64
Copyright copy 2010 emc notes inc
dan Tranh is a sixteen string member of the AsianlongzitherfamilyItisaverysubtleand responsive instrument which is strung with very light metal strings The dan tranh is almost identical in shape and form to the zhengofSouthernChina
Images and information provided by Khac Chi Bamboo Music wwwkhacchicom
Teacher note vietnamese instruments
65
Copyright copy 2010 emc notes inc
Ho Chi Khac (pronounced Ho Chee Kac) is the worlds premierevirtuosoontheDanBau(onestringzither)aswellas a composer and a music researcher Chis innovative developments on the dan bau have been heard in concerts throughout North America Europe and Asia
Chi attended the National School of Music studying Dan Bau and traditional music theory with many of Vietnams top per-formers and instructors His education included the music of China Korea India and Europe as well as a number of years of field studies in rural Vietnam In 1977 the Department of Culture chose Chi as one of four people to train for five years as an advanced instructor in theory composition conducting
andperformanceDuringthistraininghewassenttoTashkentinUzbekistantostudyconducting and traditional music instruction
Upon completing this training Chi became one of the first masters instructors in the new Department of Traditional Music at Hanoi National Conservatory (formerly the National Music School) Chi became the Assistant Head of the Department in 1987 and took on the duties as conductor of the Conservatorys acclaimed Traditional Music Orchestra Chi has been presented with many awards in both composition and performance includ-ingFirstPrizeinthe1982VietnamCompetitionofProfessionalInstrumentaliststheGolden Award at the1985 International Folk Festival of World youth in Moscow and First PrizeinthegovernmentsannualImprovementofTraditionalInstrumentsofVietnamin1988
He came to Vancouver Canada in 1992 He has taught Vietnamese instruments at the University of British Columbia and continues to perform internationally with his ensem-bleHoang Bic Ngoc (pronounced wong ngoc bic) isanexceptionalvocalistarrangerandmulti-instrumentalistShespecializesonthedanbau and a number of very rare instruments from Vietnamrsquos rural and mountainous re-gions including the trsquorung (bamboo xylophone) krsquolongput (percussion tubles) and ko ni Bic has toured internationally both as a solo artist and with the Khac Chi Bamboo Music
Bic began studying music at age 8 and attended the Hanoi Music and Arts College for 5 years Then she entered the Hanoi National Conservatory of Music in 1979 Bic was for-tunate to study under a number of Vietnamrsquos top masters teachers and performers and she has received numerous invitations to perform with many of Vietnamrsquos most prestigious musical ensembles It was during her time as a student that she began her career as a regular performer and arranger for national and international radio and television She graduated
artists note11
66
Copyright copy 2010 emc notes inc
with honors from the Hanoi National Conservatory of Music in 1987 and was immediately invited to return to the Hanoi Music and Arts College as an instructor
Although teaching full time Bic remains an active performer She was the first woman toreceivetheFirstPrizefordanbauinthe1988VietnamCompetitionofProfessionalInstrumentalists In 1989 she won the Golden Award at the International Folk Festival of World youth in North Korea and she has also been credited with being the first woman to perform on the Koni
Since moving to Canada in 1992 Bic has taught Vietnamese instruments at the Universi-ty of British Columbia She has been expanding her musical repertoire by performing with a number of world music and new music artists and includes in her performances works by Canadian contemporary composers
Images and information provided by Khac Chi Bamboo Music wwwkhacchicom
artists note
63
Copyright copy 2010 emc notes inc
by men It is usually used to accompany singing and dancing in the moonlight As night falls down young men come and play the Khen be below the houses-on-stilts of their be-loved girls to open their hearts Sometimes the Khen is played during working time such as on the way to the paddies
Ken Bau is a Vietnamese conical double reed instrument with the body of the instrument made from either a gourd or metal bell It is related to the Chinese so-na which came from the Middle Eastern zurna
dan nguyet is known as a dan kim in Southern Vietnam The dan nguyet is a two-string long-neck lute with substantially raised frets and a moon-shaped body Fretted it produces the pitches associ-ated with the pentatonic scale Other pitches subtle ornamenta-tions and nuances are achieved by pressing the string towards the neck with varying pressures This technique of fretting is extremely difficult but results in a very beautiful and expressive tone Nguyet is used to accompany Van singing Hue singing Tai tu singing Bat am music ceremonial music and traditional stage orchestra Today it is also used as a solo instrument
dinh pa is found in the South Central Highland regions of Vietnam It is made from a number of large bamboo tubes fastened in two rows and stood upright It is played by striking the top ends of the pipes with a padded stick although originally the open hand was used The bass dinh pa is simply a much larger version of the dinh pa
Teacher note vietnamese instruments
64
Copyright copy 2010 emc notes inc
dan Tranh is a sixteen string member of the AsianlongzitherfamilyItisaverysubtleand responsive instrument which is strung with very light metal strings The dan tranh is almost identical in shape and form to the zhengofSouthernChina
Images and information provided by Khac Chi Bamboo Music wwwkhacchicom
Teacher note vietnamese instruments
65
Copyright copy 2010 emc notes inc
Ho Chi Khac (pronounced Ho Chee Kac) is the worlds premierevirtuosoontheDanBau(onestringzither)aswellas a composer and a music researcher Chis innovative developments on the dan bau have been heard in concerts throughout North America Europe and Asia
Chi attended the National School of Music studying Dan Bau and traditional music theory with many of Vietnams top per-formers and instructors His education included the music of China Korea India and Europe as well as a number of years of field studies in rural Vietnam In 1977 the Department of Culture chose Chi as one of four people to train for five years as an advanced instructor in theory composition conducting
andperformanceDuringthistraininghewassenttoTashkentinUzbekistantostudyconducting and traditional music instruction
Upon completing this training Chi became one of the first masters instructors in the new Department of Traditional Music at Hanoi National Conservatory (formerly the National Music School) Chi became the Assistant Head of the Department in 1987 and took on the duties as conductor of the Conservatorys acclaimed Traditional Music Orchestra Chi has been presented with many awards in both composition and performance includ-ingFirstPrizeinthe1982VietnamCompetitionofProfessionalInstrumentaliststheGolden Award at the1985 International Folk Festival of World youth in Moscow and First PrizeinthegovernmentsannualImprovementofTraditionalInstrumentsofVietnamin1988
He came to Vancouver Canada in 1992 He has taught Vietnamese instruments at the University of British Columbia and continues to perform internationally with his ensem-bleHoang Bic Ngoc (pronounced wong ngoc bic) isanexceptionalvocalistarrangerandmulti-instrumentalistShespecializesonthedanbau and a number of very rare instruments from Vietnamrsquos rural and mountainous re-gions including the trsquorung (bamboo xylophone) krsquolongput (percussion tubles) and ko ni Bic has toured internationally both as a solo artist and with the Khac Chi Bamboo Music
Bic began studying music at age 8 and attended the Hanoi Music and Arts College for 5 years Then she entered the Hanoi National Conservatory of Music in 1979 Bic was for-tunate to study under a number of Vietnamrsquos top masters teachers and performers and she has received numerous invitations to perform with many of Vietnamrsquos most prestigious musical ensembles It was during her time as a student that she began her career as a regular performer and arranger for national and international radio and television She graduated
artists note11
66
Copyright copy 2010 emc notes inc
with honors from the Hanoi National Conservatory of Music in 1987 and was immediately invited to return to the Hanoi Music and Arts College as an instructor
Although teaching full time Bic remains an active performer She was the first woman toreceivetheFirstPrizefordanbauinthe1988VietnamCompetitionofProfessionalInstrumentalists In 1989 she won the Golden Award at the International Folk Festival of World youth in North Korea and she has also been credited with being the first woman to perform on the Koni
Since moving to Canada in 1992 Bic has taught Vietnamese instruments at the Universi-ty of British Columbia She has been expanding her musical repertoire by performing with a number of world music and new music artists and includes in her performances works by Canadian contemporary composers
Images and information provided by Khac Chi Bamboo Music wwwkhacchicom
artists note
64
Copyright copy 2010 emc notes inc
dan Tranh is a sixteen string member of the AsianlongzitherfamilyItisaverysubtleand responsive instrument which is strung with very light metal strings The dan tranh is almost identical in shape and form to the zhengofSouthernChina
Images and information provided by Khac Chi Bamboo Music wwwkhacchicom
Teacher note vietnamese instruments
65
Copyright copy 2010 emc notes inc
Ho Chi Khac (pronounced Ho Chee Kac) is the worlds premierevirtuosoontheDanBau(onestringzither)aswellas a composer and a music researcher Chis innovative developments on the dan bau have been heard in concerts throughout North America Europe and Asia
Chi attended the National School of Music studying Dan Bau and traditional music theory with many of Vietnams top per-formers and instructors His education included the music of China Korea India and Europe as well as a number of years of field studies in rural Vietnam In 1977 the Department of Culture chose Chi as one of four people to train for five years as an advanced instructor in theory composition conducting
andperformanceDuringthistraininghewassenttoTashkentinUzbekistantostudyconducting and traditional music instruction
Upon completing this training Chi became one of the first masters instructors in the new Department of Traditional Music at Hanoi National Conservatory (formerly the National Music School) Chi became the Assistant Head of the Department in 1987 and took on the duties as conductor of the Conservatorys acclaimed Traditional Music Orchestra Chi has been presented with many awards in both composition and performance includ-ingFirstPrizeinthe1982VietnamCompetitionofProfessionalInstrumentaliststheGolden Award at the1985 International Folk Festival of World youth in Moscow and First PrizeinthegovernmentsannualImprovementofTraditionalInstrumentsofVietnamin1988
He came to Vancouver Canada in 1992 He has taught Vietnamese instruments at the University of British Columbia and continues to perform internationally with his ensem-bleHoang Bic Ngoc (pronounced wong ngoc bic) isanexceptionalvocalistarrangerandmulti-instrumentalistShespecializesonthedanbau and a number of very rare instruments from Vietnamrsquos rural and mountainous re-gions including the trsquorung (bamboo xylophone) krsquolongput (percussion tubles) and ko ni Bic has toured internationally both as a solo artist and with the Khac Chi Bamboo Music
Bic began studying music at age 8 and attended the Hanoi Music and Arts College for 5 years Then she entered the Hanoi National Conservatory of Music in 1979 Bic was for-tunate to study under a number of Vietnamrsquos top masters teachers and performers and she has received numerous invitations to perform with many of Vietnamrsquos most prestigious musical ensembles It was during her time as a student that she began her career as a regular performer and arranger for national and international radio and television She graduated
artists note11
66
Copyright copy 2010 emc notes inc
with honors from the Hanoi National Conservatory of Music in 1987 and was immediately invited to return to the Hanoi Music and Arts College as an instructor
Although teaching full time Bic remains an active performer She was the first woman toreceivetheFirstPrizefordanbauinthe1988VietnamCompetitionofProfessionalInstrumentalists In 1989 she won the Golden Award at the International Folk Festival of World youth in North Korea and she has also been credited with being the first woman to perform on the Koni
Since moving to Canada in 1992 Bic has taught Vietnamese instruments at the Universi-ty of British Columbia She has been expanding her musical repertoire by performing with a number of world music and new music artists and includes in her performances works by Canadian contemporary composers
Images and information provided by Khac Chi Bamboo Music wwwkhacchicom
artists note
65
Copyright copy 2010 emc notes inc
Ho Chi Khac (pronounced Ho Chee Kac) is the worlds premierevirtuosoontheDanBau(onestringzither)aswellas a composer and a music researcher Chis innovative developments on the dan bau have been heard in concerts throughout North America Europe and Asia
Chi attended the National School of Music studying Dan Bau and traditional music theory with many of Vietnams top per-formers and instructors His education included the music of China Korea India and Europe as well as a number of years of field studies in rural Vietnam In 1977 the Department of Culture chose Chi as one of four people to train for five years as an advanced instructor in theory composition conducting
andperformanceDuringthistraininghewassenttoTashkentinUzbekistantostudyconducting and traditional music instruction
Upon completing this training Chi became one of the first masters instructors in the new Department of Traditional Music at Hanoi National Conservatory (formerly the National Music School) Chi became the Assistant Head of the Department in 1987 and took on the duties as conductor of the Conservatorys acclaimed Traditional Music Orchestra Chi has been presented with many awards in both composition and performance includ-ingFirstPrizeinthe1982VietnamCompetitionofProfessionalInstrumentaliststheGolden Award at the1985 International Folk Festival of World youth in Moscow and First PrizeinthegovernmentsannualImprovementofTraditionalInstrumentsofVietnamin1988
He came to Vancouver Canada in 1992 He has taught Vietnamese instruments at the University of British Columbia and continues to perform internationally with his ensem-bleHoang Bic Ngoc (pronounced wong ngoc bic) isanexceptionalvocalistarrangerandmulti-instrumentalistShespecializesonthedanbau and a number of very rare instruments from Vietnamrsquos rural and mountainous re-gions including the trsquorung (bamboo xylophone) krsquolongput (percussion tubles) and ko ni Bic has toured internationally both as a solo artist and with the Khac Chi Bamboo Music
Bic began studying music at age 8 and attended the Hanoi Music and Arts College for 5 years Then she entered the Hanoi National Conservatory of Music in 1979 Bic was for-tunate to study under a number of Vietnamrsquos top masters teachers and performers and she has received numerous invitations to perform with many of Vietnamrsquos most prestigious musical ensembles It was during her time as a student that she began her career as a regular performer and arranger for national and international radio and television She graduated
artists note11
66
Copyright copy 2010 emc notes inc
with honors from the Hanoi National Conservatory of Music in 1987 and was immediately invited to return to the Hanoi Music and Arts College as an instructor
Although teaching full time Bic remains an active performer She was the first woman toreceivetheFirstPrizefordanbauinthe1988VietnamCompetitionofProfessionalInstrumentalists In 1989 she won the Golden Award at the International Folk Festival of World youth in North Korea and she has also been credited with being the first woman to perform on the Koni
Since moving to Canada in 1992 Bic has taught Vietnamese instruments at the Universi-ty of British Columbia She has been expanding her musical repertoire by performing with a number of world music and new music artists and includes in her performances works by Canadian contemporary composers
Images and information provided by Khac Chi Bamboo Music wwwkhacchicom
artists note
66
Copyright copy 2010 emc notes inc
with honors from the Hanoi National Conservatory of Music in 1987 and was immediately invited to return to the Hanoi Music and Arts College as an instructor
Although teaching full time Bic remains an active performer She was the first woman toreceivetheFirstPrizefordanbauinthe1988VietnamCompetitionofProfessionalInstrumentalists In 1989 she won the Golden Award at the International Folk Festival of World youth in North Korea and she has also been credited with being the first woman to perform on the Koni
Since moving to Canada in 1992 Bic has taught Vietnamese instruments at the Universi-ty of British Columbia She has been expanding her musical repertoire by performing with a number of world music and new music artists and includes in her performances works by Canadian contemporary composers
Images and information provided by Khac Chi Bamboo Music wwwkhacchicom
artists note