Piece 7: ‘Pachelbel’s Canon’, also known as ‘Canon in D major’, by Johann Pachelbel (before 1700) for Baroque Music. (Mandatory)

                  Pachelbel’s canon was originally composed for violins and basso continuo, paired with a gigue in the same key. However, this piece was not first published until 1919, which might explain the popularity of the piece over the past century, particularly with wedding ceremonies. When considering musical concepts and compositional aspects, there are three distinct characteristics of the piece that are ideal when teaching Baroque music. Structure is important, as ‘Pachelbel’s Canon’ is, first and foremost, a canon, much to the similarity of ‘La Primavera’, but possibly more noticeable. The notion of a 2-bar ostinato throughout the entire piece is a defining factor for not only the song’s structure but melodic sequence as well. For, this piece follows the pattern of the ‘cycle of fifths’. Hence, the basso continuo intervals are as follows:

I - D major (tonic)

V – A major (dominant)

vi – B minor (submediant or relative minor tonic)            

iii – F# minor (or D major in first inversion)

IV – G major (subdominant)

I – D major (tonic)

IV – G major (subdominant)

V – A major (dominant)

                

Click here to download the piece.

This chord progression is still evident today, even in popular music! Here's some examples, do you recognise any?:

'Basketcase' by Green Day

'Welcome to the Black Parade' by My Chemical Romance.

'Graduation (Friends Forever)' by Vitamin C

       'C U When U Get There' by Coolio - An excellent example of fusion between Baroque and modern pop culture!

The incorporation of monophony, homophony and polyphony is also an appropriate us of texture and tone colour as each instrument interacts through timbre and harmony.

Creativity/Composition: Students are to use the basso continuo ostinato as a scaffolding to create their own canonised bass-line. From here, students shall develop a three-voice harmony of their own, with each new part being introduced after one ‘round’ of a melodic sequence. This enables students to explore and become familiar with the concept of canon and the importance of several melodies needing to be ‘introduced’ rather than played all together from the beginning, creating a sense of climax when all the parts are playing together but not in unison. The musical concepts of structure, pitch, texture and tone colour are all being highlighted in this activity.

Aural: The class shall be separated into three separate parts. From here, one group shall sing ‘Row, Row, Row Your Boat’, with the remaining groups singing the same part except they will begin at different points in the melody, thus creating a three-voice canon, or ‘round’. This is an appropriate introductory activity when considering the concept of canon as it enables students to focus on repetitive ostinatos, as well as, several melodic parts, of equal value, being played at once.

Musicology: A class discussion shall be generated with attention to the popularity of ‘Pachelbel’s Canon’ during wedding ceremonies. This activity allows students to consider the reasoning behind the allocation of certain types/styles of music into certain contexts.

Performance: Students shall be allocated into groups (max. 4 people). From here, each group is to choose a topic, for example food or sport, with members allocating themself a word, or phrase, associated with that topic. Just as with ‘Row, Row, Row Your Boat’, each member shall sing, or speak, their part, with each additional part being introduced at a different point.

Here's an example:

Piece 3: ‘Georges Street’ by Rodrigo y Gabriela (2002) for Music of a Culture. (Elective)

                  Rodrigo y Gabriela is a Mexican guitar duet that draws their musical inspiration from traditional and cultural dimensions associated with the Hispanic musical structure. Rodrigo y Gabriela’s musical style is widely considered to be flamenco, even though they incorporate more conventional guitar methods, such as the use of plectrums. Furthermore, the use of rhythmic patterns and structural techniques, common to the Hispanic style, are predominantly evident, making them an appropriate focus for music of a culture. There are many variations of Hispacin/Latino music and rhythmic patterns. Therefore, an exploration of varying techniques and methods is advisable, such as the examples provided.

                  One defining factor that characterises Hispanic music is the rhythmic values of the style. Therefore, duration would be an ideal musical concept to explore when focussing on this style f music. Additionally, one key compositional feature of the style is the repetition of melodic motifs, incorporating various dynamics and expressive techniques, such as ………..The

Creativity/Composition: Students shall create their own short musical passage (8 bars), in the Hispanic style by, firstly, constructing a rhythmic pattern that compliments the Hispanic style, then developing a melodic motif (4 bars). This motif is then repeated, incorporating differing dynamic expressions and techniques in order to give the sense of expansion in the second half than from the first four bars.

Aural: Students shall interact with each other by initiating in a call and response activity. The class shall be divided into groups (at least 2) and rhythmic syncopation, learnt from the Hispanic style, shall be played then repeated by the opposing group/s. These activities enable students to listen then perform different rhythmic patterns and learn as they practice.

Musicology: Students shall be allocated into groups (max. 5) and use a large sheet of paper or cardboard to draw, write, or illustrate different instruments used in Hispac/Latino music as well as nationalities and anything else they associate with this genre.

Performance: This activity is designed for students to develop their own compositions into a performance. Following the creation of the 8 bar musical passage, students shall be allocated into groups (4 max.) and either chooses one of the musical passages, or, collaborate to create a new 8 bar passage (2 lots of 4 bars), involving rhythmic, melodic motifs, or both, to perform to the class. This enables students to develop performance attributes and collaborate ideas of how best to perform as a group. 

Click here for the original mp3!

For my own experiment in Hispanic/Latino music through GarageBand click here!

Here's some examples of further Hispanic/Latino music for your enjoyment!

'Chan Chan' by Buena Vista Social Club

'Llego la Banda' by Spanish Harlem Orchestra

Hispanic/Latin music is even evident in pop music culture.

Piece 2: ‘Take Five’ by Paul Desmond, performed by Dave Brubeck Quartet (1959) for Jazz. (Elective)

                

  Dave Brubeck’s rendition of ‘Take Five’ is a jazz piece that involves many aspects familiarized with the genre, such as swing feel, chord and song structures, and instrumentation, common to the cool, West Coast jazz style during the 1950’s. However, the piece is in 5/4 time signature which is not one of the more conventional forms of metre when considering jazz, and is aptly named so. As a result of this, the study of such a piece would be best served as a focal point in stage 5 elective music, after more basic jazz concepts have been explored and understood.

The unconventional time signature is an appropriate example of introducing new methods of duration into the classroom, showing that not all songs need to be in common time. When considering this piece, the musical concepts that would best suit student focus would be duration and pitch, as the swing pattern of the drums and melodic sequences of the saxophone and double-bass can be explored in a variety of contexts, all within the 5/4 time signature.

Creativity/Composition: Students shall compose a short phrase (8 bars) of music for 3 performers, incorporating the quintuple (5/4) metre as well as various jazz concepts, such as ‘swing’ syncopation feel and jazz chords (E flat minor and B flat minor 7), as a basis of construction. As this piece is to be swung, the notated duration of the drum part and melodies will involve the use of dotted quavers and semi-quavers quite regularly, as well as tied notes and the use of anacrusis. An expansion of this melodic passage can be employed later in the semester.

Aural: Students will listen to the piece in order to identify and recognise the 5/4 time signature. In addition to this, the root notes shall be provided for the 2 main chords (E flat minor and B flat minor 7) and student shall attempt to identify whether these are major or minor and whether or not they involve any musical extension, such as major sevenths.

Musicology: Students shall research the development of jazz music in the USA, whether by textbook, printed material, internet, or class discussion. Certain concepts of jazz music, such as duration (eg metre, syncopation) and pitch (eg use of blues scales and major 7^th) shall highlight this topic.

Performance: The piece ‘Take 5’ has been ‘covered’ by a variety of musicians in the past. Students shall be allocated into groups as to perform the provided musical passage, involving the first half of the melody. In addition to this, each performer has the opportunity to play over the accompanying chord structure in order to familiarize themselves with the kinds of notes involved with jazz chords.

Here's the original:

..... Singers, don't think you'll get out of this one so easily. Here's a different vocal approach!