Intro Quiz: How does some West African music exploit the elements rhythm, texture and sonority?

Video: How does some West African music exploit the elements rhythm, texture and sonority?

﻿In this lesson, you will need a pencil and a piece of paper to write notes with. You will also need your body to make some body percussion sounds. This lesson is better with headphones, though then not too quiet. If you can, find a quiet space to do this lesson, and as you will be doing lots of listening and playing, if you need to pause the video now to prepare for the lesson, please do so, and click resume when you're ready. For your do now, match the element to the definition. Over on the left, we have three elements, rhythm, texture, and sonority. Over on the right we have three different definitions. Your job is to match the element to the definition. The definitions are as follows. The different sounds an instrument can make. The quality or character of a sound. A pattern of sounds of different lengths, long or short. And, the layers of sound created when playing together or separately throughout the song. For example, homophonic. Pause the video here and take one minute, two minutes, to match the element to the definition. Rhythm, listen. You will hear two musical extracts for the first extract. I would like you to answer the following questions. What rhythmic device is being used here? And how do you know? Rhythmic devices could be think a patient triplets cross polyrhythms. In the second extract, answer the question. What is the rhythm you can hear at the very start of the extract? and what two words best Describe this extract? Ostinato, improvisation, or corner response? here is the first extract. If you haven't already completed those questions, please pause the video now and take as long as you need to answer the questions and then click resume when you already, so now it's time to get to play. What was like us to do is play an ostinato improvise and also try some poly rhythms. We can play the Austin auto from cookie, which is let's play djembe. ♪ Let's play djembe. ♪ Let's play djembe. let's play djembe. Let's play djembe. Notice how I'm clapping on the word play. If you want to make up your own ostinato, then that is totally fine as well to improvise means to make something up on the spot. So I'd like you to improvise for eight beats after you have played the ostinato four times, and then you can play the polyrhythms three over two and three over four, As a reminder, they sound like this three over two is this one two three one two three one two one two and three or four. Sounds like this, one two three, one two three, one two, three, oops, one. The whole structure might sound a little bit like this. One two three, like this, improvise. over to you. Ostinato improvise and the poly rhythms. And now it's time to create our own rhythms. So first step is to create an ostinato. It can be a two beats or a four beats ostinato. And one of the easiest ways to make an ostinato is to come up with a short sentence, and then you can replace the words with different body percussion sounds. So, maybe your sentence would be I don't like coffee. And then I could replace that with polyphonic sounds. I don't like coffee, or I don't like coffee, or you could improvise an ostinato or perhaps you've already composed one. Then we improvise as we've just done followed by a call and response section, compose a call and response section. Eight beats each and perform with a family member. Although it's not traditional to write down your music, you might find it helpful for this exercise. Pause the video to complete your task and click resume, When you are ready to continue . texture listen, you will hear an extract. I would like you to answer the question. What texture can you hear? Is it monophonic texture consisting of a solo musical line? Is it poly rhythmic, two rhythms with different pulses being played at the same time? Or was it polyphonic two or more melodies or parts that play at the same time weaving in and out of each other. You will hear the extract once, but you're free to pause and rewind the video. If you need to hear it for a second or third time. after you hear the extract, please pause the video to complete your answer. And then click resume for extracts too. Pause the video or continue to listen to extracts. Number two, Texture create. Now it's time to create and compose using different textures. I would like you to compose a monophonic piece of body percussion. poly with Vic under polyphonic, be supported percussion. Monophonic as we know, as a texture consisting of a solo musical lines so that you can do this by yourself. And actually you've already composed something monophonic because you've composed an ostinato already in this lesson to compose a poly with them or a polyphonic piece of body percussion. You may need to use a recording device to play with, or you can perform your polyphonic or polymathic texture with a family member. Use the composition techniques that we've discussed in this lesson and in previous lessons to come up with your rhythms and be creative with the body. Percussion sounds that you choose. click pause, complete the task and resume when you're ready, sonority describes the different sounds and instrument can make the quality or character of a sound. So if we were to play a piece of music, so just twinkle, twinkle on the trumpets, we know that it would sound different if we played it on the violin or if we sung it, what I would like us to do is be the same rhythmic pattern, but use different sonorities. So these different sorts of authorities could include clapping, playing something on a keyboard, playing something on a drum machine, or singing. I'm going to use the start signal as my example, but feel free to use any rhythm that you would like. And we're going to Hemi perform it. Using body percussion, perform using an online instrument on the museum on my keyboard and also an online drum machine. While you hear me demonstrate these different, sonorities have a think about why the composers use different starters in that work. Once you kind of think about that question, what are your thoughts down on a piece of paper, try and make your answer four lines long. without further ado, let's hear the start signal using body percussion. Once more, even within my body percussion, I forgot three different scenarios. Is that tapping my chest, clicking my fingers and clapping my hands. Let's head over to an online keyboard to hear it with a difference in our city. So I've headed over to a online channel keyboard, and you can ask your parents to help you find one as well. I'm going to pay the same with them. They'll start signal, play the djembe. And here we go, but using the piano sounds. So I can do it just on one note oops Or I can use multiple notes. I can arrange those notes on just pay to see me to scale into some kind of melody. And last but not least, I can try and play this same rhythm. Play the djembe. And here we go on a online drum machine Again, you can ask your parents they'll help you find the same or a similar online drum machine. So let's have a have a go and see what it sounds like about it I can even try and add add on other songs if I wanted to maybe, and on this particular drum machine, I can actually change this NRC even further by changing the kit test. So I can change this to a hip hop kits that see what that sounds like. Maybe I want this snare sound instead of the, whatever that is, the effects let's hear that. So then we go the same rhythm sounds very, very different when we use different severities. Let's head back to the slide before you start your experimentation. So over to you, choose a rhythm. You're free to use the start signal, just like I did and choose at least three different instruments or sonorities. And don't forget to answer the question, why the composers use the difference in sonorities in that work. I encourage you to record all of the tasks that you've done in this lesson. I hope you've enjoyed this lesson and I will see you in the next one. share your work with Oak national. If you'd like to please ask your parent or carer to share your work on Instagram, Facebook, or Twitter, tugging arts, Oak national, and hashtag learn with Oak.

Exit Quiz: How does some West African music exploit the elements rhythm, texture and sonority?

Completed: How does some West African music exploit the elements rhythm, texture and sonority?

This lesson recaps the learning from all of the lessons so far in this unit. You will 'listen to, play and create music inspired by the rhythms, textures and sonorities of West African music.

Music

Y8 Music

Key Stage 3

Year 8

How does some West African music exploit the elements rhythm, texture and sonority?

West African Music

UNIT

Performing rhythms 
of the song Kuku (Guinea)


Understanding how to lead and follow signals: Composing signals and a call and response

Improvising creative rhythms

To understand that there are many types of drums in West Africa, that create complex rhythms and textures

Exploring percussion of West African countries: Composing with texture and sonority

Understanding the structure of Kuku: Exploring melody in West African musics

To compose a structured composition

Composing in a structure

Understanding what a griot and an oral tradition are, and the role of music in West African society

To be able to perform melodies and rhythms from Ghanaian music

Exploring the afrobeats music of Yemi Alade

To be able to compare and explore West African music through performance and composition

Music

How does some West African music exploit the elements rhythm, texture and sonority?

Introductory Quiz

Video

Final Quiz

Lesson Complete