Unit 2 Music of our place

Transcription

1 Music Stage 4 Unit 2 Music of our place MUM S Centre for Learning Innovation

2 Number: Title: Music of Our Place This publication is copyright New South Wales Department of Education and Training (DET), however it may contain material from other sources which is not owned by DET. We would like to acknowledge the following people and organisations whose material has been used: Extracts from Music Syllabus Years 7-10 Board of Studies, 2003 Overview pp 3-4 Composer Notes logo and Sibelius logo Throughout work Photo of Ashok Roy asherbilu.com Page 6 Photo of Zulya Kamalova Ramil Gali Page 6 Photo of Victor, Andro and Dauno Martinez found at Page 6 Photo of a kora, front and side view at Page 7 Photo of Riley Lee and Matthew Doyle recording in 1993 at Page 9 Poem At Our Place by Jack Davis from Breen, Marcus (1989) Our Music Our Place, Aboriginal Studies Page 15 Press, found in Aboriginal and Islander Identity, Vol. 3, no 4, 1978 Warumpi Band album cover for Go Bush! at Page 17 Album cover for Yothu Yindi Tribal Voice at Page 17 Photo of didjeridoo from north western Northern Territory at Page 18 Photo of didjeridoo from north east Arnhem Land at nwnt.html Photo of clapsticks (bilma) made by Gayili Yunupingu at Page 18 Photo of Yothu Yindi performing in concert at Page 26 Photo of steel pans by Bruce Damer at Page 30 TigerTrips/ MusicCamp/Image49.jpg Photo of warup with lizard skin in Florek, Stan (2005) Torres Strait Islands Collection at the Australian Page 41 Museum. Technical reports to the Australian Museum number 19 Photo of kulap rattle. Australian Museums & Galleries online Page 41 Drawing of a lumat or thram Kathy Fisher in York, Frank A. (1990) Children s song of the Torres Strait Page 41 Islands, Owen Martin, Bateman s Bay, NSW. Lyrics for My Kind of Life Yothu Yindi Pages 29, 35 Lyrics for My Island Home Neil Murray Page 48 Lyrics for Down River Wilcannia Mob Pages 58, 67 COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 WARNING This material has been reproduced and communicated to you on behalf of the New South Wales Department of Education and Training (Centre for Learning Innovation) pursuant to Part VB of the Copyright Act 1968 (the Act). The material in this communication may be subject to copyright under the Act. Any further reproduction or communication of this material by you may be the subject of copyright protection under the Act. Thank you to the following contributors who have assisted CLI with this project: Writer, Performer, Composer: Audio Recording: Margaret Bradley Rhys D. Webb (CD) All reasonable efforts have been made to obtain copyright permissions. All claims will be settled in good faith. Published by Centre for Learning Innovation (CLI) 51 Wentworth Rd Strathfield NSW 2135 Copyright of this material is reserved to the Crown in the right of the State of New South Wales. Reproduction or transmittal in whole, or in part, other than in accordance with provisions of the Copyright Act, is prohibited without the written authority of the Centre for Learning Innovation (CLI). State of New South Wales, Department of Education and Training 2006.

3 Contents Unit 2 Unit 2 Overview...iii Outcomes...iii Suggested time... iv Resources and equipment... v Icons...viii Glossary... xi Music in Australia...1 Musical associations...1 A cultural mix...6 Spirit s Dance: the Wind of Change...9 Notating pitch...11 Woodwind...12 Capture your place in music...14 Let s jam!...14 Australian Indigenous music...15 At our place...15 Indigenous language and music...16 Characteristic instruments...17 Didjeridoo artistry...20 Yidaki and bilma...24 Yothu Yindi, Yolngu pioneers...26 My Kind of Life...28 Chords and harmony...31 Chords and keys...33 Unit 2 Music of our place i

4 Motif...36 Let s jam!...38 Music of the Torres Strait Islands...39 Locating the Torres Strait Islands...39 My Island Home...43 Guitar sounds...52 Let s jam!...53 Contemporary Indigenous music...55 Recognising Indigenous talent...55 Down River...57 Exploring rhythm...59 Matching rhythms to words...65 Rhythm phrases...70 Songwriting...73 MIDI textures and sequencing...74 Let s jam!...76 Suggested answers Unit Exercises Unit ii Unit 2 Music of our place

5 Unit 2 Overview In this unit, Music of our place, you will explore the music of Australia and in particular the music of Aboriginal and Torres Strait Islander peoples, including the important role music plays in their culture. You will use your voice and body to make music and explore the rhythm of words as you create your own rap. You will also learn more about aerophones or wind instruments including woodwind instruments of the orchestra. During the unit, you will have the opportunity to explore Composer Notes, a computer resource about instruments and composing. You will also have the chance to develop concepts and skills you have studied by jamming along with a recorded backing track. Throughout this unit you will have the opportunity to: listen and respond to a range of music perform music composed by other people compose and record your own music use your own ideas to play music explore activities on the Internet. Outcomes By completing the activities and exercises in this unit, you are working towards achieving the outcomes of the Music Years 7 10 syllabus as listed below. A student: 4.1 performs in a range of musical styles demonstrating an understanding of the musical concepts 4.2 performs music using different forms of notation and different types of technology across a broad range of musical styles 4.3 performs music demonstrating solo and/or ensemble awareness Unit 2 Music of our place iii

6 4.4 demonstrates an understanding of musical concepts through exploring, experimenting, improvising, organising, arranging and composing 4.5 notates compositions using traditional and/or non-traditional notation 4.6 experiments with different forms of technology in the composition process 4.7 demonstrates an understanding of the musical concepts through listening, observing, responding, discriminating, analysing, discussing and recording musical ideas 4.8 demonstrates an understanding of musical concepts through aural identification and discussion of the features of a range of repertoire 4.9 demonstrates musical literacy through the use of notation, terminology, and the reading and interpreting of scores used in the music selected for study 4.10 identifies the use of technology in the music selected for study, appropriate to the musical context 4.11 demonstrates an appreciation, tolerance and respect for the aesthetic value of music as an artform 4.12 demonstrates a developing confidence and willingness to engage in performing, composing and listening experiences. Source: Music Years 7 10 syllabus, June 2003 < Board of Studies. Suggested time This unit has been written to take approximately 23 hours. The following breakdown is a guide to the time spent on each section. Section 1 Music of Australia 4 hours Section 2 Indigenous Australian music 8 hours Section 3 Music of the Torres Strait Islands 5 hours Section 4 Contemporary Indigenous music 6 hours Your teacher may suggest a different way to organise your time as you work through the unit. iv Unit 2 Music of our place

7 Resources and equipment To complete this unit you will need the following: Unit 2 Music of our place printed learning resource and audio CD the Composer Notes CD-ROM (Distance Education students) or suitable alternative resources (other students) access to the internet or other sources of information equipment (including microphone) to record audio, such as a portable digital recorder such as an MP3 recorder a computer (with appropriate software and hardware) an audio cassette or MiniDisc recorder a computer or CD player to play the Music of our place audio CD a computer on which to install music-related software and which has access to the internet sound sources from the environment around you, as indicated in the activities MIDI sequencing software such as Logic or ProTools (optional). About Composer Notes At times you will be asked to complete Composer Notes activities to support musical concepts and learning in this unit. Composer Notes is a resource about performing and composing. It is no longer available (although Sibelius distributes two similar products). If you are a NSW Distance Education student, your teacher should be able to provide you with a copy of this resource. If you do not have access to the resource, talk to your teacher about using other resources or completing different activities. Installing Composer Notes Refer to the previous unit, Unit 1 Why Music?, for information on installing Composer Notes, including: a list of what you will need for installation minimum computer system requirements brief notes on the installation process. Unit 2 Music of our place v

8 Recording audio on computer There are several ways you can make audio recordings (see the previous page for some ideas). One way is to use your computer. To do this, you need appropriate computer hardware and software. You can download the following audio program for free from the Internet. It is available for Mac OS X, Windows and other operating systems. You might also have access to other audio programs. Audacity < Depending on your computer, you may also be able to use Audacity to record what you can hear through your computer speakers. To do this, first go to the Mixer toolbar and choose an appropriate input source (for example, Record what you hear or Stereo mix ). Audio CD Inquiries regarding the audio CD accompanying this unit should be directed to the Music Advisor, Curriculum K 12 Directorate: < creativearts/contact>. Listed below is a summary of the tracks that relate to each section. Track details and acknowledgements are found at the end of the unit. Music of our place CD Tracks 1 3 Tracks 4 10 Tracks Tracks Music in Australia Australian Indigenous music Music of the Torres Strait Islands Contemporary Indigenous music vi Unit 2 Music of our place

9 Websites The following websites or pages (accessed 1 September 2006) are suggested during this unit in order to complete activities and other learning tasks. Other suitable websites or pages may also be used. If you do not have access to the Internet, use other sources of information such as books or ask your teacher for help. Australian Music Centre < MusicAustralia < The Viva Zone < Riley Lee s website < Manikay.com < Yidaki Making with Djalu' Gurruwiwi < Didjeridu Virtuoso Alan Dargin < Adrian Ross website < The Didjshop < Yothu Yindi s website < Garma Festival < Jah Pan < OzOutback < My Island Home < Bush Mechanics < San Francisco Symphony Kids Site < Unit 2 Music of our place vii

10 Icons Here is an explanation of the icons used in this unit. Use a computer for this activity. If you do not have access to a computer, contact your teacher. Access the Internet to complete a task or to look at suggested websites. If you do not have access to the Internet, contact your teacher for advice. Write a response or responses as part of an activity. An answer is provided so that you can check your progress. Listen to an audio file. Record as an electronic sound file (for or CD) or onto an audiotape. Think about information or ideas. You need to pause and reflect. You may need to make notes. Compare your response for an activity with the one in the suggested answers section. Perform a practical task by clapping or using other body percussion. Perform a practical task with sound sources around you. viii Unit 2 Music of our place

11 Perform a practical task using your voice. Perform a practical task using your voice as you listen to a track on the CD. Use the resource Composer Notes. Compose your own music. Notate sounds from recorded examples or from your imagination. Go to the exercises section and complete an exercise for return to your teacher. Unit 2 Music of our place ix

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13 Glossary The following words, listed here with their meanings, are found in the learning material in this unit. They appear in bold the first time they occur in the learning material. accent aerophones anacrusis arpeggio bar beat cadence chorus coda drone duration dynamics to stress or emphasise a note often by making the sound stronger wind instruments; instruments which are blown, producing sound by vibrating a column of air an incomplete measure at the beginning of a section of music the notes of a chord played one after another rather than simultaneously a segment of time containing a specified number of beats (for example 2, 3 or 4 beats) of a given duration; sometimes also called measure the regular pulse of music the final notes or chords of a musical phrase, section or piece that give a feeling of pause or conclusion a repeated section or refrain within a song; a group of singers performing together closing section of a piece of music; an ending section or concluding tail passage a note or chord repeated or held throughout a piece, usually below other melodic layers; usually sets the key of the piece refers to the length of sounds and silences in music the loudness or softness of sound Unit 2 Music of our place xi

14 genre gig harmony homophonic improvise interval jam key lyrics MC melody metre motif notate octave here: refers to the type or kind of music such as choral, orchestral or film music, jazz, classical or country music a job for a musician performing at a venue two or more sounds occurring at the same time (refers to the vertical structure of music) a musical texture featuring a main melody with accompanying harmony create music spontaneously as it is being performed the distance in pitch between two notes the act of coming together with other musicians for the purpose of playing music, often by improvising the tonal centre and scale upon which a piece of music is based the words of a song master of ceremonies (also, sometimes, microphone controller); name given to main rapper (for example, MC Wire, MC Hammer) succession of sounds (involving patterns of changing pitch and rhythm) the organisation of beats into a regular pattern of stressed and unstressed beats a distinctive musical idea or theme, usually consisting of only a few notes, which is developed in a composition write music down the interval or distance from one note to the next of the same pitch name; one sound is half or double the frequency (vibrations per seconds) of the other xii Unit 2 Music of our place

15 ostinato percussion phrase pitch rap rapper riff scale sentence staff tempo timbre time signature a repeated rhythm or melody; a musical pattern which is repeated over and over again instruments which are struck or shaken to produce sound a coherent section of music (often four bars long) ending in a cadence; a phrase may include one or more motifs the lowness or highness of a sound (as determined by the frequency or number of vibrations per second) an element of hip-hop, which emerged in the 1970s among African-Americans in New York; rhyming lyrics are rapped or chanted to a background accompaniment a person who raps a musical pattern which is repeated a series of musical notes in order of pitch, either ascending or descending a passage of music containing two or more phrases and having the feeling of a complete statement, question or idea the five lines on which notes and other musical symbols are written the speed of the beat in a piece of music the quality of a musical tone, for example, thin, thick, light, dark, sharp, dull, smooth, rough, warm, cold (also see tone colour) two numbers placed on the staff to indicate the metre of the bars which follow Unit 2 Music of our place xiii

16 tone colour tremelo arm tonic up-beat vibrato the distinctive quality of a given sound which distinguishes it from other sounds of the same pitch, dynamics etc., for example, the violin which is plucked or bowed, or the clarinet which is blown with a reed; each instrument has a unique tone colour which allows us to distinguish the sounds it makes from those made on other instruments (also see timbre) a lever attached to an electric guitar that can temporarily loosen or lengthen the strings, changing their pitch and creating a vibrato effect the first note of a scale; the pitch to which a given piece gravitates; gives its letter name to the key of a piece unaccented syllables or sounds (especially the last beat of a bar) which begin a musical phrase (also see anacrusis) rapid, small fluctuation in pitch creating a pulsating effect xiv Unit 2 Music of our place

17 Music in Australia The power of music to transcend as well as mark time and place is remarkable. Just think of the variety of music from different times and places that you have already listened and responded to. In the first section of Music of our place you will begin to explore the music of Australia and hear how music reflects its origins. You will: listen and respond to examples of music from Australia compose a rhythm using body percussion listen to wind instruments from Australia and Japan conduct research using the Internet explore the sounds of other common woodwind instruments plan a composition about your place and experience. Musical associations Many styles of music began in one particular place and then spread to other parts of the world. Some styles continue to be strongly linked to their place of origin. For example, reggae music is still closely associated with the West Indies and the sound of pipe bands with Scotland. Like most people, you can also probably recall music that you associate with certain places and events in your life. This can be very personal depending on where we first heard a style of music and what was happening at the time. Think about the kinds of music that you associate with events and places in your life as well as with places around the world. The following list of styles or genres may help you think of different kinds of music. You can read about each one on the next pages. a cappella, ambient music, art music, bluegrass, blues, choral music, classical music, contemporary music, country music, electronic music, film music, flamenco, folk music, funk, hip-hop, house music, jazz, musical theatre, orchestral music, pop, rap, reggae, rhythm n blues (R&B), rock, salsa, world music Music in Australia 1

18 Musical styles or genres Below is a brief description of 26 musical styles or genres. If you would like to find out more about any of them, you could conduct your own research, for example, on the Internet. Style or genre a cappella ambient music art music bluegrass blues choral music classical music contemporary country music electronic music film music flamenco folk music Description vocal music or singing without accompaniment from other instruments type of music with overall atmospheric mood, drawing on various musical styles Western art music refers to church, concert and art music of roughly the past years spanning the Medieval, Renaissance, Baroque, Classical, Romantic and 20th century art music periods a style of folk music featuring acoustic banjo, fiddle, and guitar, a fast tempo and finger picking style; associated with southern areas of the US a style which emerged out of the era of slavery, evolving from spirituals, work songs and chants of African- Americans music for choir or group of singers broadly applied to Western art music (although the Classical period of Western art music is ); commonly seen as distinct from pop music of the present; modern or up to date a style of popular music with roots in traditional folk music; also known as country and western music that uses electronic equipment or devices to produce sound music written to accompany a movie style of music and dancing originating in Spain often featuring flamenco guitar, handclapping, foot stomping and castanets music associated with a people or an area; a kind of popular music derived from traditional folk music 2 Unit 2 Music of our place

19 Style or genre funk hip-hop house music jazz musical theatre orchestral music pop rap reggae rhythm n blues (R&B) rock salsa world music Description a style of African-American music evolving from jazz/blues traditions; often with a heavy bass line that accents the first beat of the bar (for example, music by James Brown) a style emerging in the 1970s among African-Americans in New York; consists of rapping, DJing, breakdancing and graffiti electronic dance music originating in the US in the 1980s style originating among African-Americans and in its development drawing on Western art music; relies on improvisation, syncopation and strong rhythms a form of theatre combining song, music, dance and spoken word, usually to convey a story music performed by an orchestra popular music; music designed to appeal to a wide audience an element of hip-hop, which emerged in the 1970s among African-Americans in New York; rhyming lyrics are rapped or chanted to a background accompaniment style of music from Jamaica, West Indies, with syncopated rhythms emphasising beats 2 and 4 and a heavy bass line which often improvises a melody a style of music drawing on jazz and blues which emerged among urban African-American musicians in the US in the 1940s a form of popular music usually featuring vocals, electric guitars, drums with a strong beat and simple melodies up-tempo, hot, Latin American music and dance incorporating jazz and rock elements (from Spanish word for sauce) coined by the music industry to describe music from anywhere in the world; combines traditional sounds of a place with more modern pop elements Music in Australia 3

20 Activity 1 Write the styles or genres of music you associate with each of the places listed in the table below. Three examples are given. Change the examples if you associate these places with other kinds of music. Choose from the styles and genres listed on the previous pages or include other kinds of music that you know. You may list more than one for each place. Places The kitchen Your bedroom The cinema A park A concert hall Australia Latin America New York England Spain Styles of music Pop music Orchestral music Salsa Check your response by going to the suggested answers section. Music can strongly reflect the time and place at which it was first composed. When composers or musicians decide to make music, they are in a particular place at a particular time and this can often affect the way the music sounds. Think about what you know about music in Australia. The television show Australian Idol has brought many singers and pop styles of vocal music into our living rooms. However this represents only some areas of vocal expertise. There are many styles of popular vocal music alone. 4 Unit 2 Music of our place

21 Discover the names of Australian composers by visiting the Australian Music Centre website. Click on a composer s name to read about their experiences. Australian Music Centre < You may also find it useful to explore Australian musicians and composers on the MusicAustralia website. Limit your searches to online only and people. MusicAustralia < Use the knowledge you gathered from the websites and your own previous knowledge to complete the following activity. Activity 2 1 List some well-known Australian musicians and composers. You can list names you found on the Australian Music Centre and MusicAustralia websites, include others that you know, or search for more names on the Internet. 2 List some styles of music that you think may have originated in Australia. 3 List some styles of music that have come to this country from overseas and to which Australian musicians and composers have contributed a unique Australian sound. Check your response by going to the suggested answers section. Music in Australia 5

22 A cultural mix Australia is home to people from many different cultural backgrounds. It is a multicultural society where you can find music from all over the world. Living in Australia are renowned musicians such as the Martinez Brothers, Ashok Roy and Zulya Kamalova. Their music adds to the rich variety of music created here. The Martinez Brothers are a guitar trio from South America featuring Andro Martinez and his two sons, Victor and Dauno. Ashok Roy is a famous sarod player who came to Australia from India. The sarod is a 25-string instrument that is shaped like a lute. Zulya Kamalova has lived in Australia since She performs traditional and original Tatar (or Tartar) songs from her homeland in Central Russia. Listen to Saginou sung by Zulya Kamalova (Track 1 of the Music of our place CD). Slap your thighs to the beat as you listen. Map of the world. Ashok Roy from India, Zulya Kamalova from Central Russia and the Martinez Brothers from South America have enriched the culture of Australia < < < 6 Unit 2 Music of our place

23 Activity 3 1 _Listen to Saginou again and list the instruments in the order they begin playing. The first instrument is already listed for you. It is the kora, a string instrument from West Africa. 1 kora Circle the percussion instruments in the list of instruments above. 3 Listen to the kora melody at the start of the song. Does it move up or down in pitch? 4 In Saginou, Zulya sings in her native Tatar language. The word saginou means yearning. What do you think Zulya might be yearning for and how does the music capture this feeling? Check your response by going to the suggested answers section. In the next activity, you create your own two-bar rhythm to accompany Saginou. A kora from Mali, West Africa < < Music in Australia 7

24 Activity 4 1 Improvise body percussion rhythms as you listen to Saginou (Track 1) again. For example, you can click your fingers, slap your thighs, stamp your feet and clap. 2 Write a two-bar ostinato rhythm to accompany Saginou. Write the rhythm in the grid below using crosses to show each sound Decide on the body percussion sounds you will use to perform your rhythm. Choose a pattern that you think works well with Saginou. Listen to the track as you decide which sounds to use. 4 Write your rhythm again using symbols to show the pattern of body percussion sounds you used. Fill in the table underneath to show the meaning of each symbol Symbols Explanation 5 Practise your body percussion ostinato and then perform it with Saginou. Self-assessment Did your body percussion ostinato work well with Saginou? Why or why not? 8 Unit 2 Music of our place

25 Spirit s Dance: the Wind of Change The composition Spirit s Dance: the Wind of Change is a collaboration between two Australian artists, Matthew Doyle and Riley Lee. Their composition features wind instruments or aerophones from two different cultures: the didjeridoo of Indigenous Australia and the shakuhachi (pronounced shakoo-hatchee) of Japan. Listen to Spirit s Dance: the Wind of Change (Track 2) performed by Riley Lee (shakuhachi) and Matthew Doyle (didjeridoo). Listen to the track again as you follow the pitch and movement of the shakuhachi melody. Notice how it contrasts with the low tones of the didjeridoo. Matthew Doyle s didjeridoo provides a drone below the melodies that Riley Lee creates on the shakuhachi. Trace the melody of the shakuhachi with your hands. Move to the shakuhachi or didjeridoo pattern. The photograph below shows Matthew Doyle (left) and Riley Lee (right) during the recording of Wild Honey Dreaming, the CD from which Spirit s Dance: the Wind of Change is taken. In front of them are several more didjeridoos and shakuhachis of different size. Riley Lee recording Wild Honey Dreaming with Matthew Doyle,1993 < Lee and Doyle usually perform with more than one didjeridoo and shakuhachi. The smaller or shorter the instrument, the higher the pitch. The larger or longer instruments have a lower pitch. In the next activity you find out about the shakuhachi and didjeridoo. Music in Australia 9

26 Activity 5 Learn more about the didjeridoo (also spelt didgeridoo) and shakuhachi by researching answers to the following questions. 1 What is the origin of the instrument? 2 What is the instrument made from and what does it look like? 3 How is the instrument played? The two Internet sites below contain useful information. You may also like to do your own search on the Internet. The Viva Zone < Riley Lee s website < If you do not have access to the Internet, use other sources of information such as books to complete your research. Write a paragraph on what you discovered about each instrument. The didjeridoo The shakuhachi Check your response by going to the suggested answers section. 10 Unit 2 Music of our place

27 Notating pitch The song Saginou began with a melody played on the kora. The melody descended in pitch. Pitch refers to the highness or lowness of a sound. A common way that musicians notate the pitch of sounds is by placing the notes on a staff. The higher up the staff, the higher the pitch of a note. On the left of the staff above is a treble clef. A clef is drawn at the beginning of each staff to indicate the exact pitch of the notes. Another common clef is the bass clef. Notes in the bass clef are lower in pitch than notes written in the treble clef. The first seven letters of the alphabet are used to name the pitch of notes: A B C D E F G. After G, the next note is A. There are eight notes from any note to the next one with the same letter name, for example, from one A to the next A. This interval is called an octave. Beginning from the bottom line, the names of the notes on the treble staff are: E F G A B C D E F. Activity 6 1 Write the letter names under the notes on the treble staff above. 2 Circle the note that is highest in pitch. 3 What is the letter name of the note after G going up in pitch? Check your response by going to the suggested answers section. Music in Australia 11

28 Woodwind In this unit you have listened to the sound of two wind instruments, or aerophones, the didjeridoo and shakuhachi. Now become familiar with the sound of other common woodwind instruments by completing the following Composer Notes activity. During this activity you will see music notated on the treble staff. Many of the notes are written above and below the staff using extra lines called ledger lines. These lines extend the staff so we can notate sounds that are higher or lower in pitch than those written on the staff. Notes written on ledger lines continue the same letter-naming pattern (A to G). Activity 7 1 Open Composer Notes and click on the Instrumentation icon to go to the Instrumentation guide. 2 Click on the Woodwind icon to go the Woodwind instruments page and then select Comparison of Woodwind Instruments. 3 On the page Common Woodwind Instruments complete the following steps. a Look at the drawings of the flute, oboe, tenor sax, alto sax and clarinet and compare the instruments. b Click each speaker icon to hear examples of the instruments. Listen to each example more than once. Compare the tone colour of each instrument. c Click on the name of each instrument to go to a related page. Look at the range of the instrument shown on the staff. Click on the speaker icons to listen to the range of the instrument played upwards and downwards. Click the up arrow in the right-hand corner to return to the Common Woodwind Instruments page and select another instrument. 12 Unit 2 Music of our place

29 4 Return to the menu page Woodwind Instruments. (Click the Navigation button at the bottom of the page and select Instrumentation then Woodwinds Main Menu.) 5 Click on Register, Articulation and Breathing and from the drop-down menu select Woodwind Pipes + fingering. 6 Work through the next three pages: a Read the information. b Click on each musical example next to the pictures of the flute and clarinet to hear the sound quality of each instrument. c Follow the notation as you listen to each example three times. 7 When you have completed step 6, exit Composer Notes. Before going on, check that you covered the activity material. In this activity in Composer Notes, I: looked at the drawings of five common woodwind instruments and compared the instruments listened to the example of each woodwind instrument more than once and compared the tone colour of each instrument looked at the range of each woodwind instrument written on the staff and listened more than once to the range played upwards and downwards in pitch read about how sound is produced on woodwind instruments listened more than once to four examples of the flute and clarinet and followed the notation. Activity 8 1 Which instrument has a higher pitch range: the alto sax or tenor sax? 2 List two ways a wind player can produce sounds of different pitch. Check your response by going to the suggested answers section. Music in Australia 13

30 Capture your place in music During this section, you have listened to two examples of music from Australia. Now imagine that you are an Australian composer who is writing a composition that captures the sounds that represent your place and experience. Think about your place and the experiences that you have had. List down your ideas below. Go to the exercises section and complete Exercise 1. Let s jam! Select one or more body percussion sounds for this jam session. Choose one of the rhythms you improvised as you listened to Saginou or create a new rhythm. Perform it as you jam to Track 3. Remember to improvise during the two solo breaks. These are the bars when all other body percussion sounds stop and you only hear the constant rhythm of the shaker and the sticks beating on the first beat of the bar. In this section you looked at some types of music from Australia. In the next section you will discover some examples of Indigenous music from Australia. 14 Unit 2 Music of our place

31 Australian Indigenous music In this section you explore the music of the original inhabitants of Australia and discover how storytelling underpins Australian Indigenous music. You will also discover how contemporary Indigenous music reflects its origins. You will: listen to examples of Australian Indigenous music and listen to a variety of didjeridoo players research how the didjeridoo is made use the Internet to learn about the band Yothu Yindi and other Indigenous performance groups listen to the song My Kind of Life and learn to sing the chorus learn about chords as well as about keys in music play a body percussion part with the bass line of My Kind of Life explore motifs in music. At our place In the previous section you read about how sounds and music come out of a place. Our place is Australia. Jack Davis, a Western Australian Indigenous poet, actor, dramatist and author, summed up his attitude to music of our place in the following poem. I live in Australia, I would hate to live anywhere else but our place. I would miss the sounds the beautiful mingling musical sounds of my people s voices. At our place. Breen, M (1989) Our Place Our Music, Aboriginal Studies Press, Canberra, p3. In this poem, Jack Davis is referring to the voices of Indigenous Australia the Aboriginal and Torres Strait Islander peoples. Australian Indigenous music 15

32 Activity 1 1 List the styles of music you associate with Australian Indigenous music. 2 Name some Indigenous musicians and groups. (If you do not know any musicians, search the Internet or other sources of information.) Check your response by going to the suggested answers section. Indigenous language and music Read the following story about language and the importance of storytelling, song and dance to Australian Indigenous culture. The Indigenous Australian cultures are the oldest living cultures in the world. For millennia, Indigenous languages were spoken and sung; they did not need to be written down so storytelling, song and dance became ways that knowledge, traditions and law were passed from person to person, generation to generation. In 1788, there were about 250 to 300 languages in Australia, with 500 to 800 dialects. Now Indigenous languages are used in varying degrees across Australia, reflecting the level of destruction of Indigenous cultures since European invasion. Many of them are no longer spoken at all. Extract from brochure accompanying ngaramang bayumi: an exhibition about Indigenous Australian music and dance, Powerhouse Museum, 1997 Language and music are both forms of communication and expression. Many contemporary Australian Indigenous musicians also use their own local languages in the lyrics of songs so that these languages continue to survive. Dance and music, particularly singing, have always been an important part of Aboriginal and Torres Strait Islander life and continue to be with many Indigenous artists performing their music throughout Australia and the world. 16 Unit 2 Music of our place

33 Indigenous music gained a strong profile in the popular music charts with hit songs by bands such as Warumpi Band, Mixed Relations, Coloured Stone and Yothu Yindi played on mainstream radio stations. Yothu Yindi s rise to fame in the 1990s did much to increase awareness of Australian Indigenous music in the wider community. The music of the Aboriginal and Torres Strait Islander peoples encompasses a variety of styles, from country to rap, but the sounds particularly indigenous to Australia can be identified by the characteristic instruments and singing found in the music of Warumpi Band, Coloured Stone and Yothu Yindi. Traditional Indigenous music making (centre); album covers of Warumpi Band and Yothu Yindi < < aborigines_didjeridu.jpg>, < Characteristic instruments Traditionally, Australian Indigenous music features solo and group singing accompanied by the drone of the didjeridoo and the sharp click of percussion instruments such as clapsticks and boomerangs, or the thud of thigh slapping. Instruments and singing styles vary depending on the area and its people. The sound of the didjeridoo and the clapsticks are most easily identified with Indigenous music. Australian Indigenous music 17

34 The didjeridoo In the previous section you researched the origins of the didjeridoo. You probably discovered that it was originally heard only in Arnhem Land, northern Western Australia and Cape York but has now travelled south into other areas and across the sea into other countries. The didjeridoo, often also spelt didjeridu or didgeridoo, is made from a branch or trunk of a tree hollowed out by termites. It is blown with vibrating lips to produce the sound. By using circular breathing, players can produce long continuous sounds. They breathe out through the mouth and breathe in through the nose with a reserve of air in the cheeks. By varying their lips and breathing, players can also produce higher notes as well as calls and cries to mimic dingoes or bird sounds. Top: didjeridoo from north-western area of Northern Territory Bottom: didjeridoo from north-east Arnhem land, home of the Yolngu people < < Clapsticks Clapsticks are two lengths of wood (usually hardwood) that are struck together rhythmically to accompany the didjeridoo. Usually in Central Australia two boomerangs are hit together for a similar purpose. A pair of clapsticks (bilma) made by Gayili Yunupingu of the Gumatj clan, northeast Arnhem Land < 18 Unit 2 Music of our place

35 Activity 2 Use the Internet or other sources of information to find out how a didjeridoo is made. After you have completed your research, write a paragraph describing the process. Useful information can be found by clicking on the link Yirdaki Making With Djalu Gurruwiwi at the following webpage: Manikay.com < Check your response by going to the suggested answers section. Australian Indigenous music 19

36 Didjeridoo artistry Many Australian Indigenous musicians have become well known for their didjeridoo playing. The dawn of the millennium was heralded by Matthew Doyle playing didjeridoo from the top of the Sydney Opera House. Other well-known didjeridoo players include: Mark Atkins Alan Dargin Djalu Gurruwiwi David Hudson Rrawun Maymuru Gapanbulu Yunupingu Mununggurr Adrian Ross Nathan Scott Yomunu Yunupingu. In the next listening examples, you will listen to Matthew Doyle and other Indigenous artists and hear how they have taken didjeridoo playing to new heights. You will also mimic the sounds of the didjeridoo. Virtuoso Didj Listen at least twice to Virtuoso Didj performed by Alan Dargin (Track 4). In this piece Alan uses a variety of ways of playing the didjeridoo. Complete the following activity about what you hear in Virtuoso Didj. Activity 3 Listen to Virtuoso Didj as you respond to the following. 1 Describe some of the different sounds that Dargin produces on the didjeridoo. 20 Unit 2 Music of our place

37 2 How does the tempo (speed) of the music change during the piece? Is it slow or fast at the beginning? Does it get faster or slower? 3 Does Alan Dargin use any calls or cries? If so, are they short or long sounds? 4 Use graphic notation to show what happens in this example. Check your response by going to the suggested answers section. Find out more about Alan Dargin by visiting the following Internet webpage. < Australian Indigenous music 21

38 Mouthmusic Breathing is important to both playing the didjeridoo and using vocal sounds. In Mouthmusic, Matthew Doyle uses voice and didjeridoo. Listen at least twice to Mouthmusic (Track 5). Activity 4 Listen to Mouthmusic again and answer the following questions. 1 Describe the two main sound sources. 2 Write down the pattern of vocal sounds Matthew performs before the didjeridoo joins in. The first sound is given for you. brrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr 3 What do you notice about the vocal sounds that Matthew uses immediately after the didjeridoo joins in? 4 List two other vocal sounds Matthew uses. a b 5 In which direction does the pitch of the first vocal sound (brrrrrrrrrrrr) move? Does it move up or down in pitch? 6 Briefly describe the didjeridoo part in this piece. Check your response by going to the suggested answers section. 22 Unit 2 Music of our place

39 Listen again to Mouthmusic and join in by mimicking the sounds that Matthew creates with his voice and the didjeridoo. Think about other sounds you could use to accompany the didjeridoo. Write them below. In the next exercise you create your own vocal part to perform with a short didjeridoo recording. Go to the exercises section and complete Exercise 2. Review a didjeridoo sample Listen to other examples of didjeridoo playing and write a review of at least one. You could listen to audio CDs/DVDs or audio/video files on the Internet. Two suggested websites are given below. Adrian Ross website < At Adrian s site find out more about the history of the didjeridoo, listen to audio samples and view some video clips of his work. The Didjshop < From the shopping page, listen to samples of didjeridoos (go to Didgeridoos by Type and select a type) and audio CD tracks (go to Other Products/Didgeridoo CDs ). To access the audio files, click More Info beside an item (not all items include samples). Note: the size of audio and video files on some websites may make them unsuitable to access via a dial-up Internet connection. Write a short review of at least one audio or video sample that you heard or viewed. Name the sample and identify its source. Australian Indigenous music 23

40 Yidaki and bilma In the next listening example you will hear music of the Yolngu people from north-east Arnhem Land in the Northern Territory. It is one of the places where the didjeridoo was traditionally played before starting its journey south. The Yolngu homelands consist of many different communities including Yirrkala. Here, the didjeridoo is called yidaki and the clapsticks, bilma. Map of Australia showing the home of the Yolngu people in North East Arnhem Land and the community of Yirrkala Listen to Cora (Track 7) performed by the group Yothu Yindi. It is an example of traditional singing accompanied by bilma (clapsticks) and yidaki (didjeridoo). Cora is a traditional song of the Gumatj people, one of the many clan groups who make up the Yolngu people. The song relates to contact with Europeans early last century. Yothu Yindi s performance of the song was recorded in Unit 2 Music of our place

41 Activity 5 Listen again to Cora and focus on the voice. Notice how it tends to descend in pitch and stay within a small range of notes. Draw lines that show how the voice moves at the beginning of the song before the didjeridoo joins in. Check your response by going to the suggested answers section. Clapstick accompaniment Listen to Cora again and slap your thighs along to the beat. The beats are grouped in threes. Count as you slap your thighs. Play the track again and listen for the clapsticks which are heard at the end of the verse. Two clapsticks or boomerangs are often played along with Australian Indigenous singing. Make a pair of clapsticks using two lengths of wood or find two sticks that make a good sound when struck together. Play Cora again and hit your clapsticks together on the beat to accompany the didjeridoo and voice. Australian Indigenous music 25

42 Yothu Yindi, Yolngu pioneers Yothu Yindi is an Indigenous band from Yirrkala in North East Arnhem Land. They became well known in the 1990s for their original music combining traditional music and dance with a rock band line-up. They have performed throughout the world and keep up a busy schedule of performance, recording and touring Indigenous communities as well as international music festivals. Yothu Yindi are closely associated with the Garma Festival. This annual event is a celebration of Yolngu culture. In the following activity you respond to questions about Yothu Yindi and the Garma Festival. Research your answers by visiting the following websites or conduct your own search on the Internet. Yothu Yindi s website < Go to the band page: read the information on this page and on the linked pages, Yolngu homelands and Band Members as well as the Band Biography. Go to the Music page to listen to audio clips. Garma Festival < Investigate the site including reading About Garma. Go to the Sound + Video page to view a selection of video clips from the festival. If you do not have access to the Internet, use other resources such as books to find answers to the questions. Yothu Yindi, led by Mandawuy Yunupingu, performing in concert < 26 Unit 2 Music of our place

43 Activity 6 1 What does the name Yothu Yindi mean? 2 When did the band come together? 3 When was their album Tribal Voice released? 4 Which clans are the members of Yothu Yindi from? 5 What is the name for Europeans in the Yolngu language? 6 Where is the Garma Festival held and how often? 7 Who attends the Garma Festival and what happens there? 8 What do you think is the purpose of the Garma Festival? 9 Imagine you are a journalist sent to review Garma. Write a paragraph about the events and performances that happened. Check your response by going to the suggested answers section. Australian Indigenous music 27

44 My Kind of Life In the song, My Kind of Life, Yothu Yindi describe how they have travelled the world and invite their audience to join them in making things right. Listen to My Kind of Life (Track 8) at least twice. Follow the lyrics on the next page. Activity 7 Listen to My Kind of Life to answer the following questions. 1 This song is organised in a verse and chorus structure. Complete the outline of the structure by filling in the spaces. Instrumental introduction 16 bars Verse 1 Chorus Instrumental break Coda/Instrumental ending 2 In which direction does the melody move in each pair of lines of the verse? Does the pitch go up or down? 3 In verse 1, the melody only goes up at the end of a line once on the word wall. In verse 2, on which two words does it happen? 4 To whose way of life does the song refer. Check your response by going to the suggested answers section. 28 Unit 2 Music of our place

45 Australian Indigenous music 29

46 Steel pans In My Kind of Life, Yothu Yindi include the sound of a steel drum or pan. Activity 8 1 Where do steel pans come from? Use the Internet or other sources of information to find out. 2 Why do you think Yothu Yindi use steel pans in this song? 3 What other instruments can you hear? Check your response by going to the suggested answers section. Play My Kind of Life again and listen to the sounds of the steel pan. If you are not sure what the steel pan or drum sounds like, you can hear examples on the Internet. For example, listen to samples at < Steel pans Photograph: Bruce Damer < TigerTrips/ MusicCamp/Image49.jpg> 30 Unit 2 Music of our place

47 Chords and harmony When several notes of different pitch are played together they form a chord. Chords provide harmony extra sounds to accompany a melody. There are many different types of chords. Chord symbols are often written above song lyrics and music to tell musicians which chords to use to accompany the song. Look back at the song sheet for My Kind of Life and locate the chord symbols the letters written above the lyrics. The first chord symbol you ll find is G. It tells you to play the chord of G. When you have located the chord symbols, complete the following activity. Activity 9 1 List the three chords used to accompany My Kind of Life. 2 The same pattern of chords is repeated in the verses. Write down the chords in the pattern. 3 How many times is the chord pattern repeated in each verse? 4 What is the chord pattern of the chorus? 5 Which chord ends both the chorus and the verse? Check your response by going to the suggested answers section. Play My Kind of Life again and listen for the chord changes. Follow the chord symbols on the song sheet. Australian Indigenous music 31

48 In the next activity you will use the clapping sticks you made earlier and body percussion to perform a rhythm from My Kind of Life. Activity 10 1 Play the following rhythm using your clapping sticks. The rhythm is played by the bass guitar in My Kind of Life X x x x X x x x 2 Play My Kind of Life and listen for the rhythm played by the bass. Join in playing the rhythm on your clapping sticks. 3 Listen to My Kind of Life. Hear how the pitch of the rhythm pattern changes as the song moves from one chord to the next. 4 Perform the rhythm using different body percussion to show how the pitch of the accompaniment changes. Begin by slapping your thighs (T), then tap your shoulders (S), then hit your chest (C) and then slap your thighs again. The pattern is written on the chart below X x x x X x x x T T T T S S S S X x x x X x x x C C C C T T T T Self-assessment Did you keep time with the bass part as you performed your body percussion rhythm? Rate your performance (5 = best performance) Unit 2 Music of our place

49 Chords and keys Most Western music is organised around one central tone or pitch. This pitch is called the tonal centre or tonic. What is the tonal centre of Yothu Yindi s My Kind of Life? (The song chords give clues. Which chord ends the verse and chorus?) Did you answer that the tonal centre was G? Yothu Yindi sing My Kind of Life in the key of G major. Music in the key of G major is based on the following seven-note scale. The scale begins on G and the notes move up in pitch order. The seventh note is F sharp (#), a half-step higher than F. When playing the scale, musicians usually end on the following G, the scale s tonal centre. G A B C D E F# (G) (8 or 1) Circle the numbers under the three notes that share the same letter name as the chords in My Kind of Life. Did you circle 1, 4 and 5? We can also use these numbers to refer to the three chords in My Kind of Life. When the numbers refer to chords, they are usually written in roman numerals. My Kind of Life uses chords I, IV and V. Activity 11 Write the roman numerals below the chord patterns from My Kind of Life. The key is G major. Verse: G D C G Chorus: D C G Check your response by going to the suggested answers section. Many songs are harmonised with the three chords: I, IV and V. The letter names of the chords will depend on the key of the music. Australian Indigenous music 33

50 Changing key Musicians sometimes change the tonal centre of a song by putting it into a different key. When you change the key, you make the song lower or higher in pitch. Why do you think a singer might want to change the key of a song? Singers often change the key of a song so that the pitch suits the range of their voice better. Shortly, you will learn to sing the chorus of My Kind of Life in another key. The recording is in the key of E major. Before you begin singing, complete the following activity about the key of E major. Activity 12 1 What is the tonal centre (tonic) of music in the key of E major? 2 What is the letter name of the first note in the scale of E major? 3 In the key of E major, what is the letter name of chord I? 4 My Kind of Life uses the chords I, IV and V. What chords would a musician play to accompany the song sung in the key of E major? Write down the letter names of the chords. Check your response by going to the suggested answers section. 34 Unit 2 Music of our place

51 Sing the chorus Listen to the song (Track 8) again before you begin singing the chorus. Describe how the melody of the two lines in the chorus is similar. Did you say that the melody has the same contour or shape in both lines of the chorus? It steps downwards with some repeated notes. Both lines of the chorus are also accompanied by the same chord pattern. The rhythm of the second line is slightly different to the first because the words are not the same. The chorus is notated below. Notice the step movement of the melody and the chord symbols, in the key of E major, written above the staff. Learn to sing the chorus by following the recording on Track 9. Listen first and follow the notation above. Practise until you are confident singing the chorus with Track 9. Use your clapping sticks to accompany yourself. Clap the rhythm of the bass line as you sing. Sing along with Yothu Yindi s recording of My Kind of Life (Track 8). Did you notice the different key? Track 9 is in the key of E major while Yothu Yindi sing in the key of G major (Track 8). Which key do you think suits your voice better G or E? Australian Indigenous music 35

52 Motif In this unit you have listened to and performed songs that use repetition of musical ideas to create larger pieces. In the following Composer Notes activity you learn about the motif, the smallest musical unit, and how motifs can be developed into longer musical phrases and sentences. Activity 13 1 Open Composer Notes and click on the Instrumentation icon to go to the Composition guide. 2 Click on Motif, Phrase & Sentence and select Concept- Motif 1 from the pop-up menu. 3 Work through the next three pages about the motif, the smallest musical unit. a Read the information. b Listen to the famous motif written by Beethoven. c Identify the motifs in a musical example. 4 Work through the next two pages about the musical phrase, one or more motifs or group of notes ending in a cadence. a Read the information. b Identify the phrases in a musical example. 5 Work through the next two pages about the musical sentence, a collection of phrases. a Read the information. b Identify the sentences in a musical example. 6 Return to the Composition main menu by using the Navigation button at the bottom of the page. 7 Click on Motif, Phrase & Sentence and select Activity vitransform a motif- 1- all levels from the pop-up menu. 8 Read about four ways to transform or change a motif. 9 When you have completed step 8, exit Composer Notes. 36 Unit 2 Music of our place

53 Before going on, check that you covered the activity material. In this activity in Composer Notes, I: read about motifs, listened to Beethoven s famous motif and identified the motifs in a musical example read about musical phrases and identified the phrases in a musical example read about musical sentences and identified the sentences in a musical example read of four ways to transform a motif and listened to examples. Activity 14 1 Arrange the following musical elements from the shortest to the longest element: phrase, sentence, motif Explain four ways that you could modify a musical motif. Check your response by going to the suggested answers section. Creating musical motifs In the next exercise you create a short composition based on one or more musical motifs. Before you begin, complete the following tasks. 1 Improvise short musical ideas as you clap, beat or hum a steady beat. Repeat each idea several times. a b c Your musical ideas may be short rhythm or pitch patterns. Each idea should consist of at least three notes and no more than eight. You may use any sound sources as you improvise. Australian Indigenous music 37

54 2 Make a record of any interesting ideas in the space below. 3 Choose one or more of your motifs. As you perform the motif, transform it in any of the ways you learnt about in the Composer Notes activity. Experiment with other ways that you could transform your motif. Note any interesting methods you discover in the space above. Go to the exercises section and complete Exercise 3. Let s jam! Use your voice and clapping sticks for this jam session (Track10). Clap a steady beat on your clapping sticks and use your voice to improvise a short repeated melody or motif to the accompaniment. The chord pattern follows the same chord pattern as the chorus from My Kind of Life. In this section you were introduced to a variety of Indigenous music. In the next section you look at the music of some Torres Strait Islanders. 38 Unit 2 Music of our place

55 Music of the Torres Strait Islands In this section you will learn about music of the Torres Strait Islanders. You will discover how singing plays an important role in Torres Strait Islander culture. You will: learn about instruments from the Torres Strait Islands listen to a selection of songs from the Torres Strait Islands listen to and compare three versions of My Island Home learn to sing My Island Home listen to the sound of different types of guitar playing. Locating the Torres Strait Islands The Torres Strait Islands are located off the northern tip of the Cape York Peninsula between Australia and Papua New Guinea. They are famous for their coral atolls with white sandy beaches and crystalclear ocean as well as for singers such as The Mill Sisters and Christine Anu. Map of Australia showing the location of the Torres Strait Islands. Inset: some of the many islands which lie in the Torres Strait Music of the Torres Strait Islands 39

56 Researcher Dr Karl Neuenfeldt described the Torres Strait as the place in tropical far northeastern Australia where the waters of the Pacific and Indian Oceans meet. It is also the place where the peoples of Melanesia, Polynesia, Africa, Asia, Europe and the Americas came together to work and live, and make music. Zamiaykal, Mast, R (2000) Strike Em! Contemporary Voices from the Torres Strait,TSIMA Torres Strait Cultural Festival Committee, CD cover notes Singing forms a special part of Torres Strait Islander cultural expression. It is very much part of community life where both men and women sing together in harmony. Songs such as Taba naba accompany sit-down dances while other songs and music accompany other dances such as the shark dance. Two Torres Strait Islander men photographed in 1907 wearing dance costumes. One man holds a drum warup and the other wears a crocodile-kingfisher mask Stan Florek (2005) The Torres Strait Islands Collection at the Australian Museum, Australian Museum, Sydney, p 39 Singing and dancing is usually accompanied by percussion instruments. The following table lists three percussion instruments that are commonly heard in Torres Strait Island music. Instrument warup gor lumut or thram Description an hourglass-shaped single-headed drum with a watersnake skin; it is used to play the beat a rattle made from halved bean-like seeds from a kulap vine; it is often carried and played by dancers a large horizontal bamboo slit drum which is struck with thin bamboo sticks; it often accompanies singing and dancing 40 Unit 2 Music of our place

57 From left to right: a warup with lizard skin drumhead, feathers and goa nuts, collected in 1884; kulap rattle or gor, 1984; drawing of a lumut or thram Stan Florek (2005) The Torres Strait Islands Collection at the Australian Museum, Australian Museum, Sydney, p 23; <amol.org.au/collection/collections_index.asp>; York, F.A. (1990), Children s songs of the Torres Strait Islands, Owen Martin Publications, Bateman s Bay, p 5 In the next activity you visit a website to view photographs of Torres Strait dancing. You also have the opportunity to read about the Torres Strait Islands and dances from the area. If you do not have access to the Internet, ask your teacher to help you access suitable photographs and information. Activity 1 1 Go to OzOutback < 2 Click on Photos/Postcards in the menu on the left-hand side. 3 On the next page, scroll down and click on Torres Strait Islands. 4 Read about the Torres Strait Islands and study the map. 5 Click the link to Torres Strait Dancing in the left-hand menu. 6 Read about Torres Strait Islander dances. 7 Click on the first thumbnail to display a full size image. Read the caption above the image. 8 Click the next arrow to view the next and subsequent full-size images. As you view the images, look for the following. - Notice how the dancers hold the gor, the shaker made from kulap seeds, which is used to accompany their dancing. - Notice the shark masks and other typical feather headdresses worn by the dancers. 9 Click the link to More Torres Strait Dancing and repeat steps 6-8. The SBS television series RAN (Remote Area Nurse) is set in the Torres Strait Islands and includes dance performances and a soundtrack featuring traditional music. The TV series is also available on DVD. Now let s listen to some samples of music from the Torres Strait. Music of the Torres Strait Islands 41

58 Songs from the Torres Strait Listen to the following four tracks from the Music of our place CD. As you listen to these examples of music from the Torres Strait Islands, try to identify the sound of traditional instruments such as the warup, gor and lumut (thram). Close your eyes and listen. Track 11 Awgadh Noe Ayimdhin sung by the Wongai Family Warriors Track 12 Vailia Wara sung by Saibai Island State School Track 13 Up in the Sky sung by Izzie Shibasaki This song is also known by the title Are you from T.I. TI or Thursday Island (Waiben) is the commercial and administrative centre of the Torres Strait Islands Track 14 Kaiyar Mabaig ( Crayfish Diver ) sung by Ray Wymarra Activity 2 Play the tracks again as you answer the following questions. You can listen to the songs as many times as you need. 1 List the instruments you can hear in Awgadh Noe Ayimdhin (Track 11). 2 List the instruments you can hear in Vailia Wara (Track 12). 3 List the instruments you can hear in Up in the Sky (Track 13). 4 The instruments used in Kaiyar Mabaig ( Crayfish Diver ) recorded on Track 14 include warup, violin, viola, guitar, bass, clapsticks, male voice, keyboard, mandolin and harmonica. a b Which instrument solos in the opening section? What do you notice about the end section or coda? 42 Unit 2 Music of our place

59 5 Write a paragraph on what you notice about music from the Torres Strait Islands. What are its characteristics? Check your response by going to the suggested answers section. Activity 3 Choose one of the songs you enjoyed from the Torres Strait Islands (Tracks 11-14) and complete the following task. 1 Improvise body percussion to accompany the beat of the song. 2 Move to the music as you listen to the track again. You may stand up and move with your whole body or sit down and just move your upper body. 3 Compose a series of movements to accompany the song. Choose movements that suit the feeling of the music. Develop more than one sequence based on the patterns you hear in the music and the structure of the song. 4 Practise performing your movements with the recording until you feel confident. 5 Make a record of the movements you created to accompany the song. You might video your performance, take a series of photographs to show the steps or write the steps down on paper. Music of the Torres Strait Islands 43

60 My Island Home In the mid-1990s Christine Anu had a hit with the song Island Home. The song was first recorded nearly ten years earlier by the Warumpi Band from Papunya, 200 km north west of Alice Springs in Central Australia. It was originally called My Island Home and was written by Warumpi band member Neil Murray. Find out more about the background of the song by visiting the following page on Neil Murray s website: < If you don t have access to the Internet, use other sources of information or ask your teacher for a printout of the webpage. Write a summary of what you discovered about the background of the song. The lyrics of the version sung by the Warumpi band differ slightly from the later, more familiar version of Island Home sung by Christine Anu. The song describes how the singer is homesick in the city and misses the island where he or she was born and raised. This story is particularly appropriate for Christine Anu to sing as it reflects her own experience. Indeed, it has become her signature song. About Christine Anu Christine was born in Cairns in Her parents were from the Torres Strait Islands and, when she was ten years old, the family moved there to live on the island of Mabuiag. She came to Sydney to study dance at NAISDA (National Aboriginal Islander Skills Development Association). After graduation she danced for several years with the Bangarra Dance Theatre and the Aboriginal and Islander Dance Theatre while developing her musical career. 44 Unit 2 Music of our place

61 She is now well known for her great voice and has had several hit songs during her career including Party, Monkey & the turtle, and Island Home from her platinum debut album Stylin up, in In the next activity, you compare three versions of My Island Home : the original recording by the Warumpi Band and two versions sung by Christine Anu. Before you begin the activity, listen to each version at least twice. Track 15 My Island Home by the Warumpi Band (from Go Bush!, 1987) Track 16 Island Home by Christine Anu (from Stylin Up, 1995) Track 17 Island Home (Chant Mix) by Christine Anu (from Singers for the Red Black &Gold - Yil Lull, 1998) Activity 4 1 Describe the three versions of My Island Home. Write your ideas in point form. Consider a variety of musical elements. For example, you might describe the tempo, instruments or tone colour, structure as well as the musical style of each version. My Island Home, Warumpi Band (Track 15) Island Home, Christine Anu (Track 16) Island Home (Chant Mix), Christine Anu (Track 17) Music of the Torres Strait Islands 45

62 2 Match each version of My Island Home to the style of music it reflects. My Island Home, Warumpi band, 1987 Island Home, Christine Anu, 1995 Island Home (Chant Mix), Christine Anu, 1998 world fusion country rock electronic pop 3 Compare the three versions of My Island Home by describing their similarities and differences. Use information from questions 1 and 2 to complete your response. 4 Which version of My Island Home do you prefer and why? Check your response by going to the suggested answers section. 46 Unit 2 Music of our place

63 Song study Listen to Christine Anu s version of My Island Home (Track 16). Follow the lyrics written on the next page. Words in brackets are sung in the Warumpi Band s original version. Above the lyrics are the chord symbols for the song in the key of D major. After you have listened to the song, complete the activity below. You will need to listen to the song again to complete your answers. Activity 5 1 Write a sentence that sums up what the song is about. 2 Fill in the missing parts of the structure. Introduction Verse 1 Verse 2 Chorus Verse 3 Chorus x 4 times Ending or coda (repeating part of the chorus) 3 List the chords used to accompany the song. What is the tonal centre or tonic of the song? 4 Draw the contour or shape of the melody in each line in the first verse. Indicate the lines or phrases that have the same melody. Check your response by going to the suggested answers section. Music of the Torres Strait Islands 47

64 48 Unit 2 Music of our place

65 Singing the song It is always a good idea to warm up your vocal chords before you begin singing. Complete the following vocal warm-up exercise. Vocal warm-up exercise We are all able to sing it s just a matter of getting used to producing a good sound. This requires practice and care. It s like driving a car; you need to look after it so it runs well. Since we tend to hear our voices from inside our bodies, we need to listen and learn how to warm up our voices in order to project a good sound outside our bodies. Try the following steps. 1 Lie down and close your eyes. Imagine you are in a place where you can relax (but not in bed or you may fall asleep). Imagine you are lying by a river, in a forest or by the beach. Perhaps you have a favourite spot somewhere. 2 Concentrate on your breathing. Breathe in and out evenly. 3 Now make a sound as you breathe. Listen to your breath and make it even as you breathe in and out. 4 After a few breaths, make a long aaah as you breathe out. Do this a few times. Notice where your breath comes from. Watch the rise and fall of the area around your abdomen. 5 Once you feel that you have a good sound, roll over to your right side and slowly stand up, rolling up the spine. Let your head relax forward and be the last part of your body to be aligned. As your head finally faces forward, let your jaw drop open and make the sound aaah again. Remember to have the same relaxed feeling you had when you were lying down. 6 Roll down your spine and slowly come up again the same way. Do it a few times and notice how your sound improves. Do this warm-up exercise before every music lesson. Do it at least twice a week and you ll notice your voice improve even more as you start taking care of it. Music of the Torres Strait Islands 49

66 Activity 6 Listen to Track 16 once more and follow the lyrics. Focus on the vocal melody and how the pitch moves in each line. Notice where the melody is repeated. Learn to sing My Island Home by practising the phrases and parts demonstrated on Tracks The content of each track is listed in the table below. The song is sung in the key of A major. With each recorded demonstration, complete the following steps. 1 Listen to the track at least twice. 2 Sing along with the recording several times. 3 When you feel confident, sing the phrase or phrases alone. 4 When you ve mastered the melody, move on to the next track. Stand up tall when you are singing. Open your mouth wide and your sound will come out with the melodies of My Island Home. Remember when you sing you are using your natural instrument. Relax. There s no need to worry. Allow yourself to do it. Track Part or phrase 18 Verse 1, phrase 1 19 Verse 1, phrase 2 20 Verse 1, phrases 1 and 2 21 Verse 1, phrases 1 3 Remember that phrase 3 has the same melody as phrase Verse 1, phrase 4 23 Verse 1 (all phrases) 24 Verse 2 Remember that this verse has the same melody as verse Verse 1 and 2 Listen carefully to the contour of the vocal melody. 26 Chorus Listen carefully to the contour of the melody. 27 Verse 3 Pause the CD after each line of the verse and repeat the phrase. Notice which lines have the same melody. 50 Unit 2 Music of our place

67 If you worked carefully through each of the phrases and parts recorded on each of the tracks of the CD, you should now be able to sing the whole song with confidence. Sing Island Home with Christine Anu (Track 15). She sings it in the key of D major. Turn back to the songsheet to follow the lyrics. Choose a rhythm to play during the verses and join in singing along with the chorus. Now that you have sung My Island Home with others, it is time to try a solo performance. Listen to the backing track for Island Home recorded on Track 28. The accompaniment includes guitars, drums and backing vocals as well as the melody line. As you listen to the backing track, follow the listening guide below. Listening guide 1 Instrumental introduction 2 Verse 1 (listen for the count-in ) 3 Verse 2 4 Chorus x 2 times with backing vocals 5 Verse 3 6 Uh huh (5 times) 7 Instrumental section 8 Verse 2 (listen for the count-in ) with backing vocals 9 Chorus x 4 times with backing vocals 10 Repeat My Island home with backing vocals to fade out In the next exercise you will practise singing Island Home with the backing track and then record your performance. Go to the exercises section and complete Exercise 4. Music of the Torres Strait Islands 51

68 Guitar sounds The guitar plays an important role in the song My Island Home. This instrument is often heard in rock bands both playing chords as accompaniment to the singer and also featuring in solos. In the following Composer Notes activity you listen to a number of different guitar-playing examples. Activity 7 1 Open Composer Notes then go to the Instrumentation guide and click on the guitar icon. 2 Read the instructions on the page Guitar Electric and Acoustic and then click on Interactive Guitar Style Library. A pop-out menu will appear. 3 Select Modern Rock from the pop-out menu and then Modern Rock Texture-1 from the sub-menu. 4 Work through the next nine pages headed Modern/Progressive Rock. Use the right arrow at the bottom of the page to go to the next page. On each page complete the following tasks: a b read the text (if you click on any text links, click on the up arrow to return to the page) listen several times to the musical examples (click either on the notation or the speaker icon). 5 When you have finished reading about and listening to the Modern/Progressive Rock examples, exit Composer Notes. Think about which styles of playing you enjoyed listening to most. Write your response to at least one example heard in the Composer Notes activity on the lines below. 52 Unit 2 Music of our place

69 Before going on, check that you covered the activity material. In this activity in Composer Notes, I listened to nine examples of the guitar including: a shimmering arpeggio pattern woven around a rhythmic drone a cascading pop riff with harmony a percussive guitar example with driving pulse a typical pop bridge passage using arpeggios which end on a sustained, long note a lyrical solo using a tremolo arm to bend pitches and add vibrato fast-moving rock backing based on perfect 5th intervals lyrical rock head over regular backing a bridge passage which combines elements of the backing and solos from previous examples a very fast solo-guitar passage. Let s jam! Choose a variety of body percussion sounds for this jam session. Perform a rhythm that you have played during this unit to jam to Track 30. Improvise during the two solo breaks. In this section you learnt about the music and people of the Torres Strait Islands. In the next section you will look at contemporary Aboriginal and Torres Strait Islander music. Music of the Torres Strait Islands 53

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71 Contemporary Indigenous music In this section you will learn about contemporary Indigenous music. You will discover how music plays an important role in Indigenous culture. You will: listen to Down River and rap along with the Wilcannia Mob read and write rhythms using music notation set words and phrases to rhythm create a composition based on rhythms you invent from people s names. learn about MIDI sequencing and homophonic textures write your own rap and record your performance. Recognising Indigenous talent During this unit you have listened to several Australian Indigenous musicians and groups. There are many, many more creative and talented people of Aboriginal and Torres Strait Islander background, not just in the field of music but in a wide range of endeavours. Each year there are special events to acknowledge their achievements. The Deadlys Every year the Deadly Awards are held at the Sydney Opera House to celebrate the achievements of Aboriginal and Torres Strait Islander peoples in sport, the arts, entertainment and community work. In 2005, Ernie Dingo hosted the evening and music awards were given to such artists as Kev Carmody and Casey Donovan. Message Sticks Another annual event presented by the Sydney Opera House is the Message Sticks Festival. This festival showcases the wealth of talent of our Indigenous artists in film, art, music and performance. Contemporary Indigenous music 55

72 In 2004, one of the highlights of the Message Sticks program was River Rhythm Beatbox with its performances by young rappers from Wilcannia, Bourke and Broken Hill in outback New South Wales. These young performers were inspired by the annual visits of two MCs from Sydney Australian rappers MC Wire and Morganics. River Rhythm Beatbox took place in The Studio at the Sydney Opera House. Surrounding the performance area were video screens with footage taken during the road trip that Morganics and Indigenous artist MC Wire went on. Interviews and discussion with local people complemented the rappers performances and made the audience feel like they were on the road with Morganics and MC Wire, visiting regional areas. In order to get a sense of what it s like to travel long distances as an Australian band, try the following game on the Bush Mechanics website. Your task is to get the band from Yuendumu (about 300 kilometres north west of Alice Springs) to Alice for a gig. File sizes may make some resources on this website unsuitable for accessing via a dial-up modem Internet connection. Activity 1 Go to < and enter the site. 1 Before you begin the game, look at bush mechanic Tricks and listen to Francis Kelly s story to help you prepare for the trip. 2 Click on THE GAME on the home page and then follow the instructions. This game is 700 KB and requires the Flash plugin. The original television documentary Bush Mechanics tells the stories of the Warlpiri desert men and the ingenious ways they keep their cars going in the bush. Later a four-part television series was made. 3 Click on the Music link in the top navigation bar and listen to songs that feature in Bush Mechanics and read about the musicians who wrote and performed them. Audio files are mp3 format ( MB) and require QuickTime, Windows Media Player or some other suitable plugin. 4 Click on the Warlpiri link in the top navigation bar and read about the Warlpiri people of Central Australia. 56 Unit 2 Music of our place

73 Down River One of the groups of young rappers at Message Sticks 2004 came from Wilcannia and had already made a name for themselves as The Wilcannia Mob. Their song, Down River, received a lot of airplay on Triple J. It describes what they do on a typical day. Rapping is rhythmic talking and comes naturally to many people since it is an extension of speaking. You just emphasise the rhythm or rhyme of the words. Listen to the song Down River (Track 31). After you listening to the track once, play it again as you clap and move to the beat. Activity 2 Listen again to Down River as you respond to the following. 1 Make a list of the rappers names as they introduce themselves. 2 List some of the activities the rappers mention. 3 Each verse and chorus has four lines. Which lines end with words that rhyme? 4 Choose the stanza (group of four lines) that you enjoy the most and write down the words that end each line. Check your response by going to the suggested answers section. Play Down River again and whisper the words rhythmically as you listen. Do this at least twice. The lyrics are written on the next page. Perform along with the recording by the Wilcannia Mob when you feel confident. Use a strong, confident voice and make your speech rhythmical. Contemporary Indigenous music 57

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75 Exploring rhythm Rhythm is one of the basic elements of music and an important part of rapping. Rhythm relates to the duration of sounds and silence and the way in which we group these into regular patterns. Some sounds are accented while others are less stressed. Rhythm can be found in many activities throughout our lives whether it is in the rhythm of our steps or the beating of our hearts. Think about some everyday activities that have rhythm. Riding a bicycle, for example, has rhythm. Write down your ideas. Notating rhythms Rhythms are often written down using a special set of symbols notated on a staff. These symbols enable people throughout the world to communicate musical ideas. Find out more so that you too can participate in musical exchange. Listen to the following rhythms recorded on Track 32 and then perform them using any sound source. There is a count in before each rhythm begins. Notice that the rhythms are written on one line of the staff. You can read about the staff and other symbols on the next page. You should already be familiar with some of these symbols. Contemporary Indigenous music 59

76 Now read about the symbols that indicate sounds and silence of different duration. Rhythm symbols The chart below shows five different rhythm notes and their values. Each note is shown with its matching rest (indicating silence in music). Different rhythm names have developed in different countries. This chart lists both the British and American names, although the British names are most often used in Australia. Rhythm chart Note British Name Value American Name Rest semibreve 4 beats whole note minim 2 beats half note crotchet 1 beat quarter note quaver 1/2 (half) beat eighth note semiquaver 1/4 (quarter) beat sixteenth note 60 Unit 2 Music of our place

77 The rhythm chart shows the notes and rests in order of duration. The semibreve, with the value of 4 beats, is the longest. The semiquaver, with only a quarter of a beat, is the shortest. Each note and rest is half as long as the previous one. For example, a minim has two beats and lasts twice as long as a crotchet, which has only one beat. Have you noticed that the shorter a note s duration, the more complex its symbol? Compare the notes in the chart. Use the terms in the diagram below to describe the symbols. Different parts of a quaver note Tail groupings When quavers and semiquavers occur within the same beat, the tail is replaced by a beam which joins the stems together. becomes and becomes Compare the rhythms below. The two rhythms are identical. However, the second example is much easier to read because the beats are clearly visible. Listen to the rhythm performed on Track 33 and read the top rhythm. Play the track again and follow the second rhythm. Clap the rhythm yourself. Do you agree that it is easier to read the rhythm that has the tails joined to show the beat? Study the names and values in the rhythm chart and then complete the activity on the next page. Contemporary Indigenous music 61

78 Activity 3 1 Fill in the missing number to make the values match. The first one has been done for you: one crotchet matches the value of two quavers (one beat equals two half beats). 1 crotchet = 2 quavers 4 semiquavers = quavers 8 quavers = semibreve 4 crotchets = minims 1 semibreve = crotchets 4 quarter notes = quavers 2 half notes = quarter notes 1 whole note = eighth notes 8 sixteenth notes = half note 8 eighth notes = sixteenth notes = whole note 2 Complete the following descriptions of note symbols. a b A semiquaver has tails. A has no stem. 3 Beside each note below, draw its equivalent rest. 4 Rewrite the following rhythm notes joining the stems together. a b Check your response by going to the suggested answers section. 62 Unit 2 Music of our place

79 You can read about music notation and listen to rhythm examples at the following website. San Francisco Symphony Kids Site < 1 Go to The Music Lab and then click on Basics. Read the text next to the conductor and click on Start. 2 Work through the next 14 pages to read about the following: a the staff b treble and bass clefs c bar or measure d time signature e beats and measures f pitch and duration g whole note, half note, quarter note and sixteenth note. 3 Click on Rhythm and read about What s Rhythm? then click on Go experiment with rhythm. 4 Follow the instructions to listen to rhythms 1 4. Play along by slapping your thighs or clapping. 5 Click on More to listen to rhythms 5 8. Follow the instructions to snap your fingers, dance, count and march to each rhythm. 6 Exit the website after completing the activity. Activity 4 Complete the description of the following rhythm by filling in the eight blank spaces with appropriate musical terms or words. The rhythm is written on a in the clef. The signature indicates that there are three crotchet (or quarter note) to the bar. The rhythm is four long. bars have the same rhythm pattern. The last bar ends on a crotchet. A double bar line marks the of the rhythm. Check your response by going to the suggested answers section. Contemporary Indigenous music 63

80 Clap the following rhythms with the recording on Track 34. A woodblock plays four beats at the beginning and between each rhythm. The rhythms are written on a single line instead of the five line staff Perform the rhythms by yourself when you feel confident. Make sure that you keep a steady beat. In the next exercise you choose two of these rhythms to arrange into a composition. You then practise and record your performance. Go to the exercises section and complete Exercise Unit 2 Music of our place

81 Matching rhythms to words In preparation for creating and notating your own rap, explore how you can create and notate rhythms from words. Feel the rhythm of the following six words. Say each word aloud. Mariette Emma John Michael Australia Uluru When creating rhythms from words, you need to think about: the syllables that occur in each word where the strong accents occur. The six words are written again below with the syllables separated by hyphens (-). Notice that John only has one syllable. Ma-ri-ette Em-ma John Mi-chael Au-stra-li-a U-lu-ru Say the words aloud rhythmically while you clap a steady beat. Rhythms that match each word are written in the grids below. Your rhythms may have been different. Notice that the rhythm for the word Australia begins on an up-beat. Listen to each rhythm as it is clapped on Track 35. Repeat each rhythm by yourself and say the names aloud as you clap Mariette X x X Emma X X John X Michael X X Australia x X x X Uluru X X X Contemporary Indigenous music 65

82 Activity 5 Rewrite the following rhythms using conventional rhythm symbols. Write the words underneath the rhythm and put a hyphen between syllables. The first rhythm has been done for you Mariette X x X Emma X X Uluru X X X Australia x X x X Check your response by going to the suggested answers section. 66 Unit 2 Music of our place

83 Up-beat lyrics Not all song words begin on the first beat of the bar because some words and phrases do not stress the first syllable. Here s one example you are already familiar with: Au stra li a Unstressed words or syllables that occur before the first full bar or measure are called an up-beat or anacrusis. Listen to the last verse of Down River (Track 36). Each line of the verse begins with an up-beat. Follow the notated example below. Try performing the verse yourself as you clap the rhythm. Activity 6 On the music notation above, circle the up-beat (words and rhythm notes) that begins each line of the verse. Check your response by going to the suggested answers section. In the activity on the following page you create your own composition based on name rhythms that you invent. Contemporary Indigenous music 67

84 Activity 7 1 Write your name placing a hyphen between each syllable. 2 Say your name aloud and decide which syllables are stressed. Put a line above the stressed syllables. 3 Clap the beat and say your name rhythmically once every four beats. 4 Decide if the rhythm of your name begins with an anacrusis (or up-beat). 5 Write the rhythm of your name in the rhythm grid below. a Print your name in the left-hand box. b If the rhythm of your name begins with an anacrusis add the necessary beats at the beginning of the rhythm. c Notate the rhythm of your name by placing x s below the appropriate beats. Name Create six rhythms from names of people you know (family, friends, or even yourself). Write the names in the first column. Name Play the rhythms on your chart using a different vocal or body percussion sound for each rhythm. 7 Practise playing the rhythms until you feel confident. 68 Unit 2 Music of our place

85 8 Make an arrangement of your rhythms that is at least 8 bars long. a Decide in which order you will perform the rhythms. b Use all rhythms at least once (you will need to repeat one or more rhythms). c Choose the sound sources you will use to perform the rhythms. 9 Make a record of your new arrangement in the space below. 10 Practise your arrangement and, when you feel secure, record your performance. Self-assessment 1 What did you discover about your ability to create rhythms from words? 2 What were the strengths of the arrangement you created? 3 What were the strengths of your recorded performance and what could you do to make it better? Contemporary Indigenous music 69

86 Rhythm phrases Now that you have turned words into rhythms, it s time to create a rhythm from a whole phrase. A simple way to start is to clap the beat and then say the phrase aloud rhythmically. Remember to be aware of the syllables that occur in each word and recognise where the accents or stresses occur. Listen to the following examples performed on Track 37 and join in clapping and saying the phrase. I am studying mu-sic X X X x X X X I am stu dy- ing mu - sic I live in Sydney near the beach X X x X X X X X I live in Syd - ney near the beach The next phrase is from the rap Down River. It is the last line of the chorus. The stressed words have a line above them. Clap the beat and say the phrase aloud rhythmically. Practise until you can perform it confidently. When we get home we play some didj. Rap along with the recorded extract on Track 38. The phrase is heard three times. Follow the rhythm chart below X x x X x x x X When we get home we play some didj In the following activity, you create your own rhythms from phrases. 70 Unit 2 Music of our place

87 Activity 8 1 How many bars in each of the rhythms on the previous page? 2 Rewrite the rhythms on the previous page using conventional rhythm symbols. Write the words underneath the notes. 3 Complete the following pair of phrases by adding the three missing words. Write the missing words in the spaces as well as in the rhythm grid below. Each word you choose must fit the rhythm shown in the rhythm grid and make sense in the context of the phrase. Up in the and out the door, Won t be til half past X X x X x X X X X Up in the and out the door X X x X x X X X X Won t be til half past Contemporary Indigenous music 71

88 4 Turn the following phrase into a rhythm that is two bars long. Pedal faster going down hill. a b c Clap a steady beat and say the phrase aloud rhythmically. Mark the syllables in the words and the stresses or accents in the phrase. Tap the beat and clap the rhythm of the phrase as you say it aloud. 5 Write the rhythm you created for the phrase in the rhythm grid below. Add the words correctly underneath the rhythm Write the phrase you created on the single line staff below. Add the words below the rhythm notes. Check your response by going to the suggested answers section. Self-assessment What did you discover about your ability to turn a short phrase into a rhythm? 72 Unit 2 Music of our place

89 Songwriting Many well-known songs are written as a collaborative effort. Sometimes one person comes up with the lyrics and another person creates the melody. Sometime the whole band creates the music together. There are many famous songwriting teams in which one person writes the lyrics and another the music. Some famous songwriting teams include Rodgers and Hart, Rogers and Hammerstein, Ira and George Gershwin, and Lennon and McCartney. Vanda and Young are a well-known songwriting team from Australia. Songwriters often start writing their songs from the lyrics. This is what you will do in the next exercise. You will create your own rap about what you do on a typical day. Think about the activities that you like to do. Make a list below. Go to the exercises section and complete Exercise 6. You may also complete the Extension exercise 7. In this optional exercise you notate your rap. Your teacher might ask you to complete it. Contemporary Indigenous music 73

90 MIDI textures and sequencing Background tracks for rapping are often made using a MIDI sequencer program. MIDI stands for Musical Instrument Digital Interface and refers to a method or protocol that allows electronic music devices such as synthesizers, samplers, sequencers or drum machines to communicate with one another and with computers. A MIDI sequencer program is software that allows you to record and play back MIDI instrument sounds. These sounds can be laid in multiple tracks or layers, edited and arranged (sequenced) to create a composition. Examples of this type of software include Logic and ProTools. GarageBand for the Mac also has the capacity to act as a MIDI sequencer. In the following Composer Notes activity you look at how you can use a computer MIDI sequencing program to create a backing track. Activity 9 1 Open Composer Notes and click on the Composition icon to go to the Guide to composition modules page. 2 Click on Homophonic MIDI Textures & Sequencing and choose the second option from the drop-down menu: Homophonic Textures + MIDI Sequencing. The page which appears is headed Homophonic MIDI Textures & Sequencing. 3 Read paragraphs 1, 2 and 4 to find out more about texture and sequencing. (You don t have to read paragraph 3. It talks about a MIDI Project which you are not required to complete.) 4 Watch two demos about sequencing by clicking on the TV icons: a b Demo showing assembly of preselected elements and addition of melody Demo showing creating new layers within an existing MIDI Texture. 5 When you have finished, exit Composer Notes. 74 Unit 2 Music of our place

91 Before you go on, check that you covered all the material in this activity. In this activity in Composer Notes, I: read about texture and sequencing watched a video about putting together preselected elements to create a backing and adding a melody to a MIDI file watched a video about creating new layers within an existing MIDI texture. Activity 10 Write T or F beside the following sentences to indicate whether the statements are true (T) or false (T). 1 MIDI software can be used to create homophonic musical backings. 2 An example of homophonic texture is a single melody line with supporting accompaniment 3 Generally when using sequencers, composers start by assembling the drums, bass and chords. 4 In MIDI programs, you can use pre-existing elements or record new elements such as melodies. 5 Usually a lot of editing occurs in the sequencing program to achieve the best overall musical effect. 6 You can extend a layer element by repeating it. 7 Sequencing programs make it easy to experiment with musical textures. 8 You can thicken homophonic textures by adding new layers or tracks. 9 You can use the sequencer s editing tools to transpose, rhythmically alter or embellish new parts. 10 Some MIDI sequencing programs allow you to display your composition in different views (for example, score view and arrange view). Check your response by going to the suggested answers section. If you have access to a computer MIDI sequencer program, try creating your own backing for the rap you created. Contemporary Indigenous music 75

92 Let s jam! Rap along to the backing track (Track 39) for this jam session. Use the phrases you wrote about your daily activities or improvise new phrases as you go. Try to create rhymes as you rap. When you feel comfortable with your performance, record it. This is the end of the final section of Unit 2 Music of our place. In this section you looked at contemporary Indigenous music. Throughout the unit you explored the music of Australia and in particular the music of Aboriginal and Torres Strait Islander peoples. In the next unit you will look at the music of our region. 76 Unit 2 Music of our place

93 Suggested answers Unit 2 Check your responses against these suggested answers. These may be more detailed than yours. Also some answers will vary because often there is not one correct answer, but rather different supportable opinions. Music in Australia Activity 1 The musical styles listed below are suggested responses only. You may associate each place with other styles of music through your own experiences. Places The kitchen Your bedroom The cinema A park A concert hall Australia Latin America New York England Spain Styles of music Pop music Rap, hip-hop, classical Film music Brass band music Orchestral music, rock music, classical music, art music Rock, pop, Indigenous music, country Salsa, tango, cha-cha, lambada, merengue Hip-hop, jazz, funk, R&B, contemporary, musical theatre Punk, folk, musical theatre Flamenco Activity 2 1 Sandy Evans, Jimmy Barnes, James Morrison, Olivia Newton-John, Peter Sculthorpe, Matthew Hindson, Graham Koehne, Betty Beath, Miriam Hyde, David Page, Jimmy Little are just some of the names you may have listed. 2 Aboriginal and Torres Strait Islander music, Australian contemporary music 3 Pop, rock, jazz, rap, hip-hop, country, art music and many others Suggested answers 77

94 Activity 3 1 Kora, drum, finger cymbal, voice, shakers, piano 2 There were three percussion instruments to circle in the answer to question 1: drum, finger cymbal and shakers (the piano is also often included in the percussion family although its sound is produced by small hammers hitting strings rather than by causing a membrane or solid object to vibrate). 3 At the beginning of Saginou, the kora melody moves downwards in pitch. 4 Saginou is about yearning for loved ones in her homeland of Tatarstan; some ways that the music suggests yearning include: the falling melody lines, the long notes sung by Zulya at the end of phrases, the rocking pattern of the ostinato played on the kora, the tone colour of the voice and the kora. Activity 5 The didjeridoo Some say the didjeridoo has been played for many thousands of years although other say the evidence only dates back 2000 years. It was originally only heard in Arnhem Land, northern Western Australia and Cape York. It then spread to other areas. It looks like a long tube and is made from a hollowed-out tree branch or trunk. Sound is produced by blowing with vibrating lips; the player uses a technique called circular breathing to produce continuous sound. The shakuhachi The shakuhachi originated in China and was brought to Japan in the 8th century. It is a bamboo flute and has five finger holes: four on the front and one at the back. The shakuhachi is held vertically and sound is produced by blowing into the top end across a v-shaped groove which forms a blowing edge or mouthpiece. Activity E F G A B C D E F 3 A comes after G (you start again from the beginning of the alphabet). Activity 8 1 The alto sax has a higher pitch range than the tenor sax. 2 Woodwind players can produce sounds of different pitch by: a opening or closing holes along the body of the instrument b changing their embouchure (how they purse their lips or hold their mouth). 78 Unit 2 Music of our place

95 Australian Indigenous music Activity 1 1 Traditional Australian Indigenous music, country, rock, rap, pop, dance 2 Christine Anu, Troy Cassar-Daley, Casey Donovan, Archie Roach, Kev Carmody, Yothu Yindi, Mandawuy Yunupingu, Warumpi Band, Coloured Stone, Mixed Relations, Jimmy Little, Ruby Hunter, Harold Blair, Matthew Doyle, No Fixed Address, Maroochy Barambah, Delmae Barton, Deborah Cheetham and many more. Activity 2 Making a didjeridoo To begin making a didjeridoo, you have to find a suitable tree, such as a stringybark. Tap on the trunks until you find one that is hollow. After cutting it down, cut off the top so the trunk is a suitable length. Strip off the bark and carve the outside. Clean out the inside of the trunk so that it is completely hollow and file down the mouthpiece to make it smooth for playing. Carve inside the bottom of the trunk to create a flared end to help amplify the sound. Some didjeridoo makers soak the trunk so as to prevent if from cracking later and to soften it up for further carving. After it is dry, shape the outside as necessary and then sand the instrument. Some instruments are also treated to help preserve them. The final step is to paint the instrument. The didjeridoo gets played at each stage of its development. Activity 3 1 Some of the sounds Dargin produces on the didjeridoo include pulsating sounds, sounds like the cry of a bird, a foghorn, a dog barking and a loud toot at the end. 2 The music begins slowly and gets faster. 3 Dargin uses calls and cries; they are short. 4 Graphic notation responses will vary widely. You should have included symbols to show the various sounds that Dargin produces such as the cry of a bird, dog bark or fog horn. Your notation should also show that the music gets faster and ends with a loud toot. Suggested answers 79

96 Activity 4 1 The two main sound sources are didjeridoo and voice (vocal percussion). 2 Below is one way you may have written down the pattern of vocal sounds: brrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr aah aaaaaah aah aah ahh aah aaaaaah aah aah ahh huh huh 3 Matthew repeats the same pattern of vocal sounds after the didjeridoo starts playing. 4 Michael uses several other vocal sounds. Two of these sounds could be written as follows. a ssshhh b szt 5 The first vocal sound (brrrrrrrrrrrr) moves down in pitch. 6 The didjeridoo plays a drone under the vocal part. High pitched calls or cries occur at the start, in the middle and at the end of the piece. Activity 5 The following lines show how the voice moves at the beginning of Cora. Activity 6 1 The name Yothu Yindi means child and mother Gumatj and Rirratjingu 5 Balanda 6 The Garma is held at Gulkula in North East Arnhem Land overlooking the Gulf of Carpentaria; it is held annually. 7 Yolngu and other Indigenous and non-indigenous peoples from around the world come together at Garma. They share knowledge and culture and celebrate Yolngu culture including by attending workshops, masterclasses, ceremonial performances, demonstrations, talks and forums. 8 The purpose of Garma is to celebrate Yolngu culture, provide an occasion for cultural exchange between Indigenous and non-indigenous people and an opportunity for learning. The festival is designed to encourage the practice, preservation and maintenance of traditional dance, song, art and ceremony through music and dance. ( 80 Unit 2 Music of our place

97 9 Your response will vary depending on the events and performances you read about or were able to listen to. You may have included information you gave in questions 7 and 8. Activity 7 1 The missing sections were: verse 2, chorus and finally chorus x 2 (or 2 times). 2 The pitch moves downwards in each pair of lines in the verse. 3 In the second verse, the melody goes up on the words reality and beginning. 4 The song refers to the way of life of the Yolngu people. Activity 8 1 Steel pans come from the Caribbean (West Indies). 2 To evoke the feeling of being near the sea. 3 Drums, shaker, guitar, bass guitar, voice Activity 9 1 The chords G C and D are used. 2 The chord pattern in the verse is G D C G. 3 It is played five times in the first verse and four times in the second verse. 4 The chord pattern of the chorus is D C G D C G (or D C G played twice). 5 G Activity 11 1 Verse I V IV I Chorus V IV I Activity 12 1 E 2 E 3 E 4 E, A and B Activity 14 1 motif, phrase, sentence 2 repeat the motif over and over (ostinato) play the motif backwards (retrograde) play the motif slower, for example, twice as slow (augmentation) play the motif faster, for example, twice as fast (diminution) Suggested answers 81

98 Music of the Torres Strait Islands Activity 2 1 Guitar, female and male voices, warup and gor are heard in Awgadh Noe Ayimdhin. 2 Children s voices, male voice, gor, warup are heard in Vailia Wara. 3 Gor, ukulele, harmonica, male voice, accordion are heard in Up in the sky. 4 a The violin solos at the opening of Kaiyar Mabaig. b The violin section from the beginning returns in the end section or coda. 5 The music features vocals often singing in harmony. The melodies are lyrical and the rhythms are even. The percussion instruments are played on the beat. Alongside instruments such as the guitar, they also play the traditional warup, gor and lumut. Activity 4 1 Warumpi Band version Christine Anu version Christine Anu s Chant Mix Tempo is moderate with a laid-back country rock beat; during verse 3 the accompaniment doubles time (plays twice as many notes per beat) giving the feeling of speeding up the tempo, in the next chorus the drumming becomes a heavier rock style. Song features a male singer with male backing vocals, acoustic guitar, a twangy electric guitar, organ, bass guitar and drums. Structure: Intro, V1 V2 Chorus, V3 Instrumental, V2, Chorus, V3, Chorus, Ending. The instruments, style of accompaniment and tempo create a country rock feel. Fast, short rhythm notes of the accompaniment give the feeling of a fast tempo; the repeated notes give a driving feel to the beat. Female singer with main female backing but also male vocals; instrument include drums and synthesizer and also clapsticks. Structure: Intro, V1, V2, Chorus x 2, Instrumental adding ah-huh element, V2, Chorus x 4, Ending. The introduction begins with the sound effect of water lapping on the metal hull of a boat. This version is in a different key to the Warumpi Band version and has more of a pop music feel. Tempo is similar to the other versions. Features female soloist with male/female backing vocals; clapsticks keep the beat along with rhythms on shakers, hi-hat and drums including warup; backing features sythesizer or other electronic sounds also later guitar; vocal backing provides the main harmony in verse 3. Structure: Intro, V1, Chorus, V2, Chorus x 2, V3 (with repeated phrase), middle section in an Indigenous language, V2, Chorus x 5, Ending. Soft rhythmic chanting in an Indigenous language, clapsticks, warup and modern pop sounds reflects world music style. The melody of the song is embellished or improvised. 82 Unit 2 Music of our place

99 2 My Island Home, Warumpi band, 1987 world fusion Island Home, Christine Anu, 1995 country rock Island Home (Chant Mix), Christine Anu, 1998 electronic pop 3 Your answer should include information given in your answers to question 1 and 2. Activity 5 1 The song describes how someone longs for the sea while living in the city. 2 The missing sections are: chorus, instrumental section, verse 2. 3 The chords used in this song are D, G, A and Bm; the tonal centre is D. 4 Phrases 1 and 3 are the same. Contemporary Indigenous music Activity 2 1 Wally, Keith, Colroy, Lendell, Buddy 2 The activities mentioned are swimming, fishing, jumping off the bridge, playing the didjeridoo, walking on stilts, doing backflips. 3 Lines 1 and 2 rhyme and lines 3 and 4 rhyme. 4 If you chose the chorus as the stanza you enjoy most, you would have written: swim, bream, bridge, didj. Activity crotchet = 2 quavers 4 semiquavers = 2 quavers 8 quavers = 1 semibreve 4 crotchets = 2 minims 1 semibreve = 4 crotchets 4 quarter notes = 8 quavers 2 half notes = 4 quarter notes 1 whole note = 8 eighth notes 8 sixteenth notes = 1 half note 8 eighth notes = 16 sixteenth notes = 1 whole note Suggested answers 83

100 2 a A semiquaver has two tails. b A semibreve (or whole note) has no stem. 3 4 a b Activity 4 Missing terms or words are written in bold. The rhythm is written on a staff in the treble clef. The time signature indicates that there are three crotchet (or quarter note) beats to the bar. The rhythm is four bars long. Three bars have the same rhythm pattern. The last bar ends on a crotchet rest. A double bar line marks the end of the rhythm. Activity 5 You may have ended rhythm 4 with a minim note. When music begins with an up-beat, the last bar is usually incomplete. If you add the value of the up-beat at the beginning, it creates one full bar according to the time signature. 84 Unit 2 Music of our place

101 Activity 6 Activity 8 1 Each rhythm is 2 bars long. 2 3 Suggested missing words 1 mor - ning (or another suitable two syllable word) 2 re tur - ning (or another suitable three syllable word) 3 four (or another suitable one syllable word rhyming with door ) X X x X x X X X X Up - in the mor - ning and out the door X X x X x X X X X Won t be re- tur - ning til half past four Suggested answers 85

102 4 Several different rhythms could have been created from the phrase. 5 One suggested rhythm is notated in the rhythm grid below. Compare your rhythm to the following X X X X X x X X Pe - dal fa - ster go -ing down hill. 6 The rhythm that you notated using standard rhythm symbols should be the same as the rhythm you wrote in the rhythm grid. Activity 10 1 T 2 T 3 T 4 T 5 T 6 T 7 T 8 T 9 T 10 T 86 Unit 2 Music of our place

103 Exercises Unit 2 Below is a list of the items that need to be returned to your teacher for each exercise in this unit. Check that you have completed and returned all the required work at the end of each section. Music in Australia Exercise 1: My place Exercise sheet including information about your composition, graphic representation of your ideas as well as your self-assessment Australian Indigenous music Exercise 2: Mouth music with didjeridoo drone Exercise sheet including information about and a notation of your vocal composition and also your self-assessment Recording of your vocal composition with didjeridoo backing Exercise 3: Musical motif Exercise sheet including information about and notation of your musical motifs composition and also your selfassessment Recording of your performance Exercises 87

104 Music of the Torres Strait Islands Exercise 4: My Island Home Exercise sheet with your self-assessment Recording of your performance Contemporary Indigenous music Exercise 5: Rhythms Exercise sheet with the rhythms that you chose to perform as well as your self-assessment Recording of your performance Exercise 6: Rap Exercise sheet including the words of your rap as well as your self-assessment Recording of your performance Extension exercise 7: Notate your rap (optional) Exercise sheet including the notation of your rap in a rhythm grid and on the staff as well as your self-assessment 88 Unit 2 Music of our place

105 Name Year Class Exercise 1: My place Imagine you are an Australian composer who is writing a piece that captures the sounds that represent your place and experience. 1 Describe your place and some of your experiences that you would like to try and capture in sound. 2 Describe the composition that you will create. Consider such elements as tone colour, pitch, rhythm, dynamics, tempo, form or structure. You might respond to these questions. What instruments will you use? What do they sound like? How do your melodies move: up, down, repeated notes? What rhythm patterns will you use? Describe them. How will dynamics help to capture the sounds of your place? What tempo will you set and will it vary during your piece? How will you organise the sounds you choose? Exercises 89

106 3 Give your composition a title. 4 Draw a graphic representation of your ideas here. Self-assessment 1 Which sounds do you think capture the sound of your place and experience particularly well in your composition and why? 2 How could you improve your composition? 90 Unit 2 Music of our place

107 Name Year Class Exercise 2: Mouth music with didjeridoo drone In this exercise you create a vocal composition over a didjeridoo drone in the style of Matthew Doyle s composition, Mouthmusic. 1 Listen twice to the recording of the didjeridoo on Track 6 ( this site has many didjeridoo samples). 2 Improvise vocal sounds over the didjeridoo recording as you play the track several more times. Experiment with the different sounds you can produce. 3 Write down the vocal sounds that you used to accompany the didjeridoo. Begin with sounds that you thought worked best. 4 Decide how you will organise the sounds in your composition. a b Decide which vocal sounds that you will use to accompany the didjeridoo and the order in which you will perform them. Include at least one repeated pattern of sounds. This could be at the beginning, as in Mouthmusic, or at another place in your composition. Use the space below or other paper to jot down your ideas. Exercises 91

108 5 Notate the vocal part you created to accompany the didjeridoo in the space below. Graphically show changes in the pitch, duration and dynamics of your vocal sounds. 6 Practise performing your vocal music over the didjeridoo. 7 Record your performance when you feel confident. Self-assessment 1 How did you use repetition in the vocal part you created? What effect did this have on the overall composition? 2 How could you improve your composition? 92 Unit 2 Music of our place

109 Name Year Class Exercise 3: Musical motif In this exercise you create a composition based on a musical motif. Your motif may be a rhythm or pitch pattern. You may use a motif you improvised earlier or a create new one. You may use more than one motif Your composition should last between 15 and 30 seconds. You may use any sound sources for this composition. You may use your voice, body percussion and other objects around you. 1 Create the motif you will use as the basis of your composition. Notate your motif in the space below using graphic or traditional notation. 2 Experiment with ways of transforming your motif. Note down interesting ways in the space below. 3 Optional extension: experiment with other musical ideas you might add to your motifs to form musical phrases or sentences. Note down your ideas. Exercises 93

110 4 Decide how you will organise or structure your ideas to make an interesting composition. Try out different ideas before deciding. 5 Notate your composition in the space below using graphic and/or traditional notation. 6 Practise performing your composition. 7 Record your performance when you feel confident. Self-assessment 1 Describe the distinctive musical features of the motif you used in your composition. 2 Describe the ways you changed your motif in the composition. 94 Unit 2 Music of our place

111 Name Year Class Exercise 4: My Island Home In this exercise you practise singing Island Home to the accompaniment of a backing track and then record your performance. There are two backing tracks. Both are recorded in the key of D major. Track 28 provides the accompaniment with a guide to your vocal part. Track 29 provides the accompaniment only. 1 Practise singing Island Home with the backing recorded on Track 28. The track includes a guide to your vocal part. The following listening guide shows the structure of the song. Follow the lyrics written on page 45. Listening guide 1 Instrumental introduction 2 Verse 1 (listen for the count-in ) 3 Verse 2 4 Chorus x 2 times with backing vocals 5 Verse 3 6 Uh huh (5 times) 7 Instrumental section 8 Verse 2 (listen for the count-in ) with backing vocals 9 Chorus x 4 times with backing vocals 10 Repeat My Island home with backing vocals to fade out It is important that you are secure when singing the melody and hold your part against the harmony sung by the backing singers. If you find it difficult to sing the melody with Track 28, practise singing again with Tracks Remember these tracks are performed in a different key. 2 If you feel secure in your vocal part, sing Island Home with the backing recorded on Track 29. Remember, this track does not include a guide to your vocal part. Exercises 95

112 3 Record your performance when you feel confident about singing solo. If possible, record the backing track (either Track 29 or 30) at the same time. Self-assessment 1 How would you rate your performance? Circle one. Excellent Very good Satisfactory Fair 2 Give two reasons for your choice. 3 How could you improve your performance? 96 Unit 2 Music of our place

113 Name Year Class Exercise 5: Rhythm In this exercise you create a composition from two rhythms and then practise performing your composition using body percussion or sound sources around you. Finally, you record your performance. 1 Choose two of the rhythms below as the basis of your composition. You can hear the rhythms performed on Track 34. When choosing your rhythms, consider the following questions. a Do the two rhythms complement each other? b Does one of the rhythms end with a feeling of rest or conclusion? Exercises 97

114 2 Decide in which order you will perform the rhythms in your composition. 3 Write the rhythms below in the order that you will perform them. Take care to copy the rhythms correctly. 4 Choose sound sources from around you to perform the composition. Improvise sounds until you are satisfied with the result. 5 Practise performing the composition on your sound sources. Be sure to keep a steady beat and play the rhythms accurately. 6 Make a record of the sound sources you use in the space below or under the rhythm notated above. 7 Record your performance when you feel confident. Self-assessment 1 Did you keep a steady beat? Rate your performance. Excellent Very good Satisfactory Fair 2 How did the sound sources you chose add to the performance? 98 Unit 2 Music of our place