LISTEN, PLAY, CREATE I

ESTER LÓPEZ CARRICHES

JORGE BENAYAS AYUSO
Segunda edición, 2015
Autores: Ester López Carriches, Jorge Benayas Ayuso.
Maquetación: Patricia Penavella Soto, Jorge Benayas Ayuso.
Edita: Educàlia Editorial, S.L.
Imprime: Publidisa SA

Foto de portada: Eva Corral

ISBN: En curso
Depòsit Legal: En curso
Printed in Spain/Impreso en España.

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que aparece en el artículo 32 de la Ley 22/18987, del 11 de noviembre, de la Propiedad intelectual. Educàlia Editorial
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Educàlia Editorial, S.L.

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Tel: 963273517
E-Mail: educaliaeditorial@e-ducalia.com
http://www.e-ducalia.com/material-escolar-colegios-ies.php
 CONTENTS

1.- WHAT IS SOUND?

Page 4

2.- THE NOTES BECOME MELODIES

Page 18

3.- NOTES AND RESTS BECOME RHYTHMS

Page 38

4.- THE INSTRUMENTS AND OUR VOICE

Page 60

5.- THE ORGANIZATION OF MUSIC:

TEXTURE, HARMONY, FORM

Page 86

6.- MUSIC GENRES. DANCE

Page 104

The activities with listening/videos, the Internet resources and the digital activities in this book
can be found at the blog: http://listenplaycreate.blogspot.com.es/,
classified by lessons, with its corresponding activity number.
 LESSON 3.- NOTES AND RESTS BECOME RHYTHMS

1.- NOTES AND RESTS

Duration refers to long and short sounds.

We write the different durations with the notes. We also write the durations of silence with the rests. The
combination of notes and rests with sense produces rhythms.

These are the most frequent notes and rests. They are written from the longest to the shortest.

Notes Rests

Semibreve
Just head
or whole note
(under the fourth line)

Minim
Head and stem
or half note
(on the third line)

Crotchet Black head and stem

or quarter note

Black head, stem and flag. When we write

Quaver
two or more quavers together we join
or eighth note them with a beam.

Two flags instead of one. When we join

Semiquaver
two or more semiquavers together we
or sixteenth note write two beams.

Semibreve, minim , crotchet, quaver and semiquaver are the British names.
Whole note, half note, quarter note, eighth note and sixteenth note are the American names.

We write the semibreve rest under the fourth line to differentiate it from the minim rest, that is written on
the third line. We can write the other rests wherever we want in the staff.

The beat is the unit of time in rhythm. The beat is regular, like our heartbeat. We can find it in a clock ticking,
our footsteps... We can find it in every musical piece, in every style.

Listen to these excerpts of music of different styles to feel and tap the beat.

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 L ESSON 3 - NOTES AND RESTS BECOME RHYTHMS

If we consider that the crotchet is the beat, then these are the durations of the notes and rests:

Semibreve Minim Crotchet Quaver Semiquaver

Whole note Half note Quarter note Eighth note Sixteenth note

Notes     
1/2 or 0.5 1/4 or 0.25
so: so:
Rests 4 2 1
 =1 beat     = 1 beat

Notes and rests don't have a

specific duration in time but 
relative: the duration of a

 
note depends on the duration
of the others.

That relationship is double

and half.    
For example: the whole note
lasts as two half notes and a
half note lasts as two quarter        
notes.

               

Activity 1.- Answer:

 A crotchet lasts as two:  Four semiquavers last as two:

 Four semiquavers last as one:  Four crotchets last as two:
 Two quavers last as one:

Activity 2.- Answer:

 Which is the note without stem?

 Which are the notes without colour inside?
 Which is the note with a flag? And with two flags?
 Which are the two notes that we can join with beams if there are several of them?
 Where do we write the semibreve rest? And the minim rest?

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L ISTEN , PLAY, CREATE - I

Activity 3.- Fill in the chart:

Duration if the crotchet

Names Shape and description Rest and description
is 1 beat

Under the fourth line

Minim


Like a z with a c below

1/2

     
Two flags if it is one note,
two beams if there are
several of them

Activity 4.- Work with your partner. Draw the relationship of the notes in a different way, for example
with circles, drawing divisions as if you cut pizza portions.

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 L ESSON 3 - NOTES AND RESTS BECOME RHYTHMS

Activity 5.- Join the two columns:

semibreve 2 quavers

minim 2 minims

crotchet 2 semiquavers

quaver 2 crotchets

semibreve rest 2 minim rests

semibreve 4 semiquavers

minim 4 quavers

crotchet 4 crotchets

semibreve rest 4 quaver rests

Minim rest 4 crotchet rests

1 crotchet 8 semiquavers

1 minim 2 quavers

1 semibreve 4 crotchets

1 quaver 1 minim and 2 crotchet rests

1 semibreve rest 2 semiquavers

 

 

 

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L ISTEN , PLAY, CREATE - I

2.- DOT AND TIE

We can make notes and rests longer with dots and ties.

a) The dot: we write it after the note and rest to add half of its duration, as if you add the next note in
value:

A dotted semibreve lasts as a semibreve plus a minim, because the minim lasts half of a semibreve.

   =       4 beats + 2 beats = 6 beats 

A dotted minim lasts as a minim plus a crotchet, because the crotchet lasts half of a minim.

   =      2 beats + 1 beat = 3 beats 

A dotted crotchet lasts as a crotchet plus a quaver, because a quaver lasts half of a crotchet.

   =      1 beat + half a beat = a beat and a half 

A dotted quaver lasts as a quaver plus a semiquaver, because a semiquaver lasts half of a quaver.

   =       Half a beat + un quarter of a beat = three quarters of a

beat

b) The tie joins the heads of two notes that can be different and can be in different bars, but they have to
be the same pitch, because that pitch is going to last the sum of the two notes.
Two mi minims , for example, are going to last like a mi semibreve.

=      = 

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 L ESSON 3 - NOTES AND RESTS BECOME RHYTHMS

Activity 6.- Fill in the chart. The crotchet is the beat.

Dotted note Lasts as Beats

Dotted semibreve Semibreve plus minim 6

Dotted minim

Dotted crotchet

Dotted quaver

Activity 7.- Write the number of beats under every dotted note and rest.
Write ties where possible and write the final value.

Activity 8.- Find in this book dots and ties in the scores and write the number of beats.

=======================================================================









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L ISTEN , PLAY, CREATE - I

3.- READING RHYTHMS

We can read the notes with these syllables

 Ta - a - a - a

  Ta - a Ta - a

    Ta Ta Ta Ta

Titi Titi Titi Titi

Tiritiri Tiritiri Tiritiri Tiritiri

We can read the dotted notes like this: We can read the rests like this:

  ta a a (three crotchets) 1234

   ta y ti 12

1
These are the quavers and semiquavers together:
and
ti-tiri

tiri-ti

We can choose the syllables or words that we want, for example:

BEL VÍS
AL CAU DE TE
NA VA DE RI CO MA LI LLO
TA LA VE RA TA LA VE RA TA LA VE RA TA LA VE RA

Other examples:
- Cá.diz (2 minims)
- Bar.ce.lo.na (4 crotchets)
- A.li.can.te-A.li.can.te (8 quavers)
- Za.ra.go.za-Za.ra.go.za-Za.ra.go.za-Za.ra.go.za (16 semiquavers)

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 L ESSON 3 - NOTES AND RESTS BECOME RHYTHMS

We can also “read” the notes with our body. Let's do this:

- 1 semibreve: spin around

- 2 minims: stamp your two feet
- 4 crotchets: clap four times
- 8 quavers: snap your fingers 8 times
- 16 semiquavers: tap your thighs 16 times

After that we can make a canon, accompany a song, combine different movements to get a rhythm of 4
beats, for example a minim with two crotchets.

Activity 9.- Work with your partner. Make a pattern of 4 beats using some of these patterns.
You can choose:
- 4 individual beats,
- a group of two beats and two individual beats,
- a group of three beats and one beat.

1 BEAT 2 BEATS 3 BEATS

Your pattern of 4 beats

Play it with your body or a percussion instruments. The rest of the class has to guess the combination that
you have played. The person who can also repeat it wins a point.

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L ISTEN , PLAY, CREATE - I

4.- WRITING RYTHMS: BARS/MEASURES, TIME SIGNATURES

The bars (or measures) are divisions of the rhythm in units of two, three or four beats, mainly. They are
separated by bar lines.

The repeating sequence of stressed and unstressed beats defines those bars:

 Duple meter: There are two beats. The first one is stressed.

Car-men Pa-blo Car-los Lau-ra Mar-ta

* * * * *
 Triple meter: There are three beats. The first one is stressed.

Cór-do-ba Má-la-ga Sá-ba-do

* * *

 Quadruple meter: There are four beats. The first one is stressed and the third one a little, too.

Es-ta---ca-sa
* *

The time signature consists of two numbers, one above the other, that we write at the beginning of a score,
after the clef.

A) The number above indicates the number of beats that there are in every bar:

 2: there are two beats

Marches and many dances have that time signature.

 3: there are three beats.

Waltzes and lullabies have that time signature.

 4: there are 4 beats.

Most of pop-rock music have that time signature.

B) The number below indicates the note that lasts a beat.

 2: the beat is the minim.

 4: the beat is the crotchet.

 8: the beat is the quaver.

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 L ESSON 3 - NOTES AND RESTS BECOME RHYTHMS

Activity 10.- Join the two columns:

Time signature Meaning

3/4 There are two crotchets in every bar
4/4 There are three crotchets in every bar
2/4 There are four crotchets in every bar
3/8 There are two minims in every bar
2/2 There are three minims in every bar
3/2 There are two quavers in every bar
2/8 There are three quavers in every bar

Activity 11.- Circle the stressed syllables to guess if the sentences correspond with a duple or triple meter:

E-se hom-bre es mi pa-dre

Ven-go de Má-la-ga

Da-me e-se lá-piz ro-jo

Sién-ta-te có-mo-da

Activity 12.- What do these numbers mean if they are written above in a time signature?

2:

3:

4:

Activity 13.- What do these numbers mean if they are written below in a time signature?

2:

4:

8:

Activity 14.- Classify in duple and triple meter the names of your partners and say them rhythmically.
If the first syllable is not stressed, it has to start before the bar. That is called anacrusis.

Duple meter Triple meter

A-na/A-na... Je-nni-fer /Je-nni-fer...
Ja/vier-Ja/vier-Ja ... (anacrusis) Pa /tri-cia-Pa/tri-cia-Pa... (anacrusis)

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L ISTEN , PLAY, CREATE - I

Activity 15.- Listen to the following excerpt and guess which has a duple or a triple meter. We are going to
consider the quadruple meter as duple. Tap the beats and stresses to help you. Identify the score
that corresponds with every excerpt.

- Excerpt 1: duple or triple; score nº ___

- Excerpt 2: duple or triple; score nº ___

- Excerpt 3: duple or triple; score nº ___

- Excerpt 4: duple or triple; score nº ___

Score nº 1: May it be (Enya)

Score nº 2: Blowin’ in the wind (Bob Dylan)

Score nº 3: Musette (Johann Sebastian Bach)

Score nº 4: Silent night (Traditional)

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 L ESSON 3 - NOTES AND RESTS BECOME RHYTHMS

Activity 16.- Listen to these other examples and identify the duple and triple meter:

A B C D

Activity 17.- Add the bar lines:

Activity 18.- Fill in the bars with notes and rests.

Activity 19.- Join the time signatures with the bars.

2/4

4/4

3/4

4/4

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L ISTEN , PLAY, CREATE - I

5.- TEMPO
Tempo is the speed of the beat in a music piece. The duration of the note values get a specific duration and
the performers can play at the speed that the composer wanted.

We can express or measure the tempo of a piece in BPM: Beats Per Minute.
A big number of BPM means that the music is fast. A small number of BPM means that the music is slow.
BPM are crucial for Dj's for the beatmatching and mixing.

We can see the BPM in the scores, as the example on the left: there are 140 beats per minute. As the
crotchet is the beat, there are 140 crotchets per minute.

There are also some Italian words to indicate the approximate number of BPM.

Simplifying, these are the most important words:

Largo = very slow, 40-60 BPM (like our heartbeat when we are sleeping)
Adagio = slow, 60-80 BPM (like our heartbeat when we are sitting)
Andante = intermediate, 80-100 BPM (when we are standing)
Allegro = fast, 100-120 BPM (when we are walking)
Presto o vivace = very fast, more than 120 BPM (when we are running)

The metronome marks the tempo.

It's a device similar to a clock with a pendulum that ticks with a
regular specific speed.
They have a weight that we can move up and down, according
to the number of BPM indicated on the vertical band.
When the weight is up the speed is slow and if it's down the
speed is fast.

We can play music and know the tempo of a piece with the
metronome.
There are also digital metronomes and applications for tablets
and mobile phones.

Sometimes the music speeds up gradually or slows down gradually.

There are two Italian words to indicate that, or their abbreviations:

Accelerando or just accel. = gradually speeding up

Ritardando or just rit. = gradually slowing down

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 L ESSON 3 - NOTES AND RESTS BECOME RHYTHMS

6.- REPETITION MARKS

When a passage is repeated and we don’t want to write it again we use repetition marks.

The most common repetition mark is the double bar line with two dots around the third line.

Use of the double bar line with two dots:

- Example 1. To repeat everything from the beginning.

We play bars 1234 and again 1234.

- Example 2. To repeat one excerpt included between double bars.

We play the bars 1234 and then 234.

- Example 3. To repeat an excerpt but with a different ending with the indication 1st ending and 2nd
ending: the first time the excerpt finishes with ending 1, the second time we skip ending 1 and we play
ending 2.
We play 1234 and then 1235.

Activity 20.- Guessing tempi (plural of tempo).

Work in pairs. Every couple is going to have a metronome to check the tempo of every excerpt.
The rest of couples have to guess it. The couple without metronome that gets the closest to the
number of BPM wins a point.

1. 2.

3. 4.

5. 6.

7. 8.

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L ISTEN , PLAY, CREATE - I

Activity 21.- Explain how the metronome works.

Activity 22.- What does BPM mean?

Activity 23.- Write in the correct order these tempo marks from the slowest to the fastest with their
approximate number of BPM:
Allegro-Presto-Largo-Andante-Adagio

Activity 24.- Which are the two ways to indicate in a score the tempo of a piece?

Activity 25.- What do accelerando and ritardando mean?

Activity 26.- Think about your favourite songs and their tempo.
How does the tempo affects you? Share your answer with your partners.

Activity 27.- Which are the main repetition marks?

Find in this book repetition marks and say what you have to repeat.

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 L ESSON 3 - NOTES AND RESTS BECOME RHYTHMS

7.- THE DRUM KIT

The drum kit was invented in the 20th century to have one performer playing at the same time the bass
drum, the snare drum and the cymbals (hi hat). That's the basic drum kit, but there can be many other
cymbals (crash, ride, etc) and many toms.

This is the basic pop-rock pattern for drum kit:

Hi hat
Snare drum
Bass drum

Now play it:

- Count aloud 1, 2, 3, 4, while you play the bass drum at 1 and the snare drum at 3.
- Add the hi hat at 2 and 4.
- Play at the same time hi hat and bass drum at 1 and then the rest.
- Play at the same time hi hat and snare drum at 3 and then the rest.
- Play the whole pattern.

After learning this pattern is easy to learn other patterns. You can find them at www.onlinedrummer.com.

BODY PERCUSSION.

You can be a drum kit and play the basic pattern for pop-rock music:

- 1: tap your chest (your bass drum). Not too strongly!

- 2 : snap your fingers (that’s your hi-hat).
- 3: clap your hands (That’s your snare drum).
- 4: snap your fingers.

This is the result:

1 2 3 4

Bass drum (chest) Hi hat (fingers) Snare drum (clap) Hi hat (fingers)

Activity 28.- Use your body to accompany this rock song.

Activity 29.- Look for applications or websites where you can create rhythms, for example:

http://www.rinki.net/pekka/monkey/
http://latrola.net/blok/toca-la-bateria-virtual-en-este-flash-juego-musical

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L ISTEN , PLAY, CREATE - I

LISTEN AND PLAY

This is an excerpt of the “can-can” from Orpheus in the underworld by Jacques Offenbach (1819-1880), an
operetta.

Activity 30.- Which is its tempo? How do you have to play it, then?

Activity 31.- Which is the time signature? What does it mean?

Activity 32.- Can we write a repetition mark? Which one?

Activity 33.- Listen to this version of the melody: it's "Tortoises", from "The carnival of the animals" by
Camille Saint-Saëns. The tempo is totally different.

Which is the tempo now?

How has the music changed because of that?

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 L ESSON 3 - NOTES AND RESTS BECOME RHYTHMS

PLAY A SAMBA

The samba is a musical genre and a dance style from Brazil in which the rhythms are very important.

Activity 34.- Write the rhythmic syllables so that it is easier to play it later with the instruments.

Choose the rhythm that you prefer. We will play the rhythms together little by little.

Activity 35.- Look for a samba and try to identify these rhythms or similar ones.

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L ISTEN , PLAY, CREATE - I

REVIEW ACTIVITIES
Activity 36.- ¡Bingo! Write nine of these words in your bingo. Cross your words out when you hear their
definition. Say "Line!" when you get a horizontal, vertical or diagonal line. Say "Bingo!" when you
have crossed out all your nine words.

Tempo Allegro Dot Time signature

Beat Accelerando Metronome Stress
Repetition mark Bar line Adagio Tie

Activity 37.- How many beats are these notes?

- Dotted semibreve

- Dotted crotchet

- Quaver plus two semiquavers

- Minim joined to a crotchet by a tie

- Dotted minim

Activity 38.- Join the two columns:

Tempo The regular unit of time

Rhythm The speed of the beat
Dot and tie The combination of notes and rests with sense
Bar/measure Make the notes and rests longer
Beat Groups of two, three or four beats.

Activity 39.- Are these statements true or false?:

a) The metronome tells us if the music has a duple or triple meter.

b) We can join a mi and a fa with a tie.

c) The dot adds a note half a beat.

d) The note values are relative. Their relationship is double and half.

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 L ESSON 3 - NOTES AND RESTS BECOME RHYTHMS

Activity 40.- What do these time signatures mean?

2/4
3/8
2/2
4/4

Activity 41.-Guess the rhythmic pattern that you hear at:

http://www.musictechteacher.com/music_quizzes/quiz_rhythm_listen_to_patterns.htm

Activity 42.-Check if these bars are right or wrong at:

http://www.musictechteacher.com/music_quizzes/quiz_time_signs001.htm

Activity 43.-Choose the time signature for these rhythms at:

http://www.musictechteacher.com/music_quizzes/aq_rhythms_find_the_correct_measure/quiz.html

Activity 44.-Fill in the bars at:

http://www.musictechteacher.com/music_quizzes/aq_rhythms_fill_in_the_measure/quiz.html

CONTEST OF RHYTHMS

Work in groups. Create a rhythmic piece. You can choose any object, the body and instruments.

You can find inspiration in the Internet, looking for videos by Mayumaná, Stomp, The percussion show, Blue
man...

After the contest you got _____ points.

_____________________________________________________________________________________

_____________________________________________________________________________________

_____________________________________________________________________________________

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Activity 45.- Fill in the summary of the lesson:

 We write the different____________ with the notes. We also write the durations of the _______. The
combination of notes and rests with sense produces _______________.

Semibreve Minim Crotchet Quaver Semiquaver

Note

Rest

Duration

The durations are _____________. Their relationship is double and __________.

The beat is the unit of ________ in rhythm. The beat is ______________, like our heartbeat

 We use _______ and _________ to make notes and rests longer:

- The dot adds a note or rest ________ of its value.
- The ______joins the heads of two notes of the same pitch, because that pitch is going to last the
_____ of the two notes.

 The bars or ___________ are ____________ of the rhythm in units of two, three or four ________,
mainly.
They are separated by _______________. The repeating sequence of ___________ and unstressed
beats define those bars: ________, triple and quadruple.

 The time signature consists of ______ numbers, one above the other, that we write at the beginning of
a score, after the ______.

The number above indicates the number of beats that there are in every _____.
The _________________ indicates the note that lasts a ________. 2 is the minim, 4 is the
__________and ___means quaver.

 The tempo is the _____________ of the beat. We can express it in _______: beats per____________
and ____________words such as Largo (around 40-60 BPM), _________ (around ________), Andante
(around 80-100) , _______ (around __________) and Presto (more than _______).

Accelerando and _______________mean gradually speeding up and ___________________.

The _________________marks the tempo.

 These are the main _______________marks:

- Repeat from the ________________.
- Repeat an excerpt.
- Repeat an excerpt with a different ___________ .

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 L ESSON 3 - NOTES AND RESTS BECOME RHYTHMS

KEY VOCABULARY

duration /djuˈreɪʃn/ drum /drʌm/

long /lɒŋ/ bass drum /beɪs/ /drʌm/
short /ʃɔːt/ tom /tɒm/
sound /saʊnd/ snare drum /sneə(r)/ /drʌm/
rhythm /ˈrɪðəm/ cymbal /ˈsɪmbl/
beat /biːt/ hi-hat /haɪ/ /hæt/
percussion /pəˈkʌʃn/
note /nəʊt/ pattern /ˈpætn/
rest /rest/ clap /klæp/
snap /snæp/
head /hed/ tap /tæp/
stem /stem/ stamp /stæmp/
flag /flæɡ/
beam /biːm/ meter /ˈmiːtə(r)/
bar /bɑː(r)/
semibreve /ˈsemibriːv/ measure /ˈmeʒə(r)/
whole note /həʊl/ /nəʊt/ time signature /taɪm/ /ˈsɪɡnətʃə(r)/
stress /stres/
minim /ˈmɪnɪm/ anacrusis /ˌa-nə-ˈkrü-səs/
half note /hɑːf/ /nəʊt/
duple /ˈdyü-pəl/
crotchet /ˈkrɒtʃɪt/ triple /ˈtrɪpl/
quarter note /ˈkwɔːtə(r)/ /nəʊt/ quadruple /ˈkwɒdrʊpl/

quaver /ˈkweɪvə(r)/ tempo /ˈtempəʊ/

eighth note /eɪt θ/ /nəʊt/ speed /spiːd/
regular /ˈreɡjələ(r)/
semiquaver /ˈsemikweɪvə(r)/ metronome /ˈmetrənəʊm/
sixteenth note /ˌs θ/ /nəʊt/ pendulum /ˈpendjələm/
mechanical /məˈkænɪkl/
relative /ˈrelətɪv/
half /hɑːf/ largo /ˈlɑːɡəʊ/
value /ˈvælju ː/ adagio /əˈdɑːdʒiəʊ/
(to) last /lɑːst/ andante /ænˈdænteɪ/
allegro /əˈleɡrəʊ/
dot /dɒt/ presto /ˈprestəʊ/
tie /taɪ/ vivace /vɪˈvɑːtʃeɪ/
(to) join /dʒɔɪn/
(to) add /æd/ accelerando /əkˌseləˈrændəʊ/
sum /sʌm/ ritardando /riˌtärˈdänˌdō/

repetition mark /ˌrepəˈtɪʃn/ /mɑːk/

first ending /fɜːst/ /ˈendɪŋ/
second ending /ˈsekənd/ /ˈendɪŋ/

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