The Fossils Worksheet

Christopher Chow Curriculum Specialisation I: Music Assessment II

Performing Media & Dynamics

Camille Saint-Saens“The Fossils”

1886

1) Name all of the instrument groups in the piece and provide their Hochbostel classifications.

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2) Which two instruments predominantly play the main theme of the piece?

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3) Transcribe the main theme of the piece in G Minor in cut common time.

4) Name the plucking and bowing techniques employed by the string section.

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5) Name the composer and title of the piece that is referenced in the second section. (Hint: It is a well known nursery rhyme and is played on the piano)

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6) In the key of Bb, transcribe one progression of the melody of the piece from question 5 in common time on the treble clef.

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7) List 3 dynamic features of the piece.

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8) In a few sentences, discuss the dynamics and interplay between the instruments during the main theme.

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Related links:

http://www.practicespot.com//theorycenter.phtml

http://www.dolmetsch.com/theoryintro.htm

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http://www.dolmetsch.com/theoryintro.htm

http://www.practicespot.com//theorycenter.phtml


Rhythm, Timbre & Texture

Camille Saint-Saens“The Elephant”

1886

1) The initial rhythm of the piano is known as a: ______________2) Notate 2 bars of this rhythm in 3/8.

3) In a word, how would you describe the texture of the chords played on the piano?

4) Is the texture:a) Monophonicb) Homophonicc) Polyphonic

Justify your answer:

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5) Using appropriate language, describe the timbre of the piece. Be sure to relate your ideas to the textural effect created by the instrumentation.

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6) Listen carefully to the piece. Name two compositional techniques Camille Saint-Saens employs in order to reflect the characteristics of an elephant?

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7) What do you consider the tonality of the piece to be? ______________

8) Below is an excerpt of the melody. Complete the following exercises.

Based on these two bars, what is the time signature? ______________

What kind of accompaniment would be required to create a homophonic texture?

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What kind of accompaniment would be required to create a polyphonic texture?

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Follow the instructions on the stave provided. (You do not need to include the dynamic markings, simply focus on the notes)

a) Write the time signature and treble clef. b) Assume the piece is in F and add the corresponding key signature. c) For the first bar, write an accompanying part that utilises similar motion. d) For the second bar, write an accompanying part that utilises contrary

motion.

Related links:

http://www.teoria.com/exercises/index.htm

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http://www.teoria.com/exercises/index.htm


Answers

Performing Media & Dynamics

1) Aerophones, chordophones. Strings, piano, xylophone, wind. (1.5)2) Piano and xylophone. (1)3) (6 – 1 for time + key signature and clef, 2 for rhythm, 3 for pitch)

4) Pizzicato and arco. (1)5) Mozart – Twinkle Twinkle Little Star (1)6) (4 - 1 for time + key signature and clef, 1 for rhythm, 2 for pitch)

7) Volume changes – piano / pianissimo to forte fortissimo. (1.5)Staccato, accents, pizz, arco, etc.

8) Students should briefly discuss the call and response between instrument groups, and the sudden volume changes, etc. (3)Total out of 19

Rhythm, Timbre & Texture

1) Waltz (1)2) (1)

3) Thick, or a synonym of. (1)4) Homophonic. Melody and accompaniment. (2)5) This is subjective. Warm, slightly clumsy, smooth, bright, etc. (3)6) Tempo, rhythm, etc. (2)7) Major (1)

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8) 3/8 (1)Chordal. (1)Several melodic lines. (1)Composition exercise: 1 + 1 + 2 + 2

Total out of 21

Total out of 40

Outstanding (33 - 40)• Demonstrates outstanding aural awareness in all given tasks• Is able to demonstrate musical literacy relating to the concepts in all given tasks at an

outstanding level of application• Demonstrates a thorough knowledge of content and synthesis of musical concepts

Very Good (26 - 32)• Demonstrates a very good aural awareness in all given tasks• Is able to demonstrate musical literacy relating to the concepts in most given tasks at a high

level of application• Demonstrates good knowledge of content and synthesis of musical concepts

Satisfactory (15 - 25)• Demonstrates satisfactory aural awareness in all given tasks• Is able to demonstrate musical literacy relating to the concepts in some given tasks at a sound

level of application• Demonstrates satisfactory knowledge of content and synthesis of musical concepts

Developing (0 – 15)• Demonstrates elementary aural awareness in given tasks• Is able to demonstrate musical literacy relating to the concepts in some given tasks with a

limited level of application• Demonstrates elementary knowledge of content and synthesis of musical concepts.

(This marking guideline was taken and slightly altered from a handout in class)

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Analysis LessonAim: To further develop students’ ability to critically analyse music. By the end of this lesson: Students will be expected to- Identify performing media and dynamic variations / techniques- Demonstrate deep understanding and knowledge in concern to music literacy via transcription- Interpret timbre and texture using appropriate metalanguageOutcomes:- 5.7 (Demonstrates an understanding of music concepts through the analysis, comparison, and critical discussion of music from different stylistic, social, cultural and historical contexts.- 5.8 (Demonstrates an understanding of musical concepts through aural identification, discrimination, memorisation and notation in the music selected for study)- 5.9 (Demonstrates an understanding of musical literacy through the appropriate application of notation, terminology, and the interpretation and analysis of scores used in the music selected for study)Resources:- Audio for Carnival of The Animals-Whiteboard marker- Copies of worksheetsBefore lesson

10min

25min

15min

To write on board:Table with the four concepts being presentedSong titles and artist’s name

Orienting :Explain what we will be doing this lesson. Briefly overview the four concepts and remind students of what they should be listening. Give one or two strategies to approaching the worksheets. Play each of the pieces once so students can quickly read through the worksheets and familiarise themselves with what they need to look for.

Extending / Synthesising:Students will be asked to begin their worksheets. The pieces will be played several times each for them to work through the necessary transcriptions. Students will be asked to complete the other questions first (during this time I will monitor and assist as necessary). For the sections that require transcription, it may require a slower performance, which can be done on the piano or available instruments.

Class discussion in which we will briefly go through the worksheets and discover which were the most difficult questions and discern why this was. Consider preparing a lesson to focus on these issues for the next class.

Summarise the aim of today’s lesson. Explain why analysis is important regardless of taste in music. Discuss benefits of the ability to analyse music. Recommend that students visit the related websites and undertake some independent aural and theory study.

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Documents

The Fossils Worksheet