Music Grade 4

MUSICTeacher’s Guide Grade 4



Musika at Sining – Ikaapat na BaitangPatnubay ng GuroUnang Edisyon 2015ISBN: ___________ Paunawa hinggil sa karapatang-sipi. Isinasaad ng Seksiyon 176 ng BatasPambansa Bilang 8293: Hindi maaaring magkaroon ng karapatang-sipi sa anumang akda ngPamahalaan ng Pilipinas. Gayunpaman, kailangan muna ang pahintulot ng pamahalaan otanggapan kung saan ginawa ang isang akda upang magamit sa pagkakakitaan angnasabing akda. Kabilang sa mga maaaring gawin ng nasabing ahensiya o tanggapan ay angpatawan ng bayad na royalty bilang kondisyon. Ang mga akda / materyales ( mga kuwento, seleksiyon, tula, awit, larawan, ngalan ngprodukto o brand names, tatak o trademarks, palabas sa telebisyon, pelikula at iba pa) naginamit sa aklat na ito ay nagtataglay ng karapatang-ari ng mga iyon. Pinagtibay sa isangkasunduan ng Kagawaran ng Edukasyon at Filipinas Copyright Licensing Society (FILCOLS)Inc. na ang FILCOLS ang kumakatawan sa paghiling ng pahintulot sa nagmamay-ari ng mgaakdang hiniram at ginamit dito. Hindi inaangkin ni kinakatawan ng tagapaglathala (publisher)at mga may-akda ang karapatang-aring iyon.DEPED COPYInilathala ng Kagawaran ng EdukasyonKalihim: Br. Armin Luistro FSCPangalawang Kalihim: Dina S. Ocampo, PhDDirektor IV: Marilyn D. Dimaano, EdDDirektor III: Marilette R. Almayda, PhD Mga Bumuo ng Patnubay ng GuroMusika Pangunahing Tagapangasiwa: Maria Blesseda Alfonso Cahapay Consultant: Myrna T. Parakikay Mga Tagasuri Ng Nilalaman: Jocelyn T. Guadalupe, Dolores T. Andres Mga Manunulat: Maria Elena D. Digo, Fe V. Enguero, Ma. Teresa P. Borbor, Amelia M. Ilagan, Josepina D. Villareal, Mary Grace V. Cinco, Josephine Chonie M. Obseñares, Chita E. Mendoza, at Victorina E. Mariano Transcriber: Arthur M. Julian Gumuhit ng Larawan: Hadji Miguelito S. Mendoza, Arthur M. Julian, Jason O. Villena Tagatala: Richilo L. Laceda Naglayout: Mary Grace Ann G. CadisalSining Pangunahing Tagapangasiwa: Marilou Gerero-Vispo Consultant: Charo Defeo-Baquial Mga Tagasuri ng Nilalaman: Juan Gepullano; Rosel Valenzuela Mga Manunulat: Cynthia Montañez; Ma. Teresa Caringal; Adulfo Amit; Benjamin Castro; Emily Maninang; Joan D. Sandoval Mga Tagasuri ng Wika: Paolo-Ven Paculan; Erickson Gutierrez Mga Gumuhit ng Larawan: Michael Villadolid, Jason O. Villena Mga Naglayout: Algievoi Omaña, Oliver S. MagatInilimbag sa Pilipinas ng _________________________Department of Education–Instructional Materials Council Secretariat (DepEd–IMCS)Office Address : 5th Floor Mabini Bldg. DepEd Complex Meralco Avenue, Pasig CityTelefax : Philippines 1600E–mail Address : (02) 634–1054 or 634–1072 [email protected] ii All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.

DEPED COPY Paunang Salita Ang Patnubay ng Guro na ito sa Musika at Sining ay inihanda upang malinang sa mga mag-aaral ang kanilang mga natatanging kakayahan sa masining na pamamaraan. Hangad ng mga may-akda ng aklat na ito na lubusang mapalaganap sa mga mag-aaral ang kamalayan sa iba’t ibang uri ng sining. Kung kaya’t ang mga gawaing nakapaloob dito ay isinulat sa payak at natural na pamamaraan upang mas maunawaan at mas maging makabuluhan ang pagkatuto sa bawat elemento ng Musika at Sining. Ang mga itinakdang gawain na pawang kawili-wili ay makapagbibigay- laya sa mga mag-aaral na makapag-isip at makalikha ng sariling awitin at tugtugin sa Musika, gayundin ng mga disenyo o visual art sa Sining, na magdudulot ng saya at kaganapan sa bawat aralin. Ang mataas na antas ng pagkatuto sa Musika at Sining, batay sa maraming pagsasaliksik, ay nagpapatunay na magdudulot sa mga mag-aaral upang magkaroon ng:  mapanuri at replektibong pag-iisip;  mas pinahusay na konsentrasyon at mas mahabang attention span;  mas pinahusay na memorya at pagpapanatili ng mga natutuhan; at  mas pinahusay na pakikisalamuha at pakikipag-ugnayan sa kapwa, at kakayahang makapagsagawa ng mga gawain kasama ang iba. Ang makabuluhang paggamit sa aklat na ito ay magsisilbing tulong upang maiangat ang antas ng pagkawili o interes at inspirasyon sa pag-aaral ng Musika at Sining, na makatutulong sa adhikain ng K to 12 Basic Education Program tungo sa paghubog ng kabuuang pagkatao ng isang indibidwal. iii All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.

Talaan ng NilalamanMUSIKAYunit 1 – RhythmAralin 1: Ang mga Simbolo at Konsepto sa Musika……...………….. 2Aralin 2: Ang Simple Meter, Pagtuturo ng Rhythmic Pattern at Time 6 Signature ……………………………………………………… 11 2Aralin 3: Ang Rhythmic Pattern at ang 4 Time Signature…………DEPED COPY 3Aralin 4: Ang Rhythmic Pattern sa 4 Time Signature……………….. 15 3Aralin 5: Ang Accent at Rhythmic Pattern sa 4 Time Signature…... 19Aralin 6: 4 Time Signature……………….. 23 Ang Rhythmic Pattern sa 4Aralin 7: Ang Accent sa mga Recorded Music……………………….. 28Aralin 8: Ang Pagtugon sa Musika Gamit ang Kumpas……………... 31 iv All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.

RepublicK toD1E2PCuEMrUDofrtheiSPhilippinescIuCCluOmPGYuide Department of Education DepEd Complex, Meralco Avenue Pasig City (Grade 4) December 2013 ix All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.

x K to 12 BASIC EDUCATION CURRICULUM All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - D CONCEPTUAL FRAMEWORKelectronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015. EBoth the Music and the Arts curricula focus on the learner as recipient of the knowledge, skills, and values necessary for ar tistic expression and Pcultural literacy. The design of the curricula is student-centered, based on spiral progression of processes, concepts and skills and grounded in performance- based learning. Thus, the learner is empowered, through active involvement and participation, to effectively correlate music and art to the development of his/her own cultural identity and the expansion of his/her vision of the world. EDAs Music and Arts are performance-based disciplines, effective learning occurs through active experience, participation, and performance, creative expression, aesthetic valuation, critical response, and interpretation. The skills that are developed include reading/analyzing, listening/observing, performing, (singing, using musical instruments, movement, acting, and playing, using different art materials, techniques and processes, responding, composing, and creating. (See Figure 1 and Figure 2) CThe philosophical foundations upon which standards and competencies are based include: A Process of Education by Jerome Bruner, Performance-Based OLearning by Cleve Miller, Aesthetic Education by Bennett Reimer, Multiple Intelligences by Howard Gardner, A Structure for Music Education by Ronald Thomas, Gongs and Bamboo by Jose Maceda, Compendium on the Humanities: Musical Arts produced by the National Research Council of the Philippines, Cultural Dictionary for Filipinos by Thelma Kintanar and Associates, Creative and Mental Growth by Viktor Lowenfeld and W. Lambert Brittain, Discipline-Based PYArt Education by Elliot Eisner, Encyclopedia of Philippine Arts and Tuklas Sining, both produced by the Cultural Center of the Philippines.

xi K to 12 BASIC EDUCATION CURRICULUM All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - D PHILOSOPHY AND RATIONALE FOR MUSIC EDUCATIONelectronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015. EMusic is both an aural and a temporal art. All its elements, when interwoven in the highest artistic order, are likened into a -- tapestry moving in time. The global weavings of this tapestry in historical and cultural contexts are diverse -- having spurred a continued metamorphosis to include a full range of Ppurposes, functions, and identities, from the utilitarian to aesthetic. EHowever, the basic nature of music does not change. In his book A Structure for Music Education, Ronald Thomas articulates that the nature of music is expressive, ongoing, and creative. Through a language and medium of its own, music conveys ideas and feelings in a way that addresses the human spirit, and Dhas great value in its communicative process. Music, being responsive in interpreting contemporary times, is a continuing art. Aaron Copland describes this characteristic as a continuous state of becoming. Like the other arts, music is a creative avenue for man’s individual quest for self- expression and fulfillment. COn these basic characteristics are founded the rationale of music study. A keen sensitivity to environmental and musical sounds needs to be developed. The student must learn to ―hear, ―speak, and ―think in the medium of music. Simultaneously, growth and development in the skills that enable the Oapplication of the learner’s knowledge should be encouraged, through active involvement in the various musical processes. PDrawing from the development of music pedagogy through the years, the K-10 Music Curriculum embodies the best practices advocated by the SPIRAL, MULTI-CULTURAL, and INTEGRATIVE approaches in music education, as well as current philosophical thought about contemporary general Yeducation. We envision that Music in the K-10 Program will effectively nurture and refine the learner’s artistic expression and cultural literacy, and celebrate his/her national heritage, while it instils, within every individual Filipino learner, pride in his/her own cultural identity.

KDEPto 12 BASICE EDUCATIOND CCURRICULUMOPY Figure 1. The Curriculum Framework of Music and Arts Education xii All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.

xiii K to 12 BASIC EDUCATION CURRICULUM All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - D Grade 12Mastery of Proficiency in the chosen form or genreelectronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015. E Grade 11Mastery of Proficiency in the chosen form or genre PGrade 10Application of Contemporary Music and Arts Grade 9Application – Western Music and Arts EGrade 8Application – Asian Music and Arts DGrade 7Application – Philippine Folk Music and Arts Grade 6Application for Appropriate Mastery and Acquisition of Skills Grade 5Exploration – Elements / Processes CGrade 4Formal Introduction to Elements / Processes OGrade 3Preliminary Acquisition of Basic Knowledge and Skills Grade 2Enhanced Understanding of Fundamental Processes PGrade 1Introduction to the Fundamental Processes YKindergartenExposure to the Different Music & Art Processes (Experiential Learning) Figure 2. Content of Music and Arts per Grade Level

KDEPto 12EBASICDEDUCATIONCCURRICULUMOPYMusic Processesmovement) Table 1. Basic Reference for Music Content -creating)Music Elements *No formal instruction in harmony from K to 3 xiv All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.

xv DELEARNING AREA STANDARD: K to 12 BASIC EDUCATION CURRICULUM All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - PEDKEY STAGE STANDARDS:electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015. The learner demonstrates an understanding of basic concepts and processes in music and art through appreciation, analysis and performance for his/her self-development, celebration of his/her Filipino cultural identity and diversity, and expansion of his/her world vision. K-3 COPY4-6 7 – 10 The learner demonstrates understanding of The learner demonstrates understanding of The learner demonstrates understanding of fundamental processes through basic elements and concepts through salient features of music and art of the performing, creating, and responding, performing, creating, and responding, aimed Philippines and the world, through appreciation, aimed towards the development of towards the development of appreciation of analysis, and performance, for self- appreciation of music and art, and music and art, and acquisition of basic development, the celebration of Filipino cultural acquisition of basic knowledge and skills. knowledge and skills. identity and diversity, and the expansion of one’s world vision.

xvi DGrade Level K to 12 BASIC EDUCATION CURRICULUM All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - EKindergarten The learner is exposed to the different basic music and art processes through experiential learning.electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015. GRADE LEVEL STANDARDS: PGrade 1 Grade Level Standards EGrade 2 DGrade 3 Grade 4 CGrade 5 OGrade 6 Grade 7 PYGrade 8 The learner demonstrates basic understanding of the fundamental processes in music and art, through performing, creating, listening and observing, and responding. The learner demonstrates understanding of the basic and fundamental processes in music and art, through performing, creating, listening and observing, and responding. The learner has acquired the basic and fundamental processes through performing, creating, listening and observing, and responding, towards the development of appreciation of music and art, and the acquisition of basic knowledge and skills. Through the formal introduction of elements, the learner can identify the basic knowledge and skills in music and art, towards self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision. Through exploration, the learner demonstrates a deeper understanding of basic knowledge and skills in music and art, towards self-development, the celebration of Filipino cultural identity and diversity, and expansion of one’s world vision. Through application, the learner demonstrates understanding of the basic concepts of and processes in music and art, towards self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision. The learner demonstrates basic understanding of the fundamental processes in music and the arts through performing, creating, listening and observing, and responding towards appreciation of the cultural richness of the different provinces in the Philippines. The learner demonstrates understanding of salient features of Asian music and the arts, through appreciation, analysis, and performance for self- development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision. Grade 9 The learner demonstrates understanding of salient features of Western music and the arts from different historical periods, through appreciation, analysis, and performance for self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision. Grade 10 The learner demonstrates understanding of salient features of contemporary music and the arts, through appreciation, analysis, and performance, for self- development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.

xvii K to 12 BASIC EDUCATION CURRICULUMDCONTENT EFIRST QUARTER All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - GRADE 4electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015. ELEMENTS OF MUSICI. RHYTHM CONTENTP1. Musical Symbols andPERFORMANCE LEARNING COMPETENCY CODE STANDARDS Concepts: STANDARDS 1.1 Notes and Rests MU4RH-Ia- demonstratesE1.2 Meters creates rhythmic 1. identifies different kinds of 1 understanding of1.3 Rhythmic Patternspatterns in: notes and rests concepts pertaining to1.4 Simple Time1. simple time MU4RH-Ib- rhythm and musicalDSignatures 2. organizes notes and rests 2 symbolsCOPY1.5 Ostinato signatures according to simple meters 2. simple one-measure (grouping notes and rests MU4RH-Ic-3 into measures given simple ostinato pattern meters) MU4RH-Ic-4 3. states the meaning of the MU4RH-Ic-5 different rhythmic patterns MU4RH-Id- 4. demonstrates the meaning 6 of rhythmic patterns by clapping in time signatures MU4RH-Id- 234 7 4, 4, 4 5. uses the bar line to indicate groupings of beats in 234 4, 4, 4 6. identifies accented and unaccented pulses 7. places the accent (>) on the notation of recorded music

xviii K to 12 BASIC EDUCATION CURRICULUMCONTENT All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - CONTENTDI.I. RHYTHM PERFORMANCE LEARNING COMPETENCY CODEelectronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015. STANDARDS STANDARDS 1. Musical Symbols and 8. responds to metric pulses MU4RH-Ie- demonstrates creates rhythmic of music heard with g-8 understanding ofEConcepts:patterns in: appropriate con concepts pertaining to 1. simple time rhythm and musical1.1 Notes and Rests 9. ducting gestures symbols 1.2 Meterssignatures 1.3 Rhythmic Patterns2. simple one-measure P1.4 Simple Time ostinato pattern Signatures ED COPY1.5 Ostinato

xix CONTENTK to 12 BASIC EDUCATION CURRICULUM All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - DSECOND QUARTERCONTENT PERFORMANCE LEARNING COMPETENCY CODEelectronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015. STANDARDS STANDARDS II. MELODY MU4ME-IIa- recognizes the musical analyzes melodic 1. identifies the pitch name of 1 E1. Musical Symbols andsymbols and movement and range each line and space of the demonstrates and be able to create MU4ME-IIb- Concepts:understanding of and perform simple G-clef staff 2 1.1 Intervalsconcepts pertaining tomelodies melody F P1.2 Scales B D G 1.3 Melodic Contours E 1.4 Patterns of successive E pitches of a C Major C A EDscale F 2. identifies the pitch names C of notes on the ledger lines and spaces below the G- clef staff (middle C and D) OP3. recognizes the meaning Yand use of G- Clef MU4ME-IIc- 3 do re mi fa so la ti do

xx K to 12 BASIC EDUCATION CURRICULUMCONTENT All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - CONTENTDII. MELODY PERFORMANCE LEARNING COMPETENCY CODEelectronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015. STANDARDS STANDARDS 4. identifies the movement of 1. Musical Symbols and MU4ME-IId- recognizes the musical analyzes melodic the melody as: 4 symbols andEConcepts: movement and range - no movement demonstrates and be able to create MU4ME-IIe- understanding of1.1 Intervals and perform simple - ascending stepwise 5 concepts pertaining to1.2 Scales melodies melody MU4ME-IIf- P1.3 Melodic Contours 6 COPY- descending stepwise 1.4 Patterns of successive - ascending skip wise pitches of a C Major - descending skip wise EDscale 5. identifies the highest and lowest pitch in a given notation of a musical piece to determine its range 6. sings with accurate pitch the simple intervals of a melody

xxi CONTENT K to 12 BASIC EDUCATION CURRICULUM All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - DII. MELODY CONTENT PERFORMANCE LEARNING COMPETENCY CODEelectronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015. STANDARDS STANDARDS 1. Musical Symbols and 7. performs his/her own MU4ME-IIg- analyzes melodic created melody h-7 EConcepts: movement and range recognizes the musical and be able to create MU4FO- 1.1 Intervals symbols and and perform simple IIIa-1 1.2 Scales demonstrates melodies understanding of MU4FO- P1.3 Melodic Contours concepts pertaining to IIIa-2 melody 1.4 Patterns of successive MU4FO- pitches of a C Major IIIa-b-3 EDscale MU4FO- THIRD QUARTER demonstrates COPYperforms similar and1. identifies aurally and IIIc-4 III. FORM understanding of visually the introduction musical phrases, and contrasting musical and coda (ending) of a MU4FO- 1. Phrases in a Musical the uses and meaning phrases musical piece IIId-5 Piece of musical terms in form 2. identifies aurally and 2. Structure of Musical visually the antecedent and Sound consequent in a musical piece 2.1 Antecedent (Question) Phrase 3. listens to similar and contrasting phrases in 2.2 Consequent (Answer) Phrase recorded music 2.3 Introduction 4. identifies similar and 2.4 CODA (ending)Phrase contrasting phrases in vocal and instrumental music from the previous lessons 4.1 melodic 4.2 rhythmic 5. sings similar and contrasting phrases in music 5.1 melodic 5.2 rhythmic

xxii CONTENTK to 12 BASIC EDUCATION CURRICULUM All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - DIV. TIMBRE CONTENT PERFORMANCE LEARNING COMPETENCY CODEelectronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015. STANDARDS STANDARDS 1. Variations of Sound 6. distinguishes vocal and MU4TB- demonstrates participates actively in instrumental sounds IIIe-1 E1.1 Vocal understanding of a group performance variations of sound in to demonstrate 7. identifies as vocal or MU4TB- 1.2 Instrumentalmusic (lightness anddifferent vocal andinstrumental, a recording ofIIIe-2 heaviness) as applied instrumental sounds the following: PED COIV. TIMBREto vocal and MU4TB-IIIf- 1. Variations of Soundinstrumental music 7.1 solo 3 1.1 Vocal 7.2 duet PY1.2 Instrumental 7.3 trio 7.4 ensemble 8. identifies aurally and visually different instruments 9. classifies the various musical instruments as: 9.1 string 9.2 woodwind 9.3 brass wind 9.4 percussion MU4TB-IIIf- h-4 demonstrates participates actively in understanding of a group performance variations of sound in to demonstrate music (lightness and different vocal and heaviness) as applied instrumental sounds to vocal and instrumental music V. DYNAMICS recognizes the musical applies forte and 10. recognizes the use of the MU4DY- symbol p (piano) and f IIIf-1 symbols and piano to designate (forte) in a musical score 1. Volume of Sound in demonstrates loudness and softness Music understanding of in a musical example 11. uses appropriate musical concepts pertaining to 1. singing terminology to indicate MU4DY- simple dynamics IIIf-h-2 volume in music 2. playing instrument 11.1 forte 11.2 piano

xxiii DCONTENT K to 12 BASIC EDUCATION CURRICULUM All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - FOURTH QUARTER CONTENT PERFORMANCE LEARNING COMPETENCY CODEelectronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015. STANDARDS STANDARDS EVI. TEMPO 1. relates body movements to MU4TP-IVa- 1. Speed / Flow of Musicdemonstratescreates and performs the tempo of a musical 1 understanding of body movements example PVI. TEMPO concepts pertaining to appropriate to a given MU4TP-IVb- E1. Speed / Flow of Musicspeed/flow of musictempo 2. uses appropriate musical 2 DVII. TEXTURE demonstrates creates and performs terminology to indicate understanding of body movements variations in tempo MU4TX-IVc- 1. Simultaneousconcepts pertaining toappropriate to a given 1 Occurrence ofspeed/flow of musictempo 2.1 largo demonstrates sings two-part rounds 2.2 presto MU4TX-IVd- CMultiple Melodic Linesunderstanding ofand partner songs with 3. identifies aurally the 2 concepts pertaining to others 2. Distinction Betweentexture in music texture of a music example MU4TX-IVe- Thinness and 4. identifies aurally and 3 OThickness in Music visually an ostinato or MU4HA-IVf- VIII. HARMONY descant in a musical 1 example P1. Simultaneous 5. recognizes aurally and MU4HA- YSounding of Two visually, examples of 2-part IVg-2 demonstrates performs examples of vocal or instrumental music understanding of harmonic interval with 6. identifies harmonic interval MU4HA- harmonic intervals others (2 pitches) in a musical IVh-3 example 7. recognizes aurally and Tones / Pitches visually, examples of harmonic intervals 8. creates examples of harmonic interval (2 pitches) with others

Yunit 1 - Aralin 1 Ang mga Simbolo at Konsepto sa MusikaI. Layunin: Nakikilala ang iba’t ibang uri ng mga note at restII. Paksang-aralinA. Paksa : Pagkilala sa iba’t ibang uri ng mga note at restB. Lunsarang Awit : “Lupang Hinirang”, G, 2 , do 4DEPED COPY “Magandang Araw”, C, 3 4 , mi “Baby Seeds”, G, 2 , so 4C. Sanggunian : Music Time (Lower Primary), p. 38, 208D. Kagamitan : pitch pipe, mga flashcard ng mga note at restE. Pagpapahalaga : PakikiisaF. Konsepto : Sa masusing pagsusuri sa mga simbolo ng musika, maipakikita ang kaugnayan ng iba’t ibang tunog at mga simbolo sa pag-aaral, paglilikha, pagsusulat, at pagtatanghal ng musika.III. PamamaraanA. Panimulang Gawain1. Pagsasanay a. RhythmicIpalakpak ang sumusunod na mga rhythmic pattern sa dalawahan, tatluhan,at apatang kumpas: 2 3 4 b. Tonal Awitin ang “Lupang Hinirang”. Bigyang pansin ang tamang titik at tono. Ipaalala ang maayos na pag-awit tulad ng tamang pag-upo, hindi pasigaw, at paghinga buhat sa diaphragm sa halip na sa dibdib. 2 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.

DEPED COPY 2. Balik-aral Ipadyak ang beat. Ipalakpak ang rhythm. Bigkasin ang chant. B. Panlinang na Gawain 1. Pagganyak Suriin ang iskor ng awiting “Magandang Araw”. Basahin ang titik ng awit. Tungkol saan ang awit? (Ang awit ay tungkol sa pagbati sa guro.) 3 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.

2. Paglalahad - Iparinig ng guro ang awiting “Magandang Araw”. - Ituturo ang awitin sa pamamaraang rote. - Awitin ang “Magandang Araw”.3. Pagtatalakay - Bakit nagkakaroon ng maikli at mahabang tunog ang isang awitin? (Ang isang awit ay nagkakaroon ng maikli at mahabang tunog dahil sa uri ng mga note na ginamit.) - Ilang uri ng mga note ang makikita sa awiting “Magandang Araw”? (May tatlong uri ng mga note ang makikita sa awitin.) - Bukod sa mga note, ano pang simbolo sa musika ang inyong nakikita? (Mayroon ding rest.) - Isulat/Iguhit ang mga note at rest na ginamit sa awitin. - Batay sa inyong pag-awit, aling note ang pinakamahaba ang tunog? Alin naman ang pinakamaikli ang tunog? Alin naman ang katamtaman? Alin ang walang tunog? May mahaba at maikling tunog sa isang awitin dahil sa mga uri ng note na ginagamit. May bahagi ring walang tunog at ang ginagamit na simbolo nito ay rest.4. Paglalahat Tandaan na ang bawat note ay may katumbas/katapat na rest. Ang bilang ng kumpas na tinatanggap ng note ay siya ring bilang ng kumpas na tinatanggap ng kaugnay na rest.DEPED COPY Mga Uri ng Simbolo Bilang ng Kumpas Mga Uri ng Simbolo Note 1 kumpas RestQuarter note Quarter restEighth note ½ kumpas Eighth restHalf note 2 kumpas Half restWhole note 4 kumpas Whole rest5. Paglalapat - Batay sa bilang ng mga note sa loob ng isang measure, paano napangkat ang awitin? (tatluhan) - Tapikin/Ipalakpak ang rhythm ng “Magandang Araw” ayon sa bilang ng mga note at rest na ginamit. 4 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.

DEPED COPY 6. Repleksiyon Ano ang kahalagahan ng mga note at rest sa pagsusulat/pagrerekord ng musika? (Ang mga note at rest ay ginagamit upang maisulat ang mga tunog sa rhythm.) C. Pangwakas na Gawain Awitin muli ang awit at lagyan/lapatan ng angkop na galaw ng katawan. IV. Pagtataya Sagutin ang sumusunod. 1. Iguhit ang quarter note. 2. Ano ang katumbas na bilang ng dalawang eighth note? 3. Anong note ang katumbas ng dalawang eighth note? 4. Ano-ano ang mga note na nasa ikatlong measure ng awiting “Magandang Araw”? 5. Iguhit ang quarter rest. V. Takdang-aralin Pag-aralan ang awit. Lagyan ng kaukulang bilang ng kumpas ang bawat note at rest. 5 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.

Yunit 1 - Aralin 2Ang Simple Meter, Pagtuturo ng Rhythmic Pattern, at Time SignatureI. Layunin: Napagsasama-sama ang mga note at rest ayon sa mga simple meter. (pagsasama-sama ng mga note at rest sa mga measure ayon sa mga simple meter) Nagagamit ang barline sa pagpapangkat ng beat/kumpas sa isang 2 simple meter ( 4 )DEPED COPYII. Paksang-aralinA. Paksa : Duple Meter, 2 , Time Signature, Barline 4B. Lunsarang Awit : “Tayo Na!”, C, 2 , do 4 “Umayka Ti Eskuela”, C, 2 , so 4C. Sanggunian : Philippine Folk Literature Series VII The Folk Songs, p. 105 Compiled and Edited by Damiana L. EugenioD. Kagamitan : pitch pipe, mga flashcard ng mga note at restE. Pagpapahalaga : PakikiisaF. Konsepto : Iba’t ibang note at rest, mga simple meterIII. PamamaraanA. Panimulang Gawain 1. Pagsasanay a. Rhythmic Pangkatin ang klase sa dalawa. Ipalakpak ang sumusunod na rhythmic pattern. Pangkat A – Ipalakpak ang beat Pangkat B – Ipalakpak ang rhythm A. B. 6 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.

DEPED COPY 2. Balik-aral Laro: Pangkatin ang klase sa apat. Ang mga bata sa bawat pangkat ay mag-uunahan sa pagkilala ng ipakikita ng guro na mga note at rest na nakasulat sa mga flashcard. Matapos kilalanin, dapat ibigay ang tamang bilang o kumpas ng note o rest. Ang pangkat na may pinakamaraming tamang sagot ang panalo. B. Panlinang na Gawain 1. Pagganyak Laro: Sa hudyat, bubuo ang bawat pangkat ng rhythmic pattern gamit ang mga flashcard ayon sa dalawahang meter. Gawin ito ng limang ulit. Ipalakpak ang mga nagawang rhythmic pattern. Halimbawa: 2 2. Paglalahad - Ipakita ang tsart ng awiting “Tayo Na!”. - Iparinig ng guro ang tono ng awitin. - Ituro ang awit sa pamamagitan ng rote. - Awitin nang sabay-sabay ang “Tayo Na!”. 7 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.

3. Pagtatalakay - Anong uri ng mga note at rest ang ginamit sa awitin?(Ginamit sa awit angsumusunod na note at rest ( ).- Ano ang meter ng awitin? (Ang awit ay nasa meter na dalawahan o duple.)- Ilan ang bilang ng kumpas sa bawat measure? (Bawat measure ay may dalawang kumpas.)- May nakasulat na dalawang numerong magkapatong sa simula ng awit. Ito ang time signature ng awit. Ano ang nakasaad na time signature sa simula 2 ng awit? ( 4 )DEPED COPY- Ang numero na nasa itaas ng time signature ay nagsasaad ng bilang ng kumpas sa bawat measure, at ang numero sa ibaba ay nagsasaad ng uri ng note na tumatanggap ng isang kumpas.- Paano nabuo ang rhythmic pattern sa bawat measure? (Ang rhythmic pattern ay nabuo sa pamamagitan ng pagsasama-sama ng mga note at rest na naaayon sa katumbas na bilang ng kumpas sa nakasaad na meter at sa time signature.)- Ano ang inilagay/ginamit upang mapangkat ang mga tunog? (Gumamit ng barline upang mapangkat ang mga tunog.)- Awitin muli ang “Tayo Na!” habang ipinapalakpak ang beat ng awit.4. PaglalahatPaano nabubuo ang isang measure?(Ito ay nabubuo sa pamamagitan ng pagsasama-sama ng notes at rests atginagamitan ng barline upang makabuo ng pangkat ayon sa nakasaad sameter.)Time Signature Simple Duple Meter Rest Note Bilang ng Kumpas 1 kumpas ½ kumpas 2 kumpas 4 kumpas 8 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.

DEPED COPY 5. Paglalapat Pangkatin ang mga note at rest ayon sa duple meter gamit ang barline. 6. Repleksiyon Ano ang mangyayari kung may sinusunod tayong mga patakaran sa pagsasaayos ng mga bagay-bagay? C. Pangwakas na Gawain Kilalanin ang mga note at rest na matatagpuan sa awit na “Tayo Na!”. IV. Pagtataya Tukuyin at isulat ang limang karaniwang rhythmic pattern na matatagpuan o ginamit sa awiting “Tayo Na!”. (Ang sagot ng mga bata ay maaaring ang sumusunod sa anumang pagkakasunod-sunod) V. Takdang-aralin Pag-aralan ang awit na “Umayka Ti Eskuela”. Lagyan ng kaukulang bilang ng kumpas ang bawat note at rest ng awitin. 9 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.

UMAYKA TI ESKUELA COME TO SCHOOLUmayka ti eskuela, tapno lumaing ka, Come to school so you’ll be wiseAdu ti masursuro, maestro ti pangulo Many things you will learnTungpalem ti ‘bagana paginbagan ida, The teacher is the headDEPED COPYTaragsak da nanang mo, Do what she says, it is for your ownken ni pay tatang mo. good It is your mother’s joy and your father’s too. 10 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.

Yunit 1 - Aralin 3 2Ang Rhythmic Pattern at ang 4 Time SignatureI. Layunin: 2 Napagsasama-sama ang mga note at rest ayon sa 4 time signature Nakikilala ang pulsong may diin/accent at walang diin/unaccentedII. Paksang-aralinA. Paksa 2 : 4 time signature Pulsong may diin/accent at walang diin/unaccentedB. Lunsarang Awit : “Umayka Ti Eskuela”, C, 2 , soDEPED COPY 4 “Rain, Rain Go Away”, F, 2 , so 4 “Baby Seeds”, G, 2 , so 4C. Sanggunian : Sanayang Aklat sa Musika 4, p. 30 Emily A. Gonzales, Leonaria P. Malbas Music Time Teacher’s Manual, p. 38 (Lower Primary)D. Kagamitan : pitch pipe, mga flashcard ng mga note at restE. Pagpapahalaga : PakikiisaF. Konsepto 2 : Pagbubuo ng mga rhythmic pattern na may 4 time signature.III. PamamaraanA. Panimulang Gawain 1. Pagsasanay a. Rhythmic Echo clapping: Ipalakpak ang mga sumusunod. 1) 4) 2) 5) 3) 2. Balik-aral Awitin ang “Umayka Ti Eskuela” sa Yunit I - Aralin 2 Pangkatin ang mga note at rest upang makabuo ng rhythm ayon sa time signature. 11 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.

DEPED COPYB. Panlinang na Gawain 1. Pagganyak Paglalaro ng “The Boat is Sinking” Paraan ng pagsasagawa: Ang mga bata ay pabilog na magkakahawak ng kamay habang umaawit ng “Rain, Rain Go Away”. Kapag sinabi ng guro na “The Boat is Sinking; group into 5”, ang mga mag-aaral ay bubuo ng kani-kanilang pangkat na may limang katao. Ang mga batang walang nasamahang pangkat ay aalisin muna sa laro. Ang mga natirang bata ay muling maghahawak ng kamay pabilog at aawit na muli ng “Rain, Rain Go Away”. Sa pagtigil ng pag-awit ay magpapangkat muli ang mga bata ayon sa ibinigay na bilang ng guro. 2. Paglalahad 12 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.

DEPED COPY - Ipakita ang tsart ng awiting “Baby Seeds”. - Iparinig ang awitin. Ituro sa paraang rote. - Awitin nang sabay-sabay ang “Baby Seeds”. 3. Pagtatalakay - Ilang measure mayroon ang awit? (Ang awit ay may 16 na measure.) - Ano-anong mga simbolo ng musika ang nasa loob ng mga measure? (mga note at rest) - Tukuyin ang mga note at rest na ginamit sa awitin. (Ginamit sa awit ang mga sumusunod na note at rest. ) - Paano nabuo ang mga measure? (Sa pamamagitan ng paglalagay ng barline ayon sa time signature.) - Ano ang time signature ng “Baby Seeds”? (Ang awit ay nasa time signature.) - Ilang bilang mayroon ang bawat measure? (Bawat measure ay may dalawang bilang.) 222 Ang meter na dalawahan ay may time signature na 4, 8, 2 . Ang grupo ng mga note at rest na nasa loob ng isang measure ay tinatawag na rhythmic pattern. 4. Paglalahat Ang rhythmic pattern ay ang pinagsama-samang mga note at rest na naaayon sa isang nakatakdang time signature. 5. Paglalapat Mula sa awit na “Baby Seeds”, lagyan ng naaangkop na salita ang bawat rhythmic pattern. ______ ______ ______ ______ 13 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.

DEPED COPY6. Repleksiyon Ano-anong mga gawain ang higit na nakatulong sa pag-unawa ng aralin?C. Pangwakas na Gawain Muling awitin ang “Baby Seeds”. Sabayan ng pagtapik/pagpalakpak ng rhythmic pattern ng awitin.IV. Pagtataya Pangkatin ang mga note ayon sa time signature at batay sa tamang bigkas ng mga salita. Gumamit ng barline.V. Takdang-aralin Isulat ang rhythmic pattern gamit ang “stick notation” ng awiting “Baby Seeds”. Hatiin ito ayon sa nakasaad na time signature. 14 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.

Yunit 1 - Aralin 4 3 Ang Rhythmic Pattern sa 4 Time SignatureI. Layunin: Nasasabi ang kahulugan ng iba’t ibang rhythmic pattern 3 Napagsasama-sama ang mga note at rest sa measure ayon sa 4 time signatureII. Paksang-aralinA. Paksa : Mga rhythmic pattern sa simple meterB. Lunsarang Awit : Pakikinig: Waltz of the Blue DanubeDEPED COPY “Batang Magalang”, F, 3 , so 4 “Will You Dance With Me?”, C, 3 , mi 4C. Sanggunian : Music Time Teacher’s Manual (Lower Primary), p. 40D. Kagamitan : pitch pipe, mga flashcard ng mga note at restE. Pagpapahalaga : Pakikiisa note at rest, rhythmic pattern, 3F. Konsepto : Iba’t ibang 4 time signature sa triple meterIII. PamamaraanA. Panimulang Gawain1. Pagsasanay a. Rhythmic Ipalakpak ang sumusunod na rhythmic pattern. 1) 4) 2) 5) 3) 2. Balik-aral Ano-ano ang iba’t ibang uri ng mga note? Awitin ang awit tungkol sa notes habang ipinakikita ang pagbuo ng iba’t ibang note sa pisara. (Tono: “This is the Way I Brush My Teeth”) We have here a hollow head, a hollow head, a hollow head. We have here a hollow head and we call it a whole note. Then we put a stem on it, a stem on it, a stem on it. Then we put a stem on it and we call it a half note. 15 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.

DEPED COPY Then we put a shade on it, a shade on it, a shade on it. Then we put a shade on it and we call it a quarter note. Then we put a flag on it, a flag on it, a flag on it. Then we put a flag on it and we call it an eight note. Ano-anong note ang natukoy sa awitin?B. Panlinang na Gawain 1. Pagganyak Makinig ng isang recording ng isang waltz tulad ng “Waltz of the Blue Danube” at maaaring umindak ang mga bata habang nakikinig. Bakit kinagigiliwan ang batang magalang? 2. Paglalahad - Ipakita ang tsart ng awiting “Batang Magalang”. - Iparirinig ng guro ang awit sa mga mag-aaral. - Bibigkasin ng mga mag-aaral ang titik ng awitin ayon sa tamang rhythm. - Ituro ang awit sa pamamagitan ng rote method. - Aawitin ng mga mag-aaral ang “Batang Magalang”. Ano-anong uri ng note at rest ang makikita sa awit? May kakaiba ka bang napansin sa pagkakaayos/pagkakasulat ng awitin? (May measure na kulang ang bilang.) Saan nakita ang measure na ito? (Sa unang salitang “Ang”) 16 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.

DEPED COPY 3. Pagtatalakay  Ano ang time signature ng awitin? Ilan ang bilang sa bawat measure?  Tukuyin ang bilang ng kumpas ng bawat note.  Isang grupo ng mag-aaral ang magtatapik ng beat habang isang grupo ng mag-aaral ang papalakpak ng rhythmic pattern ng unang apat na measure. 3  May tatlong bilang sa bawat sukat ng isang rhythmic pattern na nasa 4 na time signature. 4. Paglalahat Ang rhythmic pattern ay ang pinagsama-samang mga note at rest na binuo ayon sa nakasaad na time signature. 5. Paglalapat Awitin ang “Will You Dance With Me?” at sabayan ng nababagay na dance step. Iguhit ang akmang note sa bawat patlang upang mabuo ang mga rhythmic 3 pattern sa 4 time signature. 1. 2. 3. 4. 5. 17 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.

DEPED COPY6. Repleksiyon Sa pag-awit ng “Batang Magalang”, ano ang inyong naramdaman? Bakit? 3 Anong uri ng sayaw ang maaaring gawin kasabay ng awitin na may 4 time signature? C. Pangwakas na Gawain Muling awitin ang “Batang Magalang”. Sabayan ng pagtapik/pagpalakpak ng rhythmic pattern ng awitin.IV. Pagtataya Isulat ang angkop na rhythmic pattern ng mga lyrics ng awitin.V. Takdang-aralin 3 Lumikha ng sariling rhythmic pattern sa time signature na 4 . Isulat ito sa inyong papel. Lagyan ng bilang ng kumpas ang bawat note na bumubuo sa isang measure. Magdala ng mga instrumento o bagay na may malakas na tunog gaya ng tambol, pinaglagyan ng ice cream at kauri nito. Magdala rin ng instrumento o bagay na kumakalansing. 18 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.

Yunit 1 - Aralin 5 3Ang Accent at mga Rhythmic Pattern sa 4 Time SignatureI. Layunin: 3 Napagsasama-sama ang mga note at rest sa sukat ayon sa 4 time signatureII. Paksang-aralin 3 A. Paksa : Accent at mga rhythmic pattern sa 4 B. Lunsarang Awit : “Will You Dance With Me?”, C, 3 mi C. Sanggunian D. Kagamitan 4, E. Pagpapahalaga “An Sakong Abaniko”, C, 3 F. Konsepto 4 , soDEPED COPY “Ang Huni ng Ibong Pipit”, C, 3 , mi 4 : Music Time (LP), p. 40 : Mga bagay na lumilikha ng tunog tulad ng patpat, kutsara, tinidor, at kauri nito : Pagkakaisa : Ang accent ay karaniwang nasa unang kumpas ng bawat sukat ng isang rhythmic pattern.III. PamamaraanA. Panimulang Gawain1. Pagsasanay 3a. Rhythmic - Pagpalakpak ng rhythmic pattern sa 4b. Tonal - Pag-awit ng mga note sa musical ladder (pataas at pababang tono)2. Balik-aralPalakumpasan at halaga ng mga note at rest.Awitin ang “Will You Dance With Me?”Ano ang time signature ng awit? ( 3 ) 4Anong kilos ang maaaring isabay sa awit? (pagbalse/waltz) 19 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.

B. Panlinang na Gawain 1. Pagganyak Kunin ang mga dinalang instrumento at maghanda sa pagpapatunog ng mga ito. Patunugin ang inyong dalang instrumento habang inaawit ang “Will You Dance With Me?” Sundan ang tsart para sa bahagi ng awit na sasabayan ng ostinato.Instrumento o bagay na may ::malakas na tunog gaya ng tambol, 1 23pinaglagyan ng ice cream at kaurinito.DEPED COPYIba pang mga instrumento o bagayna kumakalansing2. PaglalahadBersiyong Bicol Bersiyong InglesKon dili sin abaniko If hand fan is not with meTapus na ining buhay ko My life will be miserableLawas ko, ay,ay! My body! Oh! my bodyMadedesmayo Fainting will happen,Kun dili sin abaniko If hand fan is not with me. 20 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.

Tumayo ang lahat at magbalse sa bilang 1, 2, 3 habang sinasaliwan ng tugtuging may tatluhang kumpas. Awitin ang “An Sakong Abaniko” (Ituro sa paraang rote). Suriin ang rhythmic pattern ng “An Sakong Abaniko”. Ipalakpak ang rhythm ng awitin. Ano ang naramdaman ninyo habang isinasayaw ang balse, umaawit at ipinapalakpak ang rhythm ng awit?3. Pagtalakay 3 Ano ang time signature ng awit? ( 4 ) Ano ang kilos na maaaring gawin habang inaawit ito? (pagbalse) Tulad ng pagsasalita, mayroong mga note sa musika na binibigyan ng diin. Tinatawag itong accent (>). Kaya, may accented at unaccented pulses. Sa karaniwang kumpas, ang diin o accent (>) ay nasa unahan ng bawat measure.DEPED COPYLagyan ng panandang diin(>) ang unang kumpas ng bawat measure ng awitna “An Sakong Abaniko”.4. PaglalahatSa pangkaraniwang kumpas, ang unang note o kumpas/beat ng bawatmeasure ay binibigyan ng accent (>) o diin. 3Ang accent sa unang kumpas ng rhythmic pattern sa ( 4 ) ay nagbibigay ngmas maayos na pagsaliw sa mga sayaw na balse.5. Paglalapat Awiting muli ang “An Sakong Abaniko”. Lagyan ng accent ang bahaging binigyang diin sa awit. Gawin ito sa sagutang papel. Awitin ito ayon sa pagkakalagay ng accent.6. Repleksiyon Bilang mag-aaral, ano ang dapat pagtuunan ng pansin sa buhay? Bakit?C. Pangwakas na Gawain Sumayaw habang inaawit ang “An Sakong Abaniko.” Bigyang-pansin ang bahaging may accent. 21 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.

DEPED COPYIV. Pagtataya 1. Pangkatin ang mga note upang makalikha ng mga measure ayon sa nakasaad na time signature. 2. Lagyan ng accent ang bahagi ng awit na nararapat na may diin.V. Takdang-aralin 1. Magdala ng tugtuging nagbibigay-pansin sa accent. 2. Kapanayamin ang inyong nanay, tatay, lolo, o lola tungkol sa mga nadaluhan nilang sayawan noong kapanahunan nila. Itanong ang pagkakapareho at pagkakaiba ng sayawan noon at ngayon. Iulat sa klase ang inyong napag-alaman. 22 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.

Yunit 1 - Aralin 6 4 Ang Rhythmic Pattern sa 4 Time SignatureI. Layunin: Naipakikita ang kaalaman sa elemento ng rhythm sa pamamagitan 4 ng pagpalakpak ng rhythmic patterns sa time signature na 4 4 Napagsasama-sama ang mga note at rest sa measure ayon sa 4 time signatureII. Paksang-aralin 4 : Rhythmic pattern sa 4 time signatureDEPED COPYA. PaksaB. Lunsarang Awit : Pakikinig: “Pop! Goes the Weasel” “We’re on the Upward Trail”, G, 4 , do 4 “Inday Kalachuchi”, C, 4 , so 4C. Sanggunian : Musika, Sining, at Edukasyong Pangkatawan 4, p. 308 Violeta E. Hornilla, Isabelo R. Magbitang Servillano A. Padiz, Jr.D. Kagamitan : pitch pipe, mga flashcard ng mga note at restE. Pagpapahalaga : PakikiisaF. Konsepto : Pagpapangkat ng mga note at rest gamit ang barlineIII. PamamaraanA. Panimulang Gawain1. Pagsasanay a. Rhythmic 1. Bigkasin ang mga rhythmic syllable. 23 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.

2. Ipalakpak ang rhythmic pattern.DEPED COPY2. Balik-aralMakinig sa musikang “Pop Goes the Weasel” habang kumukumpas. 4Narito ang larawan ng pagkumpas sa 4 gamit ang kaliwa at kanang kamay. Awitin ang “Ang Huni ng Ibong Pipit” (tingnan sa Aralin 5). Bigyang pansin ang tamang lugar ng accent. Lapatan ng angkop na galaw ang awitin.B. Panlinang na Gawain 1. Pagganyak Pag-usapan kung ang mga bata ay nakaranas nang mag-hiking. Bigyan ng pagkakataon ang ilan na magkapagsalaysay. 24 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.

2. Paglalahad - Iparinig ang awit sa mga mag-aaral. - Bigkasin ang titik ng awitin ayon sa tamang rhythm. - Ituro ang awit sa pamamagitan ng rote method. - Aawitin ng mga mag-aaral ang “We’re on the Upward Trail”.DEPED COPY Ano-anong mga uri ng note ang makikita sa awit? May bagong note ka bang nakita? Ano ito? (Opo, Whole Note - ) Ilan ang bilang ng isang whole note? (4)3. Pagtatalakay - Ipalakpak ang sumusunod na rhythmic pattern ng awitin. - Ano ang time signature ng awitin? - Ilang bilang mayroon ang bawat measure? - Bigkasin ang rhythmic syllable ng una at pangalawang linya ng awitin. - Itapik/Ipalakpak ang pangatlo at pang-apat na linya. 4 Sa time signature na 4 , may 4 na bilang ang bawat measure.4. Paglalahat 4Ang rhythmic pattern na may time signature na 4 ay may kaukulang mga noteat rest na pinagsasama-sama upang makabuo ng 4 na bilang.5. Paglalapat a. Awiting muli ang “We’re on the Upward Trail”. Lapatan ng galaw ng katawan ang bawat note. - takbo - lakad - slide - talon 25 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.

DEPED COPYb. Tukuyin/Hanapin ang mga kaparehong measure/s ng sumusunod na rhythmic pattern sa awiting “We’re on the Upward Trail”. 1) 2) 3) 4) 6. Repleksiyon Bakit mahalaga ang kaalaman sa iba’t ibang note, rest, at meter? (Mahalaga ang kaalaman sa iba’t ibang uri ng note at rest sa pagbuo ng rhythmic pattern. Ang rhythmic pattern ay nabubuo ayon sa nakasaad na meter. Ang rhythmic pattern ay isa sa mga sangkap sa pagbuo ng musika.)C. Pangwakas na Gawain Kilalanin ang mga note at rest na makikita sa awit na “Inday Kalachuchi”. 26 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.

Bersiyong Binisaya Bersiyong InglesInday Kalachuchi may langgam tamsi, Inday Kalachuchi there’s a sunbird,Iyang balhibo pula ug berde, And it has feathers bright red and green,Ayaw’g hingkalimti, Don’t you ever forget,Ang baryo dinhi, Here in the barrio,Daghang dalaga, daghang dalaga, Are many maidens, many maidensAko ay gwapa But I’m the prettiestDEPED COPYIV. PagtatayaIsulat sa patlang ang note o rest na bubuo sa measure sa time signature na44 .Ipalakpak ito pagkatapos sagutin ng lahat.(note) 1.(rest) 2.(note) 3.(note) 4.(rest) 5.V. Takdang-aralin Isulat ang mga rhythmc pattern na makikita sa awiting “Inday Kalachuchi”. 27 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.

I. Layunin: Yunit 1 - Aralin 7 Ang Accent sa mga Recorded Music 4 Napagsasama-sama ang mga note at rest sa sukat ayon sa 4 time signature Nailalagay ang accent (>) sa tamang lugar sa notation ng napakinggang tugtuginII. Paksang-aralinA. Paksa : Paglalagay ng accent sa notationB. Lunsarang Awit : “Inday Kalachuchi”, C, 4 , soDEPED COPY 4 Pakikinig: “Pop! Goes the Weasel” “Ano-ano”, C, 4 , so 4C. Sanggunian : Musika, Sining at Edukasyong Pangkatawan 4D. Kagamitan Violeta E. Hornilla, Isabelo R. MagbitangE. PagpapahalagaF. Konsepto Servillano A. Padiz, Jr. : Tsart ng awitin, sipi ng notasyon ng awitin, at recorded music : Maayos na pakikinig : Ang accent ay karaniwang makikita sa unang kumpas ng bawat measure.III. PamamaraanA. Panimulang Gawain1. Pagsasanay Bigyang pansin ang a. Rhythmic Ipalakpak/itapik ang sumusunod na rhythmic pattern. accent sa unahan ng bawat measure. 2. Balik-aral Pakikinig: Pakinggan ang “Pop! Goes The Weasel” at alamin kung saan ang accent. (Sagot: Sa salitang “Pop!”) 4 Inday Kalachuchi, C, 4 , so Ano-anong note at rest ang nakita/ginamit sa awitin? 28 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.

B. Panlinang na Gawain1. PagganyakMagbigay ng mga hayop o tao na puwedeng makita sa paglalakad mula sainyong bahay hanggang sa paaralan? Ano ang nararamdaman ninyo satuwing makikita ang mga ito?2. Paglalahad Ipakita ang tsart ng awiting “Ano-ano”. Iparinig sa mga mag-aaral ang awitin. Ituro ang awitin sa pamamaraang rote.DEPED COPY3. PagtatalakayAno ang time signature ng awitin?Tungkol saan ang awitin? ( Bagay na makikita habang naglalakad)Tukuyin ang mga ito.Awitin ang “Ano-ano” na sinasabayan ng paglalakad.Tukuyin ang mga bahagi sa awitin na nabigyan ng mas malakas na pag-awitbunga ng paglalakad. (Unahan ng bawat measure)Awitin nang sabay-sabay ang “Ano-ano” at bigyang pansin ang mga accent.4. PaglalahatSaang bahagi ng measure karaniwang nakikita o nailalagay ang accent?(Ang diin ay karaniwang makikita sa unahang bahagi ng measure o sa unangkumpas/beat ng isang measure.)5. Paglalapat 23 4Gumawa ng rhythmic pattern na angkop sa mga time signature na 4 , 4 , at 4 .Gamitin ang sumusunod na uri ng note at rest. 2 a. 4 3 b. 4 4 c. 4 29 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.

6. RepleksiyonAng mga gawain ay nagkakaroon ng kaayusan kung marunong tayongsumunod sa patakaran.C. Pangwakas na Gawain 4Awitin ang “Ano-ano”. Lagyan ng akmang galaw ayon sa time signature na 4at sa titik ng awitin.IV. PagtatayaItapik ang sumusunod na mga rhythmic pattern sa Hanay A.Piliin sa Hanay B ang awitin na ginamitan ng naturang rhythmic pattern.(Sagot: 1. B 2. E 3. A 4. C 5. D)DEPED COPY An Sakong AbanikoV. Takdang-aralin 23 4Lumikha ng rhythmic pattern sa 4 , 4 , at 4 na binubuo ng tig-tatlong measure. 30 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.

Yunit 1 - Aralin 8Ang Pagtugon sa Musika Gamit ang KumpasI. Layunin: Nakatutugon sa pamamagitan ng angkop na kumpas sa metric pulse ng tugtugin o awiting napakingganII. Paksang-aralinA. Paksa : Angkop na PagkumpasB. Lunsarang Awit : “Lupang Hinirang”, G, 2 , do 4 “Pilipinas Kong Mahal”, C, 3 , soDEPED COPY 4C. Sanggunian : Lupang Hinirang Handbook, Musika ng Batang PilipinoD. Kagamitan : Tsart ng awitinE. Pagpapahalaga : Paggalang sa WatawatF. Konsepto : May kahulugan ang bawat galaw ng ating kamay sa pagkumpasIII. PamamaraanA. Panimulang Gawain1. Pagsasanay a. Rhythm – Ipalakpak ang stick notation. b. Tonal – paggamit ng head tone Pag-awit ng “Gising Na” gamit ang pangalan ng kamag-aaral. 31 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying – without written permission from the DepEd Central Office. First Edition, 2015.