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K TO 12 GRADE 4 TEACHER’S GUIDE IN MUSIKA (Q1-Q4)

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LiGhT ArOhL
LiGhT ArOhL

Teacher’s Guide in MUSIKA Quarter 1 to 4

Education
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D EPED C O PY ii Musika at Sining – Ikaapat na Baitang Patnubay ng Guro Unang Edisyon 2015 ISBN: ___________ Paunawa hinggil sa karapatang-sipi. Isinasaad ng Seksiyon 176 ng Batas Pambansa Bilang 8293: Hindi maaaring magkaroon ng karapatang-sipi sa anumang akda ng Pamahalaan ng Pilipinas. Gayunpaman, kailangan muna ang pahintulot ng pamahalaan o tanggapan kung saan ginawa ang isang akda upang magamit sa pagkakakitaan ang nasabing akda. Kabilang sa mga maaaring gawin ng nasabing ahensiya o tanggapan ay ang patawan ng bayad na royalty bilang kondisyon. Ang mga akda / materyales ( mga kuwento, seleksiyon, tula, awit, larawan, ngalan ng produkto o brand names, tatak o trademarks, palabas sa telebisyon, pelikula at iba pa) na ginamit sa aklat na ito ay nagtataglay ng karapatang-ari ng mga iyon. Pinagtibay sa isang kasunduan ng Kagawaran ng Edukasyon at Filipinas Copyright Licensing Society (FILCOLS) Inc. na ang FILCOLS ang kumakatawan sa paghiling ng pahintulot sa nagmamay-ari ng mga akdang hiniram at ginamit dito. Hindi inaangkin ni kinakatawan ng tagapaglathala (publisher) at mga may-akda ang karapatang-aring iyon. Inilathala ng Kagawaran ng Edukasyon Kalihim: Br. Armin Luistro FSC Pangalawang Kalihim: Dina S. Ocampo, PhD Direktor IV: Marilyn D. Dimaano, EdD Direktor III: Marilette R. Almayda, PhD Inilimbag sa Pilipinas ng _________________________ Department of Education–Instructional Materials Council Secretariat (DepEd–IMCS) Office Address : 5th Floor Mabini Bldg. DepEd Complex Meralco Avenue, Pasig City Philippines 1600 Telefax : (02) 634–1054 or 634–1072 E–mail Address : imcsetd@yahoo.com Mga Bumuo ng Patnubay ng Guro Musika 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. Cadisal Sining 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. Magat 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.
D EPED C O PY iii 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. 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.
D EPED C O PY iv Talaan ng Nilalaman MUSIKA Yunit 1 – Rhythm Aralin 1: Ang mga Simbolo at Konsepto sa Musika……...………….. 2 Aralin 2: Ang Simple Meter, Pagtuturo ng Rhythmic Pattern at Time Signature ……………………………………………………… 6 Aralin 3: Ang Rhythmic Pattern at ang Time Signature………… 11 Aralin 4: Ang Rhythmic Pattern sa Time Signature……………….. 15 Aralin 5: Ang Accent at Rhythmic Pattern sa Time Signature…... 19 Aralin 6: Ang Rhythmic Pattern sa Time Signature……………….. 23 Aralin 7: Ang Accent sa mga Recorded Music……………………….. 28 Aralin 8: Ang Pagtugon sa Musika Gamit ang Kumpas……………... 31 2 4 3 4 3 4 4 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.
D EPED C O PY ix RepublicofthePhilippines DepartmentofEducation DepEdComplex,MeralcoAvenue PasigCity December2013 Kto12CurriculumGuide MUSIC (Grade4) 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.
D EPED C O PY x Kto12BASICEDUCATIONCURRICULUM CONCEPTUALFRAMEWORK BoththeMusicandtheArtscurriculafocusonthelearnerasrecipientoftheknowledge,skills,andvaluesnecessaryforartisticexpressionand culturalliteracy.Thedesignofthecurriculaisstudent-centered,basedonspiralprogressionofprocesses,conceptsandskillsandgroundedinperformance- basedlearning.Thus,thelearnerisempowered,throughactiveinvolvementandparticipation,toeffectivelycorrelatemusicandarttothedevelopmentofhis/her ownculturalidentityandtheexpansionofhis/hervisionoftheworld. AsMusicandArtsareperformance-baseddisciplines,effectivelearningoccursthroughactiveexperience,participation,andperformance,creative expression,aestheticvaluation,criticalresponse,andinterpretation.Theskillsthataredevelopedincludereading/analyzing,listening/observing,performing, (singing,usingmusicalinstruments,movement,acting,andplaying,usingdifferentartmaterials,techniquesandprocesses,responding,composing,and creating.(SeeFigure1andFigure2) Thephilosophicalfoundationsuponwhichstandardsandcompetenciesarebasedinclude:AProcessofEducationbyJeromeBruner,Performance-Based LearningbyCleveMiller,AestheticEducationbyBennettReimer,MultipleIntelligencesbyHowardGardner,AStructureforMusicEducationbyRonald Thomas,GongsandBamboobyJoseMaceda,CompendiumontheHumanities:MusicalArtsproducedbytheNationalResearchCouncilofthePhilippines, CulturalDictionaryforFilipinosbyThelmaKintanarandAssociates,CreativeandMentalGrowthbyViktorLowenfeldandW.LambertBrittain,Discipline-Based ArtEducationbyElliotEisner,EncyclopediaofPhilippineArtsandTuklasSining,bothproducedbytheCulturalCenterofthePhilippines. 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.
D EPED C O PY xi Kto12BASICEDUCATIONCURRICULUM PHILOSOPHYANDRATIONALEFORMUSICEDUCATION Musicisbothanauralandatemporalart.Allitselements,wheninterwoveninthehighestartisticorder,arelikenedintoa--tapestrymovingintime. Theglobalweavingsofthistapestryinhistoricalandculturalcontextsarediverse--havingspurredacontinuedmetamorphosistoincludeafullrangeof purposes,functions,andidentities,fromtheutilitariantoaesthetic. However,thebasicnatureofmusicdoesnotchange.InhisbookAStructureforMusicEducation,RonaldThomasarticulatesthatthenatureofmusicis expressive,ongoing,andcreative.Throughalanguageandmediumofitsown,musicconveysideasandfeelingsinawaythataddressesthehumanspirit,and hasgreatvalueinitscommunicativeprocess.Music,beingresponsiveininterpretingcontemporarytimes,isacontinuingart.AaronCoplanddescribesthis characteristicasacontinuousstateofbecoming.Liketheotherarts,musicisacreativeavenueforman’sindividualquestforself-expressionandfulfillment. Onthesebasiccharacteristicsarefoundedtherationaleofmusicstudy.Akeensensitivitytoenvironmentalandmusicalsoundsneedstobe developed.Thestudentmustlearnto―hear,―speak,and―thinkinthemediumofmusic.Simultaneously,growthanddevelopmentintheskillsthatenablethe applicationofthelearner’sknowledgeshouldbeencouraged,throughactiveinvolvementinthevariousmusicalprocesses. Drawingfromthedevelopmentofmusicpedagogythroughtheyears,theK-10MusicCurriculumembodiesthebestpracticesadvocatedbythe SPIRAL,MULTI-CULTURAL,andINTEGRATIVEapproachesinmusiceducation,aswellascurrentphilosophicalthoughtaboutcontemporarygeneral education. WeenvisionthatMusicintheK-10Programwilleffectivelynurtureandrefinethelearner’sartisticexpressionandculturalliteracy,andcelebratehis/her nationalheritage,whileitinstils,withineveryindividualFilipinolearner,prideinhis/herownculturalidentity. 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.
D EPED C O PY xii Kto12BASICEDUCATIONCURRICULUM Figure1.TheCurriculumFrameworkofMusicandArtsEducation 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.
D EPED C O PY xiii Kto12BASICEDUCATIONCURRICULUM Figure2.ContentofMusicandArtsperGradeLevel Grade12MasteryofProficiencyinthechosenformorgenre Grade11MasteryofProficiencyinthechosenformorgenre Grade10ApplicationofContemporaryMusicandArts Grade9Application–WesternMusicandArts Grade8Application–AsianMusicandArts Grade7Application–PhilippineFolkMusicandArts Grade6ApplicationforAppropriateMasteryandAcquisitionofSkills Grade5Exploration–Elements/Processes Grade4FormalIntroductiontoElements/Processes Grade3PreliminaryAcquisitionofBasicKnowledgeandSkills Grade2EnhancedUnderstandingofFundamentalProcesses Grade1IntroductiontotheFundamentalProcesses KindergartenExposuretotheDifferentMusic&ArtProcesses (ExperientialLearning) 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.
D EPED C O PY xiv Kto12BASICEDUCATIONCURRICULUM Table1.BasicReferenceforMusicContent MusicElementsMusicProcesses -creating) movement) *Noformalinstructioninharmony fromKto3 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.
D EPED C O PY xv Kto12BASICEDUCATIONCURRICULUM LEARNINGAREASTANDARD:Thelearnerdemonstratesanunderstandingofbasicconceptsandprocessesinmusicandartthroughappreciation, analysisandperformanceforhis/herself-development,celebrationofhis/herFilipinoculturalidentityanddiversity,and expansionofhis/herworldvision. KEYSTAGESTANDARDS: K-34-67–10 Thelearnerdemonstratesunderstandingof fundamentalprocessesthrough performing,creating,andresponding, aimedtowardsthedevelopmentof appreciationofmusicandart,and acquisitionofbasicknowledgeandskills. Thelearnerdemonstratesunderstandingof basicelementsandconceptsthrough performing,creating,andresponding,aimed towardsthedevelopmentofappreciationof musicandart,andacquisitionofbasic knowledgeandskills. Thelearnerdemonstratesunderstandingof salientfeaturesofmusicandartofthe Philippinesandtheworld,throughappreciation, analysis,andperformance,forself- development,thecelebrationofFilipinocultural identityanddiversity,andtheexpansionof one’sworldvision. 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.
D EPED C O PY xvi Kto12BASICEDUCATIONCURRICULUM GRADELEVELSTANDARDS: GradeLevelGradeLevelStandards KindergartenThelearnerisexposedtothedifferentbasicmusicandartprocessesthroughexperientiallearning. Grade1 Thelearnerdemonstratesbasicunderstandingofthefundamentalprocessesinmusicandart,throughperforming,creating,listeningandobserving,and responding. Grade2 Thelearnerdemonstratesunderstandingofthebasicandfundamentalprocessesinmusicandart,throughperforming,creating,listeningandobserving, andresponding. Grade3 Thelearnerhasacquiredthebasicandfundamentalprocessesthroughperforming,creating,listeningandobserving,andresponding,towardsthe developmentofappreciationofmusicandart,andtheacquisitionofbasicknowledgeandskills. Grade4 Throughtheformalintroductionofelements,thelearnercanidentifythebasicknowledgeandskillsinmusicandart,towardsself-development,the celebrationofFilipinoculturalidentityanddiversity,andtheexpansionofone’sworldvision. Grade5 Throughexploration,thelearnerdemonstratesadeeperunderstandingofbasicknowledgeandskillsinmusicandart,towardsself-development,the celebrationofFilipinoculturalidentityanddiversity,andexpansionofone’sworldvision. Grade6 Throughapplication,thelearnerdemonstratesunderstandingofthebasicconceptsofandprocessesinmusicandart,towardsself-development,the celebrationofFilipinoculturalidentityanddiversity,andtheexpansionofone’sworldvision. Grade7 Thelearnerdemonstratesbasicunderstandingofthefundamentalprocessesinmusicandtheartsthroughperforming,creating,listeningandobserving, andrespondingtowardsappreciationoftheculturalrichnessofthedifferentprovincesinthePhilippines. Grade8 ThelearnerdemonstratesunderstandingofsalientfeaturesofAsianmusicandthearts,throughappreciation,analysis,andperformanceforself- development,thecelebrationofFilipinoculturalidentityanddiversity,andtheexpansionofone’sworldvision. Grade9 ThelearnerdemonstratesunderstandingofsalientfeaturesofWesternmusicandtheartsfromdifferenthistoricalperiods,throughappreciation,analysis, andperformanceforself-development,thecelebrationofFilipinoculturalidentityanddiversity,andtheexpansionofone’sworldvision. Grade10 Thelearnerdemonstratesunderstandingofsalientfeaturesofcontemporarymusicandthearts,throughappreciation,analysis,andperformance,forself- development,thecelebrationofFilipinoculturalidentityanddiversity,andtheexpansionofone’sworldvision. 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.
D EPED C O PY xvii Kto12BASICEDUCATIONCURRICULUM GRADE4 ELEMENTSOFMUSIC CONTENT CONTENT STANDARDS PERFORMANCE STANDARDS LEARNINGCOMPETENCYCODE FIRSTQUARTER I.RHYTHM 1.MusicalSymbolsand Concepts: 1.1NotesandRests 1.2Meters 1.3RhythmicPatterns 1.4SimpleTime Signatures 1.5Ostinato demonstrates understandingof conceptspertainingto rhythmandmusical symbols createsrhythmic patternsin: 1.simpletime signatures 2.simpleone-measure ostinatopattern 1.identifiesdifferentkindsof notesandrests MU4RH-Ia- 1 2.organizesnotesandrests accordingtosimplemeters (groupingnotesandrests intomeasuresgivensimple meters) MU4RH-Ib- 2 3.statesthemeaningofthe differentrhythmicpatternsMU4RH-Ic-3 4.demonstratesthemeaning ofrhythmicpatternsby clappingintimesignatures MU4RH-Ic-4 5.usesthebarlinetoindicate groupingsofbeatsin MU4RH-Ic-5 6.identifiesaccentedand unaccentedpulses MU4RH-Id- 6 7.placestheaccent(>)on thenotationofrecorded music MU4RH-Id- 7 3 4, 2 4, 4 4 3 4, 2 4, 4 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.
D EPED C O PY xviii Kto12BASICEDUCATIONCURRICULUM CONTENT CONTENT STANDARDS PERFORMANCE STANDARDS LEARNINGCOMPETENCYCODE I.I.RHYTHM 1.MusicalSymbolsand Concepts: 1.1NotesandRests 1.2Meters 1.3RhythmicPatterns 1.4SimpleTime Signatures 1.5Ostinato demonstrates understandingof conceptspertainingto rhythmandmusical symbols createsrhythmic patternsin: 1.simpletime signatures 2.simpleone-measure ostinatopattern 8.respondstometricpulses ofmusicheardwith appropriatecon 9.ductinggestures MU4RH-Ie- g-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.
D EPED C O PY xix Kto12BASICEDUCATIONCURRICULUM CONTENT CONTENT STANDARDS PERFORMANCE STANDARDS LEARNINGCOMPETENCYCODE SECONDQUARTER II.MELODY 1.MusicalSymbolsand Concepts: 1.1Intervals 1.2Scales 1.3MelodicContours 1.4Patternsofsuccessive pitchesofaCMajor scale recognizesthemusical symbolsand demonstrates understandingof conceptspertainingto melody analyzesmelodic movementandrange andbeabletocreate andperformsimple melodies 1.identifiesthepitchnameof eachlineandspaceofthe G-clefstaff MU4ME-IIa- 1 2.identifiesthepitchnames ofnotesontheledgerlines andspacesbelowtheG- clefstaff(middleCandD) MU4ME-IIb- 2 3.recognizesthemeaning anduseofG-Clef doremifasolati do MU4ME-IIc- 3 E G B D F F A C E 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.
D EPED C O PY xx Kto12BASICEDUCATIONCURRICULUM CONTENT CONTENT STANDARDS PERFORMANCE STANDARDS LEARNINGCOMPETENCYCODE II.MELODY 1.MusicalSymbolsand Concepts: 1.1Intervals 1.2Scales 1.3MelodicContours 1.4Patternsofsuccessive pitchesofaCMajor scale recognizesthemusical symbolsand demonstrates understandingof conceptspertainingto melody analyzesmelodic movementandrange andbeabletocreate andperformsimple melodies 4.identifiesthemovementof themelodyas: -nomovement -ascendingstepwise -descendingstepwise -ascendingskipwise -descendingskipwise MU4ME-IId- 4 5.identifiesthehighestand lowestpitchinagiven notationofamusicalpiece todetermineitsrange MU4ME-IIe- 5 6.singswithaccuratepitch thesimpleintervalsofa melody MU4ME-IIf- 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.
D EPED C O PY xxi Kto12BASICEDUCATIONCURRICULUM CONTENT CONTENT STANDARDS PERFORMANCE STANDARDS LEARNINGCOMPETENCYCODE II.MELODY 1.MusicalSymbolsand Concepts: 1.1Intervals 1.2Scales 1.3MelodicContours 1.4Patternsofsuccessive pitchesofaCMajor scale recognizesthemusical symbolsand demonstrates understandingof conceptspertainingto melody analyzesmelodic movementandrange andbeabletocreate andperformsimple melodies 7.performshis/herown createdmelody MU4ME-IIg- h-7 THIRDQUARTER III.FORM 1.PhrasesinaMusical Piece 2.StructureofMusical Sound 2.1Antecedent (Question)Phrase 2.2Consequent(Answer) Phrase 2.3Introduction 2.4CODA(ending)Phrase demonstrates understandingof musicalphrases,and theusesandmeaning ofmusicaltermsin form performssimilarand contrastingmusical phrases 1.identifiesaurallyand visuallytheintroduction andcoda(ending)ofa musicalpiece MU4FO- IIIa-1 2.identifiesaurallyand visuallytheantecedentand consequentinamusical piece MU4FO- IIIa-2 3.listenstosimilarand contrastingphrasesin recordedmusic MU4FO- IIIa-b-3 4.identifiessimilarand contrastingphrasesinvocal andinstrumentalmusic fromthepreviouslessons 4.1melodic 4.2rhythmic MU4FO- IIIc-4 5.singssimilarand contrastingphrasesin music 5.1melodic 5.2rhythmic MU4FO- IIId-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.
D EPED C O PY xxii Kto12BASICEDUCATIONCURRICULUM CONTENT CONTENT STANDARDS PERFORMANCE STANDARDS LEARNINGCOMPETENCYCODE IV.TIMBRE 1.VariationsofSound 1.1Vocal 1.2Instrumental IV.TIMBRE 1.VariationsofSound 1.1Vocal 1.2Instrumental demonstrates understandingof variationsofsoundin music(lightnessand heaviness)asapplied tovocaland instrumentalmusic demonstrates understandingof variationsofsoundin music(lightnessand heaviness)asapplied tovocaland instrumentalmusic participatesactivelyin agroupperformance todemonstrate differentvocaland instrumentalsounds participatesactivelyin agroupperformance todemonstrate differentvocaland instrumentalsounds 6.distinguishesvocaland instrumentalsounds MU4TB- IIIe-1 7.identifiesasvocalor instrumental,arecordingof thefollowing: 7.1solo 7.2duet 7.3trio 7.4ensemble MU4TB- IIIe-2 8.identifiesaurallyand visuallydifferent instruments MU4TB-IIIf- 3 9.classifiesthevarious musicalinstrumentsas: 9.1string 9.2woodwind 9.3brasswind 9.4percussion MU4TB-IIIf- h-4 V.DYNAMICS 1.VolumeofSoundin Music recognizesthemusical symbolsand demonstrates understandingof conceptspertainingto volumeinmusic appliesforteand pianotodesignate loudnessandsoftness inamusicalexample 1.singing 2.playinginstrument 10.recognizestheuseofthe symbolp(piano)andf (forte)inamusicalscore MU4DY- IIIf-1 11.usesappropriatemusical terminologytoindicate simpledynamics 11.1forte 11.2piano MU4DY- IIIf-h-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.
D EPED C O PY xxiii Kto12BASICEDUCATIONCURRICULUM CONTENT CONTENT STANDARDS PERFORMANCE STANDARDS LEARNINGCOMPETENCYCODE FOURTHQUARTER VI.TEMPO 1.Speed/FlowofMusic VI.TEMPO 1.Speed/FlowofMusic demonstrates understandingof conceptspertainingto speed/flowofmusic demonstrates understandingof conceptspertainingto speed/flowofmusic createsandperforms bodymovements appropriatetoagiven tempo createsandperforms bodymovements appropriatetoagiven tempo 1.relatesbodymovementsto thetempoofamusical example MU4TP-IVa- 1 2.usesappropriatemusical terminologytoindicate variationsintempo 2.1largo 2.2presto MU4TP-IVb- 2 VII.TEXTURE 1.Simultaneous Occurrenceof MultipleMelodicLines 2.DistinctionBetween Thinnessand ThicknessinMusic demonstrates understandingof conceptspertainingto textureinmusic singstwo-partrounds andpartnersongswith others 3.identifiesaurallythe textureofamusicexample MU4TX-IVc- 1 4.identifiesaurallyand visuallyanostinatoor descantinamusical example MU4TX-IVd- 2 5.recognizesaurallyand visually,examplesof2-part vocalorinstrumentalmusic MU4TX-IVe- 3 VIII.HARMONY 1.Simultaneous SoundingofTwo Tones/Pitches demonstrates understandingof harmonicintervals performsexamplesof harmonicintervalwith others 6.identifiesharmonicinterval (2pitches)inamusical example MU4HA-IVf- 1 7.recognizesaurallyand visually,examplesof harmonicintervals MU4HA- IVg-2 8.createsexamplesof harmonicinterval(2 pitches)withothers MU4HA- IVh-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.
D EPED C O PY 2 2 4 Yunit 1 - Aralin 1 Ang mga Simbolo at Konsepto sa Musika I. Layunin: Nakikilala ang iba’t ibang uri ng mga note at rest II. Paksang-aralin A. Paksa : Pagkilala sa iba’t ibang uri ng mga note at rest B. Lunsarang Awit : “Lupang Hinirang”, G, , do “Magandang Araw”, C, , mi “Baby Seeds”, G, , so C. Sanggunian : Music Time (Lower Primary), p. 38, 208 D. Kagamitan : pitch pipe, mga flashcard ng mga note at rest E. Pagpapahalaga : Pakikiisa F. 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. Pamamaraan A. Panimulang Gawain 1. Pagsasanay a. Rhythmic Ipalakpak 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. 3 4 2 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.
D EPED C O PY 3 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.) 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.
D EPED C O PY 4 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. Mga Uri ng Note Simbolo Bilang ng Kumpas Mga Uri ng Rest Simbolo Quarter note 1 kumpas Quarter rest Eighth note ½ kumpas Eighth rest Half note 2 kumpas Half rest Whole note 4 kumpas Whole rest 5. 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. 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.
D EPED C O PY 5 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. 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.
D EPED C O PY 6 Yunit 1 - Aralin 2 Ang Simple Meter, Pagtuturo ng Rhythmic Pattern, at Time Signature I. 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 simple meter ( ) II. Paksang-aralin A. Paksa : Duple Meter, , Time Signature, Barline B. Lunsarang Awit : “Tayo Na!”, C, , do “Umayka Ti Eskuela”, C, , so C. Sanggunian : Philippine Folk Literature Series VII The Folk Songs, p. 105 Compiled and Edited by Damiana L. Eugenio D. Kagamitan : pitch pipe, mga flashcard ng mga note at rest E. Pagpapahalaga : Pakikiisa F. Konsepto : Iba’t ibang note at rest, mga simple meter III. Pamamaraan A. 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. 2 4 2 4 2 4 2 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.
D EPED C O PY 7 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!”. 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.
D EPED C O PY 8 3. Pagtatalakay - Anong uri ng mga note at rest ang ginamit sa awitin?(Ginamit sa awit ang sumusunod 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 ng awit? ( ) - 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. Paglalahat Paano nabubuo ang isang measure? (Ito ay nabubuo sa pamamagitan ng pagsasama-sama ng notes at rests at ginagamitan ng barline upang makabuo ng pangkat ayon sa nakasaad sa meter.) Simple Duple Meter Time Signature Note Bilang ng Kumpas Rest 1 kumpas ½ kumpas 2 kumpas 4 kumpas 2 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.
D EPED C O PY 9 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. 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.
D EPED C O PY 10 UMAYKA TI ESKUELA Umayka ti eskuela, tapno lumaing ka, Adu ti masursuro, maestro ti pangulo Tungpalem ti ‘bagana paginbagan ida, Taragsak da nanang mo, ken ni pay tatang mo. COME TO SCHOOL Come to school so you’ll be wise Many things you will learn The teacher is the head Do what she says, it is for your own good It is your mother’s joy and your father’s too. 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.
D EPED C O PY 11 Yunit 1 - Aralin 3 Ang Rhythmic Pattern at ang Time Signature I. Layunin: Napagsasama-sama ang mga note at rest ayon sa time signature Nakikilala ang pulsong may diin/accent at walang diin/unaccented II. Paksang-aralin A. Paksa : time signature Pulsong may diin/accent at walang diin/unaccented B. Lunsarang Awit : “Umayka Ti Eskuela”, C, , so “Rain, Rain Go Away”, F, , so “Baby Seeds”, G, , so C. 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 rest E. Pagpapahalaga : Pakikiisa F. Konsepto : Pagbubuo ng mga rhythmic pattern na may time signature. III. Pamamaraan A. 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. 2 4 2 4 2 4 2 4 2 4 2 4 2 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.
D EPED C O PY 12 B. 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 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.
D EPED C O PY 13 2 2 2 4, 8, 2 - 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.) Ang meter na dalawahan ay may time signature na . 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. ______ ______ ______ ______ 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.
D EPED C O PY 14 6. 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. 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.
D EPED C O PY 15 Yunit 1 - Aralin 4 Ang Rhythmic Pattern sa Time Signature I. Layunin: Nasasabi ang kahulugan ng iba’t ibang rhythmic pattern Napagsasama-sama ang mga note at rest sa measure ayon sa time signature II. Paksang-aralin A. Paksa : Mga rhythmic pattern sa simple meter B. Lunsarang Awit : Pakikinig: Waltz of the Blue Danube “Batang Magalang”, F, , so “Will You Dance With Me?”, C, , mi C. Sanggunian : Music Time Teacher’s Manual (Lower Primary), p. 40 D. Kagamitan : pitch pipe, mga flashcard ng mga note at rest E. Pagpapahalaga : Pakikiisa F. Konsepto : Iba’t ibang note at rest, rhythmic pattern, time signature sa triple meter III. Pamamaraan A. Panimulang Gawain 1. 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. 3 4 3 4 3 4 3 4 3 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.
D EPED C O PY 16 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”) 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.
D EPED C O PY 17 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.  May tatlong bilang sa bawat sukat ng isang rhythmic pattern na nasa 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 pattern sa time signature. 1. 2. 3. 4. 5. 3 4 3 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.
D EPED C O PY 18 6. Repleksiyon Sa pag-awit ng “Batang Magalang”, ano ang inyong naramdaman? Bakit? Anong uri ng sayaw ang maaaring gawin kasabay ng awitin na may 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 Lumikha ng sariling rhythmic pattern sa time signature na . 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. 3 4 3 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.
D EPED C O PY 19 Yunit 1 - Aralin 5 Ang Accent at mga Rhythmic Pattern sa Time Signature I. Layunin: Napagsasama-sama ang mga note at rest sa sukat ayon sa time signature II. Paksang-aralin A. Paksa : Accent at mga rhythmic pattern sa B. Lunsarang Awit : “An Sakong Abaniko”, C , , so “Ang Huni ng Ibong Pipit”, C , , mi C. Sanggunian : Music Time (LP), p. 40 D. Kagamitan : Mga bagay na lumilikha ng tunog tulad ng patpat, kutsara, tinidor, at kauri nito E. Pagpapahalaga : Pagkakaisa F. Konsepto : Ang accent ay karaniwang nasa unang kumpas ng bawat sukat ng isang rhythmic pattern. III. Pamamaraan A. Panimulang Gawain 1. Pagsasanay a. Rhythmic - Pagpalakpak ng rhythmic pattern sa b. Tonal - Pag-awit ng mga note sa musical ladder (pataas at pababang tono) 2. Balik-aral Palakumpasan at halaga ng mga note at rest. Awitin ang “Will You Dance With Me?” Ano ang time signature ng awit? ( ) Anong kilos ang maaaring isabay sa awit? (pagbalse/waltz) 3 4 3 4 3 4 “Will You Dance With Me?”, C, , mi 3 4 3 4 3 4 3 4 3 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.
D EPED C O PY 20 : :1 2 3 Iba pang mga instrumento o bagay na kumakalansing 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. 2. Paglalahad Bersiyong Bicol Bersiyong Ingles Kon dili sin abaniko If hand fan is not with me Tapus na ining buhay ko My life will be miserable Lawas ko, ay,ay! My body! Oh! my body Madedesmayo Fainting will happen, Kun dili sin abaniko If hand fan is not with me. Instrumento o bagay na may malakas na tunog gaya ng tambol, pinaglagyan ng ice cream at kauri nito. 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.
D EPED C O PY 21 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 Ano ang time signature ng awit? ( ) 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. Lagyan ng panandang diin(>) ang unang kumpas ng bawat measure ng awit na “An Sakong Abaniko”. 4. Paglalahat Sa pangkaraniwang kumpas, ang unang note o kumpas/beat ng bawat measure ay binibigyan ng accent (>) o diin. Ang accent sa unang kumpas ng rhythmic pattern sa ( ) ay nagbibigay ng mas 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. 3 4 3 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.
D EPED C O PY 22 IV. 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. 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.
D EPED C O PY 23 Yunit 1 - Aralin 6 Ang Rhythmic Pattern sa Time Signature I. Layunin: Naipakikita ang kaalaman sa elemento ng rhythm sa pamamagitan ng pagpalakpak ng rhythmic patterns sa time signature na Napagsasama-sama ang mga note at rest sa measure ayon sa time signature II. Paksang-aralin A. Paksa : Rhythmic pattern sa time signature B. Lunsarang Awit : Pakikinig: “Pop! Goes the Weasel” “We’re on the Upward Trail”, G, , do “Inday Kalachuchi”, C, , so C. 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 rest E. Pagpapahalaga : Pakikiisa F. Konsepto : Pagpapangkat ng mga note at rest gamit ang barline III. Pamamaraan A. Panimulang Gawain 1. Pagsasanay a. Rhythmic 1. Bigkasin ang mga rhythmic syllable. 4 4 4 4 4 4 4 4 4 4 4 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.
D EPED C O PY 24 2. Ipalakpak ang rhythmic pattern. 2. Balik-aral Makinig sa musikang “Pop Goes the Weasel” habang kumukumpas. Narito ang larawan ng pagkumpas sa 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. 4 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.
D EPED C O PY 25 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”. 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. Sa time signature na , may 4 na bilang ang bawat measure. 4. Paglalahat Ang rhythmic pattern na may time signature na ay may kaukulang mga note at 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 4 4 4 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.
D EPED C O PY 26 b. 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”. 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.
D EPED C O PY 27 Bersiyong Binisaya Bersiyong Ingles Inday 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 maidens Ako ay gwapa But I’m the prettiest IV. Pagtataya Isulat sa patlang ang note o rest na bubuo sa measure sa time signature na . 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”. 4 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.
D EPED C O PY 28 Yunit 1 - Aralin 7 Ang Accent sa mga Recorded Music I. Layunin: Napagsasama-sama ang mga note at rest sa sukat ayon sa time signature Nailalagay ang accent (>) sa tamang lugar sa notation ng napakinggang tugtugin II. Paksang-aralin A. Paksa : Paglalagay ng accent sa notation B. Lunsarang Awit : “Inday Kalachuchi”, C, , so Pakikinig: “Pop! Goes the Weasel” “Ano-ano”, C, , so C. Sanggunian : Musika, Sining at Edukasyong Pangkatawan 4 Violeta E. Hornilla, Isabelo R. Magbitang Servillano A. Padiz, Jr. D. Kagamitan : Tsart ng awitin, sipi ng notasyon ng awitin, at recorded music E. Pagpapahalaga : Maayos na pakikinig F. Konsepto : Ang accent ay karaniwang makikita sa unang kumpas ng bawat measure. III. Pamamaraan A. Panimulang Gawain 1. Pagsasanay a. Rhythmic Ipalakpak/itapik ang sumusunod na rhythmic pattern. Bigyang pansin ang 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!”) Inday Kalachuchi, C, , so Ano-anong note at rest ang nakita/ginamit sa awitin? 4 4 4 4 4 4 4 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.
D EPED C O PY 29 B. Panlinang na Gawain 1. Pagganyak Magbigay ng mga hayop o tao na puwedeng makita sa paglalakad mula sa inyong bahay hanggang sa paaralan? Ano ang nararamdaman ninyo sa tuwing 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. 3. Pagtatalakay Ano 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-awit bunga ng paglalakad. (Unahan ng bawat measure) Awitin nang sabay-sabay ang “Ano-ano” at bigyang pansin ang mga accent. 4. Paglalahat Saang bahagi ng measure karaniwang nakikita o nailalagay ang accent? (Ang diin ay karaniwang makikita sa unahang bahagi ng measure o sa unang kumpas/beat ng isang measure.) 5. Paglalapat Gumawa ng rhythmic pattern na angkop sa mga time signature na , , at . Gamitin ang sumusunod na uri ng note at rest. a. b. c. 2 4 3 4 4 4 2 4 3 4 4 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.
D EPED C O PY 30 6. Repleksiyon Ang mga gawain ay nagkakaroon ng kaayusan kung marunong tayong sumunod sa patakaran. C. Pangwakas na Gawain Awitin ang “Ano-ano”. Lagyan ng akmang galaw ayon sa time signature na at sa titik ng awitin. IV. Pagtataya Itapik 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) V. Takdang-aralin Lumikha ng rhythmic pattern sa , , at na binubuo ng tig-tatlong measure. 4 4 2 4 3 4 4 4 An Sakong Abaniko 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.
D EPED C O PY 31 Yunit 1 - Aralin 8 Ang Pagtugon sa Musika Gamit ang Kumpas I. Layunin: Nakatutugon sa pamamagitan ng angkop na kumpas sa metric pulse ng tugtugin o awiting napakinggan II. Paksang-aralin A. Paksa : Angkop na Pagkumpas B. Lunsarang Awit : “Lupang Hinirang”, G, , do “Pilipinas Kong Mahal”, C, , so C. Sanggunian : Lupang Hinirang Handbook, Musika ng Batang Pilipino D. Kagamitan : Tsart ng awitin E. Pagpapahalaga : Paggalang sa Watawat F. Konsepto : May kahulugan ang bawat galaw ng ating kamay sa pagkumpas III. Pamamaraan A. Panimulang Gawain 1. Pagsasanay a. Rhythm – Ipalakpak ang stick notation. b. Tonal – paggamit ng head tone Pag-awit ng “Gising Na” gamit ang pangalan ng kamag-aaral. 2 4 3 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.
D EPED C O PY 32 2. Balik-aral Kasaysayan ng Pilipinas kaugnay ng pagkakaroon ng Pambansang Awit. B. Panlinang na Gawain 1. Pagganyak Isa sa palagiang ginagawa ng mga mag-aaral ay ang pag-awit ng Lupang Hinirang tuwing itataas ang watawat at pag-awit ng “Pilipinas Kong Mahal” tuwing ito ay ibababa. Mapapansin natin na may nangunguna sa pag-awit na sinasabayan ng pagkumpas sa tuwing isasagawa natin ito. Nagkaroon na ba kayo ng pagkakataong kumumpas ng alinman sa dalawang awit na ito? 2. Paglalahad Iparinig ang “Lupang Hinirang”. Tapikin ang pulse/beat nito habang pinakikinggan. Bigyang pansin ang tamang titik. 3. Pagtalakay - Ano ang pamagat ng ating Pambansang Awit? (“Lupang Hinirang”) - Nasa anong palakumpasan ito? ( ) - Ilang pulso/beat ang bawat measure nito? - Sa anong kumpas nagsisimula ang Lupang Hinirang? (sa unang kumpas) - Tunghayan natin ang mga paalaala sa pagkumpas ng “Lupang HInirang”. - Isasagawa natin ito nang may paggalang at pagmamalaki sa ating watawat kaya marapat lamang na tumayo nang tuwid at nakadiretso ang ulo. Medyo pormal ang mukha. - Itaas ang mga kamay sa unahan ng katawan katapat ng dibdib. Ang kanang kamay ay bahagyang mataas kaysa kaliwa. Iwasan ang pagsasanib ng mga kamay habang kumukumpas. - Kailangang maramdaman ang unang bagsak ng pulso sa bawat measure. - Bigyang kahulugan ang bawat galaw ng kamay sa pagkumpas. - Lakasan ang pag-awit kapag magkalayo ang dalawang kamay at hinaan ang pag-awit kapag malapit ang mga kamay sa isa’t isa. 2 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.
D EPED C O PY 33 - Gayundin naman, lakasan at bigyang-diin kapag nakabukas ang palad ng kumukumpas at hinaan kung nakataob ito. - Sabayan ng kumpas ang recorded music ng “Lupang Hinirang”. - Larawan ng pagkumpas sa gamit ang kaliwa at kanang kamay. 4. Paglalahat Ang pagkumpas ay isang paraan ng pagtugon sa metric pulse ng awit o tugtuging napakikinggan. Isa itong uri ng komunikasyon na kailangang maunawaan ng umaawit o tumutugtog. 5. Paglalapat Ikumpas ang “Pilipinas Kong Mahal” sa palakumpasang . Simulan ito sa pataas na kumpas o sa ikatlong bilang (3rd beat). Sabayan ang recorded music ng “Pilipinas Kong Mahal”. 2 4 3 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.
D EPED C O PY 34 Larawan ng pagkumpas sa na nagsimula sa 3rd beat, gamit ang kaliwa at kanang kamay. 6. Repleksiyon Anong kaalaman ang nakatulong sa inyo upang maunawaan ang kahulugan ng tamang pagkumpas? Paano nakatulong ang pagkumpas sa pagtukoy ng damdamin ng isang tao o sa kanyang pang-araw-araw na gawain. 3 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.
D EPED C O PY 35 C. Pangwakas na Gawain Awitin ang “Lupang Hinirang” at “Pilipinas Kong Mahal” na sinasabayan ng tamang pagkumpas. IV. Pagtataya Kasanayan Napakahusay Mahusay Di- gaanong Mahusay Nangangaila- ngan ng Tulong 1. Nakakumpas ako nang tama sa rhythm 2. Naunawaan ng mga umaawit ang kahulugan ng aking pagkumpas 3. Nakasunod ako sa pamantayan ng pagkumpas 4. Tama ang posisyon ng aking katawan at kamay habang kumukumpas 5. Naging maganda ang pag-awit/pagtugtog dahil sa aking pagkumpas V. Takdang-aralin Magsanay sa pagkumpas ng iba’t ibang awit na napag-aralan na. 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.
D EPED C O PY 36 MUSIKA IKAAPAT NA BAITANG Yunit 1 – Pre-Test Learning Competencies Level of Assessment Number of items Item Placement Percentage % Knowledge 15% Process 25% Understanding 30% Performance 30% 1.Natutukoy ang iba’t ibang uri ng note at rest 8 8 6,7,8,9,1 0,11, 12,13 54% 2. Nakalilikha ng mga rhythmic pattern gamit ang mga simple meter sa pamamagitan ng pagpapangkat ng mga note at rest 3. Nasasabi ang kahulugan ng iba’t ibang rhythmic pattern 5 1,2,3,4,5 33% 4. Naipapakita ang kahulugan ng rhythmic pattern sa pamamagitan ng pagpalakpak ng time signature 2 3 4 4, 4 , at 4 5. Nagagamit ang barline upang pangkatin ang mga beat para sa: 2 3 4 4 , 4 , at 4 6. Natutukoy ang accented at unaccented pulse 7. Nailalagay ang simbolo ng accent (>) sa notasyon ng musikang nakarekord 8. Nakatutugon sa mga metric pulse ng musika sa pamamagitan ng wastong pagkumpas ng kamay 2 2 14,15 13% Number of items 8 5 2 15 100% 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.
D EPED C O PY 37 MUSIKA IKAAPAT NA BAITANG Yunit 1 - Post Test Learning Competencies Level of Assessment Number of items Item Placement Percentage % Knowledge 15% Process 25% Understanding 30% Performance 30% 1. Natutukoy ang iba’t -ibang uri ng notes at rests 2 2 8,9 13% 2. Nakalilikha ng rhythmic patterns gamit ang simple meters sa pamamagitan ng pagpapangkat ng notes at rests 1 2 3 3,13,15 20% 3. Nasasabi ang kahulugan ng iba’t- ibang rhythmic patterns 1 1 2 7,11 13% 4. Naipapakita ang kahulugan ng rhythmic patterns sa pamamagitan ng pagpalakpak ng time signature 2 3 4 4, 4 , at 4 2 1 3 1,2, 12 20% 5. Nagagamit ang barline upang pangkatin ang mga beats na: 2 3 4 4 , 4 , at 4 1 1 10 7% 6. Natutukoy ang accented at unaccented pulses 1 1 5 7% 7. Nailalagay ang simbolo ng accent (>) sa notasyon ng musikang nakarekord 8. Nakatutugon sa mga metric pulses ng musika sa pamamagitan ng wastong pagkumpas ng kamay 3 3 4,6, 14 20% Number of Items 2 3 7 3 15 15 100% 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.
D EPED C O PY 38 Yunit I - Pre-Test RHYTHM Pangalan __________________________________ Petsa _______________ Baitang/Pangkat ____________________________ Marka _______________ I. Makinig na mabuti. Piliin kung alin sa sumusunod ang narinig na ritmo. Isulat ang titik ng tamang sagot. 1. A. B. C. 2. A. B. C. 3. A. B. C. 4. A. B. C. 5. A. B. C. II. Isulat sa patlang ang halaga ng mga note at rest. 6. _______ 7. _______ 8. _______ 9. _______ 10. _______ 11. _______ 12. _______ 13. _______ III. Isulat ang time signature ng mga awit. 14. “Lupang Hinirang”_______ 15. “Pilipinas Kong Mahal” _______ Susi sa Pagwawasto: 1. 6. 1 kumpas 11. 1 kumpas 2. 7. ½ kumpas 12. ½ kumpas 3. 8. 4 kumpas 13. 2 kumpas 4. 9. 4 kumpas 14. 5. 10. 2 kumpas 15. ang sagot ay ayon sa napakinggan 2 4 3 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.
D EPED C O PY 39 Yunit I - Post Test RHYTHM Pangalan __________________________________ Petsa _______________ Baitang/Pangkat ____________________________ Marka _______________ I. Piliin ang wastong sagot. Isulat ang titik lamang. 1. Alin sa sumusunod na pangkat ng stick notation ang may katumbas na tatlong bilang? A. C. B. D. 2. Ano ang time signature ng awiting “Pilipinas Kong Mahal?” A. B. C. D. 3. Anong uri ng note ang maaaring bumuo sa rhythmic pattern na ito? A. B. C. D. 4. Anong kilos ng katawan ang maaaring isabay sa meter na dalawahan? A. pagsigaw C. pagsusulat B. pagsasayaw D. pagmamartsa 5. Sa anong bilang ng kumpas madalas na inilalagay ang accent (>) sa mga ordinaryong awitin? A. ikatlo B. ikalawa C. ikaapat D. una 6. Alin ang angkop na kumpas para sa “Lupang Hinirang?” A. B. C. D. 7. Anong time signature ang angkop sa sumusunod na rhythmic pattern? A. B. C. D. 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.
D EPED C O PY 40 8. Alin sa sumusunod na simbolo ng rest ang katumbas ng ? A. B. C. D. 9. Anong rest ang katumbas ng bilang ng mga ito? A. B. C. D. 10. Anong simbolo ang ginagamit sa pagpapangkat ng mga notes at rests? A. B. C. > D. 11. Alin sa sumusunod na rhythmic pattern ang nasa dalawahang meter? A. C. B. D. 12. Anong meter ang ginamit sa awiting “Tayo Na”? A. dalawahan B. animan C. tatluhan D. apatan 13. Ano ang pinagsama-samang bilang ng nakasulat na rhythmic pattern? A. 4 B. 5 C. 6 D. 7 14. Saang bayan nagmula ang awiting “An Sakong Abaniko”? A. Ilocos B. Bulacan C. Bicol D. Cebu 15. Aling elemento ng musika nabubuo ang rhythmic pattern? A. meter B. clef C. measure D. note Susi sa Pagwawasto: 1. B 6. B 11. C 2. D 7. B 12. A 3. C 8. A 13. B 4. D 9. B 14. C 5. D 10. A 15. A 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.
D EPED C O PY 41 Yunit I - Unit Test RHYTHM Pangalan __________________________________ Petsa _______________ Baitang/Pangkat ____________________________ Marka _______________ I. Pagtapat-tapatin Isulat ang titik ng tamang sagot. _______1. a. whole note _______2. b. half note _______3. c. quarter note _______4. d. quarter rest _______5. e. eighth rest f. eighth note II. Gamit ang sumusunod na mga note at rest, bumuo ng rhythmic pattern na may limang measure sa time signature na . (6-10) III. Punan ng nawawalang note ang sumusunod na rhythmic pattern. (11-15) IV. Hatiin sa limang measure ang mga note at rest sa pamamagitan ng paglalagay ng mga barline. (16-20) 4 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.
D EPED C O PY 42 V. Lagyan ng accent (>) ang bahagi ng awit na may diin at bilugan ang walang diin. (21-25) VI. Pakinggang mabuti ang tugtugin at lagyan ng accent (>) ang bahaging may diin. Ilagay ito sa ibabaw ng lyrics kung saan narinig ang diin. (26 – 30) Bayang magiliw perlas ng Silanganan Alab ng puso sa dibdib mo’y buhay Lupang Hinirang duyan ka ng magiting Sa manlulupig di ka pasisiil. A. Performance (31-40) 30% 1. Tapikin/Ipalakpak ang sumusunod na rhythmic pattern. Kasanayan Score Buong husay na naisagawa ang lahat ng measure na may tamang rhythm 5 Naisagawa nang may tamang rhythm ang apat na measure 4 Naisagawa nang may tamang rhythm ang tatlong measure 3 Naisagawa nang may tamang rhythm ang dalawang measure 2 Naisagawa nang may tamang rhythm ang isang measure 1 Hindi nakapagsagawa 0 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.
D EPED C O PY 43 2. Ikumpas ang “Lupang Hinirang” nang may tamang rhythm. Naikumpas ang “Lupang Hinirang” nang may tamang rhythm, (naibigay ang tamang tono at naunawaan nang mga umaawit ang kahulugan ng mga senyas ng kamay) 5 Naikumpas ang “Lupang Hinirang” subalit may ilang pagkakamali sa rhythm at senyas ng kamay 4 Naikumpas ang “Lupang Hinirang” subalit nasa kalahati ang mali sa rhythm at senyas ng kamay 3 Naikumpas ang “Lupang Hinirang” subalit higit sa kalahati ang mali sa rhythm at senyas ng kamay 2 Naikumpas ang “Lupang Hinirang” subalit halos lahat ay mali sa rhythm at senyas ng kamay 1 Hindi naisagawa ang pagkumpas 0 Susi sa Pagwawasto: 1. C 2. D 3. A 4. B 5. F 6. – 10. (Rhythmic pattern sa time signature) 11. 12. 13. 14. 15. 4 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.
D EPED C O PY 44 16. - 20. 21. – 25. > > > > 26. – 30. Bayang magiliw perlas ng Silanganan > > > > Alab ng puso sa dibdib mo’y buhay > > > > Lupang Hinirang duyan ka ng magiting > > > > Sa manlulupig di ka pasisiil. 31. - 40. Performance Test 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.
D EPED C O PY ii Musika at Sining – Ikaapat na Baitang Patnubay ng Guro Unang Edisyon 2015 ISBN: ___________ Paunawa hinggil sa karapatang-sipi. Isinasaad ng Seksiyon 176 ng Batas Pambansa Bilang 8293: Hindi maaaring magkaroon ng karapatang-sipi sa anumang akda ng Pamahalaan ng Pilipinas. Gayunpaman, kailangan muna ang pahintulot ng pamahalaan o tanggapan kung saan ginawa ang isang akda upang magamit sa pagkakakitaan ang nasabing akda. Kabilang sa mga maaaring gawin ng nasabing ahensiya o tanggapan ay ang patawan ng bayad na royalty bilang kondisyon. Ang mga akda / materyales ( mga kuwento, seleksiyon, tula, awit, larawan, ngalan ng produkto o brand names, tatak o trademarks, palabas sa telebisyon, pelikula at iba pa) na ginamit sa aklat na ito ay nagtataglay ng karapatang-ari ng mga iyon. Pinagtibay sa isang kasunduan ng Kagawaran ng Edukasyon at Filipinas Copyright Licensing Society (FILCOLS) Inc. na ang FILCOLS ang kumakatawan sa paghiling ng pahintulot sa nagmamay-ari ng mga akdang hiniram at ginamit dito. Hindi inaangkin ni kinakatawan ng tagapaglathala (publisher) at mga may-akda ang karapatang-aring iyon. Inilathala ng Kagawaran ng Edukasyon Kalihim: Br. Armin Luistro FSC Pangalawang Kalihim: Dina S. Ocampo, PhD Direktor IV: Marilyn D. Dimaano, EdD Direktor III: Marilette R. Almayda, PhD Inilimbag sa Pilipinas ng _________________________ Department of Education–Instructional Materials Council Secretariat (DepEd–IMCS) Office Address : 5th Floor Mabini Bldg. DepEd Complex Meralco Avenue, Pasig City Philippines 1600 Telefax : (02) 634–1054 or 634–1072 E–mail Address : imcsetd@yahoo.com Mga Bumuo ng Patnubay ng Guro Musika 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. Cadisal Sining 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. Magat 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.
D EPED C O PY iii 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. 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.
D EPED C O PY iv Talaan ng Nilalaman MUSIKA Yunit 2 – Melody Aralin 1: Ang Daloy ng Melody………………………………………… 45 Aralin 2: Ang Mga Pitch Name……………………………………….... 51 Aralin 3: Ang G Clef …………………………………………………..... 57 Aralin 4: Ang mga Pitch Name sa Ledger Line ………………....…… 62 Aralin 5: Ang Tunog na Pinakamataas at Pinakamababa…………… 67 Aralin 6: Ang Pagitan ng mga Tono……………………………………. 72 Aralin 7: Ang Likhang Melody…………….……………………………. 76 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.
D EPED C O PY ix RepublicofthePhilippines DepartmentofEducation DepEdComplex,MeralcoAvenue PasigCity December2013 Kto12CurriculumGuide MUSIC (Grade4) 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.
D EPED C O PY x Kto12BASICEDUCATIONCURRICULUM CONCEPTUALFRAMEWORK BoththeMusicandtheArtscurriculafocusonthelearnerasrecipientoftheknowledge,skills,andvaluesnecessaryforartisticexpressionand culturalliteracy.Thedesignofthecurriculaisstudent-centered,basedonspiralprogressionofprocesses,conceptsandskillsandgroundedinperformance- basedlearning.Thus,thelearnerisempowered,throughactiveinvolvementandparticipation,toeffectivelycorrelatemusicandarttothedevelopmentofhis/her ownculturalidentityandtheexpansionofhis/hervisionoftheworld. AsMusicandArtsareperformance-baseddisciplines,effectivelearningoccursthroughactiveexperience,participation,andperformance,creative expression,aestheticvaluation,criticalresponse,andinterpretation.Theskillsthataredevelopedincludereading/analyzing,listening/observing,performing, (singing,usingmusicalinstruments,movement,acting,andplaying,usingdifferentartmaterials,techniquesandprocesses,responding,composing,and creating.(SeeFigure1andFigure2) Thephilosophicalfoundationsuponwhichstandardsandcompetenciesarebasedinclude:AProcessofEducationbyJeromeBruner,Performance-Based LearningbyCleveMiller,AestheticEducationbyBennettReimer,MultipleIntelligencesbyHowardGardner,AStructureforMusicEducationbyRonald Thomas,GongsandBamboobyJoseMaceda,CompendiumontheHumanities:MusicalArtsproducedbytheNationalResearchCouncilofthePhilippines, CulturalDictionaryforFilipinosbyThelmaKintanarandAssociates,CreativeandMentalGrowthbyViktorLowenfeldandW.LambertBrittain,Discipline-Based ArtEducationbyElliotEisner,EncyclopediaofPhilippineArtsandTuklasSining,bothproducedbytheCulturalCenterofthePhilippines. 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.
D EPED C O PY xi Kto12BASICEDUCATIONCURRICULUM PHILOSOPHYANDRATIONALEFORMUSICEDUCATION Musicisbothanauralandatemporalart.Allitselements,wheninterwoveninthehighestartisticorder,arelikenedintoa--tapestrymovingintime. Theglobalweavingsofthistapestryinhistoricalandculturalcontextsarediverse--havingspurredacontinuedmetamorphosistoincludeafullrangeof purposes,functions,andidentities,fromtheutilitariantoaesthetic. However,thebasicnatureofmusicdoesnotchange.InhisbookAStructureforMusicEducation,RonaldThomasarticulatesthatthenatureofmusicis expressive,ongoing,andcreative.Throughalanguageandmediumofitsown,musicconveysideasandfeelingsinawaythataddressesthehumanspirit,and hasgreatvalueinitscommunicativeprocess.Music,beingresponsiveininterpretingcontemporarytimes,isacontinuingart.AaronCoplanddescribesthis characteristicasacontinuousstateofbecoming.Liketheotherarts,musicisacreativeavenueforman’sindividualquestforself-expressionandfulfillment. Onthesebasiccharacteristicsarefoundedtherationaleofmusicstudy.Akeensensitivitytoenvironmentalandmusicalsoundsneedstobe developed.Thestudentmustlearnto―hear,―speak,and―thinkinthemediumofmusic.Simultaneously,growthanddevelopmentintheskillsthatenablethe applicationofthelearner’sknowledgeshouldbeencouraged,throughactiveinvolvementinthevariousmusicalprocesses. Drawingfromthedevelopmentofmusicpedagogythroughtheyears,theK-10MusicCurriculumembodiesthebestpracticesadvocatedbythe SPIRAL,MULTI-CULTURAL,andINTEGRATIVEapproachesinmusiceducation,aswellascurrentphilosophicalthoughtaboutcontemporarygeneral education. WeenvisionthatMusicintheK-10Programwilleffectivelynurtureandrefinethelearner’sartisticexpressionandculturalliteracy,andcelebratehis/her nationalheritage,whileitinstils,withineveryindividualFilipinolearner,prideinhis/herownculturalidentity. 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.
D EPED C O PY xii Kto12BASICEDUCATIONCURRICULUM Figure1.TheCurriculumFrameworkofMusicandArtsEducation 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.
D EPED C O PY xiii Kto12BASICEDUCATIONCURRICULUM Figure2.ContentofMusicandArtsperGradeLevel Grade12MasteryofProficiencyinthechosenformorgenre Grade11MasteryofProficiencyinthechosenformorgenre Grade10ApplicationofContemporaryMusicandArts Grade9Application–WesternMusicandArts Grade8Application–AsianMusicandArts Grade7Application–PhilippineFolkMusicandArts Grade6ApplicationforAppropriateMasteryandAcquisitionofSkills Grade5Exploration–Elements/Processes Grade4FormalIntroductiontoElements/Processes Grade3PreliminaryAcquisitionofBasicKnowledgeandSkills Grade2EnhancedUnderstandingofFundamentalProcesses Grade1IntroductiontotheFundamentalProcesses KindergartenExposuretotheDifferentMusic&ArtProcesses (ExperientialLearning) 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.
D EPED C O PY xiv Kto12BASICEDUCATIONCURRICULUM Table1.BasicReferenceforMusicContent MusicElementsMusicProcesses -creating) movement) *Noformalinstructioninharmony fromKto3 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.
D EPED C O PY xv Kto12BASICEDUCATIONCURRICULUM LEARNINGAREASTANDARD:Thelearnerdemonstratesanunderstandingofbasicconceptsandprocessesinmusicandartthroughappreciation, analysisandperformanceforhis/herself-development,celebrationofhis/herFilipinoculturalidentityanddiversity,and expansionofhis/herworldvision. KEYSTAGESTANDARDS: K-34-67–10 Thelearnerdemonstratesunderstandingof fundamentalprocessesthrough performing,creating,andresponding, aimedtowardsthedevelopmentof appreciationofmusicandart,and acquisitionofbasicknowledgeandskills. Thelearnerdemonstratesunderstandingof basicelementsandconceptsthrough performing,creating,andresponding,aimed towardsthedevelopmentofappreciationof musicandart,andacquisitionofbasic knowledgeandskills. Thelearnerdemonstratesunderstandingof salientfeaturesofmusicandartofthe Philippinesandtheworld,throughappreciation, analysis,andperformance,forself- development,thecelebrationofFilipinocultural identityanddiversity,andtheexpansionof one’sworldvision. 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.
D EPED C O PY xvi Kto12BASICEDUCATIONCURRICULUM GRADELEVELSTANDARDS: GradeLevelGradeLevelStandards KindergartenThelearnerisexposedtothedifferentbasicmusicandartprocessesthroughexperientiallearning. Grade1 Thelearnerdemonstratesbasicunderstandingofthefundamentalprocessesinmusicandart,throughperforming,creating,listeningandobserving,and responding. Grade2 Thelearnerdemonstratesunderstandingofthebasicandfundamentalprocessesinmusicandart,throughperforming,creating,listeningandobserving, andresponding. Grade3 Thelearnerhasacquiredthebasicandfundamentalprocessesthroughperforming,creating,listeningandobserving,andresponding,towardsthe developmentofappreciationofmusicandart,andtheacquisitionofbasicknowledgeandskills. Grade4 Throughtheformalintroductionofelements,thelearnercanidentifythebasicknowledgeandskillsinmusicandart,towardsself-development,the celebrationofFilipinoculturalidentityanddiversity,andtheexpansionofone’sworldvision. Grade5 Throughexploration,thelearnerdemonstratesadeeperunderstandingofbasicknowledgeandskillsinmusicandart,towardsself-development,the celebrationofFilipinoculturalidentityanddiversity,andexpansionofone’sworldvision. Grade6 Throughapplication,thelearnerdemonstratesunderstandingofthebasicconceptsofandprocessesinmusicandart,towardsself-development,the celebrationofFilipinoculturalidentityanddiversity,andtheexpansionofone’sworldvision. Grade7 Thelearnerdemonstratesbasicunderstandingofthefundamentalprocessesinmusicandtheartsthroughperforming,creating,listeningandobserving, andrespondingtowardsappreciationoftheculturalrichnessofthedifferentprovincesinthePhilippines. Grade8 ThelearnerdemonstratesunderstandingofsalientfeaturesofAsianmusicandthearts,throughappreciation,analysis,andperformanceforself- development,thecelebrationofFilipinoculturalidentityanddiversity,andtheexpansionofone’sworldvision. Grade9 ThelearnerdemonstratesunderstandingofsalientfeaturesofWesternmusicandtheartsfromdifferenthistoricalperiods,throughappreciation,analysis, andperformanceforself-development,thecelebrationofFilipinoculturalidentityanddiversity,andtheexpansionofone’sworldvision. Grade10 Thelearnerdemonstratesunderstandingofsalientfeaturesofcontemporarymusicandthearts,throughappreciation,analysis,andperformance,forself- development,thecelebrationofFilipinoculturalidentityanddiversity,andtheexpansionofone’sworldvision. 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.
D EPED C O PY xvii Kto12BASICEDUCATIONCURRICULUM GRADE4 ELEMENTSOFMUSIC CONTENT CONTENT STANDARDS PERFORMANCE STANDARDS LEARNINGCOMPETENCYCODE FIRSTQUARTER I.RHYTHM 1.MusicalSymbolsand Concepts: 1.1NotesandRests 1.2Meters 1.3RhythmicPatterns 1.4SimpleTime Signatures 1.5Ostinato demonstrates understandingof conceptspertainingto rhythmandmusical symbols createsrhythmic patternsin: 1.simpletime signatures 2.simpleone-measure ostinatopattern 1.identifiesdifferentkindsof notesandrests MU4RH-Ia- 1 2.organizesnotesandrests accordingtosimplemeters (groupingnotesandrests intomeasuresgivensimple meters) MU4RH-Ib- 2 3.statesthemeaningofthe differentrhythmicpatternsMU4RH-Ic-3 4.demonstratesthemeaning ofrhythmicpatternsby clappingintimesignatures MU4RH-Ic-4 5.usesthebarlinetoindicate groupingsofbeatsin MU4RH-Ic-5 6.identifiesaccentedand unaccentedpulses MU4RH-Id- 6 7.placestheaccent(>)on thenotationofrecorded music MU4RH-Id- 7 3 4, 2 4, 4 4 3 4, 2 4, 4 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.
D EPED C O PY xviii Kto12BASICEDUCATIONCURRICULUM CONTENT CONTENT STANDARDS PERFORMANCE STANDARDS LEARNINGCOMPETENCYCODE I.I.RHYTHM 1.MusicalSymbolsand Concepts: 1.1NotesandRests 1.2Meters 1.3RhythmicPatterns 1.4SimpleTime Signatures 1.5Ostinato demonstrates understandingof conceptspertainingto rhythmandmusical symbols createsrhythmic patternsin: 1.simpletime signatures 2.simpleone-measure ostinatopattern 8.respondstometricpulses ofmusicheardwith appropriatecon 9.ductinggestures MU4RH-Ie- g-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.
D EPED C O PY xix Kto12BASICEDUCATIONCURRICULUM CONTENT CONTENT STANDARDS PERFORMANCE STANDARDS LEARNINGCOMPETENCYCODE SECONDQUARTER II.MELODY 1.MusicalSymbolsand Concepts: 1.1Intervals 1.2Scales 1.3MelodicContours 1.4Patternsofsuccessive pitchesofaCMajor scale recognizesthemusical symbolsand demonstrates understandingof conceptspertainingto melody analyzesmelodic movementandrange andbeabletocreate andperformsimple melodies 1.identifiesthepitchnameof eachlineandspaceofthe G-clefstaff MU4ME-IIa- 1 2.identifiesthepitchnames ofnotesontheledgerlines andspacesbelowtheG- clefstaff(middleCandD) MU4ME-IIb- 2 3.recognizesthemeaning anduseofG-Clef doremifasolati do MU4ME-IIc- 3 E G B D F F A C E 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.
D EPED C O PY xx Kto12BASICEDUCATIONCURRICULUM CONTENT CONTENT STANDARDS PERFORMANCE STANDARDS LEARNINGCOMPETENCYCODE II.MELODY 1.MusicalSymbolsand Concepts: 1.1Intervals 1.2Scales 1.3MelodicContours 1.4Patternsofsuccessive pitchesofaCMajor scale recognizesthemusical symbolsand demonstrates understandingof conceptspertainingto melody analyzesmelodic movementandrange andbeabletocreate andperformsimple melodies 4.identifiesthemovementof themelodyas: -nomovement -ascendingstepwise -descendingstepwise -ascendingskipwise -descendingskipwise MU4ME-IId- 4 5.identifiesthehighestand lowestpitchinagiven notationofamusicalpiece todetermineitsrange MU4ME-IIe- 5 6.singswithaccuratepitch thesimpleintervalsofa melody MU4ME-IIf- 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.
D EPED C O PY xxi Kto12BASICEDUCATIONCURRICULUM CONTENT CONTENT STANDARDS PERFORMANCE STANDARDS LEARNINGCOMPETENCYCODE II.MELODY 1.MusicalSymbolsand Concepts: 1.1Intervals 1.2Scales 1.3MelodicContours 1.4Patternsofsuccessive pitchesofaCMajor scale recognizesthemusical symbolsand demonstrates understandingof conceptspertainingto melody analyzesmelodic movementandrange andbeabletocreate andperformsimple melodies 7.performshis/herown createdmelody MU4ME-IIg- h-7 THIRDQUARTER III.FORM 1.PhrasesinaMusical Piece 2.StructureofMusical Sound 2.1Antecedent (Question)Phrase 2.2Consequent(Answer) Phrase 2.3Introduction 2.4CODA(ending)Phrase demonstrates understandingof musicalphrases,and theusesandmeaning ofmusicaltermsin form performssimilarand contrastingmusical phrases 1.identifiesaurallyand visuallytheintroduction andcoda(ending)ofa musicalpiece MU4FO- IIIa-1 2.identifiesaurallyand visuallytheantecedentand consequentinamusical piece MU4FO- IIIa-2 3.listenstosimilarand contrastingphrasesin recordedmusic MU4FO- IIIa-b-3 4.identifiessimilarand contrastingphrasesinvocal andinstrumentalmusic fromthepreviouslessons 4.1melodic 4.2rhythmic MU4FO- IIIc-4 5.singssimilarand contrastingphrasesin music 5.1melodic 5.2rhythmic MU4FO- IIId-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.
D EPED C O PY xxii Kto12BASICEDUCATIONCURRICULUM CONTENT CONTENT STANDARDS PERFORMANCE STANDARDS LEARNINGCOMPETENCYCODE IV.TIMBRE 1.VariationsofSound 1.1Vocal 1.2Instrumental IV.TIMBRE 1.VariationsofSound 1.1Vocal 1.2Instrumental demonstrates understandingof variationsofsoundin music(lightnessand heaviness)asapplied tovocaland instrumentalmusic demonstrates understandingof variationsofsoundin music(lightnessand heaviness)asapplied tovocaland instrumentalmusic participatesactivelyin agroupperformance todemonstrate differentvocaland instrumentalsounds participatesactivelyin agroupperformance todemonstrate differentvocaland instrumentalsounds 6.distinguishesvocaland instrumentalsounds MU4TB- IIIe-1 7.identifiesasvocalor instrumental,arecordingof thefollowing: 7.1solo 7.2duet 7.3trio 7.4ensemble MU4TB- IIIe-2 8.identifiesaurallyand visuallydifferent instruments MU4TB-IIIf- 3 9.classifiesthevarious musicalinstrumentsas: 9.1string 9.2woodwind 9.3brasswind 9.4percussion MU4TB-IIIf- h-4 V.DYNAMICS 1.VolumeofSoundin Music recognizesthemusical symbolsand demonstrates understandingof conceptspertainingto volumeinmusic appliesforteand pianotodesignate loudnessandsoftness inamusicalexample 1.singing 2.playinginstrument 10.recognizestheuseofthe symbolp(piano)andf (forte)inamusicalscore MU4DY- IIIf-1 11.usesappropriatemusical terminologytoindicate simpledynamics 11.1forte 11.2piano MU4DY- IIIf-h-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.
D EPED C O PY xxiii Kto12BASICEDUCATIONCURRICULUM CONTENT CONTENT STANDARDS PERFORMANCE STANDARDS LEARNINGCOMPETENCYCODE FOURTHQUARTER VI.TEMPO 1.Speed/FlowofMusic VI.TEMPO 1.Speed/FlowofMusic demonstrates understandingof conceptspertainingto speed/flowofmusic demonstrates understandingof conceptspertainingto speed/flowofmusic createsandperforms bodymovements appropriatetoagiven tempo createsandperforms bodymovements appropriatetoagiven tempo 1.relatesbodymovementsto thetempoofamusical example MU4TP-IVa- 1 2.usesappropriatemusical terminologytoindicate variationsintempo 2.1largo 2.2presto MU4TP-IVb- 2 VII.TEXTURE 1.Simultaneous Occurrenceof MultipleMelodicLines 2.DistinctionBetween Thinnessand ThicknessinMusic demonstrates understandingof conceptspertainingto textureinmusic singstwo-partrounds andpartnersongswith others 3.identifiesaurallythe textureofamusicexample MU4TX-IVc- 1 4.identifiesaurallyand visuallyanostinatoor descantinamusical example MU4TX-IVd- 2 5.recognizesaurallyand visually,examplesof2-part vocalorinstrumentalmusic MU4TX-IVe- 3 VIII.HARMONY 1.Simultaneous SoundingofTwo Tones/Pitches demonstrates understandingof harmonicintervals performsexamplesof harmonicintervalwith others 6.identifiesharmonicinterval (2pitches)inamusical example MU4HA-IVf- 1 7.recognizesaurallyand visually,examplesof harmonicintervals MU4HA- IVg-2 8.createsexamplesof harmonicinterval(2 pitches)withothers MU4HA- IVh-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.
D EPED C O PY 45 Yunit 2 - Aralin 1 Ang Daloy ng Melody I. Layunin: Natutukoy ang daloy ng melody tulad ng inuulit, pataas na pahakbang, pababa na pahakbang, pataas na palaktaw, at pababa na palaktaw II. Paksang-aralin A. Paksa : Mga Simbolong Pangmusika at Konsepto ng Daloy ng Melodiya B. Lunsarang Awit : “Run and Walk”, G, , do “Song and Dance”, G, , so “Batang Masipag”, C, , so C. Sanggunian : K to 12 Curriculum Guide Halina’t Umawit 4, p. 42 Music Time, Upper Primary, p. 152 D. Kagamitan : CD/CD player, larawan na nagpapakita ng mga iminumungkahing kilos o direksiyon E. Pagpapahalaga : Pakikinig nang may pang-unawa F. Konsepto : Ang daloy ng awit at tugtugin ay binubuo ng mga tunog na maaaring pababa at pataas na pahakbang, pababa at pataas na palaktaw at maaari ding inulit. Ang pagkakasunod-sunod na daloy o direksiyon ng melody ang nagbibigay damdamin at kabuluhan sa musika. III.Pamamaraan A. Pangunahing Gawain 1. Pagsasanay a. Rhythmic Hatiin sa dalawa ang klase. Unang Pangkat - Ipapalakpak ang rhythmic pattern Ikalawang Pangkat - Aawitin ang mga so-fa syllable 2 4 3 4 4 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.
D EPED C O PY 46 b. Tonal Magsanay tayo sa tinig. Ikumpas ang kamay simula sa tiyan hanggang noo, pataas at pababa habang inaawit ang syllable na loo- sa sumusunod na tono. do - mi - so - mi - so - mi - do 2. Balik-aral Pick and match Gagawa ang guro ng musical staff sa pisara. Aawit ang guro ng mga so-fa syllable at pagkatapos ay pipiliin ng mga bata ang tamang pitch name at ilalagay sa wastong posisyon nito sa musical staff. B. Panlinang na Gawain 1. Pagganyak Ipakilos sa mga bata ang sumusunod habang umaawit ang guro ng loo- batay sa hulwarang himig na may iba’t ibang daloy ng melody. Pataas na pahakbang pagkaway ng kamay pataas Pababa na pahakbang pag-imbay ng kamay pababa Palaktaw na pataas pagtalon na pasulong Palaktaw na pababa pagtalon na paurong Inuulit paghakbang pakanan 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.
D EPED C O PY 47 2. Paglalahad Iparinig sa mga bata ang awit. - Awitin ito nang sabay-sabay. Ipaawit sa iba’t ibang pangkat ang mga measure na may iba’t ibang daloy ng melody. - Awitin din ang mga so-fa syllable ng awit. Sundan ang mga note at mga so-fa name. 3. Pagtatalakay - Ano ang daloy ng melody sa una at pangalawang measure ng awit? (pataas na pahakbang) (pantay o inuulit) - Ano ang daloy ng melody sa pangatlo at pang-apat na measure ng awit? (pababang pahakbang) - Ano ang daloy ng melody sa panlima at pangwalong measure ng awit? (pababang palaktaw) 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.
D EPED C O PY 48 4. Paglalahat Ang iba’t ibang daloy ng melody ay pataas at pababang pahakbang, pataas at pababang palaktaw o kaya nama’y pantay o inuulit. 5. Paglalapat Tukuyin ang daloy ng melody sa bawat sukat kung ito ay pataas o pababang pahakbang, pataas o pababang palaktaw o kaya nama’y inuulit. Awitin ang mga note sa measure na may bilang. Sagot: 1. Pataas na palaktaw 2. Pataas na palaktaw 3. Pantay o inuulit 4. Pababang pahakbang 5. Pababang pahakbang 6. Repleksiyon Sa anong daloy ng melody mo maihahambing ang iyong natutuhan sa ating aralin? Pataas ba o pababa o di kaya’y nananatili ka ba sa dati mong gawi? C. Pangwakas na Gawain Magparinig ang guro ng mga melodic phrase (maaaring recorded o tunog ng instrumento) at ipatukoy sa mga bata ang daloy ng mga ito. 1. 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.
D EPED C O PY 49 2. 3. 4. IV. Pagtataya Pangkatin sa lima ang mag-aaral at palikhain ng galaw ng katawan na magpapakita ng iba’t ibang daloy ng melody sa awiting “Batang Masipag”. Gawing paligsahan ito. Pangkatin sa A at B ang klase. 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.
D EPED C O PY 50 Panuto: Sukatin ang sariling kakayahan ayon sa ginawang pangkatang gawain. Lagyan ng tsek ( √ ) ang bilang na angkop sa ginawa. 3 – Pinakamahusay 2 – Mas mahusay 1 – Mahusay Pamantayan Mahusay 1 Mas Mahusay 2 Pinakamahusay 3 1. Nakapagpapakita nang sigla at galak sa pagtatanghal 2. Nakaaawit nang may tamang tono ayon sa mga nota ng awit 3. Nakapag-uukol ng panahon at sarili sa pagsasanay ng gawain 4. Naipapakita ang pakikiisa sa gawain 5. Nakakikilos nang naaayon sa daloy ng musika V. Takdang-aralin Tukuyin ang daloy ng melody ng mga nota sa measure. Isulat ang titik ng tamang sagot sa bawat patlang sa ilalim ng staff. 1.______________ 2. ________________ 3. ____________ A. Pababang pahakbang Inaasahang sagot: B. Pataas na pahakbang 1. C C. Pataas na palaktaw 2. A D. Pababang palaktaw 3. B 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.
K TO 12 GRADE 4 TEACHER’S GUIDE IN MUSIKA (Q1-Q4)
K TO 12 GRADE 4 TEACHER’S GUIDE IN MUSIKA (Q1-Q4)
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K TO 12 GRADE 4 TEACHER’S GUIDE IN MUSIKA (Q1-Q4)
K TO 12 GRADE 4 TEACHER’S GUIDE IN MUSIKA (Q1-Q4)
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K TO 12 GRADE 4 TEACHER’S GUIDE IN MUSIKA (Q1-Q4)
K TO 12 GRADE 4 TEACHER’S GUIDE IN MUSIKA (Q1-Q4)
K TO 12 GRADE 4 TEACHER’S GUIDE IN MUSIKA (Q1-Q4)
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K TO 12 GRADE 4 TEACHER’S GUIDE IN MUSIKA (Q1-Q4)
K TO 12 GRADE 4 TEACHER’S GUIDE IN MUSIKA (Q1-Q4)
K TO 12 GRADE 4 TEACHER’S GUIDE IN MUSIKA (Q1-Q4)
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K TO 12 GRADE 4 TEACHER’S GUIDE IN MUSIKA (Q1-Q4)
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