and Temple Yards

TeachingILearning Sequence
Level: Grade 4 - adult
Discuss:
Discuss the use of the prelude in music. Define its possible functions. Provide
experiences with preludes in other music styles: the overture that precedes
operas and musicals, the organ prelude before worship services, the "warmup
band" in a rock conert, the alap section in a performance by an Indian
sitarist.
Discuss the significance of ornamentation in music. Find listening examples in
the Baroque period of Western art music, Celtic folk songs, Black gospel
music, and the blues. Demonstrate ornamentation vocally and on the piano
or other instrument, including trills, glissandos, slides and ellisions, sustaining
and anticipation tones.
Discuss the importance of ornamentation in Vietnamese traditional music, particularly
on the d& tranh.
2. Listen to the recording: Keep in mind the development of the piece from the set of
pitches to the prelude to the body of the piece.
There are three steps to realizing a piece on the d&n tranh: (Follow them on
the tape.)
A. The melody of the first two phrases is played in an unelaborate way. Listen to
[0:00-0:09] the pentatonic tuning, and the plucking that is performed by the right hand.
B. An improvisedprelude isplayedwith both hands. Listen for the vibrato, staccato,
[O: 10-0:31] and grace notes.
C. Thepiece is played in an elaborate way. All the possible performance techniques
[0:32-1:56] of the left and right hands are used for the bic mode, which expresses a
moderate happiness to the informed listener.
3. Listen to the recording:
Play the pitches of the rao, and of phrase one and two, on recorder.
*Sing the pitches. Listen for their ornamentation in the prelude.
Follow the transcription on a transparency, or with desk copies. Note the
ornamentation of what appears at first to be a rather plain melody line.