Takadamu

· The students will identify and define the following vocabulary words: Swahili, dotted quarter notes, harmony, articulation, vowels, step-wise motion, skipping motion, polyrhythm, descant, and call and response. (Standards 5 and 6)

· The students will know and explain characteristics of African culture and music. (Standards 6, 8, and 9)

· The students will be able to count a given rhythm with dotted quarter notes and other rhythms. (Standards 2 and 5)

· The students will use correct articulation and vowels when singing the song, Takadamu, and evaluate their performance within the choirs as well as the choir’s performance. (Standards 1, 6, and 7)

· The students will compose a melody for given lyrics and perform the melody for the class with a partner including step-wise and leaping motion, dotted quarter notes, and five measures. (Standards 1 and 4)

· The students will be able to find the melody from the piece (with more than one part) and hum or sing it. (Standards 6 and 1)

· The students will research and be able to describe a given African countries culture, music, and the connection of the two. (Standards 6, 8, and 9)

National Music Standards

1. Singing, alone and with others, a varied repertoire of music.

2. Performing on instruments, alone and with others, a varied repertoire of music.

3. Improvising melodies, variations, and accompaniments.

4. Composing and arranging music within specified guidelines.

5. Reading and notating music.

6. Listening to, analyzing, and describing music.

7. Evaluating music and music performances.

8. Understanding relationships between music, the other arts, and disciplines outside the arts.

9. Understanding music in relation to history and culture.

Meet the Composers

Sally K. Albrecht and Jay Althouse

This couple is married and producing many different musical compositions together. Jay Althouse received a Bachelors degree in Music Education and a Masters in Education degree in Music from Indiana University of Pennsylvania. For many years after that he has worked for a major educational music publisher and served on the Executive Board of the Music Publishers Association of America. He has composed over four hundred works for choirs of all levels, and his music is widely performed in mostly English-speaking countries.

Sally K. Albrecht is originally from Cleveland, Ohio and received a Bachelors of Arts degree from Rollins College with a double major in Music Theater. She then moved on to receive both a Masters of Arts in Drama and Masters of Music in Accompanying at the University of Miami. She previously has served as the school choral editor at Shawnee Press and taught in the Music Departments at Oakland University and Jersey City State College. She gives many workshops, conventions and clinics to work with many teachers and students. Sally has over 140 popular choral publications in print, six children’s musicals, four children’s songbooks, and two sacred cantatas. One composition, “We Are the Children”, was performed by more than eight million singers at the 1994 MENC’s “World’s Largest Concert”. She has also directed and staged the half-time shows during the 1995 and 1996 Florida Citrus Bowls.

The couple currently resides on Hilton Head Island, South Carolina.

Other pieces written by Jay Althouse include: At last, A Jazz Trio, Heri Za Krismas, Home to Stay, La Musica, etc.

Other pieces written by Sally K. Albrecht include: A Classic Kyrie, A la Puerta Del Cielo, An African Celebration, Chiri Biri Bim, Do Not Weep, etc.

Other pieces written by the couple include: A Classic Communion, Changamano, Habari Nzuri, I Am a Small Part of the World, One Small Star, Watu Wote, What Tomorrow Brings, etc.

Historical Background of the Piece

Half of the words in this piece are in the Swahili language. The Swahili language is a language that comes from the southern region of Africa in countries such as Madagascar, Tanzania, and Rwanda. The formation of the Swahili culture and language is attributed by some to the relationships between the African and Asiatic people on the coast of East Africa. The actual word, Swahili, was used by early Arab visitors to these coastal regions, meaning “the coast”. It became applied to these people and the language. Arab, Persian and Portuguese cultures have had the greatest impact on the Swahili culture and language. Some of the words, specifically numbers, are borrowed from Arabic language. The Portuguese around c. 1500-1700AD controlled some of the Swahili coastal towns. Some words in the Swahili language also, therefore, come from the Portuguese language, as well as some customs such as Swahili bull-fighting. Swahili bull-fighting is still popular today on the Pemba Island.

Originating on the east coast of Africa, the Swahili language was spread to distant places such as the islands of Comoro and Madagascar and even far beyond to South Africa, Oman and United Arab Emirates. This spread was caused by long-time interactions with other people bordering the Indian Ocean through trade and migration. It also spread to interior African countries such as Tanzania, Uganda, Rwanda, Burundi, Congo, Central African Republic, and Mozambique. A Christian missionary who learned the language in attempts to spread the Gospel in Eastern Africa made the first Swahili-English dictionary.

Swahili is still spoken today in many countries in Eastern Africa. It is still the national and official language spoken in Tanzania and Kenya, although official correspondence in Kenya is conducted in English.

The Swahili language is featured on different world radio stations such as the BBC, Radio Cairo (Egypt), the Voice of America (U.S.A.), Radio Deutschewelle (Germany), Radio Moscow International (Russia), Radio Japan International, Radio China International, Radio Sudan, and Radio South Africa. Different forms of art have been involving the Swahili language in songs, theatres, movies and television programs. Even Michael Jackson includes Swahili phrases in on of his songs. The Disney movie, “The Lion King” also includes few Swahili words such as “simba” (lion), “rafiki” (friend), and “Hakuna Matata” (no problem).

The Swahili culture is a mixture of various traditions, religions, beliefs and commercial contacts. Along the coastal regions and in the islands, the food, dress and language are similar with the women wearing colorful “kangas” or head covering with proverbs printed on them. The families of the Swahili are large and centered around the eldest man of an extended family. A husband and wife pick each other mainly for economical reasons, and men have a number of wives to form a working force. The men run public life, and the eldest women are the leaders in private. The families consist of the eldest man, his wives, his brothers and their wives, and all their children. The sisters and daughters move out of their family when they get married and stay with the new family. In extreme cases of divorce or other troubles, she can return to her father’s home, although she still continues to keep the rights to the harvest of her husband’s extended family’s coconut trees.

The men and women of the traditional Swahili culture lead completely different lives. Duties related to food and guests are taken care of by the women, while men deal with problems and work. The women usually cook three meals a day such as rice made with coconut milk, fish or meat curry, beans and millet. Women first serve the men food, and then she may eat separately. If a woman does join the man to eat, she is last in ranking.

Story telling is a large part of Swahili life. Arab and African cultures have a strong tradition in oral story telling. With Arabs being the first literate people to settle or visit Pemba and the islands, their ability to read and write was much more likely than with Swahili people. This made memory vital for the Swahili people and made remembering your own history, rules, teachings, examples, people, ancestries, songs and poetry a vital part to the culture. Even today gossiping and conversations do not only consist of a simple “yes” or “no” or a quick summary of the facts, because everything is repeated over and over for remembering.

The role of music in the African culture is vital. Music is a part of every festival, ceremony, social and spiritual rituals, and everyday life. Everyone in the African communities play an active part in the music life. It is often tied to the most important things of the people. African music involves melodies, which are usually short and simple, and are often repeated over and over throughout the piece. When performing, one person may begin to improvise with the melody while the others continue to sing the original melody behind the person improvising.

Words and Translation of the Piece

Most syllables in Swahili always end with a vowel, so the words can be divided. An example is the word, nenda. It would be divided into ne-nda. The stress or accent for words in Swahili is always placed on the next to last syllable. This has been shown by bolding the stressed syllable below.

Ta-ka-da-mu,

(Tah-kah-dah-moo,)

Lead the way,

Ha-tu-a m-be-le.

(hah-too-ah em-beh-leh.)

step forward.

Ne-nda mo-ja kwa mo-ja.

(Nehn-dah moh-jah kwah moh-jah.)

Go straight ahead.

U-ko kwe-nye ba-ra-ba-ra sa-wa.

(Oo-koh kwehn-yeh bah-rah-bah-rah sah-wah.)

You’re on the right road.

Ha-tu-a baa-da ya ha-tu-a.

(Hah-too-ah bah-dah yah hah-too-ah.)

Step by step.

Form of the Piece

As included within the content map, the piece has an AABA form with a small introduction at the beginning and coda at the end. The A sections have two parts to them (a and b), which have different rhythmic characteristics. Both parts of the A section are similar in the number of measures, with about eight measures. The eight measures can be split up into two different phrases of four bars each.

The B section can be split up into two smaller parts (c and d). These second part of the B section (d) is longer with twelve measures. And the first part only has eight, like the previous "A" sections. This longer section adds to the climax of the piece. Knowing the climax of the piece will help to make sure that the dynamics crescendo to that point and decrescendo after it. The first part of section B can be split in up, as the section A was, into two different phrases of four bars each. The second part, however, can be split up into three phrases.

Considering balance within the piece is very important. The soprano and alto have harmony throughout most of the piece, but at the end of each section, they come together in unison. When coming together in unison here, it may be important for them to watch their dynamics, so that this unison part does not become too loud. Also, when the descant comes in at measure 74, the sopranos and altos must be aware of and listen for it.

Most of the rhythms are the same for the two parts throughout the piece; therefore, both the sopranos and altos must have their rhythms together.

Melodic Content in the Piece

The melody of the piece is mostly found in the soprano or top line. The melody is mostly step-wise movement with few leaps. At times the melody is sung by altos (or second line), as they echo the sopranos. The lines also join together in measures 24, 48, and 90 to sing the phrase “we’re moving on.”

The melody is repeated throughout the piece and contains harmony with the altos. One section, beginning around measure 49 is different from the beginning of the piece, and is also in harmony with the altos. This entire section (m. 49-73) is in harmony.

In each A section, there are four phrases all having the same melody and harmony with an exception of the descant added from measure 74 to 82. Section B changes with 5 different phrases, adding a louder (forte) climax at the end. The coda has variety in the phrasing, as a call and response is brought in within the soprano and alto lines. The sopranos begin the section, holding their note out while the altos respond. The coda and piece ends with polyrhythm, with the altos holding out long notes, while the sopranos have short phrases. Both the call and response and polyrhythm are characteristics of the music of many African cultures.

The phrases of section A have the same dynamic shape, with crescendos at the beginning and decrescendos at the end. Dynamics are written at the beginning of each section in the piece; however, slight decrescendos and crescendos should be added within the phrases. For example, the piece begins in mezzo forte and has no dynamic markings through the A section. However, within the first phrase of the section (Takadamu hatua mbele), an added crescendo and decrescendo can add motion or movement to the phrase. This would be the same for many of the phrases in the A section. Section B begins the second half of the melody from A, continuing on. The dynamic shape of B is twice as long as A. Section B begins louder than section A and remains until the last phrase, which crescendos to a forte. Dynamics are included more within the C section of the piece; for example, in measure 67 a crescendo is marked with a following forte.

Harmonic Content in the Piece

The harmony in the piece is mostly sung by the altos, while the sopranos have the melody on the top. Most of the harmony is also, like the melody, in step-wise motion, with few leaps. A majority of the piece has the harmony a third lower than the melody, however, this differs throughout the piece.

Most of all the cadences are leading from the dominant or sub-dominant to the tonic, such as in measures 24-25, 48-49, 58-59,74, and 90-91.

The first time a root is sung is in measure 15. Otherwise, the other pitches remain in the middle of the scale. The tonic is never sung until the final note in the melody. This creates a feeling of unrest or movement through the sections, until the end of the melody.

The accompaniment’s introduction has a steady rhythm mostly on octaves. This makes the sound of drums, which relates to the piece’s African language and feel. This rhythm is repeated throughout the piece, varying at different times.

The descant begins at measure 74 in unison for 2 beats with the sopranos. It then sings mostly the tonic of the chords above the two parts, with a slightly different rhythm. Going only from measures 74 to 82, it is comes back together with the two parts at the section part of the repeated A section. It is marked with a forte, to allow it to be heard over the other two parts.

Rhythmic Content in the Piece

The melody and harmony have mostly the same rhythm throughout the piece. The dotted quarter notes included in most phrases adds motion and syncopation to the piece.

Syncopation is a deliberate change in the normal pattern of accents. Instead of falling on the strong beats in the measures (beats one and three), the accent is shifted to the weak beat or to an offbeat (in between the beats). The use of syncopation is a characteristics of the African-American dance rhythms from which jazz developed.

Syncopated pulses and a regular two pulse vary throughout the piece, giving a sophisticated rhythm. For example, in the second part of section A, m. 17-20 vary with each measure. Measures 17 and 19 are the syncopated rhythm, while measure 18 and 20 are two pulse rhythms.

The first verse of the piece (or A) has a beginning four bar phrase which is immediately repeated with the same rhythm and few changing notes. This is repeated in every section of A, with only minor differences in which part is singing the phrases. The B section (beginning m. 52) has a rhythm with fewer dotted quarter notes, but with dotted half notes and quarter notes.

The piano part also changes with the parts at that time. Throughout the piece, the rhythmic feel alternates between syncopated 3-pulse to a 2 quarter note pulse. See below:

Beginning at the descant (m. 75), the descant has mostly the same rhythm as the two lines, with more held out notes. It is a short, 9-bar descant. The two lines follow this descant in the next section (m. 93), as the altos begin to echo the sopranos and they both hold out their notes as the other line goes.

A major change in rhythm occurs in measure 107 (or in the coda) when the altos hold out notes and the sopranos have straight quarter notes on the top. The coda has variety in the phrasing, as a call and response is brought in within the soprano and alto lines. The sopranos begin the section, holding their note out while the altos respond. The coda and piece ends with polyrhythm, with the altos holding out long notes, while the sopranos have short phrases. Both the call and response and polyrhythm are characteristics of the music of many African cultures.

There are few changes in the rhythm throughout the piece. The rhythms are repeated throughout the piece, which adds the need for dynamic changes. Dynamic changes are not frequently included in the piece itself; however, the phrases allow small crescendos and diminuendos throughout the piece, as stated within the melodic content.

Orchestration and Texture

The piece includes two voice parts and a piano accompaniment. Within the piano accompaniment, there is an interesting texture that is most often then, however, has thicker parts at the end of each Section A. There is a rhythm pattern, as explained previously, which can be compared to the sound of African drumming, which helps to keep the main beat. During most of the piece, the piano has octave doublings in the bass line (or left hand).

The soprano line, or melody line, consists of mainly the 3^rd or 5^th of the chord. The alto line, or harmony line, is normally always the 3^rd of the chord.

Stylistic Articulations & Expressive Terms

The composer does not include many expressive use of stylistic articulations such as legato, staccato, marcato or tenuto. However, the director can leave this up to their disgresion, adding stylistic articulations where they seem appropriate. This is the same with the dynamics in the piece, in which the director can bring out in each phrase. The only musical term used by the composer to indicate expression is the information of the beat at the beginning of the piece, steady pulse.

Historically or in African music, drumming would be used with a majority of the music. This brings out the piano part and could be a possibility of using within a performance or concert.

Warm-up Exercise Examples

Activity 1

· Practice clapping different rhythms

· Include dotted notes

· Stay mostly in common time

· Use syncopation to sing a major scale

· Use solfege to practice polyrhythms (do not introduce the concept, just have them do it)

Activity 2

· Sing scales (step-wise motion)

· Sing arpeggios (skipping motion or leaping)

Activity 3

· Sing acapella do,mi, and sol with the director bringing them in and switching parts around to make harmony and unison. (Move altos down the scale to a third below, then move sopranos up to a fifth above, etc)

· Use call and response by having the students repeat after the teacher with clapping rhythms or singing melodies

Activity 4

· Sing a song, such as Jingle Bells, that has a clear form. Give a very simple explanation to it.

Activity 5

· Vocal Exercise “Key Koh Key” – focusing on the vowels

· Practice holding out longer notes on vowels by using hand and arm motion in a circle with the top of the circle being the middle of the phrase or held out note.

· Work on breath control and techniques

· Vocal Exercise “Mommy Made Me Mash My M&M’s” – focused on getting mouth, lips, tongue, and jaw moving.

Activity 6

· Sightread another Swahili song or song in another language

· Sing “My Country Tis Of Thee” – focused on expression

Activity 1: Rhythm Review and Counting

You know that in a 4/4 time signature the quarter note gets one beat. So, what do you do when a note looks like this:

When you add a dot to a note, you add half of that notes value to the note. What is half of one? ½ So, if you add that to a quarter note, you get a note that is 1 ½ beats long. See the examples below:

1 2 + 3 4 1 2 + 3 4 1 2 + 3 4 1 2 3 4

Write in the counts for the following measures:

How many beats does a dotted quarter note equal?

How many beats does a dotted half note equal?

Compose your own rhythm (different from any above) within the following three measures using at least two dotted quarter notes.

Now check out your music and write the counts for every measure that has a dotted note in it! How many were there? ________

Answers

Activity 1: Rhythm Review and Counting

You know that in a 4/4 time signature the quarter note gets one beat. So, what do you do when a note looks like this:

1 2 + 3 4 1 2 + 3 4 1 2 + 3 4 1 2 3 4

Write in the counts for the following measures:

1 2 + 3 4 1 2 3 4 1 2 + 3 4

How many beats does a dotted quarter note equal? 1 ½

How many beats does a dotted half note equal? 3

Compose your own rhythm (different from any above) within the following three measures using at least two dotted quarter notes. Write the counts below the composition.

Checklist for compositions:

Three measures of four beats each _____

At least two dotted quarter notes _____

Counts written below the composition _____

Now check out your music and write the counts for every measure that has a dotted quarter or half note in it! How many were there? ___39___

Bringing It To the Music

The dotted quarter notes included in most phrases adds motion and syncopation to the piece.

Syncopation is a deliberate change in the normal pattern of accents. Instead of falling on the strong beats in the measures (beats one and three), the accent is shifted to the weak beat or to an offbeat (in between the beats). The use of syncopation is a characteristic of the African-American dance rhythms from which jazz developed.

Looking at your music, find one place that includes syncopation with dotted half notes. What measure, and describe why it includes syncopation?

Now look at measure 99. What is different about all measures to the end of the song?

When you have two parts with two different rhythms, it is called polyrhythm. At measure 99 the sopranos sing a previously used rhythm first and then hold the note out, while the altos come in with a new rhythm.

Why do you think the composer chose to do this at the end of the piece?

Is it harder to sing with polyrhythms? Why or why not?

Activity 2: African Melodies

If you have time, read or listen to the story, Abiyoyo, by Pete Seeger. Then, teach the students the South African lullaby, Abiyoyo, which is included in the book. You can then discuss the repetition of the melody (which is fairly evident) within this piece.

African music involves melodies that are usually short and simple, and are often repeated over and over throughout the piece. When performing, one person may begin to improvise with the melody while the others continue to sing the original melody behind the person improvising.

The melody of a piece can move in three ways:

1. Repeated notes – using one pitch that is repeated

2. Stepwise motion – Each note is followed by a pitch just above or below it. This is also called conjunct movement.

3. Skipping motion – Each note is followed by a pitch two or more steps away. This can also be called a leap.

May need to give examples of each of these within the piece or on the board.

The melody of this piece is mainly in the soprano line, while the harmony is in the alto line. Knowing this, answer the following questions:

· Looking at measures 17-24, what type of movement occurs most often from the melody line?

Step-wise or conjunct motion

· Is there any point in the piece when the altos are singing the melody? Yes, always during “we’re moving on,” sometimes at the beginning or ends of phrases, in the second A section, etc.

· Does the melody throughout the piece include characteristics from African music? What characteristics? Describe where you found this or what made you consider it.

Yes, it includes characteristics from African music, such as a short and simple melodic line, which is repeated throughout the piece.

Activity 2 Composition:

Use the manuscript below to compose an eight-measure melody to lyrics of your choice. They can be from a poem, nonsense words, a quote, etc. Label the following within the composition:

At least 1 characteristic of African music _____

Three different types of melodic movements _____

Eight measures _____

Lyrics _____

3 Dotted notes (quarter or half note) _____

This is a checklist provided to the students for grading.

What characteristics of African music did you use?

Student Name: _____________________

Checklist for Activity 2 Composition

Included Information Points Points

Possible Received

Characteristics of African music 2 _____

Three different types of 6 _____

melodic movements (2 each)

Eight measures 4 _____

Lyrics 2 _____

3 Dotted note 6 _____

(quarter or half note) (2 each)

Total Points Possible 20 _____

Comments/Suggestions:

Activity 3: Harmony

Vocalists create harmony by singing two or more pitches at the same time. Adding harmony to a melody can make the music more interesting.

The piece is a two-part piece, which means that one part is the melody and one is the harmony. We have already found that the soprano line most frequently has the melody in this particular piece. If both parts are singing the same note, then they are singing in unison.

It is very important for vocalists to understand where the melody and harmony are in their pieces. Understanding this allows them to place importance on making sure that the melody is being heard, with the harmony slightly quieter behind it.

Look at the following measures in the piece and circle whether the measure contains the parts singing in harmony or unison.

Measure 9: Harmony Unison

Measure 17: Harmony Unison

Measure 24: Harmony Unison

Measure 42: Harmony Unison

Measure 49: Harmony Unison

Measure 58: Harmony Unison

Measure 75: Harmony Unison

Measure 90: Harmony Unison

Measure 107: Harmony Unison

Measure 116: Harmony Unison

What have you discovered about the harmony in the piece?

Descant

In measure 74, there are three parts in the piece with the third part being added above the other parts. This is called a descant, an extra melody that is sung or played above the other melody.

What is the difference between the descant and the other parts?

The descant in this piece makes complete chords with the other two parts. For example, in measure 75 an Eb chord is made with the pitches Eb, G, and Bb.

What different chords are made with the descant? Include the measure and chord.

Measures 76, 77, and 78: Bb Chord (Bb, D, and F)

Measure 81: F Chord (F, A, and C)

Listen to the recording of the piece, focusing on the descant. How does the descant sound to you? Why do you believe the composer included it?

Call and Response

From measures 32-40 and 98-106, the parts are not singing together, but one is following the other. The soprano sings the line first, and the alto follows. This is a type of call and response, which includes a singing leader and followers behind the leader.

Are the rhythms exactly the same in the call and response?

Yes, they are the same in the soprano and alto lines.

What other songs have you heard that involve a call and response?

Activity 4: Form

Using the information presented within the previous activities, we can find the form of the piece. We have found that African music most often has a melody with one particular section that repeats. A piece that has two sections that have the same rhythmic, melodic, and harmonic structure (or sound the same) are called AA. A piece that has two sections that do not have the same rhythmic, melodic, and harmonic structure (or sound different) are called AB. This is the process of writing the form of a piece.

I. As you listen to the recording of the piece, consider the measures 8-25 “section A”. If you hear it repeated throughout the piece, raise your hand. Make a note in your score as you listen where you heard the section A. It may be helpful to walk students through this, showing that section A is very long.

How many times did you hear section A? __3__

In between one of the repeating section A’s, there is another section that sounds somewhat different. Listen again, and try to find where the section B, or the different-sounding section, would be placed.

If you wrote out the form of the sections in order (using A and B) what would the form be? ___AABA___

What is the difference between sections A and B?

Melodic motion, rhythm, harmony, etc.

If you had to pick a part of the piece to be the climax, or the moment of greatest intensity or most powerful moment, what would that be? Why?

Should be within the B section, but will discuss as a class.

Why do you, as a vocalist, believe it is important to consider the form of a piece of music?

Discuss as a class to come up with many reasons.

II. We have found the form of the piece to be AABA, with the A section being measures 8 through 25. If we decided to look more detailed into only section A, we could make the form more detailed.

This time, consider the measures 8-16 “section A”. If you hear it repeated throughout the piece, raise your hand. Make a note in your score as you listen where you heard the section a. Write this “a” in lower case to make clear that it is a more detailed form.

How many times did you hear section “a”? ___3___

In between one of the repeating section a’s, there is other sections which sound somewhat different. Listen again, and try to find where the section b or c would be placed.

Notices that at the beginning of the piece there is are bars before sections A or a start. This piece has an introduction, which is piano music.

Also, at the end of the piece is a section starting with measure 107 that we have not seen. For this reason, you could have marked that it was a completely new section C or d, or it can be called the coda. The coda of a piece is much like the conclusion of an essay or paper. It uses melodies, harmonies, and rhythms from previous sections to end the piece.

Listen very closely and write the form of the piece with section a being measures 8-16? ___ababcabad___

III. Now that we have effectively covered some melodic, harmonic, and rhythmic information, we can go back to our composition written earlier. Use your composition from activity II to compose a piece on the following manuscript paper. Revise the composition and label the following:

ABA form _____

At least 4 dotted notes (half or quarter notes) _____

Characteristics of African music _____

Three different types of melodic movements _____

12 measures _____

Lyrics _____

This is a checklist provided to the students for grading.

Student Name: _____________________

Checklist for Activity 4 Composition

Included Information Points Points

Possible Received

A B A Form 2

Characteristics of African music 2

Three different types of 6

melodic movements (2 each)

12 measures 4

Lyrics 2

At least 4 Dotted note 6

(quarter or half note) (2 each)

Total Points Possible 22

Comments/Suggestions:

Activity 5: Vowels and Evaluations

Proper singing involves using clear articulation and vowels.

Articulation involves the physical action of the articulating organs (tongue, lips, teeth, palate, and lower jaw). These organs form and alter the shape of mouth and air passage and in project various vocal sounds necessary in communicating. The consonants are the main parts of the words involved in articulation. However, many consonants are voiceless or are not sounded (such as the e at the end of “same”). When listening to vocal music for articulation, the listener should be able to clearly hear and understand the words, hear the stress or accents in the words, and hear entrances and cut-offs in the piece.

Vowels are used for sustaining or holding out the tone. The breath flow should be continuous during the sustaining vowels. The consonants or articulation stop the tone. There is a variety of vowel sounds in choral literature, however, the primary vowels include ee, ay, ah, oh, and oo. Like articulation, vowels involve some of the same organs (tongue, lips, palate, and lower jaw). When listening to vocal music for proper vowels, the listener should be able to describe the vowel sounds with words such as dark/light, nasal, colorless, open, or closed.

We are going to listen to the piece, Takadamu, three times. The first time will be a recording, and the second we will listen as we sing. Below is a short listening activity that we will do as we sing through the piece.

First: Listen to the recording of the piece and answer the following questions.

· Do these vocalists have proper articulation? Explain your answer.

· Do their vowels seem clear and with good tone? Explain your answer.

· What would be the main thing these vocalists need to work on? Why? What did they do well?

Second: This time we will be singing as a group. Plug or cover one of your ears to hear your voice clearer. Answer the following questions.

· Do you have proper articulation? Use examples to explain your answer.

· Do your vowels seem clear and with good tone? Use examples to explain your answer.

· What would be the main thing you need to work on? Why? What did you do well?

Third: This time listen to our group as a whole and answer the following questions.

· Do we have proper articulation? Use examples to explain your answer.

· Do our vowels seem clear and with good tone? Use examples to explain your answer.

What would be the main thing we need to work on? Why? What did we do well?

Activity 6: Swahili and the Meaning

We have sung through the piece and slowly learned how to speak and sing the Swahili language. But, what do they mean?

Swahili English Translation

Takadamu,                    Lead the way,
Hatua mbele                     Step forward.
Nenda moja kwa moja             Go straight ahead.

After thinking about what these first few phrases mean, what do you think the composer was writing about?

Read the information at the front of this student packet about the composer. Does this change what you think the composer was writing about?

If you were writing the piece, what would you think the next phrases would mean? (Make up your own translation)

Uko kwenye barabara sawa.

Hatua baada ya hatua.

After reading this information, what are three differences in the Swahili culture and your life?

Review the words in the piece, Takadamu. Who’s point of view do you believe the composer was writing from? Why?

Masai Warrior Safari in Africa

The pictures above are actual photographs of people in Africa. After taking a minute to look at the pictures, answer the following questions.

Which one person from the photos stands out to you more? Why?

Thinking about the words of the piece and put it with the person you have chosen from the pictures. Why do you believe that particular person would be thinking those words?

How would they say or sing the words? Would they be excited? Angry? Have hope? Explain your answer.

What could we do or how could we add expression to our performance of the piece?

Pictures from PIcs4Learning at http://pics.tech4learning.com

Canipe, Dr. masaiwarrior.jpg. 2004. Pics4Learning. 9 May 2006 <http://pics.tech4learning.com>

S.Dyer, Deborah. safar092.jpg. 7/15/1977. Pics4Learning. 9 May 2006 <http://pics.tech4learning.com>

Using the following rubric and your past compositions, compose a piece of music using the Swahili from this song. It will only have one part with a short added descant, call and response or polyrhythm. Write a short summary or rationale as to what perspective you took as the composer or who were you thinking was singing the song and saying the words. Also include why you chose the melodic, harmonic, and rhythmic content. The paper should be typed out and proofread.

See the following rubric for more grading information. Also, you can earn ten extra credit points for performing your piece for the class. More manuscript paper is available.

Go through the assignment and rubric with the class.

Rubric for Activity 6 Composition

Swahili words used in the piece

1 Point

At least three of the Swahili phrases were used in the piece.

3 Points

At least four of the Swahili phrases were used in the piece.

5 Points

All five of the Swahili phrases were used in the piece.

Meaning of the Piece or Perspective Chosen

1 Point

Some sort of meaning behind the piece is described.

3 Points

The meaning behind the piece is described, with a brief explanation including at least one life example.

5 Points

The meaning behind the piece is described, with a thorough explanation including at least two life examples.

Melodic Content

1 Point

A melody is included with step-wise, repeated, or skipping motion.

3 Points

A melody is included with at least two different types of melodic movement.

5 Points

A melody is included with 3 different types of melodic movement. Dynamics are also included.

Harmonic Content

1 Point

The paper includes an explanation of the harmonic content.

3 Points

The piece includes one of the following: call and response, descant, or polyrhythm, but it is not described in the paper.

5 Points

The piece includes one of the following: call and response, descant, or polyrhythm. It is described and explained in the paper.

Rhythmic Content

1 Point

At least one dotted note is included. There is a very small variety in rhythmic material.

3 Points

At least 3 dotted notes are included. There is a medium variety in rhythmic material.

5 Points

Four dotted notes are included. There is a large variety in rhythmic material.

Spelling and Grammar in the rationale

1 Point

6 spelling or grammar errors were found in the rationale.

3 Points

3 spelling or grammar errors were found in the rationale.

5 Points

0-2 spelling or grammar errors were found in the rationale.

Presentation

1 Point

The paper is hand-written and poorly presented.

3 Points

The paper is hand-written and well presented.

5 Points

The paper is typed out and very well presented.

Extra Credit

10 Performed

Total

Points

Vocabulary

Swahili – a language and culture from Africa

dotted notes - adding half of that notes value to the note

harmony – singing or playing two or more pitches at the same time

articulation - hearing and understanding the words in a piece by hearing the stress or accents in the words and entrances and cut-offs in the piece; mostly involves the consonants

vowels - used for sustaining or holding out the tone. The primary vowels include ee, ay, ah, oh, and oo. When listening to vocal music for proper vowels, the listener should be able to describe the vowel sounds with words such as dark/light, nasal, colorless, open, or closed.

step-wise motion - Each note is followed by a pitch just above or below it. This is also called conjunct movement.

Skipping motion – Each note is followed by a pitch two or more steps away. This can also be called a leap.

Polyrhythm - two parts with two different rhythms being sung or played at the same time

Syncopation - a deliberate change in the normal pattern of accents. Instead of falling on the strong beats in the measures (beats one and three), the accent is shifted to the weak beat or to an offbeat (in between the beats.

descant - an extra melody that is sung or played above the other melody.

call and response – when two parts are not singing or playing together, but one is following the other.

Resources

Pictures from PIcs4Learning at http://pics.tech4learning.com:

Canipe, Dr. masaiwarrior.jpg. 2004. Pics4Learning. 9 May 2006 <http://pics.tech4learning.com>

S.Dyer, Deborah. safar092.jpg. 7/15/1977. Pics4Learning. 9 May 2006 <http://pics.tech4learning.com>

Recording:

Four Part Recording available at Alfred.com

Websites:

Cora Connection: The Manding Music Traditions of West Africa

http://www.coraconnection.com/pages/mm_book.html

http://www.coraconnection.com/pages/mandinko_book.html

PBS Africa Website – helpful information and resources for teachers

http://www.pbs.org/wnet/africa/tools/index.html

Africa Guide – Many different resources for teachers and students about the cultures, languages, people, and countries of Africa.

(Link free to use)

http://www.africaguide.com

Africa Resource – educational, arts, and research materials

http://www.africaresource.com/

The International Library of African Music

http://ilam.ru.ac.za/