Contenidos
Tercero de ESO: canon, compás ternario y ritmos del mundo
In 3rd year we stop all playing the same thing. Two voices that come in at different times, a bar counted to three, and rhythms from Brazil, Egypt and New Orleans. Plus the 3rd-year book's songs, with the body.
Before you start
The four sounds, the pulse and the mirror are in The body as an instrument. If you come from 1st year, revise the 1st-year chapter in one session: the "We Will Rock You" rhythm and a whole rhythm-gram. Here we start where that ends.
Canon: the same phrase, out of step
In What happens when we stop all singing the same thing? we saw that a canon is a melody that comes in twice with a delay. With the body it is the same, but you can see it: one group starts, and two bars later the other starts with the same thing. Richard Filz has five numbered warm-ups in canon. They go in order; do not skip.
Warm-up and canon no. 1
Warm-up and canon no. 2
Warm-up and canon no. 3
With an African song, "Banaha", a two-voice canon in body percussion, in Spanish.
Banaha, two-voice canon
Counting to three
Almost all the music you hear is counted to four. The waltz, the minuet and many traditional songs are counted to three, and the body feels it: you do not march, you turn. Two rhythm-grams by Mr. Noé to feel it.
Minuet in G major, 3/4 rhythm-gram
Waltz in 3/4, "Bluebird"
And a two-part tutorial by Santi Serratosa, Spain's leading body percussion teacher, on Shostakovich's Waltz No. 2. Part one teaches the patterns; part two, how they are ordered to follow the form of the piece, which is exactly what we study in How do you know where you are?.
Waltz No. 2, tutorial 1: patterns
Waltz No. 2, tutorial 2: form
Rhythms of the world
Body percussion comes from many places at once. Three rhythms played on the body where they come from.
- Samba (Brazil). Filz's tutorial builds a samba school's drum section with feet, thighs and claps.
Samba on the body, tutorial
- Afro-Brazilian, with Ollie Tunmer, who played in Stomp.
Afro-Brazilian body percussion
- Maksum (Egypt): the basic rhythm of Arabic music, low in the right hand and high in the left.
Egyptian maksum on the body
- Swing (United States): the rhythm of jazz, which is not written the way it sounds.
Swing on the body
And the Brazilian group Barbatuques, who have taken this to theatres around the world, with "Tum Pá". First a workshop that teaches it; then them.
"Tum Pá" workshop, part 1
Tum Pá, by Barbatuques
The 3rd-year songs
Every song in the 3rd-year book has its body version here. Read its article first.
- La Vida Es Un Carnaval: the salsa clave, as a rhythm-gram. It is the rhythm that makes Cuba sound like Cuba.
La Vida Es Un Carnaval rhythm-gram
- I Got You (I Feel Good): James Brown's funk, with the accent on the one. First a rhythm-gram; then students from a French secondary school playing it whole.
I Feel Good rhythm-gram
I Feel Good, by a secondary school in Arcachon
- Stand by Me: the slow, square rhythm the bass line holds. Two versions: a rhythm-gram and a choreography.
Stand by Me rhythm-gram
Stand by Me choreography
- Send My Love: a short tutorial and the full choreography, by the same author.
Send My Love tutorial
Send My Love choreography
- Hit the Road Jack: choreography with the dotted rhythm.
Hit the Road Jack choreography
- With or Without You: a fragment as a rhythm-gram, to feel how the song grows without changing chords.
With or Without You rhythm-gram
Combining patterns
Once several separate patterns come easily, the next step is chaining them. Salvo Russo does it in four steps, then with three styles: rock, pop and funky.
Four steps to combine
Rock, pop and funky
Project choreography
To end the year, a full choreography by Santi Serratosa on "Try" by Colbie Caillat, in two tutorials: patterns and form. It is built over a term and played at the school concert.
Try, tutorial 1: patterns
Try, tutorial 2: form
Classroom activities
- Canon in two groups. Split the class in two. Group B comes in two bars after A with the same pattern. Once it holds, three groups.
- Change of metre. A 4/4 rhythm-gram and a 3/4 one back to back, no pause. The body has to switch from marching to turning.
- Improvisation rounds. Over the salsa clave, each student improvises one bar and returns to the pattern. This is what the curriculum calls a rhythmic improvisation round.
- Record and compare. Record the class playing "I Feel Good" and compare it with the French school's video. What do they do that we do not?
Key vocabulary
- Canon: the same phrase comes in twice, with a delay.
- 3/4 time: counted to three; the waltz metre.
- Clave: a two-bar pattern that organises all Afro-Cuban music.
- Samba: Brazilian carnival rhythm, fast and in two.
- Swing: the jazz way of playing eighth notes, long-short instead of equal.
- Form: the order of the sections of a piece.
Antes de empezar
Los cuatro sonidos, el pulso y el espejo están en El cuerpo como instrumento. Si vienes de 1.º, repasa el capítulo de primero en una sesión: el ritmo de «We Will Rock You» y un ritmograma entero. Aquí empezamos donde acaba aquello.
Canon: la misma frase, a destiempo
En ¿Qué pasa cuando dejamos de cantar todos lo mismo? vimos que un canon es una melodía que entra dos veces con retraso. Con el cuerpo es igual, pero se ve: un grupo empieza, y dos compases después empieza el otro con lo mismo. Richard Filz tiene cinco calentamientos en canon, numerados. Van en orden; no saltes.
Calentamiento y canon n.º 1
Calentamiento y canon n.º 2
Calentamiento y canon n.º 3
Con una canción africana, «Banaha», el canon a dos voces con percusión corporal, en castellano.
Banaha, canon a dos voces
Contar hasta tres
Casi toda la música que oyes se cuenta hasta cuatro. El vals, el minueto y muchas canciones tradicionales se cuentan hasta tres, y el cuerpo lo nota: no se marcha, se gira. Dos ritmogramas de Mr. Noé para sentirlo.
Minueto en Sol mayor, ritmograma en 3/4
Vals en 3/4, «Bluebird»
Y un tutorial en dos partes de Santi Serratosa, el referente español de la percusión corporal, sobre el Vals n.º 2 de Shostakóvich. La primera parte enseña los patrones; la segunda, cómo se ordenan para seguir la forma de la pieza, que es justo lo que estudiamos en ¿Cómo sabes por dónde vas?.
Vals n.º 2, tutorial 1: los patrones
Vals n.º 2, tutorial 2: la forma
Ritmos del mundo
La percusión corporal viene de muchos sitios a la vez. Tres ritmos que se tocan con el cuerpo en su lugar de origen.
- Samba (Brasil). El tutorial de Filz monta la batería de una escuela de samba con pies, muslos y palmas.
Samba con el cuerpo, tutorial
- Afrobrasileño, con Ollie Tunmer, que tocó en Stomp.
Percusión corporal afrobrasileña
- Maksum (Egipto): el ritmo básico de la música árabe, con la mano derecha grave y la izquierda aguda.
Maksum egipcio con el cuerpo
- Swing (Estados Unidos): el ritmo del jazz, que no se escribe como suena.
Swing con el cuerpo
Y el grupo brasileño Barbatuques, que ha llevado esto a los teatros de medio mundo, con «Tum Pá». Primero un taller que lo enseña; después, ellos.
Taller de «Tum Pá», parte 1
Tum Pá, por Barbatuques
Las canciones de 3.º
Cada canción del libro de 3.º tiene aquí su versión con el cuerpo. Léela antes en su artículo.
- La Vida Es Un Carnaval: la clave de la salsa, en musicograma. Es el ritmo que hace que Cuba suene a Cuba.
La Vida Es Un Carnaval, musicograma
- I Got You (I Feel Good): el funk de James Brown, con el acento en el uno. Primero un musicograma; después, alumnos de un instituto francés tocándolo entero.
I Feel Good, musicograma
I Feel Good, por un instituto de Arcachon
- Stand by Me: el ritmo lento y cuadrado que sostiene el bajo. Dos versiones: un musicograma y una coreografía.
Stand by Me, musicograma
Stand by Me, coreografía
- Send My Love: un tutorial corto y la coreografía completa, del mismo autor.
Send My Love, tutorial
Send My Love, coreografía
- Hit the Road Jack: coreografía con el ritmo con puntillo.
Hit the Road Jack, coreografía
- With or Without You: un fragmento en musicograma, para sentir cómo la canción crece sin cambiar de acordes.
With or Without You, musicograma
Combinar patrones
Cuando ya salen varios patrones sueltos, el siguiente paso es encadenarlos. Salvo Russo lo hace en cuatro pasos, y después con tres estilos: rock, pop y funky.
Cuatro pasos para combinar
Rock, pop y funky
Coreografía de proyecto
Para acabar el curso, una coreografía completa de Santi Serratosa sobre «Try», de Colbie Caillat, en dos tutoriales: patrones y forma. Se monta en un trimestre y se toca en el concierto del centro.
Try, tutorial 1: patrones
Try, tutorial 2: forma
Para hacer en clase
- Canon en dos grupos. La clase se parte en dos. El grupo B entra dos compases después que el A con el mismo patrón. Cuando aguante, tres grupos.
- Cambio de compás. Un ritmograma en 4/4 y otro en 3/4 seguidos, sin pausa. El cuerpo tiene que cambiar de contar a marchar a contar a girar.
- Ruedas de improvisación. Sobre la clave de salsa, cada alumno improvisa un compás y vuelve al patrón. Es lo que el currículo llama rueda de improvisación rítmica.
- Grabar y comparar. Se graba a la clase tocando «I Feel Good» y se compara con el vídeo del instituto francés. Qué hacen ellos que nosotros no.
Vocabulario fundamental
- Canon: la misma frase entra dos veces, con retraso.
- Compás de 3/4: se cuenta hasta tres; el compás del vals.
- Clave: patrón de dos compases que organiza toda la música afrocubana.
- Samba: ritmo brasileño de carnaval, rápido y en dos.
- Swing: forma de tocar las corcheas del jazz, larga-corta en vez de iguales.
- Forma: el orden de las secciones de una pieza.
Before you start
The four sounds, the pulse and the mirror are in The body as an instrument. If you come from 1st year, revise the 1st-year chapter in one session: the "We Will Rock You" rhythm and a whole rhythm-gram. Here we start where that ends.
Canon: the same phrase, out of step
In What happens when we stop all singing the same thing? we saw that a canon is a melody that comes in twice with a delay. With the body it is the same, but you can see it: one group starts, and two bars later the other starts with the same thing. Richard Filz has five numbered warm-ups in canon. They go in order; do not skip.
Warm-up and canon no. 1
Warm-up and canon no. 2
Warm-up and canon no. 3
With an African song, "Banaha", a two-voice canon in body percussion, in Spanish.
Banaha, two-voice canon
Counting to three
Almost all the music you hear is counted to four. The waltz, the minuet and many traditional songs are counted to three, and the body feels it: you do not march, you turn. Two rhythm-grams by Mr. Noé to feel it.
Minuet in G major, 3/4 rhythm-gram
Waltz in 3/4, "Bluebird"
And a two-part tutorial by Santi Serratosa, Spain's leading body percussion teacher, on Shostakovich's Waltz No. 2. Part one teaches the patterns; part two, how they are ordered to follow the form of the piece, which is exactly what we study in How do you know where you are?.
Waltz No. 2, tutorial 1: patterns
Waltz No. 2, tutorial 2: form
Rhythms of the world
Body percussion comes from many places at once. Three rhythms played on the body where they come from.
- Samba (Brazil). Filz's tutorial builds a samba school's drum section with feet, thighs and claps.
Samba on the body, tutorial
- Afro-Brazilian, with Ollie Tunmer, who played in Stomp.
Afro-Brazilian body percussion
- Maksum (Egypt): the basic rhythm of Arabic music, low in the right hand and high in the left.
Egyptian maksum on the body
- Swing (United States): the rhythm of jazz, which is not written the way it sounds.
Swing on the body
And the Brazilian group Barbatuques, who have taken this to theatres around the world, with "Tum Pá". First a workshop that teaches it; then them.
"Tum Pá" workshop, part 1
Tum Pá, by Barbatuques
The 3rd-year songs
Every song in the 3rd-year book has its body version here. Read its article first.
- La Vida Es Un Carnaval: the salsa clave, as a rhythm-gram. It is the rhythm that makes Cuba sound like Cuba.
La Vida Es Un Carnaval rhythm-gram
- I Got You (I Feel Good): James Brown's funk, with the accent on the one. First a rhythm-gram; then students from a French secondary school playing it whole.
I Feel Good rhythm-gram
I Feel Good, by a secondary school in Arcachon
- Stand by Me: the slow, square rhythm the bass line holds. Two versions: a rhythm-gram and a choreography.
Stand by Me rhythm-gram
Stand by Me choreography
- Send My Love: a short tutorial and the full choreography, by the same author.
Send My Love tutorial
Send My Love choreography
- Hit the Road Jack: choreography with the dotted rhythm.
Hit the Road Jack choreography
- With or Without You: a fragment as a rhythm-gram, to feel how the song grows without changing chords.
With or Without You rhythm-gram
Combining patterns
Once several separate patterns come easily, the next step is chaining them. Salvo Russo does it in four steps, then with three styles: rock, pop and funky.
Four steps to combine
Rock, pop and funky
Project choreography
To end the year, a full choreography by Santi Serratosa on "Try" by Colbie Caillat, in two tutorials: patterns and form. It is built over a term and played at the school concert.
Try, tutorial 1: patterns
Try, tutorial 2: form
Classroom activities
- Canon in two groups. Split the class in two. Group B comes in two bars after A with the same pattern. Once it holds, three groups.
- Change of metre. A 4/4 rhythm-gram and a 3/4 one back to back, no pause. The body has to switch from marching to turning.
- Improvisation rounds. Over the salsa clave, each student improvises one bar and returns to the pattern. This is what the curriculum calls a rhythmic improvisation round.
- Record and compare. Record the class playing "I Feel Good" and compare it with the French school's video. What do they do that we do not?
Key vocabulary
- Canon: the same phrase comes in twice, with a delay.
- 3/4 time: counted to three; the waltz metre.
- Clave: a two-bar pattern that organises all Afro-Cuban music.
- Samba: Brazilian carnival rhythm, fast and in two.
- Swing: the jazz way of playing eighth notes, long-short instead of equal.
- Form: the order of the sections of a piece.