Highschool Module
MEDLI REHEARSAL PLAN
Background
A. Medley Filipino Folk Songs
This piece is composed of the following Filipino folk songs: Music A – Paru-parong Bukid – Tagalog Folk Song
Music B – Dandansoy – Visayan Folk Song
Music C – An Tamsi Nga Tikbubulan – Visayan Folk Song Music D – Lubi-Lubi – Waray Folk Song
Music E – Condansoy – Visayan Folk Song Music F – Bahay Kubo – Tagalog Folk Song
B. Arranger:Genaro Cesar Edilo
Lyrics
Music A
Paruparong Bukid – Tagalog Folk Song
I
Paruparong bukid na lilipad-lipad Sa gitna ng daan papaga-pagaspas
Isang bara ang tapis, isang dangkal ang manggas Ang sayang de kola, isang piyesa ang sayad.
II
May payneta pa siya, uy!, may suklay pa man din, uy!
Nagwas de-ohetes ang palalabasin Haharap sa altar at mananalamin
At saka lalakad nang pakendeng-kendeng
“Paruparong Bukid” (The Field Butterfly) is a humorous song comparing a butterfly to a 1900 Filipina dressed in her glamorous formal dress with tall butterfly sleeves as she moves down the aisle of the church, swaying her hips as everyone looks on. Some say this Filipino folk song tells the story of a beautiful butterfly flying down the road, while others say it tells of a beautiful woman looking very fancy as she shows off to her neighbors.
According to some researchers, “Paruparong Bukid” is a Filipino folk song adapted from “Mariposa Bella,” a Filipino song in Spanish composed in the 1890s. In English, “Mariposa Bella” means “beautiful butterfly,” un filipiniana or traje de mestiza. The Tagalog translation is “paruparong buquid” (buquid is the original spelling for bukid).”Mariposa Bella” was written in the 1890s by an unknown composer. It is a song in poetic fashion, which describes the Filipina woman dressed in her native attire, which we now call filipiniana or traje de mestiza.
Music B Dandansoy – Visayan Folk Song
I
Dandansoy, bayaan ta icao Pauli aco sa Payao Ugaling con icao hidlauon,
Ang Payao imo lang lantauon.
II
Dandansoy, con imo aposon Bisan tubig dì magbalon Ugaling con icao uhaon
Sa dalan magbubonbubon.
III
Convento, diin ang cura? Municipio, diin justicia? Yari si Dansoy maqueja, Makiha sa paghigugma.
IV
Ang panyo mo cag panyo co, Dala diri cay tambijon co, Ugaling con magcasilo,
Bana ta icao, asawa mo aco.
“Dandansoy” is a Visayan folk song in 3/4 time signature and is in a slow, triple meter. This folk song follows the strophic form, composed of two or more stanzas with the same melody employed repeatedly in the stanzas. “Dandansoy” is also sung as a lullaby.
It depicts a story of a woman who goes home to Payao, her hometown, and tells her sweetheart to follow her in case he misses her. “Dandansoy” is the name of the boy. She is giving Dandansoy a chance to prove his love. Payao is a barangay in Binalbagan, Negros Occidental known for producing sugar. In the second line, Dandansoy is being warned that if he chases after the girl, he shouldn’t bring water. This is because if he gets thirsty, there’s already a well where he could drink from. In the third line, Dandansoy asks where the kura (priest) and the kumbento (convent) are, and where the city municipal office is because he wants to file a case of love. In the last line, the woman asks Dandansoy to bring his handkerchief to be compared with hers. If it is the same, then it means that the Dandansoy is the girl’s husband.
Music C
An Tamsi Nga Tikbubulan – Visayan Folk Song I
An tamsi nga tikbubulan, Gutiay ko la hidakpan
Lugaring Ningning kay hinsalipdan, Han lubi nga kalanyugan.
II
Kun diri di abaniko, Patay na inin lawas ko
Lugaring Ningning nadidismayo, Han balhas nga di masyado.
The Visayan folk song, “An Tamsi Nga Tikbubulan,” is more popularly known as “Kun Diri Di Abaniko,” the first line of the second verse. The song is in time signature and follows the strophic form, with two stanza/verses, with the same music repeated in the second stanza. It is to be performed in triple meters at moderate speed.
The coconut tree is an important source of livelihood for the Visayans that is why it is not surprising when it is mentioned in their folk songs like “An Tamsi Nga Tikbubulan” or “Kun Diri Di Abaniko” where the fan, made from the leaves of the coconut tree, can be used to alleviate discomfort brought by the heat, especially in a tropical country like the Philippines. Additionally, as mentioned in the first stanza, the coconut tree can be a place where the sparrow hides itself from the hand of the bird catcher. Indirectly mentioned, the coconut tree can also provide shade from the heat of the sun, just like what a fan affords its user.
Music D
Lubi-Lubi – Waray Folk Song I
Lubi lubi–lubi, Lubi lingkuranay Ayaw gud pagsak-i, kay hibubu-ayay
Ayaw gud pagsak-i, lubi-lubi.
II
Kon naruruyag ka, kumaon hin silot Didto la nga didto la, kan Tatay, didto la Kan Nanay, didto la pakigsabot.
“Lubi–Lubi” is a Waray folk song. Waray is a language spoken in the Visayas group of islands, especially the Eastern Visayas region. “Lubi–Lubi” refers to the coconut palm Cocos nucifera that belongs to the palm family. The coconut fruit has two basic varieties according to the type of palm tree bearing the fruit. These are the “tall” and “dwarf” coconut trees. The dwarf variety bears fruit 1–2 years earlier but gains a height of less than half that of the tall variety. Lubi–Lubi refers to the dwarf coconut tree. Lagarde (2021) categorized “Lubi Lubi” under songs of nature. According to him, the people of Eastern Visayas recognize the importance of the natural world around them.
This sense of recognition includes the undeniable realization that their own survival is largely determined by the natural environment that provides them with their basic needs. Thus, “Lubi-Lubi” referring to the coconut tree that provides “tuba” (coconut wine), food, fuel, cosmetics, folk medicine, and building materials, among many other uses, is considered to be an important source of livelihood of the Warays, and so, the lifeblood of their economy. Therefore, their inherent respect for the environment can be seen through some of their folk or traditional songs like “Lubi-Lubi” (Little Coconut).
“Lubi Lubi” is in 3/4 time signature and follows the strophic form. A form composed of several verses or stanzas with the same melody repeatedly employed in the stanzas. “Lubi-Lubi” is in triple meter at a moderate tempo.
The Tagalog common version of “Lubi-Lubi” is an adaptation of the original Waray version. The lyrics have been changed to help young learners memorize the twelve months of the year. However, the second part adopts the music of “An Tamsi Nga Tikbubulan” or “Kun Diri Di Abaniko.” The Tagalog common version employs the two melodies from two different Visayan folk songs, namely: “Lubi-Lubi” and “An Tamsi Nga Tikbubulan/Kun Diri Di Abaniko” for its first and second parts, respectively. Today, many have long thought that the original version of “Lubi-Lubi” is that of the Tagalog common version. However, based on Lagarde’s (2021) book and Conde-Abanilla’s (2021) article and thesis, this is not the case, and that the Tagalog common version makes use of two different Visayan folk songs. Below is the Tagalog common version:
Tagalog Common Version
I
Enero, Pebrero, Marso, Abril, Mayo, Hunyo, Hulyo, Agosto, Setyembre, Oktubre,
Nobyembre, Disyembre, Lubi-lubi.
II
Halina at pag-aralan Ngalan ng Labindalawang buwan
Ulit-ulitin natin bigkasin Sabay-sabay nating awitin.
Music E Condansoy – Visayan Folk Song
I
Condansoy/Dandansoy inom tuba laloy Diri ako mainom, tuba kisom-kisom.
II
An tuba ha baybay dim-dimi gad anay Matamis kaupay, inom sangkay.
The Eastern Visayas region is among the top coconut producers in the Philippines. Drinking tuba wine is a common essential in their celebrations, such as birthdays, fiestas, and other festivities in the region. Furthermore, during weddings, fiestas, graduations, family reunions, an unexpected meeting of friends, or even a wake in a funeral parlor, the tuba would always make its presence felt.
Tubá is a type of wine made from the sap of the coconut tree. The sap is the fluid part, a watery solution that circulates through a plant’s vascular system. Tubá is produced by mixing coconut sap with barok, the reddish bark of a mangrove tree. Barok not only gives it the reddish color, but it also prevents the coconut sap from turning sour and allows the tubá to ferment.
Tubá plays a role in the social and cultural practices of the natives. According to Legarde (2021), during an all-male drinking spree, drinking songs often accompany their revelry. These songs they employ range from tributes to the drink itself or to humorous portraits of its drinkers. An example of this drinking song is “Condansoy” (called “Dandansoy” among Warays). This Waray folk song talks about the tubá as a timeless tradition and a celebration of life itself.
“Condansoy “is a Visayan folk song sung mainly in Cebuano-speaking regions, although local variations exist in nearby provinces. Among the Warays, this song is called “Dandansoy.” Dandansoy is a common name for a young boy. The song tells the story of a boy who is being asked to drink Laloy’s tubá, a coconut wine, but he wisely refuses to.
It is in 3/4 time signature, to be performed in a slightly fast moderate tempo. This folksong follows the binary form, which has two parts/section, music A and music B.
Music F
Bahay Kubo – Tagalog Folk Song A (1)
Bahay kubo, kahit munti Ang halaman doon ay sari-sari
Singkamas at talong, sigarilyas at mani Sitaw, bataw, patani.
A (2)
Kundol, patola, upo’t kalabasa
At tsaka mayro’n pang labanos, mustasa Sibuyas, kamatis, bawang at luya
Sa palibot ay puro linga.
“Bahay Kubo” is a Tagalog folk song from the lowlands of Luzon that describes the “bahay kubo” ( ‘cubed house’ in English), a house made of bamboo with a roof of nipa leaves, surrounded by different kind of vegetables. The song describes the simple way of life of a Filipino family living in a nipa hut surrounded by a garden filled with plants and vegetables. They plant gardens and eat what they grow in them. The lyrics identify dozens of indigenous and traditional vegetables and convey an underlying message of abundance, food culture, and diversity. “Bahay Kubo” is a folk song that is well known among Filipinos of all ages, and as familiar as the “Alphabet Song” and “Twinkle, Twinkle Little Star” of the west.
“Bahay Kubo” is in 3/4 time signature and in triple meter. It is to be performed at moderate speed. The song is composed of two stanzas or verses and the same melody is employed in both stanzas; hence the form is strophic. There are several versions of this folk song which employ more than two stanzas/verses.
The bahay kubo was the standard structure used for homes in the Philippines before the Spaniards arrived. It is a Filipino traditional dwelling place made of indigenous materials like nipa leaves for the roof and split bamboo for the wall and floor. The nipa hut or bahay kubo, though made of lightweight materials, are sturdy, flexible, and multifunctional resources. A bahay kubo is a symbol of Philippine culture as it depicts one of the most nurtured Filipino values called “bayanihan,” which showcases a spirit of collective unity or effort to accomplish an objective. The bahay kubo is the national shelter and serves as an icon of Philippine culture. Its architectural principles gave way to many Filipino traditional houses and buildings that rose after the pre-colonial era.
TwoSessions
“Medli” is relatively a long piece and quite difficult to learn and master. It is suggested that for this piece, two sessions, with 2 hours each session be allotted. (It can be 3-4 sessions for other groups of Himig Kawayan consequently, necessary adjustment should be done in terms of time allotment).
The First Session includes the following folk songs: Music A – Paruparong Bukid, Music B – Dandansoy and Music C- An Tamsi Nga Tikbubulan.
The Second Session includes the following folk songs: Music D – Lubi-Lubi, Music E – Condansoy and Music F – Bahay Kubo.
The arrangement is a medley of six (6) Philippine folk songs, composed of two (2) Tagalog folk songs namely: a. Paru-parong Bukid and b. Bahay Kubo, and four (4) Visayan folk songs namely: a. Dandansoy; b.) An Tamsi Nga Tikbubulan; c. Lubi- Lubi ; and d. Condansoy. In general, all the folk songs are in triple meter, following the time signature and to be performed in varying tempo. In terms of tonality,five folk songs are in the major tonality, key of C and one folk song in the relative minor key, which is Am.
Introduction
The introduction begins with a moderate tempo and a happy mood. It begins with measure 1 and ends with downbeat on measure 6. This part is written basically in homophonic style, where there is a single melodic line, written for the gabbang and marimba, and with the harmonic support or chordal accompaniment written for the angklung, guitar, and bumbong. In addition, the gabbang and marimba is written in homorhythmic style, a designation in which two parts, the melodic line and the harmony move in the same rhythm, thus producing a succession of intervals in two- part writing, (Apel 1972).
Music A – Paruparong Bukid (Tagalog Folk Song)
Paruparong Bukid is written in 3/4 time signature, with quarter note as the beat note (the note that receives one beat), and there are three (3) beats in a measure. The music is in triple meter and the corresponding beat pattern or conducting gesture is: .
The music follows the binary form with two basic parts, Music A and Music B (part A and part B).
The 1st part or music A begins with measure 6 and ends with measure 22 (downbeat). There are 16 measures in this section. The 1st phrase (antecedent phrase) starts with measure 6 up to measure 10, downbeat (4 measures in all); 2nd phrase (consequent phrase) begins with measure 10, second beat till measure 14, downbeat (4 measures in all,); 1st and 2nd phrases make one (1) period with a total of 8 measures (antecedent and consequent phrase). The 3rd phrase starts with measure 14, second beat up to measure 17; finally, the 4th phrase begins with measure 18 and ends with measure 22 downbeat; 3rd and 4th phrases make the second period with 8 measures. The 1st period (1st and 2nd phrases) and the 2nd period (3rd and 4th phrases) would have a total of 16 measures. Normally for simple composition, a section is composed of 16 measures composed of 2 periods (a period consisting of an antecedent phrase [4 measures] and a consequent phrase [4 measures], 8 measures in all). This principle of analysis in terms of form, particularly section, musical phrase (antecedent or consequent phrase) is also applied in music B of Paruparong Bukid and so with the other sections of the other music of this medley.
The 2nd part or Music B begins with measure 22, second beat and ends with measure 37 with a repeat mark which means that the 2nd part/part B will be repeated. From measure 37, the music will go back to measure 22, (where the 1st repeat mark is indicated and proceed up to measure to measure 39.
The 1st phrase (antecedent phrase) starts with measure 22, second beat to measure 26, downbeat (4 measures in all); 2nd phrase (consequent phrase) begins with measure 26, second beat till measure 30, downbeat (4 measures in all,); 1st and 2nd phrases make one (1) period with a total of 8 measures (antecedent and consequent phrase). The 3rd phrase starts with measure 30, second beat up to measure 33; finally, the 4th phrase begins with measure 34 and ends with measure 37 with a repeat mark. This means that the 2nd part will be repeated. From measure 37 the music will go back to measure 22 and continue until measure 38 and end with an E chord, with fermata, on measure 39. The 3rd and 4th phrases make the second period with 8 measures in all. The 1st period (1st and 2nd phrases) and the 2nd period (3rd and 4th phrases) would have a total of 16 measures for the 2nd part.
In terms of tonality, the piece is in the key of C, a major key. The 1st part and 2nd part end both with do (C – pitch name), the tonic note of the C major scale, as shown in measure 22, downbeat (1st part/part A) and measure 38, downbeat (2nd part/part B ).
In terms of arrangement, Music A, Paruparong Bukid is written basically in homophonic style, where there is a single melodic line, written for the gabbang and marimba, with the harmonic support or chordal accompaniment written for the angklung, guitar, and bumbong. In addition, the gabbang and marimba is specifically written in homorhythmic style.
Bridge
In preparation to Music B, Dandansoy, written in A minor, there is an introductory E chord with a fermata indicated in measure 39. E is a dominant chord of A minor. In terms of key relationship, Am is a relative minor key of C major, the key of Music A, Paruparong Bukid.
Music B – Dandansoy (Visayan Folk Song)
To add interest and to achieve contrast to the arrangement, a Visayan folk song, Dandansoy is arranged for Music B. The music modulates from a major key, key of C (Paru-parong Bukid) to key of Am, and speed becomes a slow tempo retaining the triple meter in Music A. In terms of articulation, it is suggested that Music B be performed in a legato manner, where the notes are played in a smooth and flowing manner without intervening pause in between the notes, in contrast with the other music of the “Medli”. Performing this music with a legato will help carry out and express the true intent and message of the music
Dandansoy is written in 3/4 time signature, with the quarter note as the beat note (the note that receives one beat) and there are three (3) beats in a measure. The music is in triple meter and the corresponding beat pattern or conducting gesture is. Dandansoy is also considered a Visayan lullaby, sung mostly by women to lull the baby to sleep.
The music follows the strophic form composed of several stanzas where the same melody is repeated. The stanzas/verses are set with different lyrics.
The first stanza of Music B begins with measure 40 and ends with measure 58 (downbeat). Music B begins with a simple two-measure introduction from measure 40 – 41. The 1st phrase (antecedent phrase) starts with measure 42, second beat up to measure 46, downbeat (4 measures in all); 2nd phrase (consequent phrase) begins with measure 46, second beat up to measure 50, downbeat (4 measures in all,); The 1st and 2nd phrases make one (1) period with a total of 8 measures (antecedent and consequent phrase). The 3rd phrase starts with measure 50, second beat up to measure 54, downbeat ; And finally, the 4th phrase begins with measure 54, second beat and ends with measure 58; 3rd and 4th phrases make the second period with 8 measures. The 1st period (1st and 2nd phrases) and the 2nd period (3rd and 4th phrases) would have a total of 16 measures, for the 1st stanza. The 1st stanza ends with la, (m – 58), the tonic notes in A minor scale, hence, the 1st stanza is in the key of Am.
The second stanza of Music B begins with measure 58, second beat and ends with measure 74 (downbeat). The 1st phrase starts with measure 58, second beat up to measure 62, downbeat; the 2nd phrase begins with measure 62, second beat up until measure 66, downbeat; the 3rd phrase starts with measure 66, second beat up to measure 70, downbeat; and finally, the 4th phrase begins with measure 70, second beat and ends with measure 74 downbeat; The 1st period (1st and 2nd phrases) and the 2nd period (3rd and 4th phrases) would have a total of 16 measures, the total number of measures for the second stanza.
The 2nd stanza ends with la, (m – 74), the tonic notes in A minor scale, hence, the 2nd stanza is in the key of Am. The arrangement for the 2nd stanza of Music B – Dandansoy is written with a little difference compared with that of the 1st stanza. The melodic line is written for the gabbang, and the countermelody is written for the marimba. The harmonic support or chordal accompaniment is written for the angklung, guitar, and bumbong.
Coda and Bridge
Basically, the ending is a repetition of the 4th phrase of the 2nd stanza (m – 66, 2nd beat to m 74, downbeat). The ending or coda of Music B is from measure 74, second beat up to measure 82, downbeat, (with an eight note), then a brief short passage in fast tempo in preparation to Music C, from measure 82 (pick up after an eight note) to measure 84.
Music C – An Tamsi Nga Tikbubulan (Visayan Folk Song)
An Tamsi Nga Tikbubulan is in triple meter, written in 3/4 time signature. With as the corresponding beat pattern or conducting gesture.
Music C begins with measure 85, second beat and ends with measure 101, downbeat. The 1st phrase (antecedent phrase) begins with measure 85 up to measure 89, downbeat (4 measures in all); the 2nd phrase (consequent phrase) begins with measure 89, second beat up to measure 93, downbeat (4 measures in all,); The 3rd phrase starts with measure 93, second beat up to measure 97, downbeat; and finally, the 4th phrase begins with measure 97, second beat, and ends with measure 101, downbeat; The 1st period (1st and 2nd phrases) and the 2nd period (3rd and 4th phrases) would have a total of 16 measures.
In terms of tonality, Music C is in a major tonality, key of C. As shown in measure 101, downbeat, the last note of Music C is do, the tonic note of C major scale, that is why it is in the key of C.
In terms of arrangement, the melodic line is written for the gabbang, and the countermelody is written for the marimba. The harmonic support or chordal accompaniment is written for the angklung, guitar, and bumbong.
Music D – Lubi-Lubi (Waray Folk Song)
“Lubi-Lubi,” a Waray folk song is in triple meter, written in 3/4 time signature and with . as the corresponding beat pattern or conducting gesture.
Music D begins with measure 101, second beat and ends with measure 113, downbeat, the first time. The second time begins with measure 113, second beats and repeats from measure 102 up to measure 112, skip measure 113 and proceed to measure 114.
The 1st phrase begins with measure 101, second beat up to measure 105, downbeat; the 2nd phrase begins with measure 105, second beat up to measure 109, downbeat; and the 3rd phrase starts with measure 109, second beat up to measure 113, downbeat, the end of the 1st stanza with a total of 12 measures. Then a repeat mark indicates that this music will be repeated from measure 113, second beat then repeat from measure 102 up to measure 112, skip measure 113, then proceed to measure 114, the end of music D.
In terms of tonality, Music D is in a major tonality, key of C. As shown in measure 113, downbeat, the last note of Music Do is do, the tonic note of C major scale, that is why Music D, Lubi-Lubi is in the key of C.
In terms of arrangement, Music D – Lubi-Lubi, the parts for the gabbang and marimba are written in homorhythmic style, where the melodic line is written for gabbang and the harmony, for marimba, moving in the same rhythm, producing a succession of intervals as in two-part writing. The harmonic support or chordal accompaniment is written for the angklung, guitar, and bumbong.
Music E – Condansoy (Dandansoy among the Warays) – Visayan Folk Songs
“ Condansoy “is in triple meter. It is in time signature, with . as the corresponding beat pattern or conducting gesture.
Music E begins with measure 114, second beat and ends with measure 139. The 1st phrase (antecedent phrase) begins with measure 114, 2nd beat up to measure 117, downbeat (4 measures in all); the 2nd phrase (consequent phrase) begins with measure 117, upbeat up to measure 121 (4 measures in all,); the 3rd phrase starts with measure 122 up to measure 125; the 4th phrase begins with measure 126 and ends with measure 129; the 5th phrase begins with measure 130 up to measure 133; and the 6th phrase or last phrase begins with measure 134 up until measure 139, second beat with a fermata.
The 1st period (1st and 2nd phrases), the 2nd period (3rd and 4th phrases) and the 3rd period (5th and 6th phrases) would have a total of 24 measures.
In terms of tonality, Music E is in a major tonality, key of C. As shown in measure 139, downbeat, the last note of Music E is do, the tonic note of C major scale, that is why it is in the key of C.
In terms of arrangement, from measure 114 to measure 121, are written in homophonic texture where the melodic line is written for the gabbang and marimba and the harmonic support or chordal accompaniment written for the angklung, guitar, and bumbong. From measure 122 to measure 139, is in homorhythmic style where the melody is written for the gabbang and the marimba part move in the same rhythm, producing a succession of intervals (in two-part writing) The harmonic support or chordal accompaniment is written for the angklung, guitar, and bumbong.
Music F – Bahay Kubo (Tagalog Folk Song)
Bahay Kubo is in triple meter and in 3/4 time signature. The corresponding beat pattern or conducting gesture is: .
Bahay Kubo is the last and final piece of “Medli.” This section begins with an upbeat on measure 139 and ends with the final measure – 182, on a downbeat and with a resounding fortississimo.
The first stanza begins with an upbeat and with a fermata on measure 139 and ends with measure 155, and with a fermata on the 2nd beat.
The 1st phrase, of the first stanza, (antecedent phrase) begins with an upbeat on measure 139 (with a fermata) up until measure 143, downbeat (4 measures in all); the 2nd phrase (consequent phrase) begins with an upbeat on measure 143 up to measure 147, downbeat (4 measures in all); the 3rd phrase starts with measure 147, upbeat up until measure 151, downbeat; and the 4th phrase begins with an upbeat on measure 151 and ends with measure 155, with a fermata on the 2nd beat. The 1st period (1st and 2nd phrases), and 2nd period (3rd and 4th phrases) would have a total of 16 measures.
The second stanza begins with an upbeat and with a fermata) on measure 155 and ends on measure 172 downbeat (2 beats).
The 1st phrase of the second stanza, (antecedent phrase) begins with an upbeat on measure 155 up until measure 159 (4 measures in all); the 2nd phrase (consequent phrase) begins with an upbeat on measure 159 to measure 163, downbeat (4 measures in all); the 3rd phrase starts with measure 163, upbeat up to measure 167 and the 4th phrase begins with an upbeat on measure 167 and ends with measure 172. The 1st period (1st and 2nd phrases), and 2nd period (3rd and 4th phrases) would have a total of 16 measures.
Coda
The concluding part of the whole piece begins with an upbeat on measure 172 up to measure 182, downbeat, the final and last measure of “Medli”.
In terms of tonality, Music F is in a major tonality – key of C as shown in measure 172, downbeat. This last note of Music F is do and do is the tonic note of C major scale, that is why Music F is in the key of C.
In terms of arrangement, the melodic line is written for the gabbang, and the countermelody is written for the marimba. The harmonic support or chordal accompaniment is written for the angklung, guitar, and bumbong. The arrangement ends with a full authentic cadence, the last two chords employed are a block chord of G in measure 180, an upbeat and C full, tonic chord on measures 81 and 82 with a resounding fortississimo.
- FirstSession – 2 Hours
Music A – Paruparong Bukid – Tagalog Folk Song
Music B – Dandansoy – Visayan Folk Song
Music C – An Tamsi Nga Tikbubulan – Visayan Folk Song
| Time Allotment | Material | Instrument | Measures | Objective | Activity | Assessment |
| Discuss the following:
a. Music Analysis a. 1 Meter a. 2 Tempo a. 3 Form Music A Music B Music C Music D Music E Music F a. 4 Conducting gestures for 3/4 time signature a. 5 Arrangement |
Lecture/ Demonstration | Class Recitation | ||||
|
10 minutes |
“Medli” |
m 1–182 |
Interactive Discussion | Members execute the correct conducting
gestures for 3/4 time signature. |
||
| The teacher will observe and correct how
the members execute the conducting pattern. |
||||||
| 10
minutes |
Introduction | m 1–6 | Play the Introduction. | |||
| Develop sight- | 1. Listening | 1. Members read the notation while listening
to their own specific parts. 2. Members evaluate the quality of their own specific parts through feedback from: a. self b. other members c. teacher in charge |
||||
| reading skills. | Activity | |||||
| Listen to the | ||||||
| gabbang/ | ||||||
| marimba track | ||||||
| while reading | ||||||
|
(2 mins.) |
gabbang/ marimba | the notation. | ||||
| Execute | 3. Repeat the | Read the notation while listening to their own specific parts
2. Members evaluate the quality of their own specific parts through feedback from: a. self b. other members c. teacher in charge |
||||
| proper playing | same process: | |||||
| techniques for | 1 & 2 to all | |||||
| each instrument. | the other | |||||
| instruments: | ||||||
| b. angklung | ||||||
| (2 mins.) | angklung | m 1–6 | c. guitar | |||
| (2 mins.)
(2 mins.) |
guitar bumbong | m 1–6
m 1–6 |
d. bumbong |
| Time Allotment |
Material |
Instrument |
Measures |
Objective |
Activity |
Assessment |
|
(2 mins.) |
Tutti gabbang/ marimba angklung guitar bumbong |
m 1–6 |
C. Play in an ensemble the Introduction. | 1. Ensemble playing:
All parts play the Introduction. |
1. Members evaluate their performance as an ensemble in terms of:
a. tone quality b. balance c. harmony |
|
| 30
minutes |
Music A Paruparong Bukid | I. Study and rehearse Music A. | ||||
|
3 minutes |
1st Part |
gabbang/ marimba |
m 6–22 downbeat |
1st Part
A. Discuss the ff: 1. Repeat Mark (if present) 2. Double Bar 3. Flow of Music 4. Interpretation
B. Study and rehearse the individual parts. |
Listen to the gabbang/ marimba track. While reading and singing their parts, members will conduct the beat pattern, making a conscious effort to memorize their part.
2. Play the individual parts. Observe the following: 2.1 dynamic nuances 2.2 phrasing 2.3 articulation 2.4 tempo |
1. The teacher will observe and correct how the members execute each part.
2. The teacher evaluates the quality of the individual instruments’ sound. The members will observe the following while playing: a. dynamic nuances b. phrasing c. articulation d. tempo |
|
m 6 – 10 downbeat |
B. Study and rehearse the individual parts. | 1st Part
a. 1st phrase: Repeat this process. b. 2nd phrase Repeat this process. c. 1st and 2nd phrases continuously d. 3rd phrase Repeat this process. e. 4th phrase Repeat this process. f. 3rd and 4th phrases continuously g. 1st Part
3. Repeat the same process: 1 & 2 to all the other instruments. |
1. The teacher will observe and correct how the members execute each part.
2. The teacher will evaluate the quality of the individual instruments’ sound. The members will observe the following while playing: a. dynamic nuances b. phrasing c. articulation d. tempo |
|||
| m 10,
2nd beat – 14 downbeat |
||||||
| m 6 – 14
downbeat |
||||||
| 3
minutes |
1st Part | gabbang/ marimba | m 14, 2nd beat
– 17 |
|||
| m 18 – 22
downbeat |
||||||
| m 14, 2nd beat
– 22 downbeat |
||||||
| m 6 – 22
downbeat |
| Time Allotment | Material | Instrument | Measures | Objective | Activity | Assessment |
| 3
minutes |
1st Part | angklung | m 6–22
downbeat |
B. Study and rehearse the individual parts. | b. angklung | 2. The teacher will evaluate the quality of the individual instruments’ sound. The members will observe the following while playing:
a. dynamic nuances b. phrasing c. articulation d. tempo |
| 3
minutes |
1st Part | guitar | m 6–22
downbeat |
B. Study and rehearse the individual parts. | c. guitar | 2. The teacher will evaluate the quality of the individual instruments’ sound. The members will observe the following while playing:
a. dynamic nuances b. phrasing c. articulation d. tempo |
| 3
minutes |
1st Part | bumbong | m 6–22
downbeat |
B. Study and rehearse the individual parts. | d. bumbong | 2. The teacher will evaluate the quality of the individual instruments’ sound. The members will observe the following while playing:
a. dynamic nuances b. phrasing c. articulation d. tempo |
| 3
minutes |
1st Part | Tutti gabbang/ marimba angklung guitar bumbong | C. Play in an ensemble the 1st Part. | 1. Ensemble Playing:
All parts play the 1st Part. |
1. Members will evaluate their performance as an ensemble in terms of:
a. tone quality b. balance c. harmony |
|
| 3
minutes |
2nd Part | gabbang/ marimba | 2nd Part 1st time m 22,
2nd beat – 37 2nd time repeat from m 23–38. bridge m 39–41 |
2nd Part
A. Discuss the ff: 1. Repeat mark (if present) 2. Double Bar 3 Flow of Music 4. Interpretation |
1. Listening Activity Listen to the gabbang/
marimba track while reading the notation. |
While listening, reading, and/ or singing their parts, members will conduct the beat pattern, making a conscious effort to memorize their part. |
| Time Allotment | Material | Instrument | Measures | Objective | Activity | Assessment |
| 2nd Part | gabbang/ marimba | 2nd Part
1st time m 22, 2nd beat – 37
2nd time repeat from m 23–38. bridge m 39–41 m 22, 2nd beat – 26. downbeat
m 26, 2nd beat – 30, downbeat
m 22, 2nd beat – 30 downbeat
m 30, 2nd beat – 33
m 34–37 downbeat
m 30, 2nd beat – 37 downbeat
Repeat from m 37, go back to m – 22 and continue up to m 39 |
B. Study and rehearse the individual parts. | 2. Play the individual parts. Observe the following:
2.1 dynamic nuances 2.2 phrasing 2.3 articulation 2.4 tempo
2nd Part a. 1st phrase: Repeat this process. b. 2nd phrase Repeat this process. c. 1st and 2nd phrases continuously d. 3rd phrase Repeat this process. e. 4th phrase Repeat this process. f. 3rd and 4th phrases continuously g. 2nd Part Observe the following: g.1 dynamic nuances g.2 phrasing
3. Repeat the same process 1 & 2 to all the other instruments. |
2. The teacher will evaluate the quality of the individual instruments’ sound. The members will observe the following while playing:
a. dynamic nuances b. phrasing c. articulation d. tempo |
|
| 3
minutes |
2nd Part | angklung | m 22–41 | B. Study and rehearse the individual parts. | b. angklung | 2. The teacher will evaluate the quality of the individual instruments’ sound. The members will observe the following while playing:
a. dynamic nuances b. phrasing c. articulation d. tempo |
| Time Allotment |
Material |
Instrument |
Measures |
Objective |
Activity |
Assessment |
| 3
minutes |
2nd Part | guitar | m 22–41 | B. Study and rehearse the individual parts. | c. guitar | 2. The teacher will evaluate the quality of the individual instruments’ sound. The members will observe the following while playing:
a. dynamic nuances b. phrasing c. articulation d. tempo |
| 3
minutes |
2nd Part | bumbong | m 22–41 | B. Study and rehearse the individual parts. | d. bumbong | 2. The teacher will evaluate the quality of the individual instruments’ sound. The members will observe the following while playing:
a. dynamic nuances b. phrasing c. articulation d. tempo |
| 3
minutes |
2nd Part | Tutti gabbang/ marimba angklung guitar bumbong | 2nd Part
1st time m 22, 2nd beat – 37 downbeat 2nd time from m 37, go back to m–22 and continue up to m 39 |
C. Play in an ensemble the 2nd Part. | 1. Ensemble Playing:
All parts play the 2nd Part. |
1. Members will evaluate their performance as an ensemble in terms of:
a. tone quality b. balance c. harmony d. interpretation |
| 5
minutes |
Music A Introduction 1st Part 2nd Part | Tutti gabbang/ marimba angklung guitar bumbong | Introduction m 1 – 6
Part 1 m 6 – 22, downbeat Part 2 1st time m 22, 2nd beat – 37 downbeat 2nd time Repeat from m 37, go back to m – 22 and continue up to m 39 |
D. Play in an ensemble the Introduction and Music A
(1st part and 2nd part with repetition) |
1. Ensemble Playing:
All parts play the Introduction and Music A. |
1. Members will evaluate their performance as an ensemble in terms of:
a. tone quality b. balance c. harmony d. interpretation |
| Time Allotment | Material | Instrument | Measures | Objective | Activity | Assessment |
| 33
minutes |
Music B Dandansoy 1st Stanza | gabbang/ marimba | 1st stanza m 40 – 58,
downbeat |
II. Study, and rehearse Music B 1st stanza
A. Discuss the ff: 1. Repeat Mark (if present) 2. Double Bar 3. Sforzando (sfz) 4. Articulation 5. Flow of music 6. Interpretation |
1. Listening Activity Listen to the gabbang/
marimba track while reading the notation. |
1. While listening, reading and singing their parts, members conduct the beat pattern, making a conscious effort to memorize their part. |
| 3
minutes |
1st Stanza | gabbang/ marimba | m 40 – 41 m
42, 2nd beat – 46, downbeat m 46, 2nd beat – 50, downbeat m 42, 2nd beat – 50 downbeat m 50, 2nd beat – 54. downbeat m 54, 2nd beat – 58, downbeat m 50, 2nd beat – 58 downbeat Introduction m 40–41 (2-m) 1st Stanza m – 42 – 58, downbeat
m 54, 2nd beat – 58, downbeat m 50, 2nd beat – 58 downbeat Introduction m 40–41 (2-m 1st Stanza m – 42 – 58, downbeat |
B. Study and rehearse the individual parts. | 2. Play the individual parts; Observe the following:
2.1 dynamic nuances 2.2 phrasing 2.3 articulation 2.4 tempo
1st stanza a. Intro b. 1st phrase: Repeat this process. c. 2nd phrase Repeat this process. d. 1st and 2nd phrases continuously e. 3rd phrase Repeat this process. f. 4th phrase Repeat this process. g. 3rd and 4th phrases continuously h. 1st Stanza |
2. The teacher will evaluate the quality of the individual instruments’ sound. The members will observe the following while playing:
a. dynamic nuances b. phrasing c. articulation d. tempo |
| 3
minutes |
1st Stanza | angklung | m 40 – 5 58,
downbeat |
2nd stanza
B. Study and rehearse the individual parts. |
b. angklung | 2. The teacher will evaluate the quality of the individual instruments’ sound. The members will observe the following while playing:
a. dynamic nuances b. phrasing c. articulation d. tempo |
| Time Allotment | Material | Instrument | Measures | Objective | Activity | Assessment |
| 3
minutes |
1st Stanza | guitar | m 40 – 5 58,
downbeat |
2nd stanza
B. Study and rehearse the individual parts. |
c. guitar | 2. The teacher will evaluate the quality of the individual instruments’ sound. The members will observe the following while playing:
a. dynamic nuances b. phrasing c. articulation d. tempo |
| 3
minutes |
1st Stanza | bumbong | m 40 – 5 58,
downbeat |
2nd stanza
B. Study and rehearse the individual parts. |
d. bumbong | 2. The teacher will evaluate the quality of the individual instruments’ sound. The members will observe the following while playing:
a. dynamic nuances b. phrasing c. articulation d. tempo |
| 3
minutes |
1st Stanza | Tutti gabbang/ marimba angklung guitar bumbong | Introduction m 40 – 41
1st Stanza m – 42 – 58, downbeat |
C. Play in an ensemble the 1st stanza. | 1. Ensemble Playing:
All parts play the 1st stanza. |
1. Members will evaluate their performance as an ensemble in terms of:
a. tone quality b. balance c. harmony d. interpretation |
| 3
minutes |
2nd Stanza Coda Bridge | gabbang/ marimba | m 58,
2nd beat – 74, downbeat Coda: m 74, 2nd beat – 82 downbeat Bridge: (in fast tempo) m 82, (pick up after an 8th note) – 84, downbeat |
2nd stanza
B. Study and rehearse the individual parts. |
1. Listening Activity Listen to the gabbang/
marimba track while reading the notation. |
1. While listening, reading and singing their parts, the members will conduct the beat pattern, making a conscious effort to memorize their part. |
| Time Allotment | Material | Instrument | Measures | Objective | Activity | Assessment |
| 2nd Stanza Coda Bridge | gabbang/ marimba | m 58,
2nd beat – 62 downbeat m 62, 2nd beat – 66, downbeat m 58, 2nd beat – 66 downbeat m 66, 2nd beat – 70, downbeat m 70, 2nd beat – 74 downbeat m 66, 2nd beat – 74 downbeat m 74, 2nd beat – 82, downbeat (ends w/ a faster tempo on m–82) m–82 (pick up after an 8th note) – 84 |
2nd stanza
B. Study and rehearse the individual parts. |
2. Play the individual parts. Observe the following:
2.1 dynamic nuances 2.2 phrasing 2.3 articulation 2.4 tempo
2nd stanza a. 1st phrase Repeat this process. b. 2nd phrase Repeat this process. c. 1st and 2nd phrases continuously d. 3rd phrase Repeat this process. e. 4th phrase Repeat this process. f. 3rd and 4th phrases continuously g. Coda Repeat this process. h. Bridge |
2. The teacher will evaluate the quality of the individual instruments’ sound. The members will observe the following while playing:
a. dynamic nuances b. phrasing c. articulation d. tempo |
|
| 3. Repeat the same process: 1 & 2 to all
the other instruments. |
||||||
| 3
minutes |
2nd Stanza Coda Bridge | angklung | m 58, 2nd
beat – 84, downbeat |
2nd stanza
B. Study and rehearse the individual parts. |
b. angklung | 2. The teacher will evaluate the quality of the individual instruments’ sound. The members will observe the following while playing:
a. dynamic nuances b. phrasing c. articulation d. tempo |
| Time Allotment | Material | Instrument | Measures | Objective | Activity | Assessment |
| 3
minutes |
2nd Stanza Coda Bridge | guitar | m 58,
2nd beat – 84, downbeat |
2nd stanza
B. Study and rehearse the individual parts. |
c. guitar | 2. The teacher will evaluate the quality of the individual instruments’ sound. The members will observe the following while playing:
a. dynamic nuances b. phrasing c. articulation d. tempo |
| 3
minutes |
2nd Stanza Coda Bridge | bumbong | m 58,
2nd beat – 84, downbeat |
2nd stanza
B. Study and rehearse the individual parts. |
d. bumbong | 2. The teacher will evaluate the quality of the individual instruments’ sound. The members will observe the following while playing:
a. dynamic nuances b. phrasing c. articulation d. tempo |
| 3
minutes |
2nd Stanza Coda Bridge | Tutti gabbang/ marimba angklung guitar bumbong | m 58,
2nd beat – 74, downbeat Coda: m 74, 2nd beat – 82 downbeat Bridge: (in fast tempo) m 82, (pick up after an 8th note) – m 84 |
C. Play in an ensemble the second stanza, coda and the bridge. | 1. Ensemble Playing:
All parts play the 2nd stanza, coda, and the bridge. |
1. Members will evaluate their performance as an ensemble in terms of:
a. tone quality b. balance c. harmony d. interpretation |
| 3
minutes |
Tutti gabbang/ marimba angklung guitar bumbong | m 40–84 | D. Play in an ensemble the whole section of Music B. | 1. Ensemble Playing:
All parts play the 1st and 2nd stanzas, coda and the bridge. |
1. Members will evaluate their performance as an ensemble in terms of:
a. tone quality b. balance c. harmony d. interpretation |
|
| 4
minutes |
Introduction Music A Music B | Tutti gabbang/ marimba angklung guitar bumbong | m 1 – 84 | E. Play in an ensemble the following sections: Introduction
Music A, Music B |
1. Ensemble Playing:
All parts play the Introduction, Music A, and B. |
1. Members will evaluate their performance as an ensemble in terms of:
a. tone quality b. balance c. harmony d. interpretation |
| Time Allotment | Material | Instrument | Measures | Objective | Activity | Assessment |
| 12
minutes |
Music C An Tamsi Nga Tikbubulan | m 85,
2nd beat – 101, downbeat |
III. Study, and rehearse Music C
A. Discuss the ff: 1. Repeat Mark (if present) 2. Double Bar 4. Articulation 5. Flow of music 6. Interpretation |
1. Listening Activity Listen to the gabbang/
marimba track while reading the notation. |
1. While listening, reading and singing their parts, members conduct the
beat pattern, making a conscious effort to memorize their part. |
|
| 3
minutes |
gabbang/ marimba | B. Study and rehearse the individual parts. | 2. Play the individual parts. Observe the following:
2.1 dynamic nuances 2.2 phrasing 2.3 articulation 2.4 tempo |
2. The teacher will evaluate the quality of the individual instruments’ sound. The members will observe the following while playing:
a. dynamic nuances b. phrasing c. articulation d. tempo |
||
| m 85,
2nd beat – 89, downbeat
m 89, 2nd beat – 93, downbeat
m 85, 2nd beat – 93 downbeat
m 93, 2nd beat – 97. downbeat
m 97, 2nd beat – 101, downbeat
m 93, 2nd beat – 101 downbeat
m 85, 2nd beat – 101, downbeat |
B. Study and rehearse the individual parts. | a. 1st phrase Repeat this process.
b. 2nd phrase: Repeat this process.
c. 1st and 2nd phrases continuously
d. 3rd phrase Repeat this process.
e. 4th phrase Repeat this process.
f. 3rd and 4th phrases continuously
g. Play Music C. |
||||
| 3. Repeat the same process: 1 & 2 to all the other instruments: | ||||||
| 3
minutes |
Music C | angklung | m 85, 2nd
beat – 101, downbeat |
B. Study and rehearse the individual parts. | b. angklung |
| Time Allotment | Material | Instrument | Measures | Objective | Activity | Assessment |
| 3
minutes |
Music C | guitar | m 85, 2nd
beat – 101, downbeat |
B. Study and rehearse the individual parts | c. guitar | |
| 3
minutes |
Music C | bumbong | m 85, 2nd
beat – 101, downbeat |
B. Study and rehearse the individual parts. | d. bumbong | |
| 3
minutes |
Tutti gabbang/ marimba angklung guitar bumbong | m 85, 2nd
beat – 101, downbeat |
C. Play in an ensemble Music C. | B. Study and rehearse the individual parts. | 1. Members will evaluate their performance as an ensemble in terms of:
a. tone quality b. balance c. harmony d. interpretation |
|
| 7
minutes |
Tutti gabbang/ marimba angklung guitar bumbong | 1–m 101,
downbeat |
D. Play in an ensemble the following: Introduction
Music A, Music B, and Music C. |
1. Ensemble Playing:
All parts play the Introduction, Music A, Music B, and Music C. |
1. Members will evaluate their performance as an ensemble in terms of:
a. tone quality b. balance c. harmony d. interpretation |
Second Session – 2 Hours
Music D – Lubi-Lubi – Waray Folk Song Music E – Condansoy – Visayan Folk Song Music F – Bahay Kubo – Tagalog Folk Song
| Time Allotment | Material | Instrument | Measures | Objective | Activity | Assessment |
| 15
minutes |
Introduction Music A Music B Music C | Tutti gabbang/ marimba angklung guitar bumbong | m 1–m 101,
downbeat |
Review: Play in an ensemble
the following: Introduction Music A Music B Music C |
Ensemble Playing:
All parts play the following: Introduction, Music A, Music B, and Music C. |
1. Members will evaluate their performance as an ensemble in terms of:
a. tone quality b. balance c. harmony d. interpretation |
| 15
minutes |
Music D Lubi-Lubi | I. Study,
and rehearse Music D. |
||||
| 3minutes | gabbang/ marimba | 1st time
m 101, 2nd beat – 113 downbeat
2nd time repeat from m 113, 2nd beat, go back to m 102 and proceed up to m 112, skip m 113 and proceed to m 114 |
A. Discuss
the ff: 1. Repeat Mark (if present) 2. Double Bar 3. Flow of music 4. Interpretation |
1. Listening Activity Listen to the gabbang/marimba track. While reading and singing their parts, the members will conduct the beat pattern, making a conscious effort to memorize their part. | 1. The teacher will observe and correct how the members execute each part. |
| Time Allotment | Material | Instrument | Measures | Objective | Activity | Assessment |
| 3minutes | Music D | gabbang/ marimba | 1st time
m 101, 2nd beat – 105, downbeat
m 105, 2nd beat – 109, downbeat
m 109, 2nd beat – 113, down beat
m 101, 2nd beat – 113, downbeat
2nd time from m 113, 2nd beat, go back to m 102 up to m 112, skip m 113, and proceed to m 114 |
B. Study and rehearse the individual parts. | 2. Play the individual parts.
Observe the following: 2.1 dynamic nuances 2.2 phrasing 2.3 articulation 2.4 tempo
1st time a. 1st phrase Repeat this process. b. 2nd phrase Repeat this process. c. 3rd phrase Repeat this process. d. 1st, 2nd, & 3rd phrase
2nd time e. Observe the repeat mark on m 113. |
2. The teacher will evaluate the quality of the individual instruments’ sound. The members will observe the following while playing:
a. dynamic nuances b. phrasing c. articulation d. tempo |
| 3 minutes | Music D | angklung | m 101, 2nd beat
– m 114 |
b. angklung | 2. The teacher will evaluate the quality of the individual instruments’ sound. The members will observe the following while playing:
a. dynamic nuances b. phrasing c. articulation d. tempo |
|
| 3 minutes | Music D | guitar | m 101, 2nd beat
– m 114 |
c. guitar | 2. The teacher will evaluate the quality of the individual instruments’ sound. The members will observe the following while playing:
a. dynamic nuances b. phrasing c. articulation d. tempo |
| Time Allotment | Material | Instrument | Measures | Objective | Activity | Assessment |
| 3 minutes | Music D | bumbong | m 101, 2nd beat
– m 114 |
d. bumbong | 2. The teacher will evaluate the quality of the individual instruments’ sound. The members will observe the following while playing:
a. dynamic nuances b. phrasing c. articulation d. tempo |
|
| 3 minutes | Music D | Tutti gabbang/ marimba angklung guitar bumbong | 1st time m 101, 2nd beat – 113 downbeat
2nd time repeat from m 113, 2nd beat, go back to m 102 and proceed up to m 112, skip m 113 and proceed to m 114 |
C. Play in an ensemble Music D. | 1. Ensemble Playing:
All parts play Music D. |
1. Members will evaluate their performance as an ensemble in terms of:
a. tone quality b. balance c. harmony d. interpretation |
| 7 minutes | Introduction Music A Music B Music C Music D | Tutti gabbang/ marimba angklung guitar bumbong | m 1–114,
downbeat |
D. Play in an ensemble the following: Introduction Music A Music B Music C Music D | D. Play in an ensemble the following: Introduction Music A Music B Music C Music D | 1. Members will evaluate their performance as an ensemble in terms of:
a. tone quality b. balance c. harmony d. interpretation |
| 15
minutes |
Music E Condansoy | II. Study, and rehearse Music B. | ||||
| 3 minutes | gabbang/ marimba | m 114, 2nd beat
– 139 |
A. Discuss
the ff: 1. Repeat Mark (if present) 2. Double Bar 3. Flow of music 4. Interpretation |
1. Listening Activity Listen to
the gabbang/ marimba track. While reading and singing their parts, members will conduct the beat pattern, making a conscious effort to memorize their part. |
2. The teacher will evaluate the quality of the individual instruments’ sound. The members will observe the following while playing:
a. dynamic nuances b. phrasing c. articulation d. tempo |
| Time Allotment | Material | Instrument | Measures | Objective | Activity | Assessment |
| 3 minutes | Music E | gabbang/ marimba | B. Study and rehearse the individual parts. | 2. Play the individual parts.
Observe the following:
2.1 dynamic nuances 2.2 phrasing 2.3 articulation 2.4 tempo |
2. The teacher will evaluate the quality of the individual instruments’ sound. The members will observe the following while playing:
a. dynamic nuances b. phrasing c. articulation d. tempo |
|
| m 114, 2nd beat
– 117 m 117, upbeat – 121 m 114, 2nd beat – 121 m 122 –125 m 126 – 129 m 122 – 129 m 130 – 133 m 134 – 139, 2nd beat m 130 – 139, 2nd beat |
a. 1st phrase Repeat this process.
b. 2nd phrase: Repeat this process. c. 1st and 2nd phrases continuously d. 3rd phrase Repeat this process. e. 4th phrase Repeat this process. f. 3rd and 4th phrases continuously g. 5th phrase Repeat this process. h. 6th phrase Repeat this process. i. 5th and 6th phrases continuously |
|||||
| 3 minutes | Music E | angklung | m 114, 2nd beat
– 139 |
b. angklung | 2. The teacher will evaluate the quality of the individual instruments’ sound. The members will observe the following while playing:
a. dynamic nuances b. phrasing c. articulation d. tempo |
| Time Allotment | Material | Instrument | Measures | Objective | Activity | Assessment |
| 3 minutes | Music E | guitar | m 114, 2nd beat
– 139 |
c. guitar | 2. The teacher will evaluate the quality of the individual instruments’ sound. The members will observe the following while playing:
a. dynamic nuances b. phrasing c. articulation d. tempo |
|
| 3 minutes | Music E | bumbong | m 114, 2nd beat
– 139 |
d. bumbong | 2. The teacher will evaluate the quality of the individual instruments’ sound. The members will observe the following while playing:
a. dynamic nuances b. phrasing c. articulation d. tempo |
|
| 3 minutes | Music E | Tutti gabbang/ marimba angklung guitar bumbong | m 114, 2nd beat
– 139 |
C. Play in an ensemble Music E. | 1. Ensemble Playing.
All parts play Music E. |
2. The teacher will evaluate the quality of the individual instruments’ sound. The members will observe the following while playing:
a. dynamic nuances b. phrasing c. articulation d. tempo |
| 7 minutes | Introduction Music A Music B Music C Music D Music E | Tutti gabbang/ marimba angklung guitar bumbong | m1–139 | D. Play in an ensemble the following: Introduction Music A Music B Music C Music D Music E | 1. Ensemble Playing:
All parts play the Introduction, Music A, B, C, D, and E sections of “Medli.” |
1. Members will evaluate their performance as an ensemble
in terms of: a. tone quality b. balance c. harmony d. interpretation |
| 25
minutes |
Music F | III. Study and rehearse Music F. |
| Time Allotment | Material | Instrument | Measures | Objective | Activity | Assessment |
| 5 minutes | Bahay Kubo | gabbang/ marimba | 1st stanza
m 139, upbeat – 155, downbeat (2 beats)
2nd stanza m 155, upbeat – 172, downbeat (2 beats)
Coda m – 172, upbeat – 182, downbeat |
A. Discuss
the ff: 1. Fermata 2. Double Bar 3. Articulation 4. Flow of Music 5. Interpretation |
1. Listen to the gabbang/ marimba track. While reading and singing their parts, the members will conduct the beat pattern, making a conscious effort to
memorize their part. |
1. While listening, reading and singing their parts, members conduct the beat pattern, making a conscious effort to memorize
their part. |
| 5 minutes | gabbang/ marimba | 1st stanza
m 139, upbeat – 143, downbeat (2 beats) m 143, upbeat – 147, downbeat (2 beats) m 139, upbeat – 147, downbeat (2 beats) m 147, upbeat – 151 downbeat (2 beats) m 151, upbeat – 155, downbeat (2 beats) m 147, upbeat – 155 downbeat (2 beats) 2nd stanza m 155, upbeat – 159, downbeat (2 beats) m 159, upbeat – 163, downbeat (1 ½ beats) m 155, upbeat – 163, downbeat (1 ½ beats) m 163, upbeat – 167 downbeat (2 beats) m 167, upbeat – 172, downbeat (2 beats)
m 163, upbeat – 172 downbeat (2 beats) Coda m 172, upbeat – 182, downbeat |
B. Study and rehearse the individual parts. | 2. Play the individual parts.
Observe the following: 2.1 dynamic nuances 2.2 phrasing 2.3 articulation 2.4 tempo 1st stanza a. 1st phrase Repeat this process. b. 2nd phrase Repeat this process. c. 1st and 2nd phrases continuously d. 3rd phrase Repeat this process. e. 4th phrase Repeat this process. f. 3rd and 4th phrases continuously 2nd stanza a. 1st phrase Repeat this process. b. 2nd phrase Repeat this process. c. 1st and 2nd phrases continuously d. 3rd phrase Repeat this process. e. 4th phrase Repeat this process. f. 3rd and 4th phrases continuously Coda g. Ending/ Concluding Part of “Medli” Part of “Medli” Concluding Part of “Medli” |
2. The teacher will evaluate the quality of the individual instruments’ sound. The members will observe the following while playing:
a. dynamic nuances b. phrasing c. articulation d. tempo |
| Time Allotment | Material | Instrument | Measures | Objective | Activity | Assessment |
| 3. Repeat the same process:
1 and 2 to all the other instruments. |
||||||
| 5 minutes | Music F | angklung | m 139, upbeat – 182, downbeat | b. angklung | 2. Players evaluate the quality of their individual sound and observe the following while playing:
a. dynamic nuances b. phrasing c. articulation d. tempo |
|
| 5 minutes | Music F | guitar | m 139, upbeat – 182, downbeat | c. guitar | 2. The teacher will evaluate the quality of the individual instruments’ sound. The members will observe the following while playing:
a. dynamic nuances b. phrasing c. articulation d. tempo |
|
| 5 minutes | Music F | bumbong | m 139, upbeat – 182, downbeat | d. bumbong | 2. Players evaluate the quality of their individual sound and observe the following while playing:
a. dynamic nuances b. phrasing c. articulation d. tempo |
| Time Allotment | Material | Instrument | Measures | Objective | Activity | Assessment |
| 10
minutes |
Music F | Tutti gabbang/ marimba angklung guitar bumbong | 1st stanza
m 139, upbeat – 155, downbeat (2 beats)
2nd stanza m 155, upbeat – 172, downbeat (2 beats)
Coda m–172, upbeat – 182, downbeat |
C. Play in an ensemble Music F. | 1. Ensemble Playing:
All parts play the whole section of Music F. |
1. Teacher and members evaluate their
performance as an ensemble in terms of: a. tone quality b. balance c. harmony d. interpretation |
| 20
minutes |
Introduction Music A Music B Music C Music D Music E Music F Coda | Tutti gabbang/ marimba angklung guitar bumbong | m 1 – 182,
downbeat |
D. Play in an ensemble the whole piece of “Medli” composed of the following sections: Introduction Music A Music B Music C Music D Music E Music F Coda | 1. Ensemble Playing
All parts play the whole piece of “Medli.” |
1. Teacher and members evaluate their
performance as an ensemble in terms of: a. tone quality b. balance c. harmony d. interpretation |
Notes:
- Instilling discipline is important, so it is good to remind players/members to continue mastering their parts through practice, memorization, etc. Remind them also the importance of waiting for others to rehearse their parts with the trainer/conductor.
- Members would benefit if they did sectional practice. If there are other available practice rooms, members could be asked to transfer to continue their practice and allow the section leader/s to take charge. This will facilitate learning, save time, and develop the members’ sense of responsibility and resourcefulness as well as enhance their musicality.
- Remind the students that repetition leads to learning and Explain the parts in the rehearsal plan where the musical phrases are to be repeatedly played. In cases where rehearsal time is limited, the trainer/conductor may omit the repetition.
References:
Book
Apel, Willi. Harvard Dictionary of Music. Cambridge, Massachusetts: Harvard University Press, 1972.
Lagarde, Stephen Q. “Kanta Binisaya: Teaching and Promoting Eastern Visayan Musical Culture and Heritage.” Lecture, UP Visayas, Tacloban City, May 18, 2021.
Journal
Conde-Abanilla, M., “Categorization and Level of Appropriateness of Waray-waray Music as Mother Tongue-Based Teaching Materials for Grades One to Three Pupils in Tacloban City.” International Journal of Research Publications 91, no. 1 (2021): 12–73. https://doi.org/10.47119/ijrp1009111220212569.
Divine Word University. “Mga Pinili Nga Kanta Ha Tacloban (Selected Folk Songs From Tacloban): A Leyte-Samar Studies Supplement.” Unpublished manuscript, 1968.
Websites
Alas. J. M. “How to Sing Mariposa Bella or Paruparong Bukid in Spanish.”
El Filipinismo. Accessed March 21, 2022. https://pepealas.wordpress.com/tag/paru- parong-bukid/.
“Condansoy (Kondansoy).” Tagalog. Accessed March 15, 2022. https://www. tagaloglang.com/condansoy-kondansoy-lyrics/.
“Lubi-Lubi.” Bohol. Accessed April 3, 2022. https://www.bohol.ph/newbeads/pfs/ lubilubi.php.
”Lubi-Lubi, Waray Song.” Accessed April 1, 2022. https://www.tagaloglang.com/lubi- lubi-waray-song-lyrics-recordings/.
“Paruparong Bukid” Accessed March 27, 2022. https://www.singers.com/songs/Paru- parong-Bukid/&cat=both.
Philippine Coconut Authority. “Tuba Whips Up Waray Energy.” Accessed April 3, 2022. https://pca.gov.ph/2-uncategorised/174-tuba-whips-up-waray-energy.
Rey, V., LUBI-LUBI – Filipino Song To Memorize The Months Of The Year + Lyrics. Philippine News. Accessed April 1, 2022. https://philnews.ph/2020/04/10/lubi-lubi- filipino-song-to-memorize-the-months-of-the-year-lyrics/.
Reyes, G. “Ilonggo Folk Song: Dandansoy. Experience Negros.” Accessed April 1, 2022. https://www.experiencenegros.com/ilonggo-folk-song-dandansoy/.
Ruiz, G. “Eastern Visayas’ tuba has come a long way! Cheers!” Accessed April 3, 2022, https://gerryruiz.wordpress.com/2011/10/16/eastern-visayas-tuba-has-come- a-long-way-cheers.
“The Mabuhay Singers.” Mojim. Accessed April 3, 2022, https://mojim.com/ usy140619x9x1.htm.
Science in a creative industry.
The DOST-FPRDI has a Bamboo Musical Instruments Innovation R&D program aimed at improving the quality of locally-made bamboo musical instruments (BMIs) through science and innovative technologies. The program seeks to standardize the production of selected BMIs, develop prototype designs, analyze raw material sources and existing markets, and build a BMI processing facility. In addition, the program aims to document the ethnocultural story behind several BMIs and identify the bamboo species used in BMI production to promote public awareness and appreciation of the cultural importance of these musical instruments. The program is a collaboration with the University of the Philippines and Philippine Normal University for teaching modules and analyzing sound quality and standardization of BMI design. The DOST Grants-in-Aid program provides funding.
PhBMI