explored in the context of the music of Michael Nyman, particularly in Time.
Lapse which was ... pair of pieces. • pupils perform Pachelbel's Canon if time
allows.
Year 9 Unit 4
Ground bass variations Unit summary Title
Ground bass variations This project introduces pupils to the techniques of ground bass. These are explored in the context of the music of Michael Nyman, particularly in Time Lapse which was originally composed for the film a zed and two noughts directed by Peter Greenaway. The piece employs a ground bass throughout. Nyman draws inspiration from the music of the baroque period and this important dimension of his music is brought out in this project. Pupils begin by performing Time Lapse then compose pieces employing their own ground bass, and finally compare excerpts of Nyman’s music with pieces from the baroque period.
Project aims
First, the pupils are introduced to an important large-scale form and compositional technique that has preoccupied composers in all ages, places and genres, i.e. ground-based. Concepts introduced and/or revised in this project include ground bass, chord progression, composing melodies from chords, passing and auxiliary notes, suspensions, and textural layers. Pupils will also revisit and extend their knowledge of music from the baroque period and meet the concept of neoclassicism
Objectives and assessment
Assessment will be based on the realisation of the following objectives: each pupil should, according to their abilities and with varying degrees of success, be able to • identify the use of ground bass techniques increases listened to in class • perform a part as a group in a whole class performance and maintain an individual part in a small group performance • Improvise 8 bar phrases using the Aeolian mode • compose pieces over an agreed ground bass and chord sequence that demonstrate an understanding of chords and chord progressions, textural layering and variation.
Quick glance summary
• Pupils plan and perform a class arrangement of Time Lapse by Michael Nyman • pupils listen to Time Lapse, focus on the layers that make a good piece and answer the questions • pupils are introduced to suspensions using the chord sequence of Time Lapse as an example, then listen to and perform Stabat Mater by Pergolesi • pupils compose a class chord sequence and ground bass, then use these chords, to improvise an 8 bar melody and second, to compose ground bass pieces in groups • pupils assess group ground bass pieces • pupils listen to 2 pairs of pieces; Here the deities approve by Purcell and The garden is becoming a robe room by Michael Nyman, followed by Canon by Pachelbel and C U when U get there by Coolio. Comparisons are made within each pair of pieces • pupils perform Pachelbel's Canon if time allows.
Teaching notes
Begin the project by performing Time Lapse. First, introduced the different layers of the arrangement, teaching the ground bass part first, next the chords, and finally the melodies in order from 1 - 4. Point out to pupils the increasing complexity of the melodies and encourage them to tackle as many as possible. There is an opportunity here to assess individual pupils performing skills. Next, discuss and plan a group performance of Time Lapse. Remind pupils that the ground bass should be used throughout, and that the chords and melodies should be combined and ordered in the most musical way possible. The group performance should then be recorded and played back and its overall success assessed by discussion. Next, explain that Time Lapse is unusual in that it uses a repeating bassline called a ground bass throughout. Brainstorm the challenges that a repetitive bass pattern like this creates for the composer, looking for answers which refer to the problems of providing variety and avoiding monotony. Following this, pupils listen to Michael Nyman's recording of timelapse. You will need to ensure that all pupils can hear clearly where the ground bass begins, and the introduction may need to be played more than once before tackling the questions. In the later questions in particular, focus on the building up of layers, the chordal movement, the menacing mood of the piece and the effect of the ending. These aspects offer scope for further discussion by the class depending on the time available. Another important feature of timelapse is the use of suspensions in the chord sequence. There is an explanation of suspensions with activities based on them on the information sheet and pupils listen to the entry of the voice part in Stabat Mater by Pergolesi. This gives clear examples of suspensions. The two vocal parts of Stabat Mater may be performed if appropriate, and if time permits. There is a piano or keyboard accompaniment available. Next, pupils compose ground bass pieces. Pupils could be expected to compose individually or in groups a chord sequence, a ground bass theme and a number of contrasting melodies above this. However, experience has shown that when left to their own devices, pupil spent far too long composing the chords and ground bass. This initial process therefore needs a shortcut. I suggest that you lead the first part of the composing task by first, showing pupils how a timelapse chord sequence relates to the ground bass and melody and second, composing together as a class the chords and bassline starting on Am and ending on Em. This can be done quickly by playing an Am chord and asking pupils to suggest a new chord to follow. Suggestions should be played by the teacher until the class agree on a suitable progression. You should then ask pupils for suggestions for the third chord and so on, adding to the progression until complete. At each stage of the composition, pupils should fill in the chord sequence and ground bass on the composing sheet. Pupils should then perform the sequence in pairs, one playing the chords, one playing the bassline in order to familiarise themselves with the progression.
Teaching notes
Next, before beginning to compose there is an opportunity to introduce 8 bar melodic improvisation using the Aeolian mode on E (the natural minor scale). You should first decide which restrictions to impose, i.e. whether to improvise freely, or whether to use one of the rhythms shown on the sheet. Now demonstrate to the class how to improvise an 8 bar melody over the class ground bass and chords (a prepared xylophone or glockenspiel at the front of the class is useful to this activity). Pupils should then be directed to improvise melodies using the same restrictions. It is a good idea to sequence the class ground bass on Garageband and loop it to enable pupils to work at their improvising without losing the sound and feel of the chord sequence. Following their improvising, pupils compose their own melodies which are likely to be based on the ideas gained from the improvising exercise. It should be noted that in any class that will be pupils or more fluent when improvising than when composing. You should be aware that for such pupils the guidelines on the composing sheet may lead to less inspired melodies than those that have already been improvised. These pupils should work in pairs with another pupil playing the ground bass, and spend time crafting an improvised melody before writing it down. For other pupils the teacher should work through and structured composition work together as a group using the step-by-step guidelines on the worksheet. This should ensure the composition of successful melodies that fit with the ground bass and chords. More able pupils may even be able to add suspensions to their work. After hearing a number of melodies performed by groups over the ground bass, you should choose a group of pupils from the class and demonstrate how to structure a ground bass composition using the ground bass, chords and the melodies they have composed. Once pupils are clear on the procedure, they should then work in groups and arrange a ground bass performance using material composed by their group. A performance grid is included on the composing sheet for them to write down a plan of their piece. Finally, each group piece should be recorded and assessed. The project finishes with a listening task. Pupils listen to 2 pairs of pieces. Each pair uses the same ground bass and each pair consists of a piece from the baroque period and a piece of more contemporary music. Pupils compare pieces answering the questions on the sheet. If time allows, a performance may be attempted of the final two listening pieces; Canon by Pachelbel and Coolio's C U when U get there. Both pieces are appealing for people to play and the ground bass, chords and melodies from each piece can be easily arranged to form an attractive presentation to conclude the project.
