LEARNING RESOURCE

SPA - MUSIC

MUSIC THEORY:
Form
Grade 8 – Quarter 3
LEARNING RESOURCE for MUSIC

MUSIC THEORY:
FORM
GRADE 8, QUARTER 3

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Published by the National Commission for Culture and the Arts

Development Team of the Learning Resource

Writers: Asherine Joanne M. Roa

Dennesse Abigail F. Nadal
Editor: Jose S. Soliman, Jr.
Cover Illustrator: William Matawaran
Layout Artist: Arvin Manuel R. Villalon
Management Team: Marichu Tellano and Henrietta Kangleon (NCCA),
Tanya P. Lopez (PerfLab)

For inquiries or feedback, please write or call:

NATIONAL COMMISSION FOR CULTURE AND THE ARTS

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E-mail: info@ncca.gov.ph
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 FOREWORD

Welcome to this Learning Resource for Music.

This Learning Resource was developed by experts from the National Commission for Culture
and the Arts as a reference to aid you in developing rich, meaningful, and empowering learning
in the creative fields. Every effort has been exerted to produce a Self-Learning Learning
Resource that incorporates the most fundamental elements and principles of each discipline,
while providing a spiraled, scaffolded, and multi-sensory approach to allow you to explore your
innate creativity while building discipline and rigor inyour chosen discipline.

Each lecture, activity, or reflection here is designed to be meaningful. Each one designed to
build from the previous one, and each one with the objective of building up for the next skill or
competence. We hope that you will find these activities challenging but empowering, and that
your potential as a Filipino artist and Creative is further enhanced and inspired.

These Learning Resources take into consideration the various limitations and challenges
brought about by the current situation and provide you with the flexibility to manage content and
pace to your individual needs while maintaining standards for creativity, embodying 21st Century
skills, and aspiring towards artistic excellence. Beyond compilations of dry information, these
Learning Resources seek to develop Higher Order Thinking Skills of Analysis, Evaluation, and
Creation.

If you are planning to use this Resource as a facilitator or teacher, you are expected to guide
and orient your learners in the proper and efficient use of this Learning Resource. Most, if not all
activities, will entail exploration, investigation, and experimentation, as such it is imperative that
you, as the facilitator, establish the guidelines which will allow your students to be creative but
within responsible, safe, and academically-sound limits. Your guidance and mentorship is
expected and encouraged throughout the learning process.

We look forward to your journey as an artist, MABUHAY!

 INTRODUCTION AND OBJECTIVES

Dear Readers,

In this Learning Resource, two of the basic elements of Music will be introduced,
specifically Form and Texture. Various musical concepts and components that will be discussed
will enable us to broaden our knowledge in theory and apply it in performance practice, analysis,
improvisation, and composition. The topics included in this Learning Resource are continuation
of the discussions on Basic Music Theory during the previous grade level.

At the end of this Learning Resource, you will be able to:

• demonstrate how basic concepts on form and texture are used to create music;
• analyze selected musical pieces and identify its form and texture in music;
• perform songs in various texture and form.

The Learning Resource may be used for, and is applicable to, the following DepEd Code:

SPA_MIM8-II-s4
 I. FORM
TOPIC 1
Rondo and Strophic

Strophic is a form in Music that features a stanza or longer phrase that is repeated over
and over. It has the same repeating melody but changing lyrics. It can be observed in
hymns, traditional ballads, and many other simple or complex types of song.

AAA

Suggested Activity:
Perform a strophic song. Here are some songs that you can choose from or use other
examples of song in strophic form.

• Sitsiritsit (Filipino Folk) • Leron Leron Sinta (Filipino Folk)

Sitsiritsit, alibangbang Leron, leron, sinta, buko ng papaya,

Salaginto,salagubang. Dala-dala'y buslo, sisidlan ng
Ang babae sa lansangan bunga.Pagdating sa dulo'y nabali ang
Kung gumiri'y parang tandang sanga.Kapos kapalaran, humanap ng
iba
Santo Niño sa Pandacan
Puto seco sa tindahan Gumising ka, Neneng, tayo'y
Kung ayaw kang magpautang manampalok
Uubusin ka ng langgam. Dalhin mo ang buslong sisidlan ng
hinog. Pagdating sa dulo'y lalamba-
Mama, mama namamangka lambayog. Kumapit ka, Neneng, baka
Pasakayin yaring bata ka mahulog
Pagdating sa Maynila
Ipagpalit sa manika Ako'y ibigin mo, lalaking matapang
Ang baril ko'y pito, ang sundang ko'y
Ale, aleng namamayong, siyam
Pasukubin yaring sanggol Ang lalakarin ko'y parte ng dinulang
Pagdating sa Malabon, Isang pinggang pansit ang aking
Ipagpalit ng Bagoong kalaban
 • Stille Nacht or Silent Night (Christmas Carol)
• Amazing Grace (Traditional)
• Scarborough Fair (Traditional)

Rondo is an Italian word which means round wherein an instrumental form keeps coming back
with a refrain. Musical pieces in this form can exhibit a five-part or seven-part pattern
represented by letters ABACA, ACACABA or even ABACADA. Section or part A represents the
main theme while part B usually contrasts the first part and part C can be described as an
extended or developing section. The seven-part pattern may or may not be symmetrical.

ABACA ABACABA

A music map can also show the parts or form of a song or musical piece. Instead of using letters
(A, B, C), creativity can be used to show the parts of a composition with lines, shapes, colors,
and other objects appropriate to the specific song.

Suggested Activity:

A. Give 1 example of Rondo and Strophic form. Explain what you have heard in the examples
that you give by making a music map.

Rondo Form
Title of Piece: __________________________
Composer: _____________________________

Strophic Form
Title of Piece: __________________________
Composer: _____________________________
 TOPIC 2
Sonata Allegro, Concerto, Theme and Variations

Sonata-Allegro, also called as sonata form or first-movement form, is a large-scale

form in Music that consists of three main sections: exposition, development, and
recapitulation. The exposition introduces the first subject (A) in tonic key as well as the
contrasting or second subject(B) which is in dominant key. It is followed by the
development section wherein the material or subject from the exposition is explored
through harmonic and textural possibilities. The development usually changes in any
key distant to what was introduced in the exposition. The thematic material or subject
returns in the recapitulation which is in tonic key. It may end with a coda, or also
known as the tailpiece or concluding section.
The table shows the pattern of sonata form. Some analysis of compositions includes
exact measure numbers for each section or part.

Exposition Development Recapitulation

A: I (tonic) B: V V or other keys A: I B: I

(dominant)

Suggested Activity:
A. Listen to Mozart’s Piano Sonata in C Major, No 16, K. 545. Analyze the musical
piece and identify the 3 sections or parts. Complete the table in analyzing the piece
and use the example above as basis. Use the link to listen or scan the QR code.

https://youtu.be/dNbqRC4xtEg

Exposition Development Recapitulation

Concerto is usually in three movements but there are exceptions depending on the
composer and even in era or time. It is a work for solo instruments with the
accompaniment of an orchestra that suggests a blending and contrasting combination.
Some concertos have cadenzas heard at the end that showcases the virtuosity of the
player.

Theme and Variations is a form that features a repeated theme or material with
altered elements in music. The variations can be heard or observed as changes in
harmony, melody, rhythm, timbre, and other elements of music. Below are excerpts of
Mozart’s 12 Variations on Ah, vous dirai-je Maman K.265. Observe how the theme
(tema) changes.
Theme:

1st Variation:

2nd Variation:
Suggested Activity:
A. Listen to examples of variations and describe each piano piece. The first example is
12 Variations on Ah, vous dirai-je Maman K.265 by Wolfgang Amadeus Mozart and
the other one is Variations on Atin Cu Pung Singsing, an arrangement by Agot
Espino. Use the link to listen or scan the QR code.
https://youtu.be/8LvN4WV3RtM https://youtu.be/RvwuMCb1hv0
 II. TEXTURE
TOPIC 3
Monophony, Homophony, Polyphony

Monophony can be a single melody without any accompaniment or a unison of various

voices. Below is the excerpt of the melody of Bagbagto , a Cordilleran children’s game song
about the bountiful harvest of sweet potatoes.

Another example of monophonic music is the Gregorian chant that features single melodic line
without any accompanying chordal music, instrument, or orchestra.

Homophony is a melodic line with chordal accompaniment, may it be vocal with instrumental
chord accompaniment or solo with accompaniment. Shown below is the same melody of
Bagbagto but this time with chord accompaniment.

Some hymns are homophonic or based on chords with parts or voices that move together with
almost the same rhythm unlike in polyphonic hymns. Look at the excerpt of the hymn, It is Well
with My Soul, by Philip Bliss and is written for voice in four parts.
IT IS WELL WITH MY SOUL
Phillip Bliss
Polyphony consists of various melodies that sound simultaneously and are perceived
as independent even though they are related. The term polyphony is derived from the
Greek word for “many sounds”.

Some songs with the same time signature and key signature can be performed
simultaneously which is also called as partner songs. A common example of this is the
combination of folk songs Pamulinawen and Leron Leron Sinta.

LERON LERON SINTA

PAMULINAWEN
Suggested Activities:

A. The texture can also be shown through visual representations. Identify what
texture each illustration represents.

1. Vvvv

2. Ggg

3.

B. In partners or in groups, perform both Filipino folk songs Pamulinawen and

Leron Leron Sinta. If partners and groups is not possible for online setting, try to
perform both songs and combine the audio or videos.
REFERENCES:

AUDIO SOURCES:
Piano Sonata in C Major, No 16, K. 545. https://youtu.be/dNbqRC4xtEg
Variations on Ah, vous dirai-je Maman K.265 https://youtu.be/8LvN4WV3RtM
Variations on Atin Cu Pung Singsing https://youtu.be/RvwuMCb1hv0

MUSIC SHEET SOURCES:

12 Variations on Ah, vous dirai-je Maman K.265
https://imslp.org/wiki/12_Variations_on_%27Ah,_vous_dirai-
je_maman%27,_K.265/300e
It is Well with My Soul
https://www.singthebiblestory.com/images/it-is-well-with-my-soul-4-part-harmony

PRINT SOURCES:
Eugenio, D. (1997). The Folk Songs. Philippine Folk Literature Series Volume VII. De La
Salle University Press, Inc. Print.
Zinn, M. (1987). The Basics of Music: Opus 1. Schirmer Books. Print.

APPLICATIONS/SOFTWARES:
MuseScore: Free music composition and notation software
Canva.com