West Afri- Can Music

Year 7: West Afri- can Music

Name: ______Class: ______Teacher: ______Tutor Group: ______

Keep this booklet safe and in your plastic book covers. Take it with you to all of your music lessons.

2 West African Music

By the end of this topic, I can: Nearly Got it! there

Theory 1. Understand how rhythms are written

2. Dictate rhythms. Practical 4. Play different sounds on the Djembe including slap, tone and bass.

5. Play polyrhythms and call and response as a class. 6. Learn a traditional African song. Teamwork 7. Work sensibly in a group/pair.

8. Think of ways in which my own and other’s work can be improved.

About this unit: In this unit you will explore West African music, and how to play the djembe. You will perform and record a traditional African drumming piece as a whole class and in small groups. You’ll also compose your own West African style piece.

What’s in it for me? Rhythm is an essential element in all music. It can be used to add energy, build excitement, or communicate stillness and calm. West African music is extremely rhythmic and has influenced music from jazz to hip hop. Once you’ve learnt some West African rhythms, you will never be without your groove!

3 Lesson overview

Here is a rough overview of your lessons this term. You may have more or few- er lessons depending on your class. You can use this overview to help you see what is coming up and to help you catch up if you miss any lessons.

Lesson Lesson contents Done number

1 Class African drumming 1

2 Class African drumming 2

3 Class African drumming 3

4 MID TERM PERFORMANCE—whole class African drumming performance

5 In groups creating drumming compositions

6 In groups creating drumming compositions

7 In groups creating drumming compositions

8 Test performance

9 Final performance

Booklet contents

Pages 1-3: Booklet overview and objectives Page 4-6: Elements of music and glossaries Pages 7-34: Do nows, exit tickets, lesson content. Pages 35-39: Home learnings Pages 40-49: Revision Pages 50-53 Notes pages

4 Key concepts

Throughout this unit you will explore different elements that together make up every kind of music. When we analyse music, we can focus on each of these elements, to help us better understand what is going on in the music.

Unit 5: Element Put simply ... West African Music Bar, phrase, section, Structure Repetition and ostinato, signal, call and contrast The order of musical ideas response

Pitch and melody

The horizontal arrange- High and low High tone, slap, low bass ment of sound

Harmony and tonality In harmony and

The vertical arrangement clashing of sound Layered texture, unison, Texture Full and sparse polyrhythmic, The layers of sound monophonic, polyphonic Tempo, metre and Fast and slow rhythm Pulse, beat, polyrhythms, Long and short syncopation The organization of duration rhythm

Dynamics and Accents, timbre, master sonority Loud and soft drummer, djembe,

The volume of music and Smooth and detached dundun, strokes (bass, quality of sound tone, slap, flam)

Unit glossary (alphabetical)Glossary

Term Definition

Accent

Bar

Call and response

Djembe

Djembe strokes

Division of pulse

Improvise

Texture

Ostinato

Monophonic

Polyrhythmic

Polyphonic

Signal

Structure

Unison

The elements of music: We can remember these using DR SMITH!

Meaning STRETCH: examples

Dynamics

Rhythm (includes duration)

Structure

Metre

Melody

Instrumentation (includes sonority and timbre)

Texture

Tempo

Harmony and tonality

7 Do now 1a

1. What are the people in this picture doing? ————————————————————————————————————————————— ————————————————————————————————————————————— 2. What do you already know about African drumming? ————————————————————————————————————————————— ————————————————————————————————————————————— 3. What characteristic do you think is important to use for learning a new instrument as a class? ————————————————————————————————————————————— —————————————————————————————————————————————

STRETCH: What is the correct way to play an African drum? ————————————————————————————————————————————— —————————————————————————————————————————————

8 Do Now 1b. Our drumming community

1. Read the community wheel.

2. Which will be the three most important rules to follow?

•

• 3. Why have you chosen these three?

STRETCH: What AJK characteristics will be important for African Drumming?

Mohamed Gueye Mohamed was born into a large family of drummers in Senegal in West Africa. He learnt the djembe from his grandfather and father from the age of 5. (This is called an oral tradition.) He started playing professionally at 15. Mohamed now lives in London and as well as performing around the world, he works with young people in schools, passing on his deep understanding of

Watch the video clip of Mohamed playing the djembe. How many different sounds can you hear? (Listen out for high and low pitches.)

How does Mohamed produce these different sounds? (Where does he play them on the djembe?)

Is there anything else that you notice?

9 Mid-lesson 1

1. What is the correct way to hold a Djembe? ————————————————————————————————————————————— ————————————————————————————————————————————— 2. What are the 3 sounds you can make on a Djembe? ————————————————————————————————————————————— ————————————————————————————————————————————— 3. Label what part the 3 different sounds are made on the drum below:

STRETCH: What does call and response mean and why is it important to African drumming? ————————————————————————————————————————————— —————————————————————————————————————————————

10 Exit ticket 1

Slap Tone Bass

2. What is the role of the master drummer? ————————————————————————————————————————————— —————————————————————————————————————————————

3. What is a call and response? ————————————————————————————————————————————— —————————————————————————————————————————————

4. Can you give any examples of call and responses? ————————————————————————————————————————————— ————————————————————————————————————————————— ————————————————————————————————————————————— —————————————————————————————————————————————

11 Do Now 2

1. Match the words to their definitions:

Bass Playing with a closed hand towards the edge of the drum.

Playing with a cupped hand in the centre of the drum. Tone

When the master drummer plays a rhythm and the rest of the Slap group responds

Call and response Playing with an open hand towards the edge of the drum.

2. What is the signal to start when we play the djembe? ————————————————————————————————————————————— ————————————————————————————————————————————— 3. What do we need to do to stop all together? ————————————————————————————————————————————— —————————————————————————————————————————————

STRETCH: Fill in the blanks

Useful name

Semibreve —

—

Crotchet Tea

Quaver

12 Task 1: Djembe performance

Task: A West African dance group will be visiting your school in a few weeks’ time, and they have asked you to form a drum circle to accompany them. They have given you the rhythms and the structure of the song ‘Kuku’.

Your successful performance of ‘Kuku’ will include:

• Holding your djembe correctly and using the right strokes/playing technique

• Performing the different rhythmic patterns in time with the other drummers, and responding to the signals every time they are played by the master drummer

• Improvising different ‘call’ bars that include interesting rhythms and different djembe strokes

• The correct structure of the piece, changing sections fluently and with confidence

Process ‘Kuku’ has four different sections that are separated by signals. To play the piece perfectly we will follow the process below:

The signals The master drummer will start the performance by playing a signal. 1 You must be ready to play every time it is heard

The unison Every member of your drum circle needs to play the same ostinato 2 ostinato at the same time, in unison Improvised ‘calls’ Next follows a section in which drummers can ‘call’ short improvised and unison solos. Each soloist gets 2 calls per cycle, in between which the group will respond: response 3 Bar 1 Bar 2 Bar 3 Bar 4 1st Unison response 2nd improvised Unison response improvised call (group) call (group)

The You we then learn how to layer up three different patterns to create polyrhythms. To be successful you must be able to play your 4 polyrhythms rhythm perfectly and be able to play to a shared pulse.

Playing it fluently, We will then practise playing all of these sections in an agreed 5 with the song structure, moving fluently from one pattern to the next. section

13 Mid-way lesson 2

Shade in the boxes for the rhythms that you hear.

1 + 2 + 3 + 4 + 1 BASS

1 + 2 + 3 + 4 + 2 TONE

1 + 2 + 3 + 4 + 3 TONE BASS

1 + 2 + 3 + 4 + 4 TONE BASS

1 + 2 + 3 + 4 + 5 TONE BASS

STRETCH: Can you write these out in standard notation ?

2 4

3 5

14 Exit ticket 2

1. Match the words to their definitions:

Texture Many layers in a piece of music

The amount of layers in music Polyphonic

One layer Monophonic

Call and response On one person plays something and the rest of the group responds

Unison When everyone is playing the same thing

15 Do Now 3

1. What does texture mean? What words can you use to describe texture? —————————————————————————————————————————————— —————————————————————————————————————————————— 2. Match the words to their definitions:

Many layers in a piece of music Polyphonic

One layer Monophonic

Call and response On one person plays something and the rest of the group responds Unison When everyone is playing the same thing

STRETCH:

16 Mid-way lesson 3

1. Can you remember the order / the structure that we decided? Section 1

2. What was successful about our playing today? (Think about structure, timing) —————————————————————————————————————————————— —————————————————————————————————————————————— ————————————————————————————————————————————— 3. What should we change to make it better for next time? —————————————————————————————————————————————— —————————————————————————————————————————————— ——————————————————————————————————————————————

STRETCH: 4. What is structure? —————————————————————————————————————————————— —————————————————————————————————————————————— ————————————————————————————————————————————— 5. Why is structure important in a performance / piece? —————————————————————————————————————————————— —————————————————————————————————————————————— ——————————————————————————————————————————————

17 Exit Ticket 3a

1. What did we do successfully in our practice time today? —————————————————————————————————————————————— —————————————————————————————————————————————— —————————————————————————————————————————————— ——————————————————————————————————————————————

2. Next week is our class performance. What do we need to do to be ready for next week? —————————————————————————————————————————————— —————————————————————————————————————————————— ——————————————————————————————————————————————

3. What do you need to remember to do in your performance so that you can play at your best? —————————————————————————————————————————————— —————————————————————————————————————————————— —————————————————————————————————————————————— Exit Ticket 3b

1. What is your solo? How did you think of your solo? —————————————————————————————————————————————— —————————————————————————————————————————————— ——————————————————————————————————————————————

2. How do solos improve the performance? —————————————————————————————————————————————— —————————————————————————————————————————————— ——————————————————————————————————————————————

3. How will you know when to play your solo? —————————————————————————————————————————————— —————————————————————————————————————————————— ——————————————————————————————————————————————

18 Do now 4a

STRETCH: Why is it important to have different textures in a piece of African drumming music? ————————————————————————————————————————————————— —————————————————————————————————————————————————

What is structure? Why is structure important? ————————————————————————————————————————————————— —————————————————————————————————————————

19 Task 1—Evaluation of djembe performance

Was your group successful in achieving the task? Give a reason for your answer. We were successful/not successful because ...... You were asked to perform ‘Kuku’ for a West African dance group. What do you think they would say about your performance. Use at least 3 musical words: ......

Tick the skills that you have successfully achieved:

I held my djembe correctly

I played all fours strokes correctly

I improvised interesting rhythms in the ‘call’ bars

I was able to accurately play the ‘response’ bars in the right place

I played the unison rhythm accurately and in time with the rest of my group

I played my rhythm accurately and in time in the polyrhythm section

I knew the structure well and was able to move fluently between sections

I took on the master drummer role

Now set yourself 3 targets for the next part of this unit. Think about:

 What you could do better, and how

 What you found difficult, and how you could make this easier for yourself

 The community wheel: what could you do better here, and how?

My three targets are: 1) 2) 3)

20 Exit ticket 4

To do well in this evaluation you will need to: * Talk about specific parts of your performance. * Explain your answers in detail using musical vocabulary. • Make sure that all of your answers refer to the musical outcome.

GLOW: Write down one thing about your performance which was successful, and explain how you made it successful. ………………………………………………………………………………………………. ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………...... …………………………………………………………………………………………………

IMPROVE: Write down one thing which you will improve, and how you will work on it. ………………………………………………………………………………………………. ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………...... …………………………………………………………………………………………………

CHARACTER: Choose one characteristic and describe how you and your group used it effectively to work together. Choose another characteristic that you think you could improve when you work in groups for the final as- sessment. ………………………………………………………………………………………………. ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………...... …………………………………………………………………………………………………

21 Do Now 5

1. Match the words to their definitions:

A repeated pattern Unison

When everyone plays the same thing Ostinato

Signal A musical pattern that leads the group 2. What ostinatos and signals have you learnt already? —————————————————————————————————————————————— —————————————————————————————————————————————— ————————————————————————————————————————————— STRETCH: What does it mean to compose music? What characteristics will be important for composing? —————————————————————————————————————————————— ——————————————————————————————————————————————

Class work: Oral tradition and griots

Watch the video carefully, and answer these questions:

What is a griot? A griot is ......

How is music learnt in parts of West Africa? ......

What do you think an oral tradition is? ......

22 Task 2: Djembe composition

Task: Following on from your amazing performance for the African dance group, you have been invited to collaborate with them on a new project by creating some original music to which they can choreograph a new dance routine! This will be performed in front of a large audience at Sadler’s Wells Theatre in London.

The successful composition will include:

• New rhythms for the signal, unison response, unison ostinato and polyrhythm sections

• Improvising imaginative calls for the ‘call and response’ section (one per student)

• Structuring your composition into an order that balances repetition and contrast

Process We will use the process below to help us with this composing task:

The signal Compose a new signal for the master drummer. Decide who will be the 1 master drummer. A unison ostinato will help your drum circle to show that you’re a The unison 2 community. Create an interesting rhythm that will catch the audience’s ostinato attention. Compose a 1-bar response your group can play in response to improvised The unison 3 calls. A good place to start might be use words (a question and answer) response and then use different strokes to play these ‘words’ on the drums.

Improvised You should take turns to improvise 1-bar calls. Make sure that these fit 4 calls with the response that you have already composed. This section requires you to compose three different patterns that can be 5 Polyrhythms played together. Try to use contrasting rhythms and strokes for each pattern.

After you have composed all the music you need, decide which order to Structure 6 play them in, and how many times each section should be repeated.

23 Classwork lesson 5

Signal and Unison Ostinato

Signal Strokes and rhythm

Words to help us remember the rhythm

Unison ostinato Strokes and rhythm

Words to help us remember the rhythm

Unison Response (and improvised calls)

Unison response Strokes and rhythm

Words to help us remember the rhythm

Why don’t you need to write down the improvised call?

24 Exit Ticket 5

1. How is music learnt in West Africa? —————————————————————————————————————————————— —————————————————————————————————————————————— ————————————————————————————————————————————— 2. How well did your group work together today? What characteristics did you demonstrate ? —————————————————————————————————————————————— —————————————————————————————————————————————— —————————————————————————————————————————————— —————————————————————————————————————————————— 3. What can be improved for next week? —————————————————————————————————————————————— —————————————————————————————————————————————— —————————————————————————————————————————————— —————————————————————————————————————————————— Do Now 6

A repeated pattern Call and response

The plan of the music Ostinato

Structure When one person plays something and the rest of the group responds Signal A musical pattern that leads the group

2. What characteristic will be important for you to demonstrate in today’s lesson? —————————————————————————————————————————————— —————————————————————————————————————————————— —————————————————————————————————————————————— —————————————————————————————————————————————— STRETCH: How is West African music composed and taught? —————————————————————————————————————————————— —————————————————————————————————————————————— —————————————————————————————————————————————— ——————————————————————————————————————————————

25 Exit Ticket 6

1. What structure did you decide on today?

Section name What happens 1

2. What is structure? —————————————————————————————————————————————— —————————————————————————————————————————————— 3. What is unison? —————————————————————————————————————————————— —————————————————————————————————————————————— STRETCH: Reflect on your group work today? What characteristics did you demonstrate well, and what do you need to improve for next week? —————————————————————————————————————————————— —————————————————————————————————————————————— —————————————————————————————————————————————— ——————————————————————————————————————————————

26 Do Now 7

1. Match the words to the definitions

When everyone plays the same thing Texture

The layers in a piece of music (thick or thin) Unison

Monophonic Many layers in a piece of music

Polyphonic One layer in a piece of music

2. What will be challenging about playing many different layers at the same time? How will you overcome this challenge? —————————————————————————————————————————————— —————————————————————————————————————————————— STRETCH: What is the difference between polyphonic and polyrhythms? —————————————————————————————————————————————— —————————————————————————————————————————————— Exit Ticket 7

27 Classwork lesson 7

Who is playing each rhythm? —————————————————————————————————————————————— —————————————————————————————————————————————— Can you write it down using notation?

28 Do Now 8

Today you will be performing your compositions. This lesson is your final chance to improve your composition. Answer these questions:

What is the structure?

How do you know when to move onto the next section?

What is the order of the improvised calls? Who is improvising first, second and so on?

Who is the master drummer?

How many times will the master drummer repeat the signal in between sections?

How will the piece start and end?

What do you need to work on today?

How will you do this?

STRETCH: What characteristics are important for performing? ————————————————————————————————————————————— ————————————————————————————————————————————— ————————————————————————————————————————————— —————————————————————————————————————————————

Glows and improves

Group:______

GLOW:______

______

IMPROVE:______

______

Group:______

GLOW:______

______

IMPROVE:______

______

Group:______

GLOW:______

______

IMPROVE:______

______

Group:______

GLOW:______

______

IMPROVE:______

______

Group:______

GLOW:______

______

IMPROVE:______

______30 Task 2—Evaluation of djembe composition

Exit Ticket 8

Was your group successful in achieving the task? Give a reason for your answer. We were successful/not successful because ...... You were asked to compose a piece for a West African dance group. What do you think they would say about your composition. Use at least 3 musical words: ......

Tick the skills that you have successfully achieved:

I helped to compose the signal rhythm I helped to compose the unison response rhythm

I helped to compose the unison ostinato

I helped to compose one of the polyrhythms

I suggested how we could structure our piece

I suggested different strokes that could be used

I suggested how we could improve our composition

I feel proud of my composing ideas

If you had the chance to compose a West African style piece again, what would you do differently? Think about:

 What you could do better, and how

 What you found difficult, and how you could make this easier for yourself

 The community wheel: what could you do better here, and how?

My three suggestions for improvement are: 1) 2) 3)

31 Do Now 9

1. What characteristics are important for responding to feedback and why? —————————————————————————————————————————————— ———————————————————————————————————————————— ————————————————————————————————————————————— 2. Why is it important to act on the feedback you are given? —————————————————————————————————————————————— ———————————————————————————————————————————— ————————————————————————————————————————————— STRETCH: What do you need to do to ensure that your group takes on board feedback? —————————————————————————————————————————————— ———————————————————————————————————————————— —————————————————————————————————————————————

SUPER STRETCH: Fill in the grid below:

What is the structure?

How do you know when to move onto the next section?

What is the order of the improvised calls? Who is improvising first, second and so on?

Who is the master drummer?

How many times will the master drummer repeat the signal in between sections?

How will the piece start and end?

What do you need to work on today?

How will you do this?

* Stick your feedback sheet here*

Glows and improves

Group:______

GLOW:______

______

IMPROVE:______

______

Group:______

GLOW:______

______

IMPROVE:______

______

Group:______

GLOW:______

______

IMPROVE:______

______

Group:______

GLOW:______

______

IMPROVE:______

______

Group:______

GLOW:______

______

IMPROVE:______

______34 Exit ticket 9

To do well in this evaluation you will need to: * Talk about specific parts of your composition. * Explain your answers in detail using musical vocabulary. • Make sure that all of your answers refer to the musical outcome.

GLOW: Write down one thing about your composition which was successful, and explain how you made it successful. ………………………………………………………………………………………………. ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………...... …………………………………………………………………………………………………

Home learning 1 Do some research on the African drumming using the internet and try to find the answers to the questions below.

Where did it originate from? What type of events is it usually played for?

West African Music

What are the key playing What famous African drummers techniques for the Djembe? are there?

36 Home learning 2

Use the internet to research these other common African instruments: - What do they sound like? Try looking them up on YouTube!

How is it played? TALKING DRUM ______

______

Why is it called a ‘Talking’ drum? ______

How is it played? AXATSE ______

______

What is it made out of? ______

How is it played? BALAFON ______

The Balafon is a type of IDIOPHONE - what is an idiophone? ______

37 Home learning 3

Listen to the track which has been uploaded to Google Classroom and answer the questions below. If you have problems accessing the track, you must come and see your music teacher before the lesson.

1. What type of voice sings the opening solo? (circle) Male Female (1)

2. Which of these descriptions best describes the make-up of the whole choir? (tick your answer) ❑ Entirely male voices ❑ Entirely female voices ❑ A mixture of male and female voices (1)

3. What common African structure is frequently demonstrated by the voices?

______(1)

4. Name one of the percussion instruments playing the PULSE.

______(1)

5. Name 2 types of African drum being played in this extract.

______(2)

6. What is the METRE of this music? (circle) 3 4 5 (1)

7. Suggest 2 rhythmic features of this music that are typical of West African drumming. - ______

- ______(2) /9

38 Home Learning 4 Due Date:

39 Home Leaning 5 Due Date: Rhythm Notation Revision

1. Music maths! Add up the values of the notes. For example: 4

2. Draw the following rhythms on the staves: Doctor pepper, doctor pepper, tea, tea.

Coffee, tea, doctor pepper, tea.

3. Now try your own rhythm. Make sure it adds up to 4 beats.

Year 7 AP2 Music Exam Revision

The written section of your examination will test you on everything which you have learnt so far this year. There will be written questions and questions about pieces of music which you will listen to.

Section Pages Done? Marked? How well did you do?

1: Key words 42-44

2: Listening 45

3: Notation (stave) 46-47

4. Notation (rhythm) 48-50

Websites which you should use to practise your listening skills:

A note naming quiz: http://www.musictechteacher.com/music_quizzes/aq_treble_clef_notes/quiz.html

A rhythm listening quiz: http://www.musictechteacher.com/music_quizzes/qw_quiz_rhythms_sound_test/ qw_quiz_rhythms_sound_test.html

the hand the

’ ’

bounce

‘

Playing technique Playing

imagine the djembe is hot! This lets the skin vibrate vibrate the lets This is skin hot! djembe the imagine

—

Hold your hand flat/cupped with your fingers together. together. fingers your with flat/cupped hand Hold your Hit the centre of the djembe with the palm of your the your of the palm djembe Hitof with the centre spring djembe, it the hits let handhand. your As soon as up just Use yournot arm, and whole the resonate. sound your hand. cupped djembe slightly the of the with Strike rim near djembe hit the finger should Each fingerstogether. kept the joints centremeeting the time at with same the to edge ofthe drum. Remember sound.so produceaway crisp you a other. one the after quickly A tones, flamtwo played is Hit the apart. fingers Cup the with slightly hand your rim. It the and the centre between djembe somewhere movement. takes It some quick shouldsingle, a be practice!

Slap

Bass

(Lower pitch)(Lower

Tone

(Higher (Higher pitch)

Drum stroke Drum

(Medium pitch)

Djembetechnique

place your djembe on the floor in between your knees, and slightly lean it forward, away away fromyou it forward, slightly lean knees,and between your in on the djembe floor place your

sit at the front offront the at chair sit your

Posture: Posture: hold:Djembe

Unit glossary (alphabetical)

Term Definition

Accent Used to emphasize a certain beat/note by playing it louder

Bar How music is divided, each of which has a certain number of beats

A question and answer pattern—can be when a master drummer Call and response leads and the rest of the drumming circle responds

Djembe A goblet-shaped hand drum that originated in West Africa

Djembe strokes Different ways of striking the djembe

Division of pulse Dividing a beat evenly e.g.: into 2, 3, or 4

Improvise To make something up on the spot

Texture The layers in a piece of music

Ostinato A repeated rhythmic or melodic pattern

Monophonic One musical line playing

Polyrhythmic Two or more contrasting rhythms played at the same time

Polyphonic Two or more musical lines playing at the same time

A rhythm that is used to give information or instruction, for Signal example, when changing sections

Structure The plan of the music

When all drummers are performing the same rhythm at the same Unison time

43 Section 1: Key words 1. Fill in the definitions to the key words. Use page 43 to help you. You should then make flashcards to help you remember the key words.

Term Definition

Accent

Bar

Call and response

Djembe

Djembe strokes

Division of pulse

Improvise

Texture

Ostinato

Monophonic

Polyrhythmic

Polyphonic

Signal

Structure

Unison

44 Section 2: African drumming listening

5. What is the texture of the music at the beginning? ______

6. What is the texture of the music near the end?______

46 Read these musical notes. Write the names of the notes underneath.

Draw these notes and label them: C D E F G A B

47 Section 4: Notation (rhythm)

1. This table shows the notes of different lengths, their proper names and the names which we use to remind us how they sound. Memorise them using look-cover-write

48 2. Without looking at the previous page, complete this table with the missing names and numbers. (8)

3. Underneath each of these notes, write down how many beats they are worth. (12)

4. On the stave, write this rhythm: (4)

Tea Tea Coffee Doctor Pepper

49 NEED MORE PRACTICE ON NOTATION? Go to the website below and test yourself: http://www.musictheory.net/exercises/note

Use the settings/controls panel to change the clef etc. to make it harder/easier.

Record your scores here:

Date Score Notes

Dictation In the exam you will be asked to write down rhythms that you hear. Practice this skill by going onto this website and trying some of the exercises. http://www.therhythmtrainer.com/

Notes:

………………………………………………………………………………………………………………………………………………………………………………………….

Notes: