Loop the Loop Worksheets

Home , At the Opera House, FM (No Static at All), Melodic pattern, Ostinato, Rhythm section

‘LOOP THE LOOP’ Music Educational Resource by N. Peterson

Welcome to the “House” Sydney Opera House is one of the indisputable masterpieces of human creativity and has long been a place for learning and sharing knowledge. Tubowgule: where the knowledge waters meet The history of performance at Bennelong Point stretches back thousands of years. The land on which Sydney Opera House stands was known to its traditional custodians, the Gadigal people of the Eora Nation, as Tubowgule, meaning "where the knowledge waters meet." A stream carried fresh water down from what is now Pitt Street to the cove near Tubowgule, a rock promontory that at high tide became an island. The mixing of fresh and salt waters formed a perfect fishing ground. Middens of shells were a testament to Tubowgule's long history as a place where the Gadigal gathered, feasted, sung, danced and told stories.

Did You Know…?

1. More than 8.2 million people visit the Opera House every year.

2. Sydney Opera House is cooled using seawater taken directly from the harbour. The system circulates cold water from the harbour through 35 kilometres of pipes to power both the heating and air conditioning in the building.

3. Sydney Opera House was opened by Queen Elizabeth II on 20th October, 1973. She has since visited four times, most recently in 2006.

4. The Sydney Opera House Digital Creative Learning program allows students from all over the world to access the Sydney Opera House and learn about its history and culture, while also developing skills in literacy, drama and creative writing. Schools in remote locations, interstate or even overseas are able to connect with the Opera House from the comfort of their own classroom, and it’s completely free.

Introduction

These Creative Learning Resources have been prepared to help you get the most out of Loop the Loop. These resources have been collated to help prepare your students unpack the performance and gain the most from their attendance at the production.

You should use and adapt these Resources to suit the student age and stage of your class and the curriculum foci and outcomes used in your school. These Resources are written as a creative document for you to bring to life. If you have questions about exercises or provocations please feel free to make contact to talk it through. We are always open to feedback, comments and working with you to assist and learn from you. Contact details are on the back page.

Some websites are suggested throughout this resource. It is recommended that you first visit the sites and assess the suitability of the content for your particular school environment before setting the activities based on these.

Sydney Opera House has a bank of Creative Learning Resources for you to access and use. Please have a look around our website for other resources and activities that could support your classroom learning program.

Acknowledgements

Grateful thanks are extended to the artists and Onyx Productions

Visiting the Sydney Opera House

Arrive early Please ensure that your group arrives at the venue 25 minutes prior to the performance start time. Latecomers may only be admitted to a performance during a suitable break, and in some cases may be excluded. Call Front of House on 02 9250 7134 to notify us if you are running late.

School bags The safety and security of our guests is paramount to the Opera House. We require all items larger than the dimensions of a standard A4 piece of paper to be cloaked. As our cloakrooms have limited space, we request that teachers and students do not bring large bags/backpacks with them to the performance.

Food and beverage Food outlets are located on the lower level of the concourse. Please note food and drink are permitted inside the foyers, but not in the venues.

Getting here Sydney Opera House is a 10-minute walk from Circular Quay, the closest station for public transport via train, bus and ferry. To view timetable information and ensure your public transport needs can be met, please contact Transport NSW on 131500 or transportnsw.info

Coach parking Buses and coaches cannot park onsite at Sydney Opera House. Large buses must disembark passengers on Macquarie Street. Please contact City of Sydney to confirm bus and coach set down areas. We recommend allowing an additional 10 minutes for walking from Macquarie Street.

At the Theatre We’d like to welcome you to the experience of attending a live performance – while we know you get all the etiquette stuff, here’s a reminder of some simple information you can pass on to your students.

1. We ask you to get involved in the performances by applauding and laughing at appropriate moments. If you have a question – ask your teacher at the interval/end of the show or one of the cast, if you have a chance for a Question & Answer session.

2. Food and drink is not permitted in the theatre

3. Live theatre is different to TV – the actors on stage can hear and see you and there are other members of the audience to think about. If you need to leave the performance for any reason, please ensure this is done quickly and quietly at an appropriate break in the action.

4. Switching your phone to silent isn’t the only thing to do. Please ensure that you switch off your mobile phone and leave it in your bag before the performance begins. The glow of an iPhone screen is obvious to others and is very distracting!

The Creative Learning Journey

BEFORE YOU ARRIVE

Begin your Creative Learning Journey Have your students think about the themes of the performance with information and activities in these Creative Learning Teachers Resources.

Preparing for your Visit Prepare students for your visit with a Digital Tour of the Sydney Opera House prior to your theatre excursion. Introduce the story of this place so that your students begin engaging before they arrive. Free for all Australian Schools and offered throughout the year.

ON THE DAY

Explore the House Book a Guided Tour, for before or after your performance, and explore the venues and spaces of the iconic Sydney Opera House with one of our expert tour guides.

Question the Creatives Enjoy the event and be ready to get involved in the Post-Show Q&A session after our schools performances with our education specialists, performers, directors and producers.

Delve Deeper For some events, students are able to participate in Artist Workshops with the artists and the creatives at the Opera House. Check out each performance to see what is available – but space is limited!

Make a Day of It Don’t forget we are located close to a range of cultural institutions. The Royal Botanic Gardens, Museum of Contemporary Art, Museum of Sydney, State Library of NSW, Art Gallery of NSW and Australian Museum offer exhibitions, workshops and more for schools, all within walking distance of the Sydney Opera House.

BACK IN THE CLASSROOM

Continue the Creative Exploration Bring the creatives to you and participate in one of Digital Workshops or Digital Author Talks to further extend the learning journey of your students. Free for all Australian Schools and offered throughout the year.

Listen and Watch Use our digital content pieces on our social media channels in your classroom. Our podcast The Kids Life, Sweet Skills ‘How To’ videos, and Would you rather be…? on YouTube gives you more insight into world of the Sydney Opera House and the exciting things that happen here.

Performance Description and Synopsis

Prepared to be impressed when master musician Gene Peterson goes head to head with multi-instrumentalist Adam Page in this phenomenal musical showdown.

Set in a boxing ring, complete with blue & red corners, each artist attempts to out-play the other with their multitude of musical abilities, continually recording each layer of music live into a loop pedal.

Sometimes quirky, often hilarious and at times unbelievable, don't miss the opportunity to see two of Australia's finest musicians go head to head in this outrageous concert for the whole family!

Presented by Sydney Opera House and Onyx Productions

Curriculum Links

General capabilities and cross-curriculum

Critical and Creative thinking

KLA Stage 3 Stage 4 Stage 5

Music MUS3.4 Identifies 4.7 demonstrates an 5.7 demonstrates an Listening the use of musical understanding of musical understanding of musical concepts and concepts through concepts through the symbols in a range listening, observing, analysis, comparison, and of musical styles responding, critical discussion of music discriminating, analysing, from different stylistic, discussing and recording social, cultural and musical ideas historical contexts

4.10 identifies the use of 5.10 demonstrates an technology in the music understanding of the selected for study, influence and impact of appropriate to the technology on music musical context Organising MUS3.2 Improvises, 4.4 demonstrates an 5.4 demonstrates an Sound/Composing experiments, understanding of musical understanding of the selects, combines concepts through musical concepts through and orders sound exploring, experimenting, improvising, arranging and using musical improvising, organising, composing in the styles or concepts arranging and genres of music selected composing for study MUS3.3 Notates and discusses own 4.5 notates compositions 5.5 notates own work and the work using traditional and/or compositions, applying of others. non-traditional notation forms of notation appropriate to the music 4.6 experiments with selected for study different forms of technology in the 5.6 uses different forms of composition process technology in the composition process Performing MUS3.1 Sings, 4.1 performs in a range 5.1 performs repertoire with plays and moves to of musical styles increasing levels of a range of music, demonstrating an complexity in a range of individually and in understanding of musical musical styles groups, concepts demonstrating an demonstrating a understanding of the knowledge of 4.2 performs music using musical concepts musical concepts different forms of notation and different 5.2 performs repertoire in a types of technology range of styles and genres across a broad range of demonstrating musical styles interpretation of musical notation and the application of different types of technology

Value and 4.11 demonstrates an 5.11 demonstrates an attitudes appreciation, tolerance appreciation, tolerance and and respect for the respect for the aesthetic aesthetic value of music value of music as an as an artform artform

4.12 demonstrates a 5.12 demonstrates a developing confidence developing confidence and and willingness to willingness to engage in engage in performing, performing, composing and composing and listening listening experiences experiences

Key Learning Area Objective Outcomes Stage 3 Stage 4 Stage 5 Creative Arts Music Listening MUS3.4 4.7, 4.10 5.7, 5.10

Creative Arts Music Organising MUS3.2, 4.4, 4.5, 4.6 5.4, 5.5, 5.6 Sound/Composing MUS3.3 Creative Arts Music Performing MUS3.1 4.1, 4.2 5.1, 5.2

Creative Arts Music Values and attitudes 4.11, 4.12 5.11,5.12

The Loop Pedal

A loop pedal is a digital recording device. It is one of many electronic devices which musicians can use to manipulate or control sounds.

Essentially a loop pedal has two main functions: 1. It enables recorded sounds to be endlessly repeated (looped). 2. It allows recorded sounds to be laid over each other (overdubbed).

A single musician can use a loop pedal to record accompanying instruments for his or her playing (or singing) and sound like a ‘one-man band’. This is fun on its own, but it is particularly convenient when other musicians are unavailable.

Although now done digitally, the term looping derives from the days when the process was achieved using an analogue tape recorder. Instead of having tape wind from one spool on to another (which played back a sound just once),

a recorded sound could be endlessly repeated using a section of tape that was spliced (joined) to form a loop. This was a tape-loop. The recorded sound would be replayed as the tape continually revolved:

When the recorded sounds are melodies, harmonies and rhythms, the resulting effect is of repeated music. Since most musicians make music using their hands, the digital looping device is designed to be in the form of a pedal.

The Loop Pedal Questions

Q1. A loop pedal is a: a) An analogue tape recorder b) A digital recording device Answer: ………

Q2. What are the two main functions of a loop pedal? 1. ………………………………………………………………………………… 2. …………………………………………………………………………………

Q3. Why might musicians use a loop pedal? a) To create an accompaniment for their playing or singing b) To practise playing in a band, without other musicians c) To experiment with how sounds fit together d) All of the above Answer: ………

Q4. Where does the term ‘loop’ come from? ……………………………………………………………………………………………………… ……………………………………………………………………………………………………… ………………………………………………………………………………

Q5. Which letter identifies the tape-loop in the following diagram:

Answer: ………

Q6. Overdubbing occurs when a sound is recorded and: a) replaces the previously recorded sound b) is heard in addition to the previously recorded sounds

Answer: ………

Q7 Why is the digital looping device in the form of a pedal? ……………………………………………………………………………………………………… ………………………………………………………………………………………

The Loop Pedal and the Concepts of Music

The concepts of music is a reference to the all the different musical facets which combine to make a piece of music. Sometimes they are called the ‘components’ and at other times they may be referred to as the ‘elements’. They are the musical ingredients which composers use to create any piece of music. Each concept relates to different aspects of music:

Concept What each concept entails Texture -encompasses the various layers of sounds and how they relate to each other Duration -refers to the arrangement of the sounds in relation to time and how time is divided into beats and rhythms Pitch -deals with the arrangement of sounds in terms of the use of frequencies and how these are combined to make melodies and harmonies Tone Colour -relates to the orchestration of the music; the kind of ensemble used, the particular choice of instruments and the specific sound chosen from each instrument Structure -deals with the design of the composition; how its sections and sub-sections are organized Dynamics and Expressive Techniques -refers to how aspects of any concepts contribute to the communication of the music’s character or mood

Just as a chef uses different ingredients to produce tasty snacks or even banquets, a composer similarly uses the musical concepts to create music ranging from catchy jingles to symphonies. The more familiar composers are with the workings of the concepts, the better prepared they are to create music. Likewise the more familiar listeners are with the concepts, the better prepared they are to appreciate music.

The Concepts of Music Questions

Q1. Match the concept with its appropriate word. Texture Time Duration Layers Pitch Frequencies Tone Colour Orchestration Structure Mood Dynamics and Expressive Techniques Design

Q2. True or False? Understanding the concepts of music is important for composers because it helps them to understand how music works. Answer: ………

Q3. How might an understanding of the concepts help listeners? ……………………………………………………………………………………………………… ………………………………………………………………………………………

The Loop Pedal and Texture

Staggered Entry When a loop pedal is used, layers of sound are usually added one at a time. The musical term for this is staggered entry.

Layer Identification Each layer can be identified by the instrument used (sound source). This diagram shows layers identified as they appear in staggered entry:

Synth layer Guitar layer Bass layer Drum layer

Density The density (thickness) of the music increases as each new layer of sound is recorded and overlayed on to the previous layer. As the density thickens, the musical tension increases.

Prominence In music, there are two kinds of layers: 1. Dominant layer. A dominant layer has the main part. It has the tendency to feature. 2. Subordinate layers. These layers offer musical support. They are the accompanying layers. When musicians use a loop pedal they usually build subordinate layers which contribute to the accompaniment. Once the accompaniment has been created, they allow it to repeat (loop), and use the repetitions as a foundation upon which they supply featuring material.

Texture Questions

Q1. What occurs if layers appear in staggered entry? a) All the layers come in at once b) The layers leave one at a time c) The layers come in gradually Answer: ………

Q2. How may layers be identified? ………………………………………………………………………………………………

Q3. True or False? The density of the music becomes thicker as layers are taken away. Answer: ………

Q4. How does a dominant layer differ from subordinate layers? ……………………………………………………………………………………………… ………………………………………………………………………………………………

The Loop Pedal and Duration

Ostinato The repeated musical patterns created by looping are known as ostinati (the plural of ostinato). These often occur in accompanying layers. An ostinato satisfies listeners because it creates a sense of musical familiarity. Good composers are careful not to overuse ostinati because of the danger of monotony. Types of ostinati include the:  Rhythmic ostinato -a repeated rhythmic pattern  Melodic ostinato -a repeated melodic pattern  Harmonic ostinato -a repeated chord pattern All ostinati have a rhythmic pattern. Following is an example of a rhythmic ostinato:

Polyrhythm When a loop pedal is used, recorded rhythms are laid over each other (overdubbed). If each layer’s rhythm is different, a rhythmic device known as polyrhythm is created. This is the sound of two or more different rhythms played at once. Polyrhythms sound more complicated as more rhythmic layers are added, even if the rhythms used are simple. Each instrument in the following polyrhythm has been given a relatively simple rhythm:

When looking at the score vertically you can see why the rhythms sound complex: a) The density (thickness) always varies b) The different combinations of instruments constantly change the sound

Duration Questions

Q1. True or False? An ostinato is a repeated musical pattern. Answer: ………

Q2. How does an ostinato affect the listener? ………………………………………………………………………………………………

Q3. A polyrhythm occurs when: a) two or more different rhythms are played simultaneously b) a rhythm is repeated over and over Answer: ………

Q4. Why do polyrhythms sound complicated? ……………………………………………………………………………………………… ………………………………………………………………………………………………

Melodic Ostinato When the loop pedal is used to repeat a small tune, the result is a melodic ostinato (a repeated melodic pattern). Melodic ostinati are often used in accompaniments. In rock music a melodic ostinato is called a riff and is commonly played by the bass guitar and electric guitar in unison (both instruments playing the same notes at the same time). Once recorded and looped, a riff provides a bold foundation for the musician’s live playing.

Harmony When a note in one layer sounds at the same time as one in another layer, the result is harmony. If it sounds pleasant it is said to be consonant harmony, but if it sounds jarring the harmony is described as being dissonant.

Harmonic Ostinato A loop pedal can also be used to record a series of chords. Once recorded and looped, the repeated chord pattern is a harmonic ostinato. For the listener, the regularly repeated chord pattern creates a sense of harmonic familiarity.

Pitch Questions

Q1. True or False? A melodic ostinato is a repeated melodic pattern. Answer: ………

Q2. Rock musicians refer to a melodic ostinato as a: ………………………………………………………………………………………………

Q3. A bass guitar and electric guitar often play riffs in unison. What does this mean? ……………………………………………………………………………………………… ………………………………………………………………………………………………

Q4. Harmony occurs when: a) two or more different notes are played simultaneously b) all the instruments play the same notes at the same time Answer: ………

Q5. Consonant chords sound (pleasant /harsh): ………………………………………………………………………………………………

Q6. A repeated chord pattern is a: a) rhythmic ostinato b) melodic ostinato c) harmonic ostinato Answer: ………

The Loop Pedal and Tone Colour

Ensembles A musician recording with a loop pedal has the potential to create contrasting bands by using different types of instruments. If the instruments are available, ensembles as varied as an orchestra, steel drum band, rock band or choir could be formed. A simple way to do this is with a synthesizer. This one keyboard instrument has the capacity to replicate the sound of almost every other instrument, and so virtually any ensemble may be formed.

Rhythm Section A rhythm section is the part of the band which accompanies. Since the loop pedal is mainly used in building accompaniments for live playing, musicians regularly record the instruments of a rhythm section. A rhythm section contains chord, bass and percussion instruments supplying harmonic, bass and rhythmic parts. The various combinations of instruments form the rhythm sections of contrasting ensembles.  Chords could be provided by an acoustic or electric piano, electric organ, synthesizer, acoustic or electric guitar, or by a banjo  A bass part might be supplied by a double bass or electric bass, synthesized bass or even a tuba  Rhythms may be presented by a beat boxer or played on a drum kit or electric drums, drum machine, congas, timbales, cow bell or by a tambourine

Lead instrument Once the rhythm section’s accompaniment has been recorded, the live playing delivers the dominant part with the featuring (lead) instrument or voice.

Tone Colour Questions

Q1. True or False? Another name for an ensemble is a band. Answer: ………

Q2. Why is a synthesizer considered to be versatile? ………………………………………………………………………………………………

Q3. The rhythm section is the part of the band that: a) plays the featuring melody b) provides the accompaniment Answer: ………

Q4. When accompanying, supporting instruments supply: ………………………………………………………………………………………………

Q5. When a loop pedal is used, the lead part is often (played live/recorded & looped): ………………………………………………………………………………………………

Q6. A lead instrument (features/supports): ………………………………………………………………………………………………

Sections When using a loop pedal the musician builds the initial accompaniment. This presents the piece’s tempo (speed), key, instrumentation and style, for the first time. This opening section of music is the introduction. By establishing various aspects of the concepts, the introduction reveals the kind of sound that the music will have. The featuring material played live is part of the next section of music.

Sub-sections Sections of music can be divided into sub-sections. All the looped (repeated) material creates melodic, harmonic and rhythmic ostinati which divide a section into subsections.

Section

Melodic Ostinato Harmonic Ostinato Rhythmic Ostinato

Looping produces sub-sections of equal length. This regularity creates for the listener a sense of structural familiarity.

Unity/Contrast. Repeating musical ideas creates unity. A loop pedal creates lots of unity but too much can make the music sound monotonous. New musical ideas must be added to create contrast. Delicately balancing unity and contrast involves supplying:  just enough repetition – to provide a comfortable sense of familiarity, and  just enough variety – to provide the freshness of the new

Structure Questions

Q1. True or False? The section that establishes various aspects of the concepts is called the introduction. Answer: ………

Q2. What aspects of music might an introduction set up? ……………………………………………………………………………………………… ………………………………………………………………………………………………

Q3. True or False? The repeated material in ostinati divides a section into sub-sections. Answer: ………

Q4. Ostinati contribute to (unity/contrast): ………………………………………………………………………………………………

Q5. What problem may arise from using too much repetition? ………………………………………………………………………………………………

Q6. How can a musician prevent music from becoming monotonous? ……………………………………………………………………………………………… ……………………………………………………………………………………………… © N. Peterson 2011 The Loop Pedal and Dynamics and Expressive Techniques

Dynamics Dynamics refers to the levels of volume at which music is played. It affects the excitement level of the music. Although volume levels result from how loudly or softly each instrument is played, with music that is looped, volume increases with the addition of each layer.

Expression Expression involves communicating the music’s mood. The musician might create music which is: calm, exciting, lazy, energetic, weak, powerful, cheerful, sad, tender, suspenseful, timid, proud, aggressive, grand, clumsy or graceful. When looping, the musician creates the mood by mixing aspects from the concepts (including dynamics). For example from the concept:  Duration, the musician chooses the music’s tempo. A fast tempo makes it feel exciting while a slower tempo makes the music calmer  Texture, the musician decides how many layers to loop. Adding layers gradually increases the density and volume, making the mood bolder and stronger.  Tone Colour, the choice of instruments to be recorded can determine whether the music sounds cheerful or gloomy  Pitch, the quality of the chords used affects the expression. Music accompanied by dissonant harmonies feels edgy while consonant harmonies feel more relaxed. Finally when performing the live melody the musician contributes further to the mood by the way the melody is played. All the musical aspects are carefully blended to express the emotions of the piece.

Dynamics and Expressive Techniques Questions

Q1. Which of the following statements is correct? a) Dynamics is related the music’s speed b) Dynamics is a reference to the music’s volume Answer: ………

Q2. How does the number of layers affect the volume? ………………………………………………………………………………………………

Q3. True or False? Expression involves the communication of emotions. Answer: ………

Q4. Name five different moods: 1. ……………… 2. ……………… 3. ……………… 4. ……………… 5. ……………...

Q5. How might each of the following concepts contribute to the music’s mood? Duration ...... Texture …………………………………………………………………………………….. Tone Colour ……………………………………………………………………………….. Pitch ……………………………………………………………………………………......

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GENE PETERSON has quickly cemented his name as one of Australia's leading performers and producers. As a musician, Gene is a virtuosic percussionist, an exceptional pianist, and a masterful entertainer. He has toured throughout Australia, Europe, Asia, America & the Middle East, delivering over 2000 shows and workshops across more than 50 tours in the past 15 years. He is an award winning composer, and had his work ‘Raindance’ performed by the Darwin Symphony Orchestra. Gene is also an accomplished producer and is the founder of internationally renowned Australian production house, Onyx Productions. His smash hit show 360 ALLSTARS has toured venues and festivals worldwide, including sell- out seasons in the Sydney Opera House, at the Edinburgh Fringe and on Broadway, New York. His latest creation CIRCUIT premiered in 2020 and features world class acrobats interacting live on stage with state of the art technology, in an electrifying digital circus.

“The Michael Jordan of the percussion world” – SCENE MAGAZINE

ADAM PAGE is a critically acclaimed multi-instrumentalist, composer, music educator and record producer. As a performer Page has won multiple awards including Best Music at the Adelaide, Melbourne and New Zealand Fringe Festivals, Best Jazz Performer at the South Australian Music Awards in 2016 and 2018, and his album ‘The Colours of Grief’ was a finalist in the 2020 APRA AMCOS Art Music Awards in the Jazz Work of the Year category. Page has recently composed and performed with The Grigoryan Brothers, established the boutique record label - Wizard Tone Records, established and performed with his new 12 piece ensemble - The Adam Page Ensemble (TAPE), written and performed with The Adelaide Symphony Orchestra and also conducted the ASO in a concert featuring the music of Ross McHenry and Matthew Sheens. He has also performed with the New Zealand Symphony Orchestra, the Australian String Quartet, and his orchestral music has been recorded and broadcast by ABC Classic FM.

“I was blown away. There’s no one doing it quite like him” – TIM MINCHIN

For more information about LOOP THE LOOP please visit www.onyx-productions.com/loop-the-loop

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