BATISTA PONCE, FATIMA / LORENZO, MOISÉS
LEARNING SITUATION 1
1.1 Let#s review voice types (The human singing voice: classification)
1.2 Let#s sing together! (Vocal groups)
1.3 Let#s review the language of music (Review of musical figures and scales)
1.4 Can we use more lines and spaces? (Review of musical figures and notes. Additional lines and spaces. Dance: Tin-Tan [Aragon])
LEARNING SITUATION 2
2.1 Chamber music groups (Chamber music: groups)
2.2 Look again at string quintets (String quintet)
2.3 How do we repeat music? (Repetition symbols. D. C. al Fine)
2.4 A closer look at tempo (Tempo: terms)
LEARNING SITUATION 3
3.1 Let#s look at orchestras again (Orchestras and their members)
3.2 Symphonic orchestras and the people who work in them (Symphonic orchestras)
3.3 A closer look at tones and semitones (Tones and semitones)
3.4 How do we change the volume of a note? (Volume nuances. Dance: La Xampanya [Cataluña])
LEARNING SITUATION 4
4.1 Let#s review musical bands (Musical bands)
4.2 Steel bands (Steel bands)
4.3 The bass clef (Bass clef)
4.4 A closer look at musical structure (Formal musical structure)
LEARNING SITUATION 5
5.1 Plug in your instrument! (Electrophonic instruments: electric and electronic)
5.2 A closer look at electrophones (Electrophonic instruments: electric and electronic. Rock and roll groups)
5.3 Can you remember how we make notes longer? (Note length symbols)
5.4 A closer look at sharp and flat notes (Sharp and flat notes. Dance: Polka Majorera [Canarias])
LEARNING SITUATION 6
6.1 A world of music! (Musical groups from other cultures)
6.2 Celtic rhythms! (Celtic music)
6.3 Let#s review musical language (Musical language review)
6.4 Let#s play with musical language (Musical language review)
UKULELE AND RECORDER
Let#s revise the ukulele and the recorder
Objetive:
Active musical learning. Experiential learning, without the need for theoretical definitions. A practical and close approach.
Revuela gets it by:
- Competency approach. Transfer and contextualization in real situations.
- Imitative and progressive work. Proposals for musical interpretation, active listening, movement and dance.
