2.5 《五拍》（课件+素材）音乐人教版五年级上册（新教材）

五拍 人民教育出版社 小学五年级上册 艺术 音乐 第二单元 舞动非洲与爵士蓝调 1.7.2013 ‹#› 激趣导入 激趣导入 同学们大多数舞曲、歌曲都是 2 拍、4 拍，方便我们跟着跳舞。几十年前，有一位爵士音乐家想做不一样的音乐，我们一起来听一听吧！ 1.7.2013 ‹#› 1.7.2013 ‹#› 同学们有没有感觉，这首乐曲的节奏很有趣？这种打破常规、充满灵动的奇数拍子，就是今天我们学习的 ——五 拍。 1.7.2013 ‹#› 拍一拍 4/4 拍：1 2 3 4 | 1 2 3 4 强弱规律：强、弱、次强、弱。 现在我们换一种！跟着我，1 2 3 1 2（停顿区分 3+2 组合，加重第 1 拍） （强 弱 弱｜强 弱），每一组一共 5 拍 新知探究 新知探究 节拍律动，感受五拍子 1.7.2013 ‹#› 请同学们跟随音乐拍一拍，感受一下五拍的魅力！ 1.7.2013 ‹#› 认识作曲家 保罗·戴斯蒙（Paul Desmond，1924年11月25日-1977年5月30日），本名Paul Emil Breitenfeld，美国爵士乐中音萨克斯演奏家、作曲家，生于旧金山，西海岸‘酷派爵士’代表人物，以《Take Five》及戴夫·布鲁贝克四重奏成员身份闻名。他特别擅长创作这类特色节拍的音乐！ 1.7.2013 ‹#› 请同学们跟琴演唱下面的音阶，感受一下音乐色彩。注意变化音要唱准确 1.7.2013 ‹#› 请同学们弹奏下面音阶。 1.7.2013 ‹#› 请同学们跟琴模唱旋律，感受旋律走向。并注意变化音演唱准确。 1.7.2013 ‹#› 请同学小组合作演奏乐曲。 1.7.2013 ‹#› 请同学们读一读下面的节奏。 1.7.2013 ‹#› 拓展创编 拓展创编 运用下面的音阶和奏型，编创一条旋律。尝试使用重复、对比等方法，将其发展成乐段。 1.7.2013 ‹#› 1.7.2013 ‹#› 1.7.2013 ‹#› 1.7.2013 ‹#› 课堂小结 课堂小结 今天我们认识了奇妙的5/4拍爵士乐。5/4拍属于奇数拍，作曲家把节拍拆成3+2组合，强弱规律为强、弱、弱、次强、弱，打破了二拍子、四拍子平稳的感觉。我们通过拍手律动感受独特摇摆感，欣赏了四重奏现场演奏，体会冷爵士优雅灵动的魅力。爵士乐大胆创新，巧妙驾驭非常规节拍，这正是音乐创作的有趣之处。 1.7.2013 ‹#› 下 课 期待下次音乐之旅！ 1.7.2013 今天的音乐之旅到这里就结束了，感谢同学们的积极参与！希望大家能永远保持对音乐的热爱，我们下次音乐课再见！ ‹#› null 57207.176 Lavf58.29.100 #[1280x720][29.97fps][7888k][0k][C][tv=0bb6_atlas-6.0.2] Lavf62.0.100 Packed by Bilibili XCoder v2.0.2 $nullAs you probably already know, most music is in the time mature of four four, meaning there are four quarter notes in each bar of the music. However, sometimes song writers will venture beyond the typical predictable for four time, and instead use an entertain switch like a fire four. If a song is in five four time, IT means that has five quarter note beats in each bar of the music. Perhaps the most famous example of a song in five four time is take five by the dave brubeck cortex. Take five begins by establishing the five four meter with its iconic piano riff and drug group. Then paul desk sexier Melody enters, weaving its way across the fight four group. Take five groups, the five beats of the bar, into a set of three and a set of two. So technically you could conceptualize take five as being alteration bars of three, four and two, four. This gifts take five, a sort of one key walts fill, because the song sounds like a three, four jazz votes, but with every other bar missing one beat, if take five was a typical three, four jays votes, IT would sound like this. At first, take five in three four might sound a bit daring because we're so used to hearing and fight four. But once you settle into the group of I think that sounds perfectly natural, but it's certainly missing the curious uneven fuel of the five four meter. Five four is characterised by this off baLance uneven sound. After all, five four is referred to as an odd time signature in reference to its irregular meter. Another classics example of five fourth uneven post is the theme from mission impossible. Despite being in five four, we can see that the mission impossible theme actually has four main beats in the bar, two dotted quarter notes and two regular quarter notes. Adding a dot to a note increases its duration by fifty percent, so where as a regular quarante would be worth one beat, a doted quart note is worth one in the half beats. This gives the theme a sense of slowing down and speeding up. It's like it's going slow, slow, fast, fast. This uneven grouping of the beats in the bar kind of makes mission impossible sound like it's in four four, but the tempo is accelerating and decelerating everybody. Lilo chiffon, who wrote the mission impossible theme, derived this slow, slow, fast, fast, five, four rythm from the more code for M, I, dash, dash, dot, dot, slow, slow, fast, fast. A more recent song to use this five, four slow, slow, fast, fast, rythm, is from eden by hosier. Particularly in the course we can hear this slow, slow, fast, fast rythm at the heart of the drum at and vocal. Another song to take advantage of five force of cultor's m is radio heads. Fifteen step. Fifteen step begins with this repeating two bhyro played by a drum machine. The first part is simply five regular quality notes, but the second bar contrasted by mixing regular and doted quantites. This two bar repeating rithmetic motive serves as the foundation of the song, pinning down the five four meter. 一是要来。Enough radio head song in five four is morning bell from the album K. Now, usually, if I wanted to show you how this song would sound in a different times in mature, like I did with dave rebels, take five. Well, i'd have to cut together my own edit of the song. However, in this case, radio head, i've actually already done the work for me. See on radio heads next album music, they actually included enough version of morning bell. And this time I was . in for four. If we compare the two versions back to back, we can see how the five, four Melody has been squish down to fit into bars of four four. Each note still lands on the same beat of the bar, relatively speaking, but the longer notes have been shortened to allow the Melody to fit into bus for 4。As to why radio had released ed, two versions of the same song, eh, brian said we often recall different versions of songs, and morning bell is the first time it's been strong enough to be hearing again. A very recent example of five, four time is tailor s with twenty twenty track tolerated. Tolerated is underpinned by this unusual repeating rythm or four slow, and then for fast beats . played by the piano. The vocal then, sort of states across the top of this unsteady rythm never really unifying with the slow, fast post and instead adding a new layer of rivm c counterpoint to this already unusual rythm. I, T. And watch with your. And now this . track is actually a great opportunity to discuss the difference between five, four time and ten, eight time. Iron destino, who cwa te the track with swift, instead describes tolerated as being in ten, eight time. Of course, any music in fight four could fit into ten, eight time, and vice versa. In either five, four or ten eight, we can have five court notes or ten eight notes. They are effectively equivalent time signature. So why would we choose to describe this track in ten, eight rather than five, four? Well, if we look at the accented beats of tolerated rythm, we can see that they don't really line up with the five quarters tes of five four. However, if we instead conceptualized the track as being in ten, eight, with ten, eight notes in the bar rather than five quarter notes, the song's rythm can be internalized ed in a far more intuitive way, where IT doesn't feel so much like it's going against the grain of the meter. Of course, you can still describe tolerate IT as being in fine for time, and that is how it's transistor bed in the officially public sheet music. But IT is good to bear in mind that there is sometimes more than one way to interpret a songs meter. The song five four by gillis is unsurprisingly in five four time. But what makes the song extra interesting is that what the guitarist is in five, four, the drums are actually in four, four. The song is using two different meters at once. In other words, it's using a five against four Polly meter. Now, when IT comes the shape music, we don't actually use more than one time to mature on the page at the same time. So although the drum p part is in for four, IT has been forcibly written here into bars, or five, four. However, if I put numbers by the notation like this, then you can see whether four beats of the drum beat are falling relative to the five beats of the guitar riff. Another song in fight four that uses polymetallic imes by muse, the bulk of animals is in simple straight head fight for time. But later run in the song, we get this section where most of the instrumentation is still in five, four time, but the crush bow is instead playing every two beats, giving us a five against two. This effectively makes the crh humble sound like IT goes out of sync with the band into IT recently, ronnies es here. Also adding to this rythmic, this orientation, we get an extra added a beat before the pattern then repeats, which makes this bar of five four into a bar of six four. Now later on in the song, we get another party metric section, this time with the drums marking a half time for four post, once the rest of the band continues to play in five 4。Allegedly, muse were inspired to write animals after hearing how five four had been used in the song hanging tree by queens of the stone age. And sure enough, just like in the muse song, during the guitar solo of hanging tree, we get a similar five against four bony meter, with the guitar continuing the five, four meter as the snow drum superimposes a four. four meter on top. Odd times in matures, like five four are relatively rare in classical music. But one know where the exception to this is mars from gust half famous planets suit. Mars is built on the striving five, four Austin's to. That continues throughout most of the peace. The rythm of the ostern atto is like that of a military march. However, where is march? Would Normally be in four, four or two, four time. The added beat of the five four meter results in a foreign for boat in rythm, perfectly illustrating the peace namesake mars, the bringer of war. One of my favorite songs in five four is river man by the lake, great nick drake. The Miranda ing five four metre, combined with the harmony that swings back and forth from major to minor, gives the song a hypnotic, hazy sound. but came on the way I say. Now, one way to bring out . the odds of an automatic, like five four is to directly contrast IT with a more typical times, which are like four, four. The bulk of White room by cream is in four, four time, but the intro is in five, four. Not only this has helped the intro section be with a sense of atmosphere in anticipation, but IT also gets some ears attuned to the uneven five four meter. So when we are then hit with a solid straight head for four time at the start of the verse, the four four meter sounds all the more satisfying and exciting. In a White room. Seven days by sting is another great song in fight four time, the placement of the snow on the fourth beat of the bar effectively splits the sm into a group of three and a group of two. 你发挥这么慢。Now, a debate that often surrounds other times nature is the difference between five, four and five, eight, or likewise seven, four and seven, eight, five, eight just means we have five, eight notes in each bar of the music. So effectively, two bars of five eight are exactly equal to one number of five four, both five four, five eight and also five sixteen, a simple quintuple time. Therefore, any music in five four could fit into a five vae or five sixteen times nature, or vice versa. So why would we opt to use one over the other? Well, there are some situations where one signature would definitely be a Better fit. For example, the title track from sufyan Stevens album come on, fill the illinois is has five beats in a bus. so we could write IT . in five four. However, in this example, I think five, eight is the Better choice. And this is because a couple minutes into the track, we swap into four, four time. If we had writing out the first section in five four, we would then have to include a tempo mark to cut the tempo in half at this point when we switched to four four, which would just add unnecessary complication. One of the biggest factors, though, in selected five, eight versus five, four, can be the tempo of the music. Usually, musicians will be expecting to perceive the quarter note of a piece of music as the tempo. So this means that if the five beats in the bar are too quick to comfortable, ly count than IT would be Better to describe these five beats as eight notes, not court notes, and therefore the music would be written down in five eight. An example of this would actually be my own song. In the longest match, the longest march has five beats in the bar, but they are so fleeting that the whole bar sort of just feels like one long beat. So I think five cases the best fit for this piece of music. And on top of that, I might even add instruction next to that meter, saying one in a bar, indicating to the performer that they should expect to feel one beat for each bar, not five. I'll leave you today with this song I wrote in five four, although i'm sure that they would be at least one person in the comments who has actually, I prefer to think of that in five, eight. nullnullnull