9

Music
Quarter 3 – Module 7:
Improvises Appropriate Accompaniment
to Selected Music from Romantic Period

CO_Q3_Music9_Module7
Music – Grade 9
Alternative Delivery Mode
Quarter 3 – Module 7: Improvise Appropriate Accompaniment to Selected Music from
Romantic Period
First Edition, 2020

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 9

Music
Quarter 3 – Module 7:
Improvise Appropriate Accompaniment
to Selected Music from Romantic Period

I CO_Q3_Music9_Module7
Introductory Message

This Self-Learning Module (SLM) is prepared so that you, our dear learners,
can continue your studies and learn while at home. Activities, questions, directions,
exercises, and discussions are carefully stated for you to understand each lesson.

Each SLM is composed of different parts. Each part shall guide you step-by-
step as you discover and understand the lesson prepared for you.

Pre-tests are provided to measure your prior knowledge on lessons in each

SLM. This will tell you if you need to proceed on completing this module or if you
need to ask your facilitator or your teacher’s assistance for better understanding of
the lesson. At the end of each module, you need to answer the post-test to self-check
your learning. Answer keys are provided for each activity and test. We trust that you
will be honest in using these.

In addition to the material in the main text, Notes to the Teacher are also
provided to our facilitators and parents for strategies and reminders on how they can
best help you on your home-based learning.

Please use this module with care. Do not put unnecessary marks on any part
of this SLM. Use a separate sheet of paper in answering the exercises and tests. And
read the instructions carefully before performing each task.

If you have any questions in using this SLM or any difficulty in answering the
tasks in this module, do not hesitate to consult your teacher or facilitator.

Thank you.

II CO_Q3_Music9_Module7
 What I Need to Know

This module was designed and written with you in mind. It is here that you
will be assisted in learning about Improvising Appropriate Accompaniment to
Selected Music from Romantic Period. The scope of this module permits it to be used
in many different learning situations. The language used recognizes the diverse
vocabulary level of learners. The lessons are arranged to follow the standard
sequence of the course. However, the order in which you read them can be changed
to correspond with the textbook you are now using.

This module contains:

• Module 7 – Improvises Appropriate Accompaniment to Selected Music from

Romantic Period

After going through this module, you are able to:

Improvise appropriate accompaniment to selected music from Romantic

Period (MU9RO-IIIc-h-8)

1 CO_Q3_Music9_Module7
 What I Know

Directions: Choose the letter of the correct answer. Write your answer on a separate
sheet of paper.

1. A period described by musicians, composers and researchers around the world

as a cultural movement that stressed emotion, imagination, individualism and
freedom of expression.
A. Medieval Period
B. Classical Period
C. Renaissance Period
D. Romantic Period

2. Which of the following composers is NOT from the Romantic period?

A. Tchaikovsky
B. Brahms
C. Haydn
D. Chopin
E. Liszt

3. Which of the following DOES NOT belong to music of the Romantic period?
A. Programmatic
B. Symphonic Poem
C. Sonata
D. Opera
E. Organum

4. Which of the following instruments is NOT used to provide HARMONIC

accompaniment?
A. Trumpet
B. Piano
C. Guitar
D. Organ
E. Harp

5. The following are ensembles and instrumental combinations that are commonly
used during the Romantic period EXCEPT
A. Orchestra
B. String Ensemble
C. Brass Quintet
D. Harpsichord
E. Piano trio

2 CO_Q3_Music9_Module7
6 – 10 Matching Type.
Draw a line to match the group of composers to their
compositions.

6.Camille Saint Saens A. William Tell Overture

7. Gioachino Rosinni B. Carnival of the Animals

8. Giuseppe Verdi
C. Aida

9. Peter Ilych Tchaikovsky

D. Funeral March

10. Frederic Chopin

E. Swan Lake

3 CO_Q3_Music9_Module7
 Lesson Improvises Appropriate

1 Accompaniment to Selected
Music from Romantic Period

What’s In

Before we proceed to the main lesson, let us review what are the
characteristics of music from the Romantic period.

The table below summarizes some of the most important features of

Romantic music.

Musical Historical and

Principles and Prominent Composers Philosophical
Features Background
More explorations Johannes Brahms An era of many
in Harmony Franz Liszt revolutions
(Chromaticism)
Frederic Chopin
More developed Peter Ilyich Development of
Romantic instruments Tchaikovsky various materials
Music (louder). (including musical
Camille Saint Saens
Advancements in instruments) due
Giusseppe Verdi
the mechanisms of to the Industrial
musical Gioachinno Rossini Revolution
instruments. Giacomo Puccini
Innovations in Ideals of “breaking
Form (Symphonic away” from
Poem/Tone Poem) conventions and
structures

4 CO_Q3_Music9_Module7
 What’s New

Activity 1. Critical Listening and Analysis:

This melody is a composition from the Romantic Period. Search and click on
the link provided below and listen to the musical excerpt of Beethoven’s 9th
Symphony Theme. https://youtu.be/qSdYe0fG4Ug

From what you have heard, describe the melody in terms of:

Check the boxes to answer the questions.

1. Direction

1.1. Is it ascending or descending? ASCENDING DESCENDING

1.2. Does it use stepwise movements? YES NO

1.3. Do you hear far leaps? YES NO

2. Feel or character

2.1. Is it a calm melody? YES NO

2.2. Is it full of movement and activity? YES NO

2.3. Does it sound heavy? YES NO

2.4. Is it an active or a passive melody? YES NO

3. Dynamics and Texture

3.1. Is it a grand melody? YES NO

3.2. Is it light? YES NO

3.3. How do you think it should be played? Loud soft

4. Think of an instrument that you think would be best suited to play the melody
that you are describing. What instrument can you include or use?

Now imagine another instrument that you think is best suited to PLAY ALONG
with the melody and the instrument that you have just described. Think and listen
to where are the accents and stresses of the melody so that you can play along with
it. Listen to the musical excerpt of Beethoven’s 9th Symphony Theme with
countermelody to this link; https://www.youtube.com/watch?v=z1zKmam1uXw
and try to PLAY ALONG with the instrument you think you can use.

5 CO_Q3_Music9_Module7
 What is It

The most distinct feature of a musical composition is its theme or motif.

Themes and motifs are melodies that serve as identity of a musical piece. As listeners,
we are able to recognize a tune and identify its title and sometimes even other aspects
associated with that piece of music. Because of this distinctiveness, after listening to
a melody several times, we are capable of humming or singing back the tune of a
motif or theme played by any instrument.

Accompaniment, on the other hand, is not just another musical flavor beneath
the motif or theme. Musical accompaniments consist of everything else that is
happening around the melody or theme. It is not just a secondary musical material
that supports the main theme of motif, it is the entire musical environment
surrounding the melody.

Musical accompaniments can be complimentary or in contrast with the main

theme or motif. That means a light and calm theme can have a rhythmic and moving
accompaniment; a plain and simple motif can have a grand and elaborate
accompaniment; and a high and loud melody can have a low and soft
accompaniment.

Link to the Chopin Funeral March:

https://www.youtube.com/watch?v=055mxGLmjso

Activity 2. Listen and Create

1. Listen to this excerpt of a composition from the Romantic period.
2. Describe the characteristics of the melody.
3. Identify an instrument that you think is best suited to play the theme.
4. Identify another instrument that you think is best suited to play along
with the melody.
5. Imagine other sounds such as chords, rhythmic patterns, or even body
percussion (clap, tap, snap, etc) that can be played along with the melody.

Guide Questions
1. Can you play the sounds that you imagined using any musical
instrument?
2. Can you play the sounds that you imagined using any other object?

6 CO_Q3_Music9_Module7
 Improvisation is a creative approach used to treat a musical material. A
melody for example can be used for improvisation in many ways. You can use
fragmentation – using a portion or segment of a given melody and combine it with
other notes. You can also use and consider the melodic direction by creating
something that moves either in parallel with or in contrast with the melody. But
improvisation does not only apply to melody. It can also be applied to any musical
element such as harmony (explore and play with chords), rhythm (play with
patterns), dynamics (play with volume), timbre (play with different types of sound).
Any, or any combinations of these improvisations on the different elements can form
sounds that will surround a given theme or motif.

Activity 3. Listen to these excerpts of compositions from the Romantic period.

Describe how the melodies/themes were accompanied.

Ludwig van Beethoven

Symphony No.9
https://www.youtube.com/watch?v=aLyFNJ4txg8

Frederic Chopin
Funeral March with Counter
https://www.youtube.com/watch?v=jUQmK_nyyZk

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CO_Q4_Music8_Module3
 What’s More

Accompaniments are not limited to chords or simultaneous pitches played by

a group of instruments. A melody – which can either be similar or totally different
may function as accompaniment to the main theme/motif. This is called a
countermelody.

In many compositions from the Romantic period, there are secondary themes
following the main theme. These themes are usually developed in a variety of creative
ways that adds to the complexity of a musical composition.

Another usual tool among musical accompaniments is the Ostinato. It is a

repetitive pattern that can either be melodic or rhythmic. In modern examples, the
“Cup Song” is an example of music with ostinato. Whereas the singer performs the
main theme or the melody, the patterns played by using the cups provide the ostinato
– this is called a rhythmic ostinato. Another example of ostinato in modern reference
is the song “into the Unknown” from Frozen 2. The short motif of the mysterious and
howling voice that appears at different segments of the song is what we call a melodic
ostinato.

Repetitive and looped accompaniments like these are also common in rap music
wherein the melody that is sung in between the rap verses continues to play at the
background and serves as accompaniment to the spoken parts of the rap.

Activity 4. Let’s Get Ready to Improvise

This is an excerpt from Brahms’ Hungarian Dance No. 5.

https://www.youtube.com/watch?v=yrTIY2PSXBk

Listen to the melody several times and improvise an accompaniment that you
think is appropriate to the character of the theme.

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CO_Q4_Music8_Module3
 What I Have Learned

Activity 5. My Reflection
Directions: Answer the following guide questions to make a reflective essay.
1. Which of the activities I like the most and why?
______________________________________________________________
______________________________________________________________
2. What values have I developed in doing the above activities?
_______________________________________________________________
_______________________________________________________________
3. What other experiences from daily life can I compare in learning about
improvisation?
_______________________________________________________________
_______________________________________________________________

RUBRICS for the Reflection

Above Below
Meets Expectations
CATEGORY Expectations Expectations
5 points
10 points 0 points
The learner explains The learner explains The learner did
Reflective well about what he a bit about what he not explain about
Thinking has learned has learned what he has
learned
The learner writes The learner attempts The reflection does
how he appreciate to write an not show
his learning about appreciation of his appreciation and
the topic and value learning and not value of his
Analysis this experience and clearly showing how learning
shows appreciation he value this experience
of the importance of experience
learning this
module in real-life
The learner writes The learner attempts The learner did
clearly his to write some of his not write about
connections connections between his connections to
between this this learning other learning
Making learning experience experience and experiences
Connections and content from content from other
other topic, past topic, past learning,
learning, life life experiences
experiences and/or and/or future goals.
future goals.

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CO_Q4_Music8_Module3
 What I Can Do

Activity 6. Let’s Take it up a Notch

Here is an excerpt of Verdi’s Triumphal March from the Opera Aida.

https://www.youtube.com/watch?v=gvaLxIBemm4

Listen to the music several times to ensure that you are familiar with the
direction and structure of the theme/motif.

Re-create an appropriate accompaniment to the melody. For your choice of

accompaniment, you may choose any of the following:

A. Rhythmic Accompaniment

B. Body Percussion

C. Countermelody

D. Chordal Accompaniment

For those of you who can play keyboard, guitar, or ukulele, you may use
your instrument for your accompaniment.

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CO_Q4_Music8_Module3
 Assessment

Directions: Choose the letter of the correct answer. Write your answer on a separate
sheet of paper.

1. A period described by musicians, composers and researchers around the world

as a cultural movement that stressed emotion, imagination, individualism and
freedom of expression.
A. Medieval Period
B. Classical Period
C. Renaissance Period
D. Romantic Period

2. Which of the following composers is NOT from the Romantic period?

A. Tchaikovsky
B. Brahms
C. Haydn
D. Chopin
E. Liszt

3. Which of the following DOES NOT belong to music of the Romantic period?
A. Programmatic
B. Symphonic Poem
C. Sonata
D. Opera
E. Organum

4. Which of the following instruments is NOT used to provide HARMONIC

accompaniment?
F. Trumpet
G. Piano
H. Guitar
I. Organ
J. Harp

5. The following are ensembles and instrumental combinations that are commonly
used during the Romantic period EXCEPT
A. Orchestra
B. String Ensemble
C. Brass Quintet
D. Harpsichord
E. Piano trio

11
CO_Q4_Music8_Module3
6 – 10 Matching Type.
Draw a line to match the group of composers to their
compositions.

6.Camille Saint Saens F. William Tell Overture

7. Gioachino Rosinni G. Carnival of the Animals

8. Giuseppe Verdi
H. Aida

9. Peter Ilych Tchaikovsky

I. Funeral March

10. Frederic Chopin

J. Swan Lake

12
CO_Q4_Music8_Module3
CO_Q4_Music8_Module3 13
WHAT I KNOW/
ASSESSMENT
1. D
2. C
3. E
4. A
5. D
6. B
7. A
8. C
9. E
10. D
Answer Key
References
Book:

Anida, Belinda R. et al, 2016, Music and Arts of Asia - Learners Module
pp.143-163, Pasig City: Department of Education-Bureau of Learning
Resources (DepEd-BLR)

Websites:

Wang, Luoyun. “Peking Opera Performance Sample.” YouTube, YouTube, 31

Dec. 2018, www.youtube.com/watch?v=73_9UvNX920.

Manaweblife. “Shadow Puppet Theatre / Wayang Kulit.” YouTube, 4 Mar.

2013, youtu.be/n-1JL4QLBCc.

Japanese Folk Songs. “Japanese Folk Song #9: Cherry Blossoms （さくらさ
くら/Sakura Sakura）.” YouTube, 14 Apr. 2015, youtu.be/jqpFjsMtCb0.

dbadagna. “‘Xian Di Pipa Pu’ No. 2: ‘Shui Long Yin’ 《水龙吟》.” YouTube, 26
May 2020, youtu.be/rJGUp1Od00k.

Portland Japanese Garden. “Kabuki on Stage: A Solo Performance at

Portland Japanese Garden.” YouTube, 11 Oct. 2017,
youtu.be/jVDUcFOnVKk.

Asia's Got Talent. “El Gamma's Touching Tribute To Mother Nature: Asia's
Got Talent Grand Final 1.” YouTube, 7 May 2015, youtu.be/1ReuOnKSi0s.

14
CO_Q4_Music8_Module3
For inquiries or feedback, please write or call:

Department of Education - Bureau of Learning Resources (DepEd-BLR)

Ground Floor, Bonifacio Bldg., DepEd Complex
Meralco Avenue, Pasig City, Philippines 1600
Telefax: (632) 8634-1072; 8634-1054; 8631-4985
Email Address: blr.lrqad@deped.gov.ph * blr.lrpd@deped.gov.ph

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