MAPEH (MUSIC)

ENGLISH
GRADE 9

Key Stage 3 SLM

1 PIVOT 4A CALABARZON Music G9

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PIVOT 4A CALABARZON Music G9

PIVOT 4A Learner’s Material
Quarter 3
First Edition, 2021

MAPEH
(Music)
Grade 9

Job S. Zape, Jr.

PIVOT 4A SLMs Development Lead
Argie A. Concha
Content Creator & Writer

Anavy L. Cellona
Internal Reviewer & Editor

Fe M. Ong-Ongowan & Mark Razul G. Real

Layout Artist & Illustrator

Jeweel L. Cabriga & Melanie Mae N. Moreno

Graphic Artist & Cover Designer

Published by: Department of Education Region IV-A CALABARZON

Regional Director: Francis Cesar B. Bringas
PIVOT 4A CALABARZON Music G9
 Guide in Using PIVOT 4A Learner’s Material

For the Parents/Guardians

This module aims to assist you, dear parents, guardians, or siblings

of the learners, to understand how the materials and activities are used in
the new normal. It is designed to provide information, activities, and new
learning that learners need to work on.
Activities presented in this module are based on the Most
Essential Learning Competencies (MELCs) in MAPEH (Music) as
prescribed by the Department of Education.
Further, this learning resource hopes to engage the learners in
guided and independent learning activities at their own pace. Furthermore,
this also aims to help learners acquire the essential 21st century skills
while taking into consideration their needs and circumstances.
You are expected to assist the children in the tasks and ensure the
learner’s mastery of the subject matter. Be reminded that learners have to
answer all the activities in their own notebook.

For the Learners

The module is designed to suit your needs and interests using the
IDEA instructional process. This will help you attain the prescribed
grade-level knowledge, skills, attitude, and values at your own pace outside
the normal classroom setting.
The module is composed of different types of activities that are
arranged according to graduated levels of difficulty—from simple to
complex. You are expected to :
a. answer all activities in your notebook;
b. accomplish the PIVOT Assessment Card for Learners on page
38 by providing the appropriate symbols that correspond to your
personal assessment of your performance; and
c. submit the outputs to your respective teachers on the time
and date agreed upon.

PIVOT 4A CALABARZON Music G9

 Parts of PIVOT 4A Learner’s Material
K to 12 Learning
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Delivery Process

This part presents the MELC/s and the desired

Introduction

What I need to know learning outcomes for the day or week, purpose of
the lesson, core content and relevant samples.
This maximizes awareness of his/her own
knowledge as regards content and skills required
What is new
for the lesson.

This part presents activities, tasks and contents

What I know of value and interest to learner. This exposes
Development

him/her on what he/she knew, what he/she does

not know and what he/she wants to know and
What is in
learn. Most of the activities and tasks simply and
directly revolve around the concepts of
What is it developing mastery of the target skills or MELC/s.

In this part, the learner engages in various tasks

and opportunities in building his/her knowledge,
What is more
skills and attitude/values (KSAVs) to
meaningfully connect his/her concepts after
Engagement

doing the tasks in the D part. This also exposes

him/her to real life situations/tasks that shall:
What I can do ignite his/ her interests to meet the expectation;
make his/her performance satisfactory; and/or
produce a product or performance which will help
him/her fully understand the target skills and
What else I can do
concepts .
This part brings the learner to a process where
he/she shall demonstrate ideas, interpretation,
What I have learned
mindset or values and create pieces of
Assimilation

information that will form part of his/her

knowledge in reflecting, relating or using them
effectively in any situation or context. Also, this
What I can achieve part encourages him/her in creating conceptual
structures giving him/her the avenue to integrate
new and old learnings.
This module is a guide and a resource of information in understanding the
Most Essential Learning Competencies (MELCs). Understanding the target
contents and skills can be further enriched thru the K to 12 Learning Materials
and other supplementary materials such as Worktexts and Textbooks provided by
schools and/or Schools Division Offices, and through other learning delivery
modalities, including radio-based instruction (RBI) and TV-based instruction
(TVI).
WEEK
1 Characteristics of Music of the Romantic Period
Lesson

I
This lesson is designed to equip you with knowledge on the
instrumental music of the Romantic Period. Also, you will discover how
composers during this period employed the musical elements in their
music.
At the end of the lesson, you are expected to describe the musical
elements used in different music pieces during Romantic period.

D
Learning Task 1: Match Column A with Column B. Write only the letter
before each number.

Column A Column B
_____ 1. Tone color A. Articulation
_____ 2. Structure of the music B. Dynamics
_____ 3. Rate of speed of music C. Form
_____ 4. Intensity of the music D. Harmony
_____ 5. Tune of the music E. Melody
_____ 6. Manner by which music is performed F. Modulation
_____ 7. Change of key G. Rhythm
_____ 8. Sounding of chords together H. Tempo
_____ 9. Key of music I. Texture
_____10. Layers of sound heard J. Timbre
K. Tonality

PIVOT 4A CALABARZON Music G9 6

Learning Task 2: Read the following content on the characteristics of
music during Romantic Period.

Characteristics of Music During Romantic Period

Romantic Period in music covers from 1820 up to 1900, but aspects
of Romanticism emerged even before 1800 and continued in the 20th
century. It was during the 19th century when people were offered formal
education in music through conservatories. This led to the emergence of
musicology, i.e., the systematized study of the science, history, forms, and
methods of music. During this period, music became more expressive and
emotional. Here are some of the characteristics of Romantic period and its
music:

• Composers during the Romantic Period were no longer dependent on the

support and sponsorship of the church and the aristocrats, but were
supported by the middle class, a considerably large audience.
• People admired virtuosic display of skills and techniques when
performing.
• Opera, piano compositions, solo songs with piano accompaniment, and
orchestral works were more preferred by the public.
• Romantic music was greatly influenced by nationalism.
• Romantic composers loved creating music that would shout their
identity or personality.

Specifically, here are some of the developments of compositional

styles during this period as far as musical elements are concerned.

Timbre
In order to achieve a variety of mood, Romantic composers used a
richer, denser sound in their orchestral music. They added more players in
the orchestra. As a result, public concert halls needed to increase in size to
accommodate a full orchestra during this period.

Tonality
Basically, the compositions during the 19th century were tonal.
However, this tonality was often clouded by modulations or the changes of
key within the composition. Keys became remotely related to the key
signature.

Texture
The Romantic era was just an exaggerated extension of the Baroque
and Classical periods. Similar elegance and weight in music can be
observed in compositions during this era that showed consistency in
musical texture.

7 PIVOT 4A CALABARZON Music G9

Melody
The use of chromaticism and irregular phrases in longer lyrical
melodies separates Romantic music from other music eras. Melodies were
characterized by warmth and expressiveness implying uniqueness and
character.

Dynamics
Romantic composers expanded the possibilities of the
expressiveness of their music by using wider range of intensity levels. As
opposed to the use of fortissimo (very loud) and pianissimo (very soft) of
the Classical music, Romantic music used extremes like fortississimo
(louder than fortissimo) and pianississimo (softer than pianissimo).
Gradual increase in volume (crescendo) and gradual decrease in volume
(diminuendo) were frequently used.

Tempo and Articulation

Freedom was also implied in musical compositions during the
Romantic period using expressive marks and harmonic ornamentation.
Rubato (slightly speeding up and slowing down of tempo) was
greatly utilized during this era resulting in a more intense color of the
music. Additional expressive markings along with tempo were also
employed in every musical form such as:

con fuoco (with fire) cantabile (in a singing manner)

con amore (with love, tenderly) con passion (with passion)
dolce (sweetly) dolente (weeping)
maestoso (majestically)

Harmony
Romantic composers used new ways of creating harmony to achieve
heightened emotional expressiveness. In order to produce an effect of
action or tension, they used dissonances and complex harmonies. Notes
were added to construct new chords and progressions. There was a
frequent use of seventh and ninth chords. Chromaticism and modulation
played important roles during this era.

PIVOT 4A CALABARZON Music G9 8

Form

Conventional formal patterns were largely avoided in the Romantic

era. Short motives were not utilized but Wagner’s leitmotif style was an
exception during this era. Single and multi-movement musical forms
denoted new musical styles and characteristics.

E
Learning Task 3: Classify the following terms of music according to their
elements.
____________________ 1. TIME SIGNATURE
____________________ 2. PITCH
____________________ 3. HOMOPHONIC
____________________ 4. TERNARY
____________________ 5. ARPEGGIO
____________________ 6. FORTISSISSIMO
____________________ 7. ACCELERANDO
____________________ 8. CON FUOCO
____________________ 9. SONATA ALLEGRO
____________________10. MAESTOSO

Learning Task 4: (Optional) Scan the QR code below to watch

representative music from the Romantic era and describe at least two
musical elements present on it. Write your answers in your journal.

Lizst’s Libestraum No. 3

9 PIVOT 4A CALABARZON Music G9

Learning Task 5: Complete the following graphic organizer. Describe the following
elements of music as used by Romantic composers.

A
Learning Task 6: Answer the following questions in your journal.

1. How would you show your individualism in your music?

2. If you were a Romantic composer, how would you show nationalism in
your compositions?

Learning Task 7: Complete the following open-ended questions. Write your

answer in your reflection journal.
1. I learned that the musical elements during Romantic Period __________________
______________________________________________________________________________ .
2. I (liked / disliked) ____________________________ because ______________________
______________________________________________________________________________.
3. I realized that individualism and virtuosity ___________________________________
______________________________________________________________________________ .
4. I will use my learning to ____________________________________________________
_____________________________________________________________________________ .

PIVOT 4A CALABARZON Music G9 10

 WEEK
Performance Practice of the Romantic Period 2
Lesson

I
This lesson is designed to give you information on the performance
practice of Romantic Period. The performance practice includes the time,
place, and events of the period; manner of creating music;
characteristics or functions of composers or performers; and
characteristics of patrons and recipients of music.
At the end of the lesson, you are expected to identify and explain
the performance practice of Romantic period.

D
Learning Task 1: Read each statement carefully. Write TRUE if the
statement is correct and FALSE if it conveys wrong information.
__________ 1. Patronage system was no longer practiced during The Romantic
period.
__________ 2. Faith greatly influenced the music of the Romantic period.

__________ 3. Aspects of Romanticism manifested even before the Romantic

period and continued in the 20th century.

__________ 4. Musical compositions during Romantic period were basically

atonal with the frequent use of modulations.

__________ 5. The gradual decrease in the rate of speed of music is called

ritardando.

__________ 6. The gradual increase of the musical intensity is called

diminuendo.

__________ 7. Romantic composers relied much on the sponsorship of the

Catholic church.

__________ 8. Duplicating the works of other composers was one way of hiding
the personalities of musicians during the Romantic era.
__________ 9. From the formal restraint of the Classical Period, Romantic
composers explored a wide range of possibilities in music composition.
__________10. Formal music education was offered during the Romantic era.

11 PIVOT 4A CALABARZON Music G9

Learning Task 2: Read the following content on the performance practice during
Romantic Period.

The Romantic Composers and the Public

During the earlier periods, a big part of a musician’s job was to

compose music for specific personalities and occasions which is called the
patronage system. This practice was changed radically during the
Romantic period. Musicians started composing music according to their
own moods or styles without any commissions from the church or
aristocrats.
1. Ludwig Van Beethoven (German, 1770 -1827)
(LUD-vihg vahn Bay-toe-vuhn) is considered as a
transitional composer whose works were considered
part of the Classical period but had greatly helped
develop the styles of music during the Romantic
period.

2. Frederic Francois Chopin (Polish, 1810-

1849) (FRED rik FRAN shwa SHO pan)
Hailed as “Poet of the Piano” because of how his
music reflected his overflowing emotions. He was
born in Zelazowa Wola in Poland on March 1,
1810, and the second child and only son of Nicolas
Chopin and Justyna Krzyżanowska. His first
professional musical training was with Wojciech
Żywny from 1816 to 1821. He composed two
polonaises, in G minor and B-flat major, at age 7. Here are some of his
compositions:
• Nocturne in E-flat Major, Op. 9, No. 2
• Étude in C Minor, Op. 10, No. 12 (Revolutionary)
• Polonaise in A-flat Major, Op. 53 (Military)
• Prelude in D-flat Major, Op. 28, No. 15 (Raindrop)
3. Pyotr Ilyich Tchaikovsky (Russian, 1840–
1893) (PYO tr il YICH chy KAWFS ki) was born in a
small town of Votkinsk in Russia on May 7, 1840. At
age 6, he learned to speak French and German
fluently. His music is more diverse compared to the
Russian Five whose music was characterized by
Russian musical identity. Tchaikovsky’s music is
ranging from pain to joy usually evolving to
emotionality.

PIVOT 4A CALABARZON Music G9 12

Some of Tchaikovsky’s famous compositions were:

• Romeo and Juliet Overture (1869); • Symphony No. 6

• Overture and Marche Slave (1812); “Pathétique” (1893);
• Symphony No. 4 (1877); • The Nutcracker (1892);
• Symphony No. 5 (1888); • Swan Lake (1876);
• The Sleeping Beauty (1889);

4. Franz Liszt (Hungarian, 1811–1886) (Frants List)

A well-known piano virtuoso, Franz Liszt was born to
Anna Liszt and Adam Liszt on October 22, 1811 in
Raiding, Hungary. He studied piano in Vienna with
Carl Czerny and composition with Antonio Salieri.
After being refused of admission at the Paris
Conservatory in 1823, he studied privately. In his
performances as a piano virtuoso, he used the
following techniques and skills: chromaticism (extensive use of
nondiatonic pitches in melody and harmony), remote modulation (shifting
from one key to another), dissonances, repeated notes, fast arpeggios
(broken chords), scales played in octaves, and chords simultaneously
played by both hands
Some of his famous compositions include:
• Faust Symphony (1854);
• Dante Symphony (1856);
• Mephisto Waltz;
• Dance of Death;
• Transcendental Étude No. 10 in F Minor (1851);
• Hungarian Rhapsodies;

5. Charles-Camille Saint-Saëns (French, 1835–1921) (Karl kaMEE San

Sans) was born in Paris, France on October 9, 1835, and received formal
training in piano at age 7 from Camille-Marie Stamaty. In the late 1840s,
he studied organ and composition at the Paris Conservatory. One of his
closest friends, Liszt, regards him as the
“World’s Greatest Organist”.

Some of his compositions include:

• Piano Concerto No. 4 in C Minor
• The Carnival of the Animals
• Samson and Delilah – his most famous
opera
• Symphony No. 3 – organ symphony

13 PIVOT 4A CALABARZON Music G9

Musical Forms During Romantic Period
Program Music - is a kind of art music which is instrumental and is
associated with an idea, poem, scene, or story. It can draw forth a
particular experience in the audience other than just sitting in front of
the musicians. Program music include:
• Program Symphony - a composition for orchestra with several
movements and narrates a story or relays an idea. Examples are Don
Quixote, Romeo and Juliet, and Symphonie Fantastique (Fantastic
Symphony)
• Concert Overture - an independent single-movement composition
which is in sonata form. Examples are Mendelssohn’s Fingal’s Cave
Overture, Brahm’s Academic Festival Overture, and Tchaikovsky’s
Romeo and Juliet Overture-Fantasy.
• Symphonic Poem - also called tone poem, an orchestral composition
with a single movement. Some of the famous tone poems are Liszt’s
Les preludes, Smetana’s The Moldau, and Saint-Saens’ Danse
macabre.
• Incidental Music - an instrumental music intended to add atmosphere
to the action. Nowadays, it is known as film score or soundtrack. A
famous example is the Wedding March by Felix Mendelssohn.

Piano music
As the most important medium of instrumental Romantic music,
the piano can demonstrate progressions between loud and soft intensity
levels. Here are the kinds of Romantic compositions for the piano:
• Nocturne - a solo piano composition which has a feeling of evocative of
the night full of sentimental moods. An example is Chopin’s Nocturne
in E-flat Major, Op. 9, No. 2.
• Etude - an instrumental piano composition that contains difficulties
intended to help a performer study a particular technical aspect of
playing the instrument. Chopin’s Revolutionary Étude in C minor, Op.
10, No. 12 is an example.
• Dances - piano compositions created by Romantic composers for
stylized dances such as waltz, polonaise, mazurka, polka, and gallop.
An example is Chopin’s Polonaise in A-flat Major, Op. 53.
• Character Pieces - short piano compositions that suggest an
atmosphere or general mood. These pieces are compositions with the
titles romanza, arabesque, moment musicale, rhapsody, intermezzo,
ballade, prelude, bagatelle, or impromptu.
• Piano Sonata - a sonata for a solo piano. Liszt’s Sonata in B minor is
an example.

PIVOT 4A CALABARZON Music G9 14

 E
Learning Task 3: Unscramble the letters. The description beside it will give you
the hint.
1. _______________: GESITTN - Time, place, and circumstances of the period
2. _______________: EEUADNCI - Characteristics of patrons and recipients of
music
3. _______________: NOITISOPMOC - Manner of creating music; titles of music;
4. _______________: SRESOPMOC - Characteristics, roles, and functions of
composers
Learning Task 4: Fill in the following aspects of performance practice. Choose
from the information given on the previous pages.
SETTING
1. ____________________________________________________________________________
2. ____________________________________________________________________________

AUDIENCE
1. ____________________________________________________________________________
2. ____________________________________________________________________________

COMPOSITION
1. ____________________________________________________________________________
2. ____________________________________________________________________________
3. ____________________________________________________________________________
4. ____________________________________________________________________________

ROLE OF COMPOSERS/PERFORMERS
1. ___________________________________________________________________________
2. ____________________________________________________________________________
3. ____________________________________________________________________________
4. ____________________________________________________________________________

15 PIVOT 4A CALABARZON Music G9

Learning Task 5: Complete the table below. You may surf the internet for other
information.

• Danse Macabre – a symphonic poem

• Hélène – an opera

Chopin Saint-Saens Liszt Tchaikovsky

Full Name

Years

Nationality

Musical

Training
Compositional
Style

Notable Works

Learning Task 6: Create an acrostic about the performance practice of the

Romantic Period with the following word.

R - ___________________________________________________________________________
O - ___________________________________________________________________________
M - ___________________________________________________________________________
A - ___________________________________________________________________________
N - ___________________________________________________________________________
T - ___________________________________________________________________________
I - ____________________________________________________________________________
C - ____________________________________________________________________________

PIVOT 4A CALABARZON Music G9 16

Learning Task 7: Surf the internet for the description or definition of the following
character pieces. Write them across each item.

1. LAMENT - ________________________________________________________________
2. MOMENT MUSICALE - ____________________________________________________
3. BAGATELLE - ____________________________________________________________
4. RHAPSODY - _____________________________________________________________
5. INTERMEZZO - ___________________________________________________________
6. BALLADE - _______________________________________________________________
7. ROMANZA - ______________________________________________________________
8. PRELUDE - _______________________________________________________________
9. IMPROMPTU - ____________________________________________________________
10. ARABESQUE - ___________________________________________________________

Learning Task 8: In the space before each number, write TRUE if the statement
is correct and write FALSE if not true.
__________ 1. Individualism, nationalism, and virtuosity were the characteristics
of Romantic music.
__________ 2. The church and the aristocrats continued to be the main sponsors
of Romantic composers.

__________ 3. As Chopin was hailed as “Poet of the Piano”, Saint-Saens was

recognized by Liszt as “World’s Greatest Organist”.
__________ 4. Franz Liszt was a Hungarian composer.
__________ 5. A character piece single-movement
is a instrumental
composition which is written in sonata form.
_________ 6. Polonaise is a stately dance from Poland.
_________ 7. Danse Macabre is a symphonic poem composed by Franz
Liszt.
_________ 8. Felix Mendelssohn’s Wedding March is an example of a
program symphony.
_________ 9. Tchaikovsky is Russian, while Chopin is Polish.
_________10. An etude is an orchestral composition.

17 PIVOT 4A CALABARZON Music G9

 A
Answer the following questions. Write your answer in your reflection
journal.

1. I learned that the musical forms during Romantic period __________________

_____________________________________________________________________________
______________________________________________________________________ .

2. I realized that the performance practice of Romantic period ________________

_________________________________________________________________________________
__________________________________________________________________ .

3. If I were a part of Romantic period audience, I would ______________________

_________________________________________________________________________________
__________________________________________________________________ .

4. If I were a Romantic composer ____________________________________________

_________________________________________________________________________________
__________________________________________________________________.

PIVOT 4A CALABARZON Music G9 18

 WEEK
Romantic Music in Relation to Other Art Forms 3
Lesson

I
This lesson is designed to give you insights on the aspects of Romantic
music in relation to other forms of art and its history within the era. At the end
of the lesson, you are expected to analyze the relationship between Romantic
music and other art forms and history during this period.

Learning Task 1: WORD SEARCH.

Find the following words in the puzzle. Words are hidden horizontally,
vertically, and diagonally.

19 PIVOT 4A CALABARZON Music G9

 D
How did Romantic music relate to other art forms and history during
this era? It was during the early 19th century when writers broke away from
time-honored conventions and emphasized freedom of expression.
Romantic painters used bolder, brighter colors and preferred dynamic
motion to gracefully balanced poses. Romanticism broadened horizons and
encompassed the totality of human experience. It influenced all the arts.

According to William Wordsworth, an English Romantic poet, all good

poetry is the spontaneous overflow of human powerful feelings. In art,
emotional subjectivity was a basic characteristic of romanticism. Authors
projected their own personality in their work. Romantic literature includes
tales of horror and the supernatural.

Romanticism, as a cultural movement, influenced all forms of art,

literature, and music not only in Europe, but also in the United States and
other countries in the Western hemisphere.

• Artists’ Personal Feelings

The artists’ personal taste was a characteristic feature of this era as

seen in the extreme emotionality of their work. Theodore Gericault’s
painting “The Raft of Medusa”, for instance, portrays extreme hopelessness
and pain. This trend was also evident in music when musicians expanded
the use of valves for brass instruments in orchestras producing a richer
and denser sound, and highly emotional melodies.

• Historical Events

Romantic artists used political events to create their masterpieces.

Gericault based his “The Raft of Medusa” on the 1816 shipwreck of a
French naval vessel. In music, Beethoven composed his third symphony as
a tribute to Napoleon Bonaparte.

• Patriotism

Romantic painters used their creativity to help promote their

nationalistic sentiments for independence. Eugene Delacroix’s “Liberty
Leading the People” is an example of this revolutionary artwork. In music,
Frederic Chopin and Clara Wieck Schumann were among the Romantic era
composers who created nationalistic music by incorporating folk music and
political lyrics.

PIVOT 4A CALABARZON Music G9 20

Learning Task 2: Study the relationship of the following different masterpieces
and events during Romantic Period. How do you think history and cultural
events influenced the creation of music, arts, and literature during this era?

Dates Music Arts and Letters Historical and

Cultural Events
1820- • Franz Schubert, • Keats, Ode to a • Monroe Doctrine
1850 Erlkonig (1815) Nightingale (1819) (1823)
• Berlioz, Symphonie • Delacroix, Dante and • Revolutions in
Fantastique (1830) Virgil in Hell (1822) France, Belgium,
• Chopin, Nocturne in • Delacroix, Liberty Poland (1830)
Eb major, Op. 9, No. Leading the People • Queen Victoria
2 (1831) (1830) reigns in England
• Chopin, Etude in C • Hugo, The (1837-1901)
minor, Op.10, No. Hunchback of Notre • Revolutions in
12 (Revolutionary) Dame (1831) Europe (1848)
(1831) • Friedrich, The • Marx and Engels,
• Robert Schumann, Evening Star (1835) The Communist
Carnaval (1835) • Dickens, Oliver Twist Manifesto (1848)
• Chopin, Heroic (1837)
Polonaise in Ab • Turner, The Slave
Major, Op. 53 (1842) Ship (1840)
• Mendelssohn, Violin • Dumas, The Three
Concerto in E minor, Musketeers (1844
Op. 64 (1844) • Poe, The Raven
(1845)

1850- • Liszt, • Millet, The Gleaners • Darwin, Origin of

1900 Transcendental (1857) Species (1859)
Etude No. 10 in F • Dostoevsky, Crime • American Civil War
minor (1851) and Punishment (1861-65)
• Verdi, Rigoletto (1866) • Franco-Prussian
(1851) • Monet, Impression: War (1870)
• Clara Wieck Sunrise (1874) • Bell invents
Schumann, • Cezanne, Still Life telephone (1876)
Romance in G Minor with Apples (1877) • Spanish-American
for Violin and Piano • Tolstoy, Anna War (1898)
(1853) Karenina (1877)
• Wagner, Die • Twain, The
Walkure (1856) Adventures of
• Brahms, German Huckleberry Finn
Requiem (1868) (1884)
• Tchaikovsky, • Van Gogh, The Starry
Romeo and Juliet Night (1889)
(1870) • Munch, The Scream
• Smetana, The (1893)
Moldau (1874)
• Dvorak, Symphony
No. 9 in E minor
(1893)

21 PIVOT 4A CALABARZON Music G9

 E
Learning Task 3: Analyze the painting below by describing the characteristics of
the Romantic period present in it and how it is related to the music during this
era.

Liberty Leading the People

_______________________________________________________________________________
_______________________________________________________________________________
_______________________________________________________________________________
_______________________________________________________________________________

Learning Task 4: Using any instrumental music of the Romantic period,

choreograph a dance routine that shows the aspects of Romanticism.
Please be guided by the following criteria:

Performance Skills 30%

Creativity 30%

Rhythm/Tempo/Timing 20%

Mastery 20%

Total 100%

PIVOT 4A CALABARZON Music G9 22

Learning Task 5: Listen to Smetana’s The Moldau. You may scan the QR code to
view the video performance of an orchestra. In a separate bond paper using
available materials, create a painting that captures the characteristics of
Romanticism in Smetana’s music. Prepare a 5-sentence explanation of your work.
Write it in your notebook. Be guided by this rubric:

Creativity 30%

Originality 30%

Neatness 20%

Composition 20%

Total 100%

A
Complete the following open-ended statements. Write your answer in your
reflection journal.

1. I learned that Romantic music had something to do with other arts because
_____________________________________________________________________________
______________________________________________________________________.
2. I realized that Romantic artworks ________________________________________________
_________________________________________________________________________________.

3. I am going to apply my learning through _________________________________________

_________________________________________________________________________________.

4. I (liked, disliked) ___________________ because ____________________________________

_____________________________________________________________________________________
_____________________________________________________________________________.

23 PIVOT 4A CALABARZON Music G9

WEEKS
4-5 Improvising Accompaniment to Romantic Music
Lesson

I
This lesson is designed to guide you in creating improvisation to Romantic
music. At the end of the lesson, you are expected to enumerate the vital
developments in instrumentation during Romantic period and improvise
appropriate accompaniment to selected music from Romantic period.

D
Learning Task 1: Cross out the instrument that does not belong to the group.
Hint: Instruments in the orchestra

1. VIOLIN TIMPANI SNARE DRUM TRIANGLE

2. PICCOLO OBOE TUBA FLUTE
3. TROMBONE VIOLA TRUMPET FRENCH HORN

4. ENGLISH HORN FRENCH HORN CLARINET BASSOON

5. CYMBALS CELLO VIOLS HARP

6. FLUTE PICCOLO OBOE TUBULAR BELLS

7. CONTRABASSOON BASS TUBA TRUMPET TROMBONE

Learning Task 2: Read the text on significant developments during Romantic

Period as regards to instrumentation.

The Romantic period moved far from the elegance and measured
control of the Classical period towards increasingly larger and
sophisticated music in an effort to more fully express the great range of
human emotions. With regard to instrumentation, what are the significant
developments during Romantic period?

PIVOT 4A CALABARZON Music G9 24

 Many instrumental groups that were created during the classical
period carried through and developed during the Romantic period. For
instance, the orchestra was firmly established within the classical
period and continued to enjoy favor in the Romantic period and
onwards.
 The piano continued to be one in every of the foremost popular
instruments during Classical and Romantic periods as a solo
instrument and also in the orchestral setting of the concerto.
 Brass instruments established valve systems that brought a greater
range and technical possibilities that the natural instruments could
not provide.
 These developments paved the way for more virtuoso performers in the
Romantic era.

The following table shows a typical orchestra in the Romantic Period:

Strings Woodwinds Brass Percussion

• First violins • 2 Flutes • 4 French • 3 Timpani-

(12-16 play- • 1 Piccolo horns Bass drum
ers) • 2 Oboes • 2 Trumpets • Snare drum
• Second violins • 1 English horn • 3 Trombones • Cymbals
(12-16) • 2 Clarinets • 1 Bass tuba • Triangle
• Violas (8-12) • 1 High Eb clari- • Tubular bells
• Cellos (8-12) net • Piano
• Bass viols (6- • 1 Bass clarinet
10) • 2 Bassoons
• 1 Contrabas-
Note: Sometimes, soon
each string section
is subdivided into
two for richer tex-
ture.

• 2 Harps

25 PIVOT 4A CALABARZON Music G9

 Musical Improvisation
Musical improvisation is the creative way of music making with-
out planning or preparation. It is also known as free performance of a
musical passage. Improvisation in music involves the creative use of
available resources at hand like musical instruments and the person’s
“ear” in creating spontaneous music.
Improvisation is not a special power in music that a person may
have. It is not also a higher skill in music. Even a beginner can create
improvisation in music based on his or her basic understanding of har-
mony, scales, keys and notes, and other elements.
Even during the Romantic period performers usually improvised
pieces during their performances. Liszt, for instance, enjoyed improvis-
ing pieces based upon themes suggested by the spectators. Introductory
pieces also became popular during this era. Performers would improvise
a short piece of music to introduce a longer piece in order to establish
the key and set the mood. In spite of that, improvisation began to de-
cline as memorized performances gained popularity.

E
Learning Task 3: Listen to Chopin’s Polonaise in Ab Major, Op. 53. You
may scan the QR code for the music. Create a dance movement for the
music. Record your performance.

PIVOT 4A CALABARZON Music G9 26

Learning Task 4: Scan the QR code to watch a short video performance of
Mendelssohn’s Wedding March. Improvise harmonic accompaniment
(piano, keyboard, guitar, xylophone, or the like) or rhythmic accompani-
ment (any materials at home) to this music. Record your video perfor-
mance and submit it to your teacher.

Please be guided by this rubric:

Criteria Points

Performance Posture and Practice 10 pts.

Tone Quality/Intonation (for harmonic 10 pts.

accompaniment
Rhythm and Timing 10 pts. (melodic instrument)
20 pts. (rhythmic instrument)
Articulation and Style 10 pts.

Total 40 pts.

A
Complete the following open-ended statements in your reflection journal.
1. I learned that improvisation ________________________________________________
_____________________________________________________________________________ .
2. I still need to work on ______________________________________________________
______________________________________________________________________________
_____________________________________________________________________________ .

27 PIVOT 4A CALABARZON Music G9

WEEK
6-7 Performing Romantic Music
Lesson

I
This lesson is designed to guide you through the art of performing
selected music from Romantic period. At the end of the lesson, you are
expected to perform selected music from the Romantic period and/or
sing themes or melodic fragments of given Romantic period pieces.

Supposing you were asked to perform (dancing, singing, or playing

an instrument), how would you like to perform? In the box below, draw
your ideal performance including your audience reaction. Write a short
explanation.

My Ideal Performance

______________________________________________________________________________
______________________________________________________________________________________
______________________________________________________________________________________
______________________________________________________________________________________

PIVOT 4A CALABARZON Music G9 28

 D
Learning Task 1: Read the following text to have a better grasp on performing
Romantic music.

“The struggle is real.” When asked to perform either in front of an

audience or before a camera, some people are just confident in their abili-
ties to perform. Many, however, would take time to process this perfor-
mance requirement and would almost always experience stage fright or
performance anxiety. Some people would express a strong desire to start
performing but have not been able to find a way to get over the nervous-
ness and anxiety that goes along with performing.
To address this anxiety, one should start practicing the perfor-
mance. This is because songs, for instance, need to be polished. Memori-
zation can be of great help as it gives confidence. A physical exercise
would also help in preparing the body. Lastly, trying to convince oneself
that he/she is not nervous does not help at all. In this instance, ac-
ceptance is key. Instead, try different breathing exercises.

Music Performances
When it comes to musical performances, singing would most proba-
bly be the oldest musical activity. Music has long been used to express
sentiments. Human emotions may be manifested in songs. Songs emanate
from the heart, allowing the sincerest emotions to surface.
Aside from singing, there are other music processes and ways of re-
sponding to music. Creating music includes active listening, imitating,
improvising, composing, arranging, conducting, singing, playing, compar-
ing and contrasting, refining, interpreting, recording and notating, re-
hearsing, presenting and performing. Responding to music entails a per-
son in listening to, enjoying, reflecting on, analyzing, appreciating and
evaluating his or her own and others’ musical works.

You may want to scan these QR codes for additional information.

Guitar Chords Piano Chords

29 PIVOT 4A CALABARZON Music G9

 E
Learning Task 2: Write a song about the life and works of any of the Ro-
mantic period composers to the tune of their own music. Use one of their
themes. You may want to refer to the list of notable works in Lesson 2.
Record your own singing performance. Submit it to your teacher. Be guid-
ed by this rubric.

Criteria Points
Purpose (topic, title) 20 pts.
Lyrics (composer’s life, words, phrases) 20 pts.
Verse and Chorus Requirement 20 pts.
Melody (use of composer’s theme) 20 pts.
Performance 20 pts.
TOTAL 100 pts.

Learning Task 3: With your knowledge on chords, perform the following

excerpt from Chopin’s Nocturne in E-flat Major, Op. 9 no. 2. You may scan
the QR code on the left to listen to this Romantic music.

Option: You may also use other instrument of your choice. For those who have diffi-
culty learning harmonic instruments, you may opt to use materials for rhythmic ac-
companiment.

PIVOT 4A CALABARZON Music G9 30

Learning Task 4: Scan the QR codes below to view the video performanc-
es of two young performers of La Campanella. One is on piano, and the
other is on violin. Compare and contrast the two performances using the
Venn diagram.

La Campanella, piano
Age: 10

La Campanella, violin
Age: 10

La Campanella, La Campanella,
piano similarities violin

Age: 10 Age: 10

31 PIVOT 4A CALABARZON Music G9

Learning Task 6: Based on your previous performances (Learning Tasks
4 and 5), answer the following open-ended questions.

1. I am good at ________________________________________________________
_____________________________________________________________________
____________________________________________________________________.
2. I still need to work on _______________________________________________
_____________________________________________________________________
____________________________________________________________________.

A
Complete the following questions. Write your answer in your reflec-
tion journal.

1. The best part about performing is ___________________________________

____________________________________________________________________.

2. I learned that performing Romantic music ___________________________

________________________________________________________________________
_________________________________________________________________.

3. I realized that in order to perform Romantic music ___________________

________________________________________________________________________
_________________________________________________________________.

PIVOT 4A CALABARZON Music G9 32

 WEEK

Evaluating Music Performances 8

Lesson

I
This lesson is designed to guide you in judging music and music
performances. At the end of the lesson, you are expected to create your
own bases of evaluation for different music and music performances, and
evaluate music and music performances using guided rubrics.

D
Learning Task 1: Study the situation below. Answer the given questions.
Clint, your classmate, is asked to perform by your music teacher. Your
teacher requires him to create a song and perform it on stage. Clint is hav-
ing a hard time because he is a shy student. He also has difficulty with the
Filipino language because he is from Antique, a Visayan province. What
would you do to help him? What advice would you give him?
_______________________________________________________________________________
_______________________________________________________________________________
_______________________________________________________________________________
_______________________________________________________________________________
_______________________________________________________________________________

Learning Task 2: Read the text with understanding.

It has been mentioned in your previous lesson that responding to

music is one of the processes that a student like you should experience.
One of the ways by which you can respond to music is evaluating your own
performance and others as well. But what makes a good performance in
music?
When a musical performance is to be assessed, it is very helpful to
use rubrics. As a tool to measure a musical performance, a rubric is a set
of scoring criteria. Rubrics are most useful as a means to provide
information about the performer’s strengths and weaknesses in relation to
the purpose of the performance.

33 PIVOT 4A CALABARZON Music G9

How to Create Your Rubrics
Ask the following questions:
1. What is the purpose of assessing the performance?
2. What is the task to be completed?
3. What components of the activity that you want to see?
4. Can you identify at least four levels of mastery or skill for each
component? (needs improvement, work in progress, decent, or high quality)
5. What are the standard for each level of mastery or skill?
6. How many points will you assign for each level?
7. How many points that a performer can get in all?

E
Learning Task 3: In the box below, create your own flow chart that describes or
explains what a successful performance requires. Below is an example of a
simple flow chart.

PIVOT 4A CALABARZON Music G9 34

Learning Task 4: Create your own rubrics/basis of evaluation for the following
music and music performances. Have a brief explanation for each criterion.
Please refer to previous pages for examples of rubrics.
A. Singing Performance

B. Dance Performance

C. Playing a Musical Instrument

D. Song writing

35 PIVOT 4A CALABARZON Music G9

Learning Task 5: Create an acrostic about evaluation of music and music
performances with the following word.

P - ____________________________________________________________________________
E - ____________________________________________________________________________
R - ____________________________________________________________________________
F - ____________________________________________________________________________
O - ____________________________________________________________________________
R - ____________________________________________________________________________
M - ___________________________________________________________________________
A - ____________________________________________________________________________
N - ____________________________________________________________________________
C - ____________________________________________________________________________
E - ____________________________________________________________________________

A
Complete the following open-ended statements. Write your answer in your
reflection journal.

1. Today, I learned that evaluating music performances ________________________

____________________________________________________________________________
___________________________________________________________________________.
2. I am happy because ________________________________________________________
___________________________________________________________________________
___________________________________________________________________________.
3. I realized that what I need ___________________________________________________
_______________________________________________________________________________
______________________________________________________________________________.

PIVOT 4A CALABARZON Music G9 36

PIVOT 4A CALABARZON Music G9 37
7. CONTRABASSOON
6. TUBULAR BELLS
5. CYMBALS
4. FRENCH HORN
3. VIOLA
2. FLUTE
1. VIOLIN
Learning Task 1
WEEKS 4-5 WEEK 3
Learning Task 8
1. TRUE
2. FALSE
3. TRUE
4. TRUE
5. FALSE
6. TRUE Learning Task 1
Learning Task 1 Learning Task 3
7. FALSE 1. J
1. TRUE 1. Rhythm
8. FALSE 2. C
2. FALSE 2. Melody
9. TRUE 3. H
3. TRUE 3. Texture
10. FALSE 4. B
4. FALSE 4. Form
5. Harmony 5. E
5. TRUE
Learning Task 3 6. Dynamics 6. A
6. FALSE
1. SETTING 7. Tempo 7. F
7. FALSE
2. AUDIENCE 8. Articulation 8. D
8. FALSE
3. COMPOSITION 9. Form 9. K
9. TRUE
4. COMPOSERS 10. Articulation 10. I
10. TRUE
WEEK 2 WEEK 1
Answer Key
 Personal Assessment on Learner’s Level of Performance

Using the symbols below, choose one which best

describes your experience in working on each given task.
Draw it in the column for Level of Performance (LP). Be
guided by the descriptions below.

- I was able to do/perform the task without any difficulty. The task
helped me in understanding the target content/lesson.
- I was able to do/perform the task. It was quite challenging but it still
helped me in understanding the target content/lesson.
- I was not able to do/perform the task. It was extremely difficult. I need
additional enrichment activities to be able to do/perform this task.

Distribution of Learning Tasks Per Week for Quarter 3

Week 1 LP Week 2 LP Week 3 LP Week 4 LP
Learning Task 1 Learning Task 1 Learning Task 1 Learning Task 1

Learning Task 2 Learning Task 2 Learning Task 2 Learning Task 2

Learning Task 3 Learning Task 3 Learning Task 3 Learning Task 3
Learning Task 4 Learning Task 4 Learning Task 4 Learning Task 4

Learning Task 5 Learning Task 5 Learning Task 5 Learning Task 5

Learning Task 6 Learning Task 6 Learning Task 6 Learning Task 6

Learning Task 7 Learning Task 7 Learning Task 7 Learning Task 7
Learning Task 8 Learning Task 8 Learning Task 8 Learning Task 8

Week 5 LP Week 6 LP Week 7 LP Week 8 LP

Learning Task 1 Learning Task 1 Learning Task 1 Learning Task 1

Learning Task 2 Learning Task 2 Learning Task 2 Learning Task 2

Learning Task 3 Learning Task 3 Learning Task 3 Learning Task 3

Learning Task 4 Learning Task 4 Learning Task 4 Learning Task 4

Learning Task 5 Learning Task 5 Learning Task 5 Learning Task 5
Learning Task 6 Learning Task 6 Learning Task 6 Learning Task 6
Learning Task 7 Learning Task 7 Learning Task 7 Learning Task 7
Learning Task 8 Learning Task 8 Learning Task 8 Learning Task 8

Note: If the lesson is designed for two or more weeks as shown in the eartag, just copy your
personal evaluation indicated in the first Level of Performance found in the second column
up to the succeeding columns, ie. if the lesson is designed for weeks 4-6, just copy your
personal evaluation indicated in the LP column for week 4, week 5 and week 6. Thank you.

PIVOT 4A CALABARZON Music G9 38

 Reference

Concha, Argie A., et. al (2017). MAPEH 9 Teachers Wraparound Edition. Quezon
City, Philippines: Phoenix Publishing House, Inc.

Concha, Argie A., et.al (2017). MAPEH 9 Music, Art, Physical Education, and
Health ICT Integrated. Quezon City, Philippines: Phoenix Publishing
House, Inc.

Concha, Argie A., et.al (2019). ACES (Achieve Creative Experiences and Skills) in
MAPEH 9. Quezon City, Philippines: Sibs Publishing House, Inc.

Department of Education. (2020). K to 12 Most Essential Learning Competencies

with Corresponding CG Codes. Pasig City: Department of Education
Curriculum and Instruction Strand.

Department of Education Region 4A CALABARZON. (2020). PIVOT 4A Budget of

Work in all Learning Areas in Key Stages 1-4: Version 2.0. Cainta, Rizal:
Department of Education Region 4A CALABARZON.

39 PIVOT 4A CALABARZON Music G9

For inquiries or feedback, please write or call:

Department of Education Region 4A CALABARZON

Office Address: Gate 2, Karangalan Village, Cainta, Rizal

Landline: 02-8682-5773, locals 420/421

https://tinyurl.com/Concerns-on-PIVOT4A-SLMs