Arnie taking a break after an exhausting jam.
Jam in San Jose. You rock dude!
Monday, December 29, 2008
JAMSHUTS ON CHRISTMAS TOUR
Arnie taking a break after an exhausting jam.Jam in San Jose. You rock dude!
Wednesday, December 17, 2008
manalongon jamming
Pictures taken inside the bus during the Jamshuts concert tour first stop Manalongon. December 17, 2008.
Monday, December 15, 2008
exam educ 25 POINTERS
1. STROPHIC FORM
2. THROUGH-COMPOSED
3. PARTNER SONG
4. HETEROPHONIC
5. HOMOPHONIC
6. MONOPHONIC
7. ROUND SONG
8. CANON
9. OSTINATO
10. DESCANT
SONGS SAMPLES: RIDE, OLD FOLKS AT HOME, USAHAY, LUPET, LUPANG HINIRANG, LERON-LERON SINTA/PAMULINAWEN, CHUA-AY, CANON, SEEK YE FIRST, AND ZUM GALI.
2. THROUGH-COMPOSED
3. PARTNER SONG
4. HETEROPHONIC
5. HOMOPHONIC
6. MONOPHONIC
7. ROUND SONG
8. CANON
9. OSTINATO
10. DESCANT
SONGS SAMPLES: RIDE, OLD FOLKS AT HOME, USAHAY, LUPET, LUPANG HINIRANG, LERON-LERON SINTA/PAMULINAWEN, CHUA-AY, CANON, SEEK YE FIRST, AND ZUM GALI.
Monday, December 8, 2008
grades educ 25
sweety baby---84(2.25)
Pooh Girl------77.17(3.0)
Jvrt-----------78.5(2.75)
Bay-----------73.5(5.0)
CITY---------97.17(1.25)
flip-----------80.67(2.75)
Zildjian------86.67(2.25)
ICE COLD---74.17(5.0)
Pooh Girl------77.17(3.0)
Jvrt-----------78.5(2.75)
Bay-----------73.5(5.0)
CITY---------97.17(1.25)
flip-----------80.67(2.75)
Zildjian------86.67(2.25)
ICE COLD---74.17(5.0)
Sunday, December 7, 2008
MUSIC SEMINAR WORKSHOP
Music trainers with ma'am Farida Moreno, Music supervisor. Mr. Alan Bana, Ms. Blanche Banot, Mr. Michael Villanueva, and the man himself Mr. Arnold N. Munez.
Thursday, December 4, 2008
Wednesday, December 3, 2008
How to Write The Vocal Melody for Music
You have a beautiful accompaniment and maybe you have words. So how do you go about creating a tuneful vocal part that pulls it all together?
'
[edit] Steps
Figure out the key of the accompaniment by singing a scale that goes with the chord. Look in the music book for the ending note of the accompaniment in the bass (the lowest note), that will usually be the key you are in.
Sing or play that scale to yourself. Do,Re,Mi,Fa,Sol,La,Ti,Do. If you have trouble with this step, get someone to sing a scale over the piece of music for you. The scale that the piece of music is written in tells you what notes may be included in your vocal melody. These are the notes you will use to create your vocal melody.
Sing or play the scale over the piece of music. Notice that some of the notes fit certain places better than others. Remember what you like and where. This is the beginning of your melody.
Listen for parts that sound nice to you-- where the notes you are choosing sound good with the piece of music. Record these places (or write them down if you read music).
Tackle decreasingly smaller portions of the piece of music, until you have a general outline of how you want the melody to go.
Note that when you have lyrics, say them over and over and decide roughly where each line should go. Fit each line of the lyric to the appropriate piece of melody. You may need to add notes (sing the same note twice or sing a note right next to the note you had in your original melody).
[edit] Tips
To fit the lyric to the music, look for the repeated portions of each. The first line of the first stanza of your lyric should fit the music the same way as the first line of the second stanza of your lyric.
Remember to write from the heart. Nothing is better than what you've been through and what is going on around you.
[edit] Warnings
Some parts of the melody (like high notes, or notes held for a long time) will draw attention to themselves. Make sure these parts are attached to words in the lyric that you wish to emphasize.
You have a beautiful accompaniment and maybe you have words. So how do you go about creating a tuneful vocal part that pulls it all together?
'
[edit] Steps
Figure out the key of the accompaniment by singing a scale that goes with the chord. Look in the music book for the ending note of the accompaniment in the bass (the lowest note), that will usually be the key you are in.
Sing or play that scale to yourself. Do,Re,Mi,Fa,Sol,La,Ti,Do. If you have trouble with this step, get someone to sing a scale over the piece of music for you. The scale that the piece of music is written in tells you what notes may be included in your vocal melody. These are the notes you will use to create your vocal melody.
Sing or play the scale over the piece of music. Notice that some of the notes fit certain places better than others. Remember what you like and where. This is the beginning of your melody.
Listen for parts that sound nice to you-- where the notes you are choosing sound good with the piece of music. Record these places (or write them down if you read music).
Tackle decreasingly smaller portions of the piece of music, until you have a general outline of how you want the melody to go.
Note that when you have lyrics, say them over and over and decide roughly where each line should go. Fit each line of the lyric to the appropriate piece of melody. You may need to add notes (sing the same note twice or sing a note right next to the note you had in your original melody).
[edit] Tips
To fit the lyric to the music, look for the repeated portions of each. The first line of the first stanza of your lyric should fit the music the same way as the first line of the second stanza of your lyric.
Remember to write from the heart. Nothing is better than what you've been through and what is going on around you.
[edit] Warnings
Some parts of the melody (like high notes, or notes held for a long time) will draw attention to themselves. Make sure these parts are attached to words in the lyric that you wish to emphasize.
How to Compose the First Verse of a Song
These simple steps will broaden your knowledge of songwriting and lyricism. There are many types of songs, but all can be written according to the golden rule: be creative!
] Steps
Think about what the topic of the song is going to be.
Imagine the different scenes of each verse.
Try to stick to a 3-verse format. Put either the verse or the chorus first.
Think of and channel an emotion. If you want to write a song about love try and think of that feeling of having heartbreak, or falling in love.
Decide on the angle you desire to discuss in your song (violence, the effects, the story, etc).
Start from either the beginning or the end. It is sometimes more productive if you work backward. Let's say the song is about a person messing around with your best friend - if you start from the end, start with a sad scene. For instance: "Trapped in time, and I don't know what to do/These friends of mine, I can see right through/You don't got to tell me, I know what to do/I'm just sittin' back here, sharin' in the groove"
Roll with whatever comes to your mind - but make sure it makes sense.
These simple steps will broaden your knowledge of songwriting and lyricism. There are many types of songs, but all can be written according to the golden rule: be creative!
] Steps
Think about what the topic of the song is going to be.
Imagine the different scenes of each verse.
Try to stick to a 3-verse format. Put either the verse or the chorus first.
Think of and channel an emotion. If you want to write a song about love try and think of that feeling of having heartbreak, or falling in love.
Decide on the angle you desire to discuss in your song (violence, the effects, the story, etc).
Start from either the beginning or the end. It is sometimes more productive if you work backward. Let's say the song is about a person messing around with your best friend - if you start from the end, start with a sad scene. For instance: "Trapped in time, and I don't know what to do/These friends of mine, I can see right through/You don't got to tell me, I know what to do/I'm just sittin' back here, sharin' in the groove"
Roll with whatever comes to your mind - but make sure it makes sense.
How to Compose Music
Listening to music and enjoying the melodic overtones makes you wonder if you also could compose a song, or even just a melody! Some very well known composers do not know how to read sheet music, but are very successful. Most of the time however, a background in reading music and playing an instrument is important.
[edit] Steps
[edit] Method 1
Enroll in a class and take lessons for a beginners instrument
Learn to actually listen to the musical devices and their sound.
Learn the musical scales. the most powerful scale tool musicians have is the diatonic modes, which are just scales (played on the white keys of a piano) starting on different root notes.
If you have a solid background on music theory, you may want to take easy and well-known pieces and try to switch them around, make your own version of them, change the key, and alternate the chords. Be creative!
Listen to other composers' music to learn techniques through instrument combination or rhythms that get the most out of each emotion.
Understand that after creating the melody, knowledge of harmony and accompaniment is essential. Some helpful things to look up for an accompaniment would be chord progressions and scale knowledge. Remember that music theory was made so each musician wouldn't have to experiment as much when making music.
Know the sounds of each instrument used in your composition. Know which instruments fit into the category of music (e.g. Woodwind Quintet ~ Flute, Oboe, Clarinet, Horn in F, Bassoon; Brass Quintet: 2 trumpets, horn in F, trombone, tuba).
Sit at the piano or pick up a guitar, and have fun. Play by ear. Play things and see if they sound good together. If you want to be able to play the same thing again later, try using a MIDI keyboard. It can be hooked up to a computer, and will print your notes onto sheet music for you.
If you have good ear training try to make a melody in your head, then hum it, and pass it to the guitar or piano. This takes a lot of practice and dedication, but is a great composing tool.
Have a notebook with the musical staff and pencil handy, if you don't use a MIDI keyboard. Write the note combinations that sound good to your ear. With guitar, write down the chords you play. It will help you to be familiar with music so you can name the chords and know the notes that should be played along with the chord.
Create a rough draft. Just like a written composition in English class, music requires multiple revisions before the final piece is ready. Build off your melody. The best thing here is imagination. Don't forget about dynamics, expressions, or articulation.
Utilize contrary motion. Contrary motion is the technique of having one line go down while the others go up. This is an extremely useful technique that will rapidly improve the sound of your piece.
Consider carefully the structure of the piece; if it has sections make them clear, and keep the listener interested. Try to think where the listener will become bored, and be brutal with your judgments.
As well, if you are a student you can go to your music teacher and ask him/her for help. Often you will find they are more willing than you assume.
[edit]Method 2
Start from the foundation (percussion and bass), the rhythm (guitar and/or keys), or the melody (lead guitar/keys). Songs have a definite structure to them. You want to get to the foundation as soon as you can, to create a strong base for your piece.
Create a groovy bass line that complements the melody but doesn't copy it note for note (use counterpoint for example).
Make a drum beat starting with just the kick and snare that complements and supports the bass line. Note: just lay down a basic beat to act as a template. Once you go to the other sections you can return to change things up a little based on the progressive sound of the song. Quite often I find I have a vision of what I'm trying to write and it will morph into something new. You have to be able to make adjustments along the way.
Create a rhythm that complements the core/ foundation of the song. Start with a basic chord progression and build/ change from there. For example a chord progression may use I, III, and V (ex C, E, G) and fall into a: I, III, pattern for example (where I is the root of the chord and III and V are the next two higher notes in the chord).
Play individual notes randomly, then see which ones sound good playing at the same time and use that to build chords from scratch.
While you write the music, write lyrics to the song. You may have lyrics, then tailor a song to match them, or do the lyrics after the rhythmn. The thing to keep in mind to to ensure you tell a good story. Don't be afraid to change lyrics or the music to achieve the best mutual fit.
Make sure you put in all the essential elements: Intro, verse, hook, bridge(optional), and outro/CODA. Let the lyrics help guide you if you have lyrics.
Pick a key idea of the song or a catchy phrase and a cool guitar/ keyboard lick to create a melody. You'll know you're there when you can't get the phrase/ lick out of your head! Quite often a 2-8 word phrase will do it ("shoulder lean", "love shack, baby love shack", etc).
Once you have it to this point add a pad, sound effects, lead parts, etc.
If you song "tastes right" then you've done a good job
Record and listen back to your song as a music critic (would you listen to this on the radio or change the station?). Let others listen to it and make suggestions.
Go back and make any adjustments you need to, but be warned! too many adjustments will make your song sound/ "taste" terrible, DO NOT over correct.
Good luck and have fun!
[edit]Method 3
Keep in mind that some of these steps are - clearly - for songs with guitars. You don't have to follow all of them exactly - in fact, some of them can just be omitted from memory if you don't need them for the kind of music you play. It's not recommended that you do, but follow the general outline.
Pick a scale/mode for a note. Any one works. If you're writing a progressive song, then you have the option of picking more than one, just make sure the two aren't the same thing (check out the notes in each scale and make sure that they are significantly different).
Find out the chord configuration for that scale/mode (the major scale, starting from the first degree, is as follows: major, minor, minor, major, major, minor, diminished).
Come up with a drum beat. Don't overdo and try to "display all your talent," especially if the tempo of the song doesn't call for it.
Write the rhythm and lead guitar riffs. If you're writing an upbeat song, you can use full/barre chords, power chords or both. If you're writing a slow, calm song, only use full/barre chords, or there will be nothing in the song worth listening to. If you're going for the heavy metal song, then you can use the higher note/bass note patterns that At the Gates popularized for flavor or groove (although it's not recommended that you do it a whole lot, or else you'll seem like you're hopping on the mallcore train), power chords can provide the chord progression, and full/barre chords can add something different.
Add the other instruments. Bass can follow the chord progression, but also has the option of doing whatever as long as it stays in the key everyone else is playing in. Keyboards/pianos generally follow the chord progression, although some bands have keyboardists that follow the lead guitar part.
Write the lyrics if you have them. Come up with the chorus, bridge, etc. Progressive songs don't necessarily need the song structure.
Add the extras such as solos, etc.
Come up with a collaboration between all the instruments.
Have fun.
[edit] Tips
A cooking analogy can help you remember to add some things to make your song better. Start with boiling water and some hearty stock to nail down the main flavor and add your meat (drums and bass). Next add in all the different main ingredients (rhythm). Finally, add the spices and flavorings, just enough to kick it up a notch, but not enough to drown out the main flavor (leads, pads, effects).
Read Aaron Copland's "what to listen for in music," it will greatly influence your methods especially if you are just a beginner.
Play your music for a friend who is good with music, and find out what they think. Fix any spots where the chords clash.
After you learn to really 'hear' the music in your head, you can also play on a table if you are not near a piano. Yes, it sounds weird, but after awhile, you will be able to hear the music, without actually playing it. Many very well-known composers have written entire songs on a napkin while having dinner out, just by hearing the music in their heads. Once you develop this ability, you can amaze your less musically-inclined friends!
If you are using a guitar to compose, learn tab chords function in major and minor keys, you can apply your knowledge to any piece of music.
Try using some music notation programs: Finale, LilyPond, Sibelius, Magic Score, Rosegarden, GuitarPro, etc. are all good programs. They allow you to create professional-looking copies of your music. Some are even free.
Some musicians also try to just play. It is possible to randomly choose notes while practicing. Over time your ears and hands may lean towards emphasizing how you want the music to sound. To become a good musician, all one truly needs is time and dedication to your instrument(s).
Above all, have fun with it.
Listening to music and enjoying the melodic overtones makes you wonder if you also could compose a song, or even just a melody! Some very well known composers do not know how to read sheet music, but are very successful. Most of the time however, a background in reading music and playing an instrument is important.
[edit] Steps
[edit] Method 1
Enroll in a class and take lessons for a beginners instrument
Learn to actually listen to the musical devices and their sound.
Learn the musical scales. the most powerful scale tool musicians have is the diatonic modes, which are just scales (played on the white keys of a piano) starting on different root notes.
If you have a solid background on music theory, you may want to take easy and well-known pieces and try to switch them around, make your own version of them, change the key, and alternate the chords. Be creative!
Listen to other composers' music to learn techniques through instrument combination or rhythms that get the most out of each emotion.
Understand that after creating the melody, knowledge of harmony and accompaniment is essential. Some helpful things to look up for an accompaniment would be chord progressions and scale knowledge. Remember that music theory was made so each musician wouldn't have to experiment as much when making music.
Know the sounds of each instrument used in your composition. Know which instruments fit into the category of music (e.g. Woodwind Quintet ~ Flute, Oboe, Clarinet, Horn in F, Bassoon; Brass Quintet: 2 trumpets, horn in F, trombone, tuba).
Sit at the piano or pick up a guitar, and have fun. Play by ear. Play things and see if they sound good together. If you want to be able to play the same thing again later, try using a MIDI keyboard. It can be hooked up to a computer, and will print your notes onto sheet music for you.
If you have good ear training try to make a melody in your head, then hum it, and pass it to the guitar or piano. This takes a lot of practice and dedication, but is a great composing tool.
Have a notebook with the musical staff and pencil handy, if you don't use a MIDI keyboard. Write the note combinations that sound good to your ear. With guitar, write down the chords you play. It will help you to be familiar with music so you can name the chords and know the notes that should be played along with the chord.
Create a rough draft. Just like a written composition in English class, music requires multiple revisions before the final piece is ready. Build off your melody. The best thing here is imagination. Don't forget about dynamics, expressions, or articulation.
Utilize contrary motion. Contrary motion is the technique of having one line go down while the others go up. This is an extremely useful technique that will rapidly improve the sound of your piece.
Consider carefully the structure of the piece; if it has sections make them clear, and keep the listener interested. Try to think where the listener will become bored, and be brutal with your judgments.
As well, if you are a student you can go to your music teacher and ask him/her for help. Often you will find they are more willing than you assume.
[edit]Method 2
Start from the foundation (percussion and bass), the rhythm (guitar and/or keys), or the melody (lead guitar/keys). Songs have a definite structure to them. You want to get to the foundation as soon as you can, to create a strong base for your piece.
Create a groovy bass line that complements the melody but doesn't copy it note for note (use counterpoint for example).
Make a drum beat starting with just the kick and snare that complements and supports the bass line. Note: just lay down a basic beat to act as a template. Once you go to the other sections you can return to change things up a little based on the progressive sound of the song. Quite often I find I have a vision of what I'm trying to write and it will morph into something new. You have to be able to make adjustments along the way.
Create a rhythm that complements the core/ foundation of the song. Start with a basic chord progression and build/ change from there. For example a chord progression may use I, III, and V (ex C, E, G) and fall into a: I, III, pattern for example (where I is the root of the chord and III and V are the next two higher notes in the chord).
Play individual notes randomly, then see which ones sound good playing at the same time and use that to build chords from scratch.
While you write the music, write lyrics to the song. You may have lyrics, then tailor a song to match them, or do the lyrics after the rhythmn. The thing to keep in mind to to ensure you tell a good story. Don't be afraid to change lyrics or the music to achieve the best mutual fit.
Make sure you put in all the essential elements: Intro, verse, hook, bridge(optional), and outro/CODA. Let the lyrics help guide you if you have lyrics.
Pick a key idea of the song or a catchy phrase and a cool guitar/ keyboard lick to create a melody. You'll know you're there when you can't get the phrase/ lick out of your head! Quite often a 2-8 word phrase will do it ("shoulder lean", "love shack, baby love shack", etc).
Once you have it to this point add a pad, sound effects, lead parts, etc.
If you song "tastes right" then you've done a good job
Record and listen back to your song as a music critic (would you listen to this on the radio or change the station?). Let others listen to it and make suggestions.
Go back and make any adjustments you need to, but be warned! too many adjustments will make your song sound/ "taste" terrible, DO NOT over correct.
Good luck and have fun!
[edit]Method 3
Keep in mind that some of these steps are - clearly - for songs with guitars. You don't have to follow all of them exactly - in fact, some of them can just be omitted from memory if you don't need them for the kind of music you play. It's not recommended that you do, but follow the general outline.
Pick a scale/mode for a note. Any one works. If you're writing a progressive song, then you have the option of picking more than one, just make sure the two aren't the same thing (check out the notes in each scale and make sure that they are significantly different).
Find out the chord configuration for that scale/mode (the major scale, starting from the first degree, is as follows: major, minor, minor, major, major, minor, diminished).
Come up with a drum beat. Don't overdo and try to "display all your talent," especially if the tempo of the song doesn't call for it.
Write the rhythm and lead guitar riffs. If you're writing an upbeat song, you can use full/barre chords, power chords or both. If you're writing a slow, calm song, only use full/barre chords, or there will be nothing in the song worth listening to. If you're going for the heavy metal song, then you can use the higher note/bass note patterns that At the Gates popularized for flavor or groove (although it's not recommended that you do it a whole lot, or else you'll seem like you're hopping on the mallcore train), power chords can provide the chord progression, and full/barre chords can add something different.
Add the other instruments. Bass can follow the chord progression, but also has the option of doing whatever as long as it stays in the key everyone else is playing in. Keyboards/pianos generally follow the chord progression, although some bands have keyboardists that follow the lead guitar part.
Write the lyrics if you have them. Come up with the chorus, bridge, etc. Progressive songs don't necessarily need the song structure.
Add the extras such as solos, etc.
Come up with a collaboration between all the instruments.
Have fun.
[edit] Tips
A cooking analogy can help you remember to add some things to make your song better. Start with boiling water and some hearty stock to nail down the main flavor and add your meat (drums and bass). Next add in all the different main ingredients (rhythm). Finally, add the spices and flavorings, just enough to kick it up a notch, but not enough to drown out the main flavor (leads, pads, effects).
Read Aaron Copland's "what to listen for in music," it will greatly influence your methods especially if you are just a beginner.
Play your music for a friend who is good with music, and find out what they think. Fix any spots where the chords clash.
After you learn to really 'hear' the music in your head, you can also play on a table if you are not near a piano. Yes, it sounds weird, but after awhile, you will be able to hear the music, without actually playing it. Many very well-known composers have written entire songs on a napkin while having dinner out, just by hearing the music in their heads. Once you develop this ability, you can amaze your less musically-inclined friends!
If you are using a guitar to compose, learn tab chords function in major and minor keys, you can apply your knowledge to any piece of music.
Try using some music notation programs: Finale, LilyPond, Sibelius, Magic Score, Rosegarden, GuitarPro, etc. are all good programs. They allow you to create professional-looking copies of your music. Some are even free.
Some musicians also try to just play. It is possible to randomly choose notes while practicing. Over time your ears and hands may lean towards emphasizing how you want the music to sound. To become a good musician, all one truly needs is time and dedication to your instrument(s).
Above all, have fun with it.
Tuesday, December 2, 2008
Puting Anino
PUTING ANINO
jamshuts
Music and Lyrics: Arnold N, Muñez
Pinilit kong limutin ka
Ilibing sa dilim ng gunita
Sinikap kong umiwas na
Sa liwanag ng ‘yong mga mata
Bakit hindi ko magawa
Naghahanap, nawawala, aha hah…
chorus
Habulin ang puting anino
Sa dulo ng pilak na buwan
Sundan saan man lumutang
Hawakan ng ‘sang daan
Dahil ‘di ko kayang mawala
Ang amoy ng aking paglaya
Sa mundo ng puting anino
Nag-aabang, naghihintay
Sa walang dulong paglalakbay
Nakatayo, nakaantabay
Sa pagtawid nitong tulay
Bakit hindi ko magawa
Ang paghakbang ng isang paa, aha hah…
Repeat chorus
‘wag na ‘wag kang lalayo, oho hoo(2X)
Habulin ang puting anino
Sa dulo ng pilak na buwan
Sundan saan man lumutang
Hawakan ng ‘sang daan
Habulin ang puting anino
Sa dulo ng pilak na buwan
Takpan ang bawat pintuan
Ng buwayang malaki ang t’yan
Dahil ‘di ko kayang mawala
Ang amoy ng aking paglaya
Sa mundo ng puting anino…
jamshuts
Music and Lyrics: Arnold N, Muñez
Pinilit kong limutin ka
Ilibing sa dilim ng gunita
Sinikap kong umiwas na
Sa liwanag ng ‘yong mga mata
Bakit hindi ko magawa
Naghahanap, nawawala, aha hah…
chorus
Habulin ang puting anino
Sa dulo ng pilak na buwan
Sundan saan man lumutang
Hawakan ng ‘sang daan
Dahil ‘di ko kayang mawala
Ang amoy ng aking paglaya
Sa mundo ng puting anino
Nag-aabang, naghihintay
Sa walang dulong paglalakbay
Nakatayo, nakaantabay
Sa pagtawid nitong tulay
Bakit hindi ko magawa
Ang paghakbang ng isang paa, aha hah…
Repeat chorus
‘wag na ‘wag kang lalayo, oho hoo(2X)
Habulin ang puting anino
Sa dulo ng pilak na buwan
Sundan saan man lumutang
Hawakan ng ‘sang daan
Habulin ang puting anino
Sa dulo ng pilak na buwan
Takpan ang bawat pintuan
Ng buwayang malaki ang t’yan
Dahil ‘di ko kayang mawala
Ang amoy ng aking paglaya
Sa mundo ng puting anino…
FIRST AID
FIRST AID
WHAT IS FIRST AID?
Immediate help First aid - the care given before emergency medical help arrives - can literally mean the difference between life and death. But knowing the correct thing to do if someone has a nosebleed or cut is also important.
Saving lives
A blocked airway can kill someone in three to four minutes, but it can take more than eight minutes for an ambulance to arrive. So a simple procedure such as opening someone's airway can save their life while they're waiting for emergency medical help.
The latest government figures, from 2002, estimate 2.7 million people in the UK went to A&E because of an accident in their home.
Of these, 910,000 were aged under 16.
Sadly, almost 4,000 people in England and Wales died because of accidents in or around their home in 2004, according to the Office for National Statistics.
This means you're more likely to give first aid to someone you know than a stranger. Knowing what to do will allow you to react rapidly if an accident does happen.
What not to do
There are many misconceptions surrounding first aid, some of which can cause serious harm.
Top ten first aid misconceptions
You should put butter or cream on a burn. The only thing you should put on a burn is cold water - keep the butter for cooking.
If you can't move a limb, it must be broken/If you can move a limb, it can't be broken. The only accurate way to diagnose a broken limb is to x-ray it.
The best way to treat bleeding is to put the wound under a tap. If you put a bleeding wound under a tap you wash away the body's clotting agents and make it bleed more.
Nosebleeds are best treated by putting the head back. If you put the head back during a nosebleed, all the blood goes down the back of the airway.
A tourniquet is the best way to treat serious bleeding. It's harmful to stop the blood flow to a limb for more than 10-15 minutes.
If someone has swallowed a poison you should make them sick. If you make someone sick by putting your fingers in their mouth, the vomit may block their airway
If you perform CPR on someone who has a pulse you can damage their heart. The evidence is that it isn't dangerous to do chest compressions on a casualty with a pulse.
You need lots of training to do first aid. You don't - what you mostly need is common sense. You can learn enough first aid in ten minutes to save someone's life.
You need lots of expensive equipment to do first aid. You don't need any equipment to do first aid, there are lots of ways to improvise anything you need.
Top ten home accidents and injuries
Falls (1,248,000)
Strikes and collisions (530,000)
Cuts and tears (230,000)
Foreign bodies (128,000)
Acute overexertion, for example moving furniture (90,000)
Burns, scalds (84,000)
Pinching or crushing injuries (79,000)
Bites, stings (72,000)
Puncture wounds (54,000)
Suspected poisonings (33,000)
HOW TO JUDGE A MINUS-ONE SINGING CONTEST by: Mr. Allan Tuayon
How to Judge aMinus One Singing Contest
Prior Agreement
Ø Judge men and women separately
Ø One song sung by all contestant
Ø Age limit / Categories
Ø Singer can improvise
Ø Three winners
Ø Decision of the board of judges is final
Criteria :
Ø Voice Quality - - - - - - - - - - 40 %
Ø Timing - - - - - - - - - - - - - - - 25 %
Ø Diction - - - - - - - - - - - - - - - 25 %
Ø Audience Impact - - - - - - - - - 10 %
____
100%
What I am going to Judge?
1. Voice quality
- tone color
2.Expressivity
- ability to combine words and music to tell the story
- projection/gesture
3. Musicality
- Phrasing
- Dynamics
- Accent
Cont…What I am going to Judge?
4. Musicianship
- Melody
- Rhythm
- Intonation
- Timing / Tempo
5. Diction
6. Improvisational Ability
Who is the Winner?
ØCluster the result
ØRank
Ø Deliberation
Criteria for Judging Minus One Singing Competition
Prior Agreement
Ø Judge men and women separately
Ø One song sung by all contestant
Ø Age limit / Categories
Ø Singer can improvise
Ø Three winners
Ø Decision of the board of judges is final
Criteria :
Ø Voice Quality - - - - - - - - - - 40 %
Ø Timing - - - - - - - - - - - - - - - 25 %
Ø Diction - - - - - - - - - - - - - - - 25 %
Ø Audience Impact - - - - - - - - - 10 %
____
100%
What I am going to Judge?
1. Voice quality
- tone color
2.Expressivity
- ability to combine words and music to tell the story
- projection/gesture
3. Musicality
- Phrasing
- Dynamics
- Accent
Cont…What I am going to Judge?
4. Musicianship
- Melody
- Rhythm
- Intonation
- Timing / Tempo
5. Diction
6. Improvisational Ability
Who is the Winner?
ØCluster the result
ØRank
Ø Deliberation
Criteria for Judging Minus One Singing Competition
BACK TO BASICS by: Blanche Banot
BACK TO BASICS
By; Blanche C. Banot
1st Grading Period: The Quality of Sound and Music
Sound – caused by the vibration of objects. These vibrations move through the air and are transmitted to the ears. Nerve connection carry these impulses to the brain which interprets what objects produces such sound.
2 KINDS OF SOUND:
1. Noise
2. Music
Music – an artful arrangement of sounds across time.
Neums – a sign used in musical notation from the 7th to 14th centuries. It gave an indication of pitch.
Notes – a sound which has a defined pitch and duration.
- a symbol for such sound.
Dot, Tie, Slur, Fermata
The Kodaly Method
2nd Grading Period: Rhythm & Melody (Beat, Meter, Accent, and Time Signature)
Time Signature – a sign placed at the beginning of a piece of music that indicates the number and value of beats in a bar. A time signature usually consists of 2 numbers, one placed above the other.
3rd Grading Period: Harmony & Texture
Texture – the resulting sound from the interplay or non-interplay of tones.
1. Monophonic Music – it is a single musical line without any form of accompaniment. As the prefix “mono” connotes, it means “one sound”.
2. Homophonic Music – melodies that are accompanied by instruments using chords like a guitar or piano.
3. Heterophonic Music – two or more performers singing different variations of a single melody simultaneously, with slight modifications in one part, mainly that of omission or addition some notes.
4. Polyphonic Music – (having many sounds) forms of music that contains 2 or more independent musical lines.
a. Round Song – a short piece, in which a single melody is sung in successive entrances by 2, 3, 4, or more parts.
b. Canon – a counterpoint composition in which one part is imitated and overlapped by one or more other parts.
c. Drone – a pipe that sounds a continuous note of fixed pitch as a permanent bass.
d. Descant – a soprano part, sometimes improvised, sung above a hymn tune while the tune itself is sung by the rest of the congregation or choir.
e. Partner Songs – singing or playing together two songs which are originally composed as independent songs, with the same mode or key.
f. Ostinato – a short phrase or other pattern that is repeated over and over again suring the course of a composition.
4th Grading Period: The Structure of Music
Motive – the smallest unit in music
Phrase – the musical statement that expresses an idea.
1. Antecedent Phrase (Question)
2. Consequent Phrase (Answer)
Musical Form – an orderly arrangement of musical elements in time.
1. Repetition – a repetition of a musical idea. It may be melodic, harmonic, rhythmic, or it may be a combination of these.
2. Contrast – can be achieved by the changes of harmony or in instrumentation of tone colors.
3. Episodes – a contrasting section that separated entries of the principal theme.
4. Variation – the modification or development of a theme.
Determinants in Musical Forms:
1. Strophic Form (AAAAA) – contains only one section which remains the same all throughout the whole composition.
2. Binary Form (AB) – a song or composition with 2 basic parts or ideas.
3. Ternary Form (ABA) – a song or composition with 3 basic parts or ideas.
4. Through-Composed Form ( ABC) – applied to songs in which new music is provided for each stanza, opposite of the Strophic Form, in which every stanza is sung to the same melody.
5. Rondo Form (ABACA) – a song or composition that contains a contrasting section that separates entries of the principal theme called “Episodes”.
6. Variation Form (A1, A2, A3, A4, A5) – the modification or development of a theme.
By; Blanche C. Banot
1st Grading Period: The Quality of Sound and Music
Sound – caused by the vibration of objects. These vibrations move through the air and are transmitted to the ears. Nerve connection carry these impulses to the brain which interprets what objects produces such sound.
2 KINDS OF SOUND:
1. Noise
2. Music
Music – an artful arrangement of sounds across time.
Neums – a sign used in musical notation from the 7th to 14th centuries. It gave an indication of pitch.
Notes – a sound which has a defined pitch and duration.
- a symbol for such sound.
Dot, Tie, Slur, Fermata
The Kodaly Method
2nd Grading Period: Rhythm & Melody (Beat, Meter, Accent, and Time Signature)
Time Signature – a sign placed at the beginning of a piece of music that indicates the number and value of beats in a bar. A time signature usually consists of 2 numbers, one placed above the other.
3rd Grading Period: Harmony & Texture
Texture – the resulting sound from the interplay or non-interplay of tones.
1. Monophonic Music – it is a single musical line without any form of accompaniment. As the prefix “mono” connotes, it means “one sound”.
2. Homophonic Music – melodies that are accompanied by instruments using chords like a guitar or piano.
3. Heterophonic Music – two or more performers singing different variations of a single melody simultaneously, with slight modifications in one part, mainly that of omission or addition some notes.
4. Polyphonic Music – (having many sounds) forms of music that contains 2 or more independent musical lines.
a. Round Song – a short piece, in which a single melody is sung in successive entrances by 2, 3, 4, or more parts.
b. Canon – a counterpoint composition in which one part is imitated and overlapped by one or more other parts.
c. Drone – a pipe that sounds a continuous note of fixed pitch as a permanent bass.
d. Descant – a soprano part, sometimes improvised, sung above a hymn tune while the tune itself is sung by the rest of the congregation or choir.
e. Partner Songs – singing or playing together two songs which are originally composed as independent songs, with the same mode or key.
f. Ostinato – a short phrase or other pattern that is repeated over and over again suring the course of a composition.
4th Grading Period: The Structure of Music
Motive – the smallest unit in music
Phrase – the musical statement that expresses an idea.
1. Antecedent Phrase (Question)
2. Consequent Phrase (Answer)
Musical Form – an orderly arrangement of musical elements in time.
1. Repetition – a repetition of a musical idea. It may be melodic, harmonic, rhythmic, or it may be a combination of these.
2. Contrast – can be achieved by the changes of harmony or in instrumentation of tone colors.
3. Episodes – a contrasting section that separated entries of the principal theme.
4. Variation – the modification or development of a theme.
Determinants in Musical Forms:
1. Strophic Form (AAAAA) – contains only one section which remains the same all throughout the whole composition.
2. Binary Form (AB) – a song or composition with 2 basic parts or ideas.
3. Ternary Form (ABA) – a song or composition with 3 basic parts or ideas.
4. Through-Composed Form ( ABC) – applied to songs in which new music is provided for each stanza, opposite of the Strophic Form, in which every stanza is sung to the same melody.
5. Rondo Form (ABACA) – a song or composition that contains a contrasting section that separates entries of the principal theme called “Episodes”.
6. Variation Form (A1, A2, A3, A4, A5) – the modification or development of a theme.
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