NAME: ASIEDU GRACE OTIWAA

CLASS: 1 ARTS 6

A. A minor scale is a set of notes arranged in a specific order that gives music a sad, serious, or reflective
feeling. Unlike the major scale, which sounds bright and happy, the minor scale has lowered notes that
change its mood.

B. The natural minor scale is the most basic form of the minor scale. It has a sad or dark sound because
some notes are lower than in the major scale.

Structure (step pattern):

Whole – Half – Whole – Whole – Half – Whole – Whole

Examples:

 A natural minor: A – B – C – D – E – F – G – A
 E natural minor: E – F♯ – G – A – B – C – D – E
 D natural minor: D – E – F – G – A – B♭ – C – D

C. The melodic minor scale is a type of minor scale created to make melodies sound smoother and less
tense than the harmonic minor.

Structure:

 It is like the natural minor scale, but the 6th and 7th notes are raised by a half step when
ascending.
 In classical music, it usually goes back to the natural minor form when descending.
 In jazz, it is often played the same way up and down.

Examples:

 A melodic minor (ascending): A – B – C – D – E – F♯ – G♯ – A

D. The harmonic minor is a scale built to make minor-key music sound more tense and dramatic,
especially in harmony. What makes it special is the raised 7th note compared to the natural minor. This
raised note creates a strong pull back to the tonic (home note), which composers use to build suspense and
resolution.

Examples:

 A harmonic minor: A – B – C – D – E – F – G♯ – A
 E harmonic minor: E – F♯ – G – A – B – C – D♯ – E
 D harmonic minor: D – E – F – G – A – B♭ – C♯ – D
2. Explain the following classes of African musical instruments with examples of instrument each.
a. Aerophone b. idiophone c. Membranophones c. Chordophones

Aerophone

 These are wind instruments that make sound when air is blown into or across them.

 Examples: atenteben (flute – Ghana), kudu horn (Southern Africa), algaita (Nigeria), vuvuzela (South
Africa).

Idiophone

 These are self-sounding instruments; the whole body of the instrument vibrates to produce sound.

 Examples: mbira (Zimbabwe), balafon (West Africa), shekere (West Africa), agogo bell (Nigeria)

Membranophones

 These instruments use a stretched animal skin or membrane that vibrates to produce sound. Most
African drums fall here.

 Examples: djembe (Mali/West Africa), talking drum (Nigeria), atumpan (Ghana), ngoma (Central Africa).

Chordophones

 These are string instruments; sound is produced when strings are plucked, struck, or bowed.

 Examples: kora (Mali), ngoni (West Africa), musical bow/uhadi (Southern Africa), adungu (Uganda).

3. State and explain briefly 5 characteristics of the following western musical periods.
a. Baroque period b. Classical period c. Romantic period

Baroque period
 Ornamentation – Music was decorated with trills and embellishments.
 Polyphony – Several independent melodies played at the same time (e.g., Bach’s fugues).
 Basso continuo – A continuous bass line played by harpsichord/organ with a bass instrument.
 Terraced dynamics – Sudden shifts from loud to soft instead of gradual changes.
 Contrast and drama – Strong contrasts in mood, tempo, and dynamics.
Classical period
 Clarity and balance – Simplicity and elegance in melodies and form.
 Homophony – Clear melody with chordal accompaniment became dominant.
 Sonata form – Main structure for symphonies, sonatas, and concertos.
 Gradual dynamics – Crescendo and decrescendo replaced sudden contrasts.
 Orchestral growth – Orchestra became standardized with strings, winds, brass, and timpani.

Romantic period
 Emotional expression – Music focused on passion, imagination, and drama.
 Larger orchestra – Inclusion of more instruments (harp, tuba, percussion, etc.).
 Rubato – Flexible tempo for expressive freedom.
 Program music – Compositions that tell stories or paint scenes (tone poems, symphonic poems).
 Chromatics – Rich, colorful harmonies with adventurous modulations.

4. Write notes on the musical types below providing the origin, costume, formation of the dance and
instrumental setup.

Adowa dance

 Origin: From the Akan people (Ashanti, Fante, etc.) of Ghana. Mainly performed at funerals, festivals,
and social gatherings.

 Costume: Dancers wear traditional cloths (Kente, kaba and slit, or wrapped cloths); women often tie
scarves on their heads, men drape cloth over the shoulder.

 Formation of the Dance: Usually performed in lines or semicircles. Movements are graceful, with
symbolic hand gestures and gentle steps that “communicate” messages.

 Instrumental Setup: Ensemble includes atumpan (talking drums), petia drum, dawuro (bell), donno
(hourglass drum), and rattles. A master drummer directs.

Agbadza dance

 Origin: Belongs to the Ewe people of the Volta Region, Ghana. Originally a war dance but now
performed at funerals and festivals.

 Costume: Men wear simple cloths (sometimes bare-chested) while women tie traditional cloth with
headscarves. Beads may also be worn.

 Formation of the Dance: Danced in open circles or procession lines. Movements include shoulder
shakes, arm swings, and shuffling steps in time with the drum rhythm.

 Instrumental Setup: Ensemble features sogo (lead drum), kidi, kagan, axatse (gourd rattle), and
gankogui (double bell).
Kpanlogo dance

 Origin: Created in the 1960s by the Ga people of Accra. It is a modern, youthful social dance with playful
and energetic style.

 Costume: Dancers wear casual African prints, cloth wrappers, or simple traditional attire. Young men
may go bare-chested; waist beads and headbands highlight movement.

 Formation of the Dance: Usually performed in pairs or small groups, with energetic hip movements,
hand gestures, and improvisation. Very lively and engaging.

 Instrumental Setup: Uses kpanlogo drums as the main instrument, supported by conga, djembe,
maracas, and gankogui (bell).