PAGE 1: Overview OVERVIEW ======== Percussion instruments make sound when they are struck, shaken or scraped. In this sub-strand you will identify indigenous percussion instruments from Kenyan communities, sort them into melodic and non-melodic, learn what each part of an instrument does, and improvise rhythms to accompany songs. You will also make your own charcoal sticks and use them to draw a percussion instrument, creating light and dark tones with the smudging technique. ## Strand 1.0: Creating and Executing Sub-strand 1.1: Percussion Musical Instruments (Drawing) Suggested lessons: 17 ## What this sub-strand covers • Identifying: name, community, method of playing • Parts of a percussion • Classifying: melodic, non- melodic • Improvised rhythmic patterns • Making charcoal sticks (cutting, trimming, burning, cooling) • Tonal value-smudge technique ## Source • KICD Grade 4 Creative Arts Curriculum Design (Revised 2024) — Strand 1.0 Creating and Executing, Sub-strand 1.1 Percussion Musical Instruments (Drawing) ## Learning outcomes By the end of the sub-strand, the learner should be able to: a) identify indigenous percussion musical instruments from different Kenyan communities b) classify indigenous Kenyan percussion musical instruments, as melodic or non-melodic c) discuss the function(s) of parts of a percussion musical instrument d) improvise rhythmic patterns using indigenous percussion musical instruments e) make charcoal sticks for drawing f) create tonal value on a drawing of a percussion instrument using the smudging technique g) appreciate indigenous percussion instruments from Kenyan communities and pictures drawn ## Key inquiry questions 1. What is the importance of percussion instruments from different communities in Kenya? 2. How is tonal variation created in a drawing? PAGE 2: How we will learn ## Learning experiences • watch virtual or actual percussion musical instruments to identify by; name, community and method of playing • observe/listen to sounds of percussion musical instruments and classify as melodic or non- melodic • identify parts of a percussion musical instrument and discuss their function(s) in sound production • practice improvising rhythmic patterns to accompany songs using percussion instruments • talk about value/ tone as an element of art created on virtual and actual sample pictures • collaboratively, collect materials and tools to make charcoal sticks following the correct procedure while observing safety • use charcoal sticks to illustrate how to create tone/value by smudging technique • draw using charcoal sticks a picture of one percussion instrument and create tonal variation by smudging technique • show and talk about own and peers’ percussion instruments and drawings in a just and fair manner ## Core competencies • Communication and Collaboration: the learner speaks clearly and listens keenly while discussing about parts of a percussion instrument and their roles. • Digital literacy: the learner interacts with digital devices to source information on percussion instruments. ## Values • Social justice: the learner talks about own and others’ pictures justly. • Responsibility: the learner cares for own and peers’ items and observes safety precautions when making charcoal sticks. ## Pertinent and contemporary issues • Social Cohesion: the learner acquires skill of working with others while making charcoal sticks in groups. • Safety and security: the learner observes fire safety when burning charcoal sticks. • Environmental conservation: the learner conserves the environment by carefully collecting materials for making a charcoal sticks. ## Links to other learning areas • Social Studies: the learner exploits natural resources responsibly to make charcoal sticks. PAGE 3: Lesson 1: Indigenous percussion instruments from Kenyan communities LESSON 1: INDIGENOUS PERCUSSION INSTRUMENTS FROM KENYAN COMMUNITIES ============================================================ ## What you will learn • Name some indigenous percussion instruments and the community that uses them. • Describe how each instrument is played: struck, shaken or scraped. • Explain why percussion instruments are important to Kenyan communities. Curriculum outcomes: a) identify indigenous percussion musical instruments from different Kenyan communities; g) appreciate indigenous percussion instruments from Kenyan communities and pictures drawn ## Introduction At a wedding, a harvest festival or a school music festival you often hear drums beating and rattles shaking before you even see the dancers. These instruments belong to a big family called percussion instruments. ## Notes A percussion instrument is an instrument that makes sound when it is struck (hit), shaken or scraped. Indigenous instruments are the ones that communities in Kenya have made and played for many generations using materials found around them, such as wood, animal skin, gourds, reeds, seeds and metal. ### Some indigenous percussion instruments - **Isukuti** – a set of drums of the Luhya community, well known among the Isukha and Idakho. The drummer beats the skin with the hands. Isukuti music is played at ceremonies and celebrations. - **Kayamba** – a flat rattle of the Mijikenda community of the Coast. It is made of two layers of reeds with seeds inside. The player holds it with both hands and shakes it. - **Gĩcandĩ** – a gourd rattle of the Agĩkũyũ community. Seeds inside the gourd make a sound when it is shaken. - **Ohangla drums** – a set of drums of different sizes played by the Luo community in ohangla music. The drums are beaten with the hands or sticks. - **Leg rattles (njuga in Kiswahili)** – small bells or seed shells tied around a dancer's legs. They sound when the dancer stamps and jumps. PAGE 4: Lesson 1: Indigenous percussion instruments from Kenyan communities — Key words Many communities also have their own drums, rattles and bells with names in their own language. Ask an elder or a music teacher which percussion instruments your community uses and what they are called. ### Ways of playing - **Striking** – hitting with hands or sticks, for example drums. - **Shaking** – moving the instrument so that seeds or stones inside hit each other, for example kayamba and gourd rattles. - **Scraping** – rubbing a stick along a surface that has notches (cuts). ### Why they are important Percussion instruments keep the beat for singing and dancing, announce ceremonies, bring people together and help pass on the culture of a community to children. When you play or draw them, you help keep this heritage alive. ## Key words • percussion instrument — an instrument that makes sound when struck, shaken or scraped • indigenous — belonging to the local communities from long ago • community — a group of people who share a language and way of life ## Worked examples ### Example 1 Name the instrument: it is a flat rattle made of reeds with seeds inside, from the Coast. Working: 1. It is shaken, so it is a rattle. 2. Reeds and seeds, from the Mijikenda community. Answer: Kayamba ## Worked examples ### Example 2 How is isukuti played? Working: 1. Isukuti is a drum. 2. Drums are struck. Answer: The drummer beats the skin with the hands. ## Activity: Identify the instruments You will need: Real percussion instruments or pictures/videos of them, Exercise book, Pencil 1. Watch a video or look at real percussion instruments brought to class. 2. For each instrument, write its name, the community that uses it and how it is played. 3. Try playing any real instrument gently, taking turns. 4. Share your table with another group and add anything you missed. PAGE 5: Lesson 1: Indigenous percussion instruments from Kenyan communities — Answers to practice ## Practice 1. What is a percussion instrument? 2. Which community plays isukuti? 3. Give two ways of playing percussion instruments. 4. Give one reason why percussion instruments are important in a community. ## Answers to practice 1. An instrument that makes sound when it is struck, shaken or scraped. 2. The Luhya community. 3. Any two: striking, shaking, scraping. 4. Any one: they keep the beat for songs and dances, they are used in ceremonies, they bring people together, they pass on culture. ## Summary • Percussion instruments are struck, shaken or scraped. • Examples: isukuti (Luhya), kayamba (Mijikenda), gĩcandĩ (Agĩkũyũ), ohangla drums (Luo). • They keep the beat and carry the culture of a community. LESSON 2: MELODIC AND NON-MELODIC PERCUSSION INSTRUMENTS ======================================================== ## What you will learn • Explain the difference between melodic and non-melodic percussion instruments. • Classify percussion instruments by listening to their sounds. Curriculum outcomes: b) classify indigenous Kenyan percussion musical instruments, as melodic or non-melodic ## Introduction Can you sing a song using only a rattle? You can keep the beat, but you cannot play the tune. Some percussion instruments can play a tune and others cannot. ## Notes Every sound has a **pitch**. Pitch is how high or low a sound is. A bird's whistle has a high pitch; the roar of a lorry has a low pitch. ### Melodic percussion instruments A melodic percussion instrument can produce different clear pitches, so it can play a tune (a melody). It usually has several parts of different sizes, and each part gives its own note. - A **xylophone (marimba)** has wooden keys of different lengths. Long keys give low notes and short keys give high notes. - A **thumb piano** has metal or bamboo tongues of different lengths that are plucked with the thumbs. - A **set of tuned drums**, such as ohangla drums of different sizes, can give different pitches. Smaller drums sound higher and bigger drums sound lower. ### Non-melodic percussion instruments A non-melodic percussion instrument does not give clear, changing pitches. It cannot play a tune, but it is very good at keeping the beat and adding rhythm. - Rattles such as **kayamba** and **gourd rattles** - **Leg rattles** and bells - A **single drum** such as one isukuti drum - Scrapers PAGE 6: Lesson 2: Melodic and non-melodic percussion instruments — Example 2 ### How to classify by listening Listen carefully to the instrument being played. Ask yourself: - Can I hear different high and low notes that I could sing? - Can I play the first part of a simple song on it? If the answer is yes, the instrument is melodic. If you only hear the same kind of sound, like a shake, a rattle or a thud, it is non-melodic. ## Key words • pitch — how high or low a sound is • melody — a tune made of notes of different pitches one after another • melodic — able to play a tune • non-melodic — not able to play a tune; used mainly to keep rhythm ## Worked examples ### Example 1 Is a kayamba melodic or non-melodic? Working: 1. Shaking a kayamba gives a rattling sound. 2. It cannot play high and low notes of a tune. Answer: Non-melodic ## Worked examples ### Example 2 A xylophone has 8 wooden keys of different lengths. Is it melodic or non-melodic? Working: 1. Each key gives a different note. 2. The notes can be played one after another to make a tune. Answer: Melodic ## Activity: Listen and sort You will need: Recordings or real percussion instruments, Two cards labelled Melodic and Non-melodic 1. Close your eyes as your teacher or a classmate plays an instrument. 2. Decide whether you can hear different notes that could make a tune. 3. Place the instrument or its picture under the correct card. 4. Explain your choice to your group. ## Practice 1. What does pitch mean? 2. Why is a xylophone melodic? 3. Sort these into melodic and non-melodic: kayamba, xylophone, leg rattles, thumb piano. ## Answers to practice 1. How high or low a sound is. 2. Its keys of different lengths give different notes, so it can play a tune. 3. Melodic: xylophone, thumb piano. Non-melodic: kayamba, leg rattles. ## Summary • Melodic percussion instruments can play a tune because they give different pitches. • Non-melodic percussion instruments keep rhythm but cannot play a tune. • Listen for high and low notes to classify an instrument. LESSON 3: PARTS OF A PERCUSSION INSTRUMENT AND THEIR FUNCTIONS ============================================================ ## What you will learn • Name the parts of a drum and a gourd rattle. • Explain how each part helps to produce sound. Curriculum outcomes: c) discuss the function(s) of parts of a percussion musical instrument ## Introduction If you tap a table you hear a dull knock, but if you tap a tightly stretched drum skin you hear a loud, ringing boom. Each part of a drum has a job in making that sound. ## Notes Sound is made when something **vibrates** (moves back and forth very quickly). The parts of a percussion instrument work together to make a vibration and make it loud enough to hear. PAGE 7: Lesson 3: Parts of a percussion instrument and their functions — Parts of a drum ### Parts of a drum - **Skin (membrane or drumhead)** – the animal skin stretched over the top. When you strike it, it vibrates and produces the sound. - **Body (shell)** – the hollow part, usually made of wood. The air inside it vibrates too and makes the sound louder and fuller. This is why it is called a **resonator**. - **Pegs or laces (strings)** – they hold the skin tightly in place. A tight skin gives a higher sound; a loose skin gives a lower sound. Drummers tighten the laces or warm the skin to tune the drum. - **Base** – the bottom part that lets the drum stand firmly. Some drums have an open bottom so the sound can come out. ### Parts of a gourd rattle - **Gourd** – the hollow dried fruit shell. It holds the seeds and makes the sound louder. - **Seeds or small stones** – they hit each other and the inside of the gourd when shaken. This makes the rattling sound. - **Handle (neck)** – where the player holds the rattle. ### Parts of a kayamba - **Reed frame** – two flat layers of reeds tied together. It holds the seeds. - **Seeds** – inside the frame, they rattle when the kayamba is shaken. If one part is damaged, the sound changes. A torn skin gives a flat, buzzing sound. A cracked gourd sounds weak. This is why we must handle instruments with care. [DIAGRAM] TYPE: svg ALT: Parts of a drum PAYLOAD: CAPTION: Parts of a drum [/DIAGRAM] PAGE 8: Lesson 4: Improvising rhythmic patterns to accompany songs — Beat and rhythm ## Key words • vibrate — to move back and forth very quickly • membrane — the skin stretched over a drum • resonator — the hollow part that makes the sound louder ## Worked examples ### Example 1 Which part of a drum vibrates first when it is struck? Working: 1. The hand or stick hits the skin. Answer: The skin (membrane) ## Worked examples ### Example 2 A drum sounds too low. What can the drummer do? Working: 1. A tight skin gives a higher sound. 2. Pull the laces or pegs tighter. Answer: Tighten the skin using the laces or pegs. ## Activity: Explore how a drum makes sound You will need: A drum or an improvised drum (tin with a stretched polythene or rubber top), A few grains of rice or sand 1. Place a few grains of rice on top of the drum skin. 2. Strike the drum gently and watch the grains jump. This shows the skin vibrating. 3. Point to each part of the drum and say what it does. 4. Draw and label the parts of a drum in your book. ## Practice 1. What is the function of the body of a drum? 2. What makes the sound in a gourd rattle? 3. Why must a drum skin be tight? ## Answers to practice 1. It is hollow and acts as a resonator, making the sound louder. 2. The seeds or small stones hitting each other and the gourd when it is shaken. 3. A tight skin vibrates well and gives a clear, higher sound; a loose skin gives a dull, low sound. ## Summary • Sound comes from vibration. • Drum parts: skin (vibrates), body (resonator), laces or pegs (hold and tune the skin), base. • Rattle parts: gourd or reed frame, seeds, handle. LESSON 4: IMPROVISING RHYTHMIC PATTERNS TO ACCOMPANY SONGS ========================================================== ## What you will learn • Keep a steady beat on a percussion instrument while a song is sung. • Make up (improvise) short rhythmic patterns to accompany a song. Curriculum outcomes: d) improvise rhythmic patterns using indigenous percussion musical instruments ## Introduction When your class sings at assembly, one learner may keep time on a drum. If the drummer plays the same simple pattern again and again, the singing sounds strong and together. ## Notes ### Beat and rhythm The **beat** is the steady pulse of a song, like the ticking of a clock or the sound of your footsteps when you march. It stays the same all through the song. A **rhythm** is a pattern of long and short sounds and silences played over the beat. ### What it means to improvise To **improvise** is to make up music on the spot, without writing it down first. An improvised rhythmic pattern is a short pattern you create yourself and repeat to go with a song. PAGE 9: Lesson 4: Improvising rhythmic patterns to accompany songs — Example 1 ### How to improvise a rhythmic pattern 1. Listen to the song and clap or tap the steady beat. 2. Count in groups of four: 1, 2, 3, 4. 3. Make a short pattern that fits in four beats. You can use long sounds, quick sounds and silences. 4. Repeat the pattern many times while the song is sung. 5. Keep the pattern steady; do not rush or slow down. You can describe patterns with words. Say **boom** for one strong beat on a drum, **ta-ta** for two quick taps in one beat, and stay silent for a rest. For example: - boom – boom – ta-ta – boom - boom – (rest) – boom – ta-ta - ta-ta – ta-ta – boom – (rest) ### Playing together In a group, one learner can keep the steady beat on a drum, another can play a pattern on a rattle, and another can use leg rattles. Each instrument adds its own colour. Watch each other and start and stop together. Make sure the instruments are not so loud that the singers cannot be heard. ## Key words • beat — the steady pulse of a song • rhythm — a pattern of long and short sounds and silences • improvise — to make up music on the spot • accompany — to play along with singers ## Worked examples ### Example 1 Make a four-beat pattern for a drum using boom, ta-ta and one rest. Working: 1. Beat 1: boom 2. Beat 2: ta-ta 3. Beat 3: boom 4. Beat 4: rest Answer: boom – ta-ta – boom – (rest) PAGE 10: Lesson 5: Making charcoal sticks for drawing ## Worked examples ### Example 2 A learner plays boom – boom – ta-ta – boom but plays faster and faster. What is wrong? Working: 1. A rhythmic pattern must stay with the steady beat of the song. Answer: The learner is not keeping a steady beat and will not stay together with the singers. ## Activity: Accompany a class song You will need: Drums, rattles, leg rattles or improvised instruments such as tins and bottles with seeds 1. Choose a song the class knows well. 2. Clap the steady beat while singing. 3. In groups, each learner makes up a four-beat pattern on an instrument. 4. Play your patterns together while the rest of the class sings. 5. Swap instruments so everyone gets a turn. ## Practice 1. What is the difference between a beat and a rhythm? 2. What does improvise mean? 3. Write your own four-beat drum pattern using boom, ta-ta and rest. ## Answers to practice 1. The beat is the steady pulse; the rhythm is a pattern of long and short sounds played over the beat. 2. To make up music on the spot without writing it first. 3. Any four-beat pattern, for example boom – boom – ta-ta – (rest). ## Summary • Keep the steady beat first, then add a pattern. • An improvised pattern is made up by you and repeated. • Play together and do not drown the singers. LESSON 5: MAKING CHARCOAL STICKS FOR DRAWING ============================================ ## What you will learn • Collect suitable materials and tools for making charcoal sticks. • Follow the steps of cutting, trimming, burning and cooling. • Observe fire safety and care for the environment. Curriculum outcomes: e) make charcoal sticks for drawing ## Introduction Artists all over the world draw with charcoal. You can make your own drawing charcoal from small dry twigs using a tin and a fire at school. PAGE 11: Lesson 5: Making charcoal sticks for drawing — Steps ## Notes Drawing charcoal is made by heating wood with very little air. The wood does not burn to ashes; it turns black and becomes charcoal that leaves dark marks on paper. ### Materials and tools - Thin, dry, straight twigs about as thick as a pencil - A small metal tin with a lid (for example an old tin with a tight lid) - A nail to make a small hole in the lid - A knife or secateurs (used by the teacher or with an adult's help) - A fire (a jiko or a small fire in a safe place) - A pair of tongs or a stick for lifting the tin - Water or sand nearby for safety ### Steps 1. **Cutting** – cut the twigs into pieces short enough to fit inside the tin, about the length of your finger or a little longer. 2. **Trimming** – peel off the bark and trim off small side branches so the sticks are smooth. 3. **Packing** – pack the sticks tightly in the tin. Close the lid and make one small hole in it with a nail so that smoke can escape. 4. **Burning** – place the tin in the fire. Smoke will come out of the hole. When the smoke stops, the sticks have turned to charcoal. The teacher removes the tin with tongs. 5. **Cooling** – leave the tin to cool completely before opening it. If you open it while hot, air rushes in and the charcoal catches fire and turns to ash. PAGE 12: Lesson 5: Making charcoal sticks for drawing — Make charcoal sticks in groups ### Safety - Work only with a teacher or an adult present. - Never touch the hot tin with your bare hands. - Keep water or sand nearby and put out the fire when you finish. - Tie back long clothes and stand away from the smoke. ### Caring for the environment Collect dry fallen twigs or small prunings. Do not cut down young trees or strip bark from living trees. Take only what you need. ## Key words • charcoal stick — a black stick of burnt wood used for drawing • trim — to cut off small unwanted parts • safety — being careful so that no one gets hurt ## Worked examples ### Example 1 Why is only a small hole made in the lid of the tin? Working: 1. The smoke must escape. 2. Too much air would make the sticks burn to ash. Answer: To let smoke out while keeping most air out so the sticks turn to charcoal instead of ash. ## Worked examples ### Example 2 Put these steps in order: burning, trimming, cooling, cutting. Working: 1. First cut the twigs to size. 2. Then remove the bark. 3. Then heat them in the tin. 4. Last, let them cool. Answer: Cutting, trimming, burning, cooling ## Activity: Make charcoal sticks in groups You will need: Dry twigs, Tin with lid, Nail, Knife (teacher), Jiko or fire, Tongs, Water or sand 1. In groups, collect dry fallen twigs from the school compound. 2. Cut and trim the twigs with the teacher's help. 3. Pack them in the tin, close the lid and make a small hole. 4. Watch as the teacher heats the tin until the smoke stops. 5. Let the tin cool completely, then open it and share the charcoal sticks. 6. Clean up and put out the fire. ## Practice 1. Name two materials needed to make charcoal sticks. 2. How do you know the charcoal is ready? 3. Why should you let the tin cool before opening it? 4. Give one way of caring for the environment when collecting twigs. ## Answers to practice 1. Any two: dry twigs, a tin with a lid, a nail, a fire, tongs, water or sand. 2. The smoke stops coming out of the hole in the lid. 3. If opened while hot, air gets in and the charcoal catches fire and turns to ash; it could also burn you. 4. Collect dry fallen twigs and do not cut young trees or strip living trees. ## Summary • Steps: cutting, trimming, burning, cooling. • Heat the sticks in a closed tin with a small hole. • Always observe fire safety and collect materials carefully. PAGE 13: Lesson 6: Tonal value and the smudging technique LESSON 6: TONAL VALUE AND THE SMUDGING TECHNIQUE ================================================ ## What you will learn • Explain what tonal value is in a drawing. • Use a charcoal stick to create light and dark tones by smudging. • Draw a percussion instrument and talk fairly about own and others' drawings. Curriculum outcomes: f) create tonal value on a drawing of a percussion instrument using the smudging technique; g) appreciate indigenous percussion instruments from Kenyan communities and pictures drawn ## Introduction Look at a drum placed near a window. The side facing the light looks bright, while the other side looks darker. Showing these light and dark parts makes a drawing look solid and real. ## Notes ### Tonal value **Tone** or **value** is how light or dark a part of a picture is. It is one of the elements of art. When a drawing has only outlines it looks flat. When you add dark, middle and light tones, the object looks round and solid. Tonal variation means changing gradually from dark to light. The part of the object nearest the light is lightest; this is called the **highlight**. The part turned away from the light is darkest; this is the **shadow**. ### The smudging technique Smudging means rubbing charcoal marks so that they spread and blend smoothly. 1. Make a tonal strip: draw a rectangle and divide it into five boxes. 2. Shade the first box very dark by pressing hard with the charcoal. 3. Press a little lighter in each next box, and leave the last box almost white. 4. Rub gently across the boxes with your finger, a piece of tissue or cotton wool to blend the tones smoothly. Pressing harder gives darker tones. Rubbing spreads the charcoal and makes soft, smooth changes from dark to light. ### Drawing a percussion instrument 1. Look carefully at a real instrument, for example a drum or a gourd rattle. 2. Draw its outline lightly with the charcoal stick, getting the shape and parts right. 3. Decide where the light comes from. 4. Shade the side away from the light darker and smudge it towards the lit side. 5. Leave or rub out a light area for the highlight. 6. Add the shadow of the instrument on the ground. PAGE 14: Lesson 6: Tonal value and the smudging technique — Draw a drum with tonal variation ### Talking about drawings Display your drawings. Say what you like in each one and give one kind suggestion, for example: 'The drum looks round because the dark side blends into the light side. You could add a shadow on the ground.' Be fair and kind to everyone's work. ## Key words • tone (value) — how light or dark part of a picture is • smudging — rubbing charcoal marks to blend them smoothly • highlight — the lightest part of an object, facing the light • shadow — the dark part turned away from the light ## Worked examples ### Example 1 Light comes from the left of a drum. Which side should be shaded darkest? Working: 1. The side facing the light is lightest. 2. The side away from the light is darkest. Answer: The right side ## Worked examples ### Example 2 How can you make a tone darker with a charcoal stick? Working: 1. More charcoal on the paper gives a darker tone. Answer: Press harder or add more layers of charcoal. ## Activity: Draw a drum with tonal variation You will need: Charcoal sticks made in the last lesson, Drawing paper, Tissue or cotton wool, A real drum or rattle to observe 1. Make a five-box tonal strip and smudge it from dark to light. 2. Place a drum or rattle where light falls on one side. 3. Draw the outline, then shade and smudge to show light and dark parts. 4. Display the drawings and take turns to talk about them fairly and kindly. PAGE 15: Lesson 7: Name, community and method of playing — Methods of playing ## Practice 1. What is tonal value? 2. Name two things you can use to smudge charcoal. 3. Why does a shaded drawing look more real than an outline? ## Answers to practice 1. How light or dark part of a picture is. 2. Any two: finger, tissue, cotton wool, a piece of cloth. 3. The light and dark tones make the object look round and solid. ## Summary • Tone is lightness or darkness. • Press harder for dark tones and rub to blend. • Highlights face the light; shadows are away from the light. • Talk about drawings fairly and kindly. LESSON 7: NAME, COMMUNITY AND METHOD OF PLAYING =============================================== ## What you will learn • Identify a percussion instrument by its name, its community and how it is played. • Record whether it is melodic or non-melodic after listening. • Find out one percussion instrument used in your own community without guessing. Curriculum outcomes: a) identify indigenous percussion musical instruments from different Kenyan communities; b) classify indigenous Kenyan percussion musical instruments, as melodic or non-melodic; g) appreciate indigenous percussion instruments from Kenyan communities and pictures drawn ## Introduction Knowing a drum only as 'a drum' is not enough. Communities give instruments names, and the way an instrument is played is part of that identity. ## Notes You can identify an indigenous percussion instrument by answering three questions: What is its name? Which community uses it? How is it played? Then you listen and decide whether it is melodic or non-melodic. ### Methods of playing - **Striking** means hitting the instrument with the hands, a stick or a beater. Drums are struck. A marimba is struck with beaters. - **Shaking** means moving the instrument so that seeds, stones or bells hit one another. A kayamba, a gĩcandĩ and leg rattles are shaken. - **Scraping** means rubbing a stick along a notched surface so that the notches break the rub into many small taps. Two instruments may look similar and still have different names and different roles in a community's music. ### Examples to compare - **Kayamba**: Mijikenda community, shaken, non-melodic. - **Isukuti**: Luhya community, struck with the hands. One drum is non-melodic. - **Gĩcandĩ**: Agĩkũyũ community, shaken, non-melodic. - **Ohangla drums**: Luo community, struck. Drums of different sizes can give different pitches, so a set can be melodic. - **Ngoma**: a wooden drum with a skin, made by many Kenyan communities and struck. One ngoma is non-melodic. - **Drums for kilumi**: the Akamba community strikes drums to accompany the kilumi dance. A single drum keeps rhythm, so it is non-melodic. - **Marimba**: a wooden xylophone played in Kenya. Keys of different lengths are struck with beaters. It is melodic because each key has its own pitch. PAGE 16: Lesson 7: Name, community and method of playing — Example 1 ### Your own community Do not invent a name. Ask a music teacher, a parent or an elder which percussion instrument your community plays, what it is called, and whether it is struck, shaken or scraped. Write the answer in a chart with four columns: name, community, method of playing, melodic or non-melodic. ### Using a digital device With your teacher, watch a short video of one instrument. Pause it. Write the three facts, then listen before you classify the sound. Do not type your full name, your home address or your school's name into a search. ## Key words • striking — hitting an instrument with the hands, a stick or a beater • shaking — moving an instrument so that objects inside it hit one another • scraping — rubbing a stick along a notched surface to make many small taps • ngoma — a drum with a wooden body and a skin, made by many Kenyan communities ## Worked examples ### Example 1 An instrument from the Mijikenda community is a flat reed rattle with seeds inside. Name it, say how it is played, and classify it. Working: 1. That description matches the kayamba. 2. It is shaken. 3. It cannot play a tune, so it is non-melodic. Answer: Kayamba, shaken, non-melodic. ## Worked examples ### Example 2 A marimba has wooden keys of different lengths. Why is it classified as melodic? Working: 1. Each key gives its own pitch. 2. Different pitches can be played one after another to make a tune. Answer: Because the keys give different pitches, so the marimba can play a tune. ## Activity: Build an identification chart You will need: Pictures, real instruments or a short video, Exercise book, A digital device used with the teacher 1. Watch or handle each instrument and write its name, community and method of playing. 2. Listen, then add whether it is melodic or non-melodic. 3. Ask a teacher or family member about one percussion instrument from your own community and add it to the chart. 4. Compare charts with another group and correct any guess that nobody can support. 5. Say one reason these instruments matter to the communities that play them. PAGE 17: Lesson 8: A smudged gourd and a fair gallery talk ## Practice 1. What three facts identify an indigenous percussion instrument? 2. How is a kayamba played, and which community is it linked with? 3. Why should you ask an elder or a teacher before naming your own community's instrument? ## Answers to practice 1. Its name, the community that uses it, and the method of playing. 2. It is shaken. It is an instrument of the Mijikenda community. 3. Guessing can give the wrong name. The people who play it know what it is called and how it is played. ## Summary • Identify an instrument by name, community and method of playing. • Methods are striking, shaking and scraping. • Listen before you decide if it is melodic, and do not invent a local name. LESSON 8: A SMUDGED GOURD AND A FAIR GALLERY TALK ================================================= ## What you will learn • Draw a gourd rattle and create tonal variation by smudging. • Use fair language when talking about your own drawing and a classmate's drawing. • Explain why indigenous percussion instruments and careful drawings are worth appreciating. Curriculum outcomes: f) create tonal value on a drawing of a percussion instrument using the smudging technique; g) appreciate indigenous percussion instruments from Kenyan communities and pictures drawn ## Introduction A finished drawing is ready when the instrument can be recognised and the light and dark tones make it look solid. The talk afterwards should be as careful as the drawing. ## Notes This drawing uses the charcoal sticks you made. The subject is a gourd rattle, which has a round body, a narrower neck and a handle. A round body needs a gradual smudge. A hard line between black and white makes the gourd look flat. PAGE 18: Lesson 8: A smudged gourd and a fair gallery talk — Drawing the rattle ### Drawing the rattle 1. Look at a real gourd rattle or a clear picture. Sketch the round body lightly, then the neck and the handle. 2. Decide where the light comes from. Mark a small highlight on that side and do not fill it with heavy charcoal. 3. Press harder on the side turned away from the light so a dark crescent appears on the round body. 4. Smudge with a finger, tissue or cotton wool from the dark side towards the light. Stop before you wipe the highlight away. 5. The handle is thinner, so its dark side is a narrow band, not a large patch. 6. Add a soft shadow on the ground, darker next to the gourd and lighter as it moves away. 7. Leave the seeds inside unseen. You show the round shell, not a cut-away picture, unless you choose a second small drawing to explain the parts. Tonal variation comes from pressing harder or more softly and then smudging so the tones blend. That is how a charcoal drawing shows value. ### A fair gallery Display the drawings with any real instruments the class can handle safely. Each learner speaks once, using three sentence starters: - 'I can see…' and name the instrument or a part. - 'The smudge works well because…' - 'A next step could be…' and give one kind suggestion. Do not laugh, grab someone's paper or say a drawing is useless. Social justice here means every learner gets a turn and every comment is about the work. You may like your own drawing and still accept one useful suggestion. PAGE 19: Lesson 8: A smudged gourd and a fair gallery talk — Why the work matters ### Why the work matters Indigenous percussion instruments keep the beat for songs and dances, mark ceremonies and carry community knowledge. A careful drawing records an instrument you may not be able to take home. When you appreciate both the instrument and the picture, you show respect for the people who made them and for the classmate who drew them. [DIAGRAM] TYPE: svg ALT: A gourd rattle with a highlight, a dark side and a ground shadow PAYLOAD: CAPTION: A gourd rattle with a highlight, a dark side and a ground shadow [/DIAGRAM] ## Key words • gallery — a display of drawings where people look and talk about the work • tonal variation — a gradual change from dark tone to light tone • appreciate — to notice the value of something and say so fairly ## Worked examples ### Example 1 Light comes from the left of a gourd. Where should the darkest charcoal be, and what must the smudge not erase? Working: 1. The side away from the light is darkest, so the right side is dark. 2. The highlight on the left should remain light. Answer: The darkest tone goes on the right. The smudge must leave the highlight on the left. PAGE 20: Lesson 8: A smudged gourd and a fair gallery talk — Draw, display and talk ## Worked examples ### Example 2 A classmate says, 'Your gourd looks like a potato.' How can that comment be changed into a fair critique? Working: 1. A fair comment names what is seen and gives one helpful next step. 2. Mocking the maker is not just. Answer: Say something like, 'I can see a round body. A next step could be a narrower neck and a lighter highlight so it reads clearly as a gourd.' ## Activity: Draw, display and talk You will need: Charcoal sticks, Paper, Tissue or cotton wool, A gourd rattle or a clear picture of one 1. Sketch a gourd rattle and smudge a gradual tone from the dark side towards the highlight. 2. Add the handle and a soft ground shadow. 3. Display the drawings beside any real percussion instruments. 4. Each learner uses 'I can see', 'The smudge works well because' and 'A next step could be'. 5. Listen to every speaker before you reply. ## Practice 1. How is tonal variation created with charcoal? 2. What three sentence starters help a fair gallery talk? 3. Give one reason to appreciate indigenous percussion instruments. ## Answers to practice 1. By pressing harder for dark tones and more softly for light tones, then smudging so the change is gradual. 2. 'I can see…', 'The smudge works well because…' and 'A next step could be…' 3. Any one: they keep the beat for songs and dances, they are used in ceremonies, or they carry community knowledge. ## Summary • Smudge a gourd from the dark side towards a saved highlight. • Talk about drawings with three fair sentence starters. • Appreciate both the instruments and the pictures. PAGE 21: Revision quiz REVISION QUIZ ============= Answer all the questions, then mark yourself on the Answers tab. 1. Which of these is a percussion instrument? A. Nyatiti B. Kayamba C. Flute D. Litungu 2. Isukuti drums are associated with which community? A. Mijikenda B. Luo C. Luhya D. Maasai 3. How is a kayamba played? A. By blowing B. By shaking C. By plucking strings D. By bowing 4. Which instrument is melodic? A. Gourd rattle B. Leg rattles C. Xylophone D. Kayamba 5. Why is a gourd rattle called non-melodic? 6. Which part of a drum vibrates to produce the sound? A. Base B. Skin (membrane) C. Laces D. Handle 7. What happens to the sound when a drum skin is tightened? A. It becomes higher B. It becomes lower C. It stops D. It does not change 8. What is an improvised rhythmic pattern? 9. What is the correct order for making charcoal sticks? A. Burning, cutting, cooling, trimming B. Cutting, trimming, burning, cooling C. Trimming, cooling, cutting, burning D. Cooling, burning, trimming, cutting 10. Give one safety rule when burning charcoal sticks. 11. What is smudging? A. Rubbing out a drawing B. Rubbing charcoal marks to blend light and dark tones C. Drawing only outlines D. Painting with water 12. How should you talk about a classmate's drawing? PAGE 22: Quiz answers ANSWERS ======= 1. B. Kayamba A kayamba is shaken to make sound, so it is a percussion instrument. The others are string or wind instruments. 2. C. Luhya Isukuti is a set of drums of the Luhya community, well known among the Isukha and Idakho. 3. B. By shaking The seeds inside the reed frame rattle when it is shaken. 4. C. Xylophone A xylophone has keys of different lengths that give different pitches, so it can play a tune. 5. It cannot produce different clear pitches to play a tune; it only keeps rhythm. Melodic instruments give different high and low notes; a rattle gives the same rattling sound. 6. B. Skin (membrane) Striking the skin makes it vibrate, producing sound. 7. A. It becomes higher A tighter skin vibrates faster and gives a higher sound. 8. A short pattern of sounds and silences that you make up yourself and repeat to accompany a song. To improvise means to make up music on the spot. 9. B. Cutting, trimming, burning, cooling Cut the twigs, trim the bark, heat them in a closed tin, then let them cool. 10. Any one: work with an adult, do not touch the hot tin, keep water or sand nearby, put out the fire afterwards. Fire and hot tins can cause burns. 11. B. Rubbing charcoal marks to blend light and dark tones Smudging spreads and blends charcoal to create smooth tonal variation. 12. Fairly and kindly: say what is good and give a helpful suggestion. The design asks learners to talk about own and others' work in a just and fair manner.