Republic of the Philippines

Department of Education
DepEd Complex, Meralco Avenue
Pasig City

K to 12 Curriculum Guide
MUSIC
(Grade 1 to Grade 10)

May 2016
 K to 12 BASIC EDUCATION

CONCEPTUAL FRAMEWORK

Both the Music and the Arts curricula focus on the learner as recipient of the knowledge, skills, and values necessary for ar tistic expression and
cultural literacy. The design of the curricula is student-centered, based on spiral progression of processes, concepts and skills and grounded in performance-
based learning. Thus, the learner is empowered, through active involvement and participation, to effectively correlate music and art to the development of
his/her own cultural identity and the expansion of his/her vision of the world.

As Music and Arts are performance-based disciplines, effective learning occurs through active experience, participation, and performance, creative
expression, aesthetic valuation, critical response, and interpretation. The skills that are developed include reading/analyzing, listening/observing, performing,
(singing, using musical instruments, movement, acting, and playing, using different art materials, techniques and processes, responding, composing, and
creating. (See Figure 1 and Figure 2)

The philosophical foundations upon which standards and competencies are based include: A Process of Education by Jerome Bruner, Performance-
Based Learning by Cleve Miller, Aesthetic Education by Bennett Reimer, Multiple Intelligences by Howard Gardner, A Structure for Music Education by Ronald
Thomas, Gongs and Bamboo by Jose Maceda, Compendium on the Humanities: Musical Arts produced by the National Research Council of the Philippines,
Cultural Dictionary for Filipinos by Thelma Kintanar and Associates, Creative and Mental Growth by Viktor Lowenfeld and W. Lambert Brittain, Discipline-Based
Art Education by Elliot Eisner, Encyclopedia of Philippine Arts and Tuklas Sining, both produced by the Cultural Center of the Philippines.

K to 12 Music Curriculum Guide May 2016 Page 2of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION

PHILOSOPHY AND RATIONALE FOR MUSIC EDUCATION

Music is both an aural and a temporal art. All its elements, when interwoven in the highest artistic order, are likened into a -- tapestry moving in time.
The global weavings of this tapestry in historical and cultural contexts are diverse -- having spurred a continued metamorphosis to include a full range of
purposes, functions, and identities, from the utilitarian to aesthetic.

However, the basic nature of music does not change. In his book A Structure for Music Education, Ronald Thomas articulates that the nature of music
is expressive, ongoing, and creative. Through a language and medium of its own, music conveys ideas and feelings in a way that addresses the human spirit,
and has great value in its communicative process. Music, being responsive in interpreting contemporary times, is a continuing art. Aaron Copland describes this
characteristic as a continuous state of becoming. Like the other arts, music is a creative avenue for man’s individual quest for self- expression and fulfillment.

On these basic characteristics are founded the rationale of music study. A keen sensitivity to environmental and musical sounds needs to be
developed. The student must learn to ―hear, ―speak, and ―think in the medium of music. Simultaneously, growth and development in the skills that enable the
application of the learner’s knowledge should be encouraged, through active involvement in the various musical processes.

Drawing from the development of music pedagogy through the years, the K-10 Music Curriculum embodies the best practices advocated by the
SPIRAL, MULTI-CULTURAL, and INTEGRATIVE approaches in music education, as well as current philosophical thought about contemporary general
education.

We envision that Music in the K-10 Program will effectively nurture and refine the learner’s artistic expression and cultural literacy, and celebrate his/her
national heritage, while it instils, within every individual Filipino learner, pride in his/her own cultural identity.

K to 12 Music Curriculum Guide May 2016 Page 3of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION

Figure 1. The Curriculum Framework of Music and Arts Education

K to 12 Music Curriculum Guide May 2016 Page 4of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION

Grade 12Mastery of Proficiency in the chosen form or genre

G rade 11Mastery of Proficiency in the chosen form or genre

Gr e 10Application of Contemporary Music and Arts

Grade Application – Western Music and Arts

Grade lication – Asian Music and Arts

Grade tion – Philippine Folk Music and Arts

Grade on for Appropriate Mastery and Acquisition of Skills

Grade – Elements / Processes

Grade 4Formal Introdu ction to Elements / Processes

G ade
Grade 3Preliminary
2Enhanced itioning
of Basic KnowledgeProcesses
of Fundamental and Skills

Grade 1Introduction to the amental Processes

KindergartenExposure to the nt Music & Art

Differe Processes Learning)

Figure 2. Content of Music and Arts per Grade Level

K to 12 Music Curriculum Guide May 2016 Page 5of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
Table 1. Basic Reference for Music Content

Music Elements Music Processes

-creating)

(including movement)

*No formal instruction in harmony

from K to 3

K to 12 Music Curriculum Guide May 2016 Page 6of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION

LEARNING AREA STANDARD: The learner demonstrates an understanding of basic concepts and processes in music and art through appreciation,
analysis and performance for his/her self-development, celebration of his/her Filipino cultural identity and diversity, and
expansion of his/her world vision.

KEY STAGE STANDARDS:

K-3 4-6 7 – 10

The learner demonstrates The learner demonstrates understanding The learner demonstrates understanding
understanding of fundamental of basic elements and concepts through of salient features of music and art of
processes through performing, creating, and responding, the Philippines and the world, through
performing, creating, and responding, aimed towards the development of appreciation, analysis, and performance,
aimed towards the development of appreciation of music and art, and for self-development, the celebration of
appreciation of music and art, and acquisition of basic knowledge and skills. Filipino cultural identity and diversity,
acquisition of basic knowledge and and the expansion of one’s world vision.
skills.

K to 12 Music Curriculum Guide May 2016 Page 7of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
GRADE LEVEL STANDARDS:

Grade Level Grade Level Standards

Kindergarten The learner is exposed to the different basic music and art processes through experiential learning.

The learner demonstrates basic understanding of the fundamental processes in music and art, through performing, creating, listening and observing, and
Grade 1
responding.

The learner demonstrates understanding of the basic and fundamental processes in music and art, through performing, creating, listening and observing,
Grade 2
and responding.

The learner has acquired the basic and fundamental processes through performing, creating, listening and observing, and responding, towards
Grade 3
the development of appreciation of music and art, and the acquisition of basic knowledge and skills.

Through the formal introduction of elements, the learner can identify the basic knowledge and skills in music and art, towards self-development, the
Grade 4
celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.

Through exploration, the learner demonstrates a deeper understanding of basic knowledge and skills in music and art, towards self-development, the
Grade 5
celebration of Filipino cultural identity and diversity, and expansion of one’s world vision.

Through application, the learner demonstrates understanding of the basic concepts of and processes in music and art, towards self-development, the
Grade 6
celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.

The learner demonstrates basic understanding of the fundamental processes in music and the arts through performing, creating, listening and
Grade 7
observing, and responding towards appreciation of the cultural richness of the different provinces in the Philippines.

The learner demonstrates understanding of salient features of Asian music and the arts, through appreciation, analysis, and performance for self-
Grade 8
development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.

The learner demonstrates understanding of salient features of Western music and the arts from different historical periods, through appreciation, analysis,
Grade 9
and performance for self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.

The learner demonstrates understanding of salient features of contemporary music and the arts, through appreciation, analysis, and performance, for
Grade 10
self- development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.

K to 12 Music Curriculum Guide May 2016 Page 8of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
GRADE 1
ELEMENTS OF MUSIC

PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
FIRST QUARTER
I. RHYTHM demonstrates basic responds appropriately to Pilot School MTB-
understanding of sound, the pulse of the sounds MLE
1. Distinction Between silence and rhythm heard and performs with 1. identifies the difference
Sound and Silence accuracy the rhythmic between sound and silence MU1RH-Ia-1
2. Steady Beats patterns accurately
3. Simple Rhythmic
Patterns
4. Ostinato
Pilot School MTB-
MLE
2. relates images to sound and
Music, Arts, Physical
silence within a rhythmic MU1RH-Ib-2
Education and
pattern Health 2.Illagan,
Amelia M. et.al,
2013 pp.3-8
Pilot School MTB-
3. performs echo clapping MU1RH-Ib-3 MLE
4. maintains a steady beat Pilot School MTB-
when chanting, MLE
MU1RH-Ic-4
walking, tapping,
clapping, and
playing musical instruments
5. claps, taps, chants, walks Pilot School MTB-
and plays musical MLE
instruments with accurate
rhythm in response to MU1RH-Ic-5
sound
o in groupings of 2s
o in groupings of 3s
o in groupings of 4s
Pilot School MTB-

K to 12 Music Curriculum Guide May 2016 Page 9of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
6. creates simple ostinato MLE
MU1RH-Id-e-6
patterns in groupings of 2s, Music, Arts, Physical
3s, and 4s through body
movements

K to 12 Music Curriculum Guide May 2016 Page 10of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
I. RHYTHM demonstrates basic responds appropriately to Education and
understanding of sound, the pulse of the sounds Health 2.Illagan,
1.Distinction Between silence and rhythm heard and performs with Amelia M. et.al,
Sound and Silence accuracy the rhythmic 2013 pp.25-31
2. Steady Beats patterns 7. performs simple ostinato Pilot School MTB-
3. Simple Rhythmic patterns on other sound MU1RH-If-g-7 MLE
Patterns sources including body parts
4. Ostinato MU1RH-Ih-8 Pilot School MTB-
8. plays simple ostinato MLE
patterns on
classroom Music, Arts, Physical
instruments Education and
8.1 sticks, drums, triangles, Health 2.Illagan,
nails, coconut shells, Amelia M. et.al,
2013 pp.32-33
bamboo, empty boxes,
etc.
SECOND QUARTER
II. MELODY demonstrates basic responds accurately to high 1. identifies the pitch of a tone Pilot School MTB-
understanding of pitch and and low tones through body as high or low MLE
1. Pitch simple melodic patterns movements, singing, and
Music, Arts, Physical
2. Simple Melodic playing other sources of MU1ME-IIa-1
Education and
Patterns sounds Health 2.Illagan,
Amelia M. et.al,
2013 pp.43-45
2. matches the correct pitch of Pilot School MTB-
tones with other sound MLE
sources
Music, Arts, Physical
MU1ME-IIb-2
Education and
Health 2.Illagan,
Amelia M. et.al,
2013 pp.47-50
3. sings simple melodic patterns Pilot School MTB-
3.1 ( so –mi, mi –so, mi – re- MU1ME-IIb-3 MLE
do)
4. matches the melody of a Pilot School MTB-
song with the correct pitch MLE
MU1ME-IIc-4

K to 12 Music Curriculum Guide May 2016 Page 11of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
vocally Music, Arts, Physical

K to 12 Music Curriculum Guide May 2016 Page 12of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
II. MELODY demonstrates basic responds accurately to high 4.1 greeting songs Education and
understanding of pitch and and low tones through body 4.2 counting songs Health 2.Illagan,
1. Pitch simple melodic patterns movements, singing, and 4.3 action songs Amelia M. et.al,
2013 pp.52-55
1. Simple Melodic playing other sources of
5. sings in pitch Pilot School MTB-
Patterns sounds
5.1 rote singing MLE
5.2 greeting songs
Music, Arts, Physical
5.3 counting songs MU1ME-IIc-5
Education and
5.4 echo singing Health 2.Illagan,
Amelia M. et.al,
2013 pp.52-55
III. FORM demonstrates basic responds with precision to 6. identifies with body Pilot School MTB-
understanding of the changes in musical lines movements the MLE
1. Musical Lines concepts of musical lines, with body movements 6.1 beginnings
MU1FO-IId-1
2. Beginnings and beginnings and endings in 6.2 endings
Endings in Music music, and repeats in music 6.3 repeats of a
3. Repeats in Music recorded music
example
7. identifies similar or dissimilar Pilot School MTB-
musical lines with the use MLE
of:
Music, Arts, Physical
7.1 body movements MU1FO-IIe-2
Education and
7.2 geometric shapes or Health 2.Illagan,
objects Amelia M. et.al,
2013 pp.72-76
8. relates basic concepts of Pilot School MTB-
musical forms to MLE
geometric shapes to
Music, Arts, Physical
indicate understanding of: MU1FO-IIf-3 Education and
8.1 same patterns Health 2.Illagan,
8.2 different patterns Amelia M. et.al,
2013 pp.72-76
9. chooses the exact geometric MU1FO-IIg-h-4 Pilot School MTB-
shapes that correspond to MLE
musical form

K to 12 Music Curriculum Guide May 2016 Page 13of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION

K to 12 Music Curriculum Guide May 2016 Page 14of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
THIRD QUARTER
IV. TIMBRE demonstrates distinguishes accurately the 1. identifies the source Pilot School MTB-
understanding of the basic different sources of sounds of sounds MLE
1. Quality of Sound in concepts of timbre heard and be able to 1.1 wind, wave, swaying of the
Music, Arts, Physical
Music produce a variety of timbres trees, animal sounds, MU1TB-IIIa-1 Education and
2. Distinction Between sounds produced by
Health 2.Illagan,
Speaking and Singing machines, transportation, Amelia M. et.al,
through body movements 2013 pp.97-102
2. responds appropriately to Pilot School MTB-
MU1TB-IIIa-2 MLE
differences in sounds heard
through body movement
3. replicates the sounds heard Pilot School MTB-
from different sources MLE

MU1TB-IIIb-3 Music, Arts, Physical

Education and
Health 2.Illagan,
Amelia M. et.al,
2013 pp.103-106
4. uses voice and other Pilot School MTB-
MU1TB-IIIb-4 MLE
sources of sound to produce
a variety of timbres
V. DYNAMICS demonstrates creatively interprets with 5. demonstrates dynamic Pilot School MTB-
MU1DY-IIIc-1
understanding of the basic body movements the changes with movements MLE
1. Volume of Sound in concepts of dynamics dynamic levels to enhance 6. uses the terms loud and soft Pilot School MTB-
to identify volume changes MU1DY-IIIc-2 MLE
Music poetry, chants, drama, and
2. Distinction musical stories 7. relates the concepts of Pilot School MTB-
Between Loudness dynamics to the movements MLE
and Softness in of animals
7.1 elephant walk – loud Music, Arts, Physical
Music MU1DY-IIId-3 Education and
7.2 tiny steps of a mouse – Health 2.Illagan,
soft Amelia M. et.al,
2013 pp.132-134
8. interprets with body Pilot School MTB-
movements the dynamics of MLE
MU1DY-IIIe-f-4
a song
Music, Arts, Physical

K to 12 Music Curriculum Guide May 2016 Page 15of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION

K to 12 Music Curriculum Guide May 2016 Page 16of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
V. DYNAMICS demonstrates creatively interprets with 8.1 small movement – soft Education and
understanding of the basic body movements the 8.2 big movement –loud Health 2.Illagan,
1. Volume of Sound in concepts of dynamics dynamic levels to enhance Amelia M. et.al,
2013 pp.132-134
Music poetry, chants, drama, and
9. applies the concepts of Pilot School MTB-
2. Distinction Between musical stories
dynamic levels to enhance MLE
Loudness and Softness
in Music poetry, chants, drama, MU1DY-IIIg-h-
and musical stories 5
9.1 small movement – soft
9.2 big movement – loud
FOURTH QUARTER
VI. TEMPO demonstrates performs with accuracy 1. mimics animal movements Pilot School MTB-
understanding of the basic varied tempi through 1.1 horse – fast MLE
1. Speed of Sound In concepts of tempo movements or dance steps 1.2 carabao – slow Music, Arts, Physical
Music to enhance poetry, chants, MU1TP-IVa-1 Education and
Health 2.Illagan,
2. Distinction Between drama, and musical stories Amelia M. et.al,
Fastness and 2013 pp.143-145
Slowness in Music 2. demonstrates the basic Pilot School MTB-
concepts of tempo through MLE
movements
MU1TP-IVa-2 Music, Arts, Physical
Education and
Health 2.Illagan,
Amelia M. et.al,
2013 pp.137-140
3. responds to varied tempo Pilot School MTB-
with movements or dance MLE
steps
Music, Arts, Physical
3.1 slow movement with slow MU1TP-IVb-3
Education and
music Health 2.Illagan,
3.2 fast movement with Amelia M. et.al,
fast music 2013 pp.137-140
4. relates tempo changes Pilot School MTB-
MU1TP-IVb-4 MLE
to movements
5. uses varied tempo to Pilot School MTB-
enhance poetry, MU1TP-IVc-5 MLE
chants,

K to 12 Music Curriculum Guide May 2016 Page 17of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
drama, and musical stories

K to 12 Music Curriculum Guide May 2016 Page 18of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
VII. TEXTURE demonstrates sings songs to involve 6. identify sounds alone, sounds MU1TX-IVd-1 Pilot School MTB-
understanding of the basic oneself and experience the together MLE
1. Distinction Between concepts of texture concept of texture 7. demonstrates awareness of Pilot School MTB-
Thinness and texture by using visual MLE
Thickness in Music images
2. Single Melodic Line or Music, Arts, Physical
MU1TX-IVe-2 Education and
Simultaneous
Health 2.Illagan,
Occurrence of Amelia M. et.al,
Multiple Melodic Lines 2013 pp.154-159
8. distinguishes accurately Pilot School MTB-
between single musical line MLE
and multiple musical lines
Music, Arts, Physical
which occur simultaneously MU1TX-IVf-3 Education and
in a given song Health 2.Illagan,
Amelia M. et.al,
2013 pp.160-162
9. demonstrates the concept Pilot School MTB-
of texture by singing two- MLE
part round
MU1TX-IVg-h-4 Music, Arts, Physical
9.1 Are You Sleeping, Brother
Education and
John? Health 2.Illagan,
9.2 Row, Row, Row Your Boat Amelia M. et.al,
2013 pp.160-162

K to 12 Music Curriculum Guide May 2016 Page 19of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
GRADE 2
ELEMENTS OF MUSIC

PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
FIRST QUARTER
I. RHYTHM demonstrates basic responds appropriately to 1. distinguishes aurally and Pilot School MTB-
understanding of sound, the pulse of sounds heard visually between sound and MLE
1. Distinction silence and rhythmic and performs with accuracy silence
Music, Arts, Physical
Between Sound patterns and develops the rhythmic patterns in MU2RH-Ia-1 Education and
and Silence musical awareness while expressing oneself Health 2.Illagan,
2. Steady Beats performing the Amelia M. et.al,
3. Simple fundamental processes in 2013 pp.3-8
Rhythmic music 2. relates visual images to Pilot School MTB-
Patterns sound and silence within a MLE
4. Ostinato rhythmic pattern
Music, Arts, Physical
MU2RH-Ib-2
Education and
Health 2.Illagan,
Amelia M. et.al,
2013 pp.3-8
3. replicates a simple series of Pilot School MTB-
rhythmic sounds (i.e. echo MLE
clapping)
Music, Arts, Physical
MU2RH-Ib-3 Education and
Health 2.Illagan,
Amelia M. et.al,
2013 pp.21-24
4. maintains a steady beat when Pilot School MTB-
chanting, walking, tapping, MU2RH-Ic-4 MLE
clapping, and playing musical
instruments
5. claps the written stick Pilot School MTB-
notation to show steady beats MLE
5.1 divides the stick notations MU2RH-Ic-5
Music, Arts, Physical
into measures of 2s, 3s
Education and
and 4s to show rhythmic Health 2.Illagan,
patterns Amelia M. et.al,

K to 12 Music Curriculum Guide May 2016 Page 20of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
I. RHYTHM demonstrates basic responds appropriately to 2013 pp.25-31
understanding of sound, the pulse of sounds heard 6. creates simple ostinato Pilot School MTB-
1. Distinction silence and rhythmic and performs with accuracy patterns in measures of 2s, MLE
Between Sound patterns and develops the rhythmic patterns in 3s, and 4s with body
Music, Arts, Physical
and Silence musical awareness while expressing oneself movements MU2RH-Id-e-6 Education and
2. Steady Beats performing the Health 2.Illagan,
3. Simple fundamental processes in Amelia M. et.al,
Rhythmic music 2013 pp.25-31
Patterns 7. writes stick notation on the Pilot School MTB-
4. Ostinato board to represent the sound MLE
heard
Music, Arts, Physical
MU2RH-If-g-7 Education and
Health 2.Illagan,
Amelia M. et.al,
2013 pp.22
Pilot School MTB-
MLE
8. plays simple ostinato
patterns on classroom Music, Arts, Physical
instruments MU2RH-Ih-8 Education and
8.1 sticks, drums, triangles, Health 2.Illagan,
nails, coconut shells, Amelia M. et.al,
2013 pp.32-33
bamboo, empty boxes,
etc.
SECOND QUARTER
II. MELODY demonstrates basic performs with accuracy of 1. identifies the pitch of tones as Pilot School MTB-
understanding of pitch and pitch, the simple melodic 1.1 high MLE
1. Pitch simple melodic patterns patterns through body 1.2 low
1.3 higher Music, Arts, Physical
2. Simple Melodic movements, singing or MU2ME-IIa-1 Education and
Patterns playing musical instruments 1.4 lower
Health 2.Illagan,
Amelia M. et.al,
2013 pp.39-42
2. responds to ranges of pitch Pilot School MTB-
through body movements, MLE
singing, and playing sources MU2ME-IIa-2
Music, Arts, Physical
of sounds
Education and
K to 12 Music Curriculum Guide May 2016 Page 21of 94
Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION

K to 12 Music Curriculum Guide May 2016 Page 22of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
II. MELODY demonstrates basic performs with accuracy of Health 2.Illagan,
understanding of pitch and pitch, the simple melodic Amelia M. et.al,
1. Pitch simple melodic patterns patterns through body 2013 pp.43-44
2. Simple Melodic 3. demonstrates high and low Pilot School MTB-
movements, singing or
pitches through singing or MLE
Patterns playing musical instruments
playing musical instruments
Music, Arts, Physical
MU2ME-IIb-3 Education and
Health 2.Illagan,
Amelia M. et.al,
2013 pp.42-45, 47-
50
4. sings the following songs with Pilot School MTB-
accurate pitch: MLE
4.1 wrote songs
4.2 echo songs Music, Arts, Physical
MU2ME-IIb-4 Education and
4.3 simple children’s melodies Health 2.Illagan,
Amelia M. et.al,
2013 pp.52-55
5. echoes simple melodic Pilot School MTB-
patterns through singing or MLE
humming
Music, Arts, Physical
MU2ME-IIc-5 Education and
Health 2.Illagan,
Amelia M. et.al,
2013 pp.54-55
6. demonstrates the melodic Pilot School MTB-
contour with movement MLE

Music, Arts, Physical

MU2ME-IIc-6 Education and
Health 2.Illagan,
Amelia M. et.al,
2013 pp.57-58
7. demonstrates the melodic Pilot School MTB-
contour through MLE
MU2ME-IIc-7
1.7 body staff
1.8 writing the melodic line “on Music, Arts, Physical

K to 12 Music Curriculum Guide May 2016 Page 23of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION

K to 12 Music Curriculum Guide May 2016 Page 24of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
II. MELODY demonstrates basic performs with accuracy of the air” Education and
understanding of pitch and pitch, the simple melodic 1.9 line notation Health 2.Illagan,
1. Pitch simple melodic patterns patterns through body Amelia M. et.al,
2013 pp.58-62
2. Simple Melodic movements, singing or
8. relates visual imagery to Pilot School MTB-
Patterns playing musical instruments
melodic patterns MLE

Music, Arts, Physical

MU2ME-IIc-8 Education and
Health 2.Illagan,
Amelia M. et.al,
2013 pp.63-65
III. FORM demonstrates performs a song, chosen 9. identifies the beginning and Pilot School MTB-
understanding of the basic from among the previously ending of a song MLE
1. Musical Lines concepts of musical form learned songs that shows
Music, Arts, Physical
2. Beginnings and the basic concepts of MU2FO-IId-1 Education and
Endings in Music musical lines, beginnings, Health 2.Illagan,
3. Repeats in Music endings and repeats Amelia M. et.al,
through body movement, 2013 pp.78-82
vocal sounds, and 10. demonstrates the Pilot School MTB-
instrumental sounds beginning and ending of a MLE
song with
Music, Arts, Physical
10.1 movements MU2FO-IId-2 Education and
10.2 vocal sounds Health 2. Illagan,
10.3 instrumental sounds Amelia M. et.al,
2013 pp.78-82
11. identifies musical lines as Pilot School MTB-
11.1 similar MLE
11.2 dissimilar with
Music, Arts, Physical
movements and with MU2FO-IIe-3 Education and
the use geometric Health 2. Illagan,
shapes or objects Amelia M. et.al,
2013 pp.72-76
12. demonstrates repeated Pilot School MTB-
musical lines with movements MLE
MU2FO-IIe-4
Music, Arts, Physical

K to 12 Music Curriculum Guide May 2016 Page 25of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
Education and
Health 2. Illagan,
Amelia M. et.al,
2013 pp.84-88
13. recognizes repetitions within a Pilot School MTB-
MU2FO-IIf-5 MLE
song
14. creates melodic introduction Pilot School MTB-
MU2FO-IIg-h-6 MLE
and ending of songs
15. creates rhythmic introduction Pilot School MTB-
MU2FO-IIg-h-7 MLE
and ending of songs
THIRD QUARTER
IV. TIMBRE demonstrates determines accurately the 1. identifies the source of Pilot School MTB-
understanding of the basic sources of sounds heard, sounds e.g. winds, waves MLE
1. Quality of Sound in concepts of timbre and produce sounds using swaying of the trees, animals
Music, Arts, Physical
Music voice, body, and objects, sounds, sounds produced by MU2TB-IIIa-1 Education and
2. Introduction to and be able to sing in machines, transportation, etc. Health 2. Illagan,
Voice Production accurate pitch Amelia M. et.al,
3. Differentiation 2013 pp.97-102
in Sound Quality 2. replicates different sources of Pilot School MTB-
4. Introduction to sounds with body movements MLE
Musical
Instruments Music, Arts, Physical
MU2TB-IIIa-2 Education and
Health 2. Illagan,
Amelia M. et.al,
2013 pp.103-106
3. identifies the common musical Pilot School MTB-
instruments by their sounds MLE
and image
Music, Arts, Physical
MU2TB-IIIb-3 Education and
Health 2. Illagan,
Amelia M. et.al,
2013 pp.108-111
4. recognizes the difference Pilot School MTB-
between speaking and singing MLE
MU2TB-IIIc-4
Music, Arts, Physical

K to 12 Music Curriculum Guide May 2016 Page 26of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
IV. TIMBRE demonstrates determines accurately the Education and
understanding of the basic sources of sounds heard, Health 2. Illagan,
1. Quality of Sound in concepts of timbre and produce sounds using Amelia M. et.al,
2013 pp.112-115
Music voice, body, and objects,
5. sings songs with accurate Pilot School MTB-
2. Introduction to and be able to sing in
pitch and pleasing vocal MLE
Voice Production accurate pitch
3. Differentiation in quality
Music, Arts, Physical
Sound Quality MU2TB-IIIc-5 Education and
4. Introduction to Musical Health 2. Illagan,
Instruments Amelia M. et.al,
2013 pp.121-122
6. produces sounds using voice, Pilot School MTB-
body, and objects to enhance MU2TB-IIId-6 MLE
a given story
V. DYNAMICS demonstrates creatively applies changes 7. interprets through body Pilot School MTB-
understanding of the basic in dynamics to enhance movements the dynamics of a MLE
1. Volume of Sound in concepts of dynamics rhymes, chants, drama, and song
Music, Arts, Physical
Music musical stories MU2DY-IIIc-1 Education and
2. Distinction Health 2. Illagan,
Between Loudness Amelia M. et.al,
and Softness in 2013 pp.132-139
Music 8. distinguishes between “loud”, Pilot School MTB-
“louder”, “soft” and “softer” in MLE
music
Music, Arts, Physical
MU2DY-IIIc-2 Education and
Health 2.Illagan,
Amelia M. et.al,
2013 pp.132-134
9. relates movements of animals Pilot School MTB-
to dynamics MLE
E.g.
Music, Arts, Physical
elephant walking – loud MU2DY-IIIc-3 Education and
dog walking – medium Health 2. Illagan,
tiny steps of a mouse - soft Amelia M. et.al,
2013 pp.132-134
10. uses the words loud, louder, MU2DY-IIIc-4 Pilot School MTB-

K to 12 Music Curriculum Guide May 2016 Page 27of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION

K to 12 Music Curriculum Guide May 2016 Page 28of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
V. DYNAMICS demonstrates creatively applies changes soft, softer – to identify MLE
understanding of the basic in dynamics to enhance variations in volume
1. Volume of Sound in Music concepts of dynamics rhymes, chants, drama, and 11. replicates “loud,” “medium,” Pilot School MTB-
2. Distinction Between musical stories and “soft” with voice or with MLE
Loudness and instruments
Softness in Music MU2DY- Music, Arts, Physical
IIId,e,h-5 Education and
Health 2. Illagan,
Amelia M. et.al,
2013 pp.130-131
12. sings a given song with Pilot School MTB-
MU2DY-IIIf-h-6 MLE
appropriate dynamics
FOURTH QUARTER
VI. TEMPO demonstrates uses varied tempito 1. mimics animal movements Pilot School MTB-
understanding of the basic enhance rhymes, chants, 1.1 horse – fast MLE
1. Speed of Sound In concepts of tempo drama, and musical stories 1.2 carabao – moderate
Music MU2TP-IVa-1 Music, Arts, Physical
1.3 turtle – slow
Education and
2. Distinction Health 2. Illagan,
Between Fastness Amelia M. et.al,
and Slowness in 2013 pp.143-145
Music 2. responds to the accurate Pilot School MTB-
tempo of a song as guided by MLE
the hand signal of the
Music, Arts, Physical
teacher E.g.
MU2TP-IVa-2 Education and
The teacher’s slow hand Health 2. Illagan,
movement means Amelia M. et.al,
“slow”, while fast hand 2013 pp.147-148
movement
means “fast”.
3. demonstrates changes in Pilot School MTB-
tempo with movements MLE

Music, Arts, Physical

MU2TP-IVa-3 Education and
Health 2. Illagan,
Amelia M. et.al,
2013 pp.147-148

K to 12 Music Curriculum Guide May 2016 Page 29of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
4. responds to variations in Pilot School MTB-
MU2TP-IVb-4 MLE

K to 12 Music Curriculum Guide May 2016 Page 30of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
VI. TEMPO demonstrates uses varied tempito tempo with dance steps
understanding of the basic enhance rhymes, chants, 4.1 slow movement with slow Music, Arts, Physical
1. Speed of Sound In concepts of tempo drama, and musical stories music Education and
4.2 s music Health 2. Illagan,
Music
Amelia M. et.al,
2. Distinction Between 2013 pp.137-140
Fastness and 5. distinguishes “slow,” Pilot School MTB-
Slowness in Music “slower,”“fast,” and “faster” in MLE
recorded music with voice or
Music, Arts, Physical
with instruments MU2TP-IVb-5 Education and
Health 2. Illagan,
Amelia M. et.al,
2013 pp.137-140
6. uses the terms “fast,” Pilot School MTB-
“faster,” “slow,” and “slower” MLE
to identify variations in
Music, Arts, Physical
tempo MU2TP-IVb-6 Education and
Health 2. Illagan,
Amelia M. et.al,
2013 pp.145
7. replicates “slow,” Pilot School MTB-
“slower,”“fast,” and “faster” MLE
with voice or with
Music, Arts, Physical
instruments MU2TP-IVc-7 Education and
Health 2. Illagan,
Amelia M. et.al,
2013 pp.137-140
VII. TEXTURE demonstrates distinguishes accurately 8. identifies musical texture Pilot School MTB-
understanding of the basic between single musical line with recorded music MLE
1. Single Melodic Line or concepts of texture and multiple musical lines E.g.
Music, Arts, Physical
Simultaneous which occur simultaneously 8.1 melody with single
Education and
Occurrence of in a given song instrument or MU2TX-IVd-f-1 Health 2. Illagan,
Multiple Melodic Lines voice Amelia M. et.al,
2. Distinction Between 8.2 single melody with 2013 pp.151-152
Thinness and accompaniment
Thickness in Music 8.3 two or more melodies sung

K to 12 Music Curriculum Guide May 2016 Page 31of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
or played together at the

K to 12 Music Curriculum Guide May 2016 Page 32of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
VII. TEXTURE demonstrates distinguishes accurately same time
understanding of the basic between single musical line 9. shows awareness of texture Pilot School MTB-
1. Single Melodic Line or concepts of texture and multiple musical lines by relating visual images to MLE
Simultaneous which occur simultaneously recorded or performed music
Music, Arts, Physical
Occurrence of in a given song MU2TX-IVd-f-2 Education and
Multiple Melodic Lines Health 2. Illagan,
2. Distinction Between Amelia M. et.al,
Thinness and 2013 pp.154-159
Thickness in Music 10. distinguishes between single Pilot School MTB-
musical line and multiple MLE
musical lines which occur
Music, Arts, Physical
simultaneously MU2TX-IVd-f-3 Education and
Health 2. Illagan,
Amelia M. et.al,
2013 pp.156-161
11. distinguishes between Pilot School MTB-
thinness and thickness of MLE
musical sound in recorded or
Music, Arts, Physical
performed music MU2TX-IVg-h-4 Education and
Health 2. Illagan,
Amelia M. et.al,
2013 pp.160-162

K to 12 Music Curriculum Guide May 2016 Page 33of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
GRADE 3
ELEMENTS OF MUSIC

PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
FIRST QUARTER
I. RHYTHM demonstrates 1. performs simple 1. relates images with sound Pilot School MTB-
understanding of the basic ostinato and silence within a MLE
1. Sound and Silence concepts of rhythm patterns/simple rhythmic pattern
*Tunog, Tinig,
2. Steady Beats rhythmic
Tugtog at Likhang
3. Simple Rhythmic accompaniments on Sining 3. Nera, Fe
Pattern classroom instruments MU3RH-Ia-1 C. et al, 2000 pp.1-
4. Ostinato and other sound 4
sources to a given song
2. sings songs with correct *Musika at Sining 3.
rhythm Sunico, Raul M. et
al, 2000 pp.3-8
2. maintains a steady beat when Pilot School MTB-
chanting, walking, tapping, MLE
clapping, and playing musical MU3RH-Ib-h-2
instruments

3. claps, taps, chants, walks, Pilot School MTB-

and plays musical MLE
instruments in response to
sound with the correct
rhythm MU3RH-Ia-c-3
3.1 in measures of 2s, 3s, and
4s
3.2 echo clapping
3.3 marching
3.4 dancing the waltz
4. claps the written stick Pilot School MTB-
notation on the board MLE
representing the sound heard MU3RH-Id-4

5. plays simple ostinato patterns Pilot School MTB-

with classroom instruments MU3RH-Id-h-5 MLE
K to 12 Music Curriculum Guide May 2016 Page 34of 94
Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
and other sound sources

K to 12 Music Curriculum Guide May 2016 Page 35of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
I. RHYTHM demonstrates 1. performs simple 6. creates simple ostinato Pilot School MTB-
understanding of the basic ostinato patterns in measures of 2s, MLE
1. Sound and Silence concepts of rhythm patterns/simple 3s, and 4s through body
2. Steady Beats rhythmic movements *Tunog, Tinig,
3. Simple Rhythmic accompaniments on Tugtog at Likhang
Pattern classroom instruments Sining 3. Nera, Fe
4. Ostinato and other sound C. et al, 2000 pp.6-
14
sources to a given song
2. sings songs with MU3RH-Ie-6
*Musika at Sining 3.
correct rhythm Sunico, Raul M. et
al, 2000 pp.14-25

*Umawit at
Gumuhit 3.
Valdecantos,
Emelita C. 1997.
pp.12-26
7. creates ostinato patterns in Pilot School MTB-
different meters using MLE
combination of different MU3RH-If-7 *Musika at Sining 3.
sound sources
Sunico, Raul M. et
al, 2000 pp.14-25
SECOND QUARTER
II. MELODY demonstrates sings the melody of a song 1. identifies the pitch of a Pilot School MTB-
understanding of the basic with accurate pitch tone as: MLE
1. Pitch concepts of melody 1.1 high – higher
2. Melodic Lines 1.2 moderately high – higher *Tunog, Tinig,
Tugtog at Likhang
3. Melodic Patterns 1.3 moderately low – lower
Sining 3. Nera, Fe
andContour 1.4 low – lower C. et al, 2000
MU3ME-IIa-1 pp.28-34

*Musika at Sining 3.
Sunico, Raul M. et
al, 2000 pp.52-56

*Umawit at
Gumuhit 3.
K to 12 Music Curriculum Guide May 2016 Page 36of 94
Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION

K to 12 Music Curriculum Guide May 2016 Page 37of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
II. MELODY demonstrates sings the melody of a song Valdecantos,
understanding of the basic with accurate pitch Emelita C. 1997.
1. Pitch concepts of melody pp.33-37
2. Melodic Lines 2. matches the correct pitch Pilot School MTB-
of tones MLE
3. Melodic
Patterns 2.1 with the voice
*Tunog, Tinig,
andContour 2.2 with an instrument
Tugtog at Likhang
Sining 3. Nera, Fe
MU3ME-IIa-2 C. et al, 2000
pp.30-31

*Musika at Sining 3.
Sunico, Raul M. et
al, 2000 pp.58-59
3. relates movements with levels Pilot School MTB-
of pitch MLE

MU3ME-IIb-3 *Tunog, Tinig,

Tugtog at Likhang
Sining 3. Nera, Fe
C. et al, 2000 pp.31
4. matches the voice with the Pilot School MTB-
MU3ME-IIb-c-4 MLE
pitches of a melody
5. recreates simple patterns and Pilot School MTB-
contour of a melody MU3ME-IIb-5 MLE
6. sings entire simple songs with Pilot School MTB-
accurate pitch MLE
6.1 Favorite Children’s Songs
6.1.1 “Do – Re – Mi”
6.1.2 “What Can We Do
Today”
MU3ME-IIc-6
6.2 Folksongs
6.2.1 “Manang Biday”
6.2.2 “Paruparong Bukid”
6.2.3 “Atin Cu Pung
Singsing”

K to 12 Music Curriculum Guide May 2016 Page 38of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
III. FORM demonstrates sings, plays, and performs 7. identifies the beginning, Pilot School MTB-
MU3FO-IId-1 MLE
understanding of the basic (through body movements) middle, and ending of a song
1. Musical Lines concepts of musical form a chosen song showing the 8. identifies musical lines as Pilot School MTB-
2. Musical Beginning, basic concepts of musical 8.1 similar MLE
Middle, and End lines, beginnings, endings 8.2 same
3. Repeats in music *Tunog, Tinig,
and repeats 8.3 different through
Tugtog at Likhang
movements and Sining 3. Nera, Fe
geometric shapes or MU3FO-IId-2 C. et al, 2000
objects pp.62-68

*Musika at Sining 3.
Sunico, Raul M. et
al, 2000 pp.96-100
9. recognizes repetitions within a Pilot School MTB-
song MLE

*Tunog, Tinig,
Tugtog at Likhang
Sining 3. Nera, Fe
MU3FO-IId-3 C. et al, 2000
pp.64-68

*Musika at Sining 3.
Sunico, Raul M. et
al, 2000 pp.102-103
10. sings repetitions of musical Pilot School MTB-
lines independently MLE

*Tunog, Tinig,
MU3FO-IIe-4 Tugtog at Likhang
Sining 3. Nera, Fe
C. et al, 2000
pp.66-68
11. plays repetitions of musical Pilot School MTB-
MU3FO-IIf-5 MLE
lines
12. renders a song confidently, Pilot School MTB-
giving appropriate emphasis MU3FO-IIg-h-6 MLE
on the beginning and on the

K to 12 Music Curriculum Guide May 2016 Page 39of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
ending
THIRD QUARTER
IV. TIMBRE demonstrates applies vocal techniques in 1. recognizes differences in Pilot School MTB-
understanding of the basic singing to produce a sound quality coming from a MLE
1. Voice concepts of timbre pleasing vocal quality: variety of sound sources
Production 1. using head tones MU3TB-IIIa-1 *Musika at Sining 3.
Sunico, Raul M. et
Techniques 2. employing proper al, 2000 pp.129-
2. Variation in breathing 134. Pp.135-140
Sound Quality 3. using the diaphragm 2. responds to differences in Pilot School MTB-
2.1 Similar sound quality with appropriate MLE
2.2 Different movement
3. Introduction to *Tunog, Tinig,
Musical Instruments Tugtog at Likhang
Sining 3. Nera, Fe
MU3TB-IIIa-2 C. et al, 2000
pp.58-79

*Musika at Sining 3.
Sunico, Raul M. et
al, 2000 pp.129-
134, pp.135-140
3. recognizes musical Pilot School MTB-
instruments through sound MLE

*Tunog, Tinig,
Tugtog at Likhang
Sining 3. Nera, Fe
C. et al, 2000
MU3TB-IIIb-3 pp.74-79

*Musika at Sining 3.
Sunico, Raul M. et
al, 2000 pp.129-
134, pp.135-140

4. identifies and compares Pilot School MTB-

the voices of: MLE
MU3TB-IIIb-4
4.1 classmates as they sing or
*Tunog, Tinig,

K to 12 Music Curriculum Guide May 2016 Page 40of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION

K to 12 Music Curriculum Guide May 2016 Page 41of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
III. TIMBRE demonstrates applies vocal techniques in speak Tugtog at Likhang
understanding of the basic singing to produce a 4.2 selected popular singers in Sining 3. Nera, Fe
1. Voice Production concepts of timbre pleasing vocal quality: recordings C. et al, 2000
1. using head tones pp.72-73
Techniques
2. Variation in Sound 2. employing proper *Manwal ng Guro
Quality breathing Umawit at Gumuhit
2.1 Similar 3. using the diaphragm 3. Valdecantos,
2.2 Different Emelita C. 1997.
3. Introduction to pp.64-68
Musical Instruments 5. compares the use of the voice Pilot School MTB-
in speaking and in singing MLE

*Tunog, Tinig,
Tugtog at Likhang
Sining 3. Nera, Fe
C. et al, 2000
pp.70-72
MU3TB-IIIb-5 *Musika at Sining 3.
Sunico, Raul M. et
al, 2000 pp.125-128

*Manwal ng Guro
Umawit at Gumuhit
3. Valdecantos,
Emelita C. 1997.
pp.64
6. uses the voice and other
sources of sound to produce a *Manwal ng Guro
variety of timbres Umawit at Gumuhit
MU3TB-IIIc-6 3. Valdecantos,
Emelita C. 1997.
pp.64

IV. DYNAMICS demonstrates sings songs with proper 7. interprets the dynamics of a Pilot School MTB-
understanding of the basic dynamics following basic song through body MLE
1. Volume of Sound in concepts of dynamics in conducting gestures movements MU3DY-IIId-1
*Tunog, Tinig,
Music order to respond to
Tugtog at Likhang
2. Conducting and conducting gestures using 7.1 small movement – soft
K to 12 Music Curriculum Guide May 2016 Page 42of 94
Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
7.2 big movement – loud

K to 12 Music Curriculum Guide May 2016 Page 43of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
Dynamics symbols indicating Sining 3. Nera, Fe
variances in dynamics C. et al, 2000.
pp.82-86
8. distinguishes “loud,” Pilot School MTB-
“medium,” and “soft” in music MLE

*Tunog, Tinig,
MU3DY-IIId-2 Tugtog at Likhang
Sining 3. Nera, Fe
C. et al, 2000.
pp.82-86
9. relates dynamics to the Pilot School MTB-
movements of animals MLE
e.g. MU3DY-IIId-3
9.1 elephant walking – loud
9.2 mice scurrying – soft
10. uses terms “loud,” “medium,” Pilot School MTB-
and “soft” (louder, softer) to MLE
identify changes and
*Manwal ng Guro
variations in volume MU3DY-IIIe-4
Umawit at Gumuhit
3. Valdecantos,
Emelita C. 1997.
pp.73
11. responds to conducting Pilot School MTB-
gestures of the teacher MLE
for “loud” and “soft”
E.g. *Umawit at
Gumuhit 3.
11.1 Teacher’s palm down MU3DY-IIIe-h- Valdecantos,
means “soft” and palm 5 Emelita C. 1997.
up means “loud.” pp.73-75
11.2 Hands moving farther
from each other mean
sound
becomes louder.

K to 12 Music Curriculum Guide May 2016 Page 44of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
12. uses varied dynamics to Pilot School MTB-
enhance poetry, chants, MU3DY-IIIf-h- MLE
drama, songs and musical 6
stories

K to 12 Music Curriculum Guide May 2016 Page 45of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
FOURTH QUARTER
V. TEMPO demonstrates enhances performance of 1. mimics animal Pilot School MTB-
understanding of the poetry, chants, drama, movements according to MLE
1. Speed of Sound in concepts of tempo in order musical stories, and songs speed
Music to respond to conducting by using a variety of tempo 1.1 horse – fast MU3TP-IVa-1
1.1 Fast symbols indicating 1.2 carabao – slow
1.2 Slow variations in tempo 1.3 turtle – slow
2. Conducting and Tempo 1.4 rabbit - fast
1.5 dog – fast
2. sings songs with proper Pilot School MTB-
tempo following basic MLE
conducting gestures
*Tunog, Tinig,
Tugtog at Likhang
Sining 3. Nera, Fe
C. et al, 2000
MU3TP-IVa-2
pp.88-89

*Umawit at
Gumuhit 3.
Valdecantos,
Emelita C. 1997.
pp.75-80
3. relates movement to changes Pilot School MTB-
and variations in tempo MLE

*Tunog, Tinig,
MU3TP-IVb-3 Tugtog at Likhang
Sining 3. Nera, Fe
C. et al, 2000
pp.88-93
4. responds with movement Pilot School MTB-
to tempo changes MLE
4.1 (i.e. doing locomotor and
non-locomotor MU3TP-IVb-c-4 *Tunog, Tinig,
Tugtog at Likhang
movements) to a variety of Sining 3. Nera, Fe
tempo in recorded music C. et al, 2000 pp.90
5. distinguishes among fast, Pilot School MTB-
MU3TP-IVb-5 MLE
K to 12 Music Curriculum Guide May 2016 Page 46of 94
Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
moderate, and slow in music

K to 12 Music Curriculum Guide May 2016 Page 47of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
V. TEMPO demonstrates enhances performance of
understanding of the poetry, chants, drama, *Tunog, Tinig,
1. Speed of Sound in concepts of tempo in order musical stories, and songs Tugtog at Likhang
Sining 3. Nera, Fe
Music to respond to conducting by using a variety of tempo
C. et al, 2000
1.1 Fast symbols indicating pp.88-93
1.2 Slow variations in tempo Pilot School MTB-
6. uses the terms: fast,
2. Conducting and Tempo MLE
moderate, and slow, (faster,
slower etc.) to identify
*Tunog, Tinig,
tempo changes and
Tugtog at Likhang
variations Sining 3. Nera, Fe
C. et al, 2000
pp.88-93

*Musika at Sining
MU3TP-IVb-6 3.Sunico, Raul M. et
al, 2000. pp.111-
123

*Manwal ng Guro
Umawit at Gumuhit
3. Valdecantos,
Emelita C. 1997.
pp.75
7. sings songs with designated Pilot School MTB-
tempo MLE
E.g.
7.1 Lullaby – slow *Tunog, Tinig,
MU3TP-IVa-c-7 Tugtog at Likhang
7.2 Joyful songs – fast
Sining 3. Nera, Fe
C. et al, 2000
pp.88-93
VI. TEXTURE demonstrates sings 8. demonstrates the concept Pilot School MTB-
understanding of the basic 1. “two-part rounds” of texture by singing “two- MLE
1. Single Melodic Line or concepts of texture 2. “partner songs” part rounds”
MU3TX-IVd-f-1
Simultaneous E.g.
Occurrence of 8.1 “Are You Sleeping,
Multiple Brother John?”
K to 12 Music Curriculum Guide May 2016 Page 48of 94
Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
Melodic Lines

K to 12 Music Curriculum Guide May 2016 Page 49of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
2. Distinction Between 8.2 “Row, Row, Row Your Boat”
Thinness and 8.3 “Musika Ay Di Kukupas”
Thickness in Music 9. demonstrates the concept Pilot School MTB-
of texture by singing MLE
“partner songs
E.g.
9.1 “Leron, Leron Sinta” MU3TX-IVd-f-2
9.2 “Pamulinawen”
9.3 “It’s A Small World”
9.4 “He’s Got the Whole World
in His Hands
10. distinguishes between single Pilot School MTB-
musical line and multiple MLE
MU3TX-IVd-f-3
musical lines which occur
simultaneously
11. distinguishes between Pilot School MTB-
MU3TX-IVg-h- MLE
thinness and thickness of
4
musical sound

K to 12 Music Curriculum Guide May 2016 Page 50of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION

GRADE 4
ELEMENTS OF MUSIC

PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
FIRST QUARTER
I. RHYTHM demonstrates creates rhythmic patterns 1. identifies different kinds of MISOSA4-
understanding of concepts in: notes and rests module6,7
1. Musical Symbols and pertaining to rhythm and 1. simple time signatures
Concepts: musical symbols 2. simple one-measure MISOSA5-
1.1 Notes and Rests ostinato pattern module1
1.2 Meters
MU4RH-Ia-1
1.3 Rhythmic Patterns *Manwal ng
1.4 Simple Guro Umawit
Time at Gumuhit 4.
Signatures Valdecantos,
1.5 Ostinato Emelita C.
1999. pp.7-9
2. organizes notes and rests MISOSA4-
according to simple meters module8
(grouping notes and rests into
measures given simple *Umawit at
MU4RH-Ib-2
meters) Gumuhit 4.
Valdecantos,
Emelita C.
1999. pp.8-12
3. states the meaning of the MISOSA4-
different rhythmic patterns MU4RH-Ic-3 module2,8

4. demonstrates the meaning of MISOSA4-

rhythmic patterns by clapping module3,4,5
in time signatures
2 3 4 *Manwal ng
MU4RH-Ic-4
4, 4, 4 Guro Umawit
at Gumuhit 4.
Valdecantos,
Emelita C.

K to 12 Music Curriculum Guide May 2016 Page 51of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
1999. pp.7
I. RHYTHM demonstrates creates rhythmic patterns
understanding of concepts in:
1. Musical Symbols and pertaining to rhythm and 1. simple time signatures
Concepts: musical symbols 2. simple one-measure
1.1 Notes and Rests ostinato pattern
1.2 Meters 5. uses the bar line to indicate MISOSA4-
1.3 Rhythmic Patterns groupings of beats in module3,4,5
1.4 Simple 2 3 4 MU4RH-Ic-5
Time 4, 4, 4
Signatures
1.5 Ostinato
6. identifies accented and MISOSA4-
unaccented pulses MU4RH-Id-6 module1
7. places the accent (>) on the
notation of recorded music MU4RH-Id-7

8. responds to metric pulses of MU4RH-Ie-g-8 MISOSA4-

music heard with appropriate module3,4
con
9. ducting gestures MISOSA5-
module6

K to 12 Music Curriculum Guide May 2016 Page 52of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION

K to 12 Music Curriculum Guide May 2016 Page 53of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
SECOND QUARTER
II. MELODY recognizes the musical analyzes melodic 1. identifies the pitch name of MISOSA4-
symbols and demonstrates movement and range and each line and space of the G- module13
1. Musical Symbols and understanding of concepts be able to create and clef staff
Concepts: pertaining to melody perform simple melodies F
1.1 Intervals D
1.2 Scales B
1.3 Melodic Contours G
1.4 Patterns of successive E
pitches of a C Major MU4ME-IIa-1
scale
E
C
A
F

2. identifies the pitch names of MISOSA4-

notes on the ledger lines and module13,14
spaces below the G-clef staff
(middle C and D)
MU4ME-IIb-2

3. recognizes the meaning and MISOSA4-

use of G- Clef module13

MU4ME-IIc-3

do re mi fa so la ti do
K to 12 Music Curriculum Guide May 2016 Page 54of 94
Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
recognizes the musical analyzes melodic 4. identifies the movement of MISOSA4-
II. MELODY symbols and demonstrates movement and range and the melody as: module10
understanding of concepts be able to create and
1. Musical Symbols and pertaining to melody perform simple melodies - no movement MISOSA5-
Concepts: module8
1.1 Intervals
1.2 Scales *Manwal ng
1.3 Melodic Contours Guro Umawit
1.4 Patterns of - ascending stepwise at Gumuhit 4.
successive pitches of Valdecantos,
a C Major scale Emelita C.
1999. pp.28-
30
- descending stepwise
MU4ME-IId-4

- ascending skip wise

- descending skip wise

5. identifies the highest and MISOSA4-

lowest pitch in a given module9
notation of a musical piece to
determine its range *Manwal ng
MU4ME-IIe-5
Guro Umawit
at Gumuhit 4.
Valdecantos,
Emelita C.

K to 12 Music Curriculum Guide May 2016 Page 55of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
II. MELODY 1999. pp.24-
recognizes the musical analyzes melodic 30
1. Musical Symbols and symbols and demonstrates movement and range and 6. sings with accurate pitch the MISOSA4-
Concepts: understanding of concepts be able to create and simple intervals of a melody module12
1.1 Intervals pertaining to melody perform simple melodies
1.2 Scales *Manwal ng
1.3 Melodic Contours MU4ME-IIf-6 Guro Umawit at
1.4 Patterns of Gumuhit 4.
successive pitches of Valdecantos,
a C Major scale Emelita C. 1999.
pp.24-31
7. performs his/her own created MISOSA4-
melody module12

*Manwal ng
MU4ME-IIg-h-
Guro Umawit at
7
Gumuhit 4.
Valdecantos,
Emelita C. 1999.
pp.30
THIRD QUARTER
III. FORM demonstrates performs similar and 1. identifies aurally and visually MISOSA4-
understanding of musical contrasting musical the introduction and coda module16,17
1. Phrases in a Musical Piece phrases, and the uses and phrases (ending) of a musical piece
2. Structure of Musical Sound meaning of musical terms *Manwal ng
2.1 Antecedent in form MU4FO-IIIa-1 Guro Umawit at
(Question) Phrase Gumuhit 4.
2.2 Consequent Valdecantos,
(Answer) Phrase Emelita C. 1999.
2.3 Introduction pp.38-39
2.4 CODA (ending)Phrase 2. identifies aurally and visually
the antecedent and MU4FO-IIIa-2
consequent in a musical
piece

K to 12 Music Curriculum Guide May 2016 Page 56of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
3. listens to similar and
MU4FO-IIIa-
contrasting phrases in
b-3
recorded music

K to 12 Music Curriculum Guide May 2016 Page 57of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
4. identifies similar and
contrasting phrases in vocal
and instrumental music from
MU4FO-IIIc-4
the previous lessons
4.1 melodic
4.2 rhythmic
5. sings similar and contrasting
phrases in music
MU4FO-IIId-5
5.1 melodic
5.2 rhythmic
IV. TIMBRE demonstrates participates actively in a 6. distinguishes vocal and MISOSA4-
understanding of group performance to instrumental sounds module18
1. Variations of Sound variations of sound in demonstrate different
1.1 Vocal music (lightness and vocal and instrumental *Manwal ng
1.2 Instrumental heaviness) as applied to sounds MU4TB-IIIe-1 Guro Umawit at
vocal and instrumental Gumuhit 4.
music Valdecantos,
Emelita C. 1999.
pp.39-49
7. identifies as vocal or MISOSA4-
instrumental, a recording of module19
the following:
MU4TB-IIIe-2
7.1 solo
7.2 duet
7.3 trio
7.4 ensemble
8. identifies aurally and visually MISOSA4-
different instruments module19

*Manwal ng
MU4TB-IIIf-3 Guro Umawit at
Gumuhit 4.
Valdecantos,
Emelita C. 1999.
pp.45-49

K to 12 Music Curriculum Guide May 2016 Page 58of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION

K to 12 Music Curriculum Guide May 2016 Page 59of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
IV. TIMBRE demonstrates participates actively in a 9. classifies the various musical MISOSA4-
understanding of group performance to instruments as: module19
1. Variations of Sound variations of sound in demonstrate different 9.1 string
1.1 Vocal music (lightness and vocal and instrumental 9.2 woodwind *Manwal ng
1.2 Instrumental heaviness) as applied to sounds 9.3 brass wind MU4TB-IIIf-h- Guro Umawit
vocal and instrumental 9.4 percussion 4 at Gumuhit 4.
music Valdecantos,
Emelita C.
1999. pp.45-
49
V. DYNAMICS recognizes the musical applies forte and piano 10. recognizes the use of the MISOSA4-
symbols and demonstrates to designate loudness and symbol p (piano) and f (forte) module20
1. Volume of Sound in understanding of concepts softness in a musical in a musical score
Music pertaining to volume in example *Manwal ng
music 1. singing Guro Umawit
MU4DY-IIIf-1
2. playing instrument at Gumuhit 4.
Valdecantos,
Emelita C.
1999. pp.52-
54
11. uses appropriate musical MISOSA4-
terminology to indicate simple module20
dynamics
11.1 forte *Manwal ng
MU4DY-IIIf-h-
11.2 piano Guro Umawit at
2
Gumuhit 4.
Valdecantos,
Emelita C. 1999.
pp.52-54
FOURTH QUARTER
VI. TEMPO demonstrates creates and performs 1. relates body movements to MISOSA4-
understanding of body movements the tempo of a musical module21
1. Speed / Flow of Music concepts pertaining to appropriate to a given example
MU4TP-IVa-1
speed/flow of music tempo *Manwal ng
demonstrates creates and performs Guro Umawit
understanding of concepts body movements at Gumuhit 4.

K to 12 Music Curriculum Guide May 2016 Page 60of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION

K to 12 Music Curriculum Guide May 2016 Page 61of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
pertaining to speed/flow appropriate to a given Valdecantos,
of music tempo Emelita C.
1999. pp.57
2. uses appropriate MISOSA4-
musical terminology to module21
indicate variations in
tempo *Manwal ng
2.1 largo MU4TP-IVb-2 Guro Umawit at
2.2 presto Gumuhit 4.
Valdecantos,
Emelita C. 1999.
pp.56
VII. TEXTURE demonstrates sings two-part rounds 3. identifies aurally the texture of
a music example MU4TX-IVc-1
understanding of concepts and partner songs with
1. Simultaneous pertaining to texture in others 4. identifies aurally and visually
Occurrence of music an ostinato or descant in MU4TX-IVd-2
Multiple Melodic Lines a
2. Distinction Between musical example
Thinness and 5. recognizes aurally and visually, *Manwal ng
Thickness in Music examples of 2-part vocal or Guro Umawit at
instrumental music Gumuhit 4.
MU4TX-IVe-3
Valdecantos,
Emelita C. 1999.
pp.59-63
VIII. HARMONY demonstrates performs examples of 6. identifies harmonic interval (2 *Manwal ng
understanding of harmonic interval pitches) in a musical example Guro Umawit at
1. Simultaneous harmonic intervals with others Gumuhit 4.
MU4HA-IVf-1
Sounding of Two Valdecantos,
Tones / Pitches Emelita C. 1999.
pp.59-63

K to 12 Music Curriculum Guide May 2016 Page 62of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
7. recognizes aurally and visually, *Manwal ng
examples of harmonic Guro Umawit at
intervals Gumuhit 4.
MU4HA-IVg-2 Valdecantos,
Emelita C. 1999.
pp.59-63

K to 12 Music Curriculum Guide May 2016 Page 63of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
8. creates examples of harmonic *Manwal ng
interval (2 pitches) with others Guro Umawit at
Gumuhit 4.
MU4HA-IVh-3
Valdecantos,
Emelita C. 1999.
pp.59-63

GRADE 5
ELEMENTS OF MUSIC

PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
FIRST QUARTER
I. RHYTHM recognizes the musical performs with a 1. identifies visually and MISOSA5-
symbols and demonstrates conductor, a speech aurally the kinds of notes module1,2
Musical Symbols and understanding of concepts chorus in simple time and rests in a song MU5RH-Ia-b-1
Concepts pertaining to rhythm signatures *Musika at Sining 5.
1. Notes and Rests 1. choral Sunico, Raul M. et
2. Meters 2. instrumental al, 2000. pp.8
3. Rhythmic Patterns 2. recognizes rhythmic MISOSA5-
4. Simple patterns using quarter module7,2
Time note, half note, dotted half
MU5RH-Ia-b-2
Signatures note, dotted quarter note,
and eighth note in simple
time signatures
3. identifies accurately the MISOSA5-
duration of notes and rests module3,4,5
in 2 3 4
4, 4, 4 MU5RH-Ic-e-3 *Musika at Sining 5.
Sunico, Raul M. et
time signatures al, 2000. pp.8-10

K to 12 Music Curriculum Guide May 2016 Page 64of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
4. creates different rhythmic MISOSA5-module7
patterns using notes and
rests in time signatures as: MISOSA4-module8
2 3 4
4, 4, 4 *Musika at Sining 5.
Sunico, Raul M.
MU5RH-If-g-4 et al, 2000. pp.8-
10
*Manwal ng Guro
Umawit at Gumuhit
3. Valdecantos,
Emelita C. 1999.
pp.4-9
I. RHYTHM performs with a
recognizes the musical 5. responds to metric pulses MU5RH-Ih-5 MISOSA5-
conductor, a speech
symbols and demonstrates of music heard with module6,7
chorus in simple time
Musical Symbols and understanding of concepts appropriate conducting
signatures
Concepts pertaining to rhythm gestures *Musika at Sining 5.
1. choral
3. Notes and Rests Sunico, Raul M. et
4. Meters 2. instrumental
al, 2000. pp.4-6
5. Rhythmic Patterns
6. Simple *Manwal ng Guro
Time Umawit at Gumuhit
Signatures 3. Valdecantos,
Emelita C. 1999.
pp.4-6

SECOND QUARTER
II. MELODY recognizes the musical accurate performance 1. recognizes the meaning
symbols and demonstrates of songs following the and uses of
Musical Symbols and understanding of concepts musical symbols F-Clef on the staff
MU5ME-IIa-1
Concepts pertaining to melody pertaining to melody
1. Accidentals indicated in the piece
2. F-Clef

K to 12 Music Curriculum Guide May 2016 Page 65of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
3. Intervals 2. identifies the pitch names
4. Scales of each line and space on
(Pentatonic, C the F-Clef staff
major, G major)
5. Melodic Contours
MU5ME-IIa-2

II. MELODY recognizes the musical accurate performance G ABCD E FGA

symbols and demonstrates of songs following the sol la ti do re mi fa sol la
Musical Symbols and understanding of concepts musical symbols 3. identifies the symbols: MISOSA4-module15
Concepts pertaining to melody pertaining to melody sharp (# ), flat (♭), and
1. Accidentals indicated in the piece natural (♮) MU5ME-IIb-3 *Musika at Sining 5.
2. F-Clef Sunico, Raul M. et al,
3. IntervalsScales 2000. pp.21-25
4. Scales (Pentatonic, 4. recognizes aurally and MISOSA5-module10
C major, G major) visually, examples of
5. Melodic Contours melodic interval *Manwal ng Guro
MU5ME-IIc-4 Umawit at Gumuhit
5. Valdecantos,
Emelita C. 1999.
pp.18-19
5. identifies the notes of the MISOSA5-modules
intervals in the C major 9,10,11,12
scale
prime *Manwal ng Guro
Umawit at Gumuhit
5. Valdecantos,
MU5ME-IIc-5 Emelita C. 1999.
pp.18

2nd

K to 12 Music Curriculum Guide May 2016 Page 66of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS

3rd

4th
III. MELODY recognizes the musical accurate performance
symbols and demonstrates of songs following the
Musical Symbols and understanding of concepts musical symbols
Concepts pertaining to melody pertaining to melody
1. Accidentals indicated in the piece
2. F-Clef 5th
3. Intervals
4. Scales
(Pentatonic, C
major, G major)
5. Melodic Contours octave

6. identifies successive MU5ME-IId-6

sounding of two pitches
7. identifies the beginning
melodic contour of a MU5ME-IId-7
musical example
8. determines the range of
a musical example
8.1 wide
8.2 narrow
MU5ME-IIe-8

K to 12 Music Curriculum Guide May 2016 Page 67of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
9. reads / sings notes in MISOSA4-modules
different scales 12,14,15
- Pentatonic scale
MISOSA5-module6

*Manwal ng Guro
Umawit at Gumuhit
- C major scale 5. Valdecantos,
III. MELODY recognizes the musical accurate performance MU5ME-IIf-9 Emelita C. 1999.
symbols and demonstrates of songs following the pp.23-31
Musical Symbols and understanding of concepts musical symbols
Concepts pertaining to melody pertaining to melody
1. Accidentals indicated in the piece - G major scale
2. F-Clef
3. Intervals
4. Scales
(Pentatonic, C
major, G major)
5. Melodic Contours
*Manwal ng Guro
Umawit at Gumuhit
10. creates simple melodies MU5ME-IIg-10 5. Valdecantos,
Emelita C. 1999.
pp.30-33
*Manwal ng Guro
Umawit at Gumuhit
11. performs his/her own MU5ME-IIh-
5. Valdecantos,
created melody 11
Emelita C. 1999.
pp.30-33
THIRD QUARTER
IV. FORM demonstrates understanding performs the created 1. recognizes the design or
of the uses and meaning of song with appropriate structure of simple
Structure of Musical musical terms in Form musicality musical forms:
Sound 1.1 unitary(one section) MU5FO-IIIa-1
1. Strophic 1.2 strophic(same tune with 2
2. Unitary or more sections and 2 or
more verses)
K to 12 Music Curriculum Guide May 2016 Page 68of 94
Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
2. creates a 4- line unitary
MU5FO-IIIb-2
song
3. creates a 4 –line strophic MU5FO-IIIc-
song with 2 sections and 2 d-3
verses
V. TIMBRE demonstrates understanding participates in a group 4. describes the *Musika at Sining 5.
of variations of sound performance to characteristics of each Sunico, Raul M. et al,
Vocal and Instrumental density in music (lightness demonstrate different type of voice 2000. pp.44-46
Sounds and heaviness) as applied to vocal and instrumental
vocal and instrumental sounds MU5TB-IIIe-1 *Manwal ng Guro
music Umawit at Gumuhit
5. Valdecantos,
Emelita C. 1999.
pp.44-45
5. identifies the following MISOSA4-
vocal timbres: module18
5.1 soprano
5.2 alto *Musika at Sining
5.3 tenor 5. Sunico, Raul M.
5.4 bass et al, 2000. pp.44-
46
MU5TB-IIIe-2
*Manwal ng Guro
Umawit at
Gumuhit 5.
Valdecantos,
Emelita C. 1999.
pp.44-45

6. identifies aurally *Musika at Sining 5.

and visually Sunico, Raul M. et al,
different 2000. pp.47-50
instruments in: MU5TB-IIIf-3
6.1 rondalla *Manwal ng Guro
6.2 drum and lyre band Umawit at Gumuhit
6.3 bamboo group/ensemble 5. Valdecantos,

K to 12 Music Curriculum Guide May 2016 Page 69of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
(Pangkat Kawayan)

K to 12 Music Curriculum Guide May 2016 Page 70of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
6.4 other local indigenous Emelita C. 1999.
ensembles pp.46-47
7. participates actively in
musical ensemble
MU5TB-IIIg-4
7.1 choral
V. TIMBRE demonstrates understanding participates in a group 7.2 instrumental
of variations of sound performance to 8. creates a variety of sounds
MU5TB-IIIg-
Vocal and Instrumental density in music (lightness demonstrate different emanating from the
h-5
Sounds and heaviness) as applied to vocal and instrumental environment using
vocal and instrumental sounds available sound sources
music
FOURTH QUARTER
VI. DYNAMICS demonstrates understanding applies dynamics to 1. identifies the different *Manwal ng Guro
of concepts pertaining to musical selections dynamic levels used in a MU5DY-IVa-b- Umawit at Gumuhit
Variations of Volume in volume in music song heard 1 5. Valdecantos,
Musical Sound Emelita C. 1999.
pp.49-50
2. uses appropriate musical MISOSA4-module20
terminology to indicate
variations in dynamics, *Musika at Sining
specifically: 5. Sunico, Raul M.
2.1 piano (p) et al, 2000. pp.54-
2.2 mezzo piano (mp) 55
2.3 forte(f) MU5DY-IVa-b-
2.4 mezzo forte (mf) 2
2.5 crescendo

2.6 decrescendo

VII. TEMPO recognizes the musical applies appropriately, 3. identifies the various MISOSA4-module21
symbols and demonstrates various tempo to vocal tempo used in a song
Variations of Speed in understanding of concepts and instrumental heard MU5TP-IVc-1 *Musika at Sining 5.
Musical Sound pertaining to speed in music performances Sunico, Raul M. et al,
recognizes the musical applies appropriately, 2000. pp.62

K to 12 Music Curriculum Guide May 2016 Page 71of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION

K to 12 Music Curriculum Guide May 2016 Page 72of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
VII. TEMPO symbols and demonstrates various tempo to vocal
understanding of concepts and instrumental *Manwal ng Guro
pertaining to speed in music performances Umawit at Gumuhit
Variations of Speed in 5. Valdecantos,
Musical Sound Emelita C. 1999.
pp.54-56
4. uses appropriate musical *Musika at Sining 5.
terminology to indicate Sunico, Raul M. et al,
variations in tempo: 2000. pp.62
4.1 largo
4.2 presto MU5TP-IVc-d-
4.3 allegro 2 *Manwal ng Guro
4.4 moderato Umawit at
4.5 andante Gumuhit 5.
4.6 vivace Valdecantos,
4.7 ritardando Emelita C. 1999.
4.8 accelerando pp.54-58
VIII. TEXTURE demonstrates understanding recognizes examples of 5. identifies aurally the *Musika at Sining 5.
of concepts pertaining to horizontal 3-part vocal texture of a musical piece Sunico, Raul M. et al,
Densities of Musical Sound texture in music or instrumental texture, 2000. pp.65
aurally and visually
MU5TX-IVe-1 *Manwal ng Guro
Umawit at
Gumuhit 5.
Valdecantos,
Emelita C. 1999.
pp.60-61
6. performs 3-part rounds *Musika at Sining 5.
and partner songs Sunico, Raul M. et al,
2000. pp.68

MU5TX-IVe-2 *Manwal ng Guro

Umawit at Gumuhit
5. Valdecantos,
Emelita C. 1999.
pp.59

K to 12 Music Curriculum Guide May 2016 Page 73of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION

K to 12 Music Curriculum Guide May 2016 Page 74of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
VIII. HARMONY recognizes the musical performs a vocal or 7. identifies the intervals of *Musika at Sining 5.
symbols and demonstrates instrumental ensemble the following major triads: Sunico, Raul M. et al,
Introduction to Major Triad understanding of harmonic using the following 2000. pp.71-74
intervals major triads( I, IV, V ) 7.1 tonic (I)
*Manwal ng Guro
Umawit at Gumuhit
5. Valdecantos,
Emelita C. 1999.
pp.64-69

7.2 subdominant (IV)

MU5HA-IVf-g-
1

7.3 dominant (V)

8. uses the major triad as *Musika at Sining 5.

accompaniment to simple MU5HA-IVh-2 Sunico, Raul M. et al,
songs 2000. pp.71

K to 12 Music Curriculum Guide May 2016 Page 75of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
GRADE 6
ELEMENTS OF MUSIC

PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
FIRST QUARTER
I. RHYTHM demonstrates understanding responds to beats in 1. identifies the notes / rests MISOSA4-
of the concept of rhythm by music heard with used in a particular song Module6
Musical Symbols and applying notes and rests, appropriate 2 3 4
Concepts: rhythmic patterns, and time conducting patterns of 4, 4, 4 MISOSA5-
1. Notes and Rests signatures and2 3 4 6 module1
2. Meters 4, 4, 4 8
3. Rhythmic Patterns *Musika at Sining
4. Time Signatures 6. Sunico, Raul
5. Conducting MU6RH-Ia-1 M. et al, 2000.
pp.8-10

*Umawit at
Gumuhit 6.
Valdecantos,
Emelita C. 1999.
pp.5-16, pp.25-
26
2. differentiates among MISOSA5-
6 module6
and 8 time signatures
*Musika at Sining
6. Sunico, Raul
M. et al, 2000.
MU6RH-Ib-e-2 pp.8-10

*Umawit at
Gumuhit 6.
Valdecantos,
Emelita C. 1999.
pp.5-20

K to 12 Music Curriculum Guide May 2016 Page 76of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
I. RHYTHM demonstrates understanding responds to beats in 3. demonstrates the conducting MISOSA5-
of the concept of rhythm by music heard with gestures of 2 3 4 module6
Musical Symbols and applying notes and rests, appropriate 6 4, 4, 4
Concepts: rhythmic patterns, and time conducting patterns of and time signatures MISOSA6-
1. Notes and Rests signatures and2 3 4 6 8 module7 Ritmo2-
2. Meters 4, 4, 4 8 2, module 8
3.Rhythmic Patterns Ritmo 2-4, 3-4,
4.Time Signatures 4-4
5.Conducting
MU6RH-Ib-e-3 *Musika at Sining
6. Sunico, Raul
M. et al, 2000.
pp.8-10

*Umawit at
Gumuhit 6.
Valdecantos,
Emelita C. 1999.
pp.5-20
4. identifies through conducting
the relationship of the first
MU6RH-If-4
and lastmeasure in an
incomplete measure
5. creates rhythmic patterns in MISOSA5-
2 3 4 and 6 module3 F
4, 4, 4 8 Mayor, module4
time signatures G Mayor,
module5 tonong
La
MU6RH-Ig-h-5
*Umawit at
Gumuhit 6.
Valdecantos,
Emelita C. 1999.
pp.5-20

K to 12 Music Curriculum Guide May 2016 Page 77of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
SECOND QUARTER
II. MELODY demonstrates the concept of applies learned 1. demonstrates the ability to MISOSA4-
melody by using intervals in concepts of melody sing, read, and write modules13,14
1. Intervals major scales and in the and other elements to simple musical notations in MISOSA6-
2. Major Scales minor scales composition and the: module5
3. Minor Scales performance Tonong La,
1.1 Key of C Major module6
Melodiya

MU6ME-IIa-1
1.2 Key of G Major

1.3 Key of F Major

2. analyzes the melodic MISOSA4-

patterns of songs in C module14
Major, G major, and F Major MU6ME-IIa-2
keys MISOSA6-
module1,2,3,4
3. sings and plays solo or with MISOSA6-
group, melodies/songs in C module3 F
Major, G Major, and F Major Mayor, module4
MU6ME-IIa-3
G Mayor,
module6
K to 12 Music Curriculum Guide May 2016 Page 78of 94
Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
Melodiya

K to 12 Music Curriculum Guide May 2016 Page 79of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
II. MELODY demonstrates the concept of applies learned 4. creates simple melodies in: MISOSA5-
melody by using intervals in concepts of melody 4.1 C Major, module12
1. Intervals major scales and in the and other elements to 4.2 G Major, and
2. Major Scales minor scales composition and 4.3 F Major scales MISOSA6-
3. Minor Scales performance MU6ME-IIa-4 module3 F
Mayor, module4
G Mayor,
module6
Melodiya
5. sings self-composed MISOSA6-
melodies in C Major, G module3 F
major, and F Major keys Mayor, module4
MU6ME-IIa-5
G Mayor,
module6
Melodiya
THIRD QUARTER
III. FORM demonstrates understanding performs accurately 1. identifies simple MISOSA4-
of the concept of musical the design or structure musical forms module17
1. Structure of Musical forms and musical symbols of a given musical 1.1 binary (AB) -has 2
Forms (repeat marks) indicated piece contrasting sections *Manwal ng Guro
1.1 binary (AB) (AB) Umawit at
1.2 ternary (ABA) 1.2 ternary (ABA)-has 3 Gumuhit 5.
1.3 rondo (ABACA) sections, the third Valdecantos,
2. Repeat Marks section similar to the Emelita C. 1999.
2.1 Da Capo (D.C.) first; (ABC) pp.34-38
2.2 Dal Segno (D.S.) – has 3 sections MU6FO-IIIa-
2.3 Al Fine (up to the 1.3 rondo (ABACA) -has b-1 *Manwal ng Guro
end) contrasting sections in Umawit at
2.4 D.C. al Fine (repeat between repetitions Gumuhit 6.
from the beginning of the A section Valdecantos,
until the word Fine) (ABACA) Emelita C. 1999.
2.5║: :║ pp.37-40
2.6 ┌───┐┌───┐
2.7 1 2 Edukasyong
(ending 1, ending 2) Pangkatawan,
Kalusugan at

K to 12 Music Curriculum Guide May 2016 Page 80of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION

K to 12 Music Curriculum Guide May 2016 Page 81of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
III. FORM demonstrates understanding performs accurately Musika I. Abejo,
of the concept of musical the design or structure Mary Placid.
1. Structure of Musical forms and musical symbols of a given musical 1994. pp.304-306
Forms (repeat marks) indicated piece
1.1 binary (AB) 2. analyzes the musical MISOSA4-
1.2 ternary (ABA) forms of the following module23
1.3 rondo (ABACA) songs:
2. Repeat Marks 2.1 Leron,Leron,Sinta;
2.1 Da Capo (D.C.) Sitsiritsit
2.2 Dal Segno (D.S.) 2.2 Silent Night
2.3 Al Fine (up to the 2.3 Happy Birthday MU6FO-IIIa-
end) 2.4 Joy to the World b-2
2.4 D.C. al Fine (repeat 2.5Bahay Kubo
from the beginning 2.6Ili-iliTulogAnay
until the word Fine) 2.7ParuparongBukid
2.5║: :║ 2.8Ang Bayan Ko
2.6 ┌───┐┌───┐ 2.9Pamulinawen
2.7 1 2 2.10Tinikling
(ending 1, ending 2) 2.11LupangHinirang

K to 12 Music Curriculum Guide May 2016 Page 82of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
3. uses the different repeat MISOSA4-
marks that are related to module17
form:
3.1 Da Capo (D.C.) *Manwal ng Guro
3.2 Dal Segno (D.S.) Umawit at
3.3 Al Fine (up to the end) Gumuhit 5.
3.4 D.C. al Fine (repeat Valdecantos,
from the beginning until Emelita C. 1999.
the word Fine) MU6FO-IIIc-3 pp.39
3.5║: :║
3.6 ┌───┐┌───┐ *Manwal ng Guro
1 2 Umawit at
(ending 1, ending 2) Gumuhit 6.
Valdecantos,
Emelita C. 1999.
pp.38-40

K to 12 Music Curriculum Guide May 2016 Page 83of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
IV. TIMBRE demonstrates understanding aurally determines the 4. identifies visually and aurally *Manwal ng Guro
of the concept of timbre sound of a single the instrumental sections of Umawit at
Introduction of Musical through recognizing musical instrument in any the Western orchestra Gumuhit 6.
Instruments instruments aurally and section of the Valdecantos,
MU6TB-IIId-1
visually orchestra Emelita C. 1999.
pp.47-48

5. distinguishes aurally the *Manwal ng Guro

sound of each section of the Umawit at
Western orchestra Gumuhit 6.
MU6TB-IIId-
Valdecantos,
e-2
Emelita C. 1999.
pp.47-48

6. identifies the characteristics *Manwal ng Guro

of each instrument in each Umawit at
section of the orchestra Gumuhit 6.
MU6TB-IIId-3 Valdecantos,
Emelita C. 1999.
pp.47-48

7. describes the distinct sound *Manwal ng Guro

quality of the different Umawit at
instruments of the orchestra MU6TB-IIId- Gumuhit 6.
e-4 Valdecantos,
Emelita C. 1999.
pp.47-48

V. DYNAMICS demonstrates understanding applies the appropriate 8. distinguishes varied MISOSA5-

of the concept of dynamic levels in vocal dynamic levels in a music module16
Variations in Dynamics dynamicsthrough a wide and instrumental heard
MU6DY-IIIf-g-
variety of dynamic levels music 8.1 piano (p) *Musika at Sining
1
8.2 mezzo piano (mp) 6. Sunico, Raul
8.3 pianissimo (pp) M. et al, 2000.
8.4 forte (f) pp.51-57
8.5 mezzo forte (mf)
K to 12 Music Curriculum Guide May 2016 Page 84of 94
Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION

K to 12 Music Curriculum Guide May 2016 Page 85of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
V. DYNAMICS demonstrates understanding applies the appropriate 8.6 fortissimo (ff)
of the concept of dynamics dynamic levels in vocal 8.7 crescendo *Manwal ng Guro
Variations in Dynamics through a wide variety of and instrumental 8.8 decrescendo Umawit at
dynamic levels music Gumuhit 6.
Valdecantos,
Emelita C. 1999.
pp.48-52

9. uses varied dynamic levels in *Manwal ng Guro

a song Umawit at
Gumuhit 6.
MU6DY-IIIh-2 Valdecantos,
Emelita C. 1999.
pp.48-52

FOURTH QUARTER
VI. TEMPO demonstrates understanding performs a given song, 1. identifies the different tempo *Musika at Sining
of the various tempo using tempo marks in a given song or music: 6. Sunico, Raul
Variations of Tempo appropriately -allegro M. et al, 2000.
-andante pp.59-61
-ritardando
-accelerando MU6TX-IVa-b- *Manwal ng Guro
-largo 1 Umawit at
-presto Gumuhit 6.
-vivace Valdecantos,
Emelita C. 1999.
pp.53-54

2. distinguishes between *Musika at Sining

ritardando and accelerando 6. Sunico, Raul
as used in a song M. et al, 2000.
MU6TX-IVa-b- pp.61
2
*Manwal ng Guro
Umawit at
Gumuhit 6.

K to 12 Music Curriculum Guide May 2016 Page 86of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
Valdecantos,
Emelita C. 1999.
pp.53-57

3. demonstrates the different *Manwal ng Guro

kinds of tempo by following Umawit at
tempo marks in a familiar Gumuhit 6.
MU6TX-IVa-b-
song Valdecantos,
3
Ex: “Pandangguhan” Emelita C. 1999.
pp.54-55

VII. TEXTURE demonstrates the concept of performs accurately a 4. identifies aurally the EASE MUSIC-
texture as: given song with texture of musical pieces module6
Variations in Texture 1. monophonic (one voice) monophonic, 4.1 monophonic
1. Monophony 2. homophonic (voice homophonic, and 4.2 homophonic Edukasyong
2. Homophony and accompaniment) polyphonic textures 4.3 polyphonic Pangkatawan,
3. Polyphony 3. polyphonic Kalusugan at
(many voices) Musika I. Abejo,
Mary
Placid.1994.
pp.224-229

*Musika at Sining
MU6TX-IVc-d-
6. Sunico, Raul
1
M. et al, 2000.
pp.70-72

*Manwal ng Guro
Umawit at
Gumuhit 6.
Valdecantos,
Emelita C. 1999.
pp.61

K to 12 Music Curriculum Guide May 2016 Page 87of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION

K to 12 Music Curriculum Guide May 2016 Page 88of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
VII. TEXTURE demonstrates the concept of performs accurately a 5. Identifies different textures OHSP MUSIC
texture as: given song with 5.1 Vocal
Variations in Texture 1. monophonic (one voice) monophonic, 5.1.1 solo voice *Manwal ng Guro
1. Monophony 2. homophonic (voice homophonic, and 5.1.2 solo voice with Umawit at
2. Homophony and accompaniment) polyphonic textures accompaniment MU6TX-IVc-d- Gumuhit 6.
3. Polyphony 3. polyphonic 5.1.3 duet, partner 2 Valdecantos,
(many voices) songs, round songs Emelita C. 1999.
5.2 Instrumental pp.59-62
5.2.1 solo
5.2.2 ensemble
6. distinguishes monophonic, EASE MUSIC-
MU6TX-IVc-d-
homophonic, and polyphonic module6
3
textures
7. applies primary chords (I, *Manwal ng Guro
IV, V) as accompaniment to Umawit at
simple songs Gumuhit 6.
MU6TX-IVc-d-
Valdecantos,
4
Emelita C. 1999.
pp.63-65

VIII. HARMONY demonstrates understanding demonstrates harmony 8. identifies the intervals of the *Musika at Sining
of the concepts of harmony in group performances following major triads: 6. Sunico, Raul
1. Primary Chords through the intervals that 1. choir M. et al, 2000.
2. Harmony in constitute the primary 2. rondalla pp.78-81
Group chords of major and minor 3. lyre band
Performances scales in music
*Manwal ng Guro
Umawit at
MU6HA-IVe-1
tonic ( I ) Gumuhit 6.
Valdecantos,
Emelita C. 1999.
pp.63-65

K to 12 Music Curriculum Guide May 2016 Page 89of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
CONTENT PERFORMANCE LEARNING
CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
VIII. HARMONY
demonstrates understanding demonstrates harmony subdominant ( IV )
1. Primary Chords of the concepts of harmony in group performances
2. Harmony in through the intervals that 1. choir
Group Performances constitute the primary 2. rondalla
chords of major and minor 3. lyre band
scales in music

dominant ( V )

9. identifies the primary

chords of its relative minor
scales
9.1 A minor (Am)
9.2 D minor (Dm)
9.3 E minor (Em)

A minor MU6HA-IVf-2

E minor

K to 12 Music Curriculum Guide May 2016 Page 90of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS

D minor

10. distinguishes the sound of a *Manwal ng Guro

major chord from a minor Umawit at
chord Gumuhit 6.
MU6HA-IVe-f-
Valdecantos,
3
Emelita C. 1999.
pp.64-65

11. uses the major triad as *Manwal ng Guro

accompaniment to simple Umawit at
songs MU6HA-IVg-h- Gumuhit 6.
4 Valdecantos,
Emelita C. 1999.
pp.67

K to 12 Music Curriculum Guide May 2016 Page 91of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
GRADE 7
MUSIC OF THE PHILIPPINES

PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
FIRST QUARTER
Music of Luzon ( Lowlands) The Learner… The Learner... The learner . . . EASE-module2
1. identifies the musical
Geographical and Cultural demonstrates performs music of the characteristics of representative OHSP Music
Background understanding of the lowlands with appropriate music selections from the Module Q1
musical characteristics pitch, rhythm, expression lowlands of Luzon after
1. Vocal Music of representative and style listening; *Edukasyong
MU7LU-Ia-1
a) Performance practice; music from the Pangkatawan,
b) Folk songs; lowlands of Luzon Kalusugan at
c) Sacred (Liturgical and Musika III.
Devotional) music: Adriano, Celia T.
Mass, Pastores, et al, 1999.
Senakulo, Pasyon, pp.248-250
Salubong, Flores de 2. analyzes the musical elements of EASE-module2
Mayo, Santacruzan; some Lowland vocal and
d) Secular music: Harana, instrumental music selections; *Edukasyong
Balitaw, Kumintang, Polka; Pangkatawan,
e) Art music: Kundiman. MU7LU-Ia-2 Kalusugan at
Musika III.
2. Instrumental Music Adriano, Celia T.
a) Rondalla; et al, 1999.
b) Brass Band; pp.248-250
c) Musikong Bumbongl 3. explains the distinguishing EASE-module1
d) Bamboo organ; characteristics of representative
e) Angklung ensemble; Philippine music selections from *Edukasyong
f) Himig Pangkat Kawayan. Luzon in relation to its culture Pangkatawan,
and geography; MU7LU-Ib-3 Kalusugan at
Musika III.
Adriano, Celia T.
et al, 1999.
pp.236-248

K to 12 Music Curriculum Guide May 2016 Page 92of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
Music of Luzon ( Lowlands) demonstrates performs music of the 4. explores ways of producing EASE-module1
understanding of the lowlands with appropriate sounds on a variety of sources
Geographical and Cultural musical characteristics of pitch, rhythm, expression that is similar to the instruments *Edukasyong
Background representative music from and style being studied; Pangkatawan,
the lowlands of Luzon MU7LU-Ib-f-4 Kalusugan at
1. Vocal Music Musika III.
a) Performance practice; Adriano, Celia T.
b) Folk songs; et al, 1999.
c) Sacred (Liturgical and pp.251
Devotional) music: 5. improvises simple
Mass, Pastores, rhythmic/melodic
Senakulo, Pasyon, accompaniments to selected MU7LU-Ic-f-5
Salubong, Flores de music from the Lowlands of
Mayo, Santacruzan; Luzon;
d) Secular music: Harana, 6. performs
Balitaw, Kumintang, Polka; instruments/improvised
MU7LU-Ig-h-6
e) Art music: instruments from Luzon
Kundiman. lowlands;
7. sings folksongs from *Edukasyong
2. Instrumental Music the lowlands of Luzon; Pangkatawan,
a) Rondalla; Kalusugan at
b) Brass Band; MU7LU-Ia-h-7 Musika III.
c) Musikong Bumbongl Adriano, Celia T.
d) Bamboo organ; et al, 1999.
e) Angklung ensemble; pp.236-248
Himig Pangkat 8. creates appropriate movements
Kawayan. or gestures to accompany the MU7LU-Ia-h-8
music selections of the
Lowlands
of Luzon;
9. provides harmonic
accompaniments to selected MU7LU-Id-9
music of the Lowlands of Luzon;

K to 12 Music Curriculum Guide May 2016 Page 93of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
10. evaluates music and music
performances applying MU7LU-Ic-h-
knowledge of musical elements 10
and styles.

K to 12 Music Curriculum Guide May 2016 Page 94of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
SECOND QUARTER
Music of Cordillera, Mindoro, The Learner… The Learner... The Learner... *Edukasyong
Palawan, and the Visayas 1. identifies the musical Pangkatawan,
demonstrates performs selected vocal characteristics of representative Kalusugan at
A. Cordillera understanding of the and instrumental music of selections of Cordillera, Mindoro, MU7LV-IIa-f-1 Musika III.
musical characteristics of Cordillera, Mindoro, Palawan and of the Visayas Adriano, Celia T.
Geographical, cultural, and representative music from Palawan and the Visayas after listening; et al, 1999.
historical background the highlands of Luzon, in appropriate style pp.248-256,
Mindoro, Palawan, and the pp.265
1. Vocal Music; Visayas 2. analyzes the musical elements of *Edukasyong
a) Performance practice; some vocal and instrumental Pangkatawan,
b) Representative selections from Cordillera, Kalusugan at
songs/genre (salidummay, MU7LV-IIa-f-2 Musika III.
Mindoro, Palawan and of the
oggayam, ba-diw). Visayas after listening; Adriano, Celia T.
et al, 1999.
2. Instrumental Music pp.265
a) Gangsa ensemble; 3. explains the distinguishing *Edukasyong
b) Bamboo solo/ensemble. characteristics of representative Pangkatawan,
music from Cordillera, Mindoro, Kalusugan at
B. Mindoro and Palawan Palawan and of the Visayasin MU7LV-IIb-f-3 Musika III.
relation to its culture and Adriano, Celia T.
1. Vocal Music; geography; et al, 1999.
a) Performance practice; pp.248-259
b) Representative 4. explores ways of producing *Edukasyong
songs/genre sounds on a variety of sources Pangkatawan,
(Vocal chants -Ambahan, similar to instruments being Kalusugan at
Igway). studied; MU7LV-IIb-g-4 Musika III.
Adriano, Celia T.
2. Instrumental Music et al, 1999.
a) Instrumental pp.257-258
ensembles: Bamboo / 5. improvises simple *Edukasyong
Gong ensemble ; rhythmic/melodic Pangkatawan,
b) Solo instruments. accompaniments to selected Kalusugan at
MU7LV-IIb-g-5
music from the Cordillera, Musika III.
C. Visayas Mindoro, Palawan and of the Adriano, Celia T.
Visayas; et al, 1999.

K to 12 Music Curriculum Guide May 2016 Page 95of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION

K to 12 Music Curriculum Guide May 2016 Page 96of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
1. Vocal Music demonstrates performs selected vocal and pp.252-265
a) Performance practice; understanding of the instrumental music of
b) Representative musical characteristics of Cordillera, Mindoro, Palawan 6. performs *Edukasyong
songs/genre: representative music from and the Visayas in instruments/improvised Pangkatawan,
Balitao- Visayan, the highlands of Luzon, appropriate style instruments from Cordillera, Kalusugan at
Pastores- Christmas, Mindoro, Palawan, and the Mindoro, Palawan and of the MU7LV-IIb-g-6 Musika III.
Kanta- Folksong, Visayas Visayas, alone and/or with Adriano, Celia T.
Ballad, Lullaby, others’ et al, 1999.
Courtship, and pp.258
Composo - Ilonggo 7. provides accompaniment to
narrative song. selected music of the Cordillera, MU7LV-IIb-g-7
Mindoro, Palawan and of the
2. Instrumental Music Visayas;
a) Instrumental 8. sing songs from the Cordillera, *Edukasyong
ensembles: Rondalla, Pangkatawan,
Mindoro, Palawan and of the
Tultogan, Harp, Kalusugan at
Visayas;
Band, “Bird Dance” MU7LV-IIa-f-8 Musika III.
Binanog (Panay, Adriano, Celia T.
Bukidnon) et al, 1999.
pp.252-265
9. creates appropriate movements
to accompany music from the MU7LV-IIc-h-9
Cordillera, Mindoro, Palawan
and
of the Visayas;
10. evaluates music and music MU7LV-IIc-h-
performances applying 10
knowledge of musical elements
and style.
THIRD QUARTER
Music of Mindanao The Learner… The Learner... The Learner... *Edukasyong
1. identifies the musical Pangkatawan,
A. Islamic Music demonstrates performs music of characteristics of Kalusugan at
MU7MN-IIIa-g-
understanding of the Mindanao with representative music Musika III.
1. Vocal music: 1
musical characteristics of appropriate expression selections from Mindanao Adriano, Celia T.
a) chants; and style et al, 1999.
K to 12 Music Curriculum Guide May 2016 Page 97of 94
Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
after listening;

K to 12 Music Curriculum Guide May 2016 Page 98of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
b) lullaby. representative music from pp.252-253
Mindanao
2. Instrumental Ensemble: 2. analyzes the musical *Edukasyong
a) Kulintang ensemble ; elements of some Pangkatawan,
b) bamboo ensemble ; Mindanao vocal and MU7MN-IIIa-g-
Kalusugan at
instrumental music; Musika III.
c) solo instruments. 2
Adriano, Celia T.
et al, 1999.
3. Non-Islamic pp.252-253
a) Christian; 3. explains the distinguishing *Musika at Sining
b) Lumad: characteristics of I. Padro, Alicia N.
(Folk songs of representative music MU7MN-IIIa-g- et al, 1998. pp.2-
Zamboanga, Butuan and selections of Mindanao in 3 3
Tausug). relation to its culture and
geography;
4. explores ways of producing *Edukasyong
sounds on a variety of Pangkatawan,
sources that is similar to the Kalusugan at
MU7MN-IIIb-h-
instruments being studied; Musika III.
4
Adriano, Celia T.
et al, 1999.
pp.253-254
5. improvises simple
rhythmic/melodic MU7LV-IIIc-h-
accompaniments to selected 5
music from Mindanao;
6. perform
instruments/improvised MU7LV-IIIc-h-
instruments from Mindanao, 6
alone and/or with others;
7. sing songs from Mindanao; MU7LV-IIId-h-
7
8. creates appropriate
movements or gestures to MU7LV-IIIc-8
accompany the music

K to 12 Music Curriculum Guide May 2016 Page 99of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
demonstrates performs music of selections of Mindanao;
understanding of the Mindanao with appropriate
musical characteristics of expression and style 9. provides accompaniment to
representative music from MU7LV-IIIc-h-
selected music of 9
Mindanao Mindanao;
10. evaluates music selections
and music performances
MU7LV-IIIb-h-
applying knowledge of
10
musical elements and
style.
FOURTH QUARTER
Philippine Festivals The Learner… The Learner... The Learner...
1. identifies musical characteristics
a) Aklan – Ati-atihan 1. demonstrates 1. performs of selected Philippine festivals MU7FT-IVa-g-1
b) Davao - Kadayawan understanding and excerpts/selections from and theatrical forms through
c) Marinduque – Moriones application of Philippine musical video or live performances;
d) Cebu – Sinulog musical skills related theater 2. narrate the origins and cultural *Edukasyong
e) Bicol – Ibalon to selected Philippine background of selected Philippine Pangkatawan,
f) Batangas – Sublian Festivals 2. performs songs and festival/s; Kalusugan at
dances from selected MU7FT-IVa-d-2 Musika III.
2. demonstrates Philippine festivals Adriano, Celia T.
understanding and et al, 1999.
Theatrical Forms application of musical pp.260
skills related to 3. creates movements to music of a *Edukasyong
a) Komedya/Moro- theater Pangkatawan,
particular Philippine festival;
moro/Arakyo Kalusugan at
b) Sarsuela MU7FT-IVa-d-3 Musika III.
c) Bodabil Adriano, Celia T.
et al, 1999.
pp.260
4. describes how the music
contributes to the performance of MU7FT-IVe-h-4
the musical production;
5. explains the distinguishing EASE-module1
characteristics of representative MU7FT-IVa-h-5
Philippine festivals and theatrical

K to 12 Music Curriculum Guide May 2016 Page 100of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION

K to 12 Music Curriculum Guide May 2016 Page 101of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
forms;

6. describes how a specific idea or EASE-module1

story is communicated through
MU7FT-IVe-h-6
music in a particular Philippine
musical theater;
7. sing selection/s from chosen
MU7FT-IVe-h-7
Philippine musical theater;

K to 12 Music Curriculum Guide May 2016 Page 102of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
GRADE 8
MUSIC OF ASIA

PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
FIRST QUARTER
MUSIC OF SOUTHEAST ASIA The Learner… The Learner... The Learner... OHSP Q2
1. explains how the music
Geographical, historical and cultural demonstrates performs Southeast Asian of a Southeast Asian *Edukasyong
background understanding of common songs with appropriate country relates to its Pangkatawan,
musical characteristics of pitch, rhythm, expression geography and culture; Kalusugan at
1. Indonesia-Gamelan the region as well as and style. MU8SE-Ia-h-1 Musika III.
a. Javanese; unique characteristics of a Adriano, Celia T.
b. Balinese. particular Southeast Asian Et al, 1999.
country. pp.299-308
2. Thailand-Piphat 2. listens perceptively to OHSP Q2
MU8SE-Ia-h-2
music of Southeast
3. Cambodia-Pinpeat Asia;
3. sings songs of OHSP Q2
MU8SE-Ic-h-3
4. Myanmar-Saung Gauk Southeast Asia;
4. analyzes musical elements OHSP Q2
of selected songs and
instrumental pieces heard *Edukasyong
and performed; Pangkatawan,
Kalusugan at
MU8SE-Ib-h-4
Musika III.
Adriano, Celia T.
Et al, 1999.
pp.299-305,
pp.308-312
OHSP Q2

K to 12 Music Curriculum Guide May 2016 Page 103of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
5. explores ways of
*Edukasyong
producing sounds on a Pangkatawan,
variety of sources that MU8SE-Ic-h-5 Kalusugan at
would simulate Musika III.
instruments being Adriano, Celia T.
studied; Et al, 1999.
pp.305-308,

K to 12 Music Curriculum Guide May 2016 Page 104of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
MUSIC OF SOUTHEAST ASIA demonstrates performs Southeast Asian pp.312-313
understanding of common songs with appropriate
Geographical, historical and cultural musical characteristics of pitch, rhythm, expression 6. improvises simple OHSP Q2
background the region as well as and style. accompaniment to
unique characteristics of a MU8SE-Ic-h-6
selected Southeast
1. Indonesia-Gamelan particular Southeast Asian Asian
a. Javanese; country. music;
b. Balinese. 7. performs on OHSP Q2
available instruments MU8SE-Ic-h-7
2. Thailand-Piphat from
Southeast Asia;
3. Cambodia-Pinpea 8. evaluates music and OHSP Q2
music performances
4. Myanmar-Saung Gauk applying knowledge of
musical elements and MU8SE-Ic-h-8
style.

SECOND QUARTER
Music of East Asia The Learner… The Learner... The Learner... OHSP Q2
1. explains how East
1. China Asian music relates to *Edukasyong
2. Japan demonstrates performs East Asian its geography and Pangkatawan,
3. Korea understanding of common music with appropriate culture; Kalusugan at
MU8SE-IIa-g-1
and distinct musical pitch, rhythm, expression Musika III.
a) Geographical, historical and characteristics of East and style Adriano, Celia T.
cultural background Asian countries Et al, 1999.
pp.267, 274, 282

K to 12 Music Curriculum Guide May 2016 Page 105of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
b) Traditional instruments OHSP Q2
(idiophones, 2. listens perceptively to
aerophones, music of East Asia; *Edukasyong
membranophones, and Pangkatawan,
chordophones) Kalusugan at
MU8SE-IIa-h-2
c) Instrumental pieces (solo Musika III.
and ensemble) Adriano, Celia T.
d) Folksongs and ritual music Et al, 1999.
e) K-Pop and J-Pop pp.289

K to 12 Music Curriculum Guide May 2016 Page 106of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
Music of East Asia demonstrates performs East Asian OHSP Q2
understanding of common music with appropriate 3. sings songs of East Asia;
1. China and distinct musical pitch, rhythm, expression *Edukasyong
2. Japan characteristics of East and style Pangkatawan,
3. Korea Asian countries Kalusugan at
MU8SE-IIc-h-3
Musika III.
a) Geographical, historical and Adriano, Celia T.
cultural background Et al, 1999.
b) Traditional instruments pp.268-270, 278-
(idiophones, 279, 284-286,
aerophones, 4. analyzes musical elements OHSP Q2
membranophones, and of selected songs and
chordophones) instrumental pieces heard *Edukasyong
c) Instrumental pieces (solo and performed; Pangkatawan,
and ensemble) Kalusugan at
MU8SE-IIc-h-4
d) Folksongs and ritual music Musika III.
e) K-Pop and J-Pop Adriano, Celia T.
Et al, 1999.
pp.267-270, 274-
280, 283-286
5. explores ways of OHSP Q2
producing sounds on a
variety of sources that *Edukasyong
would simulate Pangkatawan,
instruments being studied; Kalusugan at
MU8SE-IIb-h-5
Musika III.
Adriano, Celia T.
Et al, 1999.
pp.271-272, 280-
282, 286-289
6. improvises simple OHSP Q2
accompaniment to MU8SE-IIc-h-6
selected East Asian music;
7. performs on available OHSP Q2
instruments from East MU8SE-IIb-h-7
Asia;

K to 12 Music Curriculum Guide May 2016 Page 107of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
Music of East Asia demonstrates performs East Asian 8. evaluates music and OHSP Q2
understanding of music with music performances
1. China common and distinct appropriate pitch, applying knowledge of *Edukasyong
2. Japan musical characteristics rhythm, expression musical elements and Pangkatawan,
3. Korea of East Asian countries and style style. Kalusugan at
Musika III.
a) Geographical, historical and Adriano, Celia T.
cultural background Et al, 1999.
b) Traditional instruments MU8SE-IIb-h-8 pp.267-287
(idiophones,
aerophones,
membranophones, and
chordophones)
c) Instrumental pieces (solo
and ensemble)
d) Folksongs and ritual music
e) K-Pop and J-Pop
THIRD QUARTER
Music of South Asia and Middle The Learner… The Learner... The Learner... *Edukasyong
East 1. explains how music of a Pangkatawan,
demonstrates an performsSouth Asia South Asian and the Kalusugan at
4. India understanding of and the Middle East Middle East country relate MU8WS-IIIa- Musika III.
5. Israel common and distinct music with appropriate to its geography and g-1 Adriano, Celia T.
musical characteristics pitch, rhythm, culture; Et al, 1999.
a) Geographical, historical and of South Asia and the expression and style. pp.291
cultural background; Middle East. 2. listens perceptively to *Edukasyong
b) Traditional instruments music of South Asia Pangkatawan,
(idiophones, and the Middle East; Kalusugan at
MU8WS-IIIa-
aerophones, Musika III.
h-2
membranophones, and Adriano, Celia T.
chordophones) ; Et al, 1999.
c) Instrumental pieces (solo pp.297
and ensemble); 3. sings songs of South MU8WS-IIIc-
d) Folksongs and ritual music Asia and the Middle East; g-3
4. analyzes musical elements MU8WS-IIIc- *Edukasyong
of selected songs and h-4 Pangkatawan,

K to 12 Music Curriculum Guide May 2016 Page 108of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION

K to 12 Music Curriculum Guide May 2016 Page 109of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
Music of South Asia and Middle demonstrates an performs South Asia instrumental pieces heard Kalusugan at
East understanding of and the Middle East and performed; Musika III.
common and distinct music with appropriate Adriano, Celia T.
4. India musical characteristics pitch, rhythm, Et al, 1999.
5. Israel of South Asia and the expression and style. pp.291-295
Middle East. 5. explores ways of *Edukasyong
a) Geographical, historical and producing sounds on Pangkatawan,
cultural background; a variety of sources Kalusugan at
MU8WS-IIIc-
b) Traditional instruments that would simulate Musika III.
h-5
(idiophones, instruments being Adriano, Celia T.
aerophones, studied; Et al, 1999.
membranophones, and pp.296-297
chordophones) ; 6. improvises simple
c) Instrumental pieces (solo and accompaniment to MU8WS-IIIb-
ensemble); selected South Asia and h-6
d) Folksongs and ritual music the Middle East music;
7. performs on available
instruments from South MU8WS-IIIb-
Asia and Middle East; h-7

8. evaluates music and

music performances
MU8WS-IIIc-
applying knowledge of
h-8
musical elements and
style.
FOURTH QUARTER
Traditional Asian Theater Music The Learner… The Learner... The Learner...
1. Wayang Kulit; 1. identifies musical
2. Kabuki; demonstrates performs excerpts from characteristics of selected
3. Peking Opera. MU8TH-IVa-g-
understanding and traditional Asian theater Asian musical theater 1
application of musical skills with appropriate pitch, through video films or
related to selected rhythm, expression, and live
traditional Asian theater style performances;
2. sing selection/s from MU8TH-IVa-g-
chosen Asian 2
musical
K to 12 Music Curriculum Guide May 2016 Page 110of 94
Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
theater;

K to 12 Music Curriculum Guide May 2016 Page 111of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
Traditional Asian Theater Music demonstrates performs excerpts from 3. describe how the musical
1. Wayang Kulit; understanding and traditional Asian theater elements contribute to MU8TH-IVb-h-
2. Kabuki; application of musical skills with appropriate pitch, the performance of the 3
3. Peking Opera. related to selected rhythm, expression, and musical production;
traditional Asian theater style 4. identifies the
instruments that MU8TH-IVa-g-
accompany Kabuki, 4
Wayang Kulit, Peking
Opera;
5. explains the
distinguishing MU8TH-IVa-g-
characteristics of 5
representative Asian
musical theater;
6. describe how a specific
idea or story is
MU8TH-IVa-g-
communicated through
6
music in a particular Asian
musical theater;
7. creates/improvises
appropriate sound, music,
gesture, movements,
props and costume for MU8TH-IVb-h-
performance of a chosen 7
Asian traditional musical
and theatrical form;

8. evaluates music and

music performances
MU8TH-IVc-h-
applying knowledge of
8
musical elements and
style.

K to 12 Music Curriculum Guide May 2016 Page 112of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
GRADE 9
HISTORY OF WESTERN MUSIC

LEARNING
CONTENT CONTENT STANDARDS PERFORMANCE STANDARDS LEARNING COMPETENCY CODE
MATERIALS
FIRST QUARTER
The Learner… The Learner... The Learner...
1. MUSIC OF THE
MEDIEVAL demonstrates performs selected songs from 1. listens perceptively to
MU9MRB-Ia-h-
PERIOD (700- understanding of Medieval, renaissance and selected vocal and
1
1400) characteristic features of baroque periods instrumental music of
the Medieval, Renaissance Medieval, Renaissance
a) Historical and and Baroque period music a) Chants; and
cultural b) Madrigals; Baroque music;
background; c) excerpts 2. explains the performance *Edukasyong
b) Gregorian chants; from practice (setting, composition, Pangkatawan,
c) Troubadour music; oratorio; role of Kalusugan at
d) Composer - Adam d) chorales; composers/performers, and MU9MRB -Ia-h- Musika IV.
de la Halle. e) troubadour. audience) during Medieval, 2 Sacdalan,
Renaissance and Baroque Guinevere I. Et
2. RENAISSANCE periods; al, 1999. pp.274-
PERIOD (1400-1600) 286
a) Historical and 3. relates Medieval, *Edukasyong
cultural background; Renaissance and Baroque Pangkatawan,
b) Mass; music to its historical and Kalusugan at
c) Madrigal; cultural background through MU9MRB -Ic-f- Musika IV.
d) Composers - dramatization; 3 Sacdalan,
Giovanni da Guinevere I. Et
Palestrina and al, 1999. pp.274-
Thomas Morley. 283
4. sings Medieval chant, *Edukasyong
3. MUSIC OF THE troubadour song, madrigal, Pangkatawan,
BAROQUE PERIOD chorale and selections from Kalusugan at
(1685-1750) oratorio with correct pitch, MU9MRB -Ib-h- Musika IV.
rhythm, expression and 4 Sacdalan,
a) Historical and style; Guinevere I. Et
cultural background; al, 1999. pp.274-
277, 284
b) Concerto
K to 12 Music Curriculum Guide May 2016 Page 113of 94
Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
Grosso, Fugue

K to 12 Music Curriculum Guide May 2016 Page 114of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
LEARNING
CONTENT CONTENT STANDARDS PERFORMANCE STANDARDS LEARNING COMPETENCY CODE
MATERIALS
c) Oratorio and chorale demonstrates performs selected songs from 5. describes musical elements of *Edukasyong
d) Composers: Johann understanding of Medieval, renaissance and given Medieval, Renaissance Pangkatawan,
Sebastian Bach characteristic features of baroque periods Kalusugan at
and Baroque music;
and George the Medieval, Renaissance MU9MRB -Ib-f- Musika IV.
Friedrich Handel and Baroque period music a) Chants; 5 Sacdalan,
b) Madrigals; Guinevere I. Et
c) excerpts al, 1999. pp.274-
from 283
oratorio; 6. explores other arts and media *Edukasyong
d) chorales; that portray Medieval, Pangkatawan,
e) troubadour. Renaissance and Baroque Kalusugan at
elements; MU9MRB -Ib-f- Musika IV.
6 Sacdalan,
Guinevere I. Et
al, 1999. pp.274-
286
7. improvises appropriate
accompaniment to given MU9MRB -Ib-d-
Medieval and 7
Renaissance
songs;
8. create and or perform songs
MU9MRB-Ib-h-
in Gregorian and troubadour
styles; 8
9. play simple melodies of *Edukasyong
a chorale and provide Pangkatawan,
accompaniment. Kalusugan at
MU9MRB-Ib-h-
Musika IV.
9
Sacdalan,
Guinevere I. Et
al, 1999. pp.275
SECOND QUARTER
MUSIC OF THE The Learner… The Learner... The Learner...
CLASSICAL PERIOD 1. narrates the life and works of
(1750-1820) demonstrates sings and performs themes of classical composers after video MU9CL-IIa-f-1
understanding of symphonies and other and movie showing;

K to 12 Music Curriculum Guide May 2016 Page 115of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION

K to 12 Music Curriculum Guide May 2016 Page 116of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
LEARNING
CONTENT CONTENT STANDARDS PERFORMANCE STANDARDS LEARNING COMPETENCY CODE
MATERIALS
a) Historical and characteristic features of instrumental forms 2. relates Classical music to its *Edukasyong
cultural background; Classical period music historical and cultural Pangkatawan,
b) Sonata, sonata background; Kalusugan at
allegro form, demonstrates sings and performs themes MU9CL-IIa-f-2 Musika IV.
concerto, understanding of of symphonies and other Sacdalan,
symphony; characteristic features of instrumental forms Guinevere I. Et
c) Composers: Franz Classical period music al, 1999. pp.261
Josef Haydn, 3. explains the performance *Edukasyong
Wolfgang Amadeus practice (setting, composition, Pangkatawan,
Mozart, and role of composers/performers, Kalusugan at
Ludwig van and audience) during Classical Musika IV.
MU9CL-IIa-f-3
Beethoven. period; Sacdalan,
Guinevere I. Et
al, 1999. pp.261-
272
4. listens perceptively to *Edukasyong
selected Classical period Pangkatawan,
music; Kalusugan at
Musika IV.
MU9CL-IIb-g-4
Sacdalan,
Guinevere I. Et
al, 1999. pp.263-
264
5. describes musical elements of *Edukasyong
given Classical period pieces; Pangkatawan,
Kalusugan at
MU9CL-IIb-g-5
Musika IV.
Sacdalan,
Guinevere I. Et al,
1999. pp.261-272
6. analyzes sonata allegro form; *Edukasyong
Pangkatawan,
Kalusugan at
MU9CL-IIe-h-6
Musika IV.
Sacdalan,
Guinevere I. Et

K to 12 Music Curriculum Guide May 2016 Page 117of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION

K to 12 Music Curriculum Guide May 2016 Page 118of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
LEARNING
CONTENT CONTENT STANDARDS PERFORMANCE STANDARDS LEARNING COMPETENCY CODE
MATERIALS
MUSIC OF THE demonstrates sings and performs themes of al, 1999. pp.262-
CLASSICAL PERIOD understanding of symphonies and other 263
(1750-1820) characteristic features of instrumental forms 7. sings themes or melodic
Classical period music fragments of given Classical MU9CL-IIb-h-7
a) Historical and period pieces;
cultural background; 8. explores other arts and media *Edukasyong
b) Sonata, sonata that portrays Classical Pangkatawan,
allegro form, elements; Kalusugan at
concerto, Musika IV.
MU9CL-IIb-h-8
symphony; Sacdalan,
c) Composers: Franz Guinevere I. Et
Josef Haydn, al, 1999. pp.268-
Wolfgang Amadeus 269
Mozart, and 9. improvises appropriate
Ludwig van accompaniment to given short MU9CL-IIe-9
Beethoven. and simple Classical pieces.

THIRD QUARTER
The Learner… The Learner... The Learner...
INSTRUMENTAL MUSIC 1. narrates the life and works of
MU9RO-IIIa-h-
OF THE ROMANTIC demonstrates sings and performs themes of romantic composers after
1
PERIOD (1820-1900) understanding of selected instrumental pieces video and movie showing;
characteristic features of 2. relates Romantic period music *Edukasyong
a) Historical and instrumental Romantic to its historical and cultural Pangkatawan,
cultural background; music background; Kalusugan at
b) Program music; MU9RO-IIIa-2 Musika IV.
c) Piano music; Sacdalan,
d) Composers: Guinevere I. Et
Frederic Chopin, al, 1999. pp.222
Peter Illych 3. explains the performance *Edukasyong
Tchaikovsky, Franz practice (setting, composition, Pangkatawan,
Liszt, and Camille role of composers/performers, Kalusugan at
Saint-Saens. MU9RO-IIIb-h-
and audience) during the Musika IV.
3
Romantic period; Sacdalan,
Guinevere I. Et
al, 1999. pp.222-

K to 12 Music Curriculum Guide May 2016 Page 119of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION

K to 12 Music Curriculum Guide May 2016 Page 120of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
LEARNING
CONTENT CONTENT STANDARDS PERFORMANCE STANDARDS LEARNING COMPETENCY CODE
MATERIALS
INSTRUMENTAL MUSIC demonstrates sings and performs themes of 229
OF THE ROMANTIC understanding of selected instrumental pieces
4. listens perceptively to *Edukasyong
PERIOD (1820-1900) characteristic features of
selected Romantic period Pangkatawan,
instrumental Romantic
music ; Kalusugan at
a) Historical and music MU9RO-IIIb-h-
Musika IV.
cultural background; 4
Sacdalan,
b) Program music;
Guinevere I. Et
c) Piano music;
al, 1999. pp.226
d) Composers:
5. describes musical elements of *Edukasyong
Frederic Chopin,
given Romantic period pieces; Pangkatawan,
Peter Illych
Kalusugan at
Tchaikovsky, Franz
MU9RO-IIIb-h- Musika IV.
Liszt, and Camille
5 Sacdalan,
Saint-Saens.
Guinevere I. Et
al, 1999. pp.222-
229, 234-242
6. sings themes or melodic *Edukasyong
fragments of given Romantic Pangkatawan,
period pieces; Kalusugan at
MU9RO-IIIe-h-
Musika IV.
6
Sacdalan,
Guinevere I. Et
al, 1999. pp.228
7. explores other arts and media *Edukasyong
that portray Romantic period Pangkatawan,
elements; Kalusugan at
MU9RO-IIIc-h- Musika IV.
7 Sacdalan,
Guinevere I. Et
al, 1999. pp.229-
233
8. improvises appropriate
accompaniment to given short
MU9RO-IIIc-h-
and simple Romantic period
8
pieces.

K to 12 Music Curriculum Guide May 2016 Page 121of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION

K to 12 Music Curriculum Guide May 2016 Page 122of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
LEARNING
CONTENT CONTENT STANDARDS PERFORMANCE STANDARDS LEARNING COMPETENCY CODE
MATERIALS
FOURTH QUARTER
Vocal Music of the The Learner… The Learner... The Learner...
Romantic Period 1. narrates the plot, musical and
demonstrates sings and performs themes theatrical elements of an MU9OP-IVa-g-
a) Art song understanding of of selected songs opera after video and movie 1
b) Opera characteristic features showing;
c) Composers: of vocal music of the 2. listens perceptively to
MU9OP-IVa-g-
Franz Schubert, Romantic period selected art songs and
excerpts of opera ; 2
Guiseppe Verdi,
Giacomo Puccini, 3. sings themes or melodic
MU9OP-IVb-h-
and Richard fragments of given selected
3
Wagner songs;
4. explores other arts and media
MU9OP-IVb-h-
that portray Romantic period
4
elements;
5. creates / improvises
appropriate sounds, music, MU9OP-IVb-h-
gestures, movements, and 5
costumes for a chosen opera.

K to 12 Music Curriculum Guide May 2016 Page 123of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION

MUSIC - GRADE 10
MUSIC OF THE 20TH CENTURY

PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
FIRST QUARTER
A. Impressionism The Learner… The Learner... The Learner... *Edukasyong
1. listens perceptively to Pangkatawan,
a) Historical and cultural demonstrates understanding creates musical pieces selected 20th century music; Kalusugan at
background of 20th century music styles usingparticular style/s of the Musika.
MU10TC-Ia-h-1
b) Composers: Claude and characteristic features. 20th Century. Sacdalan,
Debussy, and Guinevere IV. et
Maurice al, 1999. pp.182,
Ravel 203-208
2. describes distinctive musical *Edukasyong
B. Expressionism elements of given pieces in Pangkatawan,
20th century styles; Kalusugan at
a) Historical and cultural MU10TC-Ia-h-2 Musika. Sacdalan,
background Guinevere IV. et
b) Composer: al, 1999. pp. 203-
Schoenberg 208
th
3. relates 20 century music to *Edukasyong
C. Others its historical and cultural Pangkatawan,
background; Kalusugan at
a) Electronic music MU10TC-Ia-g-3 Musika. Sacdalan,
b) Chance music Guinevere IV. et
al, 1999. pp. 203-
208
4. explains the performance *Edukasyong
practice (setting, composition, Pangkatawan,
role of composers/performers, Kalusugan at
th MU10TC-Ib-g-4 Musika. Sacdalan,
and audience) of 20 century
Guinevere IV. et
music;
al, 1999. pp. 203-
208
5. sings melodic fragments of
given Impressionism period MU10TC-Ib-5

K to 12 Music Curriculum Guide May 2016 Page 124of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
pieces;

K to 12 Music Curriculum Guide May 2016 Page 125of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
6. explores other arts and media
A. Impressionism demonstrates understanding creates musical pieces that portray 20th century
MU10TC-Ic-h-6
of 20th century music styles usingparticular style/s of the elements through video films
a) Historical and cultural and characteristic features. 20th Century. or live performances;
background 7. create short electronic and
b) Composers: Claude chance music pieces using
Debussy, and knowledge of 20th century
Maurice Ravel styles.

B. Expressionism

a) Historical and cultural MU10TC-Ic-h-7

background
b) Composer: Schoenberg

C. Others

a) Electronic music
b) Chance music
SECOND QUARTER
AFRO-LATIN AND POPULAR The Learner… The Learner... The Learner...
MUSIC
demonstrates understanding performs vocal and dance 1. observes dance styles,
1. Historical and (cultural of characteristic features of forms of Afro-Latin American instruments, and rhythms of
background of African Afro-Latin American music music and selections of Afro Latin American and MU10AP-IIa-g-
and Latin American music and Popular music Popular music popular music through video, 1
2. Background of Popular movies and live
music performances;
3. African music 2. describes the historical and
a. Rhythms: Maracatu cultural background of Afro-
MU10AP-IIa-g-
b. Vocal forms: blues, Latin American and popular
2
soul, spiritual, call music;

K to 12 Music Curriculum Guide May 2016 Page 126of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
and response demonstrates understanding performs vocal and dance 3. listens perceptively to Afro-
4. Latin American music of characteristic features of forms of Afro-Latin American Latin American and popular MU10AP-IIa-h-
a. Instruments Afro-Latin American music music and selections of music ; 3
b. Vocal and Dance and Popular music Popular music
4. dances to different selected
form: Cumbia, tango, MU10AP-IIa-h-
styles of Afro-Latin American
cha-cha. Rumba, 4
and popular music;
bossanova, reggae, 5. analyzes musical
foxtrot, pasa doble MU10AP-IIa-h-
characteristics of Afro-Latin
5. Jazz 5
American and popular music;
a. Instrumental forms: 6. sings selections of Afro-Latin
ragtime, big band, American and popular music in MU10AP-IIa-h-
bebop, jazz rock appropriate pitch, rhythm, 6
6. Popular music style, and expression;
a. Ballad, standard, rock 7. explores ways of creating
and roll, alternative sounds on a variety of
music, disco sources suitable to chosen MU10AP-IIa-7
vocal and instrumental
selections;
8. improvises simple
vocal/instrumental MU10AP-IIe-f-
accompaniments to selected 8
songs;
9. choreographs a chosen
MU10AP-IIb-d-
dance music;
9
10. evaluates music and music
performances using
knowledge of musical MU10AP-IIa-h-
elements and style. 10

THIRD QUARTER
CONTEMPORARY The Learner… The Learner... The Learner...
PHILIPPINE MUSIC 1. listens perceptively to
MU10CM-IIIa-
(Minimum of 4 composers for demonstrates understanding sings contemporary songs excerpts of major
h-1
each) of characteristic features of Contemporary works;

K to 12 Music Curriculum Guide May 2016 Page 127of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION

K to 12 Music Curriculum Guide May 2016 Page 128of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
1. Traditional contemporary music sings contemporary songs
Composers demonstrates understanding
2. describes characteristics of MU10CM-IIIa-
of characteristic features of h-2
traditional and new music;
a. Lucio San Pedro contemporary music
3. gives a brief biography of *Edukasyong
b. Antonino
selected Contemporary Pangkatawan,
Buenaventura
Philippine composer/s ; Kalusugan at
c. Antonio Molina MU10CM-IIIc-
Musika. Sacdalan,
d. Alfredo Buenaventura g-3
Guinevere IV. et
e. Rodolfo Cornejo
al, 1999. pp.209-
f. Bernardino Custodio
220, 247-259
g. Antonio Buencamino
4. sings selections of
h. Hilarion Rubio
Contemporary music with MU10CM-IIIb-
i. Rosendo Santos
appropriate pitch, rhythm, h-4
j. Ryan Cayabyab
style, and expression;
5. explores ways of creating
2. New Music MU10CM-IIId-
sounds on a variety of
sources; e-5
a. Chino Toledo
6. improvises simple
b. Ramon Santos
vocal/instrumental
c. Jose Maceda MU10CM-IIId-
accompaniments to selected
d. Manuel Maramba e-5
songs;
e. Lucresia Kasilag
f. Francisco Feliciano
7. create a musical on the life
g. Jerry Dadap
of a selected MU10CM-IIIg-
h. Jonas Baes
contemporary Philippine h-7
composer;
3. Song Composer

a. Constancio de
Guzman 8. evaluates music and music
b. Mike Velarde performances using MU10CM-IIIh-
c. Ernani Cuenco knowledge of musical 8
d. Restie Umali elements and style.
e. George Canseco
f. Levi Celerio
g. Angel Pena

K to 12 Music Curriculum Guide May 2016 Page 129of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
h. Leopoldo Silos
i. Santiago Suarez
FOURTH QUARTER
20th and 21st century The Learner… The Learner... The Learner...
MULTIMEDIA FORMS 1. describes how an idea or story
1. demonstrates 1.
performs selections in a musical play is MU10MM-IIIa-
1. OPERA understanding of from musical plays, presented in a live h-1
a) La Loba Negra characteristic ballet, opera in a performance or video;
b) Noli Me Tangere features of 20th satisfactory level of 2. explains how theatrical
c) El Filibusterismo and 21st century performance. elements in a selected part of
MU10MM-IIIa-
opera musical play, a musical play are combined
2. BALLET 2. h-2
ballet and other creates a musical with music and media to
a) Lola Basyang multimedia forms. work using media & achieve certain effects;
b) Rama Hari technology. 3. sings selections from musical MU10MM-IIIc-
2. demonstrates plays and opera expressively; h-3
3. MUSICAL PLAY understanding 4. creates / improvises
a) Andres Bonifacio of the
appropriate sounds, music,
b) Atang relationship
gestures,movements, and MU10MM-IIIc-
c) Katy among music,
costume using media and h-4
d) Florante at Laura technology, and
technology for a selected
e) Daragang media.
part of a musical play;
Magayon
5. present an excerpt from a
f) Noli Me Tangere
20th or 21st century Philippine
g) El Filibusterismo MU10MM-IIIg-
musical and highlight its
h) Magsimula ka h-5
similarities and differences to
other western musical play.

K to 12 Music Curriculum Guide May 2016 Page 130of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
GLOSSARY

Accent emphasis/stress on a note, making it louder than the other notes

Accelerando becoming faster
Aerophone Any musical instrument that produces sound primarily by causing a body of air to vibrate, without the use of strings or membrane.
Allegro fast
Alto female voice of low range
Alternative music A type of rock music that originated from the 1980s.
Andante moderately slow, walking pace
Angklung An instrument, originally from Indonesia, made of two bamboo tubes attached to a bamboo frame.
Art song A vocal musical composition usually written for one voice with piano accompaniment.
Ballad A slow or sentimental romantic song.
Ballet An artistic dance form performed to music, using precise and highly formalized set steps and gestures.
Barline a vertical line that divides the staff into measures
Bass male voice of low range
Beat regular, recurrent pulsation that divides music into equal units of time
Bebop Jazz music with complex harmony and rhythms
Big band A large group of musicians playing jazz or dance music with improvised solos by lead players.
Binary Form a song or composition with two basic parts or ideas

Blues A musical style originating from African-Americans and is typically in a twelve-bar sequence; expresses sadness or depression.
Bodabil A genre of various entertainment composed of song, dance, comedy routines, magic acts, and chorus girls.
Bossa Nova A style of Brazilian music derived from samba but placing more emphasis on melody and less on percussion.
Cha-cha A ballroom dance with small steps and swaying hip movements, performed to a Latin American rhythm.
Chance music Music created by chance and its realization is left to the performer.

K to 12 Music Curriculum Guide May 2016 Page 131of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
GLOSSARY

Chord combination of three or more tones sounded together

Chordophone Any musical instrument that produces sound primarily by vibrating strings.
Clef symbol placed at the beginning of the staff to show the exact pitch of each line and space
Concerto Musical composition for a solo instrument accompanied by an orchestra.
Concerto Grosso Musical composition for a group of solo instruments accompanied by an orchestra.
Crescendo gradually getting louder
Cumbia Dance music similar to salsa.
Da Capo repeat from the beginning; an indication usually meaning that the opening section of a piece is to be repeated after the middle section
Decrescendo gradually softer
Descant an independent treble melody or counterpoint usually sung or played above a basic melody

Disco Dance music typically soul-influenced and melodic with a regular bass beat popularized in the late 1970s.
Dynamics degrees of loudness and softness in music
Electronic music Music that employs electronic musical instruments and technology in production.
Expressionism A style which the maker seeks to express the inner world of emotion rather than external reality.

Flat Sign a symbol that notates the pitch of a note a half step lower
Folksongs songs handed down from generation to generation

Form organization of musical ideas in time; structure of a musical composition

Forte (f) loud

Fortissimo (ff) very loud

Foxtrot A ballroom dance with uneven rhythm of alternating slow and quick steps.
A contrapuntal composition in which a short melody or phrase is introduced by one part and successively taken up by others; developed by the
Fugue
interweaving of the various parts.

K to 12 Music Curriculum Guide May 2016 Page 132of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
GLOSSARY

Gamelan Indonesian musical ensemble featuring a variety of metallophones (instruments made of metal and played by hitting or striking).
Gangsa Ensemble An instrumental ensemble that uses metallophones
Grand Staff combination of the treble and bass staves, used to encompass the wide range of pitches
Harmony the pleasing sound produced when three or more tones are blended simultaneously
Homophonic Texture refers to a melody sung or played with chord accompaniment e.g. guitar or piano
Idiophones A musical instrument that creates sound through its own vibration, without the use of any strings or membrane.
Impressionism A style or movement that depicts the visual impression of the moment, especially in terms of the shifting effect of light and color.
Interval distance in pitch between two tones
J-Pop Japanese popular music.
Jazz Music originated from African-American people characterized by improvisation, syncopation, and usually a regular or forceful rhythm.
K-Pop Korean popular music.
Kabuki Traditional Japanese theater performance.
Key Signature sharp or flat signs immediately following the clef sign at the beginning of a piece of music, indicating the key in which the music is to be played
Key (tonality) central note, scale and chord within a piece, in relationship to which all other tones in the composition are heard
Keynote central tone of a melody or piece of music e.g. when a piece is in the Key of C Major, C is the keynote
Kulintang A set of gongs usually played by ensembles in Mindanao.
Largo very slow

Ledger Lines short, horizontal lines above or below the staff, used to indicate a pitch that falls above or below the range indicated by the staff
Liturgical music Music composed for and played during liturgical celebrations and worship.
Lumad Means “native” or “indigenous”.
Madrigal Music for several voices with elaborate counterpoint; was popular during the Renaissance Period.
Maracatu A musical style from Brazil.

K to 12 Music Curriculum Guide May 2016 Page 133of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
GLOSSARY

Measure the space between two barlines, containing a fixed number of beats
Medieval Term that refers to the “Middle Ages”.
Melody the line of music that moves up and down in succession; series of single tones that add up to a recognizable whole
Melodic Contour the upward and downward direction of the notes
Melodic Pattern the combination of repeated, similar and contrasting figures, motives and phrases
Melodic Ostinato group of tones used to accompany a tone or a melody
Membranophone Any musical instrument that produces sound primarily by a vibrating stretched membrane.
Meter organization of beats into regular groups
Mezzo piano (mp) moderately soft
Mezzo forte (mf) moderately loud
Moderato moderate tempo
Monophonic Texture single melodic line without accompaniment
fragment of a theme, or short musical idea which is developed within a composition; refers to a short melody sung or played which can identify
Motive
a musical composition
refers to the relationship of melodic and harmonic elements in music which produces qualities of thickness and thinness, heaviness or lightness
Musical Texture
of a melody or sound produced
Musikong Bumbong An instrumental marching band that uses bamboo instruments.
Natural Sign symbol used to cancel a previous sharp or flat sign
Notation system of writing down music so that specific pitches and rhythms can be conveyed
Note symbol used to indicate pitch
Opera A dramatic work in one or more acts set to music for singers and instrumentalists.
Oratorio A large-scale musical work for orchestra and voices, usually narrative and typically on a sacred theme.
Ostinato motive or phrase that is repeated persistently at the same pitch

K to 12 Music Curriculum Guide May 2016 Page 134of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
GLOSSARY

Pangkat Kawayan An instrumental ensemble that uses different kinds of bamboo instruments.
Pasa doble A fast-paced ballroom dance based on the Latin American style of marching.
Peking Opera Traditional Chinese theater performance.
Pentatonic Scale a five-tone scale, used in folk music and music of the Far East
Phrase musical statements that express meaning or ideas
Piano (p) soft
Pianissimo (pp) very soft; as softly as possible
Pinpeat A Cambodian instrumental ensemble.
Piphat A Thai instrumental ensemble which features wind and percussion instruments.
Pitch relative highness or lowness of a sound
Pitch Range distance between the highest and lowest tones that a given voice or instrument can produce
Polyphonic Texture refers to a musical composition with two or more independent melodies sung or played to create a harmonious effect
Program music Music that is intended to evoke images or to convey the impression of events.
Ragtime A kind of music which evolved with syncopated melodic line and regularly accented accompaniment.
Reggae A style of music originally from Jamaica and popularized in the 1960s.
Renaissance Term that refers to the revival of European art under the influence of Classical Models.
Rest a symbol that indicates the duration of silence in music

Rhythm ordered flow of music through time; the pattern of durations of notes and silences in music
Rhythmic Pattern combinations of long and short sounds, notes and rests
Ritardando becoming slower
Rock and roll Popular dance music from the 1950s characterized by heavy beats and simple melodies.
Rondalla An instrumental ensemble that usually consists of musicians playing banduria, octavina, laud, guitar and double bass.

K to 12 Music Curriculum Guide May 2016 Page 135of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
GLOSSARY
form of music wherein a melody change from a single-voiced texture to a many-voiced texture; each voice enters in succession; the effect is
Round
that of weaving a new and richer rhythmic and harmonic texture
Rumba A rhythmic dance with Spanish and African elements originally from Cuba.
Sacred music Music that promotes devotion and faith.
Sarsuela A musical stage performance popularized in the Philippines during the Spanish colonization.
Saung gauk An arched harp used in Myanmar.

Scale series of pitches arranged in ascending or descending order

Secular music Music for non-religious purposes.
Sharp Sign symbol that notates the pitch of a note a half step higher
Sonata A composition for an instrumental soloist, often with a piano accompaniment, typically in several movements with one or more in sonata form.
Sonata-allegro form A large-scale musical structure popularly used during the middle of the 18 th century.
Soprano female voice of high range
Soul Musical style that incorporates rhythm and blues and gospel music popularized by African-American people.
Sound vibrations which are transmitted, usually through air, to the eardrum, which sends impulses to the brain
Staff a set of five lines and four spaces where notes are positioned or placed
Symphony An elaborate musical composition for full orchestra, typically in four movements, at least one of which is in sonata form.
Tango A ballroom dance originating from Buenos Aires, characterized by marked rhythms and postures and abrupt pauses.
Tempo rate of speed in music
Tenor male voice of high range
Timbre quality of sound that distinguishes one instrument or one voice from another
two numbers, one above the other, appearing at the beginning of a staff or the start of a piece, indicating the meter of a piece; the number
Time Signature
above refers to the number of beats per measure and the number below represents the kind of note getting one beat.
Tone sound that has a definite pitch or frequency

K to 12 Music Curriculum Guide May 2016 Page 136of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
GLOSSARY

Triad the most basic type of chord, consisting of three alternate tones of the scale e.g. do, mi, so
Troubadour Street musicians singing of love during the Medieval Period.
Unison performance of a single melodic line by more than one instrument or voice a t the same pitch
Wayang Kulit Indonesian puppet shadow theater.

K to 12 Music Curriculum Guide May 2016 Page 137of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
CODE BOOK LEGEND

Sample: MU7FT-IVe-h-6

LEGEND SAMPLE
DOMAIN/ COMPONENT CODE
Learning Area and
Music Rhythm RH
Strand/ Subject or
Melody ME
Specialization
Form FO
First Entry MU7
Timbre TB
Dynamics DY
Grade Level Grade 7
Tempo TP
Texture TX
Harmony HA
Domain/Content/ Music of Luzon LU
Uppercase Letter/s Theatrical Forms FT
Component/ Topic
Music of Cordillera, Mindoro, Palawan, and the
LV
Visayas
-
Music of Mindanao MN
Roman Numeral Theatrical Forms FT
Quarter Fourth Quarter IV Music of southeast asia SE
*Zero if no specific quarter
Music of South Asia and Middle East WS
Lowercase Letter/s Traditional Asian Theater Music TH
*Put a hyphen (-) in Music of the medieval period MRB
Week Week five to eight e-h
between letters to indicate Music of the classical period CL
more than a specific week Instrumental music of the romantic period RO
Vocal Music of the Romantic Period OP
2Oth Century TC
Describes how a specific Afro-latin and popular music AP
idea or story is Contemporary Philippine music CM
Arabic Number Competency communicated through 6 Multimedia forms MM
music in a particular
Philippine musical theater

K to 12 Music Curriculum Guide May 2016 Page 138of 94

Learning Materials are uploaded at *These materials are in textbooks that have been delivered to
 K to 12 BASIC EDUCATION
REFERENCES

Abeles, Harold, Hoffer, Charles and Klotman, Robert. Foundations of Music Education , (New York: Schirmer Books, 1984)

Armstrong, Thomas. "American Institute for Learning and Human Development." Multiple Intelligences. 2010. http://www.thomasarmstrong.com/multiple_intelligences.htm.

Bruner, Jerome, The Process of Education. (Cambridge, Mass.: Harvard University Press, 1977)

Bureau of Elementary Education, 2002 Basic Education Curriculum. (Pasig City: Department of Education, 2002)

Bureau of Elementary Education, 2002 Philippine Elementary Learning Competencies. (Pasig City: Department of Education, 2002)

Bureau of Secondary Education, Department of Education. Basic Education Curriculum. Pasig City, 2002.

Bureau of Secondary Education, Department of Education Culture and Sports. Desired Learning Competencies New Secondary Education Curriculum. Pasig City, 1991.

Bureau of Secondary Education, Department of Education Culture and Sports. Desired Learning Competencies Philippine Secondary Schools Learning Competencies.
Pasig City, 1998.

Bureau of Secondary Education, Department of Education. Secondary Education Curriculum. Pasig City, 2010.

Gardner, Howard. "Multiple Intelligences." Howard Gardner. 2010. http://www.howardgardner.com/MI/mi.html.

Gardner, Howard, Multiple Intelligences. (New York: Basic Books Inc., 1991)

Miller, Cleve, Performance-Based Learning, (England: Cambridge University Press, 2008)

Miller, Cleve. "Performance-Based Learning (Mexico: Cambridge University Press, 2010)." Teaching Business English (audio blog), December 16, 2010. performance-based-
learning.html.

Reimer, Bennett. A Philosophy of Music Education Advancing the Vision. 1991 ed. (Aesthetic Education. Upper Saddle River, New Jersey: Prentice Hall, 2003).

Reimer, Bennet, Journal of Aesthetic Education, (USA: University of Illinois Press, 1991)

Thomas, Ronald, A Structure for Music Education. (Bardonia, N.Y.: Media Materials Inc., 1970)

Thomas, Ronald B. MMCP Synthesis: A Structure for Music Education. (Bardonia, N.Y: Sponsored by the U.S. Office of Education Media Materials, 1970).

Wade, Bonnie C., Thinking Musically: Experiencing Music, Expressing Culture , (England: Oxford University Press, 2003)
K to 12 Music Curriculum Guide May 2016 Page 139of 94
Learning Materials are uploaded at *These materials are in textbooks that have been delivered to