LOOP THE LOOP' Music Educational Resource by N. Peterson
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‘LOOP THE LOOP’ Music Educational Resource by N. Peterson
Welcome to the “House”
Sydney Opera House is one of the indisputable masterpieces of human creativity and
has long been a place for learning and sharing knowledge.
Tubowgule: where the knowledge waters meet
The history of performance at Bennelong Point stretches back thousands of years.
The land on which Sydney Opera House stands was known to its traditional custodians, the Gadigal
people of the Eora Nation, as Tubowgule, meaning "where the knowledge waters meet." A stream carried
fresh water down from what is now Pitt Street to the cove near Tubowgule, a rock promontory that at high
tide became an island. The mixing of fresh and salt waters formed a perfect fishing ground. Middens of
shells were a testament to Tubowgule's long history as a place where the Gadigal gathered, feasted,
sung, danced and told stories.
Did You Know…?
1. More than 8.2 million people visit the Opera House every year.
2. Sydney Opera House is cooled using seawater taken directly from the harbour. The
system circulates cold water from the harbour through 35 kilometres of pipes to power
both the heating and air conditioning in the building.
3. Sydney Opera House was opened by Queen Elizabeth II on 20th October, 1973. She
has since visited four times, most recently in 2006.
4. The Sydney Opera House Digital Creative Learning program allows students from all over the world to
access the Sydney Opera House and learn about its history and culture, while also developing skills in
literacy, drama and creative writing. Schools in remote locations, interstate or even overseas are able to
connect with the Opera House from the comfort of their own classroom, and it’s completely free.
Introduction These Creative Learning Resources have been prepared to help you get the most out of Loop the Loop. These resources have been collated to help prepare your students unpack the performance and gain the most from their attendance at the production. You should use and adapt these Resources to suit the student age and stage of your class and the curriculum foci and outcomes used in your school. These Resources are written as a creative document for you to bring to life. If you have questions about exercises or provocations please feel free to make contact to talk it through. We are always open to feedback, comments and working with you to assist and learn from you. Contact details are on the back page. Some websites are suggested throughout this resource. It is recommended that you first visit the sites and assess the suitability of the content for your particular school environment before setting the activities based on these. Sydney Opera House has a bank of Creative Learning Resources for you to access and use. Please have a look around our website for other resources and activities that could support your classroom learning program. Acknowledgements Grateful thanks are extended to the artists and Onyx Productions
Visiting the Sydney Opera House
Arrive early
Please ensure that your group arrives at the venue 25 minutes prior to the performance
start time. Latecomers may only be admitted to a performance during a suitable break,
and in some cases may be excluded. Call Front of House on 02 9250 7134 to notify us
if you are running late.
School bags
The safety and security of our guests is paramount to the Opera House. We require all
items larger than the dimensions of a standard A4 piece of paper to be cloaked. As our
cloakrooms have limited space, we request that teachers and students do not bring
large bags/backpacks with them to the performance.
Food and beverage
Food outlets are located on the lower level of the concourse. Please note food and drink
are permitted inside the foyers, but not in the venues.
Getting here
Sydney Opera House is a 10-minute walk from Circular Quay, the closest station for
public transport via train, bus and ferry. To view timetable information and ensure your
public transport needs can be met, please contact Transport NSW on 131500 or
transportnsw.info
Coach parking
Buses and coaches cannot park onsite at Sydney Opera House. Large buses must
disembark passengers on Macquarie Street. Please contact City of Sydney to confirm
bus and coach set down areas. We recommend allowing an additional 10 minutes for
walking from Macquarie Street.
At the Theatre
We’d like to welcome you to the experience of attending a live performance – while we
know you get all the etiquette stuff, here’s a reminder of some simple information you
can pass on to your students.
1. We ask you to get involved in the performances by applauding and laughing at appropriate moments. If
you have a question – ask your teacher at the interval/end of the show or one of the cast, if you have a
chance for a Question & Answer session.
2. Food and drink is not permitted in the theatre
3. Live theatre is different to TV – the actors on stage can hear and see you and there are other members of
the audience to think about. If you need to leave the performance for any reason, please ensure this is
done quickly and quietly at an appropriate break in the action.
4. Switching your phone to silent isn’t the only thing to do. Please ensure that you switch off your mobile
phone and leave it in your bag before the performance begins. The glow of an iPhone screen is obvious
to others and is very distracting!The Creative Learning Journey BEFORE YOU ARRIVE Begin your Creative Learning Journey Have your students think about the themes of the performance with information and activities in these Creative Learning Teachers Resources. Preparing for your Visit Prepare students for your visit with a Digital Tour of the Sydney Opera House prior to your theatre excursion. Introduce the story of this place so that your students begin engaging before they arrive. Free for all Australian Schools and offered throughout the year. ON THE DAY Explore the House Book a Guided Tour, for before or after your performance, and explore the venues and spaces of the iconic Sydney Opera House with one of our expert tour guides. Question the Creatives Enjoy the event and be ready to get involved in the Post-Show Q&A session after our schools performances with our education specialists, performers, directors and producers. Delve Deeper For some events, students are able to participate in Artist Workshops with the artists and the creatives at the Opera House. Check out each performance to see what is available – but space is limited! Make a Day of It Don’t forget we are located close to a range of cultural institutions. The Royal Botanic Gardens, Museum of Contemporary Art, Museum of Sydney, State Library of NSW, Art Gallery of NSW and Australian Museum offer exhibitions, workshops and more for schools, all within walking distance of the Sydney Opera House. BACK IN THE CLASSROOM Continue the Creative Exploration Bring the creatives to you and participate in one of Digital Workshops or Digital Author Talks to further extend the learning journey of your students. Free for all Australian Schools and offered throughout the year. Listen and Watch Use our digital content pieces on our social media channels in your classroom. Our podcast The Kids Life, Sweet Skills ‘How To’ videos, and Would you rather be…? on YouTube gives you more insight into world of the Sydney Opera House and the exciting things that happen here.
Performance Description and Synopsis Prepared to be impressed when master musician Gene Peterson goes head to head with multi-instrumentalist Adam Page in this phenomenal musical showdown. Set in a boxing ring, complete with blue & red corners, each artist attempts to out-play the other with their multitude of musical abilities, continually recording each layer of music live into a loop pedal. Sometimes quirky, often hilarious and at times unbelievable, don't miss the opportunity to see two of Australia's finest musicians go head to head in this outrageous concert for the whole family! Presented by Sydney Opera House and Onyx Productions
Curriculum Links
General capabilities and cross-curriculum
Critical and Creative thinking
KLA Stage 3 Stage 4 Stage 5
Music MUS3.4 Identifies 4.7 demonstrates an 5.7 demonstrates an
Listening the use of musical understanding of musical understanding of musical
concepts and concepts through concepts through the
symbols in a range listening, observing, analysis, comparison, and
of musical styles responding, critical discussion of music
discriminating, analysing, from different stylistic,
discussing and recording social, cultural and
musical ideas historical contexts
4.10 identifies the use of 5.10 demonstrates an
technology in the music understanding of the
selected for study, influence and impact of
appropriate to the technology on music
musical context
Organising MUS3.2 Improvises, 4.4 demonstrates an 5.4 demonstrates an
Sound/Composing experiments, understanding of musical understanding of the
selects, combines concepts through musical concepts through
and orders sound exploring, experimenting, improvising, arranging and
using musical improvising, organising, composing in the styles or
concepts arranging and genres of music selected
composing for study
MUS3.3 Notates
and discusses own 4.5 notates compositions 5.5 notates own
work and the work using traditional and/or compositions, applying
of others. non-traditional notation forms of notation
appropriate to the music
4.6 experiments with selected for study
different forms of
technology in the 5.6 uses different forms of
composition process technology in the
composition process
Performing MUS3.1 Sings, 4.1 performs in a range 5.1 performs repertoire with
plays and moves to of musical styles increasing levels of
a range of music, demonstrating an complexity in a range of
individually and in understanding of musical musical styles
groups, concepts demonstrating an
demonstrating a understanding of the
knowledge of 4.2 performs music using musical concepts
musical concepts different forms of
notation and different 5.2 performs repertoire in a
types of technology range of styles and genres
across a broad range of demonstrating
musical styles interpretation of musical
notation and the application
of different types oftechnology
Value and 4.11 demonstrates an 5.11 demonstrates an
attitudes appreciation, tolerance appreciation, tolerance and
and respect for the respect for the aesthetic
aesthetic value of music value of music as an
as an artform artform
4.12 demonstrates a 5.12 demonstrates a
developing confidence developing confidence and
and willingness to willingness to engage in
engage in performing, performing, composing and
composing and listening listening experiences
experiences
Key Learning Area Objective Outcomes
Stage 3 Stage 4 Stage 5
Creative Arts Music Listening MUS3.4 4.7, 4.10 5.7, 5.10
Creative Arts Music Organising MUS3.2, 4.4, 4.5, 4.6 5.4, 5.5, 5.6
Sound/Composing MUS3.3
Creative Arts Music Performing MUS3.1 4.1, 4.2 5.1, 5.2
Creative Arts Music Values and attitudes 4.11, 4.12 5.11,5.12The Loop Pedal
A loop pedal is a digital recording device. It is one of many electronic devices which musicians
can use to manipulate or control sounds.
Essentially a loop pedal has two main functions:
1. It enables recorded sounds to be endlessly repeated (looped).
2. It allows recorded sounds to be laid over each other (overdubbed).
A single musician can use a loop pedal to record accompanying instruments for his or her
playing (or singing) and sound like a ‘one-man band’. This is fun on its own, but it is particularly
convenient when other musicians are unavailable.
Although now done digitally, the term looping derives from the days when the process was
achieved using an analogue tape recorder. Instead of having tape wind from one spool on to
another (which played back a sound just once),
a recorded sound could be endlessly repeated using a section of tape that was spliced (joined) to
form a loop. This was a tape-loop. The recorded sound would be replayed as the tape continually
revolved:
When the recorded sounds are melodies, harmonies and rhythms, the resulting effect is of
repeated music. Since most musicians make music using their hands, the digital looping device is
designed to be in the form of a pedal.
© N. Peterson 2011The Loop Pedal Questions
Q1. A loop pedal is a:
a) An analogue tape recorder
b) A digital recording device
Answer: ………
Q2. What are the two main functions of a loop pedal?
1. …………………………………………………………………………………
2. …………………………………………………………………………………
Q3. Why might musicians use a loop pedal?
a) To create an accompaniment for their playing or singing
b) To practise playing in a band, without other musicians
c) To experiment with how sounds fit together
d) All of the above
Answer: ………
Q4. Where does the term ‘loop’ come from?
………………………………………………………………………………………………………
………………………………………………………………………………………………………
………………………………………………………………………………
Q5. Which letter identifies the tape-loop in the following diagram:
a)
b)
c)
d)
Answer: ………
Q6. Overdubbing occurs when a sound is recorded and:
a) replaces the previously recorded sound
b) is heard in addition to the previously recorded sounds
Answer: ………
Q7 Why is the digital looping device in the form of a pedal?
………………………………………………………………………………………………………
………………………………………………………………………………………© N. Peterson 2011
The Loop Pedal and the Concepts of Music
The concepts of music is a reference to the all the different musical facets which combine to
make a piece of music. Sometimes they are called the ‘components’ and at other times they may
be referred to as the ‘elements’. They are the musical ingredients which composers use to create
any piece of music.
Each concept relates to different aspects of music:
Concept What each concept entails
Texture -encompasses the various layers of sounds and how they relate
to each other
Duration -refers to the arrangement of the sounds in relation to time and
how time is divided into beats and rhythms
Pitch -deals with the arrangement of sounds in terms of the use of
frequencies and how these are combined to make melodies
and harmonies
Tone Colour -relates to the orchestration of the music; the kind of
ensemble used, the particular choice of instruments and the
specific sound chosen from each instrument
Structure -deals with the design of the composition; how its sections and
sub-sections are organized
Dynamics and Expressive Techniques -refers to how aspects of any concepts contribute to the
communication of the music’s character or mood
Just as a chef uses different ingredients to produce tasty snacks or even banquets, a
composer similarly uses the musical concepts to create music ranging from catchy jingles to
symphonies.
The more familiar composers are with the workings of the concepts, the better prepared
they are to create music. Likewise the more familiar listeners are with the concepts, the better
prepared they are to appreciate music.
The Concepts of Music Questions
Q1. Match the concept with its appropriate word.
Texture Time
Duration Layers
Pitch Frequencies
Tone Colour Orchestration
Structure Mood
Dynamics and Expressive Techniques Design
Q2. True or False?
Understanding the concepts of music is important for composers because it helps them to
understand how music works.
Answer: ………
Q3. How might an understanding of the concepts help listeners?
………………………………………………………………………………………………………
………………………………………………………………………………………© N. Peterson 2011
The Loop Pedal and Texture
Staggered Entry
When a loop pedal is used, layers of sound are usually added one at a time. The musical term for
this is staggered entry.
Layer Identification
Each layer can be identified by the instrument used (sound source). This diagram shows layers
identified as they appear in staggered entry:
Synth layer
Guitar layer
Bass layer
Drum layer
Density
The density (thickness) of the music increases as each new layer of sound is recorded and
overlayed on to the previous layer. As the density thickens, the musical tension increases.
Prominence
In music, there are two kinds of layers:
1. Dominant layer. A dominant layer has the main part. It has the tendency to feature.
2. Subordinate layers. These layers offer musical support. They are the accompanying
layers.
When musicians use a loop pedal they usually build subordinate layers which contribute to
the accompaniment. Once the accompaniment has been created, they allow it to repeat (loop), and
use the repetitions as a foundation upon which they supply featuring material.
Texture Questions
Q1. What occurs if layers appear in staggered entry?
a) All the layers come in at once
b) The layers leave one at a time
c) The layers come in gradually
Answer: ………
Q2. How may layers be identified?
………………………………………………………………………………………………
Q3. True or False?
The density of the music becomes thicker as layers are taken away.
Answer: ………
Q4. How does a dominant layer differ from subordinate layers?
………………………………………………………………………………………………
………………………………………………………………………………………………
© N. Peterson 2011The Loop Pedal and Duration
Ostinato
The repeated musical patterns created by looping are known as ostinati (the plural of
ostinato). These often occur in accompanying layers. An ostinato satisfies listeners because it
creates a sense of musical familiarity. Good composers are careful not to overuse ostinati
because of the danger of monotony.
Types of ostinati include the:
Rhythmic ostinato -a repeated rhythmic pattern
Melodic ostinato -a repeated melodic pattern
Harmonic ostinato -a repeated chord pattern
All ostinati have a rhythmic pattern. Following is an example of a rhythmic ostinato:
Polyrhythm
When a loop pedal is used, recorded rhythms are laid over each other (overdubbed). If each
layer’s rhythm is different, a rhythmic device known as polyrhythm is created. This is the sound
of two or more different rhythms played at once. Polyrhythms sound more complicated as more
rhythmic layers are added, even if the rhythms used are simple. Each instrument in the following
polyrhythm has been given a relatively simple rhythm:
When looking at the score vertically you can see why the rhythms sound complex:
a) The density (thickness) always varies
b) The different combinations of instruments constantly change the sound
Duration Questions
Q1. True or False?
An ostinato is a repeated musical pattern.
Answer: ………
Q2. How does an ostinato affect the listener?
………………………………………………………………………………………………
Q3. A polyrhythm occurs when:
a) two or more different rhythms are played simultaneously
b) a rhythm is repeated over and over
Answer: ………
Q4. Why do polyrhythms sound complicated?
………………………………………………………………………………………………
………………………………………………………………………………………………© N. Peterson 2011
The Loop Pedal and Pitch
Melodic Ostinato
When the loop pedal is used to repeat a small tune, the result is a melodic ostinato (a repeated
melodic pattern). Melodic ostinati are often used in accompaniments.
In rock music a melodic ostinato is called a riff and is commonly played by the bass guitar
and electric guitar in unison (both instruments playing the same notes at the same time). Once
recorded and looped, a riff provides a bold foundation for the musician’s live playing.
Harmony
When a note in one layer sounds at the same time as one in another layer, the result is harmony. If
it sounds pleasant it is said to be consonant harmony, but if it sounds jarring the harmony is
described as being dissonant.
Harmonic Ostinato
A loop pedal can also be used to record a series of chords. Once recorded and looped, the
repeated chord pattern is a harmonic ostinato. For the listener, the regularly repeated chord
pattern creates a sense of harmonic familiarity.
Pitch Questions
Q1. True or False?
A melodic ostinato is a repeated melodic pattern.
Answer: ………
Q2. Rock musicians refer to a melodic ostinato as a:
………………………………………………………………………………………………
Q3. A bass guitar and electric guitar often play riffs in unison. What does this mean?
………………………………………………………………………………………………
………………………………………………………………………………………………
Q4. Harmony occurs when:
a) two or more different notes are played simultaneously
b) all the instruments play the same notes at the same time
Answer: ………
Q5. Consonant chords sound (pleasant /harsh):
………………………………………………………………………………………………
Q6. A repeated chord pattern is a:
a) rhythmic ostinato
b) melodic ostinato
c) harmonic ostinato
Answer: ………
© N. Peterson 2011The Loop Pedal and Tone Colour
Ensembles
A musician recording with a loop pedal has the potential to create contrasting bands by using
different types of instruments. If the instruments are available, ensembles as varied as an
orchestra, steel drum band, rock band or choir could be formed. A simple way to do this is with a
synthesizer. This one keyboard instrument has the capacity to replicate the sound of almost every
other instrument, and so virtually any ensemble may be formed.
Rhythm Section
A rhythm section is the part of the band which accompanies. Since the loop pedal is mainly used
in building accompaniments for live playing, musicians regularly record the instruments of a
rhythm section. A rhythm section contains chord, bass and percussion instruments supplying
harmonic, bass and rhythmic parts. The various combinations of instruments form the rhythm
sections of contrasting ensembles.
Chords could be provided by an acoustic or electric piano, electric organ, synthesizer,
acoustic or electric guitar, or by a banjo
A bass part might be supplied by a double bass or electric bass, synthesized bass or even
a tuba
Rhythms may be presented by a beat boxer or played on a drum kit or electric drums,
drum machine, congas, timbales, cow bell or by a tambourine
Lead instrument
Once the rhythm section’s accompaniment has been recorded, the live playing delivers the
dominant part with the featuring (lead) instrument or voice.
Tone Colour Questions
Q1. True or False?
Another name for an ensemble is a band.
Answer: ………
Q2. Why is a synthesizer considered to be versatile?
………………………………………………………………………………………………
Q3. The rhythm section is the part of the band that:
a) plays the featuring melody
b) provides the accompaniment
Answer: ………
Q4. When accompanying, supporting instruments supply:
………………………………………………………………………………………………
Q5. When a loop pedal is used, the lead part is often (played live/recorded & looped):
………………………………………………………………………………………………
Q6. A lead instrument (features/supports):
………………………………………………………………………………………………
© N. Peterson 2011The Loop Pedal and Structure
Sections
When using a loop pedal the musician builds the initial accompaniment. This presents the piece’s
tempo (speed), key, instrumentation and style, for the first time. This opening section of music is
the introduction. By establishing various aspects of the concepts, the introduction reveals the
kind of sound that the music will have.
The featuring material played live is part of the next section of music.
Sub-sections
Sections of music can be divided into sub-sections. All the looped (repeated) material creates
melodic, harmonic and rhythmic ostinati which divide a section into subsections.
Section
Melodic Ostinato
Harmonic Ostinato
Rhythmic Ostinato
Looping produces sub-sections of equal length. This regularity creates for the listener a sense of
structural familiarity.
Unity/Contrast. Repeating musical ideas creates unity. A loop pedal creates lots of unity but too
much can make the music sound monotonous. New musical ideas must be added to create
contrast.
Delicately balancing unity and contrast involves supplying:
just enough repetition – to provide a comfortable sense of familiarity, and
just enough variety – to provide the freshness of the new
Structure Questions
Q1. True or False?
The section that establishes various aspects of the concepts is called the introduction.
Answer: ………
Q2. What aspects of music might an introduction set up?
………………………………………………………………………………………………
………………………………………………………………………………………………
Q3. True or False?
The repeated material in ostinati divides a section into sub-sections.
Answer: ………
Q4. Ostinati contribute to (unity/contrast):
………………………………………………………………………………………………
Q5. What problem may arise from using too much repetition?
………………………………………………………………………………………………
Q6. How can a musician prevent music from becoming monotonous?
………………………………………………………………………………………………
………………………………………………………………………………………………
© N. Peterson 2011The Loop Pedal and Dynamics and Expressive Techniques
Dynamics
Dynamics refers to the levels of volume at which music is played. It affects the excitement level
of the music. Although volume levels result from how loudly or softly each instrument is played,
with music that is looped, volume increases with the addition of each layer.
Expression
Expression involves communicating the music’s mood. The musician might create music which
is: calm, exciting, lazy, energetic, weak, powerful, cheerful, sad, tender, suspenseful, timid,
proud, aggressive, grand, clumsy or graceful. When looping, the musician creates the mood by
mixing aspects from the concepts (including dynamics).
For example from the concept:
Duration, the musician chooses the music’s tempo. A fast tempo makes it feel exciting
while a slower tempo makes the music calmer
Texture, the musician decides how many layers to loop. Adding layers gradually increases
the density and volume, making the mood bolder and stronger.
Tone Colour, the choice of instruments to be recorded can determine whether the music
sounds cheerful or gloomy
Pitch, the quality of the chords used affects the expression. Music accompanied by
dissonant harmonies feels edgy while consonant harmonies feel more relaxed. Finally
when performing the live melody the musician contributes further to the mood by the way
the melody is played.
All the musical aspects are carefully blended to express the emotions of the piece.
Dynamics and Expressive Techniques Questions
Q1. Which of the following statements is correct?
a) Dynamics is related the music’s speed
b) Dynamics is a reference to the music’s volume
Answer: ………
Q2. How does the number of layers affect the volume?
………………………………………………………………………………………………
Q3. True or False?
Expression involves the communication of emotions.
Answer: ………
Q4. Name five different moods:
1. ……………… 2. ……………… 3. ……………… 4. ……………… 5. ……………...
Q5. How might each of the following concepts contribute to the music’s mood?
Duration ................................................................................................................................
Texture ……………………………………………………………………………………..
Tone Colour ………………………………………………………………………………..
Pitch ……………………………………………………………………………………......
© N. Peterson 2011★ ★ ★ ★ ★ ★ ★ ★ ★ ★ CAST BIOS ★ ★ ★ ★ ★ ★ ★ ★ ★ ★
GENE PETERSON has quickly cemented his name as one of
Australia's leading performers and producers.
As a musician, Gene is a virtuosic percussionist, an exceptional
pianist, and a masterful entertainer. He has toured throughout
Australia, Europe, Asia, America & the Middle East, delivering
over 2000 shows and workshops across more than 50 tours in the
past 15 years. He is an award winning composer, and had his
work ‘Raindance’ performed by the Darwin Symphony Orchestra.
Gene is also an accomplished producer and is the founder of
internationally renowned Australian production house, Onyx
Productions. His smash hit show 360 ALLSTARS has toured venues and festivals worldwide, including sell-
out seasons in the Sydney Opera House, at the Edinburgh Fringe and on Broadway, New York. His latest
creation CIRCUIT premiered in 2020 and features world class acrobats interacting live on stage with state of
the art technology, in an electrifying digital circus.
“The Michael Jordan of the percussion world” – SCENE MAGAZINE
ADAM PAGE is a critically acclaimed multi-instrumentalist, composer, music educator and record
producer.
As a performer Page has won multiple awards including Best
Music at the Adelaide, Melbourne and New Zealand Fringe
Festivals, Best Jazz Performer at the South Australian Music
Awards in 2016 and 2018, and his album ‘The Colours of Grief’
was a finalist in the 2020 APRA AMCOS Art Music Awards in
the Jazz Work of the Year category.
Page has recently composed and performed with The Grigoryan
Brothers, established the boutique record label - Wizard Tone
Records, established and performed with his new 12 piece ensemble - The Adam Page Ensemble (TAPE),
written and performed with The Adelaide Symphony Orchestra and also conducted the ASO in a concert
featuring the music of Ross McHenry and Matthew Sheens. He has also performed with the New Zealand
Symphony Orchestra, the Australian String Quartet, and his orchestral music has been recorded and
broadcast by ABC Classic FM.
“I was blown away. There’s no one doing it quite like him” – TIM MINCHIN
For more information about LOOP THE LOOP please visit www.onyx-productions.com/loop-the-loop
★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★You can also read
