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Artistic and Technical Sheet


Antony Fernandes

Carmina Repas Gonçalves

Joana Leite Castro

Tiago Manuel Soares


City Council of Idanha-a-Nova

Paulo Longo


Up to the Castle



Song in there, there, there

Penha Garcia


If your eyes were sold



oh oh


Image capture and editing

Abel Andrade

sound capture

Daniel Santos


Sound Editing and Editing

Daniel Santos and Ricardo Torres

Elaboration of pedagogical contents

Carmina Repas Gonçalves

Art Direction epproduction

Thistle Project

Filmed in Monsanto and São Pedro de Vir-a-Corça, Idanha-a-Nova


town hall de Lousada

General Directorate of Arts

Portuguese Republic

Specific objectives

  • Having contact with melodies with an unusually modal contour

  • Understand and feel different beats

  • Coordinate voice and body

  • Understand and feel the energy and strength of vocal and percussive synchrony

  • Have contact with the natural, tangible and intangible heritage of the municipality of Idanha-a-Nova



Located in the center of Portugal, the municipality of Idanha-a-Nova is as close to Lisbon as it is to Porto or Madrid. Land of flavors, history and culture, Idanha is fertile in natural heritage, creativity and innovation, always winning a place in the heart of the visitor, especially for its generous and friendly people.

The historic village of Monsanto is a world tourist reference for the ingenious way in which the houses are built taking advantage of the granitic barrows.
The Montes-Ilha de Monsanto are part of the UNESCO Naturtejo Geopark, whose cradle is the Ichnological Park of Penha Garcia, which preserves countless traces of what life was like here 480 million years ago, when these quartzite ridges were an immense sea where trilobites reigned , in an impressive world of aquatic biodiversity.

The biodiversity of the International Tagus Natural Park, which is part of the UNESCO Portuguese Network of Biosphere Reserves, currently constitutes a sanctuary where it is common to observe eagles, vultures or griffon vultures.

The UNESCO stamp is also inscribed in the lands of Idanha due to the fact that it is the Creative City of Music, an artistic expression that accompanies people's daily lives and which, with the Adufe as its greatest symbol, works as a pillar of economic and social development. .

Suggestions for exploring the contents of the video at home or in the classroom:


  1. For all the songs that we present in this video, we suggest keeping the same strategy, described in order in the following points. We also suggest that you work on the songs by degree of rhythmic difficulty: “Lá up there, the castle” (simple binary time signature), “Canção em lá lá lá” (compound binary time signature), “Ai, ai” (simple triple time signature) and by ending “If your eyes were sold” (alternates compound binary compass with simple ternary).

  2. To memorize each of the melodies, the ideal is to focus on the first stanza and repeat it until you know it; then add the following stanzas; find gestures, signs or keywords for each stanza helping to memorize the content and order; learn the songs with the video, with the score or, ideally, directly with an adult (teacher or family member).

  3. Once the melody is memorized, we suggest that they try walking through the space with the music pulsating in their feet while they sing, occupying the entire space of the room; they can walk in different directions, hold their gait in place, walk forwards and backwards, etc. Then try walking all in the same direction and starting with the same leg; they can divide each song into parts and define in which direction to go for each one. Then, in a circle, they can try to do the exercises proposed on the board.

Pulsationit is the unit of measurement of time that we intuitively feel when we listen to a song (similar to what we do in the video at ???. We usually easily discover this pulse if we try to walk to the rhythm of the music.Compassit is a theoretical-practical organization of these pulsations. Generally in a piece of music we can intuitively feel a pulsation and an accent that in most cases has more than one pulsation within itself: 2, 3, 4 pulsations. Generally the first beat of each measure is strong or accented. A binary measure has 2 beats; a triple measure has 3; a quaternary measure has 4. In addition, there are two rhythmic universes: one that divides the pulsations in two (simple measures) and another that divides them in three (compound measures). They are measures of binary or ternary subdivision, respectively. The main difference for those listening is that a simple measure is more martial and impels us to march and the compound measure is more harmonious and light, impelling us to sway the body.


Up to the castle

2/4 - Binary

Song in there there there

6/8 – composite binary

oh oh

3/4 – simple ternary


If your eyes were sold

6/8 – composite binary

3/4 – simple ternary

Strong Weather

  • march (1,2,1,2)

  • - 1st beat with one foot, 2nd beat with clapping; then backwards

  • swing from one foot to the other (1,2,1,2)

  • 1st beat of the bar with a foot, 2nd beat with clapping; then backwards

  • 1st beat clapping, 2nd beat one foot, 3rd beat the other

  • Imagine or draw a triangle on the floor with one of the angles facing upwards; step on all vertices, one at a time: first the top one with the right foot (1), then the bottom left one with the left foot (2), then the bottom right one with the right foot (3); then repeat everything to the other side. The downbeat is the first of each bar and should be placed at the top vertex of the triangle.

  • In the composite binary beat the legs; in simple ternary clapping;

  • In the compound binary, use your feet (one on the first beat, the other on the second beat); in simple ternary clapping in the first beat, and in the legs in the second and third beats.
  • Keeping the triangle idea, use the 2 lower vertices for the 6/8 and the 3 vertices for the 3/4.

Strong Weather

Thereup to casyouit

ifcomedem pareadtos

Digive me oh meniat

if thesawould havebiwaistband

Theretherethere there - ia rafrogwas going

was goingtherethere there - ia rafroggo (2X)

was goingtherethere there - ya hafrogia ra

was going therethereia ra – la iafrog(2X)


Subiup to casyouit

TheretoI saw far awayshovelnha

TheretoI saw far awayshovelnha

          _cc781905-5cde-3194 -bb3b-136bad5cf58d_1(dt)        _cc781905-5cde-3194-bb3b -136bad5cf58d_           _cc781905-5cde -3194-bb3b-136bad5cf58d_    1 (left)


  2        _cc781905-5cde-3194 -bb3b-136bad5cf58d_           3_cc781905 -5cde-3194-bb3b-136bad5cf58d_         3_cc781905-5cde-3194- bb3b-136bad5cf58d_           _cc781905- 5cde-3194-bb3b-136bad5cf58d_     _cc781905-5cde-3194-bb 3b-136bad5cf58d_  2

iolaioh larillethere

  2        _cc781905-5cde-3194 -bb3b-136bad5cf58d_           1_cc781905 -5cde-3194-bb3b-136bad5cf58d_         2_cc781905-5cde-3194- bb3b-136bad5cf58d_           _cc781905- 5cde-3194-bb3b-136bad5cf58d_     _cc781905-5cde-3194-bb 3b-136bad5cf58d_ 1

iolaioh laril




          _cc781905-5cde-3194 -bb3b-136bad5cf58d_         2  _cc781905 -5cde-3194-bb3b-136bad5cf58d_         _cc781905-5cde-3194- bb3b-136bad5cf58d_       1


lot(1st tp 3/4)

          _cc781905-5cde-3194 -bb3b-136bad5cf58d_1(dt)        _cc781905-5cde-3194-bb3b -136bad5cf58d_           _cc781905-5cde -3194-bb3b-136bad5cf58d_    1 (left)


  2        _cc781905-5cde-3194 -bb3b-136bad5cf58d_           _cc781905 -5cde-3194-bb3b-136bad5cf58d_3        _cc781905-5cde-3194-bb3b -136bad5cf58d_3          _cc781905-5cde- 3194-bb3b-136bad5cf58d_     _cc781905-5cde-3194-bb3b -136bad5cf58d_   2

note:In the video, using colors, we refer in each song which is the strong beat and the weak beat: the strong beats appear in orange, the weak beats in blue or green.



Once the music and the beat have been internalized and understood, they can and should experiment with using small instruments to accompany the voices. If you are interested in using an instrument like the adufe, you can do it with pizza boxes closed with adhesive tape and with some caps inside. As a rule, the strong beat on the adufe is always done with the dominant hand at a more central point of the adufe skin, looking for a more serious and stronger sound. You can try copying the musicians in the video, trying to correctly accentuate the first beat of each bar using the instruments you have at your disposal.

It is very important that, through the movement of the body, the syllables and the melodic outline, the children look for the sound cohesion that makes this repertoire so special. To make children aware of this point, we suggest the following exercises: divide the group, some play others sing in order to concentrate on one task; pay attention to the body movement of colleagues to coordinate (same hand, same movement and same speed); choose a leader to enter and to be followed by others, as if it were an imitation game; then change the leader; play a little with the group's speed and reaction capacity (trying to always be coordinated, regardless of the speed); draw attention to the need to articulate the syllables at the same time and to produce the same sounds; breathe together at the beginning of each phrase sung or played.


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Institutional partner:

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