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Artistic and Technical Sheet


Antony Fernandes - Bagpipes (Swedish) and Vocals

Carmina Repas Gonçalves - Viola da Gamba and Vocals

Daniela Leite Castro - Violin and Voice

Tiago Manuel Soares - Percussion (snare, bass drum, adufe and tranhanholas)


Image capture and editing

Abel Andrade

sound capture

Ricardo Torres


Sound Editing and Editing

Daniel Santos and Ricardo Torres

Elaboration of pedagogical contents

Carmina Repas Gonçalves

Art Direction epproduction

Thistle Project





Here comes the clear morning



To run at night

Miranda do Douro


crush the flax



Now the sun has gone down


Filmed in Vila Verde

Specific objectives

  • Listening and Critical Visualization

  • Awareness of emotions and sensations provoked by sound and image

  • Understanding and experimenting with different musical textures


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


  • The work we suggest doing with this video, contrary to what happens with the rest of the Learning with Búzios collection, should first focus on watching and listening carefully to it. The work will be done around the children's understanding of what they see and hear. We therefore suggest that you watch the video in small sections (such as those listed below) and that you try to comment and interpret what you are seeing and hearing. In all of them, as an exercise, it can be interesting to start by listening with your eyes closed, seeing without sound and finally seeing the two things together. At the end of each section ask questions (only when each part ends; it is important that they are focused on the exercise the whole time): What did you feel? Was it the sound or the image that provoked these sensations? What happens to the sound of each part? What happens to the image? What does this little story tell and unravel?

  • For those who don't know, musical texture is the term used to define things like rhythmic and melodic density, number of instruments and timbres, relationship between them. Basically, everything that contributes to the musical fabric (more or less dense, more or less heavy, etc.) and that determines the sensation and emotion of the listener. It's a small part of the work that a composer does, for example. Of course, in addition to that, those who compose a song have other elements, in addition to texture, to say what they want.

  1. First part: from the beginning to 3.33'– Pleasant evening, a relaxed group singing around a campfire. The feeling of loneliness. Suddenly, the fear of being alone and the fear of silence is interrupted by an abrupt sound that frightens. Relaxed, contemplative music, with a light musical texture, with few elements: a bass, a billiard, 3 voices and 1 violin.

  2. Second part: from 3.34' to 5.42' - the moon and the stars - playfulness, disdain for fear of the dark and forced at ease; change in sensation because of the night sounds we normally associate with horror stories; our imagination starts to work out of control because of our emotions, it creates ideas and images of things that are not true. Texture starts simple (percussion, bass and vocals); a bridge with only percussion and some sliding notes made by string instruments that add tension to the moment; it ends with a texture similar to the initial one, but with a different expression that reveals insecurity and fear.

  3. Third part: 5.43 ' to 8.37' – monsters - the dark blurs our vision and sharpens all the other senses, causing an avalanche of new sensations. The sensorial lack of control incapacitates our reasoning. Unpleasant musical texture because it uses notes that collide with each other and that at the same time are very distant (some very high, others very low), the percussion is heavy and slow and the voices explore ugly timbres that cause discomfort and strangeness.

  4. Fourth part: 8.38 to 10.15' – fear control - tiredness overcomes and the mind calms down. Silence and tranquility lull you to rest and allow you to sleep. Soft, quiet and relaxed musical texture: soft vocal timbre, simple and consonant harmony, vocal range and high instrumental.

  5. Fifth part: 10.16' to 13.01' – dawn - the relief with the arrival of the sun, the joy and beauty of the dawn. A happy texture that gradually deepens: it starts with percussion, adds the voice, then the bagpipes with stringed instruments come in, filling the musical space more and more, trying to reflect the gradual and joyful awakening of nature (animals and plants) and people for a new day.

  6. Sixth part: 13.02' to 14.18' - scorching sun – the activity, noise and confusion of stimuli that the day brings. The sun, the movement, the rush, the work, the busy and uncomfortable life. Acute musical texture (tambourine, voices and strings), which becomes more intense and repetitive to the point of being irritating.

  7. Sixth part: 14.19' until the end – sunset - the relief and peace that comes with the sunset, bringing night again; rest and all the things that populate our imagination and our dreams. Smooth, peaceful, soothing and hopeful musical texture: smooth timbres, light and inspiring harmony, free and irregular rhythm.

  • After watching and reflecting together, we suggest that they learn the various melodies presented in the video (the scores are available on this page). In each excerpt, reproduce what they saw in the video with their voices and with objects and instruments they have at hand, trying to represent and explore the musical sensation through texture. If the adult has mastered an instrument, he can help maintain the tune and create textures that help emphasize the feel of each section. Start with the sound and then imitate the image as well.

  • After doing these exercises for all sections, try changing everything: changing speed, intention, sounds, etc. Suddenly the same song can convey a completely different idea and feeling!

  • Based on these ideas, experiment with making different soundtracks for the same story. The soundtrack and the way we tell a story can completely change our perception of it. A frightening story very easily becomes comic, for example.

  • Try singing familiar songs by changing small elements: speed, tone of voice, intention, accompaniment and instrumentation, musical texture. The way we interpret and present a song completely changes the message and the way it is heard and felt.


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