WEEK 11 Unit 11 The Dominant and Dominant Seventh Chords

DAY 1 Lesson Plan 1. Discuss objectives for the week (p. 148). 2. Introduce Tonic and Dominant (p. 148). 6 3. Introduce Playing the I–V3–I Progression (p. 149). 4. Introduce The V7 Chord (p. 149). 6 5. Introduce Playing the I–V5–I Progression (pp. 149–150). 6. Introduce March (p. 151). 7. Review Playing Major Scales and Arpeggios, Keys of C Major and G Major (p. 124). 8. Introduce Reading #1–2 (p. 152). 9. Introduce Harmonization #1 (p. 154). 10. Introduce Harmonization with Two-Hand Accompaniment (p. 156). 11. Introduce Improvisation from Chord Symbols #1 (p. 157). 12. Work on the individual student’s solo repertoire from this unit, previous units or Supplementary Solo Repertoire section.

6 Assignment 1. Playing the I–V3–I Progression (p. 149) 6. Harmonization #1 (p. 154) 6 2. Playing the I–V5–I Progression (pp. 7. Harmonization with Two-Hand 149–150) Accompaniment (p. 156) 3. March (p. 151) 8. Improvisation from Chord Symbols #1 4. Playing Major Scales and Arpeggios, (p. 157) Keys of C Major and G Major (p. 124) 9. Individual Solo Repertoire 5. Reading #1–2 (p. 152)

DAY 2 6 Lesson Plan 1. Review Playing the I–V3–I Progression (p. 149). 6 2. Review Playing the I–V5–I Progression (pp. 149–150). 3. Introduce Playing the I–V7–I Chord Progression (p. 150). 4. Review March (p. 151). 5. Review Playing Major Scales and Arpeggios, Keys of D Major, A Major and E Major (pp. 125–126). 6. Introduce Reading #3 (p. 153). 7. Introduce Harmonization #2 (p. 154). 8. Review Harmonization with Two-Hand Accompaniment (p. 156). 9. Introduce Improvisation from Chord Symbols #2 (p. 157).

6 Assignment 1. Playing the I–V3–I Progression (p. 149) (pp. 125–126) 6 2. Playing the I–V5–I Progression (pp. 6. Reading #3 (p. 153) 149–150) 7. Harmonization #2 (p. 154) 3. Playing the I–V7–I Chord Progression 8. Harmonization with Two-Hand (p. 150). Accompaniment (p. 156) 4. March (p. 151) 9. Improvisation from Chord Symbols #2 5. Playing Major Scales and Arpeggios, (p. 157) Keys of D Major, A Major and E Major 10. Individual Solo Repertoire

DAY 3 6 Lesson Plan 1. Review Playing the I–V3–I Progression (p. 149). 6 2. Review Playing the I–V5–I Progression (pp. 149–150). 3. Review Playing the I–V7–I Chord Progression (p. 150). 4. Review March (p. 151). 5. Review Playing Major Scales and Arpeggios, Keys of D Major, A Major and E Major (pp. 125–126). 6. Introduce Reading #4 (p. 153). 7. Introduce Harmonization #3–4 (p. 155). 8. Spend any additional class time helping students with individual solo repertoire.

6 Assignment 1. Playing the I–V3–I Progression (p. 149) 5. Playing Major Scales and Arpeggios, 6 2. Playing the I–V5–I Progression (pp. Keys of D Major, A Major and E Major 149–150) (pp. 125–126) 3. Playing the I–V7–I Chord Progression 6. Reading #4 (p. 153) (p. 150). 7. Harmonization #3–4 (p. 155) 4. March (p. 151) 8. Individual Solo Repertoire

32 Unit 11 ■ The Dominant and Dominant Seventh Chords eaching Tips Harmonization Using Rules for Harmonization: T Harmonize each of the melodies with tonic (I) or dominant (V or V7). Tonic and Dominant • Use tonic when most of the melody notes are scale tones 1, 3 Chords and 5. • Use dominant when most of the melody notes are scale tones 2, 1. Students should continue to practice 4, 5 and 7. • Begin and end each harmonization on tonic. Playing Major Scales and Arpeggios (pp. • Dominant almost always precedes tonic at the end of a piece.

Using tonic (I) and dominant (V7 or V)6 chords, harmonize the 124–126, 142–143) systematically for the 5 following melodies with block or broken chords as indicated. Write remainder of the term. the letter name of each chord on the line above the staff and the 2. As students become comfortable with indi- Roman numeral name of each chord on the line below the staff. ?# 3 D œ œ 1. Broken Chord # 4 œ vidual solo performance repertoire, they Accompaniment should play for other class members. I 3. When teaching and practicing Playing the 6-12 DU, DU LIEGST MIR IM HERZEN Vivace (lively) Germany 6 DDDA7 A7 A7 A7 D I–V5–I Progression (pp. 149–150), time will ## 3 2 not permit students to play in every key & 4 ˙. ˙. œ œ œ ˙ œ ˙. ˙. œ œ œ ˙. each day. Drill and assign selected keys in F 6 6 6 6 IIIV5 V5 V5 V5 I each class period so that all keys are 7 7 7 9 D D D A A A D # 2 covered. # 1 & ˙. ˙. œ œ ˙ œ œ œ œ œ 4. Analyze the chords in March (p. 151). œ œ œ ˙. ˙. V6 V6 V6 5. Analyze the chords in the Reading examples I I I 5 5 5 I (pp. 152–153). Practice blocking the LH Transpose to E major. ? Cw chords in #3. 2. Block Chord C w Accompaniment 6. There may not be time to cover all the I Reading examples (pp. 152–153) or LA CUCARACHA 6-13 Harmonization examples (pp. 154–155) in Moderato CCCG7 Mexico 1 class. Remaining examples can be used for C œ.3 œ5 œ œ. œ ˙ ‰ œ4 œ œ œ & œ œ œ J œ œ œ J J œ œ ˙ œ œ œ œ practice outside of class. f I I I V6 7. Use the CD or GM disk with all examples in 5 G7 G7 G7 C 5 4 œ this unit to promote steadiness of tempo and œ œ œ 1 2 œ. œ œ œ. œ ˙ ‰ J œ œ ˙ ‰ to add musical interest. & J œ œ œ J

6 6 6 V5 V5 V5 I Transpose to A major. 154 Unit 11 ■ The Dominant and Dominant Seventh Chords

? 2 B˙ 3. Block Chord Accompaniment bb 4 ˙

I BOOLA BOOLA 6-14 Allan M. Hirsch b b b b 7 Alla marcia B B B BF 2 bb 2 1 1 œ5 œ œ. œ œ 1 & 4 œ. œ œ œ œ œ. œ œ œ f I I I I V6 b b b b 5 F7 B B B B 6 bb œ œ 1 2 1 œ œ œ. œ Reading Focus & œ œ. œ œ œ. œ œ V6 I I I I 5b b b B B F7 F7 B 11 Page 152 #1—C major, tonic and dominant tones 1 bb œ . œ œ . ˙ œ‰ in LH, reading two treble clefs & œ œ œ œ œ œ œ J

6 6 Page 152 #2—C major, tonic and dominant I I V5 V5 I block chords in LH, reading two treble clefs Transpose to C major. Page 153 #3—G major, note against note, tonic ˙F C˙7 ? 4 ˙ ˙ and dominant-seventh broken chords in LH 4. Block Chord Accompaniment b4 ˙

I V6 Page 153 #4—E-flat major, tonic and dominant- 5 seventh block chords in LH, D. C. al Fine SLEEP, BABY, SLEEP 6-15

Moderately slow United States FC7 F F C7 F C7 F 5 5 b 4 œ œ 1 & 4 ˙ œ œ ˙. œ œ œ œ ˙. œ œ œ œ œ p œ œ œ

6 6 6 I V5 I I V5 I V5 I 7 C F 7 7 7 F C F F C F 3 2 1 5 & b œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ ˙. œ w

6 6 6 V5 I I V5 I I V5 I Transpose to G major.

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The Dominant and Dominant Seventh Chords ■ Unit 11 33