WEEK 12 Unit 12 The Chord

DAY 1 Lesson Plan 1. Discuss objectives for the week (p. 158). 2. Introduce Tonic and Subdominant (p. 158). 6 3. Introduce Playing the I–IV4–I (p. 159). 4. Introduce Minuet in Major (p. 160). 5. Review Playing Major Scales and , Keys of F Major and B Major (p. 142). 6. Introduce with Two-Hand (p. 161). 7. Introduce Reading #1 (p. 162). 8. Introduce Harmonization #1 (p. 164). 9. Introduce Playing by Ear (p. 166). Each student should play one of the by ear. 10. Introduce 12-Bar Improvisation (p. 167). 11. Work on the individual student’s solo repertoire from this unit, previous units or Supplementary Solo Repertoire section.

6 Assignment 1. Playing the I–IV4–I Chord Progression 5. Reading #1 (p. 162) (p. 159) 6. Harmonization #1 (p. 164). 2. Introduce Minuet in F Major (p. 160) 7. Playing by Ear (p. 166)—Play one 3. Playing Major Scales and Arpeggios, by ear. Keys of F Major and B Major (p. 142) 8. 12-Bar Blues Improvisation (p. 167) 4. Harmonization with Two-Hand 9. Individual Solo Repertoire Accompaniment (p. 161)

DAY 2 6 Lesson Plan 1. Review Playing the I–IV4–I Chord Progression (p. 159). 2. Introduce Playing the I–IV–I Chord Progression (p. 159). 3. Review Minuet in F Major (p. 160). 4. Review Playing Major Scales and Arpeggios, Keys of Major and Major (p. 143). 5. Review Harmonization with Two-Hand Accompaniment (p. 161). 6. Introduce Reading #2 (p. 162). 7. Introduce Harmonization #2–3 (pp. 164–165). 8. Review 12-Bar Blues Improvisation (p. 167). 9. Introduce Ensemble Repertoire (pp. 168–169).

6 Assignment 1. Playing the I–IV4–I Chord Progression Accompaniment (p. 161) (p. 159) 6. Reading #2 (p. 162). 2. Playing the I–IV–I Chord Progression 7. Harmonization #2–3 (pp. 164–165) (p. 159) 8. 12-Bar Blues Improvisation (p. 167) 3. Minuet in F Major (p. 160) 9. Ensemble Repertoire (pp. 168–169)— 4. Playing Major Scales and Arpeggios, Each student should be assigned an Keys of G Major and D Major (p. 143) individual part to perfect. 5. Harmonization with Two-Hand 10. Individual Solo Repertoire

DAY 3 6 Lesson Plan 1. Review Playing the I–IV4–I Chord Progression (p. 159). 2. Review Playing the I–IV–I Chord Progression (p. 159). 3. Review Minuet in F Major (p. 160). 4. Review Playing Major Scales and Arpeggios, Keys of F Major and B Major (p. 142). 5. Review Playing Major Scales and Arpeggios, Keys of G Major and D Major (p. 143). 6. Introduce Reading #3–4 (p. 163). 7. Introduce Harmonization #4–6 (pp. 165–166). 8. Review Ensemble Repertoire (pp. 168–169). 9. Spend any additional class time helping students with individual solo repertoire.

6 Assignment 1. Playing the I–IV4–I Chord Progression 5. Playing Major Scales and Arpeggios, (p. 159) Keys of G Major and D Major (p. 143) 2. Playing the I–IV–I Chord Progression 6. Reading #3–4 (p. 163) (p. 159) 7. Harmonization #4–6 (pp. 165–166) 3. Minuet in F Major (p. 160) 8. Ensemble Repertoire (pp. 168–169) 4. Playing Major Scales and Arpeggios, 9. Individual Solo Repertoire Keys of F Major and B Major (p. 142)

34 Unit 12 ■ The Subdominant Chord Teaching Tips

1. Students should continue to practice Playing Major Scales and Arpeggios (pp. 124–126, 142–143) systematically for the remainder of the term. 2. As students become comfortable with individual solo performance repertoire, they should play for other class members. 6 3. When teaching and practicing Playing the I–IV4–I Chord Progression and Playing the I–IV–I Chord Progression (p. 159), time will not permit students to play in every key each day. Drill and assign selected keys in each class period so that all keys are covered. 4. Analyze the chords in Minuet in F Major (p. 160). 5. Analyze the chords in the Reading examples (pp. 162–163). Practice blocking the LH chords in #1, 2 and 4. 6. There may not be time to cover all the Reading examples (pp. 162–163) or Harmonization exam- ples (pp. 164–166) in class. Remaining examples can be used for practice of class. 7. Most students will know one of the melodies for Playing by Ear (p. 166). If possible, students should play melodies that they already know. If all melodies are unfamiliar, learn one by listening to the CD or GM disk. 8. When combining the parts on the Ensemble Repertoire (pp. 168–169), work for effective balance between parts. 9. Use the CD or GM disk with all examples in this unit to promote steadiness of tempo and to add musical interest.

Reading Focus

Page 162 #1—G major; note against note; tonic, subdominant and dominant-seventh chords in LH Page 162 #2—; note against note; tonic, subdominant and dominant-seventh waltz bass chords in LH Page 163 #3—F major; tonic, subdominant and dominant-seventh block chords in LH Page 163 #4— major; tonic and subdominant broken chords in LH; dolce

The Subdominant Chord ■ Unit 12 35 Harmonization Rules for Harmonization: wF 7 ? 4 w Harmonize each of the melodies with tonic (I), dominant (V or V ) or b4 subdominant (IV). 3. Accompaniment • Use tonic when most of the melody notes are scale tones 1, 3 I and 5. • Use dominant when most of the melody notes are scale tones 2, 4, 5 and 7. MICHAEL, ROW THE BOAT ASHORE • Use subdominant when most of the melody notes are scale tones 6-33 1, 4 and 6. Andante moderato • Dominant almost always precedes tonic at the end of a piece. F F Bb F United States 2 Using tonic (I), dominant (V7 or V6) and subdominant (IV or IV6) 1 4 j 4 5 4 b 4 œ. œ œ ˙ œ w ˙ œ chords, harmonize the following melodies with the indicated accom- & 4 œ œ œ œ œ paniment style. Write the letter name of each chord on the line above F the staff and the Roman numeral name of each chord on the line 6 I I IV4 I below the staff. 7 7 œ œ F C F C F ? b 6 œ œ œ œ 5 1. Broken Chord Accompaniment b 8 5 j b b œ. œ œ œ ˙ I & ˙ œ œ ˙ ˙

6-31 SALLY GO ROUND 6 6 I V5 I V5 I Allegrettob b b b United States E E A E Transpose to E major. bb 6 1 2j œ4 . œ. œ5 œ œ œ œ œ. œ. & b 8 œ œ œ œ œ J f I I IV6 I b b 4 b b Gœ E E B 7 E ? # 4 œ 5 4. Block Chord Accompaniment 4 ŒÓ b 1 j j b j j I & b œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙.

6 USSIAN ANCE I I V5 I R D Transpose to F major. (THE NUTCRACKER SUITE) 6-34 Peter Ilyich Tchaikovsky Molto vivace ? 4 C œ œ (1840–1893) 2. Alberti Bass Accompaniment 4 œ œ G C G G 4 3 # 5 œ œ œ œ œ 1 5 1 I 4 œ œ œ œ œ œ #œ œ œ œ 6-32 & 4 œ œ œ œ C F C C Moderato Germany f p S f p 4 1 4 3 j I IV6 I I &4 œ œ œ. œ œ 4 œ œ ˙ œ ˙ œ œ w 5 7 7 7 P IV6 D G D G D G I 4 I I # 1 œ œ œ œ œ œ œ œ œ Œ 5 C C G7 G7 C & œ œ œ œ œ œ œ œ œ œ œ œ j 2 3 . œ & œ œ œ œ ˙ œ ˙ V6 I V6 I V6 I ˙ œ œ ˙ w ˙ 5 5 5 6 6 I I V5 V5 I Transpose to .

164 Unit 12 ■ The Subdominant Chord The Subdominant Chord ■ Unit 12 165

Harmonization Write the Roman numeral name of each chord on the line below (continued) the staff. ? C w 5. Block Chord Accompaniment w I 6-35 NEW RIVER TRAIN Lively United States 2 4 & C 1 œ ˙ œ Œ œ œ œ ˙ œ w ˙ œ œ ˙

F 6 I IV4 I I I I 6 ˙ 1 Œ 3 & œ œ w ˙. ˙ ˙ ˙ œ œ ˙ ˙ 6 6 6 6 IV4 I V5 V5 I I IV4 12 4 5 & 3 œ ˙ œ ˙ œ #œ ˙ ˙ w ˙. IV6 I IV6 6 4 4 V5 I I Transpose to D major. ? b 3 œ œ 6. Broken Chord Accompaniment b 4 œ I 6-36 SILENT NIGHT Franz Grüber Gently, moderately slow (1787–1863) b 3 3 j j ˙5 œ 1 & b 4 œ. œ œ œ. œ œ ˙. ˙ œ ˙. p ˙. ˙. 6 6 I I I I V5 V5 I I 9 4 4 2 j 1 2 j 1 bb œ. œ j œ. œ j & ˙ œ œ œ. œ œ ˙. ˙ œ œ œ. œ œ ˙.

6 6 6 6 IV4 IV4 I I IV4 IV4 I I 17 1 5 b 3 œ. . 5 2 & b ˙ œ œ œ ˙. ˙ œ j J œ œ œ. œ œ ˙. ˙. 6 6 6 V5 V5 I I I V5 I I Transpose to .

Playing by Ear Play the following melodies. If you are unfamiliar with a melody, learn it by listening to the General MIDI disk or CD. Then harmonize the melodies using I, IV and V7 chords in block style. 6-37 If You’re Happy and You Know It (Key of F, start on C) 6-38 Alouette (Key of G, start on G) 6-39 For He’s a Jolly Good Fellow (Key of D, start on D) 6-40 Up on the Housetop (Key of C, start on G)

166 Unit 12 ■ The Subdominant Chord

36 Unit 12 ■ The Subdominant Chord