32 Unit 11 ■ The Dominant and Dominant Seventh Chords

Lesson Plan

Assignment

The Dominant and Dominant Seventh ChordsWEEK 11 Unit 11

1. Discuss objectives for the week (p. 148).2. Introduce Tonic and Dominant (p. 148).3. Introduce Playing the I–V6

3–I Progression (p. 149).4. Introduce The V7 Chord (p. 149).5. Introduce Playing the I–V6

5–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.

1. Playing the I–V63–I Progression (p. 149)

2. Playing the I–V65–I Progression (pp.

149–150)3. March (p. 151)4. Playing Major Scales and Arpeggios,

Keys of C Major and G Major (p. 124)5. Reading #1–2 (p. 152)

6. Harmonization #1 (p. 154)7. Harmonization with Two-Hand

Accompaniment (p. 156)8. Improvisation from Chord Symbols #1

(p. 157)9. Individual Solo Repertoire

DA

Y 1

Lesson Plan

Assignment

1. Review Playing the I–V63–I Progression (p. 149).

2. Review Playing the I–V65–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).

1. Playing the I–V63–I Progression (p. 149)

2. Playing the I–V65–I Progression (pp.

149–150)3. Playing the I–V7–I Chord Progression

(p. 150).4. March (p. 151)5. Playing Major Scales and Arpeggios,

Keys of D Major, A Major and E Major

(pp. 125–126)6. Reading #3 (p. 153)7. Harmonization #2 (p. 154)8. Harmonization with Two-Hand

Accompaniment (p. 156)9. Improvisation from Chord Symbols #2

(p. 157)10. Individual Solo Repertoire

DA

Y 2

Lesson Plan

Assignment

1. Review Playing the I–V63–I Progression (p. 149).

2. Review Playing the I–V65–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.

1. Playing the I–V63–I Progression (p. 149)

2. Playing the I–V65–I Progression (pp.

149–150)3. Playing the I–V7–I Chord Progression

(p. 150).4. March (p. 151)

5. Playing Major Scales and Arpeggios,Keys of D Major, A Major and E Major(pp. 125–126)

6. Reading #4 (p. 153)7. Harmonization #3–4 (p. 155)8. Individual Solo Repertoire

DA

Y 3

The Dominant and Dominant Seventh Chords ■ Unit 11 33

eading Focus

1. Students should continue to practicePlaying Major Scales and Arpeggios (pp.124–126, 142–143) systematically for theremainder of the term.

2. As students become comfortable with indi-vidual solo performance repertoire, theyshould play for other class members.

3. When teaching and practicing Playing theI–V6

5–I Progression (pp. 149–150), time willnot permit students to play in every keyeach day. Drill and assign selected keys ineach class period so that all keys arecovered.

4. Analyze the chords in March (p. 151).5. Analyze the chords in the Reading examples

(pp. 152–153). Practice blocking the LHchords in #3.

6. There may not be time to cover all theReading examples (pp. 152–153) orHarmonization examples (pp. 154–155) inclass. Remaining examples can be used forpractice outside of class.

7. Use the CD or GM disk with all examples inthis unit to promote steadiness of tempo andto add musical interest.

eaching TipsT

R

Page 152 #1—C major, tonic and dominant tonesin LH, reading two treble clefs

Page 152 #2—C major, tonic and dominantblock chords in LH, reading two treble clefs

Page 153 #3—G major, note against note, tonicand dominant-seventh broken chords in LH

Page 153 #4—E-flat major, tonic and dominant-seventh block chords in LH, D. C. al Fine

154 Unit 11 ■ The Dominant and Dominant Seventh Chords

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3

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Transpose to E major.

I I I I

II

V65

V6

II�

1

2

2

5V6

5V6

5

V65

I

III

V65

V65

V65

V65

V65

V65

Rules for Harmonization:

Harmonize each of the melodies with tonic (I) or dominant (V or V7).• Use tonic when most of the melody notes are scale tones 1, 3

and 5.• Use dominant when most of the melody notes are scale tones 2,

4, 5 and 7.• Begin and end each harmonization on tonic.• Dominant almost always precedes tonic at the end of a piece.

Using tonic (I) and dominant (V7 or V ) chords, harmonize thefollowing melodies with block or broken chords as indicated. Writethe letter name of each chord on the line above the staff and theRoman numeral name of each chord on the line below the staff.

65

1. Broken ChordAccompaniment

DU

D D D A7 A7 A7 A7

A7A7A7

C C C G7

CG7G7G7

D

DDDD

, DU LIEGST MIR IM HERZEN6-12

&C

f

1

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5

J

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J

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1œ

2˙

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Moderato Mexico

Transpose to A major.�

2. Block ChordAccompaniment

LA CUCARACHA6-13

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#4

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D

I

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Harmonization UsingTonic and DominantChords

The Dominant and Dominant Seventh Chords ■ Unit 11 155

3. Block Chord Accompaniment ?

b

b

4

2 ˙

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I

B�

&b

b

b

4

2

f

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1

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5œ œ

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1

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.œ œ

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&b

b

6

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œ œ

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1

œ

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œ

&b

b

11

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1

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J

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Alla marcia

Allan M. Hirsch

1 2

21

BOOLA BOOLA6-14

4. Block Chord Accompaniment ?

b 4

4

˙

˙˙

˙

˙

˙

V65

I

C7F

&b

4

4

p

˙

5

œ œ.˙

œ

œ œœ œ

.˙

œ

œ

5

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œ

œ œœ

œ

1

&b

7

œ

3

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2

œ

œ œœ

œ

1

˙

5

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w

Moderately slow United States

SLEEP, BABY, SLEEP6-15

� Transpose to C major.

� Transpose to G major.

I I I I

I I I I

V65

V65

III V65

V65

I IV65

F C7

V65

C7

V65

C7F

I

F

I

F

V65

C7

I

F

IV65I IV6

5 I

FC7F FC7 F

I

F

B F7

bBF7 bB

F7F7 bBbBbB

bB bB

bBbBbB