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(WOMAN PLAYS SIMPLE PIANO MELODY)
So if this was a normal five-one...
(PLAYS CHORDS)
What I did was I added that...
(PLAYS EXTRA NOTE IN CHORD)
..seventh in there.
(PLAYS NOTES AND CHORD) It's very crunchy.
(CONTINUES PLAYING CHORD)
We just want it resolved, yeah?
So that five-seven just strengthens that tension a bit more
for a need to resolve.
My name is Hui-Min Phang.
I am a pre-service teacher at Darwin High School.
I currently study full-time at Charles Darwin Uni
for the graduate diploma of teaching and learning.
I major in music and I minor in biology.
In today's lesson, the activities are for the unit of music theory.
There are performance standards that the students need to comply with
for these activities
such as knowledge and understanding,
analysis and ability to understand the content.
The trick is since these are crotchets and that's a semiquaver,
they really sing all the way to when the soprano sings as well
so you include that one in the chord.
So the doubling will be...?
-GIRL: Ohh. -Yeah.
Because they are sung across.
OK.
So what happens is... I'll just play it on the piano.
(PLAYS CHORD AND NOTE) OK, this is what happens.
So the bass... (PLAYS SINGLE NOTES) ..tenor and the alto
sing at the same time.
(PLAYS FULL CHORD)
And then... (PLAYS SINGLE NOTE) ..the soprano joins in.
So that's still part of the chord
even though it comes a little bit later
so you include that in the doubling.
HUI-MIN: At the end of this lesson, I hope to see from the students
that they can use prerequisite knowledge from last term.
So they should be able to find the key of the melody,
construct a chord table
and be able to harmonise with basic primary chords.
This is what I expect from the level threes and fours
and, hopefully, they will ask me questions throughout the class
to see if they are on the right track
and if not then I will just give them guidelines
to facilitate their thinking.
What did I do?
STUDENT: You inverted it.
How did I invert it? Sawaki, did you see what I did?
Have a look at this note here.
GIRL: Oh, swapped it.
Yeah, I put the bottom note up the top.
Now, these are the default settings.
We don't have to write any numbers on top of this figured bass.
Now let's have a look at the intervals.
So this is one...
HUI-MIN: After I put the example up on the board
for the level threes and fours,
I give them about 10 minutes
to do what they already know how to do from last term,
which is to find the key and construct a chord table.
That usually will take a few minutes.
Now, this is independent learning
and I will go on to the level fives and deliver new content to them
and then with the level threes and fours
when I can see that they're done with their activities
I'll give the level fives an independent task,
which they will work on on their own,
then I shift back to the level threes and the level fours.
Once you've finished circling the notes, have a look at them.
This one's D, F and A, yeah? The circled notes.
So what chord goes best in there, in this bar?
The first one.
Mm-hm. So we write the Roman numeral I.
So that's your next task.
HUI-MIN: The way I structure my classes -
first, I would have the model on the board
and together as a class
we work in classroom discussions first.
That way, the content is delivered as a group,
they learn from each other, they learn from me
and then I give them their independent group work.
After that, if they don't know what they are...
If they're having trouble with what they're doing
then I go back to them and say, "OK, look, this is what you've done wrong.
"Let's do it together as a class again,"
if it's a really common problem,
and then it's just model, feedback, model, feedback.
To deliver such a high degree of flexibility within the classroom
the pre-service teacher has to be able to move between the groups
very, very succinctly and quickly.
So you don't have time to think, "OK, what am I teaching next?"
Their content knowledge is under scrutiny and challenged all the time
so they have to be able to move very, very quickly
from the student to the board to the piano
and backwards and forwards between the groups
and speak appropriately with each of the groups.
Some of the music terminology that we would use with a group,
say, a level four theory group,
we can't use with a level one theory.
We have to actually repackage that language
because it's just too confusing for them.
So their content knowledge has to be very, very strong
to cope in that type of setting.