Teacher orientation
This week asks: How do chords inherit tendencies from scale degrees inside a key? The three meetings move from shared experience to explicit theory and then transfer. Require students to predict before measuring or labeling; use performance and explanation together as evidence.
Roman numeral names a fixed chord in every key; every IV must go to V; harmonization has only one correct answer.
Three-meeting sequence
A chord on every degree
Build diatonic triads in major and minor
Stack thirds above each C-major scale degree.
Derive the diatonic quality pattern and Roman-numeral conventions; repeat in natural/harmonic minor.
Teams create a key-specific chord inventory and correct one another’s spelling.
Why is vii° diminished in major?
Build diatonic triads in two keys.
Function as behavior
Use case-sensitive Roman numerals
Compare I–IV–V–I with reordered progressions.
Group tonic, predominant, and dominant functions while emphasizing that context, bass, and phrase position matter.
Students label function, perform progressions, and predict likely continuations before hearing them.
What makes V point toward I?
Annotate function in eight progressions.
Harmonizing melody
Distinguish tonic, predominant, and dominant function
Present a four-note melody with several possible chord choices.
Use strong-beat melody tones, harmonic rhythm, function, and singable bass as constraints—not a single-answer algorithm.
Groups harmonize the same phrase differently, perform versions, and critique coherence.
Defend one chord choice with two constraints.
Complete and revise an eight-measure harmonization.
Student synthesis task
Claim–evidence–application: Students submit one notated or analytical artifact from the week, a 150–250 word explanation using at least four vocabulary terms, and a brief performance, recording, or demonstration. The explanation must identify a decision, cite musical evidence, and connect the idea to unfamiliar material.
Assessment and answer guidance
| Prompt | Value |
|---|---|
| 1. What is the diatonic triad pattern in major? | 2 points |
| 2. What are the broad functional families? | 3 points |
| 3. Can one melody note belong to several chords? | 3 points |
| 4. Apply the week’s central idea to a new four-to-eight-measure example and explain the reasoning. | 7 points |
Teacher answer guidance
1. I major, ii minor, iii minor, IV major, V major, vi minor, vii° diminished.
2. Tonic, predominant, and dominant.
3. Yes; chord choice depends on key, function, bass, metric position, and desired direction.
4. Award 2 points for accurate identification or construction, 2 for correct notation/terminology, 2 for evidence tied to the example, and 1 for a clear conclusion. Accept alternate solutions when the musical reasoning is defensible.
Access, differentiation, and extension
Support without lowering the target
Keep a scale-degree/chord-member matrix visible. Preteach vocabulary, model one complete think-aloud, reduce the number of simultaneous variables, and allow a second attempt after feedback.
Extension
Add inversions and seventh chords to improve bass line and voice leading.
Evidence to retain
Keep the exit tickets, synthesis artifact, and scored application prompt. Together they show factual fluency, transfer, and the student’s ability to explain music—not only select an answer.