Level fives,
you are doing something very, very different
from the past theory lessons that you had.
Today I'm going to introduce you to the four-part harmony.
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.
It was very challenging at first
having to go through three separate ways
of delivering three separate contents.
Sometimes I'll have four groups in one class or even just two.
So Alana and I have devised this plan
where because I have two classes running,
she'll give me some advice.
Can you tomorrow when you do the theory courses
just do a brief overview -
"This is what we are covering in this course."
So you did that well with the fives.
You talked to them about, "We're changing from keyboard harmony
"to voices, to people."
But you needed to be possibly a little bit more clear
with the threes and fours.
And with the fours, you say, "OK, this is an add-on.
"This is an add-on course.
"So we're doing everything you've done already,
"plus we're dressing the music up a little bit more."
Alana's feedback to me is extremely explicit and specific.
So it really helps me to...
When I do my lesson plans, I know exactly what I need to work on,
I know exactly what I need to write.
She will tell me, "This is what you need to do for board work.
"Since you're doing three levels at the same time,
"you need to seat these students
"here, in the centre of the classroom and on the side.
"So what you need to do is divide the board into three.
"You colour-coordinate this green.
"You colour-coordinate the level twos red and this one blue."
Just little specific instructions like that
have really helped with my delivery of the content.
So I'll just go through the three-to-four stuff.
The work was prepared on the board,
but it wasn't spaced particularly well.
I rubbed it out again and again.
Yeah, so what happened was... I've got a little photo of it here.
It left very little space for the fives.
Basically no space for the fives.
OK, so here you can see that even between the systems
there wasn't enough space
so you only had just enough space for the phrase marking,
which meant anything you were going to write in there
was going to crash into it and make quite a bit of mess.
And the same on the bottom - there wasn't much space to write anything.
So you just need to work on making it smaller.
Alright, level fives tomorrow.
I think you need to run your Sibelius work sheet
from the television tomorrow.
Mmm, OK.
So hook up your laptop to the TV.
Because your group is much bigger
you're not going to have the board space to do it
so if you have it on the television
you can be pointing to it, you can be putting examples,
you can be filling in things so they can see it
better than describing it
and better than leaning over and pointing to something
because your group is much bigger.
You need to be watching the time
because the bell went and you were still delivering.
And you hadn't said to the level fives,
"OK, now you have this to do."
You just need to be a little bit more explicit -
go through the normal instructions,
key, chord table, cadences, approach chord, other chords.
So you still need to remind them
that just because they've moved from keyboard harmony
to four-part vocal harmony
they don't throw everything they've learned.
It's still the same stuff.
It's just presented as a different package.
The instruction to level four to create a dominant 7th was good.
The musical example on the piano was very helpful.
It's good when you really bash the dominant 7th chord
because they get it.
Just for further impact, I've said, "Try inverting the chord."
So play it in root position, then first inversion...
-And have the tonic on top. -Just keep going, keep going.
Keep slamming them with that dominant 7th chord,
then drop the bass down the octave
so they're screaming at you to make it stop
and then when you give them the tonic so nicely
it's like, "Ohh, it's over!"
It's not as crunchy, but if I add that seventh degree...
(PLAYS SINGLE NOTES AND FULL CHORD)
..what do we feel like doing?
(ALANA SPEAKS INAUDIBLY)
(PLAYS CHORD)
Resolve! Ah, that's comforting, isn't it?
HUI-MIN: Alana has tucked me under her wing
and told me her experiences as a teacher
and it was very comforting to know
that she's gone through similar problems that I've had
and how she overcame those problems.
That made it very enlightening for me and my experience,
to see how can improve on things.
So she gives me some advice, I take it on board,
I look at the opportunities
that we've created for me to learn and progress
and improve on my practice.