Building Ragtime Accompaniment

Overview

This is lesson 3 of 5 in the unit Self-Directed Ragtime Piano. Students move from listening and imitation towards independent accompaniment, using their ears first and chord symbols or a simple lead sheet as support. The one-student format allows for focused teacher modelling, immediate feedback and a recorded performance outcome.

Learning intentions

Students will:

• recognise how a stride accompaniment combines a low bass note with a chord.
• hear and describe whether a short progression sounds settled or unfinished.
• learn and play the C–F–G7–C progression using a steady ragtime-style pattern.
• use chord symbols and a simple lead sheet to support, rather than replace, listening.
• record an eight-bar accompaniment with a short melody.

Success criteria

• I can hear when the harmony changes and identify the bass movement.
• I can distinguish between a bass note and a chord.
• I can follow chord symbols while keeping a steady pulse.
• I can return convincingly to the tonic and explain what I changed to improve my accompaniment.

Curriculum links

• The Arts—Music: developing practical knowledge of musical elements, including rhythm, harmony, texture and tonality.
• The Arts—Music: developing ideas through arranging and adapting musical material.
• The Arts—Music: communicating and interpreting through performance, listening and reflection.
• Key competencies: managing self, thinking critically, and using language, symbols and texts to communicate musical ideas.

Lesson structure (55 minutes)

1. 0–3 min · Reconnect and goal. Teacher briefly revisits the previous lesson’s ragtime pulse, displays the learning goal in the opening and learning-goal slides, and explains that today the ears lead while notation provides support. The student plays a short familiar pattern, then predicts what a low note followed by a chord might sound like.

2. 3–11 min · Focused listening. Teacher plays the one-minute stride-piano explainer from the prepared classroom link, pausing if needed; use the listening-focus slide to prompt: “Where do you hear the low bass note?”, “What follows it?”, and “Does the bass move regularly?” The student listens for the bass–chord alternation, the walking movement and the relationship between bass notes and harmony, recording two observations on the listening and chord-progression sheet.

3. 11–26 min · Ear-learning progression. Teacher plays short examples that end either on the tonic or away from it, asking the student to identify “settled” or “unfinished”. Model singing the bass movement before touching the keyboard. Guide the student through C–F–G7–C: first play and sing the root notes, then play only the bass notes, listen for each change, add a chord after each bass note, and say the symbols aloud while playing. Use the ear-learning sequence slides for the progression and prompts. The student tests whether returning to C makes the phrase sound complete and records the progression on the worksheet.

4. 26–50 min · Keyboard practice and creation. Teacher demonstrates four bars of C–F–G7–C in three stages: single bass notes with blocked chords, alternating stride, and a lighter accompaniment beneath a melody. Provide the lead-sheet planning page for the student to create a four- or eight-bar lead sheet with chord symbols above a one-line melody and simple marks such as bar lines, beat numbers or arrows. The student practises, then records an eight-bar accompaniment plus melody, performing it three ways where possible. If ready, the student widens the bass register, adds passing bass notes, or transposes the progression to F major. Revisit the practice and troubleshooting slides for reminders about pulse, hand positions and silent movements.

5. 50–55 min · Reflection and evidence. Teacher listens to the recording with the student and uses the checklist on the reflection checklist. The student responds to: “I can hear harmony changes; I know bass from chord; I can follow symbols; my accompaniment stays steady; I can return to the tonic.” The student saves the recording and keeps the one-page lead sheet, or makes an audio voice memo describing the progression. Close with the plenary slide and one spoken next step.

Resources

• Keyboard or piano with recording function
• Headphones or suitable classroom speakers
• Prepared one-minute stride-piano explainer
• ragtime accompaniment teaching deck
• listening, lead-sheet and reflection worksheet
• Audio recorder, tablet or digital portfolio
• Metronome or backing pulse
• Pencil and music manuscript paper

Assessment

• During ear learning, check whether the student can classify harmony as settled or unfinished, sing the roots, and identify the return to C.
• During practice, observe pulse stability, accurate movement between bass and chord, appropriate use of chord symbols, and whether the accompaniment supports the melody.
• Assess the saved recording and lead sheet for an audible bass–chord pattern, recognisable C–F–G7–C progression, steady accompaniment and a convincing tonic ending.

Differentiation

• Support with C, F and G only instead of G7; use left-hand root notes with right-hand triads; practise one chord change at a time; and provide a backing pulse.
• If the left hand jumps inaccurately, freeze the right hand and practise silent movements between the bass and chord positions before adding sound.
• If the harmony is unclear, slow each chord down, listen for its quality, and sing the root before adding the stride rhythm.
• For extension, invite the student to transpose to F major, add tasteful passing bass notes, or compare how the three accompaniment styles alter the melody’s character. For an EAL or learning-support need, use spoken, written and demonstrated instructions together and allow the student to record spoken explanations rather than write them.