Finish and Perform Rag

This is lesson 5 of 5 in the unit "Self-Directed Ragtime Piano". Lesson Title: Arrange and Perform an Original Rag Lesson Description: Goal: Arrange, polish, and perform an original short ragtime piece using a clear form, stride accompaniment, syncopation, chord symbols, rag rolls or other variation, and expressive control. NZ Curriculum links: develop and communicate musical ideas, perform independently, analyse and respond to ragtime style, and use listening to refine composition and performance. Listening and planning task, 7 minutes: Replay the strongest recordings from Lessons 1–4 and listen once to the video model most relevant to your chosen style. Identify one feature to keep: stride bass, syncopation, a chord progression, a rag roll, or a repeated ending. Plan an A–B–A structure, each section 8 bars or shorter. Step-by-step ear-learning and arranging, 15 minutes: 1) Hum the main A melody and record it as a voice memo. 2) Find its pitches on the keyboard by ear. 3) Choose a chord progression using C, F and G7 or another manageable set. 4) Add a left-hand stride pattern. 5) Create a contrasting B section by changing register, rhythm, harmony, or melodic direction. 6) Add one controlled rag roll or flourish. 7) Decide on an introduction and ending. 8) Use chord symbols, bar lines, and a few rhythmic marks to create a practical lead sheet only after the music is secure. Keyboard practice and performance preparation, 25 minutes: Rehearse each section separately, then join A–B–A with a count-in. Practise transitions, the ending, and recovery from mistakes. Make one slow recording for accuracy and one performance recording at a confident tempo. Perform for a family member, teacher, or an imaginary audience, then listen back and make one final improvement. Reflection checklist, 5 minutes: My piece has a recognisable form; the pulse is steady; the left hand supports the melody; syncopation is intentional; my variation is controlled; I can use chord symbols or my recording to remember the piece; I communicated a ragtime character; I completed a final recording. Tangible outcome: submit a 1–2 minute original ragtime performance recording, plus a short lead sheet or annotated chord map and a 3–5 sentence creator’s reflection explaining the musical choices. Final self-assessment rubric: 4—Independent and convincing: accurately hears, creates, performs, and adapts ragtime ideas; maintains a secure groove; uses syncopation, accompaniment, form, and variation with expressive control; reflects specifically and solves problems independently. 3—Secure: performs a complete piece with mostly steady pulse and clear ragtime features; uses chord symbols or a lead sheet effectively; makes useful revisions after listening. 2—Developing: completes a recognisable piece with some ragtime features but inconsistent pulse, coordination, form, or confidence; needs occasional prompts or simplified materials. 1—Beginning: records a partial or hesitant attempt; ragtime features and form are unclear; needs substantial support to use listening, accompaniment, or reflection. Differentiation and troubleshooting: Shorten each section to four bars, use a repeating two-chord pattern, simplify the left hand to bass notes and blocked chords, or perform at a slower tempo. If memory fails, use the chord map rather than restarting. If the final performance feels rushed, practise with silent counting and record at a slower tempo. If the piece sounds crowded, remove notes before adding more.

Overview

In this final lesson of the five-part Self-Directed Ragtime Piano unit, the student arranges, polishes, records, and evaluates an original short ragtime piece. The lesson consolidates ear learning, rhythmic and harmonic choices, independent performance, listening for improvement, and communication of musical ideas.

Learning intentions

WALT arrange an original ragtime piece in a clear A–B–A form.
WALT use stride accompaniment, syncopation, chord symbols, and controlled variation.
WALT perform independently with a steady pulse and expressive ragtime character.
WALT use listening and recording to identify and make a final improvement.

Success criteria

I can perform a complete 1–2 minute rag with a recognisable A–B–A structure.
I can maintain a steady pulse while using stride bass and intentional syncopation.
I can use a lead sheet or chord map to support my memory and recover from mistakes.
I can explain my musical choices and identify one specific improvement made after listening.

Curriculum links

Music: develop and communicate musical ideas through arranging and composing.
Music: perform independently, using control of rhythm, pitch, form, fluency, and expression.
Music: analyse and respond to ragtime style through attentive listening to rhythm, delivery, and musical intent.
Oral Language Practices: confidently present a short recitation or performance independently, using prepared prompts where helpful.

Lesson structure (55 minutes)

0–3 min · Set the goal. Teacher explains that today’s outcome is a polished original ragtime performance, lead sheet or chord map, and creator’s reflection; student checks the recording device, keyboard, and working materials. Open with the hook and lesson outcome slides and briefly revisit the unit’s key features: stride, syncopation, form, variation, and expressive control.
3–10 min · Listen and plan. Teacher replays the strongest recordings from Lessons 1–4, then plays the video model most relevant to the student’s chosen style, pausing to ask, “What makes this sound like ragtime?” Student identifies one feature to keep—stride bass, syncopation, chord progression, rag roll, or repeated ending—and completes an A–B–A plan in the rag arrangement and reflection sheet. Each section should be eight bars or shorter. Return to the listening prompts and A–B–A planning slide.
10–25 min · Ear-learn and arrange. Teacher coaches without taking over, prompting the student to listen before notating: “Can you sing it first?” Student hums the main A melody and records a voice memo, finds its pitches on the keyboard by ear, and chooses a manageable progression such as C, F, and G7. The student then adds a left-hand stride pattern, creates a contrasting B section by changing register, rhythm, harmony, or melodic direction, and adds one controlled rag roll or flourish. Student decides on an introduction and ending. Only after the music is secure, they add chord symbols, bar lines, and a few rhythmic marks to create a practical lead sheet or annotated chord map. Use the ear-learning sequence and arranging reminders for the numbered process.
25–45 min · Rehearse and record. Teacher listens for pulse, coordination, clear transitions, and a convincing ending, giving one precise next-step prompt at a time. Student rehearses A and B separately, then joins A–B–A with a count-in; practises transitions, the ending, and recovering from mistakes without restarting. Student makes one slow recording for accuracy and one performance recording at a confident tempo, then performs to the teacher, a family member, or an imaginary audience. Student listens back and records one final improvement. Refer to the rehearsal, recording, and troubleshooting slides. If memory fails, the student uses the chord map; if rushed, they silently count and record more slowly; if the texture is crowded, they remove notes before adding more.
45–50 min · Final performance check. Teacher asks the student to complete one uninterrupted final take, ensuring the submission is 1–2 minutes long and includes the planned form, accompaniment, variation, and ending. Student labels the file clearly and submits the final performance recording with the lead sheet or chord map. The teacher notes evidence of independent decision-making, musical control, and response to feedback.
50–55 min · Reflect and self-assess. Teacher displays the checklist and rubric on the reflection and rubric slides. Student completes the reflection section of the rag arrangement and reflection sheet, writing 3–5 sentences explaining their musical choices and selecting a final level from the rubric. Student checks: recognisable form; steady pulse; supportive left hand; intentional syncopation; controlled variation; useful chord symbols or recording; ragtime character; final recording completed.

Resources

Keyboard or digital piano
Recording device or voice-memo app
Headphones, if available
Student’s Lesson 1–4 recordings
Relevant ragtime video model, downloaded or already available
the ragtime listening, arranging, rehearsal, and reflection deck
the rag arrangement and reflection sheet
Pencil and manuscript or plain paper

Assessment

During planning and rehearsal, check whether the student can hear, create, and adapt musical ideas independently, maintain a pulse, and explain choices using appropriate musical vocabulary.
Assess the final recording and lead sheet/chord map for clear A–B–A form, ragtime features, stride accompaniment, syncopation, controlled variation, expressive performance, and effective recovery from mistakes.
Use the student’s reflection and rubric selection as evidence of listening-based revision and self-assessment. Level 4 is independent and convincing; Level 3 is secure; Level 2 is developing; Level 1 is beginning.

Differentiation

Shorten each section to four bars and use a repeating two-chord pattern if the complete arrangement is too demanding.
Simplify the left hand to bass notes and blocked chords, reduce the tempo, or allow the student to perform from the chord map.
Provide a count-in, silent-counting rehearsal, and separate recordings of A and B before combining them.
For extension within the task, encourage a more developed introduction, a purposeful harmonic or register change in B, or greater expressive contrast while preserving a steady groove. For EAL or processing support, model each instruction, use the visual sequence, and accept spoken or recorded reflection before it is written.

Teaching Instructions