The Joy of Learning Guitar

Through Visualizing, Listening, and Playing

Grade 6: General Music

Prepared by: Daniel Yaretz
April 16, 2016

Table of Contents
Pg. 1

Title Page

Pg. 2

Table of Contents

Pgs. 3

Unit Plan Mind Map

Pgs. 4 - 12

Unit Plan

Pg. 13

Bibliography

Pgs. 14 - 39

Worksheets, Handouts, Documents

Pgs. 40 - 42

Analytical Reflective Critique

Unit Plan 2016

Generative Topic: Sensory Guitar Learning
Unit Title (Based on a Generative Topic): The Joy of Learning Guitar through Visualizing, Listening, and Playing
Synopsis:
Culminating Activity/Products:
The goal of this unit is to use sensory domains of sight, sound, and touch to
1. Performance task/piece
connect music theory to guitar practice. By blending music theory with
Students will perform a specific piece, skill, or study learned in class to
physical guitar playing students learn a topic then apply it to the playing. This address learning outcomes. This task will occur during the last week of the
unit runs for two weeks in a Grade 6 Beginner guitar class that will cover the
unit and will be based on content learned in the class. Previous lessons and
components of beginner guitar skills along side rudimentary theory content. It rehearsals will scaffold to lead to the final product/performance. When
will start with parts of the guitar, string names, chromatic scales, sightstudents are in the act of learning, they obtain knowledge, acquire skills, and
reading, rhythmic clapping, and move into performance pieces that bring
develop habits when practicing and learn to apply all three to their learning
together content. The emphasis of this unit is learning how to play guitar
and performance. Therefore, performing a summative work that encompasses
competently, which involves learning to understand theory and practice. The
a set of skills or outcomes helps acquisition and application of those skills
eight lessons for this unit are arranged to scaffold upon one another. This
bringing with it all knowledge and work habits. Students will find the
approach will effectively develop the skills and knowledge needed to provide summative performance task to be a meaningful and engaging experience. A
an engaging introduction to guitar.
rubric and feedback form will be used to assess student performance. Before
The focus of this unit is the relationship of sight, sound, & touch: How hearing
the test the teacher will help students judge their daily work against the final
and seeing are not the only domains of instruction. Playing an instrument has standard so that they begin to self-assess and reflect about their learning.
a great influence on a students musical growth and should incorporate sight
2. Cumulative Theory Quiz
and sound domains to aid this development. All three domains are important
Throughout the unit students will be learning rudimentary theory concepts and
in their own capacity and work together to form a holistic view of music.
will be tested accordingly at the end. To work up to this test students will be
Students are taught skills, knowledge, and attitudes that reflect the three
given multiple worksheets that will scaffold to the final exam. The final test is
sensory domains of learning in relation to music. The sight (cognitive)
not a strenuous exam, but a review of content learned. This product is to
domain would encompass basic rudimentary theory knowledge, were as, the
address the cognitive knowledge outcomes for this unit, the sight portion.
sound (affective) domain focuses on the authentication of what is being
Having a basic understanding in theory will increase the performance in other
played. Finally, the touch (psychomotor) domain involves the kinesthetic
domains (affective attitudes & psychomotor skills).
skills needed to perform music on an instrument. The unit will be over the
3. Weekly Exit Slip
course of two weeks in the guitar portion of the grade six class Joys of
Students will write on a weekly exit slip one challenge they encountered from
Noise. This unit offers diversity that helps to create better rounded learning
the week. The teacher will then provide feedback on the students challenge
experiences that meet a number of learning styles and learning modalities.
and suggest ways to improve. The next week prior to the class the student
To ensure students are meeting the standards of the curriculum, students should writes if they did improve on the previous challenge and how. Students will
be competent to some degree in musical skills and knowledge. These
do this once per week. This is an assessment as learning because the feedback
competencies address key essential question(s) or outcomes throughout the
provided leads into student addressing learning needs and improvements. This
unit to ensure that students will fully comprehend what beginner guitar
is also assessment of learning because students will be giving a completion
entails.
mark at the end of unit.
Aim/big idea: By the end of the unit, students will be . . . competent beginner guitar players through psychomotor and cognitive skills. The AB program of
studies outlines these skills.
Essential questions:
1. What importance does sight, sound, and touch have in relation to music?
2. What is the relationship between theory (notes, pitches, rhythm etc.) and practice (guitar skills strumming, fingering, scales etc.)?
3. Why does a musician need both practical and theoretical skills & knowledge?

Desired Results/Learning Outcomes (Scope & Sequence)

General & Specific Musical Learner Expectations/Outcomes
Unit Learner Expectations (Goals)
By the end of the course students will . . .
By the end of the unit, students will be able to . . .
GLE/GLO 1: Develop musical skills and knowledge in listening, performing, and using notational systems.
SLE/SLO: 1 Reading: To interpret rhythm, melody, harmony, form, and
ULE: 1.1 Recognize that a time signature tells how
expression as they appear in musical notation through both cognitive and
beats are grouped in a measure.
psychomotor responses.
ULE: 1.2 Recognize that rhythm is created by
combining beat, tempo, patterns, meter and duration.

SLE/SLO: 2 Playing: To discover, develop, and evaluate their talents and

abilities relative to playing an instrument, and to establish and reinforce
correct techniques and skills.

ULE: 1.3 Interpret that a melody is made up of

sounds organized in patterns.
ULE: 1.4 Recognize that repetition and contrast give
unity and variety to form in music.
ULE: 1.5 Demonstrate and recognize that music has
different styles; e.g., blues, jazz, rock, country,
popular, and classical.
ULE: 2.1 Demonstrate skills on the following
instrument: Guitar.
ULE: 2.2 Recognize whole, half, quarter, eighth,
sixteenth notes and the whole, half, quarter, eighth,
and sixteenth rests.
ULE: 2.3 Recognize 2/4, 3/4, 4/4 time signatures.
ULE: 2.4 Recognize dynamics and symbols; e.g.,
forte, piano, mezzo forte, mezzo piano, crescendo,
decrescendo.
ULE: 2.5 Understand the function of key signatures.

ULE: 2.6 Recognize ties, slurs and accidentals

(sharp, flat, natural).
ULE: 2.7 Interpret chord symbols using guitar.
ULE: 2.8 Recognize the music staff and treble clef
sign.
Master List of Major Learning Activities and Experiences
1. Mini-lectures/ classroom discussions
2. Ensemble Work
3. Pre-assessment survey
4. Critically analyze, respond to, and reflect on music and experiences
5. Quiz/Test Theory

Assessment/Evaluation
(i.e. assessment of
learning)
Tasks, Worksheets,
Performance Piece, Direct
instruction
Worksheets, Theory Quiz,
Performance Piece, Direct
instruction
Tasks, Performance Piece
Tasks, Performance Piece,
Direct instruction
Tasks, Performance Piece
Tasks, Performance Piece,
Weekly Exit Slip, Direct
instruction
Worksheets, Theory quiz,
Performance Piece, Direct
instruction
Tasks, Worksheets, Theory
Quiz, Performance Piece
Tasks, Worksheets, Theory
Quiz, Performance Piece
Tasks, Worksheets, Theory
Quiz
Tasks, Worksheets, Theory
Quiz, Performance Piece
Tasks, Performance Piece
Worksheets, Theory Quiz,
Performance Piece

6. Theory Worksheets
7. Answering questions verbal/non-verbal
8. Playing test
9. Bi-daily Exit Slip
10. Culminating Activity

Master List of Materials, Equipment, and Resources

1. Computer
2. Smart board
3. PowerPoint
4. Word/PDF worksheets
5. Guitars

6. Amps
7. Mixing board & Monitors
8. Keyboard
9. Audio Interface
10. Microphones both Dynamic and Condenser

Special Considerations
Modifications and accommodations for learners with special
Social context issues. How you will address any relevant social context issues
needs/Adaptive strategies. Strategies used to accommodate the needs of
in your planning.
exceptional learners.
During the implementation of this unit there was one student that needed some
Digital Connectivity Culture:
accommodations. This student was very fragile emotionally, but wasnt coded
This unit will utilize many technologies in the classroom to help attain the
for particular exceptionality. To accommodate for this students needs I would
necessary outcomes. Students will be meet with a variety of technology in this
ensure to start things at a slower pace and move gradually through the concept
unit, which include a smart-board, smartphone, computer, electric guitar,
or technique/skill. This greatly helped the student make sense of what was
mixing board, videos, and audio recordings. The range of tech being used help
going on and not feel incompetent or frustrated during the learning process. At
engage students learning and interest. Students will use both print and noncertain times this caused the rest of the class to get bored because we were
print medias when in the class in order to facilitate different learning needs.
moving at a somewhat slower pace. However, once the system/routine was in
Printed documents provide a fixed media of information that can be
place the rest of class understood the logic behind slowing down at times to
catalogued for later use. Print can be extensive or non-extensive in
help out their fellow peers catch up. No content, quizzes, or handouts were
information and can be convenient over digital media for safekeeping. On the
adapted for any student. The need to do so was not necessary or demanded by
other hand non-print media has its uses in terms of saving huge amounts of
any coded student or exceptionality. For future reference I will keep in mind
information in a small package as well as provide instant access to a vast
that I am considerably lucky to have had a class that didnt have any serious or
array of information. Smartphones and computers play a big role in this media
moderate exceptionalities present. I am cognizant to the fact that this will
and will help provide information and knowledge quickly and easily to
defiantly change in future classes.
students in class. Audio and visual media are a foundation to learning in a
music classroom because our subject is very heavily invested in domains of
sight and sound. Students need to be able to hear what they should play and
analyze what they hear. Sight and sound are the essential forms of
communicating knowledge between teacher and student. During playing tests
the teacher can utilize the iPad to record marks and make comments directly
into the Teacher Logic program. This access of mobile media is very useful
and timesaving for the teacher. I used this technology extensively while
teaching this unit and many other classes.
Gender:
To ensure equal and fair perspectives between male and females this unit uses
songs that equally appeal to both genders. It should be noted that some of
these songs do have stereotypes in their text on views of masculinity and
femininity. To address this issue Ive ensured equal representation between
the stereotypes as well as prepared time for discussion during the analysis of
the text. I aim to not broaden or dismiss issues of stereotypes, but bring a
holistic view to the table. Alerting students to the fact that there are many

perspectives, beliefs, and sides to an issue and we should be respectful of

those view points. Providing a safe environment where my students thoughts
and feelings are respected is the key to resolving possible sticky situations.
During the implementation of the music in this class not one student had any
issues with the choice or style presented. However, I made it a personal goal
to still explain the context of the music as it helps bring out more musicality
in the performance. When students didnt know what they were playing or
had no clear attachment to the song, the music seemed flat and un-energetic.
Once an explanation or discussion was done students had a deeper investment
or appreciation for the song and would perform with more energy and
excitement. The key is making the boring stuff seem exciting and fun. Once
you show them how cool or interesting a piece of music is, students buy
into that same energy.
Ethnicity:
I have not included materials from the Aboriginal curriculum. This is due to
the lack of material related to my subject. However, this will not stop me from
incorporating the values and beliefs that Indigenous Peoples of Canada have.
Their values are similar to our values and the goal is to be respectful of all
cultures. The music selected does offer some variety in culture, but is mostly
Western or European influenced. If there is an opportunity to incorporate a
song from another culture into the unit then I will take the necessary steps to
implement it. At this time Ive not come across materials to implement.
Social Class:
During song analysis on a piece of music Ive incorporated the backstory
about the musician and composer to help give context as to how the song was
made. Some artists have gone through some very tough times and for this
reason students should be made aware as to what social factors may have
influenced the music. A musicians story can be uplifting or thought
provoking for a student and may lead to a whole new context to a piece of
music. Having the background on a song helps provide the needed context on
how it should or can be played. Is there a reason to play it soft and gently?
Perhaps it is about love, happiness, or sadness. Maybe the composer was high
on drugs and this is why it seems so angry and loud. Students within this
school are from mostly well-off households. The most classrooms are very
easy to manage and work with. The atmosphere of the school is one that is
very supportive of the students and provides them with many opportunities to
be apart of various extra-curricular activities (sports and fine arts).
21st Century Learning:
My unit is deeply focused on comprehensive musicianship, which is an
approach that encourages musical learning through a diversity of musical
behaviours (i.e., composing, listening, and performing). Students in my class
and throughout this unit are encouraged to be creative, thinking, expressive,
and well-rounded musicians. To make this a reality Ive ensured to adopt
methods that embrace music from numerous periods, styles, forms, and
cultures. From a teaching perspective Ive ensured to use high-quality

repertoire and efficient strategies that will engage students in critical and
creative thinking. For example, students will be learning how to play guitar
through physical technique, but also through rudimentary theory and history.
The content covers various styles and genres of music from the 1900s to
present day. Content is presented in a non-standard format using technology
and materials of the present century. However, some content holds
tremendous value when taught in the traditional formats (if it aint broke,
dont fix it).
Sight-reading a simply rhythm on an open G string using musical notation
would seem to be to much for a beginner student. But with some basic
instructions and patience a lot of material can be taught in a short amount of
time. Comprehensively students are told what a quarter note is and what it
looks like on the board. Then they are shown what it sounds like on the guitar.
A rhythm tree is utilized to then further break down the subject and thus lead
to the sight-reading activity. Students are encouraged to create their own
rhythms within four beats and then play that rhythm back on the guitar. Next
students are asked to sight-read a rhythm but perform it in an expressive way.
Now the teacher teaches about dynamics or modes of expression in music
without doing a separate lesson. The approach to the learning process worked
wonders when dealing with beginner students. If you get them focused and on
task they will piece together comprehensively the material presented. One
piece of music has within it 20 lessons (time signature, key signature, bar line,
end line, rests, notes etc.) that can be taught at one time or in groups. The
teacher then chooses the method of presenting that material and offers
different modalities to accomplish it. The teacher can break each item down
into tasks in composing, listening, or performing.
Students in the class have the opportunity to make artistic decisions about the
music so that they feel invested in the music making at hand. This class and
unit is set up to incorporate cognitive elements, functional aspects, and, both
interpersonal and ethical values. By allowing the class to be operated in this
manner the four Cs of learning are meet. Through student driven decisions
and active involvement as well as teacher student dialogue from
feedback/observations communication and collaboration is attained. The
breadth of content and challenge within the unit extends to the critical
thinking and creativity.

Summary of Lessons
Lesson

Topic(s)

Rules Expectations,
Parts of a guitar,
Names of strings, Open
Strings

Rules and Expectations

Review, Parts of the
guitar,
Holding the Guitar and
Posture, String Names,
Open strings task,
Musical Staff, Seven
primary pitches, Louie
Louie, Smoke on the
water.

Learning Objectives
By the end of this lesson TSWBAT .
..
1. Perform a song during this first
lesson (Boost confidence).
2. Sing back melody of song to
internalize before playing.
3. Demonstrate a good tone on the
guitar.
4. Develop hand to eye coordination
as well as listening skills.
5. Memorize and recall parts of the
guitar.
6. Memorize and recall names of six
guitar strings.

1. Associate that music is written

with notes & pitches.
2. Recognize & Memorize all sevenpitch names.
3. Recognize that a staff is made up
of five lines and four spaces.
4. Recognize & Memorize four basic
note types and values.
5. Identify and recognize treble clef.

Assessment/Evaluation

Learning Activities/ Instructional Strategies

1. For Observation during

the class instruction and
playing activity will actively
determine if students are able
to complete the task at hand.
Visualizing their success if
they are able to do the task
and do it well.
2. For Verbal feedback will
be giving to the students if
they are successful with the
tasks. Questioning techniques
are also used to check for
understanding during class
discussion and individual
tasks.

1. Intro about self name, musical background,

Two truths, One lie etc.
2. Rules and Expectations (Open door policy)
-Start of class
-End of class
-Question-Answering
-Safety (fire drill or lockdown procedures)
-Discipline
-Expectations
3. Two truths and a Lie
4. Parts of the Guitar
5. How to hold the guitar and posture
6. String Names
7. Play open strings (four quarter notes on each
string using a sweeping motion in the RH)
8. Recap lesson by asking probing questions and
open discussion on what they learned. What did
you learn today? How did we get here? Etc.
(Teaching cycle = Task-Do-Feedback)
Whole Class:
-Direct Instruction
-Demonstration
-Whole Class Discussion
-Activity
Individual:
-Individual Guided Practice
-Individual Playback in front of class
1. Music is written with notes and pitches. There are
seven primary pitches in music (ABCDEFG).
2. In notation pitches are associated with notes such
as, whole, half, quarter, eighth. Notes also have
rhythmic value attached to them. (Rhythm tree)
3. These notes are then written on a staff. There are
five lines and four spaces (Focus on treble clef).
Spaces = FACE | Lines = Every Good Boy
Deserves Fudge
4. Write on staff the guitar open strings (Every
Angry Dog Growls Barks Eats) then play them on
guitar.

1. For/ Of = Check for

understanding by questioning
students. If students are able
to verbally recite back the
correct pitches.
2. Worksheet will determine
summative assessment if
students can accurately
answer questions in regards
to pitches, staff, and notes.
3. Observation will determine
if students are able to

demonstrate accurate reading

and playing ability.

Rhythm Booklet, Parts

of Guitar worksheet,
Fret Board, Find a
Note, Louie Louie,
Smoke on the Water

1. Associate and recognize that an

accidental is a note of a pitch. (One
step up sharp or down flat)
2. Read treble clef notation to
perform open string whole, half, or
quarter notes on guitar.
3. Read treble clef notation to
perform open string pitches with
correct notes and values.
4. Develop psychomotor skills on
guitar connecting LH to RH.

1. For/ Of = Check for

understanding by questioning
students.
2. Observation will determine
if students are able to
demonstrate accurate reading
and playing ability.

Fret-Board, Find the

Note, Sight-reading
rhythms and notes.

1. Recognize & Associate the four

basic notes by type and value
(Rhythm tree).

1. For/ Of = Check for

understanding by questioning
students.

5. Sight reading exercise using Level 1 sight

reading resource.
6. Sight reading exercise using sight reading 2/1
resource.
7. Recap content learned by posing questions to
class and checking for understanding individually.
8. Handout theory worksheet to work on in class,
recaps content learned. If not completed it is
homework. (Questions pg1: 1-5 pg2: 1,3,5 pg3:
1,2,3)
(Teaching cycle = Task-Do-Feedback)
Whole Class:
-Direct Instruction
-Demonstration
-Whole Class Discussion
-Activity
Individual:
-Individual Guided Practice
-Individual Playback in front of class
1. Review previous lesson content covering note
names, types, values, and staff.
2. Describe what accidentals are and how they are
associated to notes on staff and instrument.
3. Describe and demonstrate what frets are to
students using guitar for reference.
4. Demonstrate the relationship between notes on
staff to notes on guitar (frets).
5. Sight reading exercise using Level 1 sight
reading resource.
6. Recap lesson by probing questions at students
and asking for demonstrations on guitar to check for
understanding.
8. Theory (Questions pg2: 2,4 pg3: 4,5)
(Teaching cycle = Task-Do-Feedback)
Whole Class:
-Direct Instruction
-Demonstration
-Whole Class Discussion
-Activity
Individual:
-Individual Guided Practice
-Individual Playback in front of class
1. Recap yesterdays lesson accidentals and treble
clef notes on guitar (first position). Class discussion
and questions as well as guitar demonstrations with

2. Recognize what a time signature

is and how it applies to music
notation.
3. Interpret and demonstrate three
basic notes (G C D on strings 6/5
frets 3/5).
5. Demonstrate basic strumming
patterns with right hand in 4/4 time
(sweep the floor exercise).

2. Observation will determine

if students are able to
demonstrate accurate reading
and playing ability.
3. Feedback both verbally
and non-verbally. (That was
good, but lets try this) (Nope
I didnt like that and heres
why)

1. For/ Of = Check for

understanding by questioning
students and/or asking them
to playback what they just
learned. Playback as entire
class or group of students. If
students are able to verbally
recite or play back the task
then they have demonstrated
their comprehension of the
subject.
2. Observation will determine
if students are able to
demonstrate accurate reading
and playing ability.
3. Feedback both verbally
and non-verbally. (That was
good, but lets try this) (Nope
I didnt like that and heres
why)
1. For/ Of = Check for
understanding by questioning

Parts of Guitar and

Open String Names
Quiz,
Chromatic Scale

1. Demonstrate how to play on the

guitar a chromatic scale on high E
string.
2. Ensure to keep all fingers
depressed when transitioning from
one note to the next.
3. Ensure to play four-quarter
notes/strums using alternating
strumming.

Chromatic Scale
Review, Working on

1. Perform the four notes in Good

Time piece with a two-strum pattern.

review tasks.
2. Notes on the fret-board
-Strings are numbered 6-1 from thickest to thinnest
-Label notes on blank fret-board using the smartboard
3. Find the note (battleship activity)
-Verbally or write on board one note at a time and
ask students to show you where it is on the fretboard.
4. Louie Louie
5. Sight-reading
-Aim for consistent beat and correct rhythms
-Play patterns on guitar
6. Recap lesson
(Teaching cycle = Task-Do-Feedback)
Whole Class:
-Direct Instruction
-Demonstration
-Whole Class Discussion
-Activity
Individual:
-Individual Guided Practice
-Individual Playback in front of class
1. Administer quiz
2. Review last lesson or class
3. Louie Louie
4. Chromatic Scale
-Teaching cycle = Task-Do-Feedback-repeat
5. Rhythm sight-reading using guitars
-Students play back rhythms form notation by
plucking the high E string. They will say rest when
a quarter rest is present.
6. Recap lesson
(Teaching cycle = Task-Do-Feedback)
Whole Class:
-Direct Instruction
-Demonstration
-Whole Class Discussion
-Activity
Individual:
-Individual Guided Practice
-Individual Playback in front of class
1. Chromatic Scale
-Copy-cat instruction

pieces

2. Ply along with YouTube

recording for Good Time piece.
3. Play smooth and accurate
transitions from one note to the next
in Good Time piece.
4. Recall the four basic note types
and values.
5. Echo sing and play rhythmic
patterns presented by teacher.
6. Recognize that note values
represent a certain psychomotor
action as well as have an audible
distinction.

students and/or asking them

to playback what they just
learned. Playback as entire
class or group of students. If
students are able to verbally
recite or play back the task
then they have demonstrated
their comprehension of the
subject.
2. Observation will determine
if students are able to
demonstrate accurate reading
and playing ability.
3. Feedback both verbally
and non-verbally. (That was
good, but lets try this) (Nope
I didnt like that and heres
why)

Playing Test (Louie

Louie, Smoke on the
Water, Good Time)

1. Perform pieces demonstrating

correct notes, rhythms, RH
technique (strumming), steady
tempo, and distinguishable
performance characteristics
(prepared)

1. Rubric
2. Observation will determine
if students are able to
demonstrate accurate reading
and playing ability.

Unit Discussion and

Recap, Review of
performance test.

1. Recognize the relationship of how

our senses helped us learn guitar.
2. Recall and recap our overarching
questions describing how our senses
lead us to playing guitar.

1. For/ Of = Check for

understanding by questioning
students and/or asking them
to playback what they just
learned. Playback as entire
class or group of students. If
students are able to verbally
recite or play back the task
then they have demonstrated
their comprehension of the
subject.

-Play four quarter notes for each note of the scale

2. Good Time
-Play through the entire song of Good Time
-Smooth and accurate transitions from note to note
3. Louie Louie
-Let students perform piece using electric guitar
-Students take turns playing the electric guitar
-Check for skill level and progress of each student
on Louie Louie song.
7. Recap lesson
(Teaching cycle = Task-Do-Feedback)
Whole Class:
-Direct Instruction
-Demonstration
-Whole Class Discussion
-Activity
Individual:
-Individual Guided Practice
-Individual Playback in front of class
1. Administer playing test for class.
-Recap testing process
-Reassure students
-Review content only verbally as to what is
expected
-Use Rubric to take notes and record scores
-Have one student at a time play
1. Class discussion
-Facilitate a group discussion that revolves around
the essential questions for this course
-Answer those questions by giving evidence of
success by how well they did on their playing test
and theory quiz.
2. Jam session with students demonstrating all
content learned in unit.
Whole Class:
-Direct Instruction
-Demonstration
-Whole Class Discussion
-Activity

Bibliography
Resources Referenced:

Elementary*Music*Alberta*Curriculum.*(n.d.).*Retrieved*October*4,*2015,*from*
https://education.alberta.ca/media/313004/elemusic.pdf*

Elementary music: Curriculum guide, 1989. (1989). Edmonton: Curriculum Support, Alberta Education.

Marters, N. L. (1995). First year guitar: Teacher manual. Tallahassee, Fla. (1704 Thomasville Rd., Suite 185, Tallahassee
32303): Class Guitar Resources.

Marters, N., Welch, L., & Prasse, E. (2013). Explore it!: Guitar & style. Fl; US: Class Guitar Resources.

Roscoe,*K.*(2011).*An*introduction*to*curriculum*&*instruction:*First*steps*towards*effective*teaching*and*learning*
(2012*ed.).*Victoria,*BC:*First*Choice*Books.*

*
*

Resources Consulted:

Noad, F. M. (1981). Playing the guitar: A self-instruction guide to technique and theory. New York: Schirmer Books.

Purse, B., Jordan, J. L., & Marsters, N. L. (1998). Strategies for teaching middle-level and High School guitar. Reston, VA:
Music Educators National Conference.

Smith, P. (1986). The Harris guitar method. Oakville, Ont.: Frederick Harris Music.

Appendence A:
Documents, Worksheets, Tests

10

Names&of&the&Strings&on&the&Guitar&
&

&
The&names&of&the&strings&are&
&

E&&&&&&&&&&A&&&&&&&&&&&D&&&&&&&&&&&&G&&&&&&&&&&&&B&&&&&&&&&&&&&&E&
Thick&

Thin&

*********use&this&to&memorize&the&names*****************&

&

Every&&&&Angry&&&Dog&&&Growls&&Barks&&Eats&&&&&&&&&&&&&&
Thick&
&

Thin&

Total:'''''''/16'

Parts of the Guitar Quiz

Name: ______________________
1. Label the parts of the guitar below. One mark each.

Turn%Over%

'

Total:'''''''/16'

2. Label the string numbers and letters in the diagram below. Use the lines given.
1/2 mark each.
Thick'to'Thin'

Number:

____ ____ ____ ____ ____ ____

Letter:

____ ____ ____ ____ ____ ____

'

Types&of&Guitars&
There%are%three%types%%of%guitars%we%will%discuss%in%this%class.%The%three%are%electric,%steel%string%acoustic,%
and%the%classical%guitar.%%
Electric&Guitar&&2&&uses&steel&stringsSolid&bodypick2up(mic)&makes&it&loud&need&an&amp&for&
volumeyou&&
can&play&rock/pop&music,&and&jazz&&on&itplay&it&using&a&pick&has&volume&and&tone&knobs&

&&

&&&&

&&
Acoustic&&Guitar2&uses&steel&strings&hollow2bodycan&play&pop/rock,&folk&and&country&uses&a&guitar&
pick&or&&fingerstylesome&guitars&have&pickups&in&them&bright&sound&

&

&&&&&&&&&&&&&&&&

&
Classical&Guitar2&uses&nylon&strings&has&a&mellow&toneplays&classical&and&flamenco&music&smaller&than&the&
acoustic&use&fingers&to&pluck&strings(not&a&pick)hollow&body&

&

1st$Rock$Songs$

Smoke$on$the$Water$$$by$$$Deep$Purple$
Key$of$G$

G$$$$$$$$$$$$$$$$$$$$$$$$$Bb$$$$$$$$$$$$$$$$$$$$$$$C$
open$$$$$$$$$$$$$$$$$$$3$$$$$$$$$$$$$$$$$$$$$$$$$$5$
$
G$$$$$$$$$$$$$$$$$$$$$$$$$$$Bb$$$$$$$$$$$$$$$$$$$$$$$Db$$$$$$$$$$$$$C$
open$$$$$$$$$$$$$$$$$$$$3$$$$$$$$$$$$$$$$$$$$$$$$$$6$$$$$$$$$$$$$$$$5$
$
G$$$$$$$$$$$$$$$$$$$$$$$$$Bb$$$$$$$$$$$$$$$$$$$$$$$C$
open$$$$$$$$$$$$$$$$$$$3$$$$$$$$$$$$$$$$$$$$$$$$$$5$
$
Bb$$$$$$$$$$$$$$$$$$$$$$$$$$$$$G$
3$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$Open$
$
Use$the$open$$$D$(dog)$$$and$$$$$G(growl)$strings$$
for$these$songs$

Chromatic*Scale*
What*is*it?***
It**is*a*musical*scale*with*12*notes*in*it,*each*a*semitone*or*half9step*apart*

*
Why*do*we*learn*it*on*the*guitar?*
This*is*a*great*exercise*for*beginners*and*intermediate*players*to*develop*proper*playing*technique*
and*speed*
It*helps*to*coordinate*both*the*right*and*left*hands*
*
*
The*left*hand*fingers*should:(
((((((((((((((((((((((((((((((((((((((((((((((((((remain(on(the(neck(after(they(are(played(
(((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((and((
((((((((((((((((((((((((((((((((((((((((((((((((the(left(hand(thumb(should(not(creep(over(the(guitar(neck(
*
(
((((((

WALK(THE(MAN((and(SWEEP(THE(FLOOR(((((

!!The!right!hand!will!!SWEEP!THE!FLOOR(down/up)!picking!when!using!the!guitar!
pick.!
!!The!right!hand!will!WALK!THE!MAN(alternate!I!and!M)!!when!using!right!hand!!!!
fingers.!!!!!!!!!!!((((((((((((((((((((((!
(((((((((((((((((((((((((((((((((((((
(((((((((((((((((((((((((((((((((((((((*

Peter%Gunn%%

%on%low%E%string%%%%%!
%
E%%%%%%%%%%%%%%E%%%%%%%%%%%%%G%%%%%%%%%%%%%E%%%%%%%%%%%A%%%%%%%%%%A%%%%%%%%%%Bb%%%%%%%%%%A%%
%open%%%%%%o%%%%%%%%%%%%%3%%%%%%%%%%open%%%%%%%%5%%%%%%%%%%5%%%%%%%%%%6%%%%%%%%%%%%5%%%%%
%
%
%
%
on%%%A%%string%%(Angry)%%%%%%%%%%%%

%4%%%Times%%for%each%Box%

A%%%%%%%%%%%%%A%%%%%%%%%%%%%%C%%%%%%%%%%%%A%%%%%%%%%%D%%%%%%%%%%D%%%%%%%%%Eb%%%%%%%%D%%%%%
open%%%%%%%%%o%%%%%%%%%%%%3%%%%%%%%%open%%%%%%%5%%%%%%%%%%%5%%%%%%%%%%%6%%%%%%%%5%%%%%%%%%%
%
%
%

12#Bar#Blues#
#
#

|E#-#-#-#|E#-#-#-#|E#-#-#-#|E#-#-#-#|#
|A#-#-#-#|A#-#-#-#|E#-#-#-#|E#-#-#-#|#
|B#-#-#-#|A#-#-#-#|E#-#-#-#|B#-#-#-#|#
!

GOOD TIME

Owl City Ft. Carley Rae Jepsen

Intro

Ab

Chorus

Eb

Bb

Cm

Ab

///////////////////

Ab

Eb

Bb

Woah-oh-oh-oh
Bb

Ab

It's always a good time

Cm
Bb

Vamp

(p.riff)

Ab

Verse 1

Ab

Eb

Bb

Eb

Bb

Cm

What's up with this Prince song inside my head?

Ab

Bb

Eb

Bb

Eb

Bb

Cm

(2x)

Verse 3

Cm

Woke up on the right side of the bed

Ab

Eb

We don't even have to try, it's always a good time.

It's always a good time

Eb

Eb Bb Cm

Ab

Woah-oh-oh-oh
Ab

Cm

Woah-oh- - oh- - oh

Eb

Bb

Cm Ab Eb

Hands up if you're down to get down to- - night

Bb

Cuz it's always a good time.

Freaked out, dropped my phone in the pool again

Checked out of my room hit the ATM
Let's hang out if you're down to get down to-night
Cuz it's always a good time
Pre-chorus
Chorus x2

Verse 2

Ab Eb

Bb

Cm

Slept in all my clothes like I didn't care

Ab

Eb

Bb

Cm

Hopped into a cab, take me anywhere

Bridge

Ab

Eb

Doesn't matter when

Bb
Cm
Cm Ab Eb (p.riff) It's always a good time then
in if you're down to get down to- - night
Ab
Eb

Ab Eb Bb

I'm
Bb

Cuz it's always a good time

Eb

Bb Cm

It's
Ab

Bb Cm

wake up at twi - light

Ab Eb

Bb

Cm

Ab

Good morning and good night

Ab Eb

Doesn't matter where

It's always a good time there

Pre-chorus

Ab

Eb

Woah-oh-oh

It's always a good time

Cm

Ab

Eb Bb Cm Ab

Woah-oh- - oh- - oh

Bb Cm

gonna be alr - ight

Eb

We don't even have to try

Bb

It's always a good time

Eb

Doesn't matter when,

Bb

Cm

It's always a good time then

Ab

Eb

/////////

Bb

(p.riff)

(Pause)....

It's always a good time

Chorus x2

Performance*Task*Rubric*
(Guitar)*
NAME: __________________________________
Category

10 pts

7-9 pts

4-6 pts

1-3 pts

Note Accuracy

Plays all notes correctly with

little to no errors.
Plays the correct rhythm for
each note. Changes notes
accurately all of the time.
Plays with correct strumming
pattern all of the time. Right
Hand (RH) technique is
alternating and is great.

Plays with very few note

errors.
Plays with very few rhythmic
errors. Changes notes
accurately most of the time.
Plays with correct strumming
pattern most of the time. RH
technique is good and
alternates most of the time.

Plays with several note errors.

Student demonstrates great

control of pulse and tempo.
Steady beat is maintained
throughout entire
performance.
Student is very prepared, and
performs with ease.

Student demonstrates a good

awareness of pulse and
tempo; minimal problems
with beat throughout
performance.
Student is prepared with few
to little errors; is confident
throughout performance.

Student demonstrates a pulse

that is often uncontrolled and
not maintained throughout
performance.

Plays with many incorrect

notes.
Plays with many rhythmic
errors. Does not change notes
accurately within tempo.
Does note play with correct
strumming pattern. RH
technique needs improvement
and does not alternate (all
down-strokes or up-strokes).
Student demonstrates a tempo
that is not controlled and a
pulse that fluctuates
throughout the performance.

Rhythm
RH Technique
(Strumming)

Tempo

Performance
Characteristics

Plays with several rhythmic

errors. Often changes notes
incorrectly.
Often plays with incorrect
strumming pattern. RH
technique is satisfactory and
alternates sometimes.

Student is unprepared in
portions of the
piece/task/study, but is
determined to finish and is
focused on the task.

Student is unprepared.

Teacher comments:

Mark: ______________

The third string "G"

1
4
&4
0

The second string "B"

2
4
&4
0

The first string "E"

3
4
&4
0

4 Strings 3 and 2
4
&4

5 Strings 2 and 1
4
&4

Strings 3 and 1

6
4
&4

Sight Reading

7
4
&4

4
&4

Quarter and Half note rests. . . .

9
4
&4

10
4
&4

11
4
&4

12

&4

13
4
&4

14

4
&4

15
4
&4

16
4
&4

17
4
&4