action for the arts guitar curriculum

Action for the arts® guitar initiative

International House of Blues Foundation® (IHOBF) Promoting Cultural Understanding And Creative Expression Through Music & Art

Guitar Curriculum

Contact Information:

National Sponsors:

IHOBF-National 7060 Hollywood Boulevard, 2nd Floor

Hollywood, CA 90028 phone: (323) 769-4901 fax: (323) 769-4633

email: [email protected]

IHOBF ACTION FOR THE ARTS GUITAR CURRICULUM

Table of Contents

Subject I. Program Materials:

i. A Note to Instructors From the IHOBF 1 ii. Performance Goals & Preparation Steps 4 iii. Curriculum

a. Tier One (Learning Blocks 1 through 5) 6 Student Goals for Learning Blocks 1-5 6 Weekly Skills Review 8 Learning Block One: Teaching Objectives 9 Learning Block Two: Teaching Objectives 11 Learning Block Three: Teaching Objectives 13 Learning Block Four: Teaching Objectives 15 Learning Block Five: Teaching Objectives 17

b. Tier Two (Learning Blocks 6 through 10) 19 Student Goals for Learning Blocks 6-10 19 Learning Block Six: Teaching Objectives 20 Learning Block Seven: Teaching Objectives 22 Learning Block Eight: Teaching Objectives 23 Learning Block Nine: Teaching Objectives 25 Learning Block Ten: Teaching Objectives 27

c. Additional Song Suggestions 28 d. Curriculum Glossary 29

II. Attachments:

i. Action for the Arts Guitar Initiative Resources ii. Student Practice Log (to be completed by students) iii. Action for the Arts Guitar Initiative Accomplishments Log (to be completed by students) iv. Musicianship Progress Report (to be completed by students) v. Classroom Management Strategies vi. Action for the Arts Guitar Initiative Chord Diagram Sheet (to be photocopied) vii. Action for the Arts Guitar Initiative Tablature Sheet (to be photocopied)

© 2010 International House of Blues Foundation, Inc. Limited reproduction for educational use only is permitted.

viii. Action for the Arts Guitar Initiative Manuscript Sheet (to be photocopied)

International House of Blues Foundation (IHOBF) Action for the Arts Guitar Curriculum

A NOTE TO GUITAR INSTRUCTORS FROM THE IHOBF The people who have participated in creating the materials you are about to review had some simple goals in mind. BEING YOURSELF* We want to support you to be the best instructor you can be, without asking you to significantly change your approach to teaching guitar. We know that each instructor has favorite musical language, songs, and ways of communicating information to students that are unique to him or her. We encourage you to do whatever you know “works best” as you make use of this resource. THE FLEXIBLE TIER SYSTEM We want this guide to be helpful and easy to use when you plan your upcoming classes. The ten learning blocks assembled in two tiers on the following pages are not intended to be rigid lesson plans. Rather, they simply lay out what we hope are reasonable sets of specific, related goals which you and your students may accomplish at a comfortable pace. The first tier of learning blocks might last you a few months or for an entire 30-week span. The second tier, as well. The progress of your class will be unique and you should progress only as your students demonstrate readiness. You may accomplish the goals for one learning block in a single lesson or you may be working on the objectives over the course of a few weeks or months. If you stay with material for an extended period of time, consider using some of the song suggestions intended to help you reinforce student learning while keeping lessons fun and interesting for everyone.


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In any case, as long as you are making progress, the number of the Learning Blocks

that your class reaches is not critical. The important thing is to progress along the most productive path for you and your students. Let’s take a look at the big picture. Programs associated with the IHOBF Action for the Arts Guitar Initiative typically span 20-30 weeks. If you achieve the goals in Learning Blocks One through Five with one class and make it through Learning Block Nine with another, all of your students will still be “on track,” even though they are learning to play guitar perhaps slower or faster than students in another class. METHOD MATERIALS FOR WEEKLY SESSIONS At the outset of guitar programs supported by Action for the Arts, IHOBF provides instructors with the Action for the Arts Guitar Initiative Handbook, which includes a copy of Mel Bay’s Modern Guitar Method Grade 1. This instruction book contains basic material for playing contemporary guitar. The book also includes a number of illustrations that may prove useful in conveying information to students. We encourage instructors to augment their classes/sessions with this and/or other resource materials. If you are using this curriculum but your group/class is not part of the IHOBF Action for the Arts Guitar Initiative, there are many resources that you can use that provide similar information as the Mel Bay book referenced above. For your convenience, a list of suggested resource materials has been included with this curriculum (see Attachment I). There are many more resources available than are currently listed at this time and this should by no means be considered a comprehensive listing. We invite your feedback regarding these resources and we welcome your comments/input in connection with others. * Please note: The Action for the Arts Guitar Curriculum offers a number of song suggestions for instances where a song is needed in order to accomplish a specific goal in a Learning Block. However, if you have other song preferences that you feel would better suit an exercise in a particular Learning Block, please feel free to use them. The song choices included are only suggestions, and IHOBF encourages instructors to use the material with which they are most comfortable.


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Additionally, IHOBF recognizes that people describe music terminology and ideas

in different ways, and that the terminology used in this curriculum may or may not be familiar to instructors. In order to further clarify terminology within the Learning Blocks, IHOBF has included a Curriculum Glossary for instructors. Terms that appear in bold typeface throughout the curriculum can be found within this glossary.


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PERFORMANCE GOALS & PREPARATION steps

Please note: the below information is provided to support guitar programs in theAction for the Arts Initiative that perform in student rec ta s at House of B uesvenues. However, the information is also applicable to any performance opportunity.

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You can track your students’ progress through observing them informally in class, and by noting their progress as demonstrated during rehearsals and performances (in-class, off-site or at the House of Blues) for classmates and family. The Action for the Arts Guitar Initiative typically includes one student recital/performance at the House of Blues (to be scheduled by the IHOBF). When you set performance goals with your students at the onset of a new class, you will help students by letting them know what to expect. In-class and/or off-site performances are meant to help students gain confidence performing at whatever level of learning and musicianship they have accomplished. Please choose performance pieces that are simple enough to allow students to focus on their performance skills, rather then struggling with new guitar techniques! When you coach students to perform for one another, for friends and family, or in front of an audience of strangers, their ability to put the music across is always affected by their emotional state as well as their readiness to be observed. Learning to make music in public involves the development of specific performance skills that IHOBF encourages you to include in your teaching over the course of the program. The Preparation Steps contain suggestions for helping your students to develop performance skills and confidence. The steps/suggestions can be introduced as you see fit throughout the program. Instructors should plan the timing of performance-related activities in accordance with student readiness. PREPARATION STEPS Step 1


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• Ask specific students to demonstrate or share a skill, a chord, a strum, or a part of a song for their class. Keep demonstrations brief and encourage

peer praise for these efforts. Step 2

• Ask a specific student to count off the tempo of a song, before the student starts playing it.

• Ask students to volunteer or invite specific students to sing verses or choruses of songs in pairs or as soloists.

• Invite all students to share a favorite song or “riff” for the group at the end of the class every week.

• Give students a practice routine that includes playing for a family member in order to build confidence performing.

Step 3

• Practice songs for performance, emphasizing group performance skills. Work with students on starting together, following your leads, building the dynamics together, and ending together. If there are solos involved, help the group play quietly enough and rhythmically enough to support the soloists. Help soloists project.

Step 4

• Discuss performance etiquette. If possible, try to have a dress rehearsal prior to the year-end student recital/performance at the House of Blues. Encourage relaxation through breathing. Below are some additional topics to discuss and practice with students before an actual performance:

• Be respectful of the performance space and each other. • Keep in mind they are representing themselves and their organization. • This will be a unique experience. Try not to let factors such as a large

stage, a big crowd, microphones or bright lights affect the performance. • Enter the performance area calmly with dignity. • Face the audience. • Think about the music. • Make eye contact. • Keep playing a piece of music even if interrupted or if they make a

mistake.


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• At the end of the performance, take a bow and exit the performance area.

Tier One

STUDENTS GOALS FOR LEARNING BLOCKS ONE THROUGH FIVE

1. Become comfortable holding, strumming, and singing with the guitar with proper

techniques. 2. Develop calluses. 3. Learn to play some individual notes as well as chords in the key of A. Suggested

chords include A, E, D, and “Little G”. 4. Learn to play two and three chord progressions containing some of the chords

named above. 5. Learn to play basic strums that instill rhythm as the foundation for making

music, and to create unique strumming patterns based on simple rhythms. 6. Gain an understanding of the individual guitar strings and the role of fret

positions in changing notes and keys. 7. Learn the basic parts of the guitar, including the body, bridge, bridge pins,

head, nut, frets, fingerboard, soundhole, saddle and tuners. 8. Begin to learn to tune a guitar with the fret method, by ear, and/or with

electronic tuners. 9. Begin to explore different musical dynamics such as tempo, volume and tone as

they impact making music with the guitar. 10. Begin to understand some fundamental and practical applications of beginning

music theory as it applies to strumming, plucking, and playing songs. 11. Begin to play chords and notes in time with others and alone.


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12. Prepare to perform at a student recital/performance at the House of Blues (refer to Performance Goals & Preparation Steps).

13. IHOBF encourages students to recognize that good musicianship requires more than technical skills and to develop musicianship skills that include the following:

• Demonstrate proper care for and handling of musical instruments and

educational materials.

• Listen to and show respect for the instructor as well as for your classmates.

• Learn to play as a member of your group. Take solos appropriately, and

learn to support other musicians when it’s their turn to solo.

• Learn to express your ideas and opinions constructively.

• Do your personal best and be proud of yourself. Please note: IHOBF encourages students to rate their progress in developing musicianship skills on a regular basis. For this purpose, IHOBF includes a Musicianship Progress Report along with the curriculum (see Attachment IV). If students identify other appropriate goals, please feel free to add them to the goals above and include them on the Musicianship Progress Report.


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WEEKLY SKILLS REVIEW The following basic information should be presented in Session One and reviewed during weekly sessions thereafter. Instructors are encouraged to monitor student progress in developing good playing habits that include: • Handling the guitars carefully, keeping them clean, and putting them on a stand,

in the case, in a box, or other safe place designated by the instructor when not in use during the class.

• Checking to be sure the guitar is in tune at the beginning of class. • Sitting with the guitar using healthy posture (no slouching). • Placing the thumb of the chording hand midway down the back of the guitar

neck, approximately behind the third string in the second fret. • Relaxing the shoulder, elbow joint, and palm of the chording arm and hand at all

times (an elevated shoulder is an indication that the guitar is too large for the player).


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• Arching the fingers of the chording hand above the fingerboard and depressing guitar strings only using the tops of the fingertips (having short fingernails is a must).

TIER ONE LEARNING BLOCKS Learning Block One: Teaching Objectives Please note: Terms in bold typeface are listed in the Curriculum Glossary 1. Motivate students by demonstrating some things you hope they will be able to

play in ten weeks. (MUSIC APPRECIATION) Explain to students that if they wish, they can keep track of their musical progress in an Action for the Arts Guitar Initiative Accomplishment Log (see Attachment III).

2. Help students establish good practice routines. Explain to them that if they

wish, they can use the Student Practice Log (see Attachment II) to record their practice sessions. (PRACTICE) A. Create some suggested practice routines they can follow.

3. Teach students to play an A major chord with good hand and finger positions.

(CHORDS) 4. Teach students how to strum down across the guitar strings, while chording A,

to a steady beat. (STRUMS) 5. Teach students to play and sing together, following the beat, and to start and

stop playing together by listening to each other and following your cues. (MUSICIANSHIP)

6. Teach students the idea of singing and playing “in tune”. Demonstrate playing

out of tune and in tune. Apply the concept to tuning their guitars. Introduce them to singing in tune for fun with one of the song suggestions in this curriculum or with a song of your choice. (PITCH)

7. Help students strum and sing familiar songs with an A chord without chord

changes, or with no more than one chord. (PITCH)


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8. Teach students one blues song of your choice. One song suggestion for this exercise is Bo Diddley’s “Ellas McDaniels” (written by Bo Diddley in 1955, this is a traditional street game song popularized by Bo Diddley using the “shave-and-


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a-haircut-two-bits” rhythm). Another suggestion is “Hambone” by the Red Saunders Orchestra (written in 1952, this is another street game one-chord song). Or, you may bring in something of your own to share. Play and sing the song over the A chord. (SONGS)

Learning Block Two: Teaching Objectives Reminder: If you are planning a student recital/performance, refer to the Performance Goals & Preparation Steps for suggestions on how to prepare. 1. Facilitate a discussion about what students enjoy about music and what they are

listening for when they hear it. Students can contribute their own ideas, and you can introduce new ones. (MUSIC APPRECIATION, MUSICAL VALUING)

2. Review A Major chord. (CHORDS) 3. Teach E Major chord. (CHORDS) 4. Practice changing from A to E chords, and teach students the term “chord

progression.” (CHORDS) 5. With the class, create a chord progression with different numbers of strums on

the two different chords. (CHORDS AND COMPOSITION) 6. Review the steady beat Down Strum. (STRUMS) 7. Introduce the flatpick and teach students to hold it properly and strum down

with it. Ask for their opinions and feelings about how the guitar sounds and feels when they play without it and with it.

8. Teach the Down-Up Strum to a slow, steady beat, using the flatpick. (STRUMS) 9. Introduce the concept of “tempo” and experiment with how changing the tempo

of the Down and Down Up strums influences the mood and sound of various songs. (DYNAMICS)

10. Help students explore the range of the guitar by finding and playing low to high

notes along the fretboard. (PITCH & NOTES)


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11. Review the song from Learning Block One, and teach a new song with two chords in Learning Block Two such as “Worried Man Blues” (written by the Carter Family in 1930, this is a very famous country blues song using an “AAAB” song form). (SONGS) Another song possibility for a 2-chord song would be “Careless

Love” (a traditional song, one of the earliest “AAAB” blues songs).


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12. To stimulate music appreciation, ask students to express their reactions to the song performed in Learning Block 2. (MUSICAL VALUING AND SELF EXPRESSION) If you wish, teach your students a fact about blues history related to the song. (MUSIC HISTORY)

Learning Block Three: Teaching Objectives Reminder: If you are planning a student recital/performance, refer to the Performance Goals & Preparation Steps for suggestions on how to prepare. 1. Discuss how students feel about practice and troubleshoot if some students are

experiencing difficulty. (PRACTICE) 2. Begin to teach students how to tune their guitars using string and fret

positions. (TUNING, NOTES, PITCH) 3. Review how to hold the flatpick. 4. Review A and E chords. Practice changing from A to E with the Down Strum and

Down-Up Strum. (CHORDS) 5. Introduce a shuffle/Blues beat with the Down-Up Strum. (STRUMS) 6. Discuss the value of offering positive feedback or comments to one another.

Invite students to compliment one another when they notice someone making a good effort or improving in any way. (MUSCIANSHIP)

7. Review songs with A, and A and E chords. (CHORDS, SONGS) 8. Review the concept of “tempo” and experiment with changing tempos of a song,

using the shuffle strum. Discuss how this influences its mood. (DYNAMICS) 9. Introduce the concept of arranging music. Arrange a song you’ve already

played, but change the tempo at different points in the song to see how tempo affects arranging. (DYNAMICS, COMPOSITION)

10. Teach students how to play a three-note introduction to a familiar song using

just three notes of a scale (ex: DO, RE, MI). Play the song, beginning with the three-note introduction. Show students how to notate and read the three notes using the notation system of your choice (tablature or standard notation). (NOTES).


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11. Teach students to play the D chord. (CHORDS)

12. Teach a song that includes the D chord. Start with a simple song that changes

only once to the D chord, or goes back and forth predictably and slowly, just between the A and D chords. (CHORDS, SONGS)

13. Assign a new practice routine that includes single notes such as the introduction

or a short, ascending scale, and practicing chords in progressions, with and without songs. (PRACTICE)


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14. Before moving onto the next learning block, be sure students are comfortable changing between A, D, and E chords, using three strums, and can sing at least one two chord song while playing guitar without having to pause between chord changes. (PROGRESS CHECK)

Learning Block Four: Teaching Objectives Reminder: If you are planning a student recital/performance, refer to the Performance Goals & Preparation Steps for suggestions on how to prepare. 1. Practice tuning guitars with the class, but provide active assistance. (PITCH,

NOTES) 2. Inquire about practice sessions, successes, and challenges. Reinforce good

practice habits. Troubleshoot with the class if some students are experiencing difficulty practicing. (PRACTICE)

3. Review familiar chords, strums and songs. (CHORDS, STRUMS, SONGS) 4. Introduce and explore the dynamics of volume on the guitar with hand

strumming and flatpick strumming, and with singing. As a group, perform one or two familiar songs at lower and higher volumes. Stimulate a discussion of how volume affects the mood of specific music. (DYNAMICS, THEORY)

5. Introduce and practice the Bass-Down strum without the flatpick so students

can feel the isolated movements of thumb and fingers. (STRUMS) 6. Apply the new strum to one familiar song with a single chord, no changes. This

will allow students to focus on the strum without taking on an additional challenge of sequencing the strum with a new chord after each change. (STRUMS)

7. Introduce both the “Little G” and the full G chord (“Big G”). (CHORDS) 8. Begin practicing for the “Big G” by stretching. Practice changing between D and

G chords. (CHORDS) 9. Teach students to view chords as a collection or family of compatible notes.

(CHORDS, THEORY)


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10. Discuss how chords get their letter names. Make sure students understand that the letter name of the chord represents the most important note in the chord, but that there are other notes that accompany the tonal center or root

note. (CHORDS, THEORY)


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11. Play many different kinds of chords for students, and elicit their reactions to the different kinds of sounds. (CHORDS, MUSICAL VALUING)

Learning Block Five: Teaching Objectives Reminder: If you are planning a student recital/performance, refer to the Performance Goals & Preparation Steps for suggestions on how to prepare. 1. Practice tuning guitars (review the fret and string positions) as teacher comes

around and checks each guitar. Demonstrate an electronic tuner, if possible. (PITCH)

2. Introduce the concept of the musical alphabet from A to G using both a single

note scale and a chord progression. (NOTES, THEORY) 3. Tie the musical alphabet into the theory from Learning Block Four in which

students learned how chords get their names. (THEORY) 4. Review strums with or without flatpicks, such as Down Strum, Down-Up Strum,

Down-Up Strum and Shuffle Strum. (STRUMS) 5. Review A, E, D and “Little G.” Reintroduce “Big G.” (CHORDS) 6. Introduce the A7 chord and teach students to play it. Show them the

difference between a major chord and a seventh chord. (CHORDS, THEORY) 7. Practice changing between D and A7 chords. (CHORDS) 8. With the class, compose easy-to-play chord progressions using every chord

students know well. Add one to two measures of the new A7 chord to the progression. (CHORDS, COMPOSITION)

9. Teach students to play the Bass-Down Strum by plucking the 6th string or 5th

string (isolating a bass note,) then strumming down across the rest of the strings. (STRUMS)

10. Arrange 1 familiar song in 4/4 time with just two chords, and teach students to

play it with the Bass-Down strum. (SONGS, STRUMS)


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11. Review song with three-note introduction. (NOTES)

12. Expand the three-note introduction to a five note ascending and descending scale, or a bass run – something that helps students build their independent finger strength, agility, and technique. Represent the note sequence in writing with either tablature or standard notation and make sure students understand how to read it and write it down with that system. (NOTES, THEORY)

13. Discuss different musical styles of which students are aware, and demonstrate

how changing strums changes the musical style of any song. (STRUMS, SONGS, MUSIC APPRECIATION)


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14. Experiment with changing the strum of a familiar song in order to affect a different musical style. (STRUMS, SONGS, MUSIC APPRECIATION)

TIER TWO

STUDENT GOALS FOR LEARNING BLOCKS SIX THROUGH TEN 1. Learn to play more individual notes as well as chords in the keys of A, E, and if

possible D. Suggested chords include A, E, D, A7, E7, B7, Little G, Em, C, and finally Big G.

2. Learn to play two and three chord progressions containing some of the chords

named above. 3. Learn to play basic strums that instill rhythm as the foundation for making

music, and to create unique strumming patterns based on simple rhythms. 4. Learn to tune the guitars independently with the fret method, by ear, and/or

with electronic tuners. 5. Explore arranging music applying musical dynamics. 6. Learn to play in time with others. 7. Prepare to perform at a student recital/performance at the House of Blues

(refer to Performance Goals & Preparation Steps). 8. Continue to develop and practice good musicianship skills. Song suggestions for these student goals:

“Midnight Special” by Leadbelly (Huddie Ledbetter) (Written in 1934, this is one of the oldest and most popular blues based tunes. “Midnight Special” is generally credited to Leadbelly but is probably from traditional sources).

“Backwater Blues” by Bessie Smith (Written in 1927, this is a fine example of a classic blues song describing the great floods of Mississippi in 1927).


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Learning Block Six: Teaching Objectives Reminder: If you are planning a student recital/performance, refer to the Performance Goals & Preparation Steps for suggestions on how to prepare. 1. Work with students on tuning their guitars independently. (PITCH) 2. Review A, E, D, “Little G” and A7, little G chords. (CHORDS) 3. Review all basic strums with and without flatpicks. (STRUMS) 4. Play familiar songs. Experiment with changing dynamics. (SONGS, DYNAMICS) 5. Review Bass-Down strum. Teach students how to match up the correct bass

strings with their chords when playing the Bass-Down strum. (STRUMS, CHORDS, NOTES)

6. Practice a song containing A, D and E chords using the Bass-Down strum.

(SONGS, CHORDS, STRUMS) 7. Practice a song containing D, A7 and little G chords using the Bass-Down strum

with the fourth string as the bass note. (SONGS, CHORDS, STRUMS) 8. Teach students to play the B7 chord by moving to it from E major. (CHORDS)

9. Practice changing between E and B7. (CHORDS) 10. Introduce a blues song in the key of E such as “See See Rider” (Easy Rider) by

Ma Rainey (written in 1924, this is one of the earliest examples of the “Classic” blues and one of the first recorded using the “AAB” form). (SONGS) Another song suggestion for this exercise is “Matchbox Blues” by Blind Lemon Jefferson (written in 1927, this is an example of one of the first of the solo male-recorded blues singers. The song has seen many interpretations, including versions by Carl Perkins and The Beatles.)


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11. Review the three-note introduction to a song from Learning Block four, as well as the five note ascending and descending scale from Learning Block Five. (NOTES)

12. Encourage students to create a new melodic introduction containing from three to five notes, and show it to the class. (NOTES, COMPOSITION)

13. Demonstrate soloing with a melodic line during a familiar song, so students begin

to understand the potential to apply what they are learning to play in a new way. (NOTES, COMPOSITION, SOLOS)


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14. Share favorite recordings that feature lead guitar solos. (MUSIC APPRECIATION, NOTES, SOLOS)

Learning Block Seven: Teaching Objectives Reminder: If you are planning a student recital/performance, refer to the Performance Goals & Preparation Steps for suggestions on how to prepare. 1. Practice tuning guitars in student pairs to nurture good listening and coaching.

(PITCH, MUSICIANSHIP)

2. Review A, E, D, “Little G”, A7, “Little G” and B7. (CHORDS) 3. Practice stretching for the “Big G” and play it at regular intervals during this

learning block until students can make the stretch more comfortably. Continue to rely on “Little G” for now when students are playing songs. (CHORDS)

4. Review Down Strum, Down-Up Strum, Shuffle Strum, and Bass-Down Strum.

(STRUMS) 5. Practice changing between E and B7. (CHORDS) 6. Show class how to slide the B7 from its normal position in the 1st and 2nd frets

up into the 2nd and 3rd frets and back down again for a bluesy effect. (CHORDS) 7. Invite students to attempt to play a short solo, even on one or two notes,

varying the plucking or rhythm of the notes, over a blues chord progression. (SOLOS, MUSICIANSHIP, COMPOSITION.)


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8. Apply a familiar three-note introduction to a new song. (NOTES)

Learning Block Eight: Teaching Objectives Reminder: If you are planning a student recital/performance, refer to the Performance Goals & Preparation Steps for suggestions on how to prepare. 1. Facilitate a discussion about practicing. Invite students to share what has been

working well for them. Give students an opportunity to help classmates whose practice is faltering to get new strategies.

2. Help everyone tune their guitars by ear, one string at a time, from string six to

string three. Give assistance, but encourage students to decide if a note sounds in tune or out. (PITCH)

3. Review A, A7, B7, D, E, Little G and Big G. Make a point of showing children how

they are playing chords in the musical alphabet. (CHORDS, THEORY) 4. Practice changing between A, D, and Little G; between E, B7, A; and finally

between Big G and E. (CHORDS) 5. Teach students to play Em and practice changing from E major to Em.

(CHORDS) 6. Teach students the “hammer on” technique with a Shuffle strum from Em to E

major and back again. Apply it to playing a blues song. (STRUMS, CHORDS) 7. Introduce the notion of time signature. Teach students to count measures by

grouping strums in measures of 4/4. Play a number of songs the students know in 4/4 and give them opportunities to identify the time signature each time. (STRUMS, THEORY)

8. Demonstrate Bass Runs. Teach students to play their first bass run from Big G

to Em and back up to G. Notate this strum with tablature or standard notation. Have students write the run down and read their own writing. (NOTES, THEORY)


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9. Introduce students to the Folk-Blues style by sharing a song that includes Bass Runs. “Fishin’ Blues” by Henry Thomas (written in 1928, this is a good example of blues incorporating ragtime influences) works well in G. Students will be

ready to play this song on guitar in Learning Block Ten. They can sing along for now. (MUSIC APPRECIATION, SONGS)

10. Introduce the C chord, and teach students to play a C chord by traveling down

to it from a Big G (CHORDS). During this block, do not play songs with C yet. Students are just preparing for the stretch. Stay with short chord progressions that give students practice between G and C chords for no more than 16 measures. (CHORDS)


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11. Ask students to express things they notice, enjoy, or question within the songs they’ve learned in the program. (MUSICAL VALUING, MUSIC APPRECIATION)

Learning Block Nine: Teaching Objectives Reminder: If you are planning a student recital/performance, refer to the Performance Goals & Preparation Steps for suggestions on how to prepare. 1. Assist students to continue learning to tune their guitars, in pairs, by ear.

Teach them to check and correct the tuning with an electronic tuner, if possible. (PITCH)

2. Review A, A7, B7, C, D, E, Em, Little and Big G. (CHORDS) 3. Play familiar songs with the known chords, and apply introductions, different

strums, and dynamics to arranging the songs with the class. (SONGS, STRUMS, DYNAMICS.)

4. Review and practice the “hammer on” technique with a Shuffle strum from Em

to E major and back again. Play it as part of the last Learning Block’s blues song. (STRUMS, CHORDS)

5. Practice changing from the G chord to the Em with a bass run, and play a song

with that run in it. 6. Practice moving from a G chord to a C chord, then back to G. (CHORDS) 7. Play a simple song that includes G, C, and D. (CHORDS, SONGS) 8. Teach students to play the D7 chord. (CHORDS) 9. Teach students to change keys of a three-chord song from the key of E to the

key of G. Substitute Gs for E chords. Substitute C for A chords. Substitute D7 for B7 chords. (CHORDS, KEYS, THEORY)

10. Review the Bass-Down strum and teach students to play a variation of that

strum: Bass-Down-Down Strum in a comfortable key. As they learn the strum, teach them to count the beats in measures of 3/4 time. You can also call this signature “waltz time.” (STRUMS, THEORY)


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11. Review which bass strings belong with which chords, and make sure students

reach for the correct bass note when playing the Bass-Down-Down strum. (NOTES)


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12. Share a recording of a blues song in ¾ time such as “Irene Goodnight” by Leadbelly, a.ka. Huddie Ledbetter (this song, written in 1933, is very popular and has been redone by many people, including on a hit record by the Weavers in 1950.) Teach the class to play the song. (SONGS)

Learning Block Ten: Teaching Objectives Reminder: If you are planning a student recital/performance, refer to the Performance Goals & Preparation Steps for suggestions on how to prepare. 1. Have students tune their own guitars as best they can, and assess students’

ability to tune their own guitars. Then fine-tune the instruments for them. (PITCH)

2. Review A, A7, B7, C, D, D7, E, Em, and Big G chords. Check everyone’s hand

positions and ease changing chords in order to write their evaluations. (CHORDS)

3. Assist students to create two warm up exercises with the chords they know,

using 4/4 time and ¾ time. Practice Bass-Down and Bass-Down-Down strums with these warm ups. (CHORDS, STRUMS, THEORY, COMPOSITION)

4. Teach students to play an Am chord by walking down to it from C. (CHORDS 5. Teach students to begin to sing and play a blues song with 4 chords such as Am,

C, D, and E chords. “House of the Rising Sun” works well (a traditional song, very popular with both black and white performers, with its probable origins in British folk music). Another song suggestion would be “Walk Right In” by Cannon’s Jug Stompers. Written in 1929, this is one of the most well known Memphis Ragtime blues tunes (it became a hit radio tune in 1963 when it was performed by the Rooftop Singers and was also featured in the soundtrack to the movie “Forrest Gump”). Go slowly; mastery may not occur in this learning block. (CHORDS, SONGS)


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6. Teach students one final five-note scale exercise, write it with notation of some kind, and assess students’ ability to write the notation and read it. (NOTES, THEORY)

ADDITIONAL SONG SUGGESTIONS “Hound Dog” by BIG MAMA THORNTON, 1953 - Lieber & Stoller composed the song “Hound Dog” popularized in 1956 by Elvis Presley. “How Long Blues” by Leroy Carr, 1928 - One of the most enduring and popular examples of the 8-bar blues form. “Trouble In Mind” by Bertha Chippie Hill, 1926 - Another 8-Bar Blues classic composed by Richard M. Jones and featuring a young Louis Armstrong. “Freight Train” by Elizabeth Cotten (Libba Cotten), 1958 - Libba Cotton wrote this endearing 16-Bar blues when she was 12 years old.


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Curriculum Glossary

Please note: The IHOBF Action for the Arts Guitar Curriculum Glossary is not a comprehensive listing of musical terms. 3/4 time “Waltz time” - A time signature that indicates three beats to a measure, and that a quarter note receives one beat. 4/4 time - A time signature that indicates four beats to a measure, and that a quarter note receives one beat. AAAB Song Form - An AAAB song form would have one line repeated three times and a rhyming line to complete the thought. Example:

A - It takes a worried man, to sing a worried song A - It takes a worried man, to sing a worried song A - It takes a worried man, to sing a worried song B - I'm worried now, but I won't be worried long

AAB Song Form - An AAB song form would have one line that repeats twice and a rhyming line to complete the thought. Example:

A - See See Rider, see what you have done A - See See Rider, see what you have done B - You gone and left me, now your man has come

Action – The distance between the strings and the frets or the fingerboard. Arrangement - The intentional manipulation of musical dynamics and portions of music within a single piece to create an overall effect as well as a transformational listening experience throughout. Bar Line – The vertical line that divides the measures on a staff. Bass-Down Strum - This strum begins with plucking one bass string for a full count, then strumming down across the guitar strings for another full count. The strum is good for playing music in 2/4 or 4/4 time.


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Bass-Down-Down Strum - Like the Bass-Down Strum, this strum begins with plucking one bass string for a full count. Then the player strums down across the guitar strings twice, each Down strum lasting for one full count. The strum is good for playing music in 3/4 time. Beat – The term “beat” can be thought of in two ways. A beat is simply a count, an expression of musical time that might be written as a quarter note. One might say, “There are four beats to a measure.” The other reference is to the beat as a pulse or a rhythm, heard alone or in a song. A steady beat in any time signature features identical notes. An even walking pace is a good example of a beat. Even so, a beat can be syncopated. People often say of a song, “It has a good beat.” Bending – Pulling a string sideways in smooth motion, to give the effect of raising the pitch of the played note a half step or whole step. Big G - Big G is a large, bassy, first position chord that spans all the strings of the guitar. It is played with the High G note on the 1st (High E) string, the B note played on the 5th (A) string, and the Low G note played on the 6th (Low E) string. One way to finger this chord includes placing the pinky on string 1 (High E) the index finger on string 5 (A string), and the middle finger on string 6 (Low E.) Another way to finger the chord requires a slightly larger finger stretch: the middle finger plays the B note and the ring finger plays the Low G note. Blues - A now traditional form of American music derived from African music and songs that were initially brought to the United States by African slaves, sung, revised, and adapted by people of African origins and descent before being embraced by people from all ethnic backgrounds and walks of life including those of Anglo and European descent.

Body - The main portion of the instrument is called the body. Guitars feature both an upper and lower “bout.”

Bridge - This narrow bar is normally placed perpendicular to the guitar neck, well below the sound hole. It holds the saddle of the guitar and bottom ends of the guitar strings.


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Bridge Pins - On some guitars, the guitar strings are held in place along the bridge with little pegs called bridge pins that secure the ball ends of strings in small holes cut into the bridge. Call and Response Song - The call and response song evolved, like the Blues, from the culture of African and African-American slaves who sang to one another in the fields and on work gangs. One voice leads and the others sing in response to the leader. Call and response songs frequently feature questions and answers, or statements and affirmations. Capo - A device most commonly used with guitar or banjo, the capo functions like a C clamp, holding strings down tightly against the fingerboard to increase string tension and raise the pitch of every string. Placing a capo over all the strings of an instrument raises its key. Chord - A chord is a family of related notes that center around a root note that bears the chord’s name. For example the C major chord has a C note as it’s “root” or tonal center, but also includes an E note and a G note. Chord Progression - A chord progression is a sequence of chords, each one played for a portion of a measure or more before changing to the next chord. Chorus - A portion of a song that repeats, both melody and lyrics, after each verse and is easily recalled by listeners. Using letter representation of song forms, if the verses are A and B, the musical bridge is C, and the chorus D, and the most popular form for a song might be A, D, B, D, C, D, D. Classical Position - To sit correctly with the guitar in the classical position the player sits up straight with his or her right foot flat on the floor and the left foot raised up several inches, resting on a low stool. Placing the guitar over the left thigh at about a 45-degree angle to the ground, with the lower bout between his or her thighs, the line of the guitar should appear to be almost diagonal to the floor. The player rests his or her right arm over and around the lower bout of the guitar and lets the strumming hand rest over the mouth. Composition - An original musical creation.


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Down Strum: Strumming down across the strings to a steady beat or pulse.

Down-Up Strum - Strumming down, then up across the strings to a steady beat or pulse. Dynamics - Varying degrees of loud and soft in music; the dynamics can be influenced by the intrinsic ability of any particular instrument create different levels of sound, and the touch, “feel” or attack of the musician’s fingers on the instrument. Dynamic Markings – Dynamic markings indicate the volume at which a piece of music should be performed. Examples of dynamic markings: Piano (soft or quiet), Mezzo Piano (medium soft), Mezzo Forte (medium loud) and Forte (loud). Electronic Guitar Tuner - The fastest and most reliable way to tune a guitar is with an electronic tuner. It is housed in a small box with LEDs that allow the player to SEE when a string is in tune. There are many different models that work well. Fingerboard - This flat, smooth surface holds the frets. You press the strings under your fingertips against it to play new notes. Fingerpicking - When a player fingerpicks, he or she isolates the guitar strings and plucks them individually or concurrently in small, designated groups, usually in a fixed pattern. The strings can be plucked with the soft pads of one’s fingertips, or with fingerpicks made of metal or plastic, worn around the soft pads of the fingertips, to create a bright, clear tone. Flatpick - A flatpick is usually made from a thin piece of plastic, shaped to fit comfortably between one’s thumb and index fingertip. Playing with a flatpick produces a clear, bright sound. To hold and strum with a flatpick, the player squeezes the flat edge of the pick between the Thumb of the strumming hand and the top joint of the index finger. Relaxing the muscles in the hand, the player brushes the tip of the pick across the strings while strumming.


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Folk Position - To play guitar in the folk position, the player sits up straight in a chair, and places both feet flat on the floor. The player’s thighs must be level to create a "shelf" that keeps the guitar on his or her lap. The player rests the guitar over his or her right thigh, perpendicular to the ground. And reaches his or her right arm over the lower bout of the guitar, elbow at the top, and lets his or

her hand fall across the "mouth." This position creates a snug, comfortable fit between the player’s body and the instrument. If the player wants to hold the guitar in "lefty," folk position, he or she have the guitar professionally strung and set up for a “lefty” and sit in the same position, but with the guitar over the left thigh. Frets - Frets are made of thin metal wire. They sit in the wood along the fingerboard at intervals that divide the fingerboard into spaces that create musical half steps. To play notes on the guitar clearly, place your fingertips between the frets, not on them. Harmony – The musical effect of playing different pitches at the same time; pitches are usually stacked in 3rds to create chords. “Hammer-On” - A Hammer-On is a special guitar technique made popular in Blues music. It consists of two notes played consecutively by plucking an open string and letting it ring for a split second, then pressing a fingertip down over that string with enough force to create a second vibration and a new note without having to pluck the string a second time. Head - The head of the guitar holds the tuners. Key Signature - The key signature is indicated by the placement of sharps or flats at the head of each staff to tell the musician what scale the music is based upon. Lead Guitar – The guitar in an ensemble that plays the melody or performs solos. Little G - The Little G chord is an easy-to-play abbreviation of the Big G, containing only the High G note played on the 1st (High E) string, and open B, G, and D notes on the open strings 4 through 1. To play Little G, strum across strings 4 through 1, only. Measure - A group of beats expressed in notes on the musical staff that are framed at beginning and end by the placement of a bar line. A measure can also consist of empty space between two bar lines.


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Melody - A sequence of notes, played and/or written on the musical staff.

Music Notation - A method of expressing musical sounds in writing with symbols (called notes or rests) on the musical staff; examples of symbols include whole notes and whole rests, half notes and half rests, quarter notes and quarter rests, and eighth notes and eighth rests. Note - A note is a pitch with a specific identity on the musical staff. Notes are given letter names to represent their position relative to pitches higher and lower. A note can be written and read or simply performed. Nut - The nut of a stringed instrument guides the strings into their places at the head, and along the fingerboard. A typical guitar nut has six slots, one for each string. Pentatonic - This refers to a specific type of scale that contains only five notes or solfege pitches - DO, RE, MI, SO and LA. Oddly, FA is skipped in the pentatonic scale because it represents the sub-dominant pitch, and can be harder for children to audiate and sing than the other pitches in the scale. Pick-up note – A note that is sang or played on the “Up” beat before the downbeat of the first full measure. Pitch - A pitch is a sound that has musical value determined by the speed of its frequency, and its perceived height or depth, as well as its position in relation to other pitches. “Pull-Off” – The opposite of a “Hammer-On,” the Pull-Off is another special guitar technique consisting of two notes played consecutively and fretted on the same string. After fretting the two notes, the Pull-Off is performed by first plucking the higher note and letting it ring for a split second and then pulling the finger of the string with enough force so that the second fretted note sounds without having to pluck the string a second time. Repeat Sign – A double bar with two dots in a written piece of music, indicating that the music should now return to the beginning of the song.


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Rhythm - A rhythm is a pattern of beats that repeats many times in a row, setting up a “groove” or predictable “beat” for some number of measures in a piece of

music. When different rhythms occur at the same time in music, they overlap and become “contrapuntal.” Rhythm Guitar – The guitar in an ensemble that plays repeated chordal rhythms, accompanying the singer and other instrumentalists. Root note - The root note of a chord is the note around which the chord is built. The chord carries the name of that note as part of its identity. Saddle - This guides the strings and lifts them above the fingerboard to create string tension. To play a note other than the open strings, one must depress a string against the fingerboard. The amount of string tension created by the height of the nut and bridge is called the guitar's "action." Action can be raised or lowered to improve the playability of your guitar. Scale - An ordered sequence of notes. There are many kinds of scales, each one featuring a specific pattern of distances between notes that is expressed on the lines and spaces of the musical staff. Shuffle Strum - Strumming down, then up across the strings to an uneven rhythm pattern during which the down strum lasts for a full beat and the up strum lasts only half a beat. Solo - A portion of a performance of a composition that is played by a single, featured musician. Song - A composition that includes a vocal part with lyrics, abstract or intelligible. Sound Hole - Also referred to as the "mouth." The sound hole allows the vibrating air that occurs when you pluck or strum strings to travel into the guitar and resonate throughout the wooden body. This produces a larger sound than would occur in an instrument without one or more sound holes.


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Spiritual - A form of music that evolved along the same lines as blues music, but which refers specifically to the presence of God, the existence of Heaven, and faith in a life beyond human existence on Earth. Spirituals are often sung in churches and at community gatherings.

Staff – Five equidistant horizontal lines where notes are written down, either on or between the lines, to indicate pitch. Strum - A strum is any pattern of motions, down and/or up, of the hand or flatpick across the guitar strings. It creates a rhythm. Tablature - A method of writing and reading music designed specially for guitarists. It differs from standard notation in that it indicates which strings of the instrument to play, with which specific fingerings, and at what designated locations the desired notes can be played along the fingerboard. Tempo - The pace at which musicians perform a piece of music. Tempo is not fixed or absolute. The composer or arranger can suggest a tempo at which they prefer their composition be played. But, the tempo is reinterpreted by every musician who plays the piece. Tempos often vary during the course of a single performance of classical or jazz music. Tempos are more commonly fixed in popular music. Tempo Markings – Tempo markings indicate the pace (or speed) at which a piece of music should be performed. Examples of tempo markings: Adagio (slow), Andante (medium) and Allegro (fast). Time Signature - These numbers appear as a fraction at the beginning of a piece of music. The number on top shows how many beats occur in one measure of music. The number below the bar indicates what kind of note receives one full beat. Treble Clef: A clef is the first symbol on the staff and indicates how notes should be read on the staff. The Treble Clef, used by high-pitched instruments like the violin, flute, trumpet, and also by other instruments such as the guitar, indicates that the G note is found on the second line from the bottom of the staff. Tuners - All stringed instruments have tuners around which are wound the top ends of their strings. Folk instruments have a primary set of tuners at the head. Some classical instruments also have very small, fine tuners at their bridges. There are six tuners on a guitar, one for each string. To raise the pitch of a string, turn its tuner away from yourself. To lower the pitch, turn its tuner toward yourself.


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Verse - The portion of a song that, unlike the chorus, includes different lyrics each time its melody occurs in a song.

Action for the arts guitar curriculum

Attachments

Attachment I

Action for the Arts Guitar Initiative Resources Please note: There are many resources available to support guitar instruction. The resources listed below are by no means a comprehensive listing. We invite your comments and other suggestions in connection with guitar instruction resources. Internet Resources www.ihobf.org www.hob.com www.melbay.com www.ascap.com www.grammy.com www.bmi.com www.menc.org www.childrensmusicworkshop.com http://arts.endow.gov/ www.cyberfret.com www.guitarnoise.com www.wholenote.com www.discoverguitar.com Print Resources Alfred’s Basic Guitar Method 1 (Alfred Publishing) Written by Alfred d'Auberge and Morton Manus Belwin’s 21st Century Guitar Library: Guitar Method 1 (WB Music) Written by Aaron Stang Belwin’s 21st Century Guitar Library: Guitar Rock Shop 1 (WB Music) Written by Aaron Stang Belwin’s 21st Century Guitar Library: Guitar Song Trax 1 (WB Music) Arranged by Aaron Stang Children’s Guitar Chord Book (Mel Bay Publications, Inc., 2000)


Written by William Bay

Attachment I

First Lessons Beginning Guitar: Learning Notes/Playing Solos (Mel Bay Publications, Inc., 2002) Written by William Bay First Lessons Beginning Guitar: Learning Chords/Playing Solos (Mel Bay Publications, Inc., 2002) Written by William Bay How to Play Guitar in Every Key (JT Publications/Heartland Music, 1997) Written by Howard Wallach Instant Guitar Chord Finder (Mel Bay Publications, Inc., 1992) Written by William Bay Mel Bay’s Modern Guitar Method Grade 1 (Mel Bay Publications, Inc., 1948) Written by Mel Bay Mel Bay Presents Mastering the Guitar (Mel Bay Publications, Inc., 2000) Written by William Bay & Mike Christiansen SmartStart Guitar, Ages 12 & Up (Hal Leonard Corp., 2001) Written by Jessica Baron Turner The Acoustic Guitar Method (String Letter Publishing, 2001) Written by David Hamburger The Hal Leonard Guitar Method, Book 1 (Hal Leonard Corp., 1977) Written by Will Schmid


Attachment II

Student Name: Age/Grade: Organization Name: Guitar Instructor Name:

Student Practice Log

Amount of Time Spent Practicing Date

Attachment III

Student Name:Age/Grade:Organization Name:Guitar Instructor Name:

Action for the Arts Guitar Initiative Accomplishments Log

As you develop guitar-playing skills, log your accomplishments below.

Accomplishment Date

1. I can name the parts of the guitar

2. I can name the strings on the guitar

3. I know how to sit and hold the guitar

4. I know how to take care of the guitar

5. I know how to tune the guitar

6.

7.

8.

9.

10.

11.

12.

Attachment IV

Action for the arts guitar initiative MUSICIANSHIP PROGRESS REPORT

Student Name: Age/Grade: Organization Name: Guitar Instructor Name: Date: Please check the box next to the description that applies to you

Goals for Developing Musicianship Never Rarely Sometimes Often Always

Demonstrate proper care for and handling of musical instruments and educational materials.

Listen to and show respect for your instructor as well as for your classmates.

Play as a member of your group. Take solos appropriately, and learn to support other musicians when it’s their turn to solo.

Express your ideas and opinions constructively.

Do your personal best and be proud of that!

Other:

Other:

Attachment V

Classroom Management Strategies

STARTING OUT RIGHT Although each class has its own personality, all teachers rely on some tried and true classroom management techniques to help them set and maintain a positive, productive tone for the class. There may be times you want to try a new strategy or revisit an old, familiar one. IHOBF does not require you to follow any particular classroom management approach or technique, but offers the thirteen strategies that follow as potentially beneficial possibilities that any teacher might find useful at some point in time. Take Charge • Bring Focus First • Use Non-Verbal Cues • Set Ground Rules • Offer Direct Instruction • Model What You Expect From Students • Use Positive Discipline When Students Need Reminding • Channel Needs and Behaviors • Try Low-Profile Interventions • Drop Names • Try Assertive Discipline • Give Assertive I-Messages • Create Humanistic I-Messages • Work It Out Take Charge


1. Bring Focus First - Get the attention of all of your students before you start your lesson. Don’t attempt to teach before they are quiet. New teachers might think that by beginning their lesson, the class will settle down – that the

Attachment V

children will notice and calm down. This rarely works. Instead, they may believe you accept their inattention and that talking is allowed during a lesson.

The focusing technique means that you will demand their attention before you begin and wait until everyone has eyes forward and ears open. Silence on your part is very effective. Begin your lesson using a quieter voice than normal. A soft-spoken teacher often has a calmer, quieter classroom than one with a stronger voice. His/her students sit still in order to hear what he/she says.

2. Use Non-Verbal Cues - You can use a non-verbal cue to let your students know

when to come to attention. Hold up your guitar or raise two fingers in a peace sign or make an O.K. sign. Have the students do the same when they see you start. Flick the light switch, or clap a rhythm pattern until everyone joins you. Do something that does not require you to raise your voice at all. Take the time to carefully explain what you want the student to do when you use your cues. Give points to the class when they follow the cue, and let the points build into a class prize such as a treat at the end of the month.

3. Set Ground Rules - Before you launch into teaching guitar, discuss your hopes

and expectations for students’ behavior. Let students know you will hold them accountable for their conduct, and ask them to hold each other accountable as well.

Include students in the process of setting ground rules together. Make sure to frame your ground rules in the positive. Ask students to contribute their ideas to a list of ground rules you write up on large paper. Instead of “no playing too loudly,” use “play softly enough to respect our ears.” Instead of “no leaving the guitars balanced on chairs, “ use “rest your guitar in its case.” Instead of “no-gum chewing,” use “leave gum at home.” If they offer a negative statement, re-frame it for them in the positive, and then write it down.


4. Offer Direct Instruction - Uncertainty increases the level of nervousness in the classroom. The technique of direct instruction is to begin each class by telling the students exactly what will be happening.

Explain briefly what you will be doing this week. Even set time limits for some tasks. Then stick to your plans as much as is possible. This technique really

Attachment V

helps kids who are having a hard time with one specific set of skills…they know they’ll move onto something easier soon.

5. Model What You Expect From Students - Teachers who are courteous,

prompt, enthusiastic, in control, patient, and organized provide examples for their students through their own behavior. The “do as I say, not as I do” teachers send mixed messages that confuse students and invite misbehavior. If you want students to use quiet voices, you too will use a quiet voice. If you want them to offer constructive comments to each other, be constructive and kind when you address them.

6. Use Positive Discipline - Offer praise. When you see good behavior,

acknowledge it. This can be done verbally, of course, but it doesn't have to be. A nod, a smile or a "thumbs up" will reinforce the behavior.

FOR WHEN STUDENTS NEED REMINDING 1. Channel Needs and Behaviors - Some students have a special need for

frequent recognition or have trouble focusing or sitting still for more than a few minutes at a time. Give these children a seat near you so you can help redirect their energies when necessary. Call on them frequently to keep them engaged. Find ways or special tasks to help them shine. If they need help feeling connected to you or the lesson, make a private plan with them to show them a sign that you notice them, such as tapping your nose or winking. Then they’ll know you are “with them” without it being obvious to other students.


2. Try Low-Profile Interventions - When a child acts inappropriately, it’s best to intervene in a way that is quiet and unobtrusive before the behavior escalates. Ignoring the situation in the hopes the child will “cool out” often backfires. An effective teacher will see and respond by engaging the student with a question or comment, inviting them to sit closer to them, or taking a position right nearby and making more eye contact. This helps you avoid making the mistake of getting aggravated and inadvertently rewarding the student for misbehavior by giving him or her your attention in the form of disapproval. If your approach is timely and inconspicuous, other students in the class will not get distracted, and the student in question will not even realize you are preventing him or her from causing trouble.

Attachment V

3. Drop Names - Some kids act out if they start to feel invisible to you. They crave more attention than other students. You can make effective use of name-dropping to keep these students aware that they are “seen.” Simply drop the student's name into your dialog in a natural way: "And you see, Charlie, we hold the flatpick between the thumb and the tip of the pointer finger." Charlie hears his name and is drawn back on task. The rest of the class doesn't seem to notice, but Charlie is pleased.

4. Try Canter’s Assertive Discipline - This traditional limit setting is old school

authoritarianism with a good mix of praise. This is high profile discipline. The teacher is the boss and no child has the right to interfere with the learning of any student. Clear rules are laid out and consistently enforced. Some teachers’ personalities are better suited to this approach than the more indirect kinds of classroom management. You know if that’s true for you or not! If it is, just be straightforward, dependable, and follow through.

5. Give Assertive I-Messages - I-Messages are statements you use to address a

student who is misbehaving. They are clear descriptions of what you expect the student to do. Focus the child's attention first and foremost on the behavior you want, rather than naming the misbehavior. "I want you to..." or "I need you to..." makes your request easier for the student to respond to. Do not start with "I want you to stop..." because this usually triggers confrontation and denial. You’ll hear: "It wasn't my fault..." or "So and So started it..."

6. Create Humanistic I-Messages - Humanistic I-messages are expressions of

our feelings that we structure in three parts, according to Thomas Gordon, founder of Parent Effectiveness Training. First, we describe the child's behavior, "When you talk while I am teaching..." Second, we state the effect this behavior has on us, "...I have to stop addressing the group..." And third, we express both how we feel and how this impacts the offending student, "... which frustrates me and causes tension between us.” This lets the student know how his behavior effects his own situation, not just yours. He will probably fall in line in order to avoid the natural consequences of acting out.


7. Work It Out - Sometimes misbehavior crops up when students disagree with one another while you are teaching. It often pays to stop and direct the troubled students to communicate directly and respectfully with one another while the class waits a moment. If the trouble is minor, the students can

Attachment V


usually resolve the conflict between themselves quickly. If not, you may wish to arrange to meet with them after class privately to work things out and get them to agree to talk later so everyone can move on. Having the pressure of peer observation during such an interaction can bring out the best in some young people. But not all. Some children feel nervous or singled out and they’ll just shut down under pressure. The key is to have a sense of how your students will respond and go public or private with the conflict resolution, accordingly.

Attachment VI


International house of blues foundation

Action for the arts Guitar initiative

chord diagram sheet

Attachment VII


Action for the arts Guitar initiative

tablature sheet


Attachment VIII



Action for the arts guitar initiative

Manuscript sheet

action for the arts guitar curriculum

Documents