What a Non- Guitarist Needs to Know For Teaching a Beginning Middle School Class Guitar Program

Transcription

1 What a Non- Guitarist Needs to Know For Teaching a Beginning Middle School Class Guitar Program Kendra Wendeln Florida State University Directed Independent Study Summer 2013 Dr. Leo Welch, Supervising Professor

2 1 Table of Contents Purpose of Directed Independent Study pg. 2 Interviews with Guitar Educators pg. 3 Method Book Literature Review pg. 8 Bibliography of Materials Reviewed pg week Curriculum Outline pg. 32 FMEA Presentation Outline pg. 36

3 2 Purpose The purpose of my Directed Independent Study is to research and collect information beneficial for immediate use in the instruction of a 9- week course of beginning class guitar. This information will be analyzed and presented from the viewpoint of an instrumental music educator who has band experience, but no experience teaching class guitar. Student will: 1. Apply to present findings and viewpoint at FMEA conference in January Provide a projected outline for the FMEA presentation. 3. Written synopsis of interviews with experienced class guitar educators. 4. A written literature review of methods books that may be useful in a 9- week course of beginning class guitar. The following methods and supplemental materials will be reviewed: a. Hands On Training Explore It! Guitar and Style. Student Text and Teacher Manual, by Nancy Marsters b. Jerry Snyder s Guitar School Method Book 1 and Teacher manual, by Jerry Snyder c. Everybody s Guitar Method 1 and Everybody s Guitar Assignment Book and More! By P. Groeber, D. Hoge, R. Sanchez d. Essential Elements for Guitar. Student method by W. Schmid and B. Morris. e. Hal Leonard Guitar Method Book 1. Student text, by W. Schmid and G. Koch. f. Supplemental Materials: Hal Leonard Guitar Method Easy Pop Melodies, Hal Leonard Guitar Method More Easy Pop Melodies, Hal Leonard Guitar Method Even More Easy Pop Melodies. 5. Construct a 9- week curriculum utilizing one of the reviewed class guitar methods. Projected due date: Monday, July 1, 2013 (with any revisions due no later than Friday, July 12 th )

4 3 Class Guitar Educator Interview Synopsis In preparation for teaching class guitar, I interviewed two music educators who have experience teaching class guitar. The first was Ed Prasse, a full time class guitar teacher at Leon High School in Tallahassee, Florida. The second was Tim Peck, a class guitar teacher at Fairview Middle School, also in Tallahassee, Florida. Both have extensive training in playing the guitar and it was the major instrument in which they received their collegiate education. The following questions (in bold) were posed to both educators and I have condensed their responses. Do you have a method book recommendation for a short class such as mine? Ed and Tim highly recommended the Explore It! Style and Guitar method book and teacher edition by Nancy Marsters, Leo Welch and Ed Prasse. There were several reasons they listed for choosing this book, but the major points included: 1. It has a built in curriculum that has recently been revised to fit a 9 week and 18 week course. 2. It immediately gives students the skills to begin strumming and playing chords. 3. It quickly transitions to melody playing and reading notes on the staff. 4. By the end of the nine- week class the students are experiencing the joy of playing in an ensemble setting, strumming chords, and playing written staff notation.

5 4 What areas of class guitar would you prioritize for teaching to ensure the student got the most out of the short period of time? The highest area of priority that both educators encouraged me to focus on were strumming chords and reading notes. Strumming chords is what students find the most enjoyment out of and is a very necessary element to master when playing the guitar. Reading notes is also a high priority. As a guitarist and a musician in general, it is extremely important the students learn to read musical notation on the staff. This is a skill they will have for life and can carry it over to any other instrument. Tim also felt that ensemble playing was extremely important. Teaching the students how to go about playing in three parts (bass, strum and melody) showed the students how enjoyable it is to play in small or large groups. He sighted the rock band/small ensemble structure that so many of them would certainly encounter when they continued guitar and how necessary it is they learn how the different parts of the ensemble function. Are there any supplemental materials you would suggest for this level of playing? The supplemental materials Tim suggested were the Hal Leonard Easy Pop Melodies books. Ed said that these would be useful about four or five weeks into instruction because of the key most of the songs were in. The Explore It! guitar method would focus more on the key of G, not the key of C. Ed suggested either transposing some of these songs, which would be an easy fix, or to supplement with songs in the key of G out of the Essential Elements Guitar Method book.

6 5 What are some essential supplies and equipment that you use in your classroom for daily instruction that may not readily be available in a band room? Some of the supplies Ed and Tim suggested were extra toys, such as a bass guitar and an electric guitar with an amp. These could be purchased easily at a low price and could be incentives for students to practice and master skills. Another suggestion was a few clip on tuners to be used by the students once they are taught how to use them and tune the guitars properly. Because band and guitar classes must share instructional space, Tim suggested I might consider getting a white board specifically for guitar use. How often do you change strings? A full string change every summer (if it s possible) was highly suggested by both Tim and Ed. Of course, I should change broken strings as needed. I can purchase individual string packs or buy each string in bulk, with the D string being the most popular candidate for needing replaced. The G will be the least likely to need replaced because of breakage. I have a closet to store some guitars, but not all of them will fit. What are some options for guitar storage? We discussed options such as cabinets, rolling racks and home made shelves. Cabinets and rolling racks would cost some money up front but might work very well with the number of guitars in cases I will have. Custom built shelves would cost

7 6 less, but would be more permanent. Any guitars that have to be stored out side of cases should be stored with in teacher sight. It is important to make sure the storage fits the space and packing up/unpacking procedures well. Hanging guitars is probably not a great idea for 6 th grade students, as their heights vary, as does their coordination. Would you suggest loaning guitars to the 6 th grade students? If so, what might be your procedure? Just like band instruments, students need to be able to take their instrument home to practice. However, Ed and Tim agree that this should be done in a structured way and considered a privilege. Students and parents should sign and return a contract (use the one in the back of the Explore It! book or use it as a template to create your own) that communicates specific expectations for guitar treatment in and out of the classroom. Consequences for breaking the contract, especially monetary, should be clearly stated. Once a student has returned a contract, it is still up to teacher discretion to allow a student to sign out an instrument. Students must clearly demonstrate proper care of the guitar before being allowed to take it home. Have a sign in/out sheet and have a very specific time the students are allowed to do this. Most likely, students will be ready for this step at the beginning of week 4. Use this as an incentive for contract return. Tim suggested sign out after the last bell of the day and sign in before the first period of the day. Ed suggested only allowing weekend sign in and sign outs, but possibly allowing students to practice in the band practice rooms during the school week before/after school.

8 7 Should I charge a class usage fee? If so, how much would be appropriate? Ed and Tim both agreed that a class usage fee was necessary. For a nine- week class, $10 should be appropriate. If parents/administration question the fee, be sure to stress the consumable elements that will be provided to their student. The use of a one hundred dollar instrument, strings and classroom book all cost money. If a student would look for instruction outside of school (nine weeks of private lessons, an instrument and supplies), it would easily cost hundreds of dollars. The $10 is a steal deal for nine weeks of instruction and a free instrument to use. The interviews with Ed and Tim were extremely beneficial to me. It was helpful to hear how they have structured their programs and then how they might apply that to my situation if they were faced with it. They were very detailed with their answers and offered several answers for each question. Although I interviewed them separately, they were very consistent with their suggestions. This consistency of answers, as well as the reputations of their programs, lets me know I have access to knowledgeable educators in my area. Not only that, I was assured I could call on them any time I would need help. I look forward to long term, professional relationships with both educators.

9 8 A Literature Review of Beginning Class Guitar Method Books The following literature review is to aid instrumental music educators in picking a method book for teaching class guitar in a middle school, beginning level class of a short duration. These methods are explored from the viewpoint of an instrumental music educator who has not taught class guitar before. Most specifically to my instructional needs, I am searching for a method that is functional and comprehensive for a 9 week rotating general music class of 6 th grade middle school students. Each method book will be examined and described, with the following categories being the focus: 1. Introduction the guitar. 2. Introduction and explanation of written musical notation. 3. Basic (and possibly, more advanced) techniques introduced and reinforced with in the text. 4. Presentation of different styles of music. 5. Approach to playing in an ensemble. 6. Supplementary materials available with student text/method. 7. Reflection and evaluation of instructional structure and fluency of text, specifically for the 9 week rotating general music classroom, instructed by a non- guitarist.

10 9 Based on these evaluations, a final summary of strengths and weaknesses of all books will be included. The summary will include ease of instruction for beginners, length of curriculum, and priority given to basics of chord and melodic notation. EXPLORE IT! Guitar & Style by Nancy Lee Marsters, Leo Welch and Edward Prasse. Introduction to the guitar Explore It! includes several helpful and focused items for the introduction of the guitar. The first chapter is completely dedicated to this purpose. It covers string numbers, parts of the guitar, proper playing posture and hand placement. It contains several diagrams and pictures, which are clearly labeled and easily connected with the text. This continues into the second chapter where the introduction of finger numbers and the explanation of the chord diagram can be found. It is thorough but very concise. This information is put immediately into practice. Students learn two chords (E minor and A minor) before actual written musical notation is introduced. Introduction of Musical Notation The book covers musical notation very simply, using musical terminology, with the terms bolded for easy reference. There are also several diagrams of each part being referenced. For rhythm, the quarter note is mentioned first and connected to the concept of the strum. It is later expanded upon with the half and eighth note strum, rests, dotted notes and other basic rhythmic notation. Examples are described in

11 10 text and pictured in small, digestible exercises to master the concept. Reading the actual pitches, on a music staff, one at a time is not introduced until chapters 4, 5 and 6. The student learns to read notation on the staff based on the string being used (i.e. notes on strings 1 and 2). A chord diagram always accompanies the written notation with finger numbers for reference. Sharps are introduced in the middle of the book. Basic Techniques The book covers basic movement techniques associated with chord changes, such as the relative finger, common finger and guide finger. The down and up strums and how to recognize the symbols for each are covered. First position and bass line accompanying and dampening are also touched upon. All have sequential explanations and diagrams, presented in small portions. Tuning the guitar is briefly covered in the back of the book. Styles of Music Explore It! has a very thorough coverage of musical styles that students might encounter when playing guitar on their own, every day. The styles include Folk Songs, Reggae, Blues, Classical and Rock n Roll. Each style presents new concept for further learning and improving on guitar technique, knowledge of the instrument, as well as the cultural relevance of the style. The book uses the styles as a baseline for teaching common and useful techniques for playing the guitar. Offering several different styles allows for the large- scale sampling of information in a short period

12 11 of time. Ensemble Playing The book introduces pieces that could be played by small ensembles, duets, trios or other groupings of students almost immediately. For example, by page 13, the first piece of music is presented to the student, with chord symbols above the staff, written notation on the staff and a bass line. Neither the written melody nor notation of bass line have been explained yet, but exist for reference and for the students to be able to return to it when they are ready to comprehend it all together. There are exercises that utilize parts of a full piece that will later be presented for an ensemble setting. The full ensemble pieces cover all of the styles of music presented in the book. Supplemental Materials Explore It! comes with student workbook pages for the different chapters, styles and techniques covered in the book. These pages are serrated for easy removal and turn in to the teacher. It also comes with an option for purchasing an accompaniment CD to help with practice. There is a glossary of terms and definitions in the back of the student text. Explore It! is available with a very thorough teacher manual: Hands On Training Explore It! Guitar and Style Teacher Manual by Nancy Lee Marsters and Edward Prasse. With in this manual is contained materials for assessment and duplication

13 12 for student use in learning, an 18 week curriculum, break down of instructional space and physical requirements, CD track descriptions, suggestions for supplementary materials, student contracts and a description of tuning the guitar. Reflection and Evaluation Explore It! is a sequentially organized book for building knowledge and technique of playing guitar. Although it is structured around musical styles, these are organized in such a way that, while it is presenting new concepts, it is also building on previous knowledge. This is an advantage for the teacher who is new to teaching a guitar class, with little or no previous guitar experience. The teacher can build his/her own skills easily in order to be a successful model for the students. It focuses an inexperienced instructor on the important basics educational elements necessary to produce a student that can be fluent on the guitar in a short period of time. The Hands On Training Explore It! Guitar and Style Teacher Manual is an invaluable resource to a teacher who is a non- guitarist. It is an easily digestible How To for any educator to follow for successful instruction and production of the highest possible student achievement. It specifically addresses methodology, physical instructional space and needs, and provides a clear sequence for exploring the art of playing guitar. An educator of any experience can quickly tell that this manual is formatted to help the proficiency of instruction and student learning, while still fostering student interest in the guitar and building an understanding of the

14 13 instrument and the techniques involved in playing. Essential Elements for Guitar, Book 1 By Will Schmid and Bob Morris Introduction to the guitar Essential Elements for Guitar begins with a brief but thorough history of the guitar on the opening page. Next is the introduction to the guitar. It is organized very clearly in sections, which are highlighted in yellow. Basics are covered using pictures and descriptions Rest Position, Playing Position and Tuning. Parts of the acoustic, classical and electric guitar are clearly labeled in pictures. Correct left and right hand positions are described and shown in photographs. Chord diagrams and playing chords (strumming) are clearly labeled, pictured and explained. Introduction of Musical Notation Strumming is introduced first, only shortly before musical notation. A simple C and G7 chord are introduced first; using only one finger on one string to make the chord is necessary. This may be an advantage for young players, anxious to get started, but the use of only the top 3 strings for strumming could pose a different obstacle. Elements of strumming, note reading, basic counting and theory are highlighted in bright yellow boxes for easy reference. Notes on the first string are introduced first, then second, third and all the way through the 6 th string. All are represented on the music staff and presented on chord diagrams and in pictures. One or two new

15 14 chords are introduced when new notes on strings are introduced. Basic Techniques Down stroke only is introduced first and worked on for several pages. Down- Up stroke is introduced afterwards, as well as a few common variations on the strum. Half way through the book, the Bass/Strum technique is covered. The explanation involves chord symbols and string numbers. The notation could be slightly confusing to younger musicians. This technique is introduced before the notes of the 5 th and 6 th string, which seems slightly out of sequence. Finger picking and pima are covered. Vocabulary, pictures and diagrams are clearly defined. The techniques of Power Chords, Tablature, 12 Bar Blues and barre chords are all introduced very quickly in short sections towards the end of the book. Styles of Music Country, Folk, Traditional, Classical, Spirituals, Rock n Roll, Pop, Blues, Carribean, African American spirituals are all represented in Essential Elements for Guitar. Relevant history of composers, artists and cultures is outlined and highlighted in yellow. The styles are present through out the book and not necessarily connected with the note reading and chord pedagogy sequencing. Ensemble Playing Essential Elements for Guitar contains several popular, well- known songs. There are a few pieces specifically labeled for 2 guitar parts, but predominantly, short

16 15 exercises as well as full pieces of music are presented in the format of a melody line and chord symbols/changes. Instructions for each exercise or piece usually direct a student to play along with the teacher while executing a certain technique while playing. This is very consistent through out the book. Any piece or exercise could be easily adapted for a duet, trio or other large ensemble part divisions, although instructions to do so are not present. Supplemental Materials Student book is also available with an instructional CD. No teacher edition is available. Reflection and Evaluation The concepts and skills are introduced in small chunks, practiced sequentially; sections culminate with an Essential Elements Quiz. These are skill based quizzes. There is no student activity sheet for reinforcement or assessment. The focus of each section is clearly labeled consistently with the titles Playing Chords, Notes on the (x) String, Playing Single Notes and Performance Spotlight. This helps focus the student on the kind of task being presented. This book focuses on developing and solidifying note reading and basic strumming techniques. The use of several styles and recognizable tunes is a big advantage for attracting student interest. Essential Elements is clearly structured for a yearlong beginning class guitar program. The introduction of other techniques in Essential Elements for Guitar, such as power chords, TAB and barre chords is done briefly at the end of the

17 16 book. I am of the opinion that, based on the scope and sequence, this late introduction is not necessary and could probably occur earlier in the book. Perhaps, if one was considering using this book, these techniques could be addressed in certain times of the year to break up the monotony of a daily classroom routine, such as before or after a long break. A non- guitarist may find this book familiar, as it is laid out much like the other Essential Elements method book for other band or orchestra instruments. This is a very attractive option for the yearlong program, but the scope and sequence would probably not fit the semester or 9 week course format. The teacher would have to pick and choose which concepts to focus on or where to skip ahead in the book. This would not be ideal for an instructor with limited guitar experience. Hal Leonard Guitar Method, Book 1 By Will Schmid and Greg Koch Introduction to the guitar The Hal Leonard Guitar Method Book has a brief and easy to follow introduction to the guitar. It contains labeled pictures of acoustic and electric guitars. It discusses tuning, but the pictures are small. Right and left hand finger numbers, playing positions and postures are clearly pictured and described. Introduction of Musical Notation Hal Leonard Guitar Method Book has a basic description and diagram of a musical

18 17 staff, time signature, clef, bar lines and notes on lines and spaces. Notes on the staff are introduced by string, starting with the first string. Pictures and a fret board/chord diagram accompany these introductions. Counting of simple rhythms is also introduced (whole, half and quarter notes). Notes on strings 1-4 are introduced with several melodic practice lines before any chords are introduced. C and G7 are the first chords introduced with a simple one finger approach, although the accompanying pictures show the 3 fingered versions. The next two chords are introduced in the full versions. C# and F# are introduced separately from the sequence of notes on the strings. A D major scale is laid out at one point in the book, but not identified as such. There is no mention of scales. 15 chords are introduced, but only one or two at a time and not necessarily for the purpose of chord progressions. Basic Techniques Hal Leonard Guitar Method Book covers down stroke strumming first. Down/Up strums and variations are not introduced until over half way through the book. Bass/Strum pattern as well as Boogie Bass is briefly introduced. There is no mention of finger picking or TAB notation. Styles of Music Exercises exist based on popular tunes in the following styles: Classical, Blues, Rock n Roll, Traditional, Folk, Patriotic, Caribbean, Country, Gospel, Spirituals and Hymns. Styles are not necessarily tied to specific techniques, but occasionally they

19 18 coincide. Ensemble Playing Hal Leonard Guitar Method Book has a few specified duets, but most of the exercises are presented in a format of a melody line and chord symbols/changes. Directions are given for students to demonstrate skills on one part or the other. These pieces could be adapted for duets, trios and different large group settings, but instructions to do so are not given. Supplemental Materials There is a CD available for purchase with the book. Reflection and Evaluation Hal Leonard Guitar Method Book begins with a unique approach. It introduces the guitar and all of its parts, basic musical theory and notation. All of the notes on strings 1-4 are covered before chords are introduced, with several reinforcement exercises. However, this may prove to be boring to a new guitar student. The order in which the chords are presented to the student may have a specific logic behind them, but it is not explained, nor is the reasoning for the sequence obvious to a non- guitarist. The notes are written in a slightly larger font, which makes it easier to read and focus on each exercise. A non- guitarist may find the lack of obvious structure or explanation of pedagogy a little confusing or random. It may also make it harder for the teacher to become a good model for students. The scope of this

20 19 book would fit a 9 or 18 weeklong course. There is not enough information for it to be used as a primary method of a yearlong program. This would be a good supplemental book for any length of program. Everybody s Guitar Method 1 By Philip Groeber, David Hoge, Rey Sanchez Introduction to the guitar Everybody s Guitar Method dedicates the first section of the book to introducing types of guitars, holding the guitar, musical fundamentals and tuning the guitar. There is a full page dedicated to each section, which contain clear diagrams, pictures and explanations. Introduction of Musical Notation Everybody s Guitar Method starts out like many others, where in notes on the strings are introduced first, with notation on the staff, pictures of the fingers on the string and a fret board diagram. Notes for the first three strings, quarter, half and whole notes are all introduced. Then, the book has a section on Chord Preparation. The theory of how chords are formed is explained and chords are shown in stacks, written on a staff. So, the first chords played and read are notated, not given with just a chord symbol (although the chord symbols are present above the notated chords). Then the book moves on with the 4 th, 5 th and 6 th strings, and 8 th notes. Chords are still notated on the staff. Introduction of chords and strumming with

21 20 chord symbols does not happen until more than half way through the book. Even after this introduction, chords are still notated, stacked/blocked on the staff. Basic Techniques Everybody s Guitar Method covers many basic techniques. Down/Up stroke, 1 st position, Root Strum, Guide fingers, Common fingers, 5 th fret notes, Barre chords, Power chords, Dampening, Major scales, Primary chords, Hammer ons and Tablature (TAB). Although many of these are introduced quickly near the end of the book, it is still helpful to have them. They are clearly explained and exercises to develop them are helpful. The book also has Tech Tips through out, which highlight techniques and musical elements being used. Styles of Music The styles of music used in Everybody s Guitar Method include Traditional, Patriotic, Caribbean, Classical, Blues, R&B, Rock n Roll and Jazz. There is not much explanation of styles or composers associated with the styles. Ensemble Playing Everybody s Guitar Method has a few specified duets for students, but most playing material is presented as a melodic line with chord symbols. All exercise could be adapted to duets or trios if assigned so by the teacher, but instructions are not present to do so.

22 21 Supplemental Materials Everybody s Guitar Method is available with a play along CD. The book contains two full pages of listed chord diagrams and a Glossary of terms. The main supplemental material is in the form of a student assignment book called Everybody s Guitar Assignment Book and More! This book contains blank music staffs, chord diagrams and TAB, but it is clearly designed for one- on- one/private lesson instruction. Reflection and Evaluation Everybody s Guitar Method contains quite a bit of information. It is clearly designed for a yearlong course in class guitar, or a significant period of time for a private lesson student. As a non- guitarist, the book is slightly overwhelming at first. The introduction of chords in stacks on the music staff before correlating them to chord symbols, as well as the significant focus on the individual note reading may seem logical to a non- guitarist that is an instrumental teacher. However, this may prove to be frustrating to young guitarist or inexperienced musicians. The other method books I have reviewed do not have this explanation of chords in a stack/on the staff, so I am not sure how common this pedagogy for chords may be on the whole. There are certainly parts of this book that could help supplement a shorter- term program.

23 22 Jerry Synder s Guitar School Method, Book 1 By Jerry Snyder Introduction to the guitar Jerry Snyder s book Guitar School Method is extremely detailed in its introduction to the guitar. In the opening table of contents it states that the book is divided into two sections and the student should use both simultaneously during the learning process. Section 1 contains chords and accompaniment and section 2 is for learning to read music. The first six pages of the book are dedicated to the purpose of a general introduction to the instrument, in general. Styles of guitars, holding and tuning the guitar and basic music fundamentals are all covered with extensive descriptions and pictures. Introduction of Musical Notation Tablature and the guitar frame are introduced immediately and related to the music staff in section one. As section one continues, different chords and progressions are introduced, all represented with the frame, TAB and chord stacks on a staff. Section two starts with reading rhythms of whole, half and quarter notes. These drills are also done on TAB as well. Section two moves through melodic notation and playing, introducing notes on the staff by string, in first position, starting with the first string and moving all the way through the 6 th string. Chromatic scale and the G major scale are also addressed.

24 23 Basic Techniques Section 1 contains techniques related to playing chords an accompaniment. Finger style, pick style, Left hand position, basic strum patterns, Bass/chord strum, Power Chords, Walking Bass, Finger style accompaniment, Arpeggio patterns are all covered. Section 2 techniques are related to learning to read music on the staff. Pick style, finger style, down stroke, up stroke, left and right hand positions, pima, rest stroke are all covered. Styles of Music Jerry Snyder covers several styles of music in this first method book. Traditional, Rock, Blues, Latin, Classical, and Folk styles are all covered and are connected to a defining technique to be used. Ensemble Playing The book has a few specified duets for students, but most playing material is presented as a melodic line with chord symbols. All exercise could be adapted to duets or trios if assigned so by the teacher, but instructions are not present to do so. Supplemental Materials The student method book is available with a play along CD. For the teacher, Jerry Snyder s Guitar School Teacher s Guide 1 is available. It is extremely detailed about the structure of a guitar class, outlining teacher

25 24 preparation, class size, equipment and facilities needed, selecting guitars, quizzes, differentiating and organizing instruction. It contains the National Standards for Arts Education, sets achievement standards, provides listening activities and websites for extra resources. The Course Description is a great overview for the scope and sequence of the entire method book. A curriculum, laid out by units, is clearly described and utilizes both sections of the book. Accompanying reproducible student worksheets are also provided. It is clearly a year long program, as it is long and detailed. Reflection and Evaluation Jerry Snyder s Method book and teacher guide are packed with an amazing amount of information. If I were a trained guitarist, this may be a very viable option for instruction. The book is certainly geared toward a very serious and rigorous study of guitar, not necessarily a young beginning class that may not have any exposure to music or instruments prior to instruction. There are several techniques involving coordination that would take much time and practice to develop. A non- guitarist may find this book extremely overwhelming. There is almost too much information to digest. The extremely detailed written descriptions may not be easily digestible for a beginner. There is a lot of information on every page. For example, while the combination of the guitar frame, TAB and chord stack would be extremely helpful in introducing all three kinds of ways for reading chords, it may be overwhelming to look at for a beginning guitarist; teacher or student. Putting several of these on a page, with other techniques and terms does not make it easy to focus on just one

26 25 thing a time. A non- guitarist teaching the class may struggle to keep up with the skills in the book in order to be an acceptable model for the students. However, I could see this being a great resource for supplementing other parts of the guitar program. Easy Pop Melodies, More Easy Pop Melodies, Even More Easy Pop Melodies Hal Leonard Supplemental Guitar Method Introduction to the guitar None Introduction of Musical Notation None. There is a very brief and basic defining of song structure and form vocabulary. Basic Techniques None. Styles of Music As the titles imply, the books cover mainly the pop music style. The songs range in age from the 1950s through the mid 1990s. Ensemble Playing The music in all of the books is set up in a lead sheet style. Chord symbols, melodic

27 26 lines and form are present. One could make alternate assignments using different strumming or finger picking patters, or possibly assign a trio of bass, strum and melody. However, this is not laid out in an assignment format or with any clear instruction that this could be an option. Supplemental Materials All books are available with CDs. Reflection and Evaluation Songs are arranged sequentially by skill level/difficulty in each book. Through observation, it seems that the books themselves are also sequential in difficulty. Although they all start out with songs that have just a few chords, and then get more complicated, the songs at the end of More Easy Pop Melodies seem to be slightly more challenging in length and chord progression than the Easy Pop Melodies. And Even More Easy Pop Melodies seems to expand even further on skills needed, song length and chord knowledge than the previous two songbooks. All of these books would very easily supplement any curriculum at any level.

28 27 Summary of Methods This collection of method books covers a wide range of information and skill levels for students. As a beginning guitarist, preparing to teach a short term, introductory class on guitar, I have found the following strengths and weaknesses in these books, as pertaining to my own specific situation and instructional needs. Appropriate Instructional Level (6 th grade, Beginner) The method books that are of appropriate skill level for a 6 th grade beginning guitar class would include Explore It! Guitar & Style, Hal Leonard Guitar Method, and Essential Elements for Guitar. All of these books have very easily accessible diagrams, pictures and written explanations appropriate for the grade level. They start with basics of musical notation and theory, which are appropriate for anyone beginning their musical instruction. An experienced Band director may also find the use of the Essential Elements for Guitar easily accessible, as similar in style to the band method book by the same publisher. Jerry Snyder s Guitar School Method Book is the only book that seems to get very complicated, very quickly. In the first few pages, as well as the rest of the book, there is a lot of information to take in right away. Extremely detailed descriptions with smaller pictures and diagrams cover every page. It would be very difficult for a 6 th grade, beginning musician to focus on one specific skill on each page. This book is clearly geared toward a more advanced and/or more mature student. Although not quite as complicated, Everybody s Guitar Method 1 also contains more advanced techniques, like chord stacks (recognizing chords by the notes on the staff instead of

29 28 by chord symbols) that would most likely confuse and frustrate a beginning instrumentalist. Length of Curriculum The methods that are appropriate lengths include Explore It! Guitar & Style and the Hal Leonard Guitar Method. The advantage to the Explore It! Guitar & Style is the included 18 week curriculum. Although the curriculum provided is twice as long as I need, the basics of strumming chords and reading notes are all covered in the first 9 weeks and the second 9 weeks becomes more about playing in ensembles and learning the different styles. The Hal Leonard Guitar Method does not come with a teacher edition of curriculum. Everybody s Guitar Method 1, Essential Elements for Guitar and Jerry Snyder s Guitar School Method Book are all more suited for a yearlong guitar class. Using these methods would make it necessary for an instructor to pick and choose which techniques to teach and which to skip over in the interest of time. An instructor who has not ever taught the course may find this frustrating. However, all of these books would have great supplemental music and techniques for use with any length of course. Basics of Strumming Chords and Reading Notes As stressed to me by experienced class guitar teachers, Ed Prasse and Tim Peck, students need the basics of strumming chords and reading notes to become proficient at playing the guitar and to receive the most rewarding experience from

30 29 learning to play the instrument. The methods that introduce these important basics in the most fluent manner are Explore It! Guitar & Style and Essential Elements for Guitar. Students are introduced to both strumming chords and reading notes in a very concise, but thorough manner. Very quickly students can begin to enjoy playing basic melodies and strumming chords. A short coming of the Explore It! Guitar & Style is that the book strays away from the F chord, which would certainly limit the use of supplementary music that is in the key of C, for example, which is a significant amount of the Easy Pop Melodies songbooks. One would have to transpose or find other options for more songs. The only immediate concern in the Essential Elements for Guitar is apparent within sequencing of the Bass/Strum technique. The Hal Leonard Guitar Method is not quite as fluent in the instruction as the previously mentioned methods. It introduces many notes before getting to the chords and this may prove unrewarding to some students. Everybody s Guitar Method 1 waits until half way through the book to introduce strumming chords with out chord stacks (which, as previously stated, can be a frustrating way to learn to play chords). In it s extreme detail and two section instructional framework, Jerry Snyder s Guitar School Method Book would also prove to be a little cumbersome for immediate fulfillment of playing notes and strumming. All three visual representations of chord stacks, chord diagrams and TAB are represented with every chord that is taught and this may be an overwhelming sight for a beginner to focus. In conclusion, it is my observation that the most appropriate method book to

31 30 use, for my personal situation, is the Explore It! Guitar & Style. It comes with a clearly laid out and complete curriculum, easily understandable by any level of instructor. The length of the curriculum is formatted for a class that covers a short time span and is geared towards young beginners. The priority of producing proficient and knowledgeable musicians through emphasis on note reading and chord strumming is also evident. I also plan on using the Essential Elements for Guitar and the Easy Pop Melodies for supplementing and enhancing the classroom experience for my students.

32 31 Bibliography of Resources: Groeber, Philip and David Hoge, Rey Sanchez. Everybody s Guitar Method 1. Fort Lauderdale, FL: The FJH Music Company, Groeber, Philip. Everybody s Guitar Assignment Book and More! Fort Lauderdale, FL: The FJH Music Company, Marsters, Nancy and Edward Prasse, Leo Welch. Explore It! Guitar and Style, third edition. Tallahassee, Florida: Class Guitar Resources, Marsters, Nancy and Edward Prasse. Explore It! Guitar and Style Teacher Manual, third edition. Tallahassee, Florida: Class Guitar Resources, Schmid, Will and Bob Morris. Essential Elements for Guitar, guitar book 1, first edition. Milwaukee, WI: Hal Leonard Corporation, Schmid, Will and Greg Koch. Hal Leonard Guitar Method Book 1, second edition. Milwaukee, WI: Hal Leonard Corporation, Schmid, Will. Easy Pop Melodies, second edition. Milwaukee, WI: Hal Leonard Corporation, (No author listed) More Easy Pop Melodies, second edition. Milwaukee, WI: Hal Leonard Corporation, (No author listed) Even More Easy Pop Melodies, second edition. Milwaukee, WI: Hal Leonard Corporation, Snyder, Jerry. Jerry Snyder s Guitar School Method Book 1. Van Nuys, CA: Alfred Publishing Co., Inc., Snyder, Jerry. Jerry Snyder s Guitar School Teacher s Guide 1. Van Nuys, CA: Alfred Publishing Co., Inc., 1998.

33 32 Projected 9- Week Class Guitar Curriculum In preparation for teaching a 9- week session of middle school class guitar, I reviewed several different method books, teachers additions and supplemental materials. After a comprehensive review of all the materials, I have decided to use the Hands on Training Explore It! Guitar and Style method book and teacher manual. I chose this method book for three reasons. 1. Ease of instruction for a non- guitarist. 2. Appropriate length of instruction for class time available. 3. Coverage of important, basic skills for students. With in the teacher manual is a very descriptive, detailed and easily followed 90- day curriculum. It describes drills, procedures and proficiencies in a manner that is very accessible, especially for someone who has no experience teaching class guitar. Although it is formatted for a 90 day (18 week) course, the first half of the book lends itself easily to teaching the basics that any student would need to know to feel accomplished and proficient on the guitar in a short period of time. Included in the first 45 days are important, basic skills such as strumming chords, reading notes on a staff and strings for melody and bass lines. Ensemble (duet/trio) playing are also covered, drilled and assessed. These skills of playing chords, reading music and playing in an ensemble are also the skills that my advising colleagues, Tim Peck and Ed Prasse, mentioned in their interviews as the highest priority for students to gain in class guitar. The following is an outline of the 9- week curriculum I plan to follow, according to the Hands on Training Explore It! Guitar and Style.

34 33 Week 1, days 1-5 Book pgs. 1-12, Proficiencies 1-3. Introduce, and review daily, procedures for classroom, instrument packing/unpacking, proficiencies and drills. Pass out student contracts for guitar use in and out of classroom. Learn Am and Em chords. Week 2, days 6-10 Book pgs , Proficiencies 4-5, Test 1 E7- Am progressions. G chord. Quarter and half notes. Week 3, days Book pgs , Proficiency 6. Adding the bass line. Learning notes on strings 6 and 5. Week 4, days Book pgs , Proficiency 7, Test 2 Whole notes. Divide class for bass/strums. Set up duos and trios. Learn Am- G- Am- E7 progression. Begin Guitar sign out for practice.

35 34 Week 5, days Book pgs , Proficiencies 8 10 Notes on strings 4 and 3. Week 6, days Proficiencies 9-10, Test 3 Reggae Project and student performance prep. Coordinate with Social Studies Department for cross- curricular supplies and sharing. Week 7, days Book pgs , Proficiencies The Blues. Notes on strings 1 and 2 D- G- A7 progression Blues shuffle Sharps Week 8, days Proficiencies 12-13, Test 5 Group students for trio playing Trios perform bass, strum and melodies as well as singing

36 35 Week 9, days Book pgs , Proficiency 14, Test 7 and Final Exam Blues Concert and Introduce classical style (if time permits) Assess student progress and give appropriate part of final exam.

37 36 Projected Outline for FMEA presentation on findings associated with: What a Non- Guitarist Needs to Know For Teaching a Beginning Level Middle School Class Guitar Program Kendra Wendeln Florida State University Directed Independent Study Summer 2013 Dr. Leo Welch, Supervising Professor 1. Why did I decide to do this? Introduction of viewpoint. a. Teaching situation. b. Guitar class through the FSU Summer Music program. c. Start a year long class and Recruit students to the other musical electives. 2. How did I work towards making this happen? Start a year in advance. a. PERSONALLY i. Get excited, practice and prepare. b. EXTERNALLY (outside of school) i. Talked to experienced guitar educators. ii. Sought quotes from several different music dealers. Asked for good quality instruments, cases and method books. c. INTERNALLY (inside of school) i. Began to seek other arts teachers support. ii. Administrative support. Work with in the system THE FOLLOWING POINTS WILL BE ELABORATED ON AFTER THE FIRST TWO 9 WEEKS CLASS PERIODS ARE ACTUALLY TAUGHT. 3. What was the outcome? (Information provided in a hand out format or provided to FMEA for website for posting) a. How did I structure my class/classroom? b. What method book did I use? c. List of materials and expenses. How is the maintenance funded? d. What were some of the biggest problems that presented themselves that I did not anticipate? e. What are some parallels between teaching class guitar and teaching another instrumental (band) class? 4. Provide a bibliography of reviewed DIS materials/method books. (Information provided in a hand out format or provided to FMEA for website

38 37 for posting). Update information on any books I used to supplement the chosen/main method book (if at all). 5. Questions??? Will ask Tim Peck and Ed Prasse to be present if possible to help field any specific guitar questions I may not know or may not have extensive experience in.