You are on page 1of 7

Introduction to the Ukulele: Gemeinshaft Home

Context Statement:
The curriculum is designed for individuals who have been incarcerated for non-sexual, non-violent
crimes within the western virginia region taking part in a reentry program. The transitioning members
enjoy weekly sessions of music therapy where they are provided opportunities for individual and
collective musical expression. While experience ranges within the group, there is a consensus of interest
in music learning. This is considered in the design as the process develops an ability for independent
expression and further learning. These lessons may be facilitated in the Gemeinschaft Home in
Harrisonburg, Virginia or any other community area.

Stage 1 - Desired Results

Standards: Goals:

8.4 The student will - I can use strumming patterns to fit even or odd beat groups (8.4). (S)
perform rhythmic
patterns in duple and - I have developed an understanding of how certain music should be played and what
triple meters. I should work towards to achieve this during practice (8.9). (K)

8.9 The student will - I can use my knowledge to recognize what I and others perform well and what needs
evaluate and critique to be refined or changed (8.9). (M)
music by
1. formulating - I serve as a respectful audience for the performances of others’ just as I act as a
criteria to be used respectful performer during my own (8.7.8). (S)
for evaluating works
of music; and - I am able to convey emotions, thoughts, and experiences through my musical works
2. applying (8.10.2 / 8.6.2). (T)
formulated criteria
for critiquing - I can use relevant terms to explain the emotional or social effects of a given musical
musical piece (8.8.2). (S)
performances of self
and others.

8.7.8 Consistently
demonstrating
concert etiquette as
an active listener or
participant.

8.8.2 analyzing and


interpreting works of
music, using inquiry
skills and music
terminology

8.10.2 describing
personal emotional
and intellectual
responses to works
of music;

8.6.1 The student


will create music
through a variety of
sound and notational
sources by
improvising
sixteen-measure
melodic and
rhythmic phrases;

8.6.2 composing
sixteen-measure
melodies and
rhythms

Generative (Essential) Questions:


● What features of an instrument might ease the learning process for a beginning musician?
● At what point would students benefit the most from learning a notation system? How could they decide
which type suits them best?
● What cognitive and emotional considerations can be incorporated in songwriting?
Stage 2 - Assessment Rubric

Goal/Quality No Evidence Minimal Evidence Meet Expectations Exceeds Expectations

The student will Student does not Student strumming Student utilizes Student utilizes
perform rhythmic strum in any is disjointed and strumming patterns strumming patterns that
patterns in duple and recognizable pattern does not fit evenly that fit into even or fit into even or odd beat
nor does it fit into into even or odd beat odd beat groups. groups and utilizes
triple meters (8.4)
even or odd beat groupings, but there complex rhythmic
groups. Student is is still musical patterns for their
unable to strum with coherence and strumming.
a recognizable style. recognizable
strumming style.

The student will Student shows no Student shows Student formulated Student demonstrates an
formulate criteria to understanding of limited an understanding of understanding of
be used for musical style and understanding of musical style and musical style through
does not show musical style and shows evidence of their playing and
evaluating works of
evidence of work in evidence of work in work in private discusses their
music (8.9). private practice to private practice to practice to achieve evaluation of musical
achieve evaluation achieve evaluation of thoughtful context, as well as how
of musical context. musical context. evaluation of musical they achieved their
context. conclusion in their
private practice.

The student will Student does not Student applies some Student applies Student applies the
apply formulated apply the musical of the musical musical assessment formulated critique
criteria for critiquing assessment criteria assessment criteria criteria for criteria when assessing
when critiquing for critiquing peers’ critiquing peers’ their peers’ songs/poems
musical
their peers’ songs/poems and songs/poems and and their progress on
performances of self songs/poems and their progress on the their progress on the the ukulele, and
and others (8.9). progress on ukulele, ukulele, but they do ukulele, as well as describes in detail how
and instead uses not apply it to their their own the student incorporated
personal preferences own performance. performance. the criteria and how this
as a tool for makes the performance
evaluation. effective. They are also
able to identify and
apply this knowledge to
their own performance.

The student Student does not Student Student Student demonstrates


consistently participate as an demonstrates some demonstrates concert concert etiquette
demonstrating active listener participation as an etiquette through through active listening
during peers’ active listener active listening and and participates in
concert etiquette as
performances, through their participation in details/feedback on the
an active listener or frequently causing feedback/details in details/feedback on students’ performance
participant (8.7.8). disruptions and/or discussing what the the students’ with attention to details
being unable to student utilized performance. and engages in
recall details and during their discussion with the
information on what performance. performer about their
the student utilized However, there is musical choices.
in their not much depth in
compositions and the comments.
ukulele playing.

The student will No emotional or Ideas of how the Relevant terms are Relevant terms are
analyze and interpret social effects can be music evokes utilized in explaining utilized in explaining
works of music, distinguished. emotional or social emotional or social emotional or social
responses are effects of a given effects of a given musical
using inquiry skills
generated, but the musical piece. piece as well as for
and music student struggles to describing methods for
terminology (8.8.2). formulate them altering these effects.
using relevant terms.

The student will The piece lacks a Emotional or The student is able to Emotions, thoughts, and
describe personal, coherent theme and conceptual convey emotions, experiences are evident
emotional, and is largely motivations for the thoughts, and in a musical work with
disorganized. work may be experiences through an organized phrase
intellectual
assumed, but are not musical works structure.
responses to works clearly conveyed
of music (8.10.2). through relevant
compositional
The student can features.
compose
sixteen-measure
melodies and
rhythms (8.6.2).

Stage 3 – Learning Plan

Days (30 minute


class periods) Objective and Activities

Day 1 (learning a Students will first have the opportunity to explore the anatomy of their instrument while a
song) diagram is presented on a board. This allows them to familiarize themselves with its
features before being given organized instruction. After 5-10 minutes, the teacher will
demonstrate two chord fingerings to the class and practice them by rote through a
call-and-response exercise. Lyrics may also be presented once adequate proficiency is
evident so students can engage in a sing-a-long.
Day 2 (ukulele This session will begin by recalling the song learned during the last class to enhance its
chords/strum) retention. Their knowledge may then be extended by presenting several other basic chords.
This may be done through tablature since it is illustrative and often more intuitive.
Call-and-response exercises will be done to practice transitioning finger positions before
progressing to varying strum patterns. Once students are familiar with the techniques, their
learning may be reinforced by incorporating the collection of chords into a song that
incorporates multiple strum patterns. Students should be able to transition between chords
and rhythm with reasonably ease by the end of the session.

Day 3 After continuing to build on the lessons from the first two classes, the students will
(Ukulele + Sing) combine their skills and knowledge to complete the song with instrumental accompaniment
(singing and playing their ukulele). The teacher will remind the students of the three chords
(C,G,F) and will have them sing along with the changing chords before they perform
independently the exercise. On Day 3, it is crucial for students to understand the structure
of piece. In order to assist in the learning process, the teacher will display the lyrics and
have the students analyze where the chords change in the piece. This activity can help the
class understand where the strong and weak beats land, as well as how the chords impact
the phrasing of the piece. Essentially, students should be able to feel the pulse of the piece
and convey this through their playing. At the end of the lesson, students will create their
own personal poem/lyric to present to the class. With the chords they’ve learned (or chords
they’ve learned on their own), students should write down and prepare their own
compositions by the beginning of class on day 5 or 6.

Day 4 On the fourth day of class, the teacher should continue to use at least 2 different rote songs
(Cont. learning to help students practice their strumming and singing coordination. Half of the class should
chords and sing) be focused on chords and strumming patterns, and the other 15 minutes should be spent on
free writing and playing. If students seem to have trouble coming up with their own lyrics,
the teacher can show examples and prompt the students with themes or concepts that they
can then build from. Students should be prepared to recite their poems/lyrics or play a song
with ukulele accompaniment by day 5 and 6.

Day 5 On the last 2 days of the class, students will be assigned to perform their song or recite the
(sharing day) poem they’ve created. The main purpose of this exercise is to help students create their own
personal stories and share their ideas with their classmates. At the end of the classroom
sharing, peers will have the opportunity to discuss with the composer what their inspiration
was, how they worked on their songs (their compositional strategies and thought
processes), and what they took away from the experience. ​ Students will have in advance
a musical criteria self-assessment and peer evaluation sheet in order to have an
informed dialogue on their and their peers’ performances.
Day 6 On the last 2 days of the class, students will be assigned to perform their song or recite the
(sharing day) poem they’ve created. The main purpose of this exercise is to help students create their own
personal stories and share their ideas with their classmates. At the end of the classroom
sharing, peers will have the opportunity to discuss with the composer what their inspiration
was, how they worked on their songs (their compositional strategies and thought
processes), and what they took away from the experience. ​Students will have in advance
a musical criteria self-assessment and peer evaluation sheet in order to have an
informed dialogue on their and their peers’ performances.

Final Assessment Rubric

Goal/Quality No Evidence Minimal Evidence Meet Expectations Exceeds Expectations

The student will Student does not Student strumming Student utilizes Student utilizes
perform rhythmic strum in any is disjointed and strumming patterns strumming patterns that
patterns in duple and recognizable pattern does not fit evenly that fit into even or fit into even or odd beat
nor does it fit into into even or odd beat odd beat groups. groups and utilizes
triple meters (8.4)
even or odd beat groupings, but there complex rhythmic
groups. Student is is still musical patterns for their
unable to strum with coherence and strumming.
a recognizable style. recognizable
strumming style.

The student will Student shows no Student shows Student formulated Student demonstrates an
formulate criteria to understanding of limited an understanding of understanding of
be used for musical style and understanding of musical style and musical style through
does not show musical style and shows evidence of their playing and
evaluating works of
evidence of work in evidence of work in work in private discusses their
music (8.9). private practice to private practice to practice to achieve evaluation of musical
achieve evaluation achieve evaluation of thoughtful context, as well as how
of musical context. musical context. evaluation of musical they achieved their
context. conclusion in their
private practice.

The student will Student does not Student applies some Student applies Student applies the
apply formulated apply the musical of the musical musical assessment formulated critique
criteria for critiquing assessment criteria assessment criteria criteria for criteria when assessing
when critiquing for critiquing peers’ critiquing peers’ their peers’ songs/poems
musical
their peers’ songs/poems and songs/poems and and their progress on
performances of self songs/poems and their progress on the their progress on the the ukulele, and
and others (8.9). progress on ukulele, ukulele, but they do ukulele, as well as describes in detail how
and instead uses not apply it to their their own the student incorporated
personal preferences own performance. performance. the criteria and how this
as a tool for makes the performance
evaluation. effective. They are also
able to identify and
apply this knowledge to
their own performance.
The student Student does not Student Student Student demonstrates
consistently participate as an demonstrates some demonstrates concert concert etiquette
demonstrating active listener participation as an etiquette through through active listening
during peers’ active listener active listening and and participates in
concert etiquette as
performances, through their participation in details/feedback on the
an active listener or frequently causing feedback/details in details/feedback on students’ performance
participant (8.7.8). disruptions and/or discussing what the the students’ with attention to details
being unable to student utilized performance. and engages in
recall details and during their discussion with the
information on what performance. performer about their
the student utilized However, there is musical choices.
in their not much depth in
compositions and the comments.
ukulele playing.

The student will No emotional or Ideas of how the Relevant terms are Relevant terms are
analyze and interpret social effects can be music evokes utilized in explaining utilized in explaining
works of music, distinguished. emotional or social emotional or social emotional or social
responses are effects of a given effects of a given musical
using inquiry skills
generated, but the musical piece. piece as well as for
and music student struggles to describing methods for
terminology (8.8.2). formulate them altering these effects.
using relevant terms.

The student will The piece lacks a Emotional or The student is able to Emotions, thoughts, and
describe personal, coherent theme and conceptual convey emotions, experiences are evident
emotional, and is largely motivations for the thoughts, and in a musical work with
disorganized. work may be experiences through an organized phrase
intellectual
assumed, but are not musical works structure.
responses to works clearly conveyed
of music (8.10.2). through relevant
compositional
The student can features.
compose
sixteen-measure
melodies and
rhythms (8.6.2).

You might also like