MADISON PUBLIC SCHOOLS
Basic Guitar Cycle Class
Madison Junior School
Written by: Stacy Snider
Reviewed by: Lee Nittel,
Director of Curriculum and Instruction
Stacy Snider,
Supervisor of Visual and Performing Arts
Adopted by the Board: January, 2013
Members of the Board of Education:
Lisa Ellis, President
Patrick Rowe, Vice-President
David Arthur
Kevin Blair
Shade Grahling
Linda Gilbert
Thomas Haralampoudis
James Novotny
Superintendent: Dr. Michael Rossi
Madison Public Schools
359 Woodland Road, Madison, NJ 07940
www.madisonpublicschools.org
I. OVERVIEW
Basic Guitar is an MJS cycle class designed for those students interested in learning the basics and
foundations of guitar. No prior experience is necessary. All in-class activities require active participation on
the part of the student. The course will expose the student guitarist to the technical and aesthetic aspects of
the guitar as an observer and participant in the rehearsal and study of music of various style periods. The
course will encompass the areas of general guitar knowledge, left hand technique, right hand technique, music
theory and guitar history. If desired, the course may be repeated and/or students can continue their studies at
Madison High School.
II. STUDENT OUTCOMES (Linked to NJ Core Curriculum Standards):
The student will demonstrate:
• a general knowledge of the guitar.
• the ability to utilize right and left hand guitar techniques in various styles of music.
• appropriate technical skills.
• a knowledge of music theory necessary to play the guitar.
• the ability to contribute positively toward the class rehearsal and learning process.
• the ability to intelligently evaluate guitar performances.
• an increased sensitivity to guitar music as an art.
• a general knowledge of the history of the guitar.
Specific content standards addressed include:
1.1
1.2
1.3
1.4
Creative Process
History of Arts and Culture
Performance
Aesthetic Response and Critique Methodologies
III. ESSENTIAL CONCEPTS
I.
General Guitar Knowledge
A.
Care and Maintenance of the Guitar
1.
changing and cleaning of strings
2.
cleaning and monitoring of
a.
neck and fingerboard
b.
tuners
c.
body, bridge and tailpiece
B.
Correct Playing Position
C.
Tuning Using Fingered Strings and Harmonics
D.
Guitar Fingering Notation
II.
Left Hand Technique
A.
Fingering of Pitches in Position I in C and G Major
B.
Fingering of Major, Minor and Dominant 7th Chords in Position I
C.
Fingering of Pitches in G, D, A, E, F and Bb Major
D.
Major Scales
1.
first position fingerings
2.
E.
F.
G.
H.
I.
moveable scale patterns in 1 and 2 octaves in various keys
a.
beginning with 2nd finger
b.
beginning with 1st finger
c.
beginning with 4th finger
Full and Half Bar Moveable Chord Forms
Fingering of Minor Scales in Relative Minor Keys of A and E Minor
Fingering in Pitches in A and E Minor
Fingering in Tones in Positions II, III, V, VII, VIII, IX, X and XII
Segovia Scale Patterns
III.
Right Hand Technique
A.
Identification of Fingering – P I M A
B.
Filing and Shaping of Nails
C.
Use of the Free Stroke
D.
Use of the Rest Stroke
E.
Alternation and Various Fingering Combinations
F.
Arpeggiation Fingerings Using Open Strings and Chords
G.
Melody and Accompaniment Using the Free Stroke
H.
Melody and Accompaniment Using the Rest Stroke
IV.
Music Theory and Fingerboard Knowledge
A.
Note Reading
1.
staff, meter signature, rhythmic values and string ranges
2.
reading key signatures of C, G, D, A, E, F, and Bb Major
3.
reading notes in various positions in C, G, D, A, E, F, and Bb Major
4.
reading notes in A and E Minor
B.
Sight-Reading
1.
occurring on a daily basis in unison
2.
occurring on a daily basis in 2, 3, and 4 parts
C.
Reading of Notes Requiring Moveable Scale Fingerings in High Positions
.
Use of Chord Formulas and the Relationship to Chord Fingerings
1.
major – 1 3 5
2.
dominant and dominant seventh – 1 3 5 b7
3.
minor – 1 b3 5
4.
diminished – 1 b3 bb5
5.
augmented – 1 3 +5
V.
Guitar History
A.
Ancestry of the Guitar
1.
Lute
2.
Vihuela
3.
Spanish Guitar
4.
Electric Guitar
5.
Guitar Synthesizer
B.
Important Guitar Composers/Performers and Their Contributions to the Development
of Guitar Technique and Literature
1.
John Dowland – Lute
2.
Luis Milan – Vihuela
3.
Matteo Carcassi
4.
Ferdinand Carulli
5.
Mauro Giuliani
6.
Fernando Sor
7.
Dionisio Aguardo
8.
Francisco Tarrega
C.
D.
9.
Andres Segovia
10.
Heitor Villa Lobos
11.
Various Concert, Jazz Guitarists and Guitar Quartets
Influence of Significant Guitar Composers/Performers on Popular/Contemporary Guitarists’
Technique and Music
Role of the Guitarist in the Arts
1.
inclusion in other instrumental and vocal groups
2.
artworks featuring the guitar and its ancestors
3.
dance music
4.
utilization in the theatre
IV. SCOPE AND SEQUENCE
A.
General Guitar Knowledge (5 weeks)
1.
changing and cleaning of strings
2.
cleaning and monitoring of
a.
neck and fingerboard
b.
tuners
c.
body, bridge and tailpiece
3.
correct playing position
4.
tuning using fingered strings and harmonics
5.
guitar fingering notation
B.
Left Hand Technique in Position I (4 weeks)
1.
fingering of pitches in C and G Major
2.
fingering of major, minor and dominant 7th chords in C and G major
3.
C major and A minor scale fingerings
4.
G major and E minor scale fingerings
C.
Right Hand Technique (4 weeks)
1.
identification of fingering – P I M A
2.
filing, shaping and care of fingernails
3.
use of the free stroke
4.
use of the rest stroke
5.
arpeggiation fingerings using open strings
D.
Music Theory and Fingerboard Knowledge (4 weeks)
1.
staff, meter signature, rhythmic values and string ranges
2.
note reading in position I
a.
C and G Major
b.
A and E Minor
3.
reading of key signatures of C, G, D, A, and E Major
4.
reading of key signatures in A and E Minor
5.
chord formulas and the relation to chord fingerings
a.
major – 1 3 5
b.
dominant seventh – 1 3 5 b7
c.
minor – 1 b3 5
E.
Guitar History (3 weeks)
1.
ancestry
a.
lute
b.
c.
d.
e.
2.
vihuela
Spanish guitar
electric guitar
guitar synthesizer
important guitar composers/performers and their contributions to the development
of technique and literature
a.
Francisco Tarrega
b.
Andres Segovia
c.
Heitor Villa Lobos
d.
various concert and jazz guitarists
e.
various guitar quartets and ensembles
V. STRATEGIES
1.
2.
3.
4.
5.
6.
7.
8.
Teacher demonstration
Multi-media presentation
Guided practice
Group lessons
Class discussions
Reading and researching the history of guitar and composers
Collaborative projects
Guest musicians
VI. EVALUATION
It shall be the purpose of this course to provide students exposure to basic guitar fundamentals. To that end,
each student will be assessed on not only effort and participation, but also on the individual’s growth and
development as a student musician. The evaluations and assessments allow the teacher to analyze each
student’s knowledge and skills. Students will receive both oral and written critique from the teacher.
However, because the course is primarily one of participation, grades should not interfere with spontaneity
and experimentation. Emphasis should be placed on the intrinsic reward of the music learning process, not on
using grades as rewards. Rather, evaluations should be used to disclose the student’s progress as well as areas
for future growth.
Methods of Evaluation and Assessment:
•
•
•
•
•
Observation
Individual critique
Daily participation
Written evaluations
Behavior assessment
Self/Peer evaluation
•
VII. RESOURCES
Student Text
Essential Elements for Guitar, West Music
Supplementary Tests
Leavitt, William. A Modern Method for Guitar. Boston: Berklee Press Publications, 1966.
Salvador, Sal. Single String Studies for Guitar. Melville: Belwin Mills Publishing Corporation, 1961.
Segovia, Andres. Diatonic Major and Minor Scales. Bryn Mawr: Columbia Music Company, 1953.
Other Supplementary Materials:
Various etudes and works from various style periods
Recordings – including records, tapes, and CDs in various style periods