Contemporary Guitar | Music Mark

Contemporary Guitar

Each Programme of Study has its contents grouped under the following Areas:

A Listening and internalising

B Making and controlling musical sounds

C Creating and developing musical ideas

D Playing music

E Playing music with others

F Performing and communicating

The contemporary guitar curriculum is designed to accommodate plectrum and finger styles on electric and/oracoustic guitars.

Programme of Study 1


Introduce learners to a wide variety of music during lessons.

Listening should be an enjoyable, active experience. As well as enhancing musical learning, it supportsthe development of lifelong skills of enjoying and appreciating music as a listener/audience member.

Encourage and plan for a range of responses when listening to music: movement, actions, discussion,writing, drawing, etc.

Encourage learners to share and talk about music that they enjoy listening to.

This helps to develop an inclusive lesson culture where learners feel that their music is valued andrespected.

Encourage learners to develop their verbal responses through structured activities that include questionsto focus their listening, e.g. how would you describe the character of this melody/rhythm?

Ask learners to listen and respond to di�erent pieces of music in their own time and then describe them inthe lesson, including aspects of dynamics, instrumentation, character, etc.

Learners should be encouraged to listen to music from a wide variety of styles and cultures.

P1 - A1

Listen and respond to music in and out of lessons, enjoying their

experiences and building on them

P1 - A2

Have some aural perception of the music to be played

Perform a piece to be learnt. Ask learners to describe its character using appropriate questions to unlocktheir creative response, e.g. Before listening to the music: ʻHow do you feel right now?ʼ And a�erwards: ʻDidlistening to the music change your mood at all?ʼ

It is important that listening is approached in a relaxed and enjoyable way.

Encourage learners to mark the pulse of music played by the teacher or other learners by clapping, tappingdi�erent parts of the body, walking around the room etc.

Listening games can be linked to all the pieces being learnt in the early stages.

Ask learners to respond physically to music being played, i.e. moving in time or beating time to music witha regular pulse. Repeat at di�erent tempi.

Ensure that learners understand the di�erence between tempo, pulse and rhythm. There are many onlinetools for exploring these elements, such as Chrome Music Lab (Rhythm and Song Maker).

Go through the piece again with learners, using gestures or actions to indicate rests.

Help learners to sing/play short, simple rhythmic/melodic phrases by ear.

Ask learners simple questions about pulse, pitch, rhythm, dynamics, etc.

Further ideas in developing aural acuity can be found in the approaches of Kodaly and Dalcroze(Eurhythmics).

P1 - A3

Recognise and discriminate between the musical elements of

pulse, pitch, rhythm, tempo, dynamics and texture

Ask learners to sing songs they know well, singing some phrases in their heads at a given signal from theteacher. When learners sing aloud again, they should be singing at the correct pitch and pulse.

The main aim is to internalise the sound before relating it to a symbol.

Ask learners to sing the final note to complete a melodic phrase played/sung by the teacher.

In the first instance, it helps if the penultimate note is either the leading note or the supertonic.

Ask learners how many phrases there are in a short piece. Where do they start and finish?

Encourage learners to match physical movements to the structure when listening to the piece, e.g. tap thepulse on their knees for the first phrase, their heads for the second phrase, etc.

Listen to other short pieces and ask learners to indicate when the main tune is repeated: count the numberof times it is repeated and describe what happens in between.

There are many opportunities to use a wide range of musical styles from around the world.

Encourage learners to create graphic scores of music they listen to.

P1 - A4

Recognise and convey in their playing simple melodic patterns,

e.g. repetition of main tune

P1 - A5

Using appropriate notation, make links between sounds and

symbols, e.g. shape of the melody, repetition

Instead of using paper, this activity can also be done on an interactive whiteboard or tablet, either using adrawing app or a specific graphic score app.

Display two or more rhythms. Perform one and ask learners to identify which they heard.

In group or whole-class lessons, learners can lead this activity. Notation can also be dragged into positionto create di�erent rhythms on an interactive whiteboard or tablet, using a presentation program such asPowerPoint or Google Slides. Learners can then create their own rhythms to work with.

Using notation, ask learners to clap/play/sing/say short phrases of a piece and count silent bars in theirheads, e.g. bars 1–2 clapped/ played/sung/said, bars 3–4 counted and bars 5–6 clapped/played/sung said.

Using notation, ask learners to describe the main features of a piece before playing/singing it – e.g. shapeof melody and obvious repetitions.

Play a familiar piece incorrectly. Ask learners to spot the mistakes.

Notation must be appropriate and take into consideration the learner, the instrument and the genre.Notations may include sta� notation, rhythm grids, dot notation, tablature, chord symbols and graphicscores.

Music from all parts of the world is appropriate for these activities.



Demonstrate an appropriate sitting and standing posture. With guidance, ask learners to imitate,experiment and adjust their posture.

Reinforce the importance of always taking a moment to ensure that posture is correct before starting toplay, whether in the lesson or in individual practice.

Creating e�ective exercises and drills to enable learners to adopt appropriate posture is invaluable inlarge-group and whole-class teaching. It promotes independence, giving learners the necessary skills torecreate the desired posture in their individual practice.

Encourage learners to explore holding the guitar in di�erent ways in an e�ort to find the most comfortableand practical posture. Take into account the need for the le� arm and right forearm to move freely while theinstrument remains secure.

Try chairs of di�erent heights in order to find the most comfortable one. (N.B. Chairs with arms areinappropriate.)

Finding the right size of guitar is very Important, e.g. half, three-quarter or full size.

Be aware of learnersʼ individual physical characteristics and make adaptations as appropriate.

Encourage learners to use a mirror to help evaluate their posture.

P1 - B1

Posture and freedom of movement

Develop an appropriate relaxed posture and hand position when sitting:•

supporting and balancing the instrument comfortably (without the hands)-

ensuring that both hands can move freely-

Video-recording could also be used for this purpose, but it is vital to check the policy of the school orother organisation you are working in with regards to any form of recording. Children must never bevideoed without parental consent and all policies regarding use and storage of recordings must beadhered to.

Invite learners to play a few notes or a short phrase individually. Ask other learners to observe andcomment on the playerʼs posture, suggesting how improvements can be made.

Encouraging positive observations and constructive suggestions help to build confidence.

If learners have photographic permission, encourage them to take photos of themselves and annotatethem to identify elements of good posture. This can be done with a photo editing app or presentationprograms such as PowerPoint or Google Slides.

Set up a tuning game, where learners are asked to identify which string is out of tune.

Large di�erences in pitch can be gradually reduced as learnersʼ aural awareness develops.

Demonstrate to learners how to tune the strings of the guitar and the amount of turning required on themachine heads to provide a significant change in pitch. Ask them to experiment by gently tightening andloosening the machine heads.

This activity aims to develop an awareness of the mechanics of the tuning process. It is important tomention that over-tightening of the machine heads can damage the instrument.

P1 - B2

Tuning the instrument

Understand the procedure for tuning the instrument, e.g. turning the machine heads•

Ask learners to listen to a clear tone, either produced by the teacher or recorded. Encourage them to imitateand discuss what a�ects tone quality.

Ask learners to play single-string bass notes at a regular pulse while the teacher plays simple chordprogressions.

D/Em/G/A, as in ʻLove Is All Around ,̓ or A/D/E/D, as in ʻWild Thing ,̓ are useful simple chord progressions.

Demonstrate to learners how to achieve a rest by stopping the string with either the le� or right hand.Encourage them to experiment using open strings, and to comment on the musical e�ect created by a rest.

Teach learners to play a 12-bar blues progression in A or D on single open strings, using eitherdownstrokes/upstrokes with the plectrum, or alternate right-hand fingers, while the teacher provides avariety of blues-oriented accompaniments.

This type of activity o�en stimulates learners to start exploring chord progressions for themselves.

Teach learners some simple strumming patterns, beginning with just three strings. Demonstrate how tostrum these using downstokes.

P1 - B3

Right hand

Develop a satisfying, clear sound at two or more dynamic levels:•

plucking strings with free right-hand and arm movements, using downstrokes-

using the plectrum as appropriate-

strumming patterns using downstrokes over three or more strings-

Ask learners to listen to a clear tone, either produced by the teacher or recorded. Encourage them to imitateand discuss what a�ects tone quality.

Show learners how to establish a free le�-hand shape that facilitates accurate placement of the fingers.Help them to find an appropriate and comfortable le�-hand position.

Be aware of learnersʼ individual physical characteristics and make adaptations as appropriate.

Demonstrate how to fret a note cleanly. Ask learners to copy.

Learners should be made aware of the degree of pressure that is required when the le� hand is operatingcorrectly.

Teach learners to play short, simple phrases to a regular pulse using three notes E/F/G on the first string.

A backing track can make this exercise more interesting and musical, and also act as a metronome.

P1 - B4

Left hand

Develop an appropriate free left-hand shape which facilitates accurate placement of the �ngers:•

developing strength of �nger action-

playing in a single position-

P1 - B5

Articulation and coordination

Coordinate the right and left hands at a regular pulse:•

beginning to develop some clarity and �uency-

using simple rhythmic patterns-

Demonstrate to learners ways of minimising the movement of le�-hand fingers. Ask them to imitate and todiscuss the advantages.

Ask learners to experiment with playing short, simple phrases using di�erent dynamics. Discuss how thedi�erent dynamics are achieved.

Demonstrate di�erent kinds of articulation, using some simple phrases. Ask learners to imitate them.Discuss how the di�erent sounds are produced, and their musical e�ects.

Teach simple exercises and tunes that use rests and staccato. Show learners how to make rests andstaccato e�ects by touching the string with the right-hand thumb or appropriate finger, or a combination ofboth.

Ask learners to make up some simple variations by using di�erent rhythmic patterns on each note.



Ask learners to explore di�erent ways of making musical sounds on the instrument in response to animaginative or pictorial idea.

The teacher can promote learnersʼ confidence by:

demonstrating how to experiment with musical ideas•providing step-by-step assistance with models, patterns and procedures•emphasising the open-ended nature of the activity – all outcomes are valued and enjoyed•

Help learners to make up short and simple rhythmic/melodic patterns from suggested musical startingpoints, e.g. two or three selected notes, ostinati. Abstract or pictorial ideas could also be used.

Rather than starting with complete scales, it may be more appropriate to choose two notes from a scale,increasing the number of notes gradually.

Repeat the process, selecting and discarding ideas and aiming for musical coherence.

Lead learners in a discussion about the musical e�ect of their improvisations.

Play ʻFollow my Leaderʼ: one player plays three or four notes, then the next player plays three or four more,starting on the last note of the first player, and so on.

Ask learners to compose short pieces from a given starting point, e.g. a story, poem, theme, picture, or oneof the musical techniques suggested in C1. Discuss the outcomes. Initially, this could consist of asking

P1 - C1

Improvise by exploring different sounds and creating repeated

musical patterns or phrases

P1 - C2

Make use of instrumental skills when beginning to compose

learners to write down their improvisations as an aid to memory, perhaps using their own forms ofshorthand as a precursor to sta� notation.

Through composing, learners are able to explore the music from the inside. Composing is valid in its ownright, but it can also be used to develop performing skills, knowledge and understanding. Productive linkswith general classroom work should be made wherever possible. It may be necessary to score learnersʼideas for them since their creative imagination may run ahead of their ability to write down their ideas, atleast where sta� notation is concerned.

Provide opportunities for learners to perform their compositions to others.

Encourage learners to use their instruments in creative activities in the classroom, applying technical skillsalready acquired.


D Playing music

Choosing appropriate starting notes, play short, simple tunes with a limited range of notes, e.g. televisionjingles, folk-tunes, nursery rhymes. Ask learners to select one and explore it away from the instrument by:

Next, ask learners to work out separate phrases by ear on their instrument, gradually building up thecomplete tune.

Ask learners to play the complete tune expressively to others.

As an extension activity, ask learners to teach the tune to other learners.

singing the melody•drawing the melodic contour in the air•clapping the rhythm•

Many learners experiment with tunes they know before starting formal instrumental lessons. If tunesexceed learnersʼ note range, teach a simple accompaniment or bass line by ear instead and play or singthe tune with them.

Perform a piece and ask learners to respond to the music by clapping, tapping or moving with a regularpulse and at a variety of tempi.

Repeat, with learners substituting a di�erent sound, gesture or action to indicate rests.

There is always scope to design new musical games in order to develop learnersʼ short-term memory.These can o�en be invented together as the activity proceeds, building on prior learning.

P1 - D1

Work out by ear how to play short, easy phrases or patterns from

well-known tunes

P1 - D2

Repeat short, easy rhythmic and melodic patterns by playing back

from memory

Engage learners in ʻcopycatʼ exercises, either with or without notation, maintaining a secure pulse andrhythm. Incorporate di�erent musical e�ects, such as contrasts of dynamics and articulation.

Ask learners to sing easy intervals and match them to notes on their instruments where appropriate.

At first, limit the phrase to be copied to possibly two bars of 2/4 or equivalent, using only two notes.

Demonstrate some simple chord progressions and ask learners to repeat them.

Simple three-note chord voicing is most appropriate at this stage.

Ask learners to strum some chord rhythms from a chord chart, maintaining a regular pulse.

Select pieces for learners from a range of di�erent times and places, and in a variety of styles. Take intoaccount:

the musical and technical skills that will be needed•opportunities to develop musical ideas•learnersʼ prior experience•their personal response to the music•their general musical interests•

Show learners how to practise their pieces and make improvements.

Adopt the holistic approach to teaching and learning.

P1 - D3

Play short, easy pieces from appropriate notation/ symbols

https://www.musicmark.org.uk/a-common-approach/principles/a-holistic-approach-to-teaching-and-learning/

Help learners to memorise selected pieces from their repertoire by:

building up short sections at a time•identifying and remembering rhythmic patterns and the shape of the melody•noting where repetitions and contrasts occur•focusing on expressive details•

From time to time, teach a short piece away from the music, only referring to the notation once it is learnt.

Encourage learners to play from memory to other learners.

Promote confidence by making memorisation of whole pieces a natural part of the learning process. Bearin mind that they are unlikely to be memorised properly until the performance is technically fluent. Someobjectives are:

to strengthen learnersʼ confidence•to focus on the expressive qualities of the music•to enable learners to communicate more freely without having the constraints of notation•

Play short, simple rhythmic/melodic patterns and ask learners to copy them.

Using flash cards, help learners to:

recognise di�erent note values and their rests•clap, sing and play simple rhythmic/melodic patterns, maintaining a regular pulse, perhaps at di�erent tempi•name notes and find them on the instrument (note recognition)•

P1 - D4

Memorise with accuracy selected short, simple pieces from their

repertoire

P1 - D5

Read and play at sight short, simple phrases at a regular pulse;

begin to make links between sound and symbol

read and play simple dynamics•read and play staccato and legato•

Presentation programs such as PowerPoint or Google Slides can be used to make flash cards to display ona tablet or interactive whiteboard. These have the advantage of being easily editable, so new rhythms andmelodic patterns can be created as required by either the teacher or the learners.

The maxim ʻsound before symbolʼ is as important now as ever. Reading notation is a means to makingmusic, not an end in itself. Di�erent forms of notation can be used, e.g. sta�, graphic, tablature, chordcharts, as an aid to learning. Consider carefully whether notation is a help or hindrance in learning musicfrom aural/oral traditions.

The overall aim is to help learners to develop instant recall of notes and rhythms, thus heighteningmusical memory. Help learners to gain enthusiasm for learning pieces, using notation when appropriate.Ensure that its use is encouraging rather than discouraging.

Devise a variety of games to explain sta� notation to young beginners, e.g.:

use a large stave with movable notes (in the shape of small, furry toys)•space permitting, play ʻnote jumpingʼ: mark out five lines on the floor with masking tape and ask learners to step orjump between them, calling out the note names and perhaps singing them as well

•play the ʻmusical alphabetʼ game: a learner says/sings a note name, the next learner says/sings the next one, and so on,up and down. Do the same missing out a note – G/B/D, etc.

•

Being familiar with the correct pitch names, rather than relying on finger numbers, is important forlearners to develop independence and fluency in reading notation.

Show learners how to experiment with di�erent ways of playing pieces, perhaps in relation to dynamics,tempi and articulation. Ask them to listen and decide which way of playing is most appropriate to thecharacter of the music.

P1 - D6

Begin to interpret music with some expression and with a sense

of its intended effect; talk about its mood and how it is sung or

played and suggest improvements to convey the character of the

music

Involving all learners in the group, discuss ways of improving the interpretation, particularly in pieces thathave few expressive indications.

Interpretation is the creative dimension of performing. At the earliest stage, learners should beencouraged to make expressive musical decisions, either intuitively or by evaluating their work. Theteacher can help by being an informed listener, giving feedback and encouragement.



Create opportunities for learners to: – play with an accompaniment, provided either by the teacher or by recorded means – play in a small ensemble

In addition to their lessons, all learners should be provided with opportunities for participation inensembles. By playing with others, they are likely to: – increase their motivation and interest – quicken their rate of progress – widen their performing skills – improve their personal and social skills

With carefully di�erentiated parts, even those at the earliest stages of learning can enjoy the sense ofachievement of playing as part of an ensemble.

Ask learners to follow someone beating time.

This can be a fun activity, with the teacher or learners beating time at a variety of tempi.

Discuss the mood of the music and how it can be conveyed.

P1 - E1

Play with the teacher and/or other learners, demonstrating some

basic ensemble skills by listening, watching and keeping in time

with the group

P1 - E2

Explore and discuss the character of the music and the expressive

possibilities

With learners, assess their ensemble playing, identifying strengths and areas for further development.Make a recording for this purpose, if appropriate.



Organise opportunities for informal performances in lessons and for parents/carers, relatives and friends athome.

Performance is a key skill that should be a natural part of the learning process from the earliest lessons.Simulated performances in instrumental lessons are particularly beneficial, helping learners gainconfidence. For young learners, performing to teddy bears can be an excellent first step to buildconfidence.

Ask learners to revise pieces already learnt and to perform them with expression.

Allow plenty of time so that the music is thoroughly prepared. Learners should be well prepared for everyperformance so that it is a positive experience for everyone.

Encourage learners to perform from memory where this will enhance confidence, musical awareness andcommunication.

Pieces need to be chosen with care so that they are well within learnersʼ capabilities.

Demonstrate to learners where and how to stand or sit, and help them to practise walking on and o� stage.If notation is used, ensure that stands are appropriately placed and at the correct height.

References to nerves can be counter- productive. If learners are thoroughly prepared, however, nerves canbe viewed as an aid to concentration. Encourage learners to have a sense of anticipation and enjoymentabout performing.

P1 - F1

Perform music to others, e.g. parents/carers, teachers, fellow

learners and friends, demonstrating an awareness of the mood of

the music

Help learners to evaluate each performance and suggest ways of making improvements and building upconfidence. Promote self-evaluation as much as possible.

Ensure feedback is balanced, with an expectation that positives will be found. It can be very e�ective tosometimes focus only on what went well.

Where appropriate, use technology to make audio or video recordings during lessons so that learners canlisten/watch back and evaluate their performance.

It is vital to check the policy of the school or other organisation you are working in with regards to anyform of recording. Children must never be videoed without parental consent and all policies regarding useand storage of recordings must be adhered to.

Encourage learners to develop their own library of pieces that can be repeated in future.

P1 - F2

Discuss the quality of their playing and, with guidance, learn from

their performance



Engage learners in a wide variety of structured listening activities during lessons, continuing to encourage arange of responses as in Programme of Study 1 (e.g. physical, verbal, written or pictorial).

Ask learners to listen with concentration to di�erent pieces of music in their own time and then describethem in the lesson, including aspects of dynamics, instrumentation, character, etc.

Support learners in their own listening by modelling questioning and other exploratory activities duringlessons.

Continue to ask learners to share music that they enjoy with other learners.

Encourage learners to discuss their feelings about music they have chosen through questioning, e.g. ʻWhyare you drawn to this music?ʼ ʻWhy is this music meaningful to you?ʼ

Referring to the musical elements, ask learners to describe what they liked and disliked about the musicthey have listened to.

Perform pieces to be learnt and ask learners to discuss appropriate features, e.g. tempo, rhythm, range ofmelody, dynamics, in relation to the character of the music.

P2 - A1

Listen to music with concentration and understanding in and out

of lessons, enjoying their experiences and building on them

P2 - A2

Have some aural perception of the music to be played, including

some feeling of the expressive characteristics

When teaching musical vocabulary it is important that the focus is on understanding the concept ratherthan simply recalling a word. Musical understanding must be developed for the terminology to bemeaningful.

Perform pieces in di�erent ways, e.g. with di�erent tempi, dynamics and articulation. Ask learners todiscuss the e�ect on the mood and character.

Playing to learners provides an immediate way of modelling, i.e. demonstrating musical ideas andtechniques, as well as developing aural skills. Learners can also experiment with the e�ect that tempo hason the mood and character of music by using a tempo changing app, either using pre-recorded music ormaking their own recording for this purpose.

Play short rhythmic phrases from pieces to be learnt and ask learners to clap back the pulse and/or rhythm.

Other body percussion sounds can be substituted for clapping for variety. These activities also work wellon instruments, e.g. performing the rhythm on one note.

Ask learners to identify note lengths aurally, e.g. crotchets and minims or quavers and crotchets.

In groups or whole classes, ask some learners to tap the pulse of simple phrases while others tap therhythm. Di�erent body percussion sounds can be used, e.g. stamping, tapping knees, clapping etc.

Help learners to sing/play short melodic phrases of pieces by ear, and to identify the di�erences eitherbetween half steps and whole steps or between di�erent types of larger intervals.

A virtual keyboard can be a useful tool for exploring pitch and intervals with all instrumental and vocallearners. Some allow multiple learners to collaborate, such as the Shared Piano on Chrome Music Lab.

Perform pieces to learners and ask simple questions about the musical elements, including articulation,phrasing and quality of tone.

P2 - A3

Recognise and discriminate between the musical elements,

including aspects of articulation, phrasing and quality of tone

Ask learners questions on the phrasing and structure of pieces.

Recording instruments live using a digital audio workstation such as Audacity provides a way of splittingup and re-ordering phrases to further explore structure.

Improvise some rhythmic patterns with learners, perhaps related to the pieces being learnt.

Contrast long and short notes and link to a mood, occasion or story.

All musical activities, including improvisation, are interrelated and can therefore be taughtsimultaneously.

Using notation, ask learners to work out the rhythm of phrases in their heads, then clap it.

Using notation, help learners to trace the contour of phrases, then compare it with the actual sound whenplayed.

Ask learners to clap/hum/sing/say simple phrases at sight.

Music examples for all these activities can easily be created with online notation tools, such as Flat orNoteflight.

P2 - A4

Recognise and convey simple structures in their playing, e.g.

repetition of rhythmic and melodic phrases

P2 - A5

Hear some elements of the music internally when using

notation/symbol, e.g. tempo, pitch, rhythm, dynamics

Using notation, perform pieces with some deliberate mistakes or deviations inserted. Ask learners toidentify the di�erences.

This activity can be adapted to an aural one only, by asking learners to memorise the main melody andthen asking them to identify any deviations.




Help learners continue to develop a relaxed posture through the length of the fingerboard, using achromatic scale on the G string.

Ask learners to observe each otherʼs posture and suggest how improvements can be made.

Discuss the reasons for good posture with learners.

This can be done both sitting and standing, experimenting with the length of the strap or the height of thechair.

Ask learners to experiment with tuning. Encourage them to listen carefully, ensuring that their open stringsmatch the notes of a keyboard, backing track or other external source.

Learners develop this skill at di�erent stages and therefore it is not an expectation that all learners will beable to do this by Programme of Study 2. Encourage collaboration between learners when leading thisexercise with groups.

P2 - B1


Develop an appropriate relaxed posture and hand position, both sitting and standing (adjusting the strap

appropriately):•

supporting and balancing the instrument comfortably (without the hands)-


P2 - B2


Tune each string separately with guidance, using an external sound source or electronic tuner•

Ask learners to play a simple tune, bending the string on one or two notes to hear the e�ect on intonation.Discuss the musical outcome.

Pay particular attention to pitch rather than tone.

Devise arpeggio exercises for learners, involving plucking strings with the thumb and fingers, using biggerjumps.

By using these exercises over open chords, the accuracy of the le� hand can also be developed.

Show learners how to use di�erent gauges of plectrum thickness when strumming simple chordprogressions. Ask them to listen to the percussive sound that is produced by each plectrum and explain thereasons for using di�erent gauges/sizes of plectrum.

Particular attention should be given to le�-hand chord technique, hearing the e�ect of accidentallybending a string within a chord shape.

Show learners how to use the palm mute in some power-chord exercises. Ask them to imitate.

Learners should develop this technique to a point where they can quickly change back to a clean sound. Awell-known example is ʻFoot Tapperʼ by The Shadows.

Teach learners simple open-chord songs, using only three or four chords with simple down/up strummingpatterns. Encourage learners to make up a variety of rhythmic patterns.

P2 - B3

Right hand

Play with a satisfying, clear sound more consistently at two or more dynamic levels:•

plucking strings with free right-hand and arm movements-

using the plectrum as appropriate-

developing the use of palm-mute-

strumming patterns using downstrokes and upstrokes-

Help learners to make audio recordings of their playing as a tool for evaluating their tone, using an audiorecording app.

Ask learners to play a range of notes in an appropriate position, other than the first position, naming eachnote as it is sounded. Also ask them to find and play individual notes in a specific position and on a specificstring.

Playing the ʻinvisible guitarʼ can help develop spatial awareness, i.e. ask learners to put the guitar down and move the le� arm up and down the right forearm as if from first to third position, secondto fi�h, etc., always letting the arm instigate the shi�. When changing position on the guitar, the thumbshould release its grip and stay opposite the second finger during the shi�.

Show learners how to practise di�erent types of shi�s on one string, e.g. those that move from one finger tothe same finger and from one finger to a di�erent finger (in both cases with and without the open string inbetween).

Set learners the task of making up vamps, asking them to use root/fi�h or power chords in order to playvamps from A to A6, E to E6, D to D6, in various rhythms. Evaluate the musical e�ect.

A 12-bar blues using open chords is perfect for this exercise.

P2 - B4

Left hand

Maintain an appropriate free left-hand shape which facilitates accurate placement of the �ngers:•

developing speed, strength and �exibility of �nger action-

playing in a single position and developing awareness of other positions-

Ask learners to play short, simple pieces, using di�erent dynamics. Invite them to comment on the musicale�ect.

Play simple songs with learners that require le�-hand muting techniques for the chordal accompaniment.Discuss the various ways in which this can be done.

ʻStand by Meʼ (John Lennon version) provides an example of this: G/ Em/C/D7.

Using a familiar tune, demonstrate le�-hand staccato. Ask learners to play the tune using staccato andlegato articulation for alternate phrases.

Draw attention to the relevant markings for staccato and legato when using notation.

Ask learners to improvise some simple variations on a familiar tune, illustrating staccato and legatoarticulation.

P2 - B5



playing with more clarity and �uency-

using simple rhythmic patterns-



Ask learners to improvise musical sounds and phrases freely in response to a picture or story.

Introduce learners to improvising melodic phrases by selecting patterns and phrases over diatonicharmony and common chord schemes:

demonstrating the idea to learners•selecting a range of notes that will fit a simple chord scheme•playing the chord scheme on the guitar, piano or using an appropriate backing track•helping learners to select notes that fit each chord•asking learners to play one of the appropriate notes as each new chord is sounded, trying di�erent options when thechord comes round again

•continuing by adding passing notes that lead through the bar from one chord change to the next•exploring the e�ect of moving in step and by larger intervals•

Some simple chord patterns in a major key are:

There are many backing tracks freely available online, as well as apps that will generate a backing track ifyou enter a sequence of chords, such as iReal Pro.

I III IV V•I VI II V•12-bar blues•

As the ear develops, learners will realise that a ʻwrongʼ note is never more than one scale degree awayfrom the ʻrightʼ one; moving quickly to a higher note therefore turns a ʻmistakeʼ into an accented passingnote!

Encourage learners to build up melodies from pentatonic patterns to blues and other scales by:

experimenting with patterns•

P2 - C1

Improvise rhythmic and melodic phrases freely or within given

structures, individually or as part of a group

As an extension activity, learners can create their own patterns or build on melodic and rhythmic patternstaken from pieces being learnt.

shaping improvisations within a developing simple structure•discussing the results•performing to each other•

Ask learners to improvise modal/blues melodies using call and response, with increasing expectation ofaccuracy in terms of rhythm, dynamics and articulation.

Show learners how to build on ideas from pieces and improvisations and develop individual or groupcompositions. Starting points can be musical devices, structures found in repertoire, e.g. ostinati/ri�s, ABA patterns, pieces listened to, or literary or visual stimuli.

Whilst instrumental lessons are not a substitute for curriculum music, they do provide opportunities forlearners to extend ideas that originate from classroom lessons. Instrumental teachers have particularexpertise that helps learners to explore the technical and expressive potential of the instrument.

Ask learners to explore musical ideas using their instruments, jotting down the main points.

Encourage learners to evaluate their work during their lessons. Give specific feedback about musical detailsand help them to overcome particular problems.

Help learners to refine and notate their compositions, possibly using technology if appropriate.

Notation programs and digital audio workstations are useful tools to support the recording and refiningprocess. Structural coherence and balance are more important than how many notes or bars a piececontains. What matters most, however, is that musical creativity becomes a habit – and one that learnersenjoy.

Promote opportunities for learnersʼ compositions to be performed alongside other pieces that they arelearning.

P2 - C2

Compose by developing musical ideas within simple given

structures and applying instrumental skills

Set activities over a number of weeks. These can be undertaken as part of learnersʼ practice and reviewedin each lesson.


D Playing music

Show learners how to work out the notes and rhythms of simple, well-known pieces by ear and ask them toplay them to others.

Ask learners to work out straightforward scale patterns and arpeggios by ear, giving them a suitablestarting note.

Play a simple piece and ask learners to recall the melody by humming or singing it. At this stage, melodiescan include simple leaps, e.g. the notes of a tonic triad, but aim to keep the overall range within an octave.

Engage learners in more extended ʻcopycatʼ exercises, i.e. more notes, longer phrases, greater expressivedetail.

Building on the musical skills, knowledge and understanding acquired in Programme of Study 1, extend therange of pieces to be taught, ensuring that the chosen repertoire relates to the full range of learningobjectives.

Encourage learners to apply their own creative ideas, e.g. using ideas in the piece to generate their ownimprovisations or compositions.

P2 - D1

Work out by ear how to play short, easy well-known tunes or

accompaniments using a limited range of notes

P2 - D2

Repeat short, easy rhythmic and melodic phrases by playing back

from memory

P2 - D3

Play a variety of short, easy pieces from notation/ symbols

Show learners how to practise their pieces and make improvements.

Continue to use the holistic approach to teaching and learning.

Choose a wide range of repertoire that:

consolidates knowledge of the first position•uses simple key signatures•possibly includes compound time, e.g. dotted crotchets and beamed quavers, so as to accommodatethe pim-ami arpeggio pattern.

•includes a larger variety of rhythmic groupings•

Help learners to learn selected pieces from memory, showing them ways to remember the music, e.g. byidentifying patterns, identifying the form, noting how passages are similar, or how they change, anddevising mnemonics to remember sections such as endings.

Build up memorisation skills regularly and systematically so that learners gain confidence and are able toperform to others from memory.

Encourage learners to read short, simple passages/pieces at sight, using chord symbols, tablature orstandard notation, making sure that they are well within their technical range.

Before playing through passages/pieces for the first time, help learners to hear in their heads the overallsound of the music by asking them to:

P2 - D4

Play from memory, and to others, selected contrasting pieces

from their repertoire

P2 - D5

Read and play at sight short, easy pieces at a regular pulse,

beginning to hear some of the elements internally and attending

to expressive details, including articulation and dynamics


identify important notational features of the music, e.g. time signature, key signature, accidentals, dynamics•clap or tap rhythmic patterns•tap the pulse while other learners tap the rhythm, and vice versa•note the shape of the melody and the melodic range•identify, from the notation, intervals larger than a second•sing/hum the larger intervals, having given them one of the two pitches•

There are many online tools for practising interval recognition, such as Teoria.

Emphasise the importance of steady, fluent reading, i.e. maintaining a regular pulse, and of allowingmistakes to pass without hesitating.

Ask learners to sight-read in small groups (in unison) or in parts, perhaps with simplified filler lines.

Point out to learners that when first playing a piece of music from notation, they are always ʻsight-readingʼit. Sight-reading, therefore, should not be regarded as a separate activity, but rather as an integral part oflearning new music.

When learning new pieces, encourage learners to make independent decisions about expressive features,such as dynamics, tempi, phrasing, articulation, and tone quality.

Ask learners to experiment with reverb and distortion from an amplifier and evaluate its e�ect. Similarly,listen to a recording that demonstrates the tremolo sound, e.g. Hank Marvin from the Shadows.

Show learners how to apply their listening skills and respond to the musical features of the music.

Tease out learnersʼ understanding in questions about the music.

P2 - D6

Interpret music by making choices in relation to tempo, dynamics,

phrasing, articulation, colour, etc. in order to achieve an intended

effect and convey the expressive characteristics; describe and

evaluate the music using appropriate musical vocabulary

Encourage learners to perform the music intuitively and to explore di�erent interpretations, even at asimple level.

Demonstrate alternatives for learners to discuss and evaluate.

Some learners interpret music intuitively, with little intervention from the teacher. Others need a morestructured approach. All learners should be encouraged to analyse how they make their musicaldecisions.



Ask learners to play a variety of ensemble pieces together, maintaining a regular pulse and listening to theother players.

Remind learners to sit/stand so that they can clearly watch the leader or conductor.

Ask learners to play di�erent parts of a piece (with di�erentiated levels of di�iculty) in turn, discoveringwhich part is the most significant in any particular passage and noting how the parts fit together.

Encourage di�erent learners to take a lead, perhaps by counting in, selecting the tempi or suggestingexpressive contrasts.

Encourage learners to participate in an appropriate ensemble, playing in unison with others initially, latermaintaining a separate part.

Regular ensemble experiences provide a focus for making music. Taking part in a group promotes quicker progressionand increased motivation and helps learners to develop social and personal skills.

Ask learners to discuss the character of the music and how this influences the choice of tempi, dynamics,etc.

Discuss with learners how further improvements can be made to their playing.

P2 - E1

Play with others, helping to maintain a separate part and showing

awareness of their role within the ensemble

P2 - E2

Explore, discuss and convey the character of the music



Organise opportunities for performances with others of a similar standard in lessons, and occasionally forparents/carers, relatives and friends.

Performance enables learners to convey their music to others, building on a range of acquired skills,knowledge and understanding. Simulated performances in lessons help to develop these skills beforeplaying to larger audiences.

Using their growing library of pieces, prepare learners so that they are able to perform with fluency andexpression.

Allow plenty of time so that the music is thoroughly prepared. Learners should be well prepared for everyperformance so that it is a positive, enjoyable experience for everyone – performer(s) and audience.

Encourage learners to perform from memory where this will enhance confidence, musical awareness andcommunication.

Fluency is key to developing confidence in performing. Pieces therefore need to be chosen with care to ensure that theyare well within learnersʼ capabilities.

Remind learners where and how to stand or sit to perform. If notation is used, ensure that stands areappropriately placed and at the correct height.

Show learners how to respond to applause and walk on and o� stage.

Refine pieces through simulated performances during instrumental lessons.

P2 - F1

Perform to others with a sense of occasion, e.g. in a concert,

school assembly, examination, projecting the character of the

music and acknowledging audience applause

Aim to give understanding and meaning to the music. Stimulate creative thinking in preparing forperformance. Learners should consider di�erent ways of communicating the character of the music.

It should be remembered that people respond di�erently to the idea of performing. It is important to lookout for signs of performance anxiety and support learners in developing strategies to address this.Learners should be encouraged to have a sense of anticipation and enjoyment about performing.

Lead learners in reflecting on and evaluating each performance. Help them to build confidence and makefurther improvements.

Discuss strategies for overcoming nerves and solving problems.

Discuss strategies for overcoming nerves and solving problems.

References to nerves can be counter- productive. If learners are thoroughly prepared, however, nerves canbe viewed as an aid to concentration. Encourage a sense of anticipation and enjoyment aboutperforming.

Encourage learners to revise pieces from their repertoire.

Continue to use technology where appropriate to make audio or video recordings so that learners canlisten/watch back and evaluate their performance.


P2 - F2

Evaluate the quality of their performance in relation to the

character of the music, suggesting improvements and

commenting on how the intentions were achieved



Ask learners to listen to music in a variety of styles and then describe the expressive character of the musicwith reference to the musical elements.

Ask learners to listen to music that is similar in period, genre, etc. to pieces they are learning. Ask them topoint out similarities and di�erences.

Perform pieces to be learnt. Ask learners to describe the overall character using appropriate vocabulary.

Ask learners to compare and contrast new pieces with pieces already known.

Perform pieces in di�erent ways. Ask learners to describe how changes to the dynamics, articulation,phrasing, tone quality, etc. a�ect the expressive character of the music.

As their knowledge increases, learners are able to use a larger musical vocabulary.

P3 - A1

Listen with attention to detail, responding to the expressive

character of music, using their experiences to inform their playing

P3 - A2

Develop their aural perception of the music to be played,

including some feeling and understanding of the expressive

characteristics

Play appropriate rhythms from pieces. Ask learners to clap them back and identify the note values.

In groups or whole classes ask some learners to tap the pulse of phrases while others tap the rhythm. As anextension, ask learners to tap the pulse with one hand and the rhythm with the other, or the pulse with thefeet and the rhythm with the hands.

Help learners to sing/play by ear short phrases from pieces to be learnt. Ask them to analyse some of themelodic intervals.


Play phrases in major and minor keys, ending on the tonic, dominant or submediant. Ask learners toidentify the mode of the music and the finishing note.

Perform pieces to learners and ask questions about the musical elements, including more detailed focus onarticulation, phrasing and quality of tone.

Ask learners to identify the main sections of more extended pieces. Ask further questions onrhythmic/melodic features, use of sequence, tonality, modulations, etc.

Ask learners to prepare short pieces using various compositional techniques as appropriate, e.g. glissandi,suitable scales or modes such as pentatonic or whole-tone, and describe their e�ect.

P3 - A3

Recognise and discriminate between the musical elements,

including more refined aspects of articulation, phrasing,

quality/variety of tone

P3 - A4

Recognise and convey structural features and compositional

devices in their playing, e.g. A A B A, sequence

Encourage learners to improvise short pieces using similar techniques.

Using notation, ask learners to work out in their heads: – the rhythm of phrases – the sound of melodies, e.g. hum/sing simple phrases and then compare with the actual sound whenplayed.

Using notation, ask learners to describe the main characteristics of pieces to be learnt: refer to musicalelements, articulation, phrasing, use of sequence, tonality, structure, expressive features, etc.

Ask learners to clap/hum/sing/say appropriate phrases at sight.

Using notation, perform pieces with a range of deliberate mistakes, e.g. rhythmic, melodic, dynamic. Asklearners to identify the di�erences.


P3 - A5

Hear simple music internally when using notation/symbols,

including repetitions, contrasts, changes to melodic and rhythmic

patterns



Continue to ensure that learners adopt an appropriate posture in both standing and sitting positions.

Ensure that learnersʼ shoulders are level and relaxed by asking them to hunch them up and let them falltwo or three times.

Teach learners to play various forms of barré chords. Draw attention to where the pressure is needed fromthe barré finger.

The le�-hand position of the thumb needs to be secure so as to produce a clean sound from theinstrument.

Show learners how to tune up to pitch, if necessary detuning and then retuning up to the correct pitch. Askthem to experiment, o�ering guidance as necessary.

An electronic tuner or tuning app is useful for this exercise.

Use familiar tunes to help learners learn the intervals by which strings are tuned.

P3 - B1


Develop an appropriate relaxed posture and hand position, both sitting and standing:•

supporting and balancing the instrument with more ease-


P3 - B2


Tune the instrument to itself with some independence, using an external sound source or electronic tuner•

Show learners how to play right hand arpeggio patterns across the strings, using both upstrokes anddownstrokes and incorporating larger intervals.

Show learners how to pluck strings with a plectrum and one or more fingers simultaneously.

Teach learners to play exercises, scales and arpeggios that include le�-hand positional changes.

By ear, and from notation, teach learners some pieces that incorporate positional changes.

Demonstrate how a tune can be played using several positions.

Teach some hammer-on and pull-o� exercises for the le� hand on open strings. Ask learners to experimentwith these techniques in familiar tunes, aiming for a steady rhythm and a clear tone.

Show learners how to add slides to a well-known tune so as to embellish the melodic line.

P3 - B3

Right hand

Play with a satisfying, clear sound more consistently, across a range of dynamics:•

plucking strings with free right-hand and arm movements, using downstrokes and upstrokes-

using the plectrum as appropriate, including hybrid plucking-

P3 - B4

Left hand

Maintaining an appropriate free left-hand shape which facilitates accurate placement of the �ngers•

recognising and playing with secure intonation-

developing speed, strength and �exibility of �nger action-

beginning elementary position work, including simple shifts-

beginning to develop various tone colours through hammer-ons and pull-o�s on open strings, slides

and string bends-

Demonstrate a three-octave pentatonic scale incorporating slides. Ask learners to copy the scale and thenuse it to improvise over a relevant chord progression.

This is an e�ective way of achieving position changes fluently and accurately.

Listen to some two- and three-note slides. Devise some exercises that incorporate them. Ask learners toplay them, emphasising the need for smoothness and rhythmic accuracy.

An example of a two-note slide occurs in 50ʼs rock-n-roll J̒ohnny B. Goodeʼ; an example of a three-noteslide occurs in ʻSo Far Awayʼ by Dire Straits.

Help learners to learn some ri�s that include string bends.

Learners should pay attention to the string gauge during this activity. The G string may need to belightened to achieve the full tone bend. A ʼ16ʼ is recommended, especially for younger learners, otherwiseintonation may be a problem.

Demonstrate how a tune can be played using di�erent articulations. Ask learners to copy and to discuss themusical outcomes.

Using familiar tunes, ask learners to play them using di�erent dynamics and positions. Ask them tocomment on the musical e�ect.

Ask learners to make up some simple rhythmic variations on a well-known tune, combining di�erentarticulations with positional changes.

P3 - B5



playing with more clarity and �uency at a variety of tempi-

using a variety of articulations and rhythmic patterns-

using a larger range of notes, incorporating simple shifts-

Ask learners to suggest appropriate fingering for some of their pieces.



Regularly ask learners to make up improvisations:

in particular styles, e.g. rock, rags, reggae, garage; draw on relevant musical devices from pieces being learnt, whereappropriate

•by varying a theme, exploring contrasts of elements, e.g. pitch, rhythm, tonality, dynamics•using a free theme based on the mood or character of a piece, e.g. sense of autumn, clouds, jollity, sadness, openspace, speed, night time

•

Improvisation provides opportunities for learners to extend their own musical ideas within the context ofwhat they have learned. As instrumental skills and knowledge develop, so should fluency inimprovisation. Improvisation enables musicians to gain a deeper insight into musical styles as well asencouraging them to express their own feelings. It should, above all, be an enjoyable activity, undertakenin a relaxed and supportive atmosphere, with the teacher joining in.

Accompany learners as they develop more fluency and confidence with the 12-bar blues andimprovisations over given diatonic chord patterns (see Programme of Study 2 C1).

Discuss the results of the improvisations with learners, perhaps considering the appropriateness of style,development of ideas, use of musical elements, structure and overall outcome.

Suggest and demonstrate further ways of developing and refining ideas, whilst building up learnersʼconfidence.

Make a recording, if possible.

P3 - C1

Improvise in a variety of genres and styles, sustaining and

developing musical ideas and achieving different intended

musical effects with the instrument

Ask learners to compose short pieces of music for their instrument (and perhaps other instruments),developing the work in Programme of Study 2.

Notation is likely to be used as a memory aid, first in shorthand (or graphic form) and then forperformance. Some learners may be composing for GCSE/Nationals/BTEC/RSL or other qualifications.There are many natural ways in which instrumental teachers can liaise with classroom colleagues formutual support.

Ask learners to create a multi-layered piece by using technology to create a beat then adding aninstrumental part over the top.

Song Maker on Chrome Music Lab would work well for this.

Encourage learners to use a range of musical devices appropriate to their technical and musicalunderstanding, e.g. repetition, sequence, contrast.

Literary, visual or emotional starting points can be used, but the process of composing should focus on howe�ectively the musical ideas are developed within the genre.

Help learners to refine their pieces within the chosen style, discussing their progress and suggesting ideasfor improvement and development.

Some programs allow learners to share their compositions digitally with other learners, with the facilityfor learners to comment on each otherʼs work. Ensure that you adhere to your organisationʼs safeguardingpolicy with regards to the use of online platforms.

Provide opportunities for learners to perform their compositions, perhaps involving other musicians.

P3 - C2

Apply knowledge and understanding of the instrument in order to

compose with an understanding of musical idiom


D Playing music

Ask learners to work out by ear familiar tunes that are more challenging, e.g. longer, larger range, perhapsincluding some chromatic notes.

Playing by ear, introduce learners to di�erent modes, scales, blues patterns, etc. Ask them to experimentwith various starting notes and to work out the key, structure, etc.

Sustain opportunities for playing by ear – it brings together many skills.

Ask learners to repeat moderately short phrases, of appropriate di�iculty, performed by the teacher orother learners. Include music with a variety of time signatures, including compound time, and tunes with awider range.

Ask learners to clap/tap the pulse while the phrases are being played and possibly identify some musicalfeatures.

Play scales in canon, e.g. the teacher or a learner starts, other learners begin two notes later – playing inconsecutive thirds.

Extend a call-and-response sequence, repeating phrases or improvising new ones, always aiming for amusical performance.

P3 - D1

Work out by ear how to play tunes or accompaniments in

straightforward keys or modes

P3 - D2

Repeat moderately short musical phrases (melodic and rhythmic)

from memory

Approach new pieces from di�erent angles – perhaps aurally, or through improvisation, listening, notation,etc.

Ask learners to identify challenging passages and to make suggestions for solving problems.

Building on their own suggestions (if appropriate), show learners how to practise challenging passages and make improvements.

Make the process as creative as possible, always aiming to prompt learnersʼ imagination and curiosity.

Continue to use the holistic approach, aiming for simultaneous learning through interrelated activitiesand processes.

Choose as wide a range of repertoire as possible. In particular, it should aim to:

explore the first five positions•include semiquavers, semiquaver rests and dotted-quaver semiquaver groupings•expand learnersʼ knowledge of key signatures•make fuller use of compound time signatures•

Building on strategies suggested in Programme of Study 2, help learners to commit selected pieces tomemory.

Once pieces are memorised, encourage learners to try them out in front of others.

Discuss problems and possible solutions in respect of playing from memory.

P3 - D3

Play a variety of moderately easy pieces from different styles and

traditions

P3 - D4

Memorise a variety of pieces from their repertoire of increasing

length and complexity


Provide opportunities for learners to play from memory in a group. Note any new perspectives that thisbrings, e.g. the opportunity to listen more acutely and to pick up visual cues more easily.

Aim to develop musical memory in a number of ways, e.g. automatic, aural, visual, cognitive, kinaesthetic.

Remind learners that a performance is secure when it is learnt thoroughly from memory, but they shouldguard against it becoming mechanical.

Beware of the tendency to increase the speed of the beat as pieces become more familiar.

Develop sight-reading skills by regularly asking learners to play at sight music (in tablature, chord symbolsor standard notation) that is well within their technical range and in familiar keys or modes.

Extend the structured approach outlined in Programme of Study 2. Thus, before playing through pieces forthe first time, help learners to hear in their heads the overall sound of the music by asking them to:

identify important notational features of the music, e.g. tempo, time signature, key signature, accidentals•note articulation, phrasing and dynamics•clap or tap rhythmic patterns, perhaps including syncopated patterns•tap the pulse while other learners tap the rhythm, and vice versa (and extend by challenging learners to tap the pulsewith one hand and the rhythm with the other)

•notice the shape of the melody and the melodic range•identify, from the notation, a range of intervals•sing/hum a variety of intervals taken from the melodic line•sing/hum the melodic line of appropriate phrases•


P3 - D5

Read and play at sight a variety of short, straightforward pieces at

a regular pulse, using an increasing rhythmic, melodic and tonal

range

Ask learners to sight-read in small groups, each learner maintaining a separate part individually (the partspossibly having di�erentiated levels of di�iculty). Emphasise the importance of keeping going andmaintaining a regular pulse.

Sight-reading can always be connected to learning repertoire because the skills are applied when readingpieces for the first time. Promote enjoyment and confidence by using metaphors to describe phrases anddiscussing the character of the music and the intended e�ect.

Discuss interpretative ideas with learners as pieces are being learned. Build on an intuitive response to themusic.

Encourage learners to think about the nature of performance and how they can communicate musicalideas to others. Particular strategies may include:

listening to di�erent interpretations of music being learnt and discussing the e�ects, e.g. by the teacher demonstratingand/or the use of recordings

•analysing the structure of music being learnt and the implications for communicating this in performance

•discussing mood, meaning and emotions•making links between technique and interpretation, e.g. the e�ects of various types of articulation•emphasising expressive features•

Interpretation is not a separate activity. Learners should be encouraged to make interpretative decisionsin all their playing, even when learning the notes. Considerations of interpretation o�en inform the waypassages are learnt, e.g. in relation to phrasing, fingering, articulation, tempo.

P3 - D6

Interpret music with an understanding of the musical style,

structure and idiom; communicate the character of the music and

the intentions of the composer, making improvements to their

work in the light of their knowledge about the music



Increase the frequency and range of ensemble experiences. These could include both instruments andvoices.

Ask learners to consider the best layout for particular ensembles, ensuring that all participants can clearlywatch the leader or conductor.

Ask learners to maintain a separate part individually.

Help learners to learn their parts for new ensemble pieces by providing time in lessons.

Encourage learners to develop their listening skills, e.g. awareness of ensemble, balance, tuning, whenplaying with others.

Aim to extend and develop the necessary listening skills for playing with others.

Encourage learners to lead the ensemble, e.g. by counting in.

Promote more musical independence by encouraging learners to take the lead and make decisions relatingto the character of the music.

P3 - E1

Play with others, independently maintaining an individual part,

demonstrating awareness of their role within the ensemble and

leading the ensemble where appropriate

P3 - E2

Contribute to collective decisions, e.g. tempo, ensemble, tuning,

balance, conveying the character of the music

Ask learners to reflect on and evaluate their progress and discuss ways of making further improvements.

Adopt a creative, problem-solving approach which gives learners the responsibility for overcoming thechallenges of playing with others.



Organise opportunities for performance with others of a similar standard at various occasions and venues.

To promote self-confidence, help learners to develop their own library of repertoire pieces, i.e. pieceswhich once learned and performed can be repeated.

Ask learners to perform, over time, pieces from a variety of styles.

Ensure that learners perform music from di�erent styles and genres so that confidence and experiencecan be developed across a range of repertoire.

Prepare learners so that they are able to perform with fluency, expression and understanding.

Encourage learners to perform some or all of their pieces from memory where this will enhance confidence,musical awareness and communication.

Encourage learners to retain pieces that they can perform at short notice, i.e. to build up an internalisedmusic library.

Make sure that learners know where and how to stand or sit to perform. If notation is used, check theposition and height of stands.

Ensure that learners know how to respond to applause and walk on and o� stage.

Refine pieces through simulated performances in lessons, during performances at school and as part ofconcerts to the wider community.

P3 - F1

Perform to others with increasing awareness and assurance,

communicating the character of the music and their musical

intentions to the audience

Aim to stimulate creative thinking when preparing for performance. Encourage learners to considerdi�erent ways of communicating the character of the music.


Ask learners to reflect on and evaluate each performance in order to make further improvements and buildup confidence.

Organise opportunities for learners to join and perform with directed groups, e.g. bands, orchestras, choirs,large ensembles, ensuring that their musical needs and stage of development are sensitively taken intoaccount.



P3 - F2

Evaluate with perception and some independence the quality of

their performance and respond to ideas from others



Ask learners to listen to a variety of music from di�erent styles and traditions, using more extended andcomplex structures. Ask them to describe the expressive character of the music, referring to the musicalelements, phrasing, etc. and noting how composers and performers use repetition and contrast.

Apps such as GarageBand, Soundtrap and BandLab provide lots of opportunity to learn about structureby exploring sections, repetition and looping.

Ask learners to listen to music that is similar in period, genre, etc. to pieces they are learning. Ask them tocompare pieces using appropriate vocabulary.

Use a framework of open and closed questions that lead learners step by step.

These activities may link with GCSE/Nationals/BTEC Level 2/RSL Level 2 or other qualifications.

Perform pieces to be learnt. Ask learners to describe the overall character and style of the music, referringto the musical elements, phrasing, articulation, tonality, etc.

P4 - A1

Use their listening skills and experiences of a variety of musical

styles and traditions to inform their interpretations, e.g. use of

rubato, shaping of phrases, variety of tone

P4 - A2

Further develop their aural perception of the music to be played,

including some feeling and understanding of the expressive and

stylistic characteristics

With learners, compare performances of the same piece, looking at shaping of phrases, articulation, use ofrubato, quality/variety of tone, etc.

Help learners to sing/play by ear appropriate phrases from pieces to be learnt, e.g. irregular phrases,melodies containing chromatic notes/embellishments.

Enable learners to discuss and explore the harmonic context of melodies that they play.

When playing with others, ask learners to note the di�erences between homophonic and contrapuntalpassages.

Whenever possible, use ensemble opportunities to explore di�erent textures.

Encourage learners to think about and experiment with alternatives in tempi, articulation, phrasing,dynamics, etc., listening to the e�ect and deciding which approach meets the musical intentions mostsuccessfully.

The emphasis is on intuition, imagination and curiosity.

Discuss new repertoire with learners, listening to structure, compositional devices, tonality and melodiclines in order to promote better aural perception.

P4 - A3

Identify and incorporate subtle changes to the musical elements

in their playing, e.g. tempo, articulation, phrasing

P4 - A4

Recognise and convey more extended structures and techniques

in pieces being studied, e.g. rondo, raga, dance forms, simple

modulations

Discuss the roles of solo and accompaniment in pieces being learnt.

Use an element of a piece as the starting point for a short improvisation.

When appropriate, ensure that learners are thoroughly familiar with accompaniments. If these areinstrumental reductions, take the opportunity to listen to the full version.

Using notation, ask learners to work out in their heads the sound of phrases, then compare with the actualsound when played.

Using notation, ask learners to describe the overall character of pieces, referring to style, structure,phrasing, dynamic range, texture, etc. Suggest how they a�ect the mood of the music.

Ask learners to clap/hum/sing/say at sight appropriate phrases from pieces to be learnt.

Using notation, perform extracts with deliberate deviations in rhythm, articulation, phrasing, dynamics, etc.inserted. Ask learners to point out the mistakes.


P4 - A5

Hear simple music internally with increasing accuracy and fluency

when using notation/symbols



Suggest to learners that they experiment with postural modifications in order to facilitate more bodymovement.

By now, learners should have enough control of the guitar to be able to experiment with posturalmodifications of this kind.

Demonstrate to learners the di�erence between positive and negative body language when performing.

Use role-play to discuss the e�ects of good posture in communicating an e�ective performance.

An occasional lesson in a large space can help to encourage projection.

Ask learners to observe others performing, noting the e�ects of posture on communication.

Encourage learners to attend live performances where possible, and/or watch live performances online.

Ask learners to look for convenient points in the music where they can counteract any accumulated tensionby consciously relaxing.

Some learners may find relaxation methods useful, e.g. yoga, Alexander Technique.

P4 - B1



supporting and balancing the instrument with more ease-

ensuring that both hands are free-

developing a positive performing image-

Demonstrate the use of natural harmonics for tuning on the fi�h and 12th frets.

This is a good stage to point out the need for replacing strings or making adjustments to the harmonicadjusters at the bridge.

Ask learners to check their tuning by playing appropriate exercises/pieces.

Help learners to tune to open G, i.e. D/G/D/G/B/D, and then experiment with appropriate songs, e.g. ʻHonkyTonk Womanʼ by The Rolling Stones.

Teach learners exercises and pieces using a larger range of notes, incorporating wider string crossings.

With learners, listen to a recorded guitar solo demonstrating the ʻpinched harmonicʼ e�ect, e.g. solos fromZZ Top. Ask them to experiment, using a plectrum.

Demonstrate holding the plectrum between two fingers to allow the right hand to play finger-style, thenbring the plectrum into the playing position.

Refined by Martin Taylor, this technique is particularly useful for jazz standards in changing from theʻheadʼ to the improvised solo.

P4 - B2


Tune the instrument accurately with more independence, recognising when it is necessary to retune•

Begin to develop knowledge of alternate tunings•

P4 - B3

Right hand

Play with a consistent, satisfying, clear sound across a large range of dynamics:•

plucking strings with free right-hand and arm movements at a variety of tempi-

using the plectrum as appropriate, including ‘pinched harmonics’-

Show learners how to hold the plectrum and use the right-hand second and third fingers to create a finger-picking style.

This technique is used extensively in country music and examples can be found in the playing of AlbertLee, James Burton and Jerry Donahue.

Teach learners exercises using the technique of planting fingers (to be carried out in all positions) so as todevelop strength and dexterity across the fingerboard rather than in a linear way.

Teach some hammer-on and pull-o� exercises for the le� hand on fretted strings. Ask learners toexperiment with these techniques in familiar tunes, aiming for a steady rhythm and a clear tone.

Demonstrate (or play a video demonstrating) the use of le�-hand tapping and ask learners to experimentwith various musical examples that feature this technique.

Sometimes films about musiciansʼ lives explain how various techniques have developed, e.g. Crossroads(Robert Johnson to Steve Vie).

Ask learners to experiment with le�-hand dampening, discussing the e�ect and practicality of thetechnique and comparing it to palm mute.

Using a well-known tune, teach two di�erent ways of achieving le�-hand vibrato. Ask learners to imitateand to discuss the appropriateness of each method for various tunes they are playing.

P4 - B4

Left hand


recognising and playing with secure intonation more consistently-

developing speed, strength and �exibility of �nger action at a variety of tempi-

developing security in di�erent positions and when changing between positions-

developing a variety of tone colours, including hammer-ons and pull-o�s from a fretted note, left-hand

tapping, slides, string bends and left-handed dampening-

beginning to develop a vibrato-

beginning to use natural harmonics-

Show learners the use of the tremolo arm to produce a vibrato e�ect and ask them to experiment withusing this technique instead of le�-hand vibrato.

Not all electric guitars are fitted with a tremolo arm and they vary in quality. learnersʼ attention should bedrawn to the mechanics of the arm and adjustment of the spring-tension screws.

Encourage learners to make up patterns using 12th-fret harmonics, playing them with the third or fourthfingers, touching lightly and removing the finger immediately but without haste.

Make sure harmonics are played with the le�-hand finger directly above, not behind, the fret: where harmonics are concerned, the finger is the fret.

Encourage learners to explore how a tune can be played using di�erent articulations. Discuss the musicaloutcomes.

Ask learners to ornament a familiar tune or solo by exploring and introducing various trills and grace notes.

P4 - B5



playing with clarity and �uency at a variety of tempi-

using a variety of articulations and rhythmic patterns-



Ask learners to improvise melodies above predetermined harmonic patterns, using conventions andtechniques within the chosen style, e.g. melodies in Dorian mode with added chromatic notes above achord sequence of seventh chords.

A chord sequence of Dm7/Am7/Gm7/Am7 provides a suitable accompaniment. The Dorian mode withchromatic notes would be D E F G G# A B C C# D.

Ask learners to improvise short melodies using a variety of scales, e.g. major, minor, pentatonic, whole-tone, blues, chromatic, modes.

Demonstrate some cliché licks and ask learners to create a solo using thirds, fourths and sixths over arepeated chord progression.

Ask learners to improvise with others on a specific melody e.g. the pentatonic Raga Bhupali.

Raga Bhupali

Focus on developing an awareness of style by relating the particular scale or mode to repertoire beingstudied.

Research less-familiar musics from around the world and make links with curriculum music whereappropriate.

P4 - C1

Improvise with freedom in a wide range of musical structures

genres, styles and traditions, drawing on internalised sounds

Ask learners to create a bass line to a well-known song spontaneously, using notes of the chords andpassing notes.

Ask learners to play chords to a given melody.

Help learners to develop confidence by improvising frequently, doing a little at a time.

Make recordings of improvisations and discuss the outcomes with learners.

The best improvisations have a coherent, well-phrased, vocal quality. Singing the ideas before trying toplay them provides learners with an internal template. This allows their improvisations to be head-led notfinger-led and will help prevent them from getting musically ʻstuck .̓

Ask learners to compose some pieces over an extended period of time in a variety of traditional andcontemporary styles. This could include:

exploration of a particular aspect of technique•a solo piece with accompaniment, possibly evoking di�erent moods or feelings, e.g. clouds, pyramids, the evening,rush hour, dreams

•a short piece for an ensemble, exploring aspects of textures, solos and accompaniments•

Ensure that time is allowed for reviewing progress of compositions. It may be appropriate to selectparticular times of the year when it is possible to focus more on composing, e.g. in the summer term a�erexaminations. Group compositions can be useful for developing ensemble skills.

Help learners to refine their pieces within the chosen style and idiom.

Rehearsing, interpreting and performing the compositions are essential parts of this process.

P4 - C2

Compose in different styles, creating and selecting musical ideas

by exploring the characteristics of their chosen resources


D Playing music

Ask learners to play by ear familiar tunes that include some simple chromatic writing and modulations.

Discuss the e�ect of accidentals and what needs to be done in order to modulate from one key to another.

Ask learners to work out some of the underlying harmonies. Discuss possible alternatives. Explain thatchromatic writing may be decorative and therefore does not require harmonisation.

Ask learners to vary tunes by using alternative melodic and/or rhythmic patterns. Discuss the variations.

Improvise on the given tune and extend the piece for fun.

Regular playing by ear helps to build confidence. Familiar tunes can be worked out during individualpractice and then played again in the lesson.

Develop further call-and-response or echo exercises, perhaps using more challenging keys and a widervariety of styles and forms, e.g. waltz, Latin-American rhythms, ri�s.

Play scales in canon, e.g. one learner starts, the next begins two notes later, the third a further two noteson, thus producing a sequence of chords. Discuss whether the chords are major, minor, diminished, etc.

P4 - D1

Work out by ear how to play moderately easy tunes or

accompaniments, e.g. with a wider range of intervals and

different octaves/positions

P4 - D2

Repeat phrases of a moderate length and complexity in a variety

of styles

Play arpeggios in canon, learners starting on successive notes. Discuss whether the resulting chords are inroot position, first inversion, etc.

Play simple pieces in canon, with either the teacher or other members of the group leading. The secondgroup repeats the part played by the first group.

Continue the activity in pairs, with the second player decorating the line or improvising answering phrasesin the style of the first. Whole pieces can be built up in this manner.

When learners are learning new pieces, ask them to identify and discuss structural relationships, e.g.repetitions, contrasts, deviations, developments. Ask them to describe the musical e�ects of thesefeatures.

Encourage learners to learn pieces more independently, identifying and solving problems, and makingmusical decisions.

Continue to advise learners on practising strategies.

Encourage learners to learn pieces away from the instrument in order to consider the overall character, theshape of phrases, subtleties of tempo, etc.

As learners develop their own responses to pieces, so the teacherʼs input can be reduced.

Encourage learners to use the holistic approach by prompting them to apply listening skills, solvetechnical and musical problems and use their imaginations.

P4 - D3

Play a variety of pieces of moderate difficulty

P4 - D4

Memorise a variety of pieces from their repertoire in different

styles and traditions, featuring a range of musical devices and

structures


Encourage learners to read the score away from the instrument, as another way to help with memorisingpieces.

Ask learners to memorise short pieces or sections of music this way, then play them without using themusic.

This is a challenging activity that depends on internalising the music, making links to notation andmemorising patterns and structures.

Try to include some aspect of memorising in each lesson.

As an aid to memorisation, ask learners to imagine playing the piece with their eyes closed, including allperformance details.

Continue to develop sight-reading skills by regularly asking learners to play appropriate music at sight,using the structured approach outlined in Programme of Study 3, i.e. before playing through pieces for thefirst time, help learners to gain a clear internal picture of the overall shape and character of the music.

Ask learners to sight-read appropriate music in small groups, each learner maintaining a separate partindividually (the parts possibly having di�erentiated levels of di�iculty). Emphasise the importance oflearners listening to each other in respect of ensemble, tuning, balance, etc.

Use a wide range of styles from di�erent times and places.

As in previous programmes, sight-reading should have fluent, musical outcomes. Attention to rhythmicaccuracy and expression will help to project the music.

P4 - D5

Read and play at sight moderately easy pieces in different styles

at a regular pulse; internalise and incorporate less-familiar

musical features, e.g. time signatures, variety of tempi, keys

Building on Programme of Study 3, discuss the interpretation of pieces being studied, especially howlearners can convey their own personal responses within the stylistic conventions and the composerʼsmarkings.

Encourage learners to be aware of stylistic, structural and idiomatic features of pieces, e.g. musical forms,repetition, contrast, development techniques, and to communicate their feelings and understanding in their playing.

Developing an interpretation is the crux of a personal performance and should be the focus of discussion.Listening to various recordings of the same piece can stimulate discussion and provide a way to developlearnersʼ interpretations.

P4 - D6

Interpret music with understanding and insight, developing a

personal response through sustained study of and reflection on

the music, applying their knowledge of style, characteristics and

historical/social background; evaluate how their interpretation

reflects the context in which the music was created and is

performed and heard



Encourage more independence by promoting unsupervised rehearsals and by asking learners to take thelead.

Encourage learners to use eye contact when playing in small ensembles.

Discuss ways of using rehearsal time e�ectively, e.g. marking scores and parts, tuning procedures, dealingwith challenging passages.

Encourage learners, through careful listening, to develop greater sensitivity in respect of balance,ensemble, tuning, shaping of phrases, etc.

Encourage learners to be responsive in situations where an ensemble performance is not together, takingaction to get the performance back on track.

Ensure there are a variety of opportunities for ensembles/groups to perform to audiences and to eachother.

Bear in mind that it can take considerable time and e�ort to organise ensemble opportunities. It ishelpful, therefore, to work in close collaboration with school music departments, Music Services/Hubs,local performing groups and/or other appropriate organisations.

P4 - E1

Play with others, independently maintaining an individual part

with sensitivity, responding to others and leading where

appropriate, demonstrating awareness of their role within the

ensemble

Encourage all learners to contribute to discussions on interpretative issues, e.g. communicating andprojecting the style and character of the music.

Invite learners to discuss, using appropriate vocabulary, how further refinements can be made.

P4 - E2

Contribute to collective decisions, e.g. balance, ensemble,

interpretation, conveying the character and style of the music



Organise performing opportunities at a variety of occasions and venues, e.g. school events, concerts in thewider community.

Aim to give learners a range of performing experiences, e.g. solo, with others, directed, non-directed.

Ask learners to perform, over time, pieces from a range of musical styles and traditions.

Ensure that learners perform music from a range of musical styles and genres so that confidence andexperience is developed across a range of repertoire.

Prepare learners to perform with fluency and understanding, encouraging them to communicate theirpersonal feelings within the style of the music and the composerʼs markings.

Through performance, learners demonstrate their ability to absorb a range of musical and technical skills,knowledge and understanding.

Ask learners to research some background information on pieces, e.g. details of style, the historical/socialcontext.


Refine pieces through simulated performances in lessons, during performances at school and as part ofconcerts to the wider community.

P4 - F1

Perform to others with growing confidence, responding to the

audience, venue and occasion, communicating the character and

style of the music through their own/shared interpretation

Aim to stimulate creative thinking in preparing for performance. Learners should explore a range ofpossibilities in their quest to communicate the expressive intentions of the composer.

Encourage learners to perform music with others independently of the teacher, e.g. duets or smallensembles.


Ask learners to reflect on and evaluate each performance in order to make further improvements and buildup confidence.

Encourage learners to devise their own criteria for self-assessment.



Organise opportunities for learners to perform with directed groups by encouraging them to join bands,orchestras, choirs, large ensembles, etc. that are appropriate to their needs.

P4 - F2

Evaluate with perception the quality of their performance, using

their knowledge of performing conventions, including the

performances of distinguished musicians



Ask learners to listen to and identify music from a variety of styles and traditions, including extended pieceswith complex structures. Ask them to compare and contrast various pieces, referring to form, texture,harmonic language, instrumentation, tonality, etc.

Ask learners to listen to music that is related in style and tradition to the pieces they are learning. Ask themto compare and contrast the range of musical ideas/devices and observe how they are used in the music.

It is important for learners to be challenged by a range of relevant questions. Use a framework of openand closed questions that lead learners step by step.

These activities may link with A Level/Highers/BTEC Level 3/RSL Level 3 or other qualifications.

Perform pieces to be learnt and/or listen to recorded/live performances. Ask learners to describe the overallcharacter and style of the music.

Ask learners to compare the performances, noting subtleties of tempo, phrasing, articulation, dynamics,quality/variety of tone, etc.

P5 - A1

Listen systematically and critically to a wide variety of music from

different styles and traditions to develop their own independent

interpretations

P5 - A2

Have a clear aural perception of the music to be played, conveying

their feeling and understanding of the expressive and stylistic

features in practice and performance

Help learners to sing/play by ear more extended and/or complex phrases, e.g. those featuring wider leapsand/or challenging rhythms, from pieces to be learnt. Look at how these phrases fit into the whole piece.

Ask learners to explore the e�ects of varying the tempi, articulation, phrasing, dynamics, etc. in pieces fromdi�erent styles and traditions. Encourage them to develop personal interpretations and to use theirunderstanding of the characteristics of the instrument.

Discuss the musical e�ects of more advanced technical devices, e.g. artificial harmonics, and ask learnersto experiment with di�erent ways of using them in pieces being studied.

Encourage learners to ensure consistency of tempo in extended pieces and large-scale movements.

Discuss new repertoire with learners, noting structure, tonality, modulations, technically demandingpassages, nature of the accompaniment, etc.

Encourage learners to improvise in various styles. This could include making up a short cadenza or addingornamentation.

P5 - A3

Identify and incorporate subtle changes to the musical elements

in their playing, interpreting music both personally and

idiomatically

P5 - A4

Recognise and convey in their interpretative decisions a wide

variety of musical structures and compositional techniques

P5 - A5

Hear a wider range of music internally when using

notation/symbols, anticipating the sound in their heads

Using notation, ask learners to work out in their heads the sound of: – phrases/pieces – simple chords then compare these with the actual sound when played.

Using notation, ask learners to describe the overall character of pieces, referring to style, structure,harmonic language, dynamic range, texture, etc. Suggest how they a�ect the mood of the music.

Ask learners to clap/hum/sing/say at sight appropriate phrases from pieces to be learnt.

Play extracts with subtle deviations from the text in terms of pitch, rhythm, articulation, phrasing,harmonies, dynamics, etc. Ask learners to point out the di�erences.




Continue to emphasise the importance of good posture and freedom of movement.

Some learners with poor posture and/or tension problems find relaxation methods useful, eg, yoga,Alexander Technique.

Ask learners to devise their own checklist of the main sources of tension. Discuss how tension can bealleviated.

Continue to encourage positive body language when performing, suggesting that learners look up and outas much as possible, rather than at their le� hand.

Encourage learners to use imagery in order to convey the character and mood of the music. Discuss howposture may contribute towards communication.

Provide opportunities for learners to observe how others communicate in performance, e.g. masterclasses,concerts.

Encourage learners to attend a wide range of live performances where possible, and/or watch liveperformances online.

Help learners to use their posture to communicate musical Intention, e.g. beginning and/or changingtempo in a group.

P5 - B1



supporting and balancing the instrument with ease and con�dence-

ensuring that both hands are free-

playing with a positive performing image-

Discuss ways in which learners can develop the physical and mental stamina required to play longer, moredemanding pieces.

Ask learners to respond to bad intonation during performance by quickly adjusting an individual stringʼstuning at a convenient point in the music, e.g. at a double bar or during a rest.

Show learners alternative ways of tuning the instrument. Ask them to leam appropriate pieces requiringnon-standard ways of tuning.

Learners should be aware of the reason for these tunings and decide for themselves if they areappropriate to pieces they are playing.

Teach learners exercises and pieces using the full range of the instrument, developing speed and dexterity.

Further develop the technique of ʻpinchedʼ harmonics and incorporate into performances for musicale�ect.

P5 - B2


Tune the instrument independently, with greater re�nement, e.g. use of harmonic tuning, recognising

when it is necessary to retune•

Have a knowledge of alternate tunings (e.g. dropped D, DADGAD)•

P5 - B3

Right hand

Play with a consistent, satisfying, clear sound across a large range of dynamics:•

plucking strings with con�dence, using free right-hand and arm movements at a variety of tempi-

using a variety of plectrum techniques and tone colours as appropriate-

With learners, listen to a range of cliché licks associated with bending strings, eg. ʻSamba Pa Tʼ by CarlosSantana. Demonstrate how the e�ects are produced.

Ask learners to play simple scales and single line melodies with artificial harmonics.

Learners should understand the physics of string vibration with regard to harmonics, e.g. node, antinode.

Teach exercises to develop the technique of le�-hand vibrato, encouraging learners to incorporate intopieces for musical e�ect.

Teach learners to play solo pieces that incorporate an alternating bass part with a syncopated melody.

P5 - B4

Left hand


recognising and playing with secure intonation throughout the full range-

playing with speed, strength and �exibility of �nger action at a variety of tempi-

playing with security in di�erent positions and when changing between positions-

developing a variety of tone colours, including arti�cial harmonics and hammer-ons moving up the

fretboard-

using a controlled vibrato-

P5 - B5



playing with clarity, dexterity and �uency at a variety of tempi-

using a large variety of articulations and rhythmic patterns-

using advanced techniques requiring speci�c coordinations (e.g. sweep picking, two-handed tapping,

and waterfall or harp harmonics)-

Ragtime pieces are a useful source. The activity can be extended to include improvising while maintainingthe bass part.

Ask learners to play tunes from their repertoire an octave higher in order to develop fluency on thefingerboard above the 12th fret.

Ask learners to choose a well-known tune or melodic passages from their repertoire and play it (by ear) inas many positions and octaves as possible, and also in a range of keys. Make sure that the shi�s are assmooth as possible.

Ask learners to play arpeggios of extended chords in various positions, using a range of rhythmic patternsand tempi.

Demonstrate the use of various sound-e�ect pedals or simulators and help learners to operate them inorder to produce a larger range of tone colours.

An amplifier simulator is useful for this so that the whole range of e�ects can be demonstrated.

Teach learners more advanced techniques such as sweep picking, two-handed tapping and waterfall orharp harmonics. Focus on the coordination requirements of each and develop suitable technical exercisesto enable learners to gain fluency in these techniques.

A�er listening together to suitable examples, ask learners to consider how articulation and legato phrasingare approached on di�erent instruments, and what these consciously applied expressive qualitiescontribute to the overall e�ect of the music, e.g, making a dance movement seem more animated or amelodic piece more song-like. Explore ways for learners to recreate what they have heard in theseexamples in their own playing.

Listening to other instrumentsʼ means of expression can broaden learnersʼ musical awareness. Someinstruments have a more natural capacity for legato, i.e. through playing several notes in one bow orbreath, and non legato, i.e. through changing bow on tonguing between notes, Internalising di�erentphrasing characteristics through vocal imitation is a good place to start, followed by playing shortpassages by ear.

With learners, choose an item of repertoire in which articulations, slurs and phrase marks are specified inthe text, e.g. a 20th- or 21st-century piece. Ask them to internalise and apply these expressive qualities from

the start of the learning process, using the appropriate techniques.

Next, select together an item of repertoire in which articulations, slurs and phrase marks are not specified.From the start of the learning process, ask learners to add their own expressive qualities, using theirknowledge and understanding of musical style, etc., and combining the appropriate techniques with anawareness of phrasing and structure.



Ask learners to improvise a piece involving a simple modulation, possibly within a given structure, e.g. A(tonic) B (dominant) A (tonic). Explore techniques involved in modulating and apply them in otherimprovisations.

Ensure that technical points are fully understood and absorbed, e.g. modulations to relative keys.

Continue to link improvisations to repertoire being studied, e.g. learners improvise a short piece in the styleof a well-known composer. Alternatively, this could be in the style of particular musicians, e.g. RichardThompson (contemporary English folk), Ry Cooder (American roots, slide guitar), BB King (blues).

Ask learners, or possibly teacher and learner, to extend a melody by improvising in turn, each player basingthe improvisation on the previous section. Aim for coherence and expression within an agreed style.

Teach a well-known jazz standard, e.g. ʻI Got Rhythmʼ:

play learners a recording of the piece•familiarise them with the 32-bar A A B A form and teach them the chords and melody. Play it with them as alearner/teacher duo, swapping roles

•demonstrate how to embellish the melody freely and encourage learners to do the same when their turn comes•finally, ask them to improvise over the chords, making fewer references to the original melody•

Latin-American jazz styles also provide an accessible way into jazz improvisation. The samba employsʻstraightʼ as opposed to ʻswungʼ quaver rhythms, while the use of ʻchord tonesʼ as a stock improvisationaldevice, i.e. playing the notes of the chords rather than scales, limits the number of notes learners need tohear and use at any given point.

Ask learners to devise/use a graphic score as the basis for a free improvisation in a contemporary style.

P5 - C1

Improvise extended musical ideas with a sense of direction and

shape as they develop their own personal style

Ask learners to compose pieces for more than one instrument, e.g. rock band, folk ensemble, guitar andvoice.

Compositions for more than one instrument provide opportunities for learners to explore di�erenttextures. Learners can use techniques associated with pieces being learnt. These may includecontrapuntal textures and more complex structures, and can involve a higher level of technical di�icultyfor the performer. Alternatively, limitations may be imposed, e.g. thematic, structural, technical.Encourage learners to exploit the idiomatic potential of instruments.

Support learners in refining, notating (if appropriate) and evaluating their ideas.

Provide guidance on writing for other instruments/voices.

Provide opportunities for learnersʼ compositions to be performed, if possible in public, and makerecordings to help evaluation.

Ask learners to write programme notes for their pieces, including details of background, style, intention andoutcomes.

P5 - C2

Compose with consistency of style, coherence of musical ideas

and a degree of individuality, and by making the most of the

instrumental resources


D Playing music

Demonstrate how to play melodies by ear in di�erent keys. For the guitarist, transposing a melody thatstays in one position and does not require open strings is a relatively straightforward activity. Ask learners,therefore, to transpose melodies with wide leaps and challenging intervals.

Transposing by ear is an important tool for the advanced musician.

Ask learners to practise playing a familiar piece, e.g. ʻHappy Birthday ,̓ in a variety of keys.

Ask learners to make up some variations on well-known tunes by ear, using a range of melodic and/orrhythmic patterns.

Ask learners to work out by ear some possible harmonies for well-known tunes.

Encourage learners to play back longer and more complex musical extracts from memory, using a widerange of styles, e.g. raga, hooks and ri�s.

Ask learners to practise repeating patterns that may include augmented and diminished intervals,asymmetrical phrases and irregular rhythms.

Play a three- or four-part chord or simple chord progression and ask learners to play the upper, inner andlower parts in turn; alternatively, allocate a part to each learner and ask for each chord to be playedseparately, then as a progression.

P5 - D1

Work out by ear how to play pieces of increasing complexity

P5 - D2

Repeat longer and more complex phrases, involving different

tempi, keys, tonality, and transpositions where appropriate

As an extension activity, discuss whether the chords are major, minor, diminished, etc. and whichposition/inversion they are in.

Ask learners to transcribe pieces by ear using audio recordings. Ask them to duplicate the bass, rhythm andsolo guitar parts by stopping and replaying the track. When learners are sure of the various parts, they canplay along with the track.

Continue the holistic approach to learning new pieces by:

enabling learners to research background knowledge of style, period, etc.•discussing the structure, harmonic language, etc.•ensuring that technical skills are applied to the musical context•devising related listening exercises that support the learning and memorisation of key features of the music•enriching learnersʼ understanding by structuring improvisations based on ideas from the pieces being learnt•providing opportunities for self- and peer-evaluation, using criteria that have been devised by learners themselves•

Continue to encourage learners to learn pieces away from the instrument in order to consider the overallcharacter, the shape of phrases, subtleties of tempo, etc.

Continue to suggest appropriate practising strategies.

Help learners to memorise selected pieces from the repertoire being learnt. O�er particular strategies fordealing with longer and more complex pieces, so that learners remember music in di�erent ways. Thesecould include:

devising ways of visualising the music, ranging from imagining a simple picture outline to a more photographic image•

P5 - D3

Play a range of pieces from different styles and periods that are

technically and musically advanced

P5 - D4

Memorise systematically and independently pieces from their

repertoire with refinement and expressive subtlety,

demonstrating a personal response to the music


relating memory to touch and movement, e.g. finger movement, hand position and patterns of notes•supporting learners in knowing the sound in their heads•analysing the structure of the music, e.g. counting the number of times a phrase occurs, noting key changes andsequences, consciously remembering deviations and exit points

•

The aim should be for the eyes, ears and hands to work together as an integral unit.

Provide opportunities for repeated playing and testing in order for learners to develop complete security.

By memorising the music, many performers are able to:

However, if a musician is not comfortable performing in public without notation then this is by no meansessential.

focus more intimately on the music•have greater freedom in their playing•communicate more directly•

Provide sight-reading practice in music that features a wide range of rhythmic and melodic devices, e.g.syncopated jazz rhythms and a variety of subdivisions where the rhythms are ʻstraight .̓ Include pieces thatcontain elements of surprise and, with learners, formulate strategies for dealing with them.

Ensure learners look through the music first, adopting the structured approach described in earlierprogrammes, in order to internalise the overall sound and character, and spot potential problems.

Discuss the overall character and style of sight-reading pieces with learners, emphasising the importance ofcommunicating this to others.

P5 - D5

Read and play at sight a range of pieces in a variety of styles

containing elements of surprise and deviation: internalise and

incorporate a wide range of time signatures and tempi, rhythmic

patterns, melodic range, intervals, tonality and expression

Encourage learners to sight-read straightforward, standard repertoire rather than sight-reading exercises.

It is o�en useful to return to simple music to develop sight-reading skills and, in particular, the ability toread at sight quickly and fluently. This also helps to build up confidence.

Promote the value of sight-reading as a way of accessing and gaining greater familiarity with a wide rangeof music.

Ask learners to evaluate their approach to the interpretation of pieces being studied, justifying musicaldecisions by referring to musical styles, conventions and personal feelings.

Explore alternative ways of interpreting the directions of the composer.

With learners, discuss the interpretations of others, possibly including professional performances andthose of their peers, and compare them with their own.

Encourage learners to respond imaginatively to their own playing, and that of others, as performancesunfold.

Encourage learners to explore alternative ways of interpreting pieces, taking into account their knowledgeof genre and period, e.g. approaches to ornaments, cadences, phrasing and articulation, tone quality, etc.

Encourage learners to communicate their feelings, within their knowledge and understanding of the style,with more freedom, conviction and independence.

P5 - D6

Interpret music personally with consistency of style, and an

understanding of idiomatic performing conventions; make

independent, critical judgements about their interpretation



Provide ensemble opportunities that make increasing musical and technical demands on learners.

Help learners to develop more sensitivity and subtlety in their playing, e.g. shaping of phrases, variety ofarticulation, rhythmic flexibility, through increasing musical awareness and communication within thegroup.

Invite individual learners to take the lead and direct others.

Acknowledge unexpected musical outcomes.

Provide a variety of performing opportunities.

Bear in mind that it can take considerable time and e�ort to organise ensemble opportunities. It ishelpful, therefore, to work in close collaboration with school music departments, Music Services/Hubs,local performing groups and/or other appropriate organisations.

Encourage learners to use their knowledge, understanding and relevant musical experience to inform theirdiscussions as they seek to develop a shared interpretation.

Encourage all learners to contribute to a shared interpretation that is developed and refined as the piece ispractised and performed.

P5 - E1

Play with others with assurance and sensitivity, demonstrating an

empathy with other performers and musical leadership

P5 - E2

Contribute their own interpretative ideas and respond to those of

others, conveying the character and style of the music



Organise performing opportunities at a variety of occasions and venues, e.g. school events, concerts in thewider community.

It should be remembered that people respond di�erently to the idea of performing. For some it will berewarding and motivating, but for others it can be stressful to the extent that they may be ill or wish togive up playing. In preparing for a performance, the following should be taken into account: – the physical and psychological well-being of the learner – the learnerʼs motivation – the perceived importance of the performance – social relationships with other members of the group Bear in mind that some learners may not wish to perform in public.

Where appropriate, ask learners to research information on each piece, e.g. details on the style of music,the composerʼs life, the historical/social context, and prepare a short talk/introduction to each piece.

Give learners opportunities to practise their presentational skills.

In addition to other skills of presentation already acquired, learners should practise projecting theirvoices and slowing down delivery when talking to an audience.

During lessons, encourage learners to develop their own personal interpretations through discussion anddebate. Ask them to justify their decisions using appropriate musical vocabulary.


Refine pieces through simulated performances in lessons and by performances to others in preparation forconcerts within the wider community.

P5 - F1

Perform music to others with confidence and conviction,

communicating the character and style of the music; demonstrate

empathy with other performers and with the audience

Continue to encourage learners to make music and perform with others, both in directed and non-directedgroups.

Ask learners to evaluate their performances critically, identifying strengths and areas for development.



Provide opportunities for learners to perform to distinguished musicians/teachers in a masterclasssituation.

It can be valuable for learners to hear positive, constructive guidance from someone other than their ownteacher.

P5 - F2

Make informed evaluations about their performance in the light

of their knowledge about the music and the interpretations of

distinguished musicians

Contemporary Guitar | Music Mark

Documents

Transcript of Contemporary Guitar | Music Mark