12 Bar Blues Revisited, pt. III - Basic Harmonization

Back in October I revisited the 12 bar blues by adding open major and dominant 7th chords as a way to expand our student’s chord vocabulary. This month we'll continue to expand chord vocabulary by dipping into basic harmonization of the major scale.

At this point in a student’s development it is important for them to learn and understand how chords work in a key; in particularly the I, IV and V. Moreover, by playing in these different keys students will learn to “hear” the I, IV and V chord progression, expand their chord vocabulary and develop a working knowledge of various keys.

Generally, I do not outline all diatonic harmony (major, minor, diminished) but only the I, IV and V chords as they specifically pertain to our topic of the 12 bar blues; no need to muddy the waters (pun intended) with more information than students need at this time. I have attached an outline of chords from scales, however it would be best to have the students outline these themselves.

Next month we’ll get into incorporating the newly learned I, IV, V’s into a 12 bar blues.

12 Bar Blues Revisited, pt. II

In last month’s post 12 Bar Blues Revisited I discussed adding Cowboy Chords as another way to have students practice a 12 bar blues. In particular I chose the I IV and V chords from the key of A (A, D, E). This month students will now add dominant 7th chords to their vocabulary by applying A7, D7 and E7 chords - attached is 12 bar blues using dominant 7th chords. With the inclusion of dominant 7th chords, students will now have four ways to practice their 12 bar blues: 

1. Power Chords (open string) 

2. Power Chords with a shuffle rhythm 

3. Open Chords (major) 

4. Open Chords (dominant 7ths)

12 Bar Blues Revisited, pt. I

This month I’d like to revisit and build upon an older series of posts which pertained to the 12 bar blues (I, II, III, IV) and Cowboy Chords (I, II, III, IV). In those series of posts each topic was dealt with separately (as they should be), but it had recently occurred to me that I had not combined the two.

I have a general order in which I like to introduce skills and topics to my students. Moreover, I like to combine the topics so that they have relevance to the student and they fully understand how they relate to one another. My point is that while students are learning a skill such as playing a 12 bar blues (using open power chords), they are also simultaneously learning to finger open position chords. So it is then pedagogically correct to then combine the 12 bar blues and open chord study together. Additionally, this is also a good time to review the concept of rhythm charts with your students. Attached is a sample 12 Bar Blues in A to use with your students.

Next month I’ll dig a little deeper and review how we apply what the student has been learning so far.

Teaching Young Children, pt. XI – The Power of Repetition

In this final installment of Teaching Young Children I wanted to remind guitar instructors of the power of repetition. Repetition is the life blood of musicians which helps to develop the skills and knowledge necessary to play an instrument well. No one learns something having never done it or only having done it once. If it takes numerous times of trial and error to develop skills in an adult; why would it not be the same for children?

A number of years ago I was giving a lecture on teaching studio guitar and was approached by a college age student who had begun teaching the guitar. She thanked me for the lecture and for letting her know it was alright to repeat material in not one, but in subsequent lessons. I asked her to elaborate and she informed me that she felt the need to present new material each lesson for her young students!

We discussed the importance of reviewing material each week and not being afraid to cover the same material for several weeks until the student is competent with it. Then introducing new material which builds upon what has been previously learned. Moreover, any previously learned material should constantly be reviewed at the start of each lesson. This is a good “warm-up” and will not only help reinforce skills, create a “repertoire” of songs for the student to play!

Teaching Young Children, pt. X – Book Suggestion

As I begin to wrap up the series of posts Teaching Young Children I wanted to discuss my favorite book to use with young students Aaron Shearer: Learning the Classic Guitar, Pt. Two. The book title may be deceiving as I do not always teach my younger students classical guitar; however, this is an excellent book for getting young students started playing the guitar no matter what the style.

One of the things I really enjoy about this book is that from the start students are playing music - short simple duets which have a student and teacher part. The students begin with two note songs using the G and D strings with combinations of quarter and eighth note rhythms. Each musical selection is approximately eight measures in length making it easy for young learners to follow along with. I particularly like that the book progresses in a thought out pedagogical manner when adding new notes, solo music selections and well as longer pieces of music.

If you are a guitar teacher looking for a good approach to teaching younger students the guidelines laid out in this series should help create a sound pedagogical starting point. Moreover, Aaron Shearer's Learning the Classic Guitar, Pt.2 will help by supplying musical selections which are challenging, fun and developmentally appropriate. Once you have a solid foundation in regards to teaching young players you can then add to it and develop your own.

Teaching Young Children, pt. IX – Reading Music

The last several posts in the series Teaching Young Children (pt. VI, VII, VIII) have introduced the building blocks note reading. This month students will begin to combine the rhythms they have learned (quarter and eighth notes) and pitches/strings (G and D) in order to develop the skills necessary to ready music notation.

In the following worksheet the student will write in the notes and counting of these simple one measure musical examples. Furthermore, after each example is “analyzed” the student should play it and count out loud as they play. Prior to the worksheet the teacher should review how to count the rhythms and identify the pitch/string. 

Young students learn from doing things for themselves and should be free to write in the counting of rhythms and names of pitches above/below the notation. The more young learners are allowed to operate independently the more mastery of the material they will demonstrate. The teacher is there to guide the student and not do the work for them. Allow students to make mistakes and help them by asking pointed questions rather than give them the answer.

Teaching Young Children, Pt. VIII – Rhythms

In the previous month’s post I discussed having young students play using the open strings G and D. Additionally, students were then introduced to reading these strings on the music staff with notation. This month we’ll move further into reading music by introducing quarter and eighth note rhythms.

One of the best ways to introduce students to reading music is through identifying first have them be able to identify/count quarter and eighth note rhythms. The teacher can have students play various rhythmic combinations using quarter and eighth note rhythms on a single string. However, there is no need to yet introduce reading notes on the staff; students should play single string rhythms. Moreover, the teacher should create their own patterns for students to practice with.

When introducing rhythms the teacher should help young students become acquainted with the concept of counting (ex. one and two and); it is important to note that at this point students be only counting in 2/4 time. Moreover, students should be specifically reading eighth notes in groups of four (the reason why will be apparent in future posts).

Teaching Young Children, Pt. VII - Open Strings

The last several posts have been building to where young students will begin playing music. Keep in mind that for this series of posts “young children” are defined as ages 5 through 8; that being the case the job of the teacher is to present material which children can be successful with, master in short order and feel a sense of accomplishment playing.

In last month’s post students where working on a simple open string exercise to develop the coordination in their thumb required when plucking and moving from string to string. Students did not need to know the letter names of strings (E,A,D,G,B,E) – they only need to know strings by numbers (1,2,3, etc…). This month students will work with only two open strings “G” and “D”. In order to work with these two strings students will be introduced to the concept of sight reading. If the teacher is unable to read music, it will be greatly beneficial for the instructor to learn to read music even on a basic level to in order to accompany their student in future lessons.

The music staff should be introduced with its five lines and four spaces. It should be made clear that the lines are not the strings of the guitar; as the guitar has six strings and the music staff has only five lines – they are not the same. 

Next the teacher will introduce the open strings "G"and "D" - discuss how the music note “G” will be found on the second line of the music staff and that the note “D” is written below the staff. The teacher may develop their own written exercises for the student to practice reading/playing whether the note “G” or “D”. To ease the transition into reading music the teacher should allow the student to write the letter name above/below the music note.

Next month we’ll dig a little deeper into reading music with our young students.

Teaching Young Children, Pt. VI - The Thumb

In last month’s post I was discussing having young students use their thumb rather than a guitar pick. The reason for this is that young beginners are still developing their fine motor skills (the small muscles in their hands, fingers and wrists) and the thumb is easier for them to manipulate.

This month teachers can use these simple open string exercises with their young students to help facilitate the use of their thumb. Although the exercises are simple the development of the right hand position is the key. Keep in mind that:

• Fingers should remain on the first string

• The right hand wrist should remain straight

• Movement of the thumb should be from the large joint

• The hand should not move only the thumb

Teachers will only need to show the exercise to students and explain to parents what the child is doing so that they may help them at home. The exercises are written in tablature and there is no need at this stage to explain “tab” to them at this time.

Teaching Young Children, Pt. V – To Pick or Not to Pick?

Guitar instructors who have little experience working with young children will often approach teaching them as they would an upper elementary aged student, teen or adult. However, this is a common mistake as young children (ages 5 to 8 for our purposes) are still developing their fine motor skills which are the smaller muscles in their hands, fingers and wrists. Children use fine motor skills when writing, holding small items, buttoning clothes or turning pages.

Since young children lack of fine motor skills I do not have them use a pick when beginning to play guitar as it is difficult to manipulate a small object. Rather than use a pick I like to have my young students use their thumb when playing. The large appendage is easier for them to manipulate, maneuver and aid in development of the lacking fine motor skills.

The default hand position that I like to have students use is one in which the fingers of the right hand “cup” the first string for stability right over the sound hole while keeping a straight wrist. From this position students move their thumb from string to string (see images below). 

Teachers will need to remind their students that their fingers/hand should stay in the “cupped” position as the fingers will have a tendency to “slip into the sound hole and pull the hand out of position.

Next month we’ll get into some playing!

Teaching Young Children, Pt. IV – Parts of the Guitar

Although I had written about the parts of the guitar in a previous blog post it is worth mentioning again – especially when teaching young children. When working with younger children it is best to use the KISS principle (Keep It Simple, stupid). Children do not need to know all the nuances of the guitar such as the binding or upper and lower bout, but rather the “bigger picture” parts they will be using or interacting with. Here is a list of the parts of the instrument that I cover with students and all are listed with on this diagram:

· Head 

· Neck 

· Body 

· Tuners 

· Nut 

· Frets 

· Fret Dots 

· Sound Hole 

· Bridge 

· Saddle 

The parts of the guitar are important to know for young students to know and should not be overlooked as it gives them a sense of ownership over the instrument. Moreover, you should review the parts of the guitar with your students each week for the first few lessons as well as ask parents to review them with their child at home.

Teaching Young Children, Pt. III – Seating Position

Although I have previously written about the importance of a proper seating position as it is topic worth repeating as it can be vital in developing proper technique in young beginners. Of all the styles of guitar playing classical guitarists have the most uniform seating position as this position can: help develop “proper” technique, easily balance the instrument and give the ability to survey the guitar when playing.

A traditional classical seating position involves sitting close to the edge of an armless chair and elevating the left leg with a footstool while holding the guitar. When the guitar is held correctly it will come in contact with the body at four points: (1) on the side of the guitar where it is placed over the left leg (2) the lower bout as it “rests” against inner thigh of the right leg (3) the back of the guitar as it touches the chest of the player (4) on the top/side of lower bout when the right forearm is in playing position. This playing position enables the guitar neck to be angled upward much like when one is standing and playing allowing more freedom of movement in the fretting hand.

The classical seating position works for any style of guitar playing, it also helps support a “structured” approach to learning for young students. I have all my students use this seating position until they have developed a proficient technical facility and then may sit in another position if they choose. If your students are not sitting this way already, have them try it. It may seem a bit strange for them at first, but in the end it will prove most beneficial.