Common Approach Keyboard User manual

Keyboard
A Common
Approach
KEYBOARD

Contents
Introduction 1
The Keyboard Framework 3
Programme of Study 1 4
Programme of Study 2 18
Programme of Study 3 30
Programme of Study 4 42
Programme of Study 5 54
Unit of Work Template 70
Specimen Units of Work 71
Short-term Planning and Recording Template 79
Summary of Learning Outcomes 81
Summary of Learning Objectives 84
Glossary 90
© 2002 by the Federation of Music Services and the National Association
of Music Educators and the Royal College of Music.

Developing this revised and expanded version of A Common Approach has been a
challenging and illuminating task. Our career paths and teaching experiences are diverse.
We were aware that there are many different ways of teaching electronic keyboard.
Nevertheless, we discovered considerable common ground. We also found that we shared many
similar ideas and principles with colleagues from the other working parties. Indeed, it was
reassuring to find that many colleagues who contributed to the consultative process not only
concurred with much of our thinking but also use some of the activities included here in their own
teaching. To all who responded to the draft documentation, we are extremely grateful. Your
experience and expertise were particularly valuable, and helped to clarify and refine our thinking.
By drawing on good practice, A Common Approach aims to improve the quality of musical
experience for all pupils by encouraging instrumental / vocal teachers to reflect on, develop and
improve their professional skills, knowledge and understanding. But it is not intended to be
prescriptive. Our hope is that teachers will find the suggestions useful and will be helped in
developing their own work further. Instrumental teaching is always evolving and we can all benefit
from a fresh look at even the most fundamental aspects of our work. All the ideas and activities
have been proven to work on many occasions, in a variety of circumstances and with different
pupils. We believe, therefore, that the learning objectives and activities, used in conjunction with
a wide and attractive range of repertoire, offer pupils the opportunity to enjoy a broad and
balanced instrumental curriculum. Above all, we hope that we are encouraging a musical
approach to learning an instrument, an approach that at each stage of learning is stimulating,
enlightening and rewarding, and gives pupils a deepening love of music and a range of skills,
knowledge and understanding.
The programmes of study and units of work set out to encourage teachers and pupils to make
full use of the facilities of modern digital keyboards, including the possible use of external music
technology. They provide a framework in which pupils can learn to play using a full range of
chords and auto-accompaniments. The suggested activities, for example, are built around
instruments with specifications that we consider are appropriate for each programme. Keyboards
with full-sized keys should be used from the start. Specific reference to weighted keys has not
been made, although more advanced digital pianos can sometimes provide all the necessary
facilities for electronic-keyboard playing.
In addition to responding to pupils’ present interests, it is important to enlarge their range of
musical experiences. Another issue is determining the appropriate point at which to introduce
bass clef reading and to encourage pupils to develop greater left-hand freedom and
independence. In this context, some of the activities from the piano programmes of study may
be useful.
Introduction
KEYBOARD
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The following general points are intended to raise awareness of important issues. They may be of
particular relevance to new teachers.
•Whenever possible, teachers should advise on the purchase of instruments. Although
selection will probably be influenced by financial considerations, parents / carers should be
reminded about aesthetic and educational factors. Providing information about instrument
insurance may be important as well.
•Teachers should remember to give pupils information on Health and Safety issues. The
following should be observed:
– all safety instructions given in keyboard instruction manuals should be followed
– small children need help when setting up, packing away, moving and transporting
instruments
– trailing leads and cables present a significant safety hazard. Equipment should be set up to
minimise risk. Similarly, carry bags / boxes should be kept out of harm’s way
– good practice should be vigorously and regularly enforced with regard to electrical safety
– when working in schools and colleges, teachers should make themselves familiar with the
Health and Safety policies as issued by the school, college, LEA or Music Service
•Professional issues regarding pupil and teacher protection are of the utmost importance.
Teachers working for Music Services and / or schools will probably have access to
comprehensive guidelines. Private teachers should seek guidance from one of the
professional associations.
KEYBOARD WORKING PARTY
Andrew Eales (co-ordinator), Co-ordinator for Keyboard and Piano, Milton Keynes Music Service
David Glynn, Keyboard and Piano Teacher, Hampshire Music Service
Rosemary Kemp, Co-ordinator for Keyboard and Piano, East Sussex Music Service
Nancy Litten, Keyboard and Piano Teacher, Kent Music School and Benenden School
Graeme Smith, Director, Croydon Music Service
KEYBOARD INTRODUCTION
2

The Keyboard Framework
KEYBOARD
3
A. listening and internalising including:
ilistening to music with concentration in and out of lessons, building on their experiences
ii having a clear aural perception of the music to be played
iii recognising and discriminating between the musical elements of pulse, pitch, rhythm,
tempo, dynamics, texture, and tone colour
iv recognising and conveying structural elements in their playing
v making links between sound and symbols when using notation
B. making and controlling musical sounds: developing technique including:
i posture and freedom of movement
ii registration
iii articulation
iv fingering
v right hand
vi left hand
vii co-ordination and balance
C. creating, developing and interpreting musical ideas including:
i improvising expressively
ii applying their instrumental skills in composing
iii interpreting music, developing a personal response
D. playing music including:
i working out how to play music by ear
ii repeating musical patterns and phrases accurately from memory
iii playing pieces in a variety of styles with fluency, expression and understanding
iv memorising pieces that have been learnt
v reading and playing music at sight*
E. playing music with others including:
i listening, watching, responding and leading
ii contributing to collective decisions, including interpretation
F. performing and communicating including:
iinterpreting and communicating the character of the music
ii evaluating their performances and making improvements
* where appropriate
Pupils should be offered broad and balanced programmes of study that promote and
develop musical playing and singing. They should be given opportunities to:
express their musical ideas and feelings
use their creativity, imagination and intuition
develop their skills, knowledge and understanding
reflect on and evaluate their progress
through the interrelated areas of:

Pupils should learn to:
A. listening and internalising
ilisten to music with concentration in and out of lessons, enjoying their experiences and
building on them
ii have some aural perception of the music to be played
iii recognise and discriminate between the musical elements of pulse, pitch, rhythm, tempo,
dynamics, texture, and notice changes of tone quality and colour
iv recognise and convey in their playing simple rhythmic and melodic patterns, e.g. repetition
of main tune
vmake links between sounds and symbols when using notation, e.g. shape of the melody
Learning objectives
Programme of Study 1
NQF entry level / Pre-grade 1
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During Programme 1, pupils aim to
control sounds on the guitar. They
start to develop technical and
musical skills. They learn how to
play simple pieces, enjoying their
experiences and building on them
with increasing confidence.

Possible teaching activities Points to note
A. listening and internalising
•Ask pupils to listen with concentration to different pieces of music in their own time and then
describe them in the lesson, including aspects of dynamics, instrumentation, character, etc.
•Encourage pupils to jot down details of favourite pieces in their notebooks.
•Perform a piece to be learnt to pupils. Ask them to describe its character.
•Ask pupils to tap the pulse of music played by the teacher or other pupils.
•Ask pupils to respond physically to music being played, i.e. moving in time or beating time to
music with a regular pulse. Repeat at different tempi.
•Go through the piece again with pupils, using gestures or actions to indicate rests.
•Help pupils to play / sing short, simple rhythmic / melodic phrases by ear.
•Ask pupils simple questions about pulse, pitch, rhythm, dynamics, etc.
•Ask pupils to sing songs they know well, singing some phrases in their heads at a given
signal from the teacher. When pupils sing aloud again, they should be singing at the correct
pitch and pulse.
•Ask pupils to sing the final note to complete a melodic phrase played / sung by the teacher.
•Ask pupils how many phrases there are in a short piece. Where do they start and finish?
•Listen to other short pieces, e.g. ‘Hot Cross Buns’, and ask pupils to indicate when the main
tune is repeated: count the number of times it is repeated and describe what happens in
between.
•Using notation, ask pupils to play / sing or clap short phrases of a piece and count silent bars
in their heads, e.g. bars 1-2 clapped / played / sung, bars 3-4 counted and bars 5-6
clapped / played / sung.
•Using notation, ask pupils to describe the main features of a piece before playing / singing it –
e.g. shape of melody and obvious repetitions.
•Play a familiar piece incorrectly. Ask pupils to spot the mistakes.
It is important that listening is
approached in a relaxed and enjoyable
way.
Listening games can be linked to all
the pieces being learnt in the early
stages.
Ensure that pupils understand the
difference between tempo, pulse and
rhythm.
Further ideas in developing aural
acuity can be found in the approaches
of Kodaly and Dalcroze (Eurhythmics).
The main aim is to internalise the
sound before relating it to a symbol.
In the first instance, it helps if the
penultimate note is either the leading
note or the supertonic.
There are many opportunities to use a
wide range of musical styles from
around the world.
Programme of Study 1
NQF entry level / Pre-grade 1
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B. making and controlling musical sounds: developing technique
iposture and freedom of movement
•develop a balanced and relaxed posture, supporting the instrument in an appropriate manner,
securely and without tension
ii tuning
•understand the basic principles of tuning the instrument
iii right hand (tone quality and dynamics)
•form stable right-hand shapes and positions
•move the thumb independently of the rest of the hand and damp open-string bass notes
•control sequential right-hand thumb and finger movements in the simplest arpeggio patterns
Learning objectives
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PROGRAMME OF STUDY 1
Pupils should learn to:

Possible teaching activities Points to note
B. making and controlling musical sounds: developing technique
posture and freedom of movement
•Show pupils how to hold the guitar at the correct height and angle relative to the upper body,
by means of a footstool or other adjustable support device. Make sure the left arm and right
forearm can move freely while the guitar remains secure.
•Ask pupils to describe the teacher’s and other pupils’ posture, e.g. comfortable, relaxed,
hunched, tense. Suggest some adjustments.
tuning
•Encourage pupils to explore the effect on pitch of plucking a string and immediately tightening
and loosening it, i.e. giving its machine head one or two full turns in both directions.
•Play an open string. Ask pupils to:
– play the equivalent string in response
– say whether it is higher or lower in pitch
– turn the machine head accordingly
right hand (tone quality and dynamics)
•Show pupils how to prepare the basic right-hand stance by forming a fist with the fingers flat
against the palm, placing it over the sound hole, then opening the hand until the tips of the
fingers and thumb (pima) stand on each of the top four strings. Encourage pupils to develop
their own pictorial image to support this process, e.g. seeing the thumb and fingers as
forming an ‘X’.
•Demonstrate ‘parachute landing’, i.e. how to lift the ready-formed hand shape on and off the
top four strings of the guitar from the elbow. Ask pupils to imitate.
•Accompany pupils as they play single-note, open-string rhythm patterns with the thumb
(fingers planted on the top three strings), ensuring a regular pulse.
•Play single-note, open-string rhythm patterns and ask pupils to copy them.
•Ask pupils to play ‘mini-scales’ with the thumb, using the notes they know.
•Show pupils how to play two adjacent bass strings with the thumb, one after the other
(soh-doh). As soon as the second one has sounded, ask pupils to quickly touch the first
again to stop it ringing on.
•As an extension activity, play two open-string bass notes with and without damping. Ask
pupils how many notes they can hear after the second note has been played.
•Explain and demonstrate how feeling the weight of the fingers pushing down and across
(with pima planted) is a valuable preparation for arpeggio playing.
•Ask pupils to play simple open-string arpeggio patterns with a regular pulse, ensuring the
fingers push through from the knuckle in the direction of the elbow.
•Ask pupils to explore how ‘hooking’ the strings up makes a twangy, less satisfying sound,
and pushing them down and across makes a richer, more attractive sound.
The aim is to support the instrument in
a manner that will facilitate a musical
and technically secure performance.
Pupils should sit tall on the front of the
chair, shoulders relaxed and level, left
knee pointing forwards and right leg
pointing to the side. The guitar should
rest on the left thigh, held in place by
the weight of the right arm and
contact with the right thigh, its head at
eye-level.
An electronic tuner (with visual display)
can be useful for practising at home.
Playing the string two or three times
and silencing it between repetitions
can help pupils to focus on the pitch.
Squeezing a soft, suitably sized ball
between the fingers and palm can
also help establish a good hand
shape.
Check that the hand and forearm are
aligned. (It is much more difficult to
make a fist if they are not aligned.)
The wrist should be relaxed, with the
back of the hand parallel to the
face of the guitar and the line from
knuckle to fingertip more or less
perpendicular to it.
Check that the thumb moves from the
wrist joint, with its middle joint held
away from the hand. This can take
longer to develop in pupils with
particularly flexible or double-jointed
fingers.
Relaxing the fingertip joints can help
prevent hooking and enhance the
downward direction of the stroke, but
take into account the flexibility of
individual pupils’ finger joints.
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PROGRAMME OF STUDY 1

B. making and controlling musical sounds: developing technique contd...
•control alternating pairs of right-hand fingers, using apoyando and tirando strokes
•play with a full, clear sound at two or more dynamic levels
iv left hand
•develop a comfortable and relaxed left-hand shape that facilitates the accurate placement of
all fingers, using one finger at a time
Learning objectives
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PROGRAMME OF STUDY 1
Pupils should learn to:

Possible teaching activities Points to note
B. making and controlling musical sounds: developing technique contd...
•Show pupils how to practise alternating by walking the fingers on one string without playing.
•Accompany pupils as they play single-note, open-string rhythm patterns using im and ma,
tirando and apoyando, ensuring a regular pulse.
•Ask pupils to play mini-scales with alternating fingers, using the notes they know.
•Play single-note, open-string rhythm patterns and ask pupils to copy them.
•Teach exercises and accompanied melodies that use more than one string, starting with
repeated notes on the top three open strings.
•Demonstrate a good quality sound and ask pupils to compare it to their own sound.
•Discuss reasons for unsatisfying sounds, including those caused by left-hand inaccuracies.
•Ask pupils to comment on each other’s tone quality and dynamics.
•Play short, simple phrases using different dynamics and ask pupils to copy them.
•Ask pupils to choose ways of playing simple phrases with different dynamics.
left hand
•Show pupils how, when holding a pencil between the left-hand thumb and fingers, a balance
is achieved by placing the thumb opposite the second finger.
•Show pupils how to make the second finger into a ‘pecking hen’, by lifting its tip on and off
the underside of the thumb tip.
•Teach two-note exercises combining the second-finger A or E with their respective open strings.
•Teach exercises and simple melodies using all other fingers in combination with open strings,
making sure they all maintain their shape and lift on and off from the knuckle joint. Ask pupils
to name the notes as they are played.
Encourage pupils to:
•approach the string from above
rather than in front
•start the stroke from the string
(think: ‘place and push’)
•when playing apoyando, feel a
transference of weight when
changing finger
Resting the thumb on a lower string
can help provide stability, particularly
when playing tirando.
Incorporate rests made by the finger
due to play next.
Choose material in which the fingers
can cross strings the ‘right way
round’, i.e. ito mwhen changing from
second to first string.
With pupils, develop a vocabulary to
describe the sound being produced,
e.g. thin, round, big, small.
Explain that the amount of sound
produced by a guitar is determined
solely by the amount of lateral
displacement the string is subjected to
prior to its release.
Singing the various alternatives can
help the process of evaluation.
These and other preparatory games
allow pupils to focus on and rehearse
hand shapes and finger movements
away from the instrument.
Use an adhesive dot to show the
exact placement of the left-hand
thumb and make sure pupils can
locate notes accurately without
looking at their left hand. If necessary,
use adhesive dots to help pupils
locate the fingertips correctly, i.e. just
behind the fret.
Encourage pupils to feel the
transference of weight when changing
from finger to finger. Using the fourth
finger for third-fret notes, particularly
on the upper strings, helps to maintain
alignment and strengthen the weak
side of the hand.
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PROGRAMME OF STUDY 1

B. making and controlling musical sounds: developing technique contd...
varticulation and co-ordination
•play legato by moving the fingers of both hands together rhythmically to the pulse
•understand and use the phrasing slur
•observe rests and play staccato
C. creating, developing and interpreting musical ideas
iimprovise expressively by exploring different sounds and creating satisfying repeated
musical patterns or phrases
Learning objectives
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PROGRAMME OF STUDY 1
Pupils should learn to:
Pupils should learn to:

Possible teaching activities Points to note
B. making and controlling musical sounds: developing technique contd...
articulation and co-ordination
•Demonstrate good legato playing to pupils. Discuss how it is acheived.
•Ask pupils to play simple exercises and melodies legato and to listen for and comment on
unwanted gaps between notes in their own and each other’s playing.
•Ask pupils to say and sing two-syllable names, e.g. ‘Emm-a’ or ‘An-drew’, stressing the
first syllable.
•Teach simple exercises and melodies that include slurred pairs of notes, both rising and
falling in pitch.
•Play simple phrases demonstrating the difference between legato and staccato and ask
pupils to imitate them.
•Teach simple exercises and melodies that use rests and staccato. Show pupils how to make
rests and staccato effects by touching the string with the right-hand thumb or appropriate
finger, or a combination of both.
C. creating, developing and interpreting musical ideas
•Help pupils to make up short and simple rhythmic / melodic patterns from suggested musical
starting points, e.g. pentatonic phrases, drones, ostinati / riffs. Abstract or pictorial ideas could
also be used.
•Repeat the process, selecting and discarding ideas and aiming for musical coherence.
•Lead pupils in a discussion about the musical effect of their improvisations.
•Play ‘Follow my Leader’: a pupil plays three or four notes, then the next pupil plays three or
four more, starting on the last note of the first player, and so on.
Ensure that pupils can adjust the
timing of the hands so as to achieve a
good legato.
The phrasing slur is a purely musical
consideration and should not be
confused with the guitarist’s left-hand
ligado or technical slur, i.e. hammers
and pull-offs. In this context, it refers
to the right hand playing the second
note of a legato pair more gently than
the first, as in the resolution of a
suspension.
Singing a well-known song both
legato and staccato is a good
preparation for playing with different
articulations.
Rests should be treated as active
musical events and strictly observed.
Pencil in staccatos and slurs, where
appropriate, on music that does not
include them.
The teacher can promote pupils’
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
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PROGRAMME OF STUDY 1

C. creating, developing and interpreting musical ideas contd...
ii make use of instrumental skills when beginning to compose1
iii begin to interpret music with some expression and with a sense of its intended effect; talk
about its mood and how it is played and suggest improvements
D. playing music
iwork out by ear how to play short, easy phrases from well-known tunes
Learning objectives
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PROGRAMME OF STUDY 1
Pupils should learn to:
1Instrumental teachers should harness the composing interests of pupils wherever it is appropriate. This may be as an
integral part of the instrumental curriculum or to support the pupils in other areas of the National Curriculum.

Possible teaching activities Points to note
C. creating, developing and interpreting musical ideas contd...
•Ask pupils to compose short pieces from a given starting point, e.g. a story, poem, theme,
picture, or one of the musical techniques suggested above. Discuss the outcomes. Initially,
this could consist of asking pupils to write down their improvisations as an aid to memory,
perhaps using their own forms of shorthand as a precursor to staff notation.
•Provide opportunities for pupils to perform their compositions to others.
•Encourage pupils to use their guitars in creative activities in the classroom, applying technical
skills already acquired.
•Show pupils how to experiment with different 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 the character of the music.
•Involving all pupils in the group, discuss ways of improving the interpretation, particularly in
pieces that have few expressive indications.
D. playing music
•Choosing appropriate starting notes, play short, simple tunes with a limited range of notes,
e.g. television jingles, folk-tunes, nursery rhymes. Ask pupils to select one and, on the guitar,
work out separate phrases by ear, gradually building up the complete tune.
•Ask pupils to play the complete tune expressively to others.
•As an extension activity, ask pupils to teach the tune to other pupils.
Through composing, pupils are able
to explore music from the inside.
Composing is valid in its own right,
but it can also be used to develop
performing skills, knowledge and
understanding. Productive links with
general classroom work should be
made wherever possible.
It may be necessary to store pupils’
ideas for them since their creative
imagination may run ahead of their
ability to write down their ideas, at
least where staff notation is
concerned.
Interpretation is the creative dimension
of performing. At the earliest stage,
pupils should be encouraged to make
expressive musical decisions either
intuitively or by evaluating their work.
The teacher can help by being an
informed listener, giving feedback and
encouragement.
This is not as difficult as it sounds.
Many pupils experiment with tunes
they know before starting formal
instrumental lessons.
If tunes exceed pupils’ note range,
teach a simple accompaniment or
bass line by ear instead and play or
sing the tune with them.
Using a song’s words can help
develop musical memory.
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PROGRAMME OF STUDY 1

D. playing music contd...
ii repeat with accuracy short, easy rhythmic and melodic patterns by playing back from
memory
iii play short, easy pieces from notation / symbols, conveying the character of the music
iv memorise with accuracy selected short, simple pieces from their repertoire
vread and play at sight short, simple phrases at a regular pulse; begin to make links
between sound and symbol
Learning objectives
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PROGRAMME OF STUDY 1
Pupils should learn to:

Possible teaching activities Points to note
D. playing music contd...
•Perform a piece and ask pupils to respond to the music by clapping, tapping or moving with
a regular pulse and at a variety of tempi.
•Repeat, with pupils substituting a different sound, gesture or action to indicate rests.
•Engage pupils in ‘copycat playing’, either with or without notation, maintaining a secure pulse
and rhythm. Incorporate different musical effects, such as contrasts of dynamics and
articulation.
•Ask pupils to sing easy intervals and match them to notes on the guitar where appropriate.
•Select pieces for pupils to learn, from a range of different times and places, and in a variety
of styles. Take into account:
– the musical and technical skills that will be needed
– opportunities to develop musical ideas
– pupils’ prior experience
– their personal response to the music
– their general musical interests
•Show pupils how to practise their pieces and make improvements.
•Help pupils 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 pupils to play from memory to other pupils.
•Using flash cards, help pupils to:
– recognise different note values and their rests
– clap, sing and play simple rhythmic / melodic patterns maintaining a regular pulse, perhaps
at different tempi
– name notes and find them on the guitar (note recognition)
– read and play simple dynamics
– read and play staccato and legato
•Devise a variety of games to explain staff notation to young beginners, e.g:
– use a large stave with movable notes
– space permitting, play ‘note jumping’: lay out five skipping ropes and ask pupils to step or
jump between them, calling out the note names and perhaps singing them as well
– play the ‘musical alphabet’ game: a pupil says / sings a note name, the next pupil says / sings
the next one, and so on, up and down. Do the same missing out a note – G/B/D, etc.
There is always scope to design new
musical games in order to develop
pupils’ short-term memory. These can
often be invented together as the
activity proceeds, building on prior
learning.
At first, limit the phrase to be copied
to possibly two bars of 2/4 or
equivalent, using only two notes.
Adopt the holistic approach to
teaching and learning as outlined in
section 1.
For this programme, choose repertoire
that uses:
•simple time signatures
•semibreves, minims, dotted minims,
crotchets and beamed quavers
(along with their equivalent rests)
•the first position, including only the
easiest chromatic notes (i.e. avoid
the fourth fret where possible)
Playing from memory is an important
and realistic expectation in learning
pieces from the earliest stages.
Promote confidence by making
memorisation of whole pieces a
natural part of the learning process.
Bear in mind that they are unlikely to
be memorised properly until the
performance is technically fluent.
Some objectives are:
•to strengthen pupils’ confidence
•to focus on the expressive qualities
of the music
•to enable pupils to communicate
more freely without having the
constraints of notation
The overall aim is to help pupils to
develop instant recall of notes and
rhythms, thus heightening musical
memory.
The maxim ‘sound before symbol’ is
as important now as ever. Reading
notation is a means to making music,
not an end in itself. However, it
remains an essential skill: meaningful
progress will be slow without it and
the ability to play with others will be
compromised.
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PROGRAMME OF STUDY 1

E. playing music with others
iplay with others, demonstrating some basic ensemble skills by listening, watching and
keeping in time with the group
ii explore and discuss the character of the music and the expressive possibilities
F. performing and communicating
iperform music to others, e.g. parents / carers, teachers and friends, demonstrating an
awareness of the mood of the music
ii discuss the quality of their playing and, with guidance, learn from their performance
Learning objectives
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PROGRAMME OF STUDY 1
Pupils should learn to:
Pupils should learn to:

Possible teaching activities Points to note
E. playing music with others
•Create opportunities for pupils to:
– play with an accompaniment, provided either by the teacher or by recorded means, e.g.
keyboard, tape, CD / minidisc, computer / midi sequencing
– play in a small guitar ensemble or suitable mixed group
•Ask pupils to follow someone beating time.
•Discuss the mood of the music and how it can be conveyed.
•With pupils, assess their ensemble playing, identifying strengths and areas for further
development. Make a recording for this purpose, if appropriate.
F. performing and communicating
•Organise opportunities for informal performances in lessons and for parents / carers, relatives
and friends at home.
•Ask pupils to revise pieces already learnt and to perform them with expression.
•Encourage pupils to perform from memory where this will enhance confidence, musical
awareness and communication.
•Demonstrate to pupils where and how to sit. If notation is used, ensure that stands are
appropriately placed and at the correct height.
•Help pupils to evaluate each performance and suggest ways of making improvements and
building up confidence. Promote self-evaluation as much as possible.
•Encourage pupils to develop their own library of pieces that can be repeated in future.
In addition to their lessons, all pupils
should be provided with opportunities
for participation in ensembles. 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
This can be a fun activity, with teacher
or pupils beating time at a variety of
tempi.
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 pupils to gain
confidence.
Allow plenty of time so that the music
is thoroughly prepared.
Pupils should be well prepared for
every performance so that it is a
positive experience for everyone.
Pieces need to be chosen with care
so that they are well within pupils’
capabilities.
References to nerves can be counter-
productive. If pupils are thoroughly
prepared, however, nerves can be
viewed as an aid to concentration.
Encourage pupils to have a sense of
anticipation and enjoyment about
performing
On-going assessment is an integral
part of successful teaching and
learning. Opportunities for formal
assessments need to be built into the
activities. Informal assessments,
however, are to be encouraged
throughout the teaching, prompted by
effective teacher-pupil discussion.
CLASSICAL GUITAR
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PROGRAMME OF STUDY 1

Pupils should learn to:
Pupils should learn to:
A. listening and internalising
ilisten to music with concentration in and out of lessons, enjoying their experiences and
building on them
ii have some aural perception of the music to be played, including some feeling of the
expressive characteristics
iii recognise and discriminate between the musical elements, including aspects of
articulation, phrasing and quality of tone
iv recognise and convey simple structures in their playing, e.g. repetition of rhythmic and
melodic phrases
v hear some elements of the music internally when using notation / symbols, e.g. tempo,
pitch, rhythm, dynamics
B. making and controlling musical sounds: developing technique
i posture and freedom of movement
•play with ease and control:
– maintaining an appropriate posture
– maintaining appropriate forearm, wrist and hand positions, and a hand shape incorporating
naturally curved fingers
Learning objectives
Programme of Study 2
NQF 1 foundation level / Grade 1
KEYBOARD
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During programme 2, pupils build
on the skills, knowledge and
understanding acquired in
programme 1. They extend their
musical and technical skills, play a
wider range of repertoire and
communicate the expressive
character of the music.