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
1

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
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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
CLASSICAL GUITAR
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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
CLASSICAL GUITAR
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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
CLASSICAL GUITAR
6
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.
CLASSICAL GUITAR
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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
CLASSICAL GUITAR
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PROGRAMME OF STUDY 1
Pupils should learn to: