MUED 273

Ukulele Curriculum

Spring 2017

Spring 2017 MUED273: Music Education - A Professional Practice class presents the following beginning ukulele curriculum
geared for middle school or early high school learners (though it could be altered for use with younger students). This
document is the end result of a semester-long exploration into education philosophy, learning psychology, and curricular
design. We use Wiggins and McTighe’s (2011) ​The Understanding By Design Guide to Creating High-Quality Units​ as an
organizing structure for our work (you can access our draft planning document ​here​ to see how we progressed in our work).

This curriculum was created by:

Nanda Azevedo Nathan Childs

Andrew Foote Charlie Frise

Jensen Gonzalves Emma Guy

Jenny Hoye Sarah Humphreys

Lexi Johnson Howard Kim

Joseph McNure Annalise Sears

Sydney Seed Lindsey Showalter

Journee Smith Kai Smith

Ashley Starkston Elizabeth Vaughn

Zach Winkworth Jesse Rathgeber

Curriculum: Beginning Ukulele

Stage 1 Desired Results

ESTABLISHED GOALS with Transfer
Core Arts Standards (Harmonizing
Instruments):
Students will be able to independently use their learning to…
Goal #1: ● select, learn, reimagine, and share meaningful work.
Students can learn and make music
that is meaningful to them by using
● identify, discuss, and manipulate characteristic of a piece of art (e.g., melody,
the skills they learn from playing the rhythm, form, and harmony)
Ukulele. ● create an expressive text and explain their creative process
Standard:
MU:Re7.1.6a Select or choose music
to listen to and explain the Meaning
connections to specific interests or
experiences for a specific purpose.
UNDERSTANDINGS ESSENTIAL QUESTIONS

Goal #2:
Students can identify, describe, and
manipulate musical dimensions of
melody, rhythm, form, and harmony
through the Ukulele in order to learn
and create music.
Standard:
MU:Cr1.1.5b Generate musical ideas
(such as rhythms, melodies, and
accompaniment patterns) within
specific related tonalities, meters,
and simple chord changes.
Goal #3:
Students can demonstrate a
knowledge of basic strumming
patterns, aural perception, and chord
progressions.
Standard:
MU:Cr1.1.8a Generate rhythmic,
melodic and harmonic phrases and
harmonic accompaniments within
expanded forms (including
introductions, transitions, and codas)
that convey expressive intent.
Goal #4:
Students should understand the
cultural context of music they hear
and play.
Standard:
MU: Re7.2.8b Identify and compare
the context of programs of music
from a variety of genres, cultures,
and historical periods.
Goal #5:
Students should engage in
improvisatory experiences (Call and
response)
Standard:
MU:Cr1.1.H.5a Generate melodic,
rhythmic, and harmonic ideas for
simple melodies (such as two-phrase)
and chordal accompaniments for
given melodies.
Students will understand that:
● Individuals' selection of musical
works is influenced by their interests,
experiences, understandings, and
purposes. (Goal #1)
● The creative ideas, concepts, and
feelings that influence musicians’
work emerge from a variety of
sources. (Goals #2, #3, and #5)
● How one creates and respond to
music is informed by the context
(social, cultural, and historical). (Goal
#4)
● Different dimensions of music can be
manipulated to change the feel,
sound, and character of existing
musical works and/or to create new
musical works. (Goal #1 & #2)
Acquisition
Students will know…
● multiple ways to learn how to play
existing music (by ear, watching
others, reading tab and notation).
● different processes for creating
musical ideas on the ukulele.
● the differences between musical
dimensions of melody, rhythm, form,
and harmony.
● What types of music and musical
experiences are meaningful to me?
(Goal #1)
● How do musicians select and generate
musical ideas? (Goals #2, #3, and #5)
● How does understanding the structure
and context of music inform a response?
(Goal #4)
Students will be skilled at…
● selecting and learning existing music and
discussing their choices and process.
● playing I, vi, IV, and V chords in the keys
of C, G, D major on the soprano ukulele.
● strum the ukulele using different types
of rhythms.
● identify chord progressions aurally and
visually.
● read common forms of ukulele notation
● play C, G, and D major pentatonic scales
on ukulele.
● Creating and improvising rhythmic and
melodic ideas.
 Stage 2 - Evidence
Code Assessment Evidence
All Transfer PERFORMANCE TASK(S):
● Students are able to play a new piece using the skills they have learned. Students
are capable of applying strumming patterns that can fit within style of the song.
● Students can perform popular songs (or songs that are meaningful to them) on
Ukulele, to a point of recognition by their peers by themselves or with others
● Students can create their own music based on the skills acquired in the class
Students can self-assess their own performances And Of (?)
● Students can independently lead jam sessions with peers
● Students will apply the ukulele learning process to other educational learning
processes

All Meaning
● Students can engage in discussion about the skills that they have acquired. They
also are capable of conversing about cultural concepts involved with the ukulele
(Goal #4).
● Students can reflect on musical experiences and determine which experiences are
meaningful to them.
● Students can reflect on their own progress
● Students can give a short presentation on a song from another culture about its
cultural significance and important cultural or musical elements that are unique to
the song/culture

All Acquisition
● Students can aurally discern the difference between Major and Minor chord quality.
● Students can aurally identify a basic I-V-vi-IV chord progression in musical context
● Students can identify common chords via tab notation
● Students can identify musical elements, such as rhythm, harmony, melody, and
form.

Stage 3 – Learning Plan

Summary of Key Learning Events and Instruction (​ Click link to go to full plan)
Day 1 The goal of this experience is to let the students get some time to play with the ukulele
without necessarily knowing exactly what they are doing on it. The students will learn
the tuning of the strings on the ukulele and will learn how to tune it so that they can do
it on their own at the beginning of class from now on. Additionally, the students will be
exposed to the spectrum of ukulele capabilities as they play simple folk tunes at the
beginning of class, then watch someone use the ukulele to play their favorite pop
songs, then watch two professional players perform a complex song on ukulele. (​click
here for plan​)

Day 2 Through this experience design, students will be able to identify chord changes in the
context of a familiar song. Students will practice listening to familiar songs and
acknowledging when the harmony changes. Then they will learn how to play the C and
G chords on their own ukuleles. Throughout the class time, students will practice
identifying when in a song the chords change and then playing the chords along with
the song. The skill of identifying chord changes will be useful in future lessons when
students try their hands at writing their own covers of songs, and when learning new
songs on their own. (​click here for plan​)

Day 3 After this musical experience students will be able to understand more about how
different chords are used to make different sounds to create harmonies for popular
 songs that they already know. This knowledge will be useful because the students will
be able to understand how different chords come together in a certain pattern, or
sequence, to create familiar bass lines that they already have heard before coming to
class. (​click here for plan​)

Day 4 Pentatonic scale on C, playing C chord progressions with exploration of the scale
(missing plan)

Day 5 Through this experience, students will become more comfortable with learning songs
by ear rather than by reading music off of a piece of paper. It is intended that this will
help them be able to do things like cover songs on their own in the future. Students
should be able to hear and signify when chords change in a song and should be able to
come up with a strumming pattern that matches the style of the song. These skills will
be built upon in future lessons in order to help students understand how to manipulate
what they already know and create something new and original.
Meaning Goal: Different dimensions of music can be manipulated to change the feel,
sound, and character of existing musical works and/or to create new musical works.
(​click here for plan​)

Day 6 In this class period, students will be learning at least one song each independently and
sharing it with small group. After this experience, students will understand how to
create and respond to music by creating their own cover and by listening and giving
feedback to other students about their covers. They will not be restricted to making the
cover sound exactly like the original so they will be exploring how to manipulate
different dimensions of music in order to express the feelings and characteristics that
they find most important about the song they choose. (​click here for plan​)

Day 7 Through this experience students will explore and become familiar with the key of G
major (pentatonic scale, chords, and songs). They will have the opportunity to study
and learn a folk song using the g major pentatonic scale, and a pop song using that
incorporates the G major chord. The student will be able to take a song given and add
harmonies. In this class the students will have the opportunities to perform two
separate songs. The first one will be learned by ear, and the second time they will be
given a chord tab chart. Students can apply what they learned to other aspects of their
music and even their life. (​click here for plan​)

Day 8 From this experience, I hope that my students will be able to explore more songs using
the basic chords and melody in the key of G. I also hope that the activity where
students turn songs in 4/4 into 6/8 or 7/8 will help them understand how different
aspects of music (meter in this case) can be manipulated to change the feel, sound, and
character of existing musical works and/or to create new musical works. (​click here for
plan​)

Day 9 The purpose of this activity is to introduce students to a brand new key on ukulele.
Students will explore how the new key is different from previous keys, and will form a
basic understanding which they can then transfer to their own personal playing. Having
a basic knowledge of different key areas will allow the student to easily be able to
adapt in order to play in a variety of settings. (click here for plan)

Day 10 Playing songs in the key of D (​click here for plan​)

Day 11 The students are given this time to experiment with improvisation based off of
previously learned skills. The teacher should communicate that improvisation is just as
much of a musical skill as learning how to play an instrument, singing, or reading music.
 (​click here for plan​)

Day 12 After this experience, students will have independently collaborated with each other to
choose a song and learn it on their own with limited assistance from the teacher. This
experience is designed with a lot of freedom so that the students can learn how to work
together in an environment where decisions must be made without a teacher’s input.
They will choose a song to learn that requires at least one new chord to be learned, the
song must be between 1 ½-3 minutes long, and the song must have some connection to
some sort of social issue. Students will apply what they have learned prior to this day in
the curriculum and will make connections with each other and the song that they are
preparing. (​click here for plan​)

Day 13 This is a peer-centered day for the curriculum. After this class, students will have a
better understanding of critique and musical choices. This class period consists of
student small groups sharing their songs with the class, as well as providing feedback to
each other about their musical choices. Each student will perform with their group
members, allowing for some individual assessment to take place on the part of the
teacher. The group portion of the assignment allows for students to continue to
develop their communication and cooperation skills, as well as manipulate, discuss, and
change their interpretation of an artistic work. (​click here for plan​)

Day 14 After this experience students will be able to personalize a song in a way that
demonstrates how the song makes them feel, and how they can effectively convey this
meaning through musical choices for other people to interpret. Students will consider
what their song means to them, what feelings they want to convey through their cover,
and how playing in different keys, and using different strumming patterns can
contribute to the feel of a piece. Changing the key and strumming pattern are 2 ways
to transform or adapt a cover, but they will be encouraged to dig deeper into their
musical tool boxes and use other lessons (like day 8 when they experimented with how
changing the meter affects the feeling of the piece) to be as creative as they want.
(​click here for plan​)

Day 15 After this experience students will be able to personalize a song in a way that
demonstrates how the song makes them feel, and how they can effectively convey this
meaning through musical choices for other people to interpret. Students will consider
what their song means to them, what feelings they want to convey through their cover,
and how playing in different keys, and using different strumming patterns can
contribute to the feel of a piece. Changing the key and strumming pattern are 2 ways
to transform or adapt a cover, but they will be encouraged to dig deeper into their
musical tool boxes and use other lessons (like day 8 when they experimented with how
changing the meter affects the feeling of the piece) to be as creative as they want.
(​click here for plan​)

Day 16 By studying and analyzing songs and their forms and elements, students will gain an
understanding of the building blocks that comprise a song’s construction with certain
forms and guidelines and will be able to apply their understanding to constructing their
own original work. (​click here for plan​)

Day 17 Students will take what they’ve learned in the previous class about pop song form and
engage in a collaborative workshop to create a hook for a new song they are
composing. They will use their musical knowledge to create a melody, a chord
progression, and lyrics for a hook that will be part of a longer song they create as a
class. This will give them experience in going through the creative process of
 composition and will offer opportunities to discuss important characteristics of a piece
of music and put them into practice. (​click here for plan​)
Day 18 Students will understand how harmonic structures form the verse of a song. Students
will also further their understanding of how melodies fit within a harmonic structure by
applying aural skills to create a melody. (​click here for plan​)

Day 19 Teacher will first review previous aspects of new song that have been covered- catchy
hook, verse, form/other elements. Teacher will then facilitate a workshop of creating
an intro, bridge, and coda, integrating elements from previously learned songs such as
reusing materials. Students will gain an understanding of typical forms of songs (intro,
chorus, verse, chorus, bridge, coda, etc.) by creating these forms themselves. (​click here
for plan​)

Day 20 Student work day, teacher assists.

- Mock final assessment for review

Day 21 Student work day, teacher assists

Day 22 Sharing event

- Final assessment of student learning
Day 1 ​developed by Emma G.

Summary: ​The goal of this experience is to let the students get some time to play with the ukulele without necessarily
knowing exactly what they are doing on it. The students will learn the tuning of the strings on the ukulele and will learn how
to tune it so that they can do it on their own at the beginning of class from now on. Additionally, the students will be
exposed to the spectrum of ukulele capabilities as they play simple folk tunes at the beginning of class, then watch
someone use the ukulele to play their favorite pop songs, then watch two professional players perform a complex song on
ukulele.

Objectives:
● Students will learn how to hold the ukulele
● Students will learn how to strum the ukulele strings
● Students will learn how to tune a ukulele string
Materials:
● Ukuleles
● Small circle stickers that say G, C, E, and A
● Projector and screen
● Computer to hook into projector
● Xylophone
● Internet access
● https://youtu.be/wC6ktTBvtDg
● https://www.youtube.com/watch?v=O4u8n_CjUDY

Procedure:
1. Before students enter the classroom, the teacher will tune the ukuleles so that strings are G, C, E, and G (rather
than A)
2. Students enter the classroom and are invited to grab a ukulele and stand in a circle with the teacher in the middle
3. Teacher will greet the students and show them how to hold the ukulele (left hand on the neck for chords, right
hand on the body for strumming)
4. Teacher will begin strumming downbeats on the open strings at one tempo and ask the students to join in
○ Walk around the circle and help anyone who is struggling to follow
5. The teacher will begin singing “Skip To My Lou” and the students will gradually join in when they are comfortable
○ The lyrics will be projected on a screen at this time for anyone who may need them
6. Teacher will switch to eighth note strums (DUDU) and gesture for the students to do the same when they are ready
○ Teacher will walk around and adjust any glaring problems (i.e. students are strumming up when they should
be strumming down, students aren’t strumming with the beat)
7. The projector screen will be switched to the lyrics for “How Much is That Doggie in the Window?” and the teacher
will begin strumming downbeats (still on open strings) and very visually stress every third beat (Ddd, Ddd, Ddd) and
ask the students to join in
○ This is to accentuate the ¾ time signature of the piece
8. Teacher will shift weight from their left foot to their right foot in time with the waltz feel and gesture for the
students to follow and then begin singing the song with the students
○ Ask “What beat are our feet showing us?” so students understand the waltz feel in 1 as opposed to 3
■ Answer should be “beat 1, the big beat, etc.”
9. The projector screen will be switched to the lyrics for “Deep in the Heart of Texas” and the teacher will ask every
other student to put their ukulele behind them
○ The teacher will play the song and ask the students what part of the song is being repeated (Deep in the
Heart of Texas followed by 4 claps) and then sing the song and have the students fill in the repeated part
○ The students without ukuleles will sing the line “Deep in the Heart of Texas” followed by 4 claps
○ The students with ukuleles will strum along with the teacher and sing the verses in between the main line
(call and response between the two groups)
○ The teacher will explain that the group will go through the song once and the teacher will play sixteen beats
(4 bars of quarter notes) as a vamp for the students to switch roles and perform the song again
○ Tempo is faster downbeats for this song
 10. The students will switch roles and the teacher will play a vamp between when the students are switching roles and
then the song will be performed again
○ Steps 1-10 should take about 15-20 minutes
11. The teacher will invite the students to have a seat with their ukuleles and ask for students to raise their hands if
they have ever played ukulele before today
12. Teacher will prompt the students to say anything they already know about the ukulele (as simple as “It has four
strings”)
○ Questions to ask
■ Where do you think the strings are tuned?
■ What does the shape of the ukulele look like to you?
■ Does the shape help you figure out what the main parts are?
13. Teacher will ask the students what they already know about the ukulele’s history. Teacher will then explain to
students that the ukulele ​originated in the 19th century as a Hawaiian adaptation of the Portuguese machete, a
small guitar-like instrument, which was introduced to Hawaii by Portuguese immigrants, mainly from Madeira and
the Azores.
○ It’s similar to guitar but typically easier for beginners because the chords require less fingers
14. The teacher will explain the ukulele strings and have the students play each string as they say it’s respective name
(G, C, E, A)
○ Stop students after the last string and explain that it is tuned a step lower so that we could play the songs
we played in the beginning
○ The teacher will then use the xylophone to play the correct pitches for the students to hear
15. Teacher will invite the students to adjust the pegs and figure out what happens when you turn them each way and
share their findings. Teacher will then explain that to bring the pitch up, you tighten the respective tuning peg by
turning it clockwise (away from the body of the ukulele)
16. Teacher will then play an A drone and ask the students to tune their last G string up so that it matches the sound
they hear from the drone
○ Teacher will walk around and help anyone who is struggling during this time
17. The teacher will sing the “My Dog Has Fleas” technique to check the tuning of the strings
○ Let the students come up with their own four word phrase to remember the chord tuning and share with
the class to make sure they are singing the correct pitches
18. The teacher will give each student 4 stickers with the names of the strings and have them put them on the body
below each string where they connect to the bridge and will check the students for accuracy (correct letter stickers
labeling the correct strings)
○ Steps 11-18 should take about 15 minutes depending on the length of time taken for student responses
19. The teacher will then state that by learning just 4 chords on the ukulele, you can play many of your favorite pop
songs
20. The teacher will then play the following video that shows multiple pop songs being played with the same 4 chords
○ https://youtu.be/wC6ktTBvtDg
21. The teacher will then show the following Honoka and Azita video to show that ukulele can be played professionally
and very skillfully as well
○ https://www.youtube.com/watch?v=O4u8n_CjUDY
○ Ask them to look for what is different between this video and the first one
■ Less chords, more individual note lines, percussive strummings, duet melody sharing and
accompaniment
○ Steps 19-20 will take about 10-15 minutes
22. As the class leaves, the students’ assignment is to find a video of ukulele playing that they enjoy and email it to the
teacher by the next class period
Extensions:
● If time is permitting, we can ditch one of the songs in the beginning of the lesson
● If time remains at the end, the teacher can work with the students in the same mimicking fashion from the
beginning of the lesson on adding percussive techniques into strumming
○ For instance, two down strokes followed by a knuckle hit on the body of the ukulele
Adaptations:
 ● Visual slides will have lyrics with the beats exhibited by a carrot symbol (“V”) above the words for people who need
to see the strumming
● The slides will use very contrasting colors for students with color issues or who need to use colors to differentiate,
for example, the different strings on the ukulele
● For students with physical limitations, the teacher can experiment with different strumming styles (i.e. pretending
to hold a guitar pick with your thumb and pointer finger, using the upper knuckles of your four fingers, using just
the thumb, etc.)

Assessments:
My assessment will be largely informal with some formal traits. I plan to assess the students’ ability to correctly identify the
strings on the ukulele, their ability to tune the ukulele, their ability to strum on the ukulele.

1 2 3 4

Identify Strings *Could identify one *Could identify 2 *Could identify 3 *Could identify all 4
string strings strings strings

Tune Ukulele *​Could not find *​Found the pitch but *Found the pitch with *Found the pitch
correct pitch without only with moderate minimal teacher aid independently with no
significant teacher aid teacher aid teacher aid

Strum Ukulele *​Could not strum a *​Strummed a steady *​Strummed a steady *​Strummed a steady
steady beat with tone beat but got little to beat got tone from beat with good tone
no tone from the the strings with some from the strings
strings chokes occasionally consistently
Day 2​​ ​developed by Lindsey S.

Summary / Understanding statement:​​ Through this experience design, students will be able to identify chord changes in
the context of a familiar song. Students will practice listening to familiar songs and acknowledging when the harmony
changes. Then they will learn how to play the C and G chords on their own ukuleles. Throughout the class time, students
will practice identifying when in a song the chords change and then playing the chords along with the song. The skill of
identifying chord changes will be useful in future lessons when students try their hands at writing their own covers of songs,
and when learning new songs on their own.

Objectives:
● MU:Cr1.1.H.8a Generate melodic, rhythmic, and harmonic ideas for melodies (created over specified chord
progressions or AB / ABA forms ) and two-to- three-chord accompaniments for given melodies.

● MU:Pr6.1.H.5a Perform with expression and technical accuracy in individual performances of a varied repertoire of
music that includes melodies, repertoire pieces, and chordal accompaniments, demonstrating understanding of the
audience and the context.
● MU:Pr4.2.H.5a Identify prominent melodic and harmonic characteristics in a varied repertoire of music that
includes melodies, repertoire pieces, and chordal accompaniments selected for performance, including at least
some based on reading standard notation.
● Students can play a C chord on the ukulele.
● Students can play a G chord on the ukulele.
● Students can switch between playing C and G on the ukulele.
● Students can recognize when the chords change in a song.

Materials:
○ Ukuleles
○ Music stand
○ Large printouts/diagrams of C and G chords (make these)

○ Model ukulele(s)
○ Computer/sound system
○ Internet access
○ White board and markers

Procedures:
○ As students enter the room, “Banana Boat Song” and “Down in the Valley” will be playing. (4-6 minutes)
( ​https://www.youtube.com/watch?v=PMigXnXMhQ4​)
(​https://www.youtube.com/watch?v=OGxSkpqUhYw​ )
○ Lyrics are already written on the whiteboard.
○ Start by having the class sing “Banana Boat Song” as a group. (1-3 minutes)
○ Teacher plays ukulele along with the class singing. (1-3 minutes)
○ Teacher places music stand in front of her left hand so the class cannot see the chord changes.
○ Students listen to the teacher sing and play “Banana Boat Song.” (1-3 minutes)
● While listening to the teacher play, students raise their hands when they think the chord changes.
○ Teacher plays C chord multiple times so students can get used to the sound. (30 seconds)
○ Teacher plays G chord multiple times so students can get used to the sound. (30 seconds)
○ Teacher plays chord progression for “Banana Boat Song” (may sing along softly). (1-3 minutes)
● While teacher plays, students listen.
○ Students stand when they hear the C chord.
○ Students sit when they hear the G chord.
○ Students write on the board above the lyrics when each chord is played. (2 minutes)
○ Students get out their ukuleles. (2-3 minutes)
○ Teacher explains that the first chord the class will learn is the C chord. (1 minute)
● “The C chord is played with only one finger down. That finger is on the first string. If I play that one note,
can you match the pitch?”
○ Teacher plays the note C on the A string with the third finger behind the music stand. (30 seconds)
○ Students find the pitch on the A string with the third finger. (1-2 minutes)
○ Once each student finds the pitch, strum all strings to play the C chord. (1 minute)
○ Students and teacher play through the song. (1-3 minutes)
● Teacher plays the whole song
● Students sing the whole time, but only play when the C chord is played.
○ The teacher explains that the next chord is G. (1 minute)
● “The G chord is played with three fingers. We’ll start by finding the pitch we play with our first finger on the
third string. I’ll play it, and you use your first finger to match. We’ll do the same thing with the next two
notes until we have the whole chord.”
○ Teacher plays the note D on the C string with the first finger behind the music stand. (30 seconds)
○ Students find the pitch on the C string with the first finger. (1-2 minutes)
○ Teacher plays the note B on the A string with the second finger behind the music stand. (30 seconds)
○ Students find the pitch on the A string with the second finger. (1-2 minutes)
○ Teacher plays the note G on the E string with the third finger behind the music stand. (30 seconds)
○ Students find the pitch on the E string with the third finger. (1-2 minutes)
○ Students put all three notes together and practice strumming the G chord. (1 minute)
○ Students and teacher play through the song. (1-3 minutes)
● Teacher plays the whole song.
● Students sing the whole time, but only play when the G chord is played.
○ Students practice changing between C and G (5 minutes)
● Together, practice by alternating playing one measure of C, then one of G and so on. (2 minutes)
● Individually, allow students to take a few moments on their own to practice switching between the two. (2
minutes)
○ Students and teacher play through the whole song (1-3 minutes)
● Students play the whole time, teacher sings
○ Students and teacher sing and play through the whole song. (1-3 minutes)
○ Teacher plays and sings “Down in the Valley.’’ (2 minutes)
○ Class sings “Down in the Valley.” (2 minutes)
○ Teacher plays chord progression for “Down in the Valley” (may sing along softly). (2 minutes)
● When teacher plays, students listen
○ Students stand when they hear the C chord.
○ Students sit when they hear the G chord.
○ Students write on the board above the lyrics when each chord is played. (2 minutes)
○ Students and teacher play through the song. (2 minutes)
● Teacher plays the whole song
● Students sing the whole time, but only play when the C chord is played.
○ Students and teacher play through the song. (2 minutes)
● Teacher plays the whole song.
● Students sing the whole time, but only play when the G chord is played.
○ Students and teacher play through the whole song (2 minutes)
● Students play the whole time, teacher sings
○ Students and teacher sing and play through the whole song. (2 minutes)
 ○ Students have time to look up their own two chord song on the internet. (5 minutes)
○ Teacher picks students at random to share their song with the class.
○ Students listen to the song. (2-3 minutes)
● Identify when chords change by doing different body motions
○ Ex. tap their heads, then shoulders, then knees, etc.
○ Students repeat listening activity until comfortable identifying chord changes. (5-10 minutes)
○ Students play along with the chosen songs. (5-10 minutes)

Extension ideas:
● If there is extra time, have the students look up other songs with C and G and present them to the class themselves
(if technology is available).
● If there is extra time, students can write new lyrics to the tunes we learned and share them with the class.
● If a student is ready to move ahead, he or she can experiment with different rhythmic patterns.

Adaptations:
● Large print ukulele charts
● A model ukulele that has a paper/foam hand cutout demonstrating the C chord
● A model ukulele that has a paper/foam hand cutout demonstrating the G chord
● Color-coded stickers to place on student ukuleles for C and G chords

Assessments:
● Teacher will assess students’ abilities to match pitch by listening to and watching them find notes on the ukulele by
ear.
● Teacher will assess students’ abilities to identify chord changes by watching them sit or stand during the song.
● Teacher will use rubric to informally assess students.

4 3 2 1

Play the C chord by Student plays the C Student plays the C Student plays the C Student plays the C
matching pitch chord with no chord with little chord with some chord with a great
assistance assistance assistance amount of assistance

Play the G chord by Student plays the G Student plays the G Student plays the G Student plays the G
matching pitch chord with no chord with little chord with some chord with a great
assistance assistance assistance amount of assistance

Switch between Student comfortably Student switches Students switches Student takes large
playing the C and G switches between the between the chords between the chords amounts of time to
chords chords with no with minimal with brief pauses switch between
hesitation hesitation chords

Recognize when Student identifies Student identifies Student identifies Student does not
chords change in a when chords change when chords change when chords change identify when chords
song with no hesitation or with little with some change
inaccuracies hesitation/few mistakes/hesitation
inaccuracies

Sing and play a song Student keeps a Student keeps a Student has a Student does not
with the C and G steady tempo, sings steady tempo, somewhat steady keep a steady tempo,
chords all the words, and fumbles over few tempo, fumbles over does not sing the
correctly plays the words, and correctly a few words, and words, and does not
chord changes plays most of the correctly plays some play correct chord
chord changes of the chord changes changes
Day 3 ​developed by Jensen G.

Summary/Understanding Statement: ​After this musical experience students will be able to understand more about how
different chords are used to make different sounds to create harmonies for popular songs that they already know. This
knowledge will be useful because the students will be able to understand how different chords come together in a certain
pattern, or sequence, to create familiar bass lines that they already have heard before coming to class.

“I can” Statements/Objectives:
1. Students will be able to improvise on the ukulele when they use the four chords that they have now known.
a. MU:Cr1.1.H.5a Generate melodic, rhythmic, and harmonic ideas for simple melodies (such as two-phrase)
and chordal accompaniments for given melodies.
2. Students will be able to play music that they already know or music that means something to do while using the
four chords that they have learned.
a. MU:Re7.1.6a Select or choose music to listen to and explain the connections to specific interests or
experiences for a specific purpose.
3. Students will be able to demonstrate that they are able to demonstrate a basic understanding of a strumming
pattern that works well with the song that they are performing.
a. MU:Cr1.1.8a Generate rhythmic, melodic and harmonic phrases and harmonic accompaniments within
expanded forms (including introductions, transitions, and codas) that convey expressive intent.

Materials:
● Ukulele
● Lyric Sheets
● Tab Sheets

Procedure:
1. The teacher will begin the class period with reviewing what students did the day before.
a. The teacher will ask the students what songs that the students learned the day before that they want to
play through to ensure that the students are able to play the C and G chords.
b. The teacher might want to review chords C and G for 2 minutes to make sure that the students are able to
remember how to play them and can play them pretty confidently if the teacher notices that some of the
students are struggling with the chords.
c. This should last no more than 5 minutes as long as the students are able to play the chords confidently.
2. After the students learn the F major chord then the teacher should teach the students the Am chord.
(Approximately 5 minutes)
a. The teacher should show a visual aid with a tab sheet and also physically demonstrate on their own ukulele.

i.
b. This step should also only last a couple of minutes until the students show that they are capable of playing
each of the chords that they have learned this far.
3. Next the teacher will begin teaching the new chord F major. (approximately 5 minutes)
 a. The teacher should show a visual aid with a tab sheet and also physically demonstrate on their own ukulele.

i.
b. The teacher should look around and make sure that each student knows how to play the F major chord.
c. This step should last a couple of minutes until the teacher feels like the students are able to easily switch
between chords; F, G, C and Am.

4. Once the students are able to play all the four chords that they have learned the teacher can start using songs that
the students may already know. (This step will take as long as needed for the students to learn the song. Also this
should only last as long as the students are able to keep their attention span)
a. Teach “Cups” by Anna Kendrick since it uses all of the four chords; C, G, F, and Am.
b. The teacher should introduce the song by doing a repeat after me method. While actively engaging each
student during this process to allow full attention from all students in the class.
c. The teacher should project the lyrics to the song with the chords above the words where the chord changes
or if a projector is not available then the teacher should hand out lyric sheets with the chords above the
words where the chords change.
i. This allows the students to focus more on the changing of chords instead of the lyrics of the song.
d. Using the method of repeat after me allows the students to be interactive while also learning the song at
the same time.
5. After the students learn the song the teacher could ask the students what they believe the strumming pattern
should be for the song. (This should only last 2-5 minutes)
a. Asking multiple students this question will allow for them to demonstrate to the teacher that they are
understanding what a strumming pattern is and how some fit with a song more than others do.
6. The teacher can teach this song for the rest of the time period
a. If students seem to be playing ahead of others then the teacher can improvise on the chorus of the song
and then when the chorus comes around again the teacher can ask another student to improvise as well.
b. This will be a good way for students to demonstrate their own knowledge on how well that they know their
four chords and also how they can come up with a strumming pattern that is appealing to the ears.

Extension Ideas: ​As stated above in the procedure section if the students show that they are improving and performing the
song “Cups” really well then the teacher could use the time remanding to have the students improvise with the four chords
that they already know and show off their rhythmic skills that they have. If a student is more advanced than other students
the the teacher can use that student to help other students who may be struggling. The advanced student can also make
sure that the students are getting the correct chord, almost to be another set of eyes for the teacher who might be teaching
20 students at a time.

Adaptations: ​This lesson is easy to create adaptations for. One way that a teacher can make an adaptation is to color code
the chords so that when a student learns the chords they learn them based off of a color. Once the student learns the
colors of the chords then the teacher can color code the lyric sheet with the chords so that it is easier for the student who is
having difficulty see where the chord changes and what the chord is based off of the color. Another way to create and
adaptation for students is to create index cards that can be inserted between the fret board and the string to show exactly
where the student’s fingers should be placed on the string to create the chord that they wanted. This is an adaption to learn
the chords if the student is having a hard time modeling the teacher, but it is hard to use this method once playing actual
songs since the chords change so quickly.

Assessment: ​Since this day is not a formal assessment the teacher will be assessing the students in an informal way based
on student's growth throughout the class period. The first informal assessment will be based on whether the student’s are
able to recall the information learned in the previous class period in order for the students to move on and learn new
information. I will be recording how they do based off of a metric rubrick. By informally assessing the students the teacher
will be making sure that the students are personally growing with their knowledge and ability to play the chords needed in
the song.

5 4 3 2 1

Chords Students are able Students are Students are able Students are Students can not
to play chords the basically able to to confidently having difficulty play all of the four
chords C, G, F, play the chords C, play the chords C playing the four different chords
and Am. G, F, and Am and G but still chords that they that they have
without much have some have learned. learned.
difficulty. difficulty playing F
and Am.

Strumming Students are able Students are Students have Students have Students cannot
Patterns to demonstrate a basically able to some difficulty difficulty play any sort of
basic knowledge demonstrate a demonstrating a demonstrating a rhythm patterns
of different basic knowledge basic knowledge basic knowledge
strumming of different of strumming of different
patterns. strumming patterns strumming
patterns patterns.
Day 4 ​missing plan
Day 5 ​developed by Ashley S.

Summary/Understanding Statement: ​Through this experience, students will become more comfortable with learning songs
by ear rather than by reading music off of a piece of paper. It is intended that this will help them be able to do things like
cover songs on their own in the future. Students should be able to hear and signify when chords change in a song and
should be able to come up with a strumming pattern that matches the style of the song. These skills will be built upon in
future lessons in order to help students understand how to manipulate what they already know and create something new
and original.
○ Meaning Goal: Different dimensions of music can be manipulated to change the feel, sound, and character
of existing musical works and/or to create new musical works.
I Can...
● Listen to a song and determine where the chord changes are in the key of C
● Listen to a song and pick a strumming pattern that goes along with it
○ Goal #2: Students can identify, describe, and manipulate musical dimensions of melody, rhythm, form, and
harmony through the Ukulele in order to learn and create music.
■ Standard: MU:Cr1.1.5b Generate musical ideas (such as rhythms, melodies, and accompaniment
patterns) within specific related tonalities, meters, and simple chord changes.
● Play along with a song with correct chord changes and strumming rhythms
● Recreate a song I hear in the form of a “cover”
○ Goal #3: Students can demonstrate a knowledge of basic strumming patterns, aural perception, and chord
progressions.
■ Standard: MU:Cr1.1.8a Generate rhythmic, melodic and harmonic phrases and harmonic
accompaniments within expanded forms (including introductions, transitions, and codas) that
convey expressive intent.
Materials:
● Ukuleles
● Youtube Lyric Video of Just the Way You Are by Bruno Mars
○ https://www.youtube.com/watch?v=KbtCXe-voyQ
● 3 Laminated Chord Cards per student (total of 90-120 cards depending on class size)
○ Cards will be color coded and have the three chords of the song printed out onto them (C, Am, F)

Process
● As students enter, have them take out their ukuleles and play until all students are seated and attendance is taken -
3 min
● Lead students in reviewing chords in C (C, Am, F, G) - ​8 min
○ T: ​Write chord progression for “Cups” by Anna Kendrick on board (learned on day 3) and begin to play.
○ SW ​join in
○ T: ​What chords did we just use?
○ Can someone show the class how to play a C Major chord and explain the fingering?
○ SW ​stand and show the class as well as tell them how to play the chord
○ T: ​repeat for Am, F G
● Introduce Activity - ​4 min
○ T: ​Today we’re going to be making a cover of the song Just the Way You Are by Bruno Mars. Does anyone
know what a cover is?
○ T: ​(after students answer). A cover is a version of an already recorded song performed by someone other
than the original artist. Let’s listen to some of the song
○ T: ​play until 1:26
● T: ​ask for 3 student volunteers to pass out chord cards to everyone - ​2 min
● Explain and begin activity - ​5 min
○ T: ​You all should have 3 cards that are 3 different colors with C, Am, and F on them. If you don’t have any of
these, quietly raise your hand and I will bring you the card you’re missing.
○ T: ​I’m going to play the song again. This time when I play it, I want you to quietly raise your hand when you
think the chord changes. (​ play until 0:35)
 ○ T: ​Did everyone get where the chord changes are? Let’s listen again and I’ll do it with you this time so you
can see if you were right. ​(play until 0:15)
● Move to using chord cards - ​3 min
○ T: ​What do you guys think the first chord of this song is? You can use your ukuleles to figure it out.
○ T: ​So this song uses C, F, and Am. We’re going to listen to the song again and I want you to raise your hands
when the chord changes again, but this time I want you to raise the chord card the matches what chord is
being played. (​ play until 0:35)
● Put it all together - ​5 min
○ T: ​Now that we know where the chords change, let’s put it all together. (​ play whole song and sing/play
along)
● Performance - ​15 min
○ Students get into 10 groups of 3 (or 4, depending on class size) and play the song for the class
○ Class can sing along

Extension ideas
● Finish Early: Try another song - Shake it Off by Taylor Swift
○ https://www.youtube.com/watch?v=DrFZ6fXyia0
● Student Ready to Move Ahead: try coming up with a different style of strumming that you could use with the same
progression that would make it sound like a new song

Adaptations:
● Color
○ The chord cards will be 3 very different colors so that they are easy to differentiate for students who
struggle with that. Along with that, they printed chord tabs on them will be in a highly contrasting color so
they are easily readable
● Size
○ Chords will be printed largely so they are very visible
○ Students struggling to see lyrics on the youtube video will be invited to the front of the classroom
● Pacing
○ Students who are struggling to switch between chords can use a simpler strumming pattern
○ Pair struggling students with another student who is excelling to help them

Assessments (rubric on following page):

● I can listen to a song and determine where the chord changes are in the key of C
○ Teacher will assess visually by watching students during the chord card activity to see whether they are
identifying (1) where the chord changes are and (2) what order the chords change in
● I can listen to a song and pick a strumming pattern that goes along with it
○ Teacher will assess by walking around the room and listening to students strumming pattern ideas and
providing feedback determining whether they were able to pick rhythms out of the song
● I can play along with a song with correct chord changes and strumming rhythms
○ Teacher will assess during group playing if students are successful in changing chords in time and
strumming rhythms correctly as well as sing along as best as they can
● I can recreate a song I hear in the form of a “cover”
○ Teacher will assess during playing in small groups - same as above, but more individualized

Rubric 4 3 2 1
Exceeds Meets Progressing Emerging
I can listen to a song Student could Student could Student could Student could not
and determine where determine chord determine chord determine chord determine chord
the chord changes are changes and specific changes and specific changes, but not changes
in the key of C chords correctly and chords fairly specific chords
consistently accurately

I can listen to a song Student was able to Student was able to Student was able to Student was not able
and pick a strumming match rhythms heard strum in a similar strum in time, but the to strum in time
pattern that goes in the song accurately style to what the song style did not match
along with it in their strumming had the song

I can play along with a Student successfully Student played along Student struggled Student was not able
song with correct and accurately with mostly correct with accuracy, but to play along with the
chord changes and played along chord changes and stayed with the song song
strumming rhythms strumming as much as possible

I can recreate a song I Student Student Student struggled to Student was not able
hear in the form of a demonstrated ability demonstrated ability recreate the song, but to recreate the song
“cover” to play the song on to play the song on showed effort in
their own their own mostly trying
accurately
Day 6 developed by Nanda A.

Summary:
In this class period, students will be learning at least one song each independently and sharing it with small group. After this
experience, students will understand how to create and respond to music by creating their own cover and by listening and
giving feedback to other students about their covers. They will not be restricted to making the cover sound exactly like the
original so they will be exploring how to manipulate different dimensions of music in order to express the feelings and
characteristics that they find most important about the song they choose.

Objectives:
● Students will select and learn existing music- MU:Cr.1.1.5b
● Students will perform a run of a song they learned- MU:Cr.1.1.5b
● Students will strum the ukulele using different patterns- MU:Cr1.1.H5a
● Students will be able to identify I, V, vi, and IV chords in tab notation- MU:Cr1.1.5b
● Students will be able to aurally identify I, V, vi, and IV chords in musical context- MU:Cr1.1.5b

Materials:
● Class set of ukuleles
● Internet accessing devices
● Note Cards that say “I,” “V,” “vi,” and “VI”
● Note Cards with the tabs for the C, Am, F, and G chords (but do not say which tab is for which chord)
● Some larger sets of the notecards if needed

Detailed Plan:
1) Students will each receive a set of 4 notecards that say “I,” “V,” “vi,” and “VI” as they walk into class.
2) Students will listen to the recording of them playing “Just the Way You Are” from last class and sort their cards into
the correct order that this song uses (teacher will remind them that one chord is not used in this song) (2 minutes).
3) After reading through the order of the cards as a class to make sure everyone has the correct order, students will
receive a second set of notecards that have the tabs for C, F, Am, and G. They will then match those cards to the
cards with the roman numerals (2 minutes).
4) We will play through “Just the Way You Are” as a class (2 minutes).
5) Students will then be asked to split up and each pick a song that they have never played before to learn on their
own. They can choose to learn these using the notecards with tabs or by ear (30 minutes).
6) The teacher will then walk around the class and record (just audio) each student play their song. They will also ask
each student to reflect on at least one of these questions: In what ways can you keep improving this song, what can
you do differently in the song to make it sound more your own, or what did you think was the best part of what you
just performed and what was the part that you could improve the most on? (14 minutes)

Extension Ideas:
● If I finish early, I can have students volunteer to play their songs for the entire class and share how they will be
changing or enhancing future performances to grow from the brief reflection they had with the teacher.
● If a student is ready to move ahead, I can encourage them to transpose their song to a new key or to add different
elements to change it from the original like dynamic contrast, changing the form a bit, or other ideas they may
have.

Adaptations:
● Ukuleles with different colored stickers for different chords will be available.
● Students will be able to learn using whatever method works best for them so they can work with whatever
modalities help them best.
● The teacher will also have larger sets of the notecards if anyone needs them to see better.
Assessments:

Assessment Exceeds Meets Emerging Not Evident

Dimension Expectations Expectations Abilities

Students will Student can strum Student can strum Student can Student struggles
strum the ukulele quarter notes and quarter notes and strum quarter with strumming
using different eighth notes as eighth notes. notes. quarter notes.
patterns well as being able
to create their
own strumming
patterns.

Students will Student will be Student will be Student will be Student will be
select and learn able to listen or a able to listen to a able to listen to a unable to learn a
existing music song and/or look song and/or look song and/or look song by listening
at the tabs for it at the tabs for it at the tabs for it to it or looking at
and play the song and learn how to and learn how to tabs for it.
with no hesitation. play the song with play some of the
some hesitation. song.

Students will be Student will be Student will be Student will be Student will be
able to identify I, able to identify able to identify able to identify unable to read
V, vi, and IV chords on chords on some of the tabs.
chords in tab notecards with notecards with the chords on
notation unlabeled tabs unlabeled tabs. notecards with
and explain how the unlabeled
to read tabs. tabs.

Students will be Student will be Student will be Student will be Student will
able to aurally able to put able to put able to put some struggle with
identify I, V, vi, notecards with notecards with notecards with ordering
and IV chords in chords in correct chords in correct chords in correct notecards.
musical context order according to order according to order according
what they hear in what they hear in to what they hear
the recording and the recording. in the recording.
explain the form
of the song.

Students will Student can sing Student can sing Student can play Student is unable
perform a run of and play through and play through through the hook to get through
a song they the hook of a song the hook of a song of the song they the hook playing
learned they learned on they learned on learned on their or singing.
their own and add their own. own and sing
new elements like through it
dynamics or separately.
different rhythms.
Day 7 ​developed by Lexi J.

Summary/Understanding Statement
Through this experience students will explore and become familiar with the key of G major (pentatonic scale, chords, and
songs). They will have the opportunity to study and learn a folk song using the g major pentatonic scale, and a pop song
using that incorporates the G major chord. The student will be able to take a song given and add harmonies. In this class the
students will have the opportunities to perform two separate songs. The first one will be learned by ear, and the second
time they will be given a chord tab chart. Students can apply what they learned to other aspects of their music and even
their life.

Objective/ “I Can” Statements

“I Can”
● Learn chords in the key of G and perform them in a song.
● Use my knowledge to learn a song and its chords by ear, and perform it.
● Use a chord chart to learn a song and perform it.

Materials
● Ukuleles
● Percussion instruments
● Stickers
● Posters with the chord tabs
● Handouts with lyrics for Hey Jude
● Handout with fingerings for chords
● “I’m Yours” ​https://www.youtube.com/watch?v=u_TLMTPwXDM
● Chord chart for Hakuna Matata
https://www.ukulele-tabs.com/uke-songs/disney/hakuna-matata-uke-tab-16661.html

Detailed plan/Process
● The teacher will play “I’m Yours” for the students (on youtube) and have them sing along (3 minutes)
○ The lyrics will on the board for those who don’t know it

● The teacher will play the song again and have the students raise their hand when they hear a chord change (3
minutes)
○ Pass out a worksheet with the lyrics so students can circle when the chord changes are
● As a class, with student participation the students and instructor will figure out the chord sequence for the first
verse of the song (3 minutes)
○ The instructor will guide students to the answers by playing the segment of the song and asking students
what chords they think were played
● The instructor will us call and response (I play then you play) to teach the new chords used in this song (G, and D7)
(2 minutes)
○ Students can also use the handout or the poster as an additional resource
● Students will then break up into groups to figure out the chords for the rest of the song (10 minutes)
○ The students are allowed to pull out their phones to listen to the song, or have the instructor play the song
if they need a reference
○ The instructor will go around to groups to offer any assistance (like guiding students in the right direction)
● Have all the students come together and play the song together (3 minutes)
○ If students are having trouble singing and playing, they can just play along
● We will listen to “Hakuna Matata” and students will follow along with the chord chart
○ As a class, we will start to play along with the song
● Students will be given time to work individually, or in groups, to slowly learn the song on their own (go over the
sequence of the chords with the lyrics until they feel comfortable) - 10 minutes
○ OR they have the choice of doing call and response with the teacher (the teacher plays a verse, and then
they repeat)
 ● If there is time we can add percussion instruments, or any choreography to make it more like a performance (5
minutes)
○ Those who don’t feel as comfortable playing the Ukulele can play percussion and sing
○ Split the class up into different characters (if there is time)

● At the end of class the students will perform both the Pop song and the Disney the learned in this class 5 minutes
○ Use this as a overall review of the chords used today and songs learned.

Extension Ideas
● Students can take the songs we learned and add additional harmony or percussion instruments
● Students can create their own song or arrangement using the chords and songs we learned today, and the
percussion instruments we have in the classroom

Adaptations
● Color: The teachers can use different colored stickers for all the chords used during this lesson. The teacher will put
a sticker on the student’s ukulele, using the color that corresponds to each chord they are confused about, need
extra help on.
● Size: Worksheets given to the students can give them the chords and fingerings as a reference, up close. If a student
can’t we can make a worksheet in Braille.
● Pacing: Give the students enough time to figure out the chords and the notes of the songs. If a student is having
trouble figuring out Amazing Grace then they will be given more time to ensure everyone in the class has time to
learn how to play it.
● Modality
○ Aural: The instructor will use call and response (I play then they play) to review chords for songs
○ Visual: Worksheets will be used so students can have all the chords written out before them . There can be
posters around the room. If students have a phone/ computer they can look on a google document for
reference
○ Kinesthetic: Students will have the opportunity to explore “Hey Jude” and learn the chord sequence on
their own (with very little help from the teacher)

Assessments
● The class will perform Amazing Grace, with vocals, that they learned by ear
○ Split them up into groups so you can assess them without having them play individually
○ Pay attention as students play to whether they’re strumming along
○ Go around to groups as their learning the song and observe how students are working together

● The class with perform “Hakuna Matata” that they learned using the chord tabs
○ Split the class in half and have the first group

Level 4 3 2 1

Perform a song by ear Performs all the Performs all of the Performs all the Does not perform all
chords of the song, chords of the song, chords of the song, the chords of the
and sing along with with few mistakes with hesitation and song
no mistakes several mistakes

Sightread a melody Performs the chords Performs all the Performs all the Does not play all the
(Hakuna Matata) of the song and lyrics chords and lyrics of chords of the song chords in the song,
with very little (one) the song with a few with mistakes and and plays in an
to no mistakes in mistakes in the some inconsistency in inconsistent tempo
tempo correct tempo
Day 8 ​developed by Kai S.

Summary Statement: ​From this experience, I hope that my students will be able to explore more songs using the basic
chords and melody in the key of G. I also hope that the activity where students turn songs in 4/4 into 6/8 or 7/8 will help
them understand how different aspects of music (meter in this case) can be manipulated to change the feel, sound, and
character of existing musical works and/or to create new musical works.

Objective
I can play a variety songs in the key of G using the G, C, D, and Em chords.
I can arrange songs in symmetric meter to asymmetric meter and vice versa.

Materials
Ukulele
Internet
Chord chart for Hakuna Matata
(​https://www.ukulele-tabs.com/uke-songs/disney/hakuna-matata-uke-tab-16661.html​)
Jammin -- Bob Marley (​https://www.youtube.com/watch?v=oFRbZJXjWIA​)
Jammin Chords (https://ukutabs.com/b/bob-marley/jamming/?transpose=-5#point)

Detailed Process
1 TTW play through “Hakuna Matata” to review the chords and pentatonic scale in 2 mins
the key of G.

2 After the teacher has reviewed the scales and chords in the key of G, TTW 10 mins
introduces “Jammin” by Bob Marley, in the key of G to class. TTW do this by having
the class echo after the teacher. TTW make sure the students understand the chord
progression along the way.

3 After the class has learned Jammin, TTW introduce the new concept of meter and 5 mins
subdivision. TTW will have the students clap the (big) beat, then TTW will clap the
eight notes and count to 8 with the claps. TTW then introduce the challenge of
having the class count to 7. Slowly, TTW add accent to beats 1, 3, and 5 (wait for
class to follow along). Then TTW leave out beats 2, 4, 6, and 7 (wait for class to
follow along). After a couple seconds, TTW stop the class and introduce the
concepts of symmetric and asymmetric meter. TTW help the class discuss the
definitions and will ask “Why do you think its called ‘asymmetric meter’?”

4 TTW will reteach the newly learned song in 7/8 (with chord progressions) to the 10 mins
class by having the class echo along.

5 After the class has learned the new song in 7/8, TTW will help lead a class 8 mins
discussion on how changing the meter may (or may not have) changed the feel,
mood, or character of the original piece.

6 At the end of class, TTW have the class look up songs on the internet to arrange 15 mins
with asymmetric meter. After 5 mins, TTW check in with the students to see what
songs they’d like to arrange and encourage them to start practicing so they some
students can perform at the end of class.

Extension Ideas
If the class has moved through the activity at a faster rate than expected, the teacher can have the rest of the class
perform their asymmetric pieces for the class. Students can perform in groups if they’d like.
Adaptions
Color -- To add color to my lesson, the teacher can add chord sheets to a projector and color code according to the
chords.
Size -- The teacher can increase the textsize of the lyrics on the projector.
Pacing -- At any moment, the teacher can slow down the pace of the lesson to make sure that the majority of the
students understand the material.
Modality -- To get the students to move around more, the teacher can have the students march around the
classroom when learning how to count in 7/8.

Assessments
Level 4 3 2 1

Counting in Student maintains Student maintains Student has trouble Student has little to
symmetric and even time throughout time adequately maintaining time no sense of time and
asymmetric meters meter with little to no throughout meter throughout the meter lacks understanding
hesitation with some hesitation and makes several of meter
mistakes

Singing along with Student maintains Student hits most Student performs Student fails to
Ukulele Playing accurate vocal pitches and stays mostly inaccurate perform on ukulele
rhythms, pitches, and mostly in rhythm pitches and rhythms and voice
lyrics while also while maintaining a and has numerous simultaneously
maintaining a steady steady ukulele mistakes/unsteady
and accurate ukulele accompaniment with rhythm in ukulele
accompaniment few mistakes accompaniment

Prepared asymmetric Students can play and Students can play and Students can play Student cannot play
song performance sing through a song sing through a song through a song they or sing through the
they have learned in they have learned in have learned in class song without
class with no class with some with some hesitation significant hesitation.
hesitation between hesitation between between chords and
chords. chords. sing through it
separately.
Day 9 ​developed by Zach W.

Summary / Understanding statement:​​ The purpose of this activity is to introduce students to a brand new key on ukulele.
Students will explore how the new key is different from previous keys, and will form a basic understanding which they can
then transfer to their own personal playing. Having a basic knowledge of different key areas will allow the student to easily
be able to adapt in order to play in a variety of settings.

2-4 "I can" statements/Objective:

● The student will know how to play the ukulele in the key of D, and show the ability to play things such as chords,
pentatonic scales, and basic songs. [MU:Pr5.1.H.5a ]
● The student will be skilled at taking basic concepts, such as chords, from a previous key area (key of G) and apply
them to a new key area (key of D). [MU:Cr1.1.H.8a]
● The student will be able to tell the difference between chords in both the key of G and D. [MU:Cr1.1.H.8a]
○ What seemed different? Were there any unfamiliar chords that are present in the key of D, but not G?
Materials:
○ Ukulele
○ Chord chart(s), such as:

○ Colored fret markers/stickers

A detailed plan/process with duration stamps for each step​​ (how many minutes will each step take?):
● Start class by doing a call and response chord pattern in order to get the students playing immediately (5 minutes)
○ Play chords that fit within the key of D, to get students acquainted with the key.
○ Learn / practice the song ​Sweetly the Swan Sings​ in G, in order to branch previous concepts into the current
activity.
○ Explain that the chord progression(s) the students were playing were based in the key of D, which is the
new key that will be taught in the lesson.
● Go in depth on concepts related to the key of D (15 minutes)
○ Give examples / have students play along with chords, and pentatonic scales related to the key of D
○ “The new chord that we played during the chord progression activity was a D major chord, and this is what
it looks/sounds like.”
● After working with the class to build familiarity, break the class up into groups (Students will be given a group at the
beginning of class) [25 minutes for activity and assessment]
○ Work through playing ​Sweetly the Swan Sings i​ n D, rather than G. The purpose of being in small groups is so
that students can work in a small group setting and discover the key without the overbearing instruction of
a teacher.
○ After giving “ample time” for the students working in groups, the class will come back together and play
through ​Sweetly the Swan Sings ​in the key of D.

Extension ideas
 ● If students finish early and are able to play through the piece comprehensibly, then we will briefly look at other
pieces to play in the same key
● If a student is demonstrating exceptional growth and understanding in the given material, then they could try
learning the main melody of the song on ukulele to perform with the rest of the class.

Adaptations:
● There will be the use of colored stickers on ukuleles in order to provide a visual aid for students.
● There will be the use of chord charts to assist students in learning chords.
○ Chord charts will be provided in various orientations (i.e. horizontal, vertical, etc.) to provide the greatest
level of ease to the students.
● There will be audio examples, played by the teacher.

Assessments:
● The overall assessment is the group performance of ​Sweetly the Swan Sings.​ This is an informal assessment, which
is a way of determining the group’s overall comprehension.
● As an informal assessment, the teacher will be “floating around” to each of the groups and providing feedback
when necessary.
● As an informal assessment, the class will reflect on the differences between playing in G and in D.
○ How was playing the song with the new chords set in the key of D?

Rubric:

Achieved 4 - Exceeds 3 - Meets 2 - Progressing 1- Emerging

Level of
Ability

Description Student can Student can Student can Intent of

of Level of demonstrate demonstrate demonstrate concepts is
Ability concepts concepts, but some concepts, present,
discussed shows however, requires however, a
with potential to more confidence higher degree of
confidence become and clarity. confidence and
and clarity. more clarity must be
confident achieved.
and precise.
Day 10 ​developed by Journee S.

Summary / Understanding statement:

2-4 "I can" statements/Objective:

Materials:
● The only materials the students with need are their Ukuleles.
● https://ukutabs.com/b/bob-marley/three-little-birds/

A detailed plan/process with duration stamps for each step​​:

● Open the class up with playing through the last song they learned.
● The students will enter the room and the Ukuleles will be distributed in a circle. They will be sectioned into different
groups and each group will have their own chord to figure out.
■ “Hey everyone! In this group, I want you to discuss with each other and try to remember how to
play the D chord.”
○ Once the students have their chord, I will get the groups to play their chords in rhythm back in forth in the
order of the chords of a song that they will be learning (most likely Three Little Birds). For modification,
there might be solely a group for singing as well. We will then rotate chords until each group has had time
to review all of the chords.
○ After this, they will be able to play through Three Little Birds as a group.
○ If the students seem to be having a more difficult time with this song, we will go through the same process
as this last one. If they are moving along pretty well, they will learn all of the new chords to the next song.
Extension ideas\
● If they are finished early, we might try changing the strum pattern of the song.
● If a student is ready to move ahead, I could add a seventh chord to the strum pattern to help add move of a
challenge to the piece.

-practice saying the strum while playing the Uke

-THEN start switching between chords
-Eventually we end up playing the chords to Three Little Birds
-Everyone is singing along with the correct strum rhythm

*students walk in and we get in a circle with our Ukuleles*

- I begin by demonstrating a strumming pattern with the D chords. The students will speak the strum pattern with
me.
- “Down down HIT. Down down down HIT.”
- Once we are all playing the Ukulele in the rhythm together, we will switch to the next chord.
- Eventually, the students will be playing the beginning chords to Three Little Birds
- I will sing it first so they are able to hear what the song sounds like.
- After gauging the room, I will stop playing the Ukulele and sing to see if they can play the Ukulele do it
without me.
- Once they are able to accomplish this and after they’ve heard repetition they will be able to join in on the
singing as well as playing the Ukulele at the same time.
- Once the students have learned how to play the song with the rhythmic pattern and chords given to them, they will
then divide themselves into groups where they will have the opportunity to pick a song from a list provided to
them.
- This is the List:
- https://ukutabs.com/b/bobby-mcferrin/dont-worry-be-happy/?transpose=+3#point
Day 11​​ developed by Joseph M.

Summary​​: The students are given this time to experiment with improvisation based off of previously learned skills. The
teacher should communicate that improvisation is just as much of a musical skill as learning how to play an instrument,
singing, or reading music.

Objectives
● Students use the pentatonic scale to improvise over a chord progression
● Students improvise chord progressions

Materials​​ - Ukuleles, chord chart displayed on a projector screen or smartboard.

Process :
● Students walk in and get Ukuleles out while the teacher is already playing. Encourage them to join in with the
chord progression you are strumming (I V vi IV in C).
● Motion to have everyone play very softly to prepare to have someone improvise.
● Improvise first using the pentatonic scale taught in a previous class, and motion to other students to take turns
improvising. (10 minutes)
● Stop playing after about 3-4 students have gone and ask the students to describe what just happened. (2 minutes)
● Ask the students to name different ways we can improvise (5-7 minutes)
○ Students will of course provide their own original ideas, but some ideas the teacher should prepare to bring
up are improvising notes, rhythms (strumming patterns), and improvising chord progressions.
● Revisit playing the pentatonic scale with the class and explain that you can improvise using leaps as well as
step-wise motion. Do a call and response using the scale and with varying rhythms and also inform them to think
about the rhythms they are using after displaying those examples. (5-7 minutes)
● Begin the chord progression again with the whole class and give everyone a turn to improvise this time. (10-12
minutes)
● Move to improvising with chords. Have everyone in the class keep a steady beat by tapping on the body of the
Ukulele and motion for every student to have a turn playing any chord we have learned in the class so far in
whatever order they want, just have them begin and end on the chord C. Improvising should be about 8-16 beats
for this exercise, let them know they don’t have to change chords on every beat. (8 minutes)
● Reflection with the students, how did they feel improvising in front of each other? Do they feel like their musical
abilities have changed after experimenting with improvisation? How is improvising a different task than learning a
new song or technique? (5-10 minutes)

Adaptations
● Provide a Ukulele with a different tuning so that a bar chord method makes it possible to play many chords (using a
slide or one finger covering every string) for students with fine motor skill issues.
● Place stickers on the Ukuleles that show where the C pentatonic scale is.
● Use a smartboard or projector to display a fingering chart.
 ● For students still troubled with the pacing of learning the pentatonic scale, only focus on the scale using 2 of the
strings to make it easier.

Assessment

Skill 1 2 3 4

Student can use the The student cannot The student can play The student only used The student had a
pentatonic scale to play the scale and what resembles the stepwise motion with variety of rhythms
improvise. only used one note pentatonic scale and the pentatonic scale, and notes using the
used a couple of using between 4-6 scale and played leaps
notes notes. as well as steps.

Students can The student was not The student began The student began The student began
improvise a chord making chords with and ended on C but and ended on C and and ended on C and
progression the Ukulele. did not make used at least two used a larger variety
coherent chords in other chords besides of the chords we’ve
between. C in their progression. learned to make a
progression.
Day 12​​ developed by Sarah H.

Summary: ​After this experience, students will have independently collaborated with each other to choose a song and learn
it on their own with limited assistance from the teacher. This experience is designed with a lot of freedom so that the
students can learn how to work together in an environment where decisions must be made without a teacher’s input. They
will choose a song to learn that requires at least one new chord to be learned, the song must be between 1 ½-3 minutes
long, and the song must have some connection to some sort of social issue. Students will apply what they have learned
prior to this day in the curriculum and will make connections with each other and the song that they are preparing.

Objective: ​The student will be skilled at selecting and learning existing music and discussing their choices and process
through choosing a song and teaching it to themselves to share with the class.
Standard: MU:Re7.1.6a Select or choose music to listen to and explain the connections to specific interests or experiences
for a specific purpose.
The student will be able to apply music to what is happening in society around them.
Standard: MU: Re7.2.8b Identify and compare the context of programs of music from a variety of genres, cultures, and
historical periods.

Materials: ​Teacher will need something to take notes with, a computer to access the Internet and Google Docs, a projector
to show the class Google Doc, and a song that exemplifies what the students are trying to achieve with their song selection.
Students will need something to access the Internet, Google Docs, and their ukuleles.

Process:
1) Set the requirements that the song must meet by playing the hook and a verse of “Same Love” by Macklemore and
asking students questions to lead them to understanding what the requirements are:
“What is this song about?” “Who is this song about?” “Who is the audience?” “How do you know?” “What issue is
this song addressing and why is it relevant?” ​**write these and the students’ answers on the class Google Doc on
the projector so the students can see it and use it later **​ ​(allow 5 minutes for questions/discussion)
2) Allow students to divide into their own groups of 2-3 people ​(30 seconds)
3) Students begin searching for their top 3 songs and make a list on a collective class Google Doc (shown on the
projector) with a brief description of each song’s connection to a social issue​ **teacher will be reading the Google
Doc as students are filling it out and giving
feedback**
Go through the class Google Doc on the projector as a class and allow
groups to choose one song​ ​from another group’s list ​(“Why did you choose
this song?”)​; no group can choose the same song ​(15 minutes)
4) Allow groups to research chords and strum pattern to their songs ​(“What key is this song in? What chords do you
know? What chords are you learning for this song?”)​ and put them on their individual group Google Doc; groups
will also add their own brief description of the cultural significance of the song ​**teacher is observing and taking
notes on what students are choosing to do and their process, as well as giving feedback and assisting groups as
necessary**​ ​(10 minutes)
5) Students practice their new song on their ukuleles together to prepare to share with the class; ​**teacher is
observing and taking notes on what students are choosing to do and their process, as well as giving assistance to
groups as needed**​ ​(20 minutes)

Extension Idea(s):​​ If there is extra time, then the students get more time to practice and prepare to share their song in
class.

Adaptations: ​Students’ answers to questions will be typed in corresponding colors on the Google Doc on the projector so
that students have a visual of the requirements. Have resources available for students to have different ways to learn new
chords or review chords (ex: a list of youtube videos, a chord chart and a written explanation of fingerings).

Assessments: ​Teacher will observe and take notes on how groups are making decisions during the process. The Google Doc
serves as concrete written evidence of how the students are connecting music to contemporary social issues and will be
assessed (using the rubric) based on their effort in understanding what issue(s) their song is addressing, as well as the
requirements of their song. They will also be assessed on Day 13 on their knowledge of chords and strum patterns when
they share their songs with the class.

1 2 3 4
EMERGING PROGRESSING MEETS EXPECTATIONS EXCEEDS EXPECTATIONS

Students meet 0 of the 3
song requirements and can
address the social issue
without much explanation.
Students meet 1-2 of the 3
song requirements and can
address the social issue with
some explanation.
Students meet all 3 song
requirements and can
address the social issue with
detailed explanation.
Students meet all 3 song
requirements and can
address the social issue
thoroughly and with
thoughtful application.
Day 13 ​developed by Andrew F.

SUMMARY/UNDERSTANDING STATEMENT:
This is a peer-centered day for the curriculum. After this class, students will have a better understanding of critique and
musical choices. This class period consists of student small groups sharing their songs with the class, as well as providing
feedback to each other about their musical choices. Each student will perform with their group members, allowing for some
individual assessment to take place on the part of the teacher. The group portion of the assignment allows for students to
continue to develop their communication and cooperation skills, as well as manipulate, discuss, and change their
interpretation of an artistic work.

“I CAN” STATEMENTS/ OBJECTIVE:

1. Students will be able to provide critique on the work of their peers, as well as their own work.
a. MU: Re7.2.8b Identify and compare the context of programs of music from a variety of genres, cultures,
and historical periods.
2. Students will be able to constructively inform others of their opinions in a mindful, sensitive way.
a. MU:Re7.1.6a Select or choose music to listen to and explain the connections to specific interests or
experiences for a specific purpose.

MATERIALS:
● Students will need ukuleles, music (if not memorized), and writing materials.
● Teacher will need writing materials, and recording equipment (if desired for further study in assessment

DETAILED PROCESS:
1. Teacher will perform a song they have been working on, and ask students for feedback on this performance. (5
minutes)
a. Teacher will ask for feedback, in order to demonstrate technique
i. “What did you think went well? What can I improve?”
ii. “ How can I make this better?”
b. Sample Questions will be posted on the board
i. “Why did you choose this song? How does this song relate to us today? What are some creative
choices you made in your practice/performance?”
2. Student groups will decide on sharing time (1 minute)
3. Student group will perform song, along with providing explanation for song choice (5 minutes)
4. Students will offer feedback regarding song choice, performance, ideas, etc. as well as returning written comments
to the performers, with performer and observers name clearly printed on feedback sheet. (2 minutes)
a. Student performers will ask for critique, with specific questions
b. Peers will provide feedback, and ask performers about choices
c. Teacher will ask audience “How would you tell me that?”
5. Repeat sharing steps for all groups (35 minutes) Throughout, teacher will be observing and assessing the critique
provided by peers writing their own questions about each performance
6. Students will get into small groups of their own choice, and reflect on self-perceptions compared to peer
reflections. This includes discussing ideas and methods of critique (10 minutes)
7. Pack up for all students (5 minutes)

EXTENSION IDEAS:
If the class finishes songs early, and there is still time, the teacher can propose some discussion questions, regarding
musical choices and repertoire. (“Why do we do this? Why is it important?”). If students are not having an opportunity to
share, they can turn in their written comments to the performer at the end.

ADAPTATIONS:
This is a performance based class day, and adaptations are limited. As a majority of this class is aural, it makes size and color
adaptations less significant. Pacing can be adjusted, by asking students to only provide one or two key feedback points on
their write-up so that the student does not become overwhelmed.
ASSESSMENTS:
● Individual questions will be assessed for depth using the following rubric

Level 4 3 2 1

Description of the level The student provides The student The student The student provides
of feedback by the feedback that is specific, provides feedback provides broad feedback that does not
observing student and offers actionable that is related to feedback appears appear related to the
opinions about this particular slightly related to performance.
performance. musical individual
performance performance

● Additionally, the teacher can assess the feedback given by the students observing the groups, in order to see if they
are actually paying attention during the performances.
● Students will be asked to reflect on their own performance, in the context of their own perception and the
comments they received.
Day 14 ​developed by Sydney S.

Summary Statement:​​ ​After this experience students will be able to personalize a song in a way that demonstrates how the
song makes them feel, and how they can effectively convey this meaning through musical choices for other people to
interpret. Students will consider what their song means to them, what feelings they want to convey through their cover,
and how playing in different keys, and using different strumming patterns can contribute to the feel of a piece. Changing
the key and strumming pattern are 2 ways to transform or adapt a cover, but they will be encouraged to dig deeper into
their musical tool boxes and use other lessons (like day 8 when they experimented with how changing the meter affects the
feeling of the piece) to be as creative as they want.

Objectives:
● Students can translate different rhythms into correlating strumming patterns. MU:Pr6.1.H.8a
● Students can manipulate the original rhythm of their piece. MU.Re7.2.H.8a
● Students can add and subtract musical tools to effectively change their cover. MU:Re7.1.H.8a

Materials:
-Ukulele
-Visual representation of strumming patterns either on cardstock, or on a smartboard.
-Internet

Procedures:
Students will
a) Participate​ in a call and response exercise led by the teacher to teach different strumming patterns.
i) As I sing a I V vi IV chord progression I will clap different rhythms to emphasize a specific beat, and then
signal for my class to mimic me. The repeating pattern will be i. Call and Response ii. How would you
strum this? iii. What adjective describes this feeling? iv. Where could you add this into your piece? After
they echo me while clapping for the first one, they will be led to echo me while singing for the rest of them.
1) This series will be carried out for:
(a) downbeat chords
(b) Down strum on every beat
(c) Up strum on every beat
(d) Continuous 8th note Down/Up strums on every beat
(e) Down, DU DU DU DU strumming pattern on every beat
(f) Down, DU, Up, DU strumming pattern on every beat
(time: 12 minutes)

b) Debrief​ on the different feelings the different strumming patterns created.

(time: 3 minutes)

c) Sing​ their covers in 3 different ways, and figure out how to play their favorite interpretation
(time: 6 minutes)

d) Play ​their favorite interpretation to the class (going around in a circle. Every student gets a turn to share)
(time: 45seconds x number of students)

​ n what their cover means to them, and ​talk ​about how the different keys they have been playing in for the
e) Reflect o
past several days, and the different strumming patterns they just learned shape the feel of the cover.
i) If you were to sing your interpretation of your cover, what elements are you manipulating?
1) Write that interpretation down
(time: 6 minutes)

Extension Ideas:
If there is time at the end, the teacher should take a familiar song that has contrasting covers and play the sequence for the
class so they can have an example of how limitless their creativity can be. My suggestion: “Somewhere Over the Rainbow”
Judy Garland, then IZ, then Eva Cassidy.

Adaptions:
Color​ -- coordinate Down strums with a color, and Up strums with a different color. Put each of the strumming
patterns on a smartboard, or on cardstock with the corresponding colors.
Size​ -- Make the strumming patterns quite large, and adjust the lyrics and notation of anyone’s individual pieces if
necessary.
Pacing​ -- Teacher will fluctuate how quickly they go through the series of strumming patterns, and if they begin to
get too advanced for the class, they can move on to the debrief. It is not necessary to finish all of them to complete
the lesson. The teacher will also allow the students to set the pace for how much thought they want to put into the
reflection aspects of the class. The focus is on the quality of creativity and thought. If the students have more to
say and explore, give them that time.
Modality​ -- To further enforce the rhythms in the strumming patterns section, have them continue to pat or clap
the rhythm when they switch to singing. The singing is important for them to hear whcn the chord changes, but
reinforcing the rhythm with motor skills would be beneficial for everyone.

Assessment:
1-emerging 2-progressing 3-meets 4-exceeds

Student’s ability to Student does not Student has a Student has a clear Student has a clear
create a unique feel have an apparent developing mental mental image, and mental image, and
for their cover mental image, and image, or a uses musical tools uses multiple
plays their piece developing ability to to convey their musical tools
MU:Cn10.0.H.8a similarly to the convey their intended mood or (meter, key,
original without intended mood or feeling to their strumming, +), or
MU:Re8.1.H.8a conveying a feeling to their audience. comes up with
different mood or audience. another creative
feeling. way to convey their
mood or feeling to
their audience.

Applying strumming Student’s Student picks an Student picks an Student picks

patterns in their strumming pattern appropriate appropriate multiple strumming
cover. is not an strumming pattern strumming pattern patterns, uses them
appropriate choice for the mood they for the mood they effectively to
for the mood they want to create, but want to create, and emulate the mood
want to create. they are hesitant seamlessly executes they want to create,
with the mechanics the pattern. and executes them
of fluidly executing well.
the pattern.
Day 15 ​developed by Annalise S.
Day 15: Facilitating Group Work

Summary / Understanding statement: ​Using different styles and strum patterns, students will have the opportunity to
manipulate their pieces and share with their peers. This class period serves as a continuation of the skills that they have
learned yesterday regarding strum patterns. After a brief introduction of this concept, students will divide into groups,
experiment with these new ideas, and provide feedback. Overall, this lesson will allow students with the time to practice
exploring a variation of strum patterns, tempos and styles that can be applied to their song through the collaboration and
help of their peers.

2-4 "I can" statements/Objective:

● According to High School General Music Grade 9 Standards of learning, students must be able to describe and
interpret performances of music, using inquiry skills and music terminology. This activity actively allows students
the opportunity to interpret and perform different styles of music, and discuss this idea with their peers.
● Students will be able to provide positive, constructive feedback for their peers.
● Students will have the opportunity to experiment using different styles and applying it to the context of their
pieces.

Materials:
● Students will need their ukuleles and prepared song covered previously in the curriculum.
● Groups will be arranged ahead of time by the instructor. The students will be divided into groups of five.

A detailed plan/process with duration stamps for each step​​:

● (10 min.) ​Call and response to the hook of “Can’t Stop the Feeling”​​ by Justin Timberlake using chords C-Am-G-Am. I
will teach this song just by showing and playing the downbeat of the chord changes. After the majority of the
students are playing along, I will begin introducing different styles with my strumming. Starting with Down Down
Up Down Up, then maybe the second time around replacing the final “Up” with a percussive slap. The third time
taking the tempo slower, making the song sound more like a ballad. Perhaps doing it again swinging the tempo, or
maybe doing some sort of reggae style. Then opening it up to the class for ideas or examples. I will repeat this
process using different ideas until everyone that wishes to volunteer has finished.
● (5 min) ​Explain the lesson goal for the day,​​ how to assess peers, guidelines. Give the students their groups.
Mention that I will be walking around to evaluate them and offer help if students need it. Show examples of proper
language to use for peer feedback, such as giving a compliment before constructive criticism. Let them know that if
a student is comfortable with it, you are allowed to share ideas and interpretations. Every student must take turns
and speak briefly about each performance.
● (30 min) ​Groups​​ will be divided into about 4 or 5 students. Each student will perform the hook of their piece for
each other, implementing a confident use of a strum pattern. For the purposes of this plan, students will be
encouraged to try and do their song in a style that is different from the original.
● (5 min) ​Entire class reflection​​, ask questions. Example: Was it helpful to hear feedback from your peers? Who had a
really cool idea in your group and why? If there is time and someone wishes to share their hook with the entire
class, I will allow time for that.

Extension ideas
● Students can try experiment with the rest of their groups by teaching their peers the chords of their hook. They can
model this portion the way that I began the class, using the songs that they chose, and experimenting with different
strum patterns.
● Students can play their songs again for each other, but attempting a different style, strum, or tempo than the one
they just performed.
Adaptations:
 ● In the beginning I will mention to be supportive of all pieces, and interpretations of students’ covers. Mentioning
this general statement in the beginning is important to class culture, so that a supportive, safe environment is
implemented.
● I will be walking around the class during the group period offering my help to different groups. If there is any
individual that may need something broken down for them, I will be free to offer my assistance.

Assessments: ​Students will be briefly assessed through the use of this rubric. I will be filling this out as I walk around the
class

Rubric:
4 -Student exceeds the expectations of the experience design. Confidently executing the possibility of the use of a
completely different styles, tempos, and strum patterns, and giving positive supportive feedback.
3 -​​Student’s interpretation of the piece is similar to the original. Offers support to peers.
2 -Student not actively participating, possibly not prepared to perform the hook, shows little to no peer support.
1 -Student refuses to work with others, does not play piece.
Day 16 ​developed by Elizabeth V.

Summary / Understanding statement: ​By studying and analyzing songs and their forms and elements, students will
gain an understanding of the building blocks that comprise a song’s construction with certain forms and guidelines and
will be able to apply their understanding to constructing their own original work.

2-4 "I can" statements/Objective:

- I can listen to a song and sketch out how it is constructed/identify certain aspects that comprise its form and
apply this knowledge to my own compositions
- I can branch out from existing forms and ideas to create my own unique work.
- I can organize my original musical ideas into a coherent order and form to create a cohesive piece of music.
- I can deconstruct my own work to analyze and develop it.

Materials:
- Something to play music from-a speaker, computer, etc.
- Paper and writing utensils.
- Notecards
- A whiteboard, chalkboard, or large sheet of paper to collaborate on, markers.
- Optional accompanying instruments for students to accompany each other and/or themselves, such as ukulele,
piano, or guitar.
- A ukulele (for the instructor to assist in accompaniment)

A detailed plan/process with duration stamps for each step​​:

1. Try to write a song on the spot, playing a simple chord progression on ukulele and improve a melody and simply
set of lyrics. Perform an improvised verse and hook/chorus to demonstrate simple songwriting form and ideas.
Ask the students, “What worked?” and, “What areas can be improved upon?”. Ask the students to quickly
analyze and identify what was the hook/chorus and what was the verse. Introduce the class period goal of
composing one song together.

2. Pick a theme/subject to write about. Students can spitball ideas in a brainstorming spiderweb on one large
whiteboard or large piece of paper. This step is very important, as it will determine the lyrics, mood, mode, and
message of the song. Once ideas have been flushed out, have the class come to an agreement on one song idea
and move from there in developing the meaning and mood of the song. ​(5 minutes)

3. Start on ukuleles, and then have students pick possible instruments to add in later. Have students select one or
two instruments (in addition to ukulele) to begin writing with. This can be the teacher playing ukulele, piano,
etc., or students playing their own instruments as a form of accompaniment or to carry the melody. Here, there
is still a heavy emphasis on the importance of instrumentation when trying to convey a certain feeling or depict
a certain scene. ​(5 minutes)

4. Establish harmonic fundamentals: key, mode, and a chord progression for a chorus (at least for a chorus, can
add a verse if moving quickly- bridges tend to have some sort of harmonic change, can focus on later when
developing the bridge). For additional support, teacher can display common chord progressions found in songs
they have been studying. Begin notating (very open endedly, as it is subject to change) the established key,
chord progression, and the like.​ (5 minutes)

5. Either have the teacher or a student play through the chord progression, and have rest of class brainstorm (in
the form of improvisation!) melodic content. If students added voice in the beginning instrumentation, also use
 this time to pair developing lyrics with melodic ideas and phrases. ​(10 minutes)

6. Develop a chorus with the entire class. This should include a melody and a chord progression underneath it. If
there are lyrics, include these here as well. ​(5 minutes)

7. Divide and conquer: Students have been studying the different elements commonly found in songs- have them
self-divide into groups to develop these elements (a bridge, verses, backgrounds, added instruments, more
lyrics, added rhythms, etc.-- anything they choose to add into the song, groups and the elements they develop
are up to students). Teacher at this time can walk around and assist where their help is requested. ​(10 minutes)

8. Regroup and present each element. Using smaller pieces of paper (perhaps notecards) have students label each
element they’ve just created, using the terminology they’ve been learning. Determine a cohesive order in which
these elements will be played throughout the song, using the notecards in group discussion.​ (5 minutes)

9. If any students do not have a part in the performance of the song yet, have students develop new aspects/parts
they can be included in (ostinatos, harmonies of the melody, backgrounds, added percussion, etc.) ​(2 minutes)

10. Play through the new song! Ask students to look at the piece they’ve just created and find things commonly
found in the songs they’ve been studying about in previous classes. Explain to students that this is just one way
to approach composition, and that they may or may not choose to use this sample exercise as a basis for their
own individual compositions. ​(4 minutes)

Extension ideas
● If we finish early, we might start discussing individual compositions for students to start in the classroom and
develop outside of class.
● If a student is ready to move ahead, the teacher can encourage them to add more elements to the song and
connect these original ideas with aspects of songwriting they’ve been studying.
● For a follow up, students can take this experience and apply it to their own ideas for individual compositions,
and bring them into class to present and receive peer feedback on.

Adaptations:
● To ensure that instruction and the creating space are inclusive to all student populations, the teacher will create
a safe space for exploration by offering suggestions in place of critique and corrections. Students will work on
this as one large group, in small subgroups, and then return to working as one large group. To manage
appropriate pacing, students will be encouraged to engage and help each other in the writing process, and if
they want to change areas of writing/subgroups, they will not be bound to just one sub group for the duration
of that step in the writing process.
● To provide a variety of modalities, we will use the board/a large piece of paper (visual), accompanying
instruments (ukulele, piano, guitar, etc., aural), and objects representing different compositional elements
(kinesthetic).

Assessments:
1. I can listen to a song and sketch out how it is constructed/identify certain aspects that comprise its form. T​ his
can be assessed throughout the entire lesson, but especially so in step 6. The ability to identify and pair what
they’ve written with compositional elements they’ve learned and studied can be assessed simply by what they
write on the cards and the reasoning behind their labels.
2. I can construct a song using various elements found in music I listen to or have studied. T​ his is a group activity
for the entire class, but can be best assessed when students split into subgroups to compose and regroup later
to piece them together and demonstrate and understanding of compositional construction.
3. I can branch out from existing forms and ideas to create my own unique work. T​ his will be seen and assessed
best in step 5, when students improvise and test out their own ideas. Teachers can simply look for a willingness
to participate in this step for assessment.
4. I can organize my original musical ideas into a coherent order and form to create a cohesive piece of music. ​This
can also be seen in step 6, when students take their labeled note cards and move them around until finding a
cohesive, sensible order of elements.
5. I can deconstruct my own work to analyze and develop it. ​This will be observed best when students regroup to
put different pieces together. Some students’ compositional ideas may not work or fit within the given song
and ideas we’re developing- the ability of a student to look at what they’ve written and be able to adjust it and
develop their ideas can be seen in a willingness to alter their work in collaboration with others.
Day 17 ​developed by Jenny H.

Summary / Understanding statement:​​ Students will take what they’ve learned in the previous class about pop song form
and engage in a collaborative workshop to create a hook for a new song they are composing. They will use their musical
knowledge to create a melody, a chord progression, and lyrics for a hook that will be part of a longer song they create as a
class. This will give them experience in going through the creative process of composition and will offer opportunities to
discuss important characteristics of a piece of music and put them into practice.

2-4 "I can" statements/Objective:

● I can identify music elements that are important characteristics of a hook - melody, harmonic progression, and
lyrics. (​MU:Cr1.1.5b)
● I can collaborate with my peers to create an original song hook.
● I can outline a basic I V vi IV chord progression in a given key and put it into use in writing and performing a song.
(​MU:Cr1.1.8a)
● I can generate melodic, rhythmic, and harmonic ideas for simple melodies. (​MU:Cr1.1.H.5a)

Materials:
● Access to Internet/sound system for playing musical examples
● Chalkboard/whiteboard/Smartboard for ideating as a class
● Class set of iPads/laptops if available for students to take notes during class discussions
● Screen & document camera if possible
● Paper, staff paper, posters, colored pencils, markers, and pencils available Ukuleles

A detailed plan/process with duration stamps for each step​​ (how many minutes will each step take?):
1) ​0:00-4:00 - Teacher plays examples of what s/he considers a sampling of catchy hooks from different genres including
some or all of the following, time allowing. Students use their iPad/laptop (or paper) to jot down any notes while listening
and teacher will ask questions after each example.
- “I Want To Hold Your Hand” - The Beatles
https://www.youtube.com/watch?v=jenWdylTtzs
“What do you notice about the lyrics in this hook?”
- “Call Me Maybe” - Carly Rae Jepsen
https://www.youtube.com/watch?v=fWNaR-rxAic
“What makes this hook catchy?”
- “Sweet Caroline” - Neil Diamond
https://www.youtube.com/watch?v=NsLyI1_R01M
“How is this hook different than the verse?”
- “Single Ladies” - Beyonce
https://www.youtube.com/watch?v=4m1EFMoRFvY
“What’s the message of this hook?”
- “ABC” - The Jackson 5
https://www.youtube.com/watch?v=JxpmbEATBH0
“​Would you consider this hook easily singable? Let’s try to sing it.”
- “Gold Digger” - Kanye West
https://www.youtube.com/watch?v=6vwNcNOTVzY
“What do you notice about the lyrics in this hook?”
- “Shape of You” - Ed Sheeran
https://www.youtube.com/watch?v=JGwWNGJdvx8
“What do you like or dislike about this hook?”

2) 4:00-8:00 - Discussion
- “Does anyone else have an example of a really good hook they can think of?”
 - Offer opportunity for a few more examples
- “What is it about a song’s hook that makes it good?”
- Open classroom discussion where students can call out answers, teacher invites a student to write the
responses on the board
- Some ideas that will definitely want to be included, either by students or by teacher:
- Contrast between sound of verse and sound of hook
- Focus on a good melody
- Make it easy to sing
- Get to the main message of the song - title is usually found in the hook, could use key phrase that’s
repeated/slightly changed

3) 8:00-12:00 - Decide on a basic framework for the hook as a class

- Class will discuss and decide on a chord progression with the teacher or a student volunteer to try out suggestions
on the ukulele
- Class will discuss and decide on a basic thematic idea for what the song will be about

4) 12:00-15:00 - Directions/Transition
- Teacher will split students up into groups of about 5 students. They will find their own space within the classroom
or surrounding area to work and have the opportunity to explore creating a draft of a hook for the song

5) 15:00-30:00 - Work time

- Groups explore creating a hook
- Teacher has several starter melodies ready to offer to groups who need help getting started
- Students should have ukuleles so that at least one person can be playing the chord progression to help put their
melodies into context
- Teacher will be walking around between the groups offering help and suggestions, and assessing how students are
doing participating in the group work

6) 30:00-45:00 - Sharing and Refining

- The class all comes back together
- Teacher asks if any group came up with something they’d like to share with the class - not everyone has to, but goal
is to have at least a few groups share
- After each group goes, allow an opportunity for listeners to share feedback on what they liked about the hook that
was shared
- “What did you like about Group A’s hook?”
- “What musical elements from our earlier discussion did you notice?”
- The class will vote on their favorite to use as the basis for their final hook
- After that favorite hook is chosen, the class will work together to see if there are elements from the other shared
hooks that could be combined to enhance what will be their final hook (i.e. Group A’s hook was my favorite and I’d
like to keep working on that one, but I really liked some of the lyrics in Group B’s - could we rework it to add some
of those in?)
- Teacher takes notes to get down music and lyrics on paper of what they come up with

7) 45:00-50:00 - Reflection and Runthrough

- “What did you think of this experience learning about hooks?”
- “What challenges did you run into in your groups while creating your hook?”
- “What did you enjoy most about the experience?”
- Teacher calls on students who volunteer their answers to these questions to have a short reflective conversation on
the experience at the end of class
- Class ends with everyone trying to play and sing through their new hook - teacher puts draft on document camera
for everyone to follow along

Extension ideas
 ● For either the class or an individual student, you could come up with something special to change the last hook of
the song to differentiate it from previous hooks, whether it’s changing lyrics or music slightly or adding another
layer - an extra line, harmony, etc.
● They could try adding simple harmony to the melody they’ve created

Adaptations:
● Color:
- in the beginning discussion about what makes a good hook, separate elements related to music, lyrics, or
other by grouping them together using different colored chalk or markers
- Offer colored pencils as they work in small groups to draw out their ideas
- Display the finalized hook via doc cam with a colored film on top
● Size:
- Write everything on the board larger
- Give student a list of songs you discuss at the beginning of class so they can look at them up close and keep
it
- Give them posterboard and markers to work on in groups vs. paper and pencil
- Display the finalized hook as large as possible
● Pacing:
- Give students more time to work in their groups, extend this activity over 2 days
- Give anyone who needed more time to finish the opportunity to take home their hook and work further on
it and have sharing take place the next day
- Have a few ready-made melodies ready to get them started
● Modality:
- Aural: Provide students with a recording device so they can record their ideas and play them back, provide
individual headphones so students can listen to examples and think through things on their own
- Visual: Keep a whiteboard/chalkboard and/or posters available for students to draw out their ideas
- Kinesthetic: have students come up with small movements associated with their hook to better internalize
it, let them dance along to beginning hook examples, focus more on rhythm using body movements to
convey rhythms of the different hooks

Assessments:​​ Specific assessments for each "I can" statement and some kind of a metric by which to measure student
growth/success. Be clear. Everyone is assessing in some way. For days that are identified in the curricular plan for more
formalized assessments, include a clear rubric.

● I can identify musical elements that are important characteristics of a hook (melody, harmonic progression, lyrics).
- Assessed by teacher observing participation in class discussion identifying these elements
● I can collaborate with my peers to create an original song hook.
- Assessed by teacher observing participation in group work
● I can outline a basic I V vi IV chord progression in a given key and put it into use in writing and performing a song.
- Assessed by teacher calling on students to correctly identify chords and notes within the progression they
decide on for the hook before splitting into small groups, and by teacher aurally assessing whether groups’
melodies fit into the chord progression
● I can generate melodic, rhythmic, and harmonic ideas for simple melodies.
- Assessed by teacher listening during small group work and class sharing

Task 4 3 2 1

Student can identify Student has a clear Student has a clear Student has some Student does not
musical elements that understanding of understanding of understanding of have a clear
are important outlined musical outlined musical outlined musical understanding of
characteristics of a elements and can give elements elements outlined musical
hook (melody, examples of each in elements
harmonic various pop songs
progression, lyrics)

Student can Student fully Student fully Student moderately Student does not
collaborate with participates and acts participates in participates in participate in
his/her peers to as a leader in collaborative song collaborative song collaborative song
create an original collaborative song hook writing hook writing hook writing
song hook hook writing experience experience experience
experience.

Student can outline a Student can outline a Student can outline a Student has moderate Student cannot
basic I V vi IV chord basic I V vi IV chord basic I V vi IV chord understanding of the outline a basic I V vi IV
progression in a given progression in a given progression in a given concept of a basic I V chord progression in a
key and put it into use key and put it into use key and put it into use vi IV chord given key either in
in writing and in writing and in writing and progression in a given writing or
performing a song performing a song, as performing a song key and can partially performance
well as expand it to demonstrate it
include other chords through writing or
performance

Student can generate Student acts as a Student contributes Student contributes a Student does not
melodic, rhythmic, leader in contributing melodic, rhythmic, small amount of contribute melodic,
and harmonic ideas melodic, rhythmic, and harmonic ideas either melodic, rhythmic, and
for simple melodies. and harmonic ideas for simple melodies rhythmic, or harmonic harmonic ideas for a
for a simple melody ideas but does not simple melody
participate in
contribution of all
three
Day 18 ​developed by Nathan C.

● Summary:
○ Students will understand how harmonic structures form the verse of a song. Students will also further their
understanding of how melodies fit within a harmonic structure by applying aural skills to create a melody.

● Objective:
○ I can create a harmonic progression in a chosen key and meter.
■ MU:Cr1.1.5b Generate musical ideas (such as rhythms, melodies, and accompaniment patterns) within
specific related tonalities, meters, and simple chord changes.
○ I can compose a melody that fits in a chosen harmonic progression.
■ MU:Cr1.1.5b Generate musical ideas (such as rhythms, melodies, and accompaniment patterns) within
specific related tonalities, meters, and simple chord changes.
○ I can write lyrics that reflect meaning and relate to the theme of the song.
Materials:
○ Ukulele
○ Speakers
○ Device with internet access (laptop, iPad, desktop computer, smartphone)
■ Google Slides access
○ Whiteboards
○ Piano (for instructor use)
○ Projector
Procedure:
1. Student will divide into groups of 5 (roughly 6-8 groups total) to collaborate on which chord progression they will
use for the verse of their song. Each group will collaborate using their ukuleles and internet devices to experiment
with ideas. By listening to songs they know, they should analyze harmonic ideas they want to use and write them
down on the whiteboard. After they have 4 or 5 ideas in mind, students will brainstorm using ukuleles to make a
harmonic progression they like the best. Students will add the harmonic progression they chose to the class
Google Slides for later use. Using ukuleles, each group will practice their harmonic progression for presentation to
the class. ​(5 minutes)
2. The entire class with regroup. The instructor will demonstrate his or her example of a harmonic progression. Each
group will demonstrate the progression they chose for the verse. The class will vote by show of hand to determine
which progression will be used for the song. Each group’s selection will be projected on the class Google Slides. ​(10
minutes)
3. Students will divide into the same groups to develop melodies that will fit in the harmonic progression. Each group
will generate ideas using ukuleles to produce scalar melodies. Groups will notate their favorite melodies on Google
Slides (using any notation method such as staff, solfege, or other notation). ​(5 minutes)
4. The class with regroup and vote on which 2 melodies they like the best. The Instructor will show the class his or
her example of a melody. Each group will present their favorite melody by either singing on a single syllable or by
playing on their ukuleles. ​(10 minutes)
5. Students will divide into groups of 10 (roughly 3-4 groups) to generate lyrics that fit the song theme. Within each
group, students will write appropriate lyrics that rhyme and fit one of the melodies they chose. Each group will
have its own verse in the song displayed on the class Google Slides. ​(10 minutes)
6. Students will share in performing the song along with the instructor (accompanying and facilitating). Using the new
harmonic progression, melody, and lyrics projected for the whole class to see, students will collectively perform
the song. The instructor will display the edited Google Slides for the whole class to see.
Extension ideas
○ If students finish early, they are encouraged to add more complex chords (such as secondary dominants or
borrowed chords), work on improving melodic ideas, or apply literary devices to lyrics.
Adaptations:
 ○ Modality: Students will have many media to use (ukulele, Google Slides, YouTube, and whiteboards) so that every
student has some way of contributing to the collaborative process.
○ Color: Colors can be used to associate chords and pitches
○ Size: Larger font sizes will be used to display words on the projector so that every student can see.
○ Pacing: Pacing is set so that students work in various group sizes. This gives every student different environments
to grow.
Assessments:
Students will be assessed based on the following rubric:
Task 4: Excelling 3: Meets Criteria 2: Progressing 1: Does not meet
criteria

Student Has a clear Has a clear Has somewhat of an Does not have a clear
demonstrates a clear understanding of understanding of understanding of understanding of
understanding of song forms and can song forms song forms song forms
song forms easily identify form
when listening to pop
songs

Student can identify Can identify Can identify Can identify Cannot identify or
compositional compositional compositional compositional explain
elements (melody, elements and explain elements and explain elements in a song compositional
harmonic their purpose as well their purpose in the but cannot explain elements or their
progression, lyrics) as relate it to other song their purpose purpose in the song
and explain their songs or experiences
purpose/role in a
song

Student engages in Actively creates and Creates and responds Creates and responds Does not create or
songwriting process responds to to songwriting to songwriting respond to
songwriting process process with process with minute songwriting process
and engages multiple appropriate engagement
times engagement

Student Demonstrates Demonstrates Somewhat Does not

demonstrates extreme comprehension of demonstrates demonstrate
comprehension of comprehension of elements, somewhat comprehension of comprehension of
musical elements elements, leads other leads other students elements, does not elements, does not
studied through students in in performance, lead others in lead others in
performance performance, performs with little performances, performance,
performs with no to no inaccuracies performs with few performs with mainly
inaccuracies and inaccuracies inaccuracies
clearly engages with
song emotionally
Day 19 ​developed by Charlie F.

Summary / Understanding statement: ​Teacher will first review previous aspects of new song that have been covered-
catchy hook, verse, form/other elements. Teacher will then facilitate a workshop of creating an intro, bridge, and coda,
integrating elements from previously learned songs such as reusing materials. Students will gain an understanding of typical
forms of songs (intro, chorus, verse, chorus, bridge, coda, etc.) by creating these forms themselves.
​2-4 "I can" statements/Objective:
● I can play the material learned in previous classes on my ukulele.
● I can contribute to the composition of new material.
● I can use knowledge learned from previous classes to help inform my decision on musical aspects of the piece we
are creating.
● I can explain the form of the piece and how each piece was created.

​Materials:
● Ukulele
● Whiteboard/Blackboard (teacher can write chords/cues on here)
● Computer/speaker system (teacher may play other songs to spark ideas)

A detailed plan/process with duration stamps for each step:

1. I will begin class with a welcome and tuning session. We will review aspects of the tune we have already learned-
We will go over and play the catchy hook, review the form, and hash out any other ideas/concepts we have
previously established. ​(Class welcome and review: 5min)
2. I will then ask the students for ideas about a bridge. I will explain the purpose of a bridge. I’m looking for contrast
here and, if needed, I play will musical examples of contrasting bridges for tunes. ​(Bridge formation: 8min)
3. We will move onto the intro of the piece. I will start by asking the students why songs have intros, why they think
they are important, and explain my idea behind an intro. If they have any ideas for a potential intro, we will use and
adapt as needed. Here I am looking for material, potentially simplified, that is used later in the piece. ​(Intro
formation: 8min)
4. We will move onto creating the coda section of the piece. Students will explain the importance/role of a coda;
teacher will assist in definition/idea. If needed, teacher will play a musical example of a coda section of a piece.
Here, I am looking for some repetition of previous material, potential development, and an end to the piece which
sounds final. (​Coda formation: 10min)
5. I will then review each section, show where each section is in the form, and ask students to play. We will play the
entire piece, adjusting for form errors. ​(Review playing: 5min)
Total time: 35min

Extension ideas
● If time permits, review each section by playing before moving onto next.
● Play more musical excerpts

Adaptations:
● To ensure that students have a safe work environment, the teacher will be offering suggestions as opposed to
correcting students’ ideas. There may be a surplus of ideas from the students (not a bad problem to have!) and the
teacher will need to adequately explain to students that not all of our ideas may work out/be implemented into this
work. (Explain that they can go make their own music whenever they want, and they should definitely write out
those ideas they had)
● One potential large adaptation idea is the integration of groups. The teacher can explain each section at the
beginning of class and students may split up into groups to decide which aspect of the piece they wish to compose.
This gives students the opportunity to compose only the section they desire. Potential downfalls- 1- not everyone is
composing all of the piece we play. 2-The teacher must play “linebacker” and constantly be conscious of multiple
group ideas and goals, assisting as needed.
Assessments : ​This entire exercise is a form of assessment. The final composition outcome and performance will serve as a
final assessment.
Day 20