Beginning Ukulele: Kindergarten Class 

Context Statement:​ ​This curricula is designed for a kindergarten class, paying special mind to students with special
needs. The school has multiple students with a variety special needs that participate in the music class on a regular
basis. Paraprofessionals present create an inclusive environment by helping these students participate and maintain
momentum in the class. The population is mostly caucasian, but also consists of many African American and
Hispanic households. The area is an immigrant center, generating diverse classroom with students from a variety of
social and financial backgrounds. Most of the students are new to the classroom, but many come into school being
familiar with traditional nursery rhymes and some pop music. I formed this curriculum to help younger students
better understand how basic elements of music function in the songs they hear in their own lives. I centered the unit
around ukulele to help students develop skills to apply these concepts. It is also a fairly accessible instrument that
allows students at different levels to progress at their own pace and progress further if they choose.

Standards and Goals

Standards: Goals: ​Knowledge (K), Skill (S), Understanding (M), or Transfer (T)
K.1 The student will
read music, including 1. I can identify when high and low pitches occur by mimicking them on the ukulele
high and low pitches the third time I hear the song. (K)
and rhythms 2. I can perform simple strumming patterns with areas of silence after hearing them
represented by two times. (S)
traditional or 3. I can improvise my own strumming patterns after waiting my turn in the circle. (S)
nontraditional 4. I can identify where to place my finger depicted in pictures of tablature by the
notations. end of this experience. (K)
5. I can take turns with classmates using elements of music and sound to reflect
K.4 The student will each page of a story. (S)
play a variety of pitched 6. I can analyze the use of voices, instruments and outside sounds in a song by
and nonpitched indicating the entrance of each with a different pitch on ukulele. (M)
instruments alone and 7. I can use two different chords, soft and loud dynamics, and two or more rhythmic
with others, including patterns to create my own 16 beat song. (T)
1. demonstrating high
and low;
2. demonstrating
loud/soft and fast/slow;
and
3. accompanying songs
and chants, using body
percussion as well as
instruments.

K.5 The student will

perform rhythmic
patterns that include
sounds and silences,
using instruments, body
percussion, and voice.
K.8 The student will
create music by 1.
improvising simple
melodic or rhythmic
patterns; and 2.
improvising to enhance
stories and poems.

K.10 The student will

participate in music
activities that involve
sharing, taking turns,
and other behaviors
that demonstrate good
citizenship.

K.12 The student will

analyze music by
3. classifying sound
sources as vocal,
instrumental, or
environmental; and
4. recognizing basic
contrasts in music,
including fast/slow,
high/low, loud/soft, and
same/different.

K.13 The student will

express personal
feelings evoked by a
musical experience.

K.14 The student will

communicate personal
response to expressive
features of music
through movement.

Generative (Essential) Questions:

- What are some other subjects and expressive mediums do you think could be enhanced with music?
- How does fast music make you feel in comparison to slow music?
- What elements contribute to music sounding somber or uplifting?

Stage 2 - Evidence 

Because of the students’ young age, evidence will be assessed and recorded through observations and rubrics.
1. After listening to their song once, small groups of students will hear it again. This time, as pitches in the song
rise and fall, students will play notes on the ukulele that reflect the contour of the song. Students who
demonstrate proficiency will be able to represent if the pitches are moving up or down. Students who
exceed expectations will show they are also able to match some pitches on their instrument. Students who
only imitate high and low in a few places will need more assistance learning how different pitches relate to
one another.

2. After listening to a one measure example of a strumming pattern two times, students will imitate the
pattern individually on their ukulele. Students with a proficient understanding will be able to correctly
imitate the pattern’s up and down strums twice with four beats of rest in between. Students who exceed
expectations may perform the pattern correctly multiple times in succession. Some students may be able to
identify the rhythms used, but not whether to strum up or down.

3. After listening to a song, students will be able to respond to music with their own strumming patterns after
four beats. Proficient students will be able to play and duplicate their own strumming patterns. Students
who exceed expectations will be able to play, duplicate and use Down/up motions in their strumming
pattern. Students who struggle may need additional guidance in creating a strumming pattern or may need
more experience in copying the teacher.

4. After viewing fingering positions depicted in pictures of tablature, students will be able to copy the positions
with their own fingers on the ukulele. Students demonstrating proficiency will be able to do this three times
with little assistance. Students exceeding expectations may be able to correlate fingerings with changes in
pitch. Students needing extra support may need the teacher to demonstrate the fingers or place students
fingers in position.
5. After reading a page in a familiar children’s story, students will be able to take turns using previously taught
music and sound elements to react to and reflect upon each page. Students performing proficiently will be
able to use multiple of the elements including high/low pitches, up/down strumming patterns, and/or
dynamic contrast. Students exceeding expectations may be able to explain how the music played correlates
with the story. Students needing additional support may need teacher intervention on taking turns, a reread
of the story and questioning about what was read, or a teacher demonstration of a response/reflection.

6. After hearing a song, students will be asked to analyze the use of voices, instruments, and outside sounds by
indicating the entrance of each with a pitch on ukulele. As a class, we will correlate each part with high, low,
or middle pitches and play each. Next, small groups will perform with the song to demonstrate their
understanding. Students who show proficiency will be able to indicate the entrances of each part by playing
accurate pitches on the strings. Students exceeding expectations will be able to indicate each part’s
entrance by moving their fingers around the fretboard to change pitch. Students who can only indicate
some parts’ entrances without plating relative pitches may need more time identifying the isolated sounds
before hearing them in context.

7. Students will be asked to use two or more chords, soft and loud dynamics, and two or more rhythmic
patterns to create their own song. After spending five minutes brainstorming and practicing, the class will sit
in a circle and take turns playing their 16 bar songs in succession. To show proficiency, students should play
two or more rhythmic patterns and make obvious chord and volume changes. Students who exceed
expectations may play with dynamic contrast and then return to their original idea, showing an
understanding of ABA form. Students who play two or less rhythmic patterns without contrast in either
pitch or volume will need more time identifying how these elements are used in music.
 Stage 3 – Learning Plan (Eight 30-Minute Classes) 

Day One
● Introduce the class to Ukuleles
○ Holding the ​neck​ in the left hand, the b ​ ody ​of the ukulele comes across the chest
○ The right arm rests against the body of the ukulele, with fingers over the strings.
● Begin learning tablature by introducing the students to the ​C chord​.
○ As a class, we will locate the bottom string, ​the A string​, count up three frets with our fingers, and
then ​strum down and up
○ We will then look at a picture of the ​tablature​ and orient our ukuleles in the position as the picture
○ Finally we identify the corresponding string in the tablature. To begin correlating the tablature with
the students’ ​fretboards​, I will count up three frets on the image while students do the same on
their Ukuleles
● Introduce strumming patterns using the fingering for the C chord
○ Sitting in a circle, we will play our ukuleles together strumming down four times, up four times, and
then repeating
○ I will demonstrate two repetitions of a pattern and then we will play them together as a class
■ Down, rest, Down, rest
■ Down, up, Down, up
■ up, Down, up, Down
■ Down, Down/up, Down, Down/up
○ We will end the day by listening to music and going around the circle sharing unique, four beat
strumming patterns ​(Goal 3)
■ Each student will share their pattern twice in row
Day Two
● We will begin the day by playing the C chord we learned in the previous class and reviewing the tablature
○ As class begins, a picture of the tablature will be visible for the students review
○ I will ask the class how they would find where each finger goes
■ After hearing/seeing a few options, I will also demonstrate counting up three frets on the
top string, holding my ukulele to match the tablature
■ Finally, we count up three frets on the top string and strum the C chord four times
● Down, up, Down, up
● Introduce changes in ​pitch
○ I will begin by demonstrating rising pitches and then falling pitches, using my arms to show what is
happening visually
○ Next, as I move my hands up and down, the class will sing and move their arms imitating this rising
and falling of the pitch
○ Finally, we will all start on a pitch and move it up, down, and then back to the center, creating a
siren like sound
● Changes in pitch on ukulele
○ We will begin with our finger in the familiar C chord position
■ Together we will count of three frets on the top string, like before
○ We will then move our fingers up from the C chord position to raise the pitch
■ First I will demonstrate moving my finger up fret by fret, plucking the string each time
● The students will sing each pitch after I play it
■ Next, we will all move our fingers up from the C chord position fret by fret, plucking the
string each time
 ○ Next, we will move our fingers down from the C chord position to lower the pitch
■ First I will demonstrate moving my finger down fret by fret, plucking the string each time
● The students will sing each pitch after I play it
■ Next, we will all move our fingers down from the C chord position fret by fret, plucking the
string each time
○ Finally, we will all start plucking on in the C chord position and move our fingers up and down the
fretboard to create a siren like sound
● Changing pitch in a song
○ First we will listen to a children’s song that highlights dynamic changes in pitch
○ After hearing it once, the students will use quiet siren sounds to follow the pitches in the song
○ Finally, three small groups will perform with the song, representing changes in pitch by moving their
finger up and down the fretboard on the A string ​(Goal 1)
■ Applause!!!
Day Three
● Review rising, falling, and sustained pitches while recognizing distinct sounds
○ I will play samples of different instruments, voices, and nature noises that intentionally raise, lower,
or sustain their pitch.
○ I will then call on one student to identify if the pitch is rising, falling, or not moving
○ Another student will identify if sound was an instrument, a voice, or a something else
○ Finally I will show an arrow representing the direction of the pitch moves and a picture of the
sounds origin
● I will then read the story The Friendly Ogre Flutist and the Tiny Fairy Tubist, engaging the students to make
sounds for at different parts
○ When the Ogre speaks, We sing low
○ When the Fairy speaks, We sing high
○ When the Flute plays, We strum high (high fingering)
○ When the Tuba plays, We strum low (low fingering)
● Review and assess strumming patterns using the fingering for the C chord
○ We will begin with our finger in the familiar C chord position
■ Together we will count of three frets on the top string, like before
○ Sitting in a circle, we will play our ukuleles together strumming down four times, up four times, and
then repeating
■ Next I will demonstrate the pattern Down, up, Down/up, Down and ask the students to join
■ After some of the class is strumming a will take a moment to offer any assistance needed
○ Finally, I will divide the class into four small groups
■ I will then demonstrate a strumming pattern for each group two times
■ The group will then play the strumming pattern twice ​(Goal 2)
● Each group will perform two patterns
Day Four
● Introduce the tablature for the ​F chord
○ As class begins, a picture of the tablature will be visible for the students to begin experimenting
○ I will ask the class how they would find where each finger goes
■ After hearing a few ideas, I will hold in the same position as the tablature and count up two
frets on the bottom string (G string) and one fret on the second string (C string)
○ Once the student knows what frets to press, I will ask the class to hold up a two, and indicate they
can only use these fingers to depress both strings
■ I will give them a moment to experiment with different hand positions and then ask what
 the students found
■ After hearing/seeing a few options, I will call on a few students who found the most
comfortable position and ask them to help me demonstrate
■ While they demonstrate what it should look like, I will circulate the classroom and assist
students who need further help forming the hand position
● Next, I will read the poem High, Low, To and Fro, displaying one line at a time and asking the students to
begin thinking of sounds that would fit in the poem
○ I will then repeat it and students will take turns adding musical effects after I finish with each line
(Goal 5)
○ We will then talk about why certain elements were used and brainstorm possibilities for future
poems and stories
● Loud and soft
○ First I will play the Indoor/Outdoor Voice using very expressive language including whispering and
exclamations to help students understand the dynamic contrast
○ I will then ask the class how they speak when they are outside and how they speak when they only
want one person to hear
○ We will then apply these dynamics to singing
Day Five
● We will begin by listening to the song Five Speckled Frogs
○ As a class, we will identify when instruments are playing by raising one hand, and when people are
singing by raising the other (sometimes both will be up)
○ When an environmentally sound plays, we will ribbet
● Using pitches to indicate instrumental, vocal, and environmental sound entrances
○ We will identify the low (head end), middle, and high (body end) pitches on the neck of the ukulele
■ First I will ask the students to point to the middle of the fretboard
■ I will demonstrate the middle by placing my finger on the middle fret and plucking a string
○ After establishing the middle, we will move our fingers down together and pluck low pitches
○ We will then find the middle again and move our fingers up together and pluck high pitches
○ Finally, we will match low, middle, and high pitches with instrumental, vocal, and environmental
sounds
● As a class, we will practice using the different pitches to indicate the different entrances in Five Speckled
Frogs
○ Example
■ Hear an Instrument, pluck a high pitch
■ Hear a voice, pluck a middle pitch
■ Hear an frog, pluck a low pitch
● After hearing their song once, three small groups will perform it using the pitches that correlate with
Instrumental, vocal and environmental sounds for 30 seconds ​(Goal 6)
○ The Wheels on the Bus
○ Old Macdonald
○ Baby Bumblebee Song
Day Six
● Introduce the tablature for the ​G chord
○ As class begins, a picture of the tablature will be visible for the students to begin experimenting
○ I will ask the class how they would find where each finger goes
■ After hearing a few ideas, I will hold in the same position as the tablature and count up two
frets on the top string (A string), three frets on the third string (E string), and two frets on
 the second string (C string)
○ Once the student know what frets to press, I will ask the class to hold up a three, and indicate they
can only use these fingers to depress both strings
■ I will give them a moment to experiment with different hand positions and then ask what
the students found
■ After hearing/seeing a few options, I will call on a few students who found the most
comfortable position and ask them to help me demonstrate
■ While they demonstrate what it should look like, I will circulate the classroom and assist
students who need further help forming the hand position
● Practice playing chords with loud and soft dynamics
○ We will begin by reviewing the C chord and G chord
■ I will display the tablature for each and then prompt the class to play them
○ I will demonstrate playing the C chord for four beats and the G chord for four beats, two times in
succession
■ The first time I will strum down at a soft dynamic
■ The second time I will strum down at a loud dynamic
■ After playing I will ask the students what the difference was between first and second time
○ Next, I help the class assigning both chords either a loud or soft dynamic (Ex. the C chord is loud and
the G chord is quiet)
○ Finally, I will display one of the two chords or no chords at all
■ The students will use their own strumming patterns to play each chord at the dynamic level
they decided on and stop playing when there are no chords displayed
Day Seven
● Review how tablature relates to the ukulele fretboard
○ As class begins, a picture of the ​A minor chord​ tablature will be visible for the students to begin
experimenting
○ I will ask the class how they would find where their finger goes
■ After hearing a few ideas, I will hold in the same position as the tablature and demonstrate
counting up to find the correct fret
○ Finally, I will ask the class to play the A minor chord using their own strumming pattern
■ While students experiment with strumming patterns I will circulate and offer additional
assistance to students who need it
● Play a game to assess students understanding of how to read tablature ​(Goal 4)
○ I will display an unfamiliar chord tablature and give the students a moment to find the fingering
○ For each of the six chords, I will choose one of three small groups to play the chord and check on
their accuracy
■ Each of the groups will demonstrate twice
Day Eight
● Class will begin with four chords and their tablature displayed for the students to practice
○ Three familiar: C chord, F chord, A minor chord
○ One unfamiliar: G chord
● Practice playing chords with loud and soft dynamics
○ We will begin by reviewing the F chord and C chord
■ I will display the tablature for each and then prompt the class to play them
○ Next, I will specify to play the F chord at a loud dynamic and the C chord soft dynamic
○ Finally, I will display the F chord for four beats and the C chord for four beats, two times in
succession
 ■ The students will use their own strumming patterns to play each chord at the dynamic level
specified, creating a small ABAB pattern
● Next, I will ask the students to work create song that…
○ ...is 16 beats long
○ ...uses two or more chords
○ ...has both loud and soft dynamics
○ ...uses two or more rhythmic patterns
■ The students will work individually for five minutes to create and practice their songs
● Finally, we will all sit in a circle and each student will share their song​ (Goal 7)
○ Applause!!!

Final Assessment Rubric 

Goal/Quality No Evidence  Needs  Meet  Exceeds 

Improvement  Expectations  Expectations 

1) The student can I cannot identify I can identify when I can identify when I can identify when
identify when high and when high and low high and low high and low high and low pitches
low pitches occur by pitches occur by pitches occur by pitches occur by occur by matching
mimicking them on the raising or lowering raising or lowering raising or lowering them on my ukulele
ukulele the third time the pitch of my the pitch of my the pitch on my the third time I hear
they hear the song. voice the third time voice the third ukulele the third the song
I hear the song time I hear the time I hear the song
song

2) The student can I cannot perform I can perform I can perform I can perform simple
perform simple simple strumming simple strumming simple strumming strumming patterns
strumming patterns patterns using up, patterns using up patterns using up, using up, down, and
with areas of silence down, and down/up and down motions down, and down/up down/up motions
after hearing them two motions after after hearing them motions after after hearing them
times. hearing them two two times hearing them two one time
times times

3) The student can take I can improvise my I can improvise my I can improvise my I can improvise my
turns responding to own strumming own strumming own strumming own strumming
music with their own patterns using up or patterns using patterns using up patterns using up,
strumming patterns. down motions either up or down and down motions down, and down/up
and/or wait my turn motions after after waiting my motions after waiting
in the circle waiting my turn in turn in the circle my turn in the circle
the circle

4) The student can I cannot indicate I can indicate I can find where to I can find where to
identify where to place where to place my where to place my place my fingers on place my fingers on
his/her fingers based on fingers on my fingers on my my ukulele based my ukulele based on
pictures of tablature by ukulele based on ukulele based on on tablature and tablature and form
the end of this tablature. tablature. form a hand the most comfortable
experience. position for the hand position for the
 chord. chord.

5) The student can take I cannot take turns I can use elements I can take turns I can take turns with
turns with classmates with classmates or of music and sound with classmates classmates using
using elements of music use elements of to reflect pages of using elements of elements of music
and sound to reflect music and sound to a story music and sound to and sound to reflect
each page of a story. reflect pages of a reflect pages of a pages of a story and I
story story can explain how the
sounds reflect the
story

6) The student can I cannot analyze the I can analyze the I can analyze the I can analyze the use
analyze the use of use of voices, use of voices, use of voices, of voices, instruments
voices, instruments and instruments and instruments and instruments and and outside sounds in
outside sounds in a outside sounds in a outside sounds in a outside sounds in a a song by indicating
song by indicating the song by indicating song by indicating song by indicating the entrance of each
entrance of each with a the entrance of each the entrance of the entrance of with a different pitch
different pitch on by playing my each by playing my each with a on ukulele
ukulele. ukulele ukulele different pitch on
ukulele

7) The student can use I cannot use chords, I can use one I can use two I can use two
high and low pitches, soft and loud chord, soft and different chords, different chords, soft
soft and loud dynamics, dynamics, and loud dynamics, and soft and loud and loud dynamics,
and two or more rhythmic patterns to one rhythmic dynamics, and two and two or more
rhythmic patterns to create my own 16 pattern to create or more rhythmic rhythmic patterns to
create his/her own beat song my own 16 beat patterns to create create my own 16
short song. song my own 16 beat beat song that
song reflects an ABA form