Erin Dixon, Sophie Harrison, Jacob Reeves and Alton Peters

Engaging with Beginners Ukulele: Gemeinschaft  

Context Statement:​ ​This learning experience is designed for the residents of the Gemeinschaft home in
Harrisonburg, Virginia. All the residents are male, mostly between ages 20-50. They are residents of
Gemeinschaft for 60-90 days in transition from prison for nonsexual and nonviolent crimes. Most of these
men do not have any music backgrounds, but have been participating in the music and song writing
program while at Gemeinschaft. They are mostly interested in hip hop and classic rock genres, and enjoy
singing and playing physical instruments, especially those that prove steady beats (like bass and drums).
This experience will likely take place in a recreational room within the Gemeinschaft house and will likely
encourage learning that is open and adaptable. This setting has impacted our experience designs by
ensuring we allow plenty of room for flexibility given that we will likely be working with large groups
rather than individualized learners. The purpose of this experience design is to foster an environment in
which beginners can engage with the ukulele during the span of three separate 1-hour sessions.

Stage 1 - Desired Results

Standards:
EI.4 The student will identify,
read, and perform music in
simple meters.
EI.10 The student will
demonstrate preparatory
instrumental basics and
playing procedures,
including ​identification and
selection of an appropriate
instrument; identification of the
parts of the instrument;
procedures for care of the
instrument; proper playing
posture and instrument
position.
EI.18 The student will
explore historical and
cultural aspects of music by
identifying the cultures,
musical styles, composers,
and historical periods
associated with the music
literature being studied;
identifying ways in which
culture influences the
development of instruments,
instrumental music, and
instrumental music styles;
identifying ways in which
technology influences music;
identifying the relationship of
music to the other fine arts and
Goals:
1. I can demonstrate an understanding of the importance of
strumming patterns (difficulty, expression, meaning), accuracy of
changing chords (in time), and strumming techniques (pick vs.
different fingers) at the conclusion of the second session. (K)
2. I can play a C major, A minor, and G major chord within the first
session, and a F major and D major chord within the second
session on the ukulele via a I/IV/V/vi song of the student’s
choosing.​(S)
3. I can play a simple melody (of the student’s choosing) by using a C
major pentatonic position scale at the conclusion of the third
session.​(S)
4. ​I can hear the difference in rhythmic duration, and pluck different
rhythms using these note durations within the first session. (M)
5. ​I can demonstrate both right and left hand techniques at the same
time, by strumming a basic chord progression with C D and G
within the second session. (S)
6. I can demonstrate meaning and contrast through different
dynamics for different sections of a song at the conclusion of the
third session. (T)
7. ​I can strum multiple chords with a clear, full tone, in which I can
hear all notes of the chord within the first session. (M)
8. ​I can perform different parts of a song using different strumming
patterns within the first session. (T)
other fields of knowledge;
identifying career options in
music; identifying ethical
standards as applied to the
use of social media and
copyrighted materials; and
demonstrating concert
etiquette as an active listener.

EI.19 The student will

analyze and evaluate music
by​ identifying the cultural
influences on and historical
context of works of music;
describing works of music,
using inquiry skills and music
terminology; identifying
accepted criteria used for
evaluating works of music;
describing performances of
music, using music
terminology; and identifying
accepted criteria used for
critiquing musical
performances of self and
others.

EI.20 The student will

investigate aesthetic
concepts related to music by
proposing a definition of music;
identifying reasons for
preferences among works of
music, using music
terminology; identifying ways
in which music evokes
sensory, emotional, and
intellectual responses,
including ways in which music
can be persuasive; and
explaining the value of musical
performance to the school
community

EI.17 The student will

demonstrate musicianship
and personal engagement
by​ identifying the characteristic
sound of the instrument being
studied; monitoring individual
practice through the use of
practice records or journals
that identify specific musical
goals; participating in school
performances and local or
district events, as appropriate
to level, ability, and interest;
and describing and
demonstrating rehearsal and
concert etiquette as a
performer (e.g., using critical
aural skills, following
conducting gestures,
maintaining attention in rest
position).
EI.15 The student will
perform simple rhythmic and
melodic examples in
call-and-response styles

EI.14 The student will begin

to use articulations and
dynamic contrasts as means
of expression.

Generative (Essential) Questions:

- How do musicians understand the fretboard on the ukulele?

- What genre(s) of music may pose difficulty when attempting to learn on the ukulele?
- How do musicians express creativity in performance settings?
- What does it mean to express?

Stage 2 - Evidence 

1st session:

Students will begin learning the ukulele by participating in a group learn of the song “Don’t worry, be happy” by
Bobby McFerrin. This song utilizes three chords: C major, G major, and A minor (I, ii, IV in the key of G major). By
the end of the session students will:

-Vary strumming patterns based on the sections of the song (verse vs. chorus)
-Play a C major, G major, and A major chord
-Understand the meaning of a G major position scale

2nd session:

Students will expand their knowledge of the ukulele by adding another chord to their vocabulary: D major (V in
the key of G major). This will be done through a group learn of the song “Hey ya!” by Outkast. This song utilizes
the same chords that the students learned in the first session so it shouldn’t be too overwhelming. By the end of
the session students will:

-Play a C major, G major, A major AND a D major and F major chord

-Discuss their preferred method of strumming and what that may mean for their conveyance of meaning and
expression
-Change chords in time in Don’t Worry, Be Happy AND Hey ya! With the exception of when G major changes to A
minor due to the brevity and agility required for this chord change.
-Discuss a C major position scale and have the opportunity to change their melody to C major (rather than G
major) if preferred AND continue their work with their melody

3rd session:

Students will perform their melody for each other to gain experience and have an opportunity to perform in a
casual setting. After the performance of each melody the group will discuss what they did to convey meaning and
expression through a combination of dynamics and strumming. By the end of this session students will:
-Successfully perform a melodic line on the ukulele
-Know how to play all chords previously taught via Don’t Worry and Hey ya! AND be able to change chords
regardless of the challenge behind chord changes
-Apply chords previously taught by jamming out to any song containing said chords

Stage 3 – Learning Plan 

Session 1:
➔ Begin with a group learn of “Don’t worry Be Happy” by Bobby McFerrin
◆ Group students into three groups (each about 5 people): one playing C chord, one G, and one A
minor
● This way when they are first learning they are aware of strumming patterns and when to
change chords but they don’t have to physically do so yet
◆ Groups will rotate so that each group has the opportunity to learn each chord
◆ At the end (about 30 min.) students will play all together, already having previous knowledge of
when to change chords and to what
➔ Students will began working on their melodic line (the scat section of Don’t Worry be Happy: see
https://www.youtube.com/watch?v=L1nQpoAvTSg
◆ Begin instruction by introducing the G major position based scale

◆ Done so by introducing the first five notes of the scale (G-E-D-E-B/Do-la-so-la-mi) and explaining
how it fits into the pentatonic scale--teach these first five notes via the G major pentatonic scale
◆ Continue by teaching notes outside of the pentatonic scale to finish the introduction of the
melodic line
◆ Finish by playing through the song once more with attempts of playing the melodic line
● Half of the residents playing chords and half of the residents playing the line
Session 2:
● Begin with a group learn of “Hey Ya!” By Outkast
○ They will learn this in one large group to assess what chords the students have retained from
previous sessions, not split into smaller group.
● Students will continue working on their melodic line, for no longer than 15 minutes individually
● The teacher will introduce strumming techniques for the students to work on
○ The students will be able to use and experiment with picks, and the differences between using a
guitar pick and their index, middle and thumb for strumming. They should have a basic awareness
of strumming and chords from the first session to move forward from.
● Students will be asked how the different strumming patterns can be used to express themselves through
the music.
○ “Which pattern helps you play softly? Which helps you play loudly?”
○ Work on playing different dynamics and articulation with the students through strumming and
picking.
 ● Work on new strumming patterns and musical skills on both Don't Worry Be Happy” as well as “Hey Ya”
○ Play though songs together as a full class

Session 3:
➔ Students wills start with a review of the chords they have learned in previous sessions by playing through
the two songs they learned.
◆ This will be in one large group
◆ 3 minutes per song (total 6 minutes)
➔ Students will then split into groups of roughly 5 per group, and choose a song that they would like to learn
that uses those chords.
◆ Students will learn the chords to the song in the correct order, then learn to sing with it.
◆ Once chords and lyrics are put together, the students will take turns improvising melodic lines on
top of everyone else playing the chords and lyrics.
◆ While going through this, try to implement ideas of dynamics and phrasing, but using more basic
terms. Don’t overwhelm them with terms that they aren’t familiar or comfortable with.
◆ (40 minutes)
➔ With the time remaining, roughly 15 minutes, the groups will perform for each other, the songs they chose
to learn WHILE implementing all of the things they worked on in their groups, including playing and singing
simultaneously, playing melodic lines on the ukulele, and implementing dynamics and phrasing.
➔ Throughout the entire process, the teacher will act as a facilitator. Since the students will be choosing the
music, and will be making up the melodic lines, the teacher will be there to guide the students if they are
having trouble making artistic decisions, or if they are having trouble with the chords.

Final Assessment Rubric 

Goal/Quality No  Minimal  Meet  Exceeds 

Evidence  Evidence  Expectations  Expectations 

1​ Varying Strumming The student only The student knows The student knows The student changes
patterns knows one different strumming how to effectively strumming patterns to
strumming patterns but cannot change strumming effectively fit the
pattern. effectively change patterns. different aspects of the
between them. song.

2 ​Chord knowledge The student does The student may The student knows all The student knows all of
not know the know the chords but the chords used in the chords taught to
chords taught to cannot play them on the songs taught to them and can effectively
them. the ukulele. them and can change and quickly change
between them. between them in a song.

3 ​Melodic Lines The student does The student does not The student knows The student knows the G
not know the G know the G major the G major and C major and C major
major and C and C scales well, and major position scales, position scales, and can
scales, and cannot make a and can play a play a melodic line using
cannot make a cohesive melodic line melodic line using these scales to
melodic line. using them. them. accompany a song.

4​ Playing and singing The student The student plays The student can play The student can play and
simultaneously cannot play and and sings at the same and sing at the same sing at the same time
sing at the same time with many time with few without any mistakes.
time. mistakes. mistakes.

5 ​Displays musicality The student does The student plays The student plays The student frequently
through musical not play with with some form of with at least two uses vocal inflection,
tactics musical musical expression, different means of articulation and
expression, but for only a short musical expression, dynamics throughout
through means time. for only half of the their playing.
of articulation, time they are playing.
vocal inflection,
or dynamics.