kinderguitar curriculum overview teachers edition

7/28/2019 KinderGuitar Curriculum Overview Teachers Edition

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CurriCulum OverviewTeaChers ediTiOn


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ReadingBook1

MelodicandRhythmic Reading

ReadingBook2

HarmonicReading& Introductory Repertoire

ReadingBook3

AdvancingRepertoire& Technique, Part1

ReadingBook4

AdvancingRepertoire& Technique, Part2

0 1 2 3 4 5 6 7 8 9 10 11 12 13 and up

Welcome to KinderGuitar! This curriculum guide

will introduce you to the books and practices o

the KinderGuitar method. At let is an overview othe main KinderGuitar teaching tools and the age

levels or each, so you can see at a glance how

the books will guide your growing child.

The ollowing pages describe each book in detail,

with sample pages showing the musical skills and

techniques your child learns at each level.

For more inormation about KinderGuitar and to

fnd certifed KinderGuitar teachers, visit

www.KinderGuitar.com.

ltt Fogg sogbook, g 0-7

Ft sogbook sk Bg Book 1, g 4.5-10

KGt rg Book 1, g 7 p




CHILDS AGE

Core Music and Skill Building Stage

Literacy and Repertoire-Building Stage

2012 KinderGuitar, LLC.


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ecto sppt

Our Educator Supplement provides a secoguitar part to each o the songs or playingalong in classes and at home. The accompment matches the accompaniment rom thdownloadable Froggie Play-Along.

7

Your Childs First Guitar

While any guitar might do in a pinch, an inappropriate instrument can pose obstacles to smallfngers. Nylon-stringed guitars (clas-sicalor olk) are easier or little fngers or a ew reasons: nylon strings are thicker, providing more surace area or the fngertip tocontrol, and nylon strings are less taut (strung to a lighter tension) and thereore require less strength to pinch down against therets. Less taut and thicker strings are more comortable or those little fngertips. Also, or little people there are little guitars (seethe chart at the right or a rough guide to sizing). So: smallnylon-stringed guitars willmake those frst ew years oguitar playingeasier and thereore more un and thereore more successul. Visit KinderGuitar.comor more inormation.

Ages 12and up

Ages 9-12& Ages 7-8with capo on ret 3

Ages 5-6& Ages 3-4with capo on ret 3Quarter

Half

tHree-Quarter

full

Ages 7-8& Ages 5-6with capo on ret 3

Gt ltt Fogg sogbook is an age-appropriate andedagogically sound method for young children to start active play on theuitar. Our beautifully illustrated songbook provides:

KinderGuitars Little Froggie Songbook

ltt Fogg Py-aog

Children can listen and play along to the mtheyre learning with Little Froggie Play-AloWe provide fve tracks or each song, oeria variety o un options or playing along wdeveloping a sense o pulse: the melody, tmelody with metronome (m), the melody wmetronome at a slower tempo (ms), the acniment with metronome (a), and the accomment with metronome at a slower tempo (a

A wealth of multicultural music for singing andplaying with very young children

The tools for developing a sophisticated senseof pulse and rhythm

Froggies Footprints: note-specic hints andsuggestions for each song

KinderGuitars proprietary code: an easy way forparents unfamiliar with standard notation (also

included) to help their children Advice specically for parents about using Little

Froggie Songbook, selecting an appropriateguitar, tuning, daily guitar activities, and more

Y FIRST SONG (Leo Garcia)

ROGGIESAYS:

his song only requires one retted note. To prepare the let hand or the song,ace the fnger down on 32 2 and lit it away just enough to clear the string.eeping the fnger close to the ret will leave it prepared or its next pinch.

OLLOWFROGGIES FOOTPRINTS:

gui 322 pinches untilmy.This establishes the frst anchor fnger!

emember, anchors dont move at all, not even a wiggle. Dont move it!

1717

My First SongLeoGarca

3 0 3 22

20

My

30

first

322

song,

30

on

30

gui

322

tar,

20

- pl ic k,

20

pluck,

20

plick,

2 0 2 0

p luck , on

20

my

322

strings.

30

11

KinderGuitar Code Decoded

ALL THENOTES IN THESONG

In the upper right corner oeach songpage is a short stashowing allthe notesyou need to know or that song, arrangedromlow pitch to high pitch. You can playthese notes beore turning to the songitsel.

STRING AND FRETThese numbers (2and 3) are a code orstring 2, ret 3.

LEFTHAND FINGERThis little number (3) specifes which lethand fnger pinches the ret (1=index,2=middle, 3=ring, 4=pinky).

STICK RHYTHMSThese verticalsticks represent steadypulses. To play in rhythm, play the notewith the stickas it goes by. Two connect-ed sticks (or three or our or more!) meanthat the note played with the frst sticklasts or the totalnumber oconnectedsticks.

123

4

LeftRight

p

ia

m

c

44

THE LITTLE MARIONETTES (French folksong)

FROGGIESAYS:

This song starts without an anchor. Prepare by pinching 233 and then liting justenough to hover right over the frst pinch.

FOLLOWFROGGIES FOOTPRINTS:

go 233 pinches untillit.

lit 322 pinches untiltes.

go 233 pinches untillit.

turns 322 pinches untilleave.

MORESINGING!

In French:

Ainsifont, font, font,Les petites marionettes;Ainsifont, font, font,Trois petits tours, et puis sen vont.

45

30 322

20 211

233

10

The Little Marionettes

French Folksong

30

See

20

them

23

go,

310

go,

23

go,

330

see

30

the

32

lit

221

tle-

120

mar

32

ion-

2

20

et

30

tes!-

30

See

20

them

23

go,

310

go,

23

go,

330

three

30

small

32

turns,

221

and

120

then

32

they

230

leave.

LEASE RAIN NOW! (Venezuelan Folksong)

OLLOWFROGGIES FOOTPRINTS:

Start the song using right hand indexfnger i.

Place 322 at the beginning othe song as an anchor fnger and keep itpinched until30 (storm).

ORESINGING IN SPANISH!

Spanish:

ue llueva, que llueva,virgen de la cueva,s pajaritos cantan,s nubes se levantan,ue s, que no,ue caiga un chaparrn.

4949

Venezuelan Folksong

Please Rain Now!3 0 3 2

22 0 2 1

123

310

Please

233

rain

233

now,

20

please

233

rain

233

now,

20

the

20

brown

211

bear

211

is

322

a

10

sleep

23

-

3

ing,

20

- th e

20

birds

233

are

233

all

20

a

10

-

sing

233

ing,

20

- t he

20

fat

23

clouds

233

are

203

a

10

float

23

-

3

ing,

20

- i t' s

20

cold,

233

it's

20

warm,

233

it's

20

time

23

to

213 1

start

20

the

322

storm!

30

litt Fogg sogbookCopo mt

The KinderGuitar Song Books have

lovely pieces that are a pleasure to

listen to and play, in a progression

that has provided songs at the

right level for our developing

children. Our children are playing

songs and etudes from around the

world, rather than the collections

in standard student guitar books.

Sima Misra, parent



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13

Rhythm Puzzles

20 20 20 20 20 20 20 20 2 0 2 0

2 0 2 0 2 0 20 20 2 0 2 0 2 0 20 2 0 2 0 2 0

20 2 0 20 20 2 0 20 20 20 2 0 2 0

2 0 2 0 2 0 2 0 2 0 2 0 2 0 2 0 2 0 2 0 2 0 2 0

1

15

Pinch Builders

FingerTwo

forstrongfinger pinches

Two,

322 32

two,

2 32

two,

2 32

two,

2 32

your

2 32

name

2 32

is

2 32

TWO!

2

Pinch,Float

Pinch,

322 30

float,

32

pinch,

2 30

float,

32

goat?

2 30

oat?

32

pinch,

2 30

float.

1

22

Pluck Builders

321 123

forwalking fingers, crossing strings, and thumb

30i 20m 10i

10m

20i

30m

30i 20m 10i

10m

20i

30m

1234 4321

10i 20m 30i 40m 40i 30m 20i 10m 10i 20m 30i 40m 40i 30m 20i 10m

1

42

Advanced Rhythm PuzzlesWhole Notesand HalfNotes

1

CLAP, TAP, orPLAY

COUNT:

Practice Suggestions:Play, clap, orsing the notesabove the line while yourpartnerplays, claps, orsingsthe notesbelowthe line and then switch.Play, clap, orsing the notesabove the line while tapping the notesbelowthe line with yourfoot.Vary yourtempos.

Forthumb and fingertogether, the thumb playsthe notesbelowthe line on strings4, 5, or6 and the fingers(alwayswalk!)play the rhythmsabove the line on strings1, 2, or3.

2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

1

35

Pinch Builders

PinchStacking(fingers 1and2 )

forstrongfinger pinches

32 1 222 321 222 321 22 2 321 22 2

TwoPinchesand Tunnel (fingers2and 1)

32 2 211 322 211 32 2 211 322 211

3

long with standard musicotation, all songs andctivities are introduced withur proprietary code in therst three levels. Our easy-o-read KinderGuitar codeas developed to enablearents unfamiliar with musicotation to help their childrent home during this crucialtage (children can read itasily, too). During the Purplelatypus level, part of theode is removed as students

egin to read rhythm withtandard notation. By the endf the First Songbook andkill Building Book 1, studentsill be ready to begin reading

music by themselves, and tomove on to KinderGuitarsteracy stage.

KGt Pctc log

The KinderGuitar Practice Log an easy wasy or parents to keeo lessons and practice at home

KinderGuiTar FirsT sOnGBOOK

When children are ready to begin lessons, theKinderGuitar First Songbook makes even the be-ginning stages un with melodies, part-playing,rounds, and duets. Our curriculum emcompassesmulti-cultural and varied styles o music: Ameri-can, French, and German olksongs, amiliar nurs-ery songs, rounds rom across the globe, andclassical melodies by Beethoven, Schubert, andSchumann, with accompanying parts.

KinderGuiTar sKill BuildinG BOOK 1

Along with the musical skills developed with theKinderGuitar First Songbook, children developimportant physical skills with multi-leveled pluckbuilders, pinch builders, and rhythm puzzles in theKinderGuitar Skill Building Book 1. For optimal useo the let and right hands, students develop clas-sical technique, giving them the technical acilityto later explore the musical genres and styles otheir choosing.

t sogbook and skg Book 1 work

ogether to build a solidoundation for a lifetime of

music-making. Both songsnd skill-building activities arerganized by levels and goals

o complement each otherYellow Yak, Blue Bat, Gold

azelle, Purple Platypus), andithin this scaffolded structurere staggered in physical and

musical demands, both foredagogical goals and forariety.

Our licensed and certi

teachers receive specia

training to help childre

develop fundamental s

during this rst stage o

KinderGuitar:

First Songbook and Skill Building Book 1

Children develop correct postukinesthetic awareness, and probodily aligment with the guitar

Right hand nger alternation, wemphasis on string crossing, pchildren with the tools to produ

beautiul sound early on. Proper left hand alignment, wit

emphasis on maintaining let hpoise during open string playinenables optimal fnger placem

Carefully selected songs bring gether the new skills o fnger anation, string crossing, and sinpinching, while part-playing anrounds make even the frst sonhugely rewarding or children t

The KinderGuitar stick rhythm shelps children develop a strongderstanding o rhythm and pul

Parents receive advice and straor helping their children buildplaying habits at home.

TABLEOFCONTENTS

Level 1 Yellow

Hot Crossed BunsHot Crossed Buns VariationsMary Had a Little LambScotlands BurningSailingHush Little BabyAre You Sleeping

Level 2 Blue

AllegrettoTwinkle, Twinkle, Little StarLightly RowThe CuckooWaltzOh, How Lovely is the Evening

Level 3 Gold

AndantinoOde to JoyFrench LullabyKookaburraMelodyTo the GreenwoodAllthe Pretty Little Horses

Level 4 Purple

SicilianoAriettaTime is Never WearyUpon Church Bells in OxfordTurkey in the Straw

Scotland'sBurning 3 0 2 11 23 3 1 0 1 33

Melody

EnglishRound

30

Scot

1

30

land's-

21

burn

21

ing!

1

-

1 30

Scot

30

land's-

21

burn

21

ing!

1

-

1 23

Look

2

3 10

out!

23

Look

3 10

out!

13

Fire!

3

3 13

Fire!

3 13

Fire!

3 13

Fire!

3 30

Pour

4

30

on

21

wa

21

ter!

1

-

1 30

Pour

30

on

21

wa

21

ter!

1

-

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5/10

By the time they reach KGt rgBook 1, students have already had someexperience reading rhythmic notationnow,they are ready to begin reading music inearnest, as well as to continue expandingtheir technique and theory. The Melodic andRhythmic Reading book includes:

Music notation overview for the basics ofhow pitch is notated

Guitar notation overview for symbolrecognition regarding left- and right-handngers

KinderGuitars Mini Melodies for pitchpattern recognition without rhythm

Reading studies, beginning on single stringsand expanding to two- and three-stringstudies, to gain reading prociency quickly

Folksongs, classical compostions, andcontemporary compositions for reading

Melodic material expanded throughvariations to deepen melodic understandingand as an introduction to improvisation

Introduction to advanced left-handtechniques like slurs

Third and fth positions explored throughduos and trios

Introduction to scales

Advanced rhythm puzzles without referencebeat

Introduction to harmony through chords andchord diagrams

Reading Book 1

Melodic and Rhythmic Reading

Advanced Rhythm Puzzles

Reading skills with Mini Melodies

Technical skills

Harmony and theory

Solo and duo re

Music notation activities

KinderGuitar Reading Book 1moc rytc rg

Music Notation Activity 1Usenotes to spell thewords.

Word Notes

BAG

BED

CAB

EGG

AGE

AGED

BEE

16

Music Notation Activity 5Write the timesignature.

Music Notation Activity 6Completethe measure.



6/10

KGt rg Book 2 introducesstudents to more complex reading and musicand more advanced technique and theory,including:

Right hand exploration of f ree stroke forarpeggio use and harmonic playing

Reading chromatic notes, as preparation forlearning key signatures

Chord studies

Mini Melodies for developing a deeperunderstanding of pattern recognition in

reading Two- and three-voice compositions for solo

playing

Solos, duos, and trios for building musicaland ensemble skills

Exploration of ornaments for use inbaroque and classical music

Primary scales as preparation fordeveloping repertoire in Reading Books 3and 4

KinderGuitar Reading Book 2hoc rg itoctoy rpto

eading Book 2

Harmonic Reading& Introductory Repertoire

Words in Music

adagio very slow

adagio cantabile very slow and singing

allegretto moving along, not too fast

allegro appassionato fast and passionate

andante walking tempo

andante grazioso gracefully walking tempo

andantino slightly faster than walking tempo

a tempo return to original speed

coda a concluding section

cresc. (crescendo) growing louder

decresc. (decrescendo) growing softer

dim. e rit. (diminuendo e ritardando) gradually quieter and slower

D.C. al Fine (da capo al fine) return to the beginning, then go to the

Fine (end)

dolce sweetly

espressivo, espr. expressively

fine end

f (forte) loud

ff (fortissimo) very loud

fz (forzando) strongly accented

ffz (molto forzando) very strongly accented

grave very slow and solemn

largo slow and broadlegato smooth, connected

leggiero lightly

lento very slow (a bit faster than largo)

lento espressivo slow and expressive

marc. (marcato) marked and clear

mf (mezzo-forte) medium loud

moderato moderately

molto marcato very marked

molto ritardando slow down very much

molto staccato very short and detached

mp (mezzo piano) medium soft

p (piano) soft

pp (pianissimo) very soft

poco a poco little by little

poco rall. (rallentando) hold back slightly

poco ritardando slowing down a little

rall. (rallentando) hold back

rall. poco a poco hold back little by little

sfz (sforzando) strongly accented

sostenuto sustained

15

Music Notation Activity 4Write the interval specifiedandthen thenames of the notes below both notes.

Technique expansionAdvanced notation activities Reading skills with accidentals

Multi-voice solo repertoire

Duos and trios

10Notes on the Guitar



7/10

Kgt rg Book 3 4begin the process of building a classicalguitar repertoire while introducing themost practical key signatures and chordsfor the guitar.

Songs are organized by key, givingthe teacher and student the option offocusing on one key or exploring severalkeys at once.

Each key is explored preliminarilythrough a variety of scales and ngeringsand through chords and chordprogressions pertinent to the key inquestion.

Each key is represented by songs in avariety of musical styles.

Repertoire includes classical solo, duo,and trio pieces as well as songs withchord accompaniment for improvisationand accompaniment purposes

eading Book 3

Advancing Repertoire& Technique, Part 1

Reading Book 4

Advancing Repertoire& Technique, Part 2

KinderGuitar Reading Books 3 and 4acg rpto Tcq, Pt 1 2

dvanced reading

Key-organized repertoire Technique through etudes

Advanced ensemble arrangementsInnovative studies

Engaging solo pieces



8/10

Provides a detailed guide to KinderGuitars phphy, curriculum, and business model

Outlines the ins and outs of running a succesfuderGuitar studio and how to incorporate succebusiness practices into already existing studios

Teaches important age-appropriate pedagogiguidelines and methods for educating childrenve and up

Provides a list of specic classroom tasks for neclasses to help teachers develop a routine for s

ing all their students in a positive way In addition to the practical advice from both th

business and pedagogical angles, offers guidain fostering a community approach to buildingprograms

FOR CERTIFIED AND LICENSED TEACHERS

KINDERGUITAR TEACHER TRAINING MANUALINDERGUITAR is offering licensing and certication toualied educators and guitarists seeking to expand their

eaching credentials and improve their skills for teachingoung children. Whether you are just beginning your careerr already have a teaching studio, KinderGuitars Teacherraining will provide you with the skills, expertise, andeputation to succeed as a specialized teacher for children.ertied and licensed teachers receive:

KinderGuitar Teacher Training Manual

KinderGuitar Teacher Training Addendums

KinderGuitar Business TemplatesKinderGuitar Teachers Guide to Skill Building Book& First Song Book

KinderGuitar Teachers Website

he benets of licensing and certication include a highourly wage, exible schedule, developmentally sound andell-tested curriculum, training, credentials, and material for

eaching children, marketing support and the KinderGuitarebsite.

It has been a year since I was licensed and certifed in the KinderGuitar program to teach, touse the business model, and to see what an amazing dierence this program can make in thelives o my students and in my own development. There is a consistent joy that is pervasivein this program. I have added students who were discouraged with other school o musicor prep programs. KinderGuitar is distinct in pedagogy, curriculum, and business model. I

have had many competing teachers and graduate students review my website and program;they know it can be a very good way to earn a living over time. They also are amazed whentheir 5-10 year olds are still struggling and ours are playing, and excited to play.

roy B, Ctf lc KGt Tc

7

KINDERGUITAR CURRICULUM

INTRODUCTION& PHILOSOPHY

KinderGuitars curriculumwas developed to teach young children guitar and overallmu-sicianship skills. There are many reasons that guitar makes an excellent beginning instru-

ment: its globalpopularity, the flexibility ofits repertoire, its affordability, and its portabil-ity, to name a few. KinderGuitar teachers should aimnot only to teach children guitar but

also to help themdevelop an appreciation for and enjoyment ofmusic. KinderGuitarsguiding philosophy is that every child should have musicin their lives because music

enriches their lives and the lives ofthose around them.

The KinderGuitar curriculumwas created and is being continually expanded by Leon-ardo Garcia, a classicalguitarist who holds three advanced musicdegrees fromYale

University and the New England Conservatory ofMusic. Emerging fromthe conservato-ries with degrees in hand, Leo realized that for allhis training he h ad no idea how to go

about earning a living as a classicalguitarist. He therefore set up a smallstudio to teachchildren in 1999and discovered that although it was very fulfilling to workwith young

children, the materialavailable was very frustrating and utterly deficient. He thereforeset out to create a curriculumand teaching method. Leos programquickly became

extremely popular with children and parents in the San Francisco bay area, and he set

about developing a business modelthat actually works for teachers.

By adapting, expanding, and integrating successfulideas and methods frompeda-

gogues who have specialized in teaching children music, such as CarlOrff, ZoltanKodaly, and ShinichiSuzuki, KinderGuitars systematicapproach is age appropriate and

insures easy success for students while maintaining the flexibility to reach alltypes oflearning styles and abilities found among young students. For example, KinderGuitar

believes in teaching musicmuch like a language is taught (one of Suzukis fundamen-

talphilosophies) and that one ofthe preferred methods oflearning for children is play(a tenet embraced by child psychologist Jean Piaget). KinderGuitar incorporates and

expands on these ideas through the use ofs mallgroup classes to reinforce musics socialcomponent, create a sense of community, enable fun music-related activities, and share

successes with peers. At the same time, smallgroup classes have the welcome side ef-fect ofenabling teachers to earn more in less time, an important asset to musicians who

need time to practice and perform.

Lesson Partners

Playing musicwith lesson partners offers many benefits to students. The intensity ofaprivate lesson is rarely suitable for the youngest children, although it is sometimes pref-

erable for older children. More often than not, a childs first experience with lessons isgreatly enhanced by the presence ofa peer or even, when possible, a f riend. The group

dynamicalso enhances solo playing as students can learn fromeach other and benefit

13

WORKING WITH CHILDREN

GENERAL EDUCATIONAL GUIDELINES

Even though teachers willundoubtedly encounter a wide range ofabilities, back-grounds, attitudes, behavior, and talent, the KinderGuitar philosophy is that allofus

should be able to play musictogether. Therefore, a KinderGuitar teacher must nurtureand indiscriminately support every single child who comes through the program. Teach-

ers should review the conduct in the certification contract and strictly adhere to thiscode. The success ofeach KinderGuitar student (and ofeach KinderGuitar teacher)

depends on the teachers ability to be kind, creative, supportive, open, happy, articulate,and focused. Children always learn better when the learning process involves elements

ofplay and fun, and teachers (and people) with these qualities make everything seem

fun.

Ifyou are lucky, you probably have fond memories ofexcellent, supportive teachers you

had when you were a child. Try to imagine your KinderGuitar students 20years fromnowreminiscing about the time when they started learning guitar. Lets make those memories

positive.

Working with children requires understanding how children learn, which is quite differ-

ent than adults. Concepts and skills always need to be reduced to their simplest form

and explained slowly and clearly while reinforced physically. Children should have theopportunity to imitate the correct motion required for each new skill often. The first step

is to explain the generalconcept. Next, give a demonstration. After the demonstration,teachers should assist each student by physically moving their fingers or hands into the

correct movement. There are very few children who are naturals,and even explana-tions directed at the most talented children stillrequire a lot ofattention to detailand

physicalreinforcement. Spend more time showing, and h aving students imitate, thanexplaining. Remember that each skillis a brickin the building process. Each brickshould

be as stable as possible before laying down another one.

BUILDING LONG TERM RELATIONSHIPS

Teachingchildrenhasmanyadvantages,asidefromsimplybeingfunand fulfilling.Asa

nurturerandeducator,youwillverylikelyhavetheopportunitytowatchyourfirststudentsgrowasmusiciansandashuman beingsforseveralyears,andoften untiltheyleavefor

college.Choosingtoteachchildrenratherthanadultsmeanschoosingtoteach morethanjustguitar.Inadayand agewhenregular,extendedone-on-oneinteractionwithamen-

torisrare,youarein auniquepositiontoinfluencechildrenpositivelyandbuildlong-termrelationshipswiththem.Atthesametime,because thebusinessrelationshipiswiththe

parentsandnotthechildren,yourrelationshipwithyourstudentremainsunencumberedbylogisticaltensions.Parentsreceiveupdates,areresponsibleforhomeplaytime,tuition,

40

KINDERGUITARSKILL BUILDING CURRICULUM

Below is a list ofthe activities fromKinderGuitars First SkillBuilding Bookand the cor-

responding songs fromKinderGuitars First Song Book. Introduce the pluckbuilders and

pinch builders at the beginning ofeach leveland review them often in class. Use rhythm

puzzles as warmups, as ensemble activities, and as departure points for more complexactivities and games, except for level4, where the preliminary classes are spent develop-

ing rhythmicliteracy.

Though the curriculumand skills involved in mastering the songs are sequential, it is

possible for the teacher to omit or teach songs within a levelout of order depending on

the age ofthe class. Adhering to the curriculumwith no deviation is better for younger

classes because it provides ample time to develop secure playing before the literacy

stage. However, a talented class ofolder children may develop enough skillthrough a

few initialsongs to skip to the next level.

Level1 - YellowFinger ActivitiesPluckBuildersRhythmPuzzlesPinch BuildersSongsHot Crossed Buns

Hot Crossed Buns Part 2Hot Crossed Buns VariationsMary Had a Little LambScotlands Burning (Round)Scotlands Burning Part 2

SailingSailing Part 2Hush Little BabyHush Little Baby Part 2Are You Sleeping (Round)

Level2 - BlueFinger ActivitiesRhythmPuzzlesPluckBuildersPinch BuildersSongsAllegretto

Twinkle, Twinkle, Little StarLightly RowThe CuckooThe Cuckoo Part 2The Cuckoo Part 3

Waltz (Schubert)Oh, How Lovely is the Evening (Round)

Level3 - GoldFinger ActivitiesRhythmPuzzlesPluckBuildersPinch BuildersSongsAndantino (Carcassi)

Ode to Joy (Beethoven)Ode to Joy Part 2Ode to Joy Part 3French LullabyKookaburra (Round)

Melody (Schumann)To The Greenwood (Round)Allthe Pretty Little Horses

Level4 - PurpleFinger ActivitiesBasicRhythmNotationAdvanced RhythmPuzzlesTwo Part PluckBu ildersSongsSiciliano (Carcassi)

Siciliano Melody with BassArietta Melody (Kffner)Arietta Part 2Arietta Melody with Part 3Humming Song (Schumann)

Time is Never Weary (Mozart) (Round)Upon Church Bells in Oxford (Purcell) (Round)Turkey in the Straw Melody

42

TEACHING YOURFIRSTKINDERGUITARCLASSES

Once you are set up and awaiting your first classes, use the list of tasks to prepare and

pace your classes. A detailed description of the tasks to accomplish during the first les-

sons is provided for reference. After you teach your first class, you willknow what worked

and what you may need to workon. Build on your successes and have f un! Good luck.

THE FIRSTMONTH GOALS

The first month oflessons sets the tone for many important aspects of the classroom,

such as the dynamicbetween the teacher, child, and parent, the pace ofactivities, what

is expected fromthe child and parent fromlesson to lesson, and the leveloffu n in the

eyes ofthe child. For the younger groups (up to age seven), the first months should

focus on the following points:

1. Developing the childsattention span

Five year olds are seldomready to focus for the duration ofa fullclass. Helping a five

year old develop the attention span necessary to learn skills is essentialfor active le arn-

ing to occur. Try some simple techniques to help thempractice focusing. For example,use a timer to challenge the children to sit stillfor exactly one minute in a good sitting

position. Reward success, and then challenge them to go for two minutes. Or simply

have themfocus on their fingers while they listen to the sound ofa plucked string die

away. Building physicalendurance can help build men talendurance. How many times in

a row can the child alternate fingers steadily without skipping? How long can the child

hold down a pinch (while the teacher plucks the string on the childs guitar) before itbuzzes or thumps? Most 5-7year olds willeventually be able to sit still, follow class rules,

and focus on a simple task as they wait for their lesson partners to do what they are do-

ing. However, order in the classroomdepends on the teache rs ability to focus on and

reward correct behavior.

2. Introducing and reinforcing classroomvocabulary for clar ity when explainingactivities.

Use the correct letters (p, i, and m) to describe the right hand thumb, index, and middle

fingers, use numbers (1, 2, 3, 4) to describe the left hand fingers, and use the string-

fret-finger order to describe the geometriclocation ofa pinch on the guitar. Consistent

terminology and methods ofdescribing the fingers and guitar will help parents and

children build quickfamiliarity with the guitar. Describing parts ofsongs, positioning,

and which fingers to use, is much easier when everyone is on the same page (see Kinder-

Guitar Class Vocabulary and Imagery, pg. 58)

3. Developing basic guitar playing skillsfor use in the first songsin the class-roomcurriculum, mostly through pluck builders, pinch builders, and rhythmpuzzles, namely:

a. Posture. Piano students are able to trust that their piano will not startrolling around while they practice. Guitar students must learn to achievestability with their instrument. Fromthe very first lesson, a child (along

with the teachers and parents help) should try to acquire the correct re-lationship between their body and their guitar. Take pictures ofstudents

when they are in the optimalsitting position and their hands are placed

54

CLAPPING GAME

Pickany song in the book, or invent a rhythmpuzz le in class, count offseveral

steady pulses (One, two, three, go!), then point to each stickrhythm with a

penciland move evenly onto the next stick. The child should clap at the beginningofeach stickgroup (connected with a horizontalline). Pointing and moving evenly

allows the child to scan and time the space between the sticks, which helps de-

velop a sense ofinner pulse. Go slowly at first, and increase the pace of the pulse

as familiarity with the rhythmincreases. Have students play this game often.

Rhythmrequires playing notes ofdifferent durations in relation to a steady pulse or beat.To make rhythmeasier for children to recognize and conceptualize, KinderGuitar initially

uses STICK RHYTHMS to illustrate steady visualpulses. To use the STICK RHYTHM code,

play the notes with the sticks moving in a steady pulse. Two connected sticks (or three orfour or more!) mean that the note played with the first sticklasts for the totalnumber of

connected sticks.

Below are some examples ofrhythmpuzzles us ing stickrhythms. Always establish a

steady pulse before starting rhythmpuzzles in class.

TASK 10 INTRODUCTIONTORHYTHM, STICK RHYTHMS, AND RHYTHMPUZZLES

26

LOCATION& SPACE REQUIREMENTS

The location ofyour studio is very important. Best case s cenario: you have a very inex-

pensive 300-500sq. ft. well-ventilated and quie t room, with bathroomand waiting room,

in an urban setting that is accessible to the neighborhood ofyoung parents and to theneighboring neighborhoods ofmore young parents. However, best-case scenarios are

hard to come by. Settle for a nice roomwith windows in a safe neighborhood that will

allow you to charge a reasonable tuition. You may find studio space at localmusicstores,

churches, and private schools. We do not recommend teaching fromhome unless you

have a dedicated studio that is very child-friendly. Group lessons will involve several

children along with their siblings and parents and caregivers trooping in and out ofyourhome every halfhour (frequently by mistake on days you have scheduled offand are

relaxing at home). The amount offoot trafficusually makes home lessons unworkable.

Whatever your situation, the goalis to promote a he althy and caring learning environ-

ment, an environment children and their parents will lookforward to seeing and being a

part ofevery week!

BASIC CLASSROOM/STUDIO FURNITURE

Your studio willneed:

1. Four sturdy footstools (preferably smallstepping stools instead ofthe

standard collapsible footstool)2. Severalmusicstands

3. Eightcomfortablechairs(foryou,thestudents, andtheirparents)4. A dry erase board and markers

5. A clean, colorful, and child-friendly environment (for example, stuffedanimals to use for games, additionalrhythmicinstruments like maracas

or shakers, etc.)6. Soap, paper towels, toilet paper, and a stepping stoolin the bathroom

7. A bulletin board for posting announcements, schedules and notes

ADVERTISING ANDBUILDING YOURSTUDIO

As a Certified KinderGuitar Teacher you are licensed to use the trademarked KinderGui-

tar logo to advertise for your classes. Using the logo immediately associates you with a

quality brand and willhelp you to attract new students to your studio. Using the logo will

also identify you as a teacher specializing in children.

Once youve found a studio location, KinderGuitar willprovide the logo for you to use in

advertising. Printing business cards with the logo and your contact information is a good

first step. Distribute your business card along with KinderGuitars general brochure toelementary schools, musicstores, churches, and toy stores. Submit advertising copy to

parents e-newsletters, classified ads, and free community newsletters. Our art depart-

ment can also provide customized postcards for direct mailing and customized posters

to post in localbusinesses. KinderGuitar willalso provide a generalpress release to you

for submission to localpapers in your community.

Once you have a group ofs tudents and strong parentalsupport for your program, ask-

ing a parent for referrals or even a testimonialabout your teaching really helps. Kinder-

Guitar willpost testimonials on your KinderGuitar website page. The best advertising isword ofmouth.

DEALING WITH BEHAVIORISSUES

Part ofteaching children requires knowing what is acceptab

behavior for a given age group. Most children (especially wi

behaved and by the time they start an instrument are becom

ling their behavior in socialsituations.

Establish lesson rules during the first lesson. Misbehaved chilthe lesson rules and need to be reminded in a matter-of-fact

rewards for good lesson behavior (e.g. remaining in a good

son, or not talking or playing while the teacher is talking or

such as a sticker to place on their guitars or on their folder,

Classes do tend to get animated and fun and occasionally

to get a word in edgewise. Sometimes, thats ok, but somet

really interrupts the flow ofthe lesson. At these times, remebad and not the student. A good teacher learns how to direc

does not interfere with the students learning and the class flo

niques you can use to accomplish this:

1. The most effective techniques are games. Because gtend to get the students fulland enthusiasticcoope

before you feeltempted to start lecturing on disruptis a very effective game: informstudents either at th

lesson, or when behavior becomes disruptive to the being their charming selves they allare going to geers. However, there is a catch! Ifthey say anything, p

while you talk, move out ofa good sitting position, ea point. Ifthe teacher gets five points, they ALL lose

ers and are left with x 1stickers. Dont forget to sayYou may get a point right offthe bat!

2. Here is another game that works well: pullout a stufToday [or for the rest ofthe lesson] we are going to

may only speakifyou are in possession ofthis stuffedpencil, or anything odd in your bag] and in order to g

raise your hand.Very likely someone willstart to s aaway, at which point you motion a zipped lip with a s

diately, students willraise their hands to obtain the add, Ifyou raise your hands, it doesnt necessarily

[object].You willhave to hand over the object at suntilafter you have redirected themto your agenda

3. Have a sense of humor and sympathize with your s

behavior we perceive as bad (for example, being squsimply the result ofan immature body having trouble

ing thema 1-minute window during the lesson to splay can help get the squirmies out. Allowing chi

stretch or run once around the roomhalfway throughhelps when they are very young, and builds their endu

through an entire lesson.4. If students remain disruptive, you may need to get

whole class (including parents) and remind themofhow important they are. Askifanyone would like th

TEACHER TRAINING DVDs 1-3Observing the curriculum in action in anuncontrolled environment with real students isa crucial part of KinderGuitar teacher training.Our DVDs provide hours of footage of LeoGarcia, founder of KinderGuitar, working throughparts of the curriculum over the course of manylessons with a ve-year-old.


9/10

KINDERGUITAR TEACHERS GUIDE TO SBUILDING BOOK & FIRST SONG BOOK

All the curriculum is optimally organizeone book for teachers to use in class.

All parts are compiled onto one staff fopart reading and in-class demonstratio

Teaching tips and notes for each song aplaced alongside the songs to ensure cpedagogical goals are introduced.

INDERGUITAR TEACHERS WEBSITE

Teachers receive access to an online forum for

pedagogical and business questions and developments.Supplements to the curriculum are posted exclusivelyfor certied teachers.

19

1. Sing and clap through the melody to makesure students know the song.

2. Practice the melodiccontent ofthe songbefore working on the different sections ofthe song. Make sure students are aware ofthe importance ofpassing the pinch fromfinger 1to finger 3. Isolate this ifnecessaryand practice the movement a lot.

3. Explain what a round is and how much funthey are to play!

4. Practice singing as a round.

5. Help students notice anchor fingers while

you play the song. Then labelit in theirmusicfor their parents reference.

6. Teach each round section ofScotlandsBurning before connecting into a wholesong. Most students willneed to workontransitions fromone section ofthe round tothe next. Have thempractice playing onepart plus the first note ofthe next sectionofthe round while you clap or play along.They willnotice ifthey are late.

7. Like Part 2ofHot Crossed Buns, have stu-dents hold down the pinch for the durationofthe entire song to build endurance.

8. Assign parts and try to play together inclass. You can double one part, sing along,or coach. Ifstudents are having trouble,askparents to help by singing their childspart next to themto keep themon track.Parents can also help with rhythmby tap-ping a steady beat on their childs knee orback. Playing one section repeatedly whileanother student plays a different sectionrepeatedly willhelp the students hear howthe sections blend together.

9. Assign the order for playing the song in around.

TEACHERNOTES:

Part 2-alternate thumbandindexthroughout

53p 3

30i

533

3 0 5 33

3 0 5 33

3 0 5 33

3 0 5 33

3 0 5 33

3 0 5 33

30

30

Scot

30

land's-

21

burn

21

ing!

1

-

1

30

Scot

30

land's-

21

burn

21

ing!

1

-

1

23

Look

3

10

out!

23

Look

3

10

out!

13

Fire!

3

13

Fire!

3

13

Fire!

3

13

Fire!

3

30

Pour

30

on

21

wa

21

ter!

1

-

1

30

Pour

30

on

21

wa

21

ter!

1

-

1

1 2 3 4

Scotland's Burning 30 211 23 3 10 13 3EnglishRoundMelody

48

1. Sing and clap through the melody to makesure students know the song. Play partsboth separately and together wheneverpossible to demonstrate your ability (pro-viding a long-termgoalfor the students),and for the students to gain familiarity withhow the parts sound both s eparately andtogether.

2. Have students find repeated fragments.

3. Explain the function ofa tie. Ifthe studentshave trouble playing a tie successfully, havethemomit it. After playing the tied notea few times, askthe students to imaginehearing the note instead ofplaying thenote.

4. Using the musicsheet to read the harmonicparts is fine at this point but encourage thestudents to play the melody frommemory.

TEACHERNOTES:

78

1. Sing and clap through the melody to makesure students know the song.

2. After spending time on the advancedrhythmpuzzles that precede the songs,students should not have trouble with Si-cilianos rhythm. Nevertheless, askstudentsto write stickrhythms into their musicifithelps them.

3. Learn the parts separately first. Onstudents are comfortable with theadd the bass notes.

TEACHERNOTES:

INDERGUITAR BUSINESS TEMPLATES

Multiple business templates assist with the logistics ofrunning a succesful studio.

Lesson policy, lesson plan, tuition payment, teachingschedule, and enrollment templates help you create aconsistent and professional image to your customersand provide an efcient approach to working as a self-employed musician.

Email response scripts and phone conversation scriptshelp you communicate the essence of KinderGuitareffectively.

Instrument rental forms, tuition record, and standardizedpricelists create an effortless way to maximize your time.

EMAIL RESPONSE TEMPLATES/EXAMPLES

[Belowis editable information to addafter a personalresponse to anemailinquiry for KinderGuitar classes.]B A S I C K I N D E R G U I T A R I N F O R M A T I O N

What and where:

In a nutshell, KinderGuitar is a music education program designed to startchildren on the guitar between ages 5-10. Classes are structured into small,age-specific groups, and last 30 minutes. I strongly encourage parentalparticipation which enables parents to become the teacher or guitar timehelper at home. The schedule is based on a 40-lesson year (on-going withoff-weeks coinciding with most typical school breaks) and two recitals. My KinderGuitar studiois located at [__________].

Costs and Guitar:

Costs for the group classis currently $____/month (there is a one-timeenrollment fee of $___ for all material through the skill-building stagewhich for ___ year-olds lasts 12-18 months before the reading/literacy stage).The guitar needs to be child-size (____mm would likely work for a ___ yearold) and it has to be nylon-string (classical) for their fingers. The brandKinderGuitar recommends is Cordoba. You could rent one from KinderGuitar for $___/month.They are also available for purchase from us at a discounted price and we allow parents tocredit three-months worth of rental fees towards the purchase of their childs instrument.

Scheduling Options:

Scheduling is a bit of a hurdle because I dont have too many slots openedat one time. Here are some options:1. I place you on my small waiting list until I have a class formed. We canstart when there are at least two children committed to the time slot.2. If you prefer private ($____/month) you are welcome to do this and I may be able to startyou sooner. Depending on a few factors, I may be able to p lace you in an appropriate groupclass afterwards.

Your schedule:

All you have to do is let me know which of the scheduling options youd likeand how early and late you can go during the week, which days work, or ifyou prefer a Saturday class. I currently have a [specific weekday] day class for ___-yr oldsstarting next [week/month] (1st week of Feb) at 5:30 that you are welcome to join.

If that works, let me know.Sorry for such a lengthy email and thanks for your interest in KinderGuitar!

Instrument Rental Agreement

My child is renting a Cordoba ___3/4 (615mm) ___ 1/2 (580mm) ___1/4(520mm) ___1/8 (480mm) and a Cordoba Carrying Case from KinderGuitar on amonthly basis for $___/month due at the beginning of each month. We understandthat rental payments should be prompt and will be considered late if notpostmarked by the 3 rd of the month. If our rental payment is late, we will add the$6 late fee to that months rental payment. We also understand that we areresponsible for this instrument and will need to take care of it. If any damage orloss occurs, we will be responsible for paying for any repairs or the replacementcost up to a maximum of $275. Guitars are available for purchase at a discount toKinderGuitar students (three months of rental fees are applicable to the purchase ofthe initial rental instrument).

Parents Names ________________________________

Parents Emails ________________________________

Students Name ________________________________

Parents Signature ______________________________

Date ___________________

KINDERGUITAR TEACHER ____________________

Make payments out to __________________.

Please add payments to monthly tuition or mail to:

KinderGuitar New Mexico6 String RoadGuitarland, KG 12345-6789

Info: www.kinderguitar.comQuestions: [email protected]

2010 by KinderGuitar

GUITAR RENTAL AGREEMENT

MONTHMon Tue Wed Thu Fri Sat






SAMPLE:

AUGUSTMon Tue Wed Thu Fri Sat

1

OFF

3 4 5 6 7 8

Lessons Lessons Lessons Lessons Lessons L essons

10 11 12 13 14 15

Lessons Lessons Lessons Lessons Lessons Lessons17 18 19 20 21 22

Lessons Lessons Lessons Lessons Lessons Lessons24/31 25 26 27 28 29

OFF OFF OFF OFF OFF OFF

LESSONSCHEDULE

MONTH/YEAR MONTH/YEAR

TEACHER NAME,(XXX)[email protected]

TUITIONDUE FOR:

STUDENT: ___________________

MONTH: _____________________

L ES SO N R AT E

GROUP $XX

PRIVATE $XX

MAKE CHECKSPAYABLE TO: ____________________

DATE RECEIVED: ___________________

TUITIONDUE FOR:

STUDENT: ___________________

MONTH: _____________________

L ES SO N R AT E

G RO UP $ XX

PRIVATE $XX


DATE RECEIVED: ___________________

TUITIONDUE FOR:

STUDENT: ___________________

MONTH: _____________________

L ES SO N R AT E

GROUP $XX

PRIVATE $XX


DATE RECEIVED: ___________________

TUITIONDUE FOR:

STUDENT: ___________________

MONTH: _____________________

L ES SO N R AT E

G RO UP $ XX

PRIVATE $XX


DATE RECEIVED: ___________________

TUITIONRECORD

MONTH/YEAR MONTH/YEAR

S T U D EN T R A T E S E P O C T N O V D E C J AN F E B M A R A P R M A Y J U N J U L A U G

WAITINGLIST

Name Phone/Email ChildsName Age MT W T F S YesStart Date

INDERGUITAR TEACHER TRAINING ADDENDUMS

pdated supplemented posts pertaining to both businessnd teaching are provided for each teacher.

I have taught the KinderGuitar method or roughly two years now, and I can say in no uncertain tethat it is the clearest, unnest, and most eective guitar method that I have encountered. Thesecret to KinderGuitar is that it breaks guitar technique into to its most basic components withotalking down to or boring the student. Unlike many institutionalized method books, KinderGuitardoes not assume that the s tudent has a preexisting grasp o music theory, the ability to play compmelodies or harmony instantly, or even a very specifc interest in a particular genre o musicand the method can move as ast as the student can learn, growing in depth and difculty as the situademands. Ive employed the KinderGuitar curriculum to teach fve year olds, middle school studenhigh schoolers, and even adults, and it has in every case ostered a generous, challenging, and enable learning environment.

Above all else, KinderGuitar allows the beginning guitarist to play s oon and well, all the while builing a oundation or a more involved and mature musical understanding down the line. Ive neverencountered a pedagogical tool so well suited to both beginners and aspiring virtuosos, and I havyet to fnd a way o teaching guitar that speaks so plainly and capably to young children. Parents awould-be guitarists o all ages would do well to give KinderGuitar a chance.

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TEACHERS

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kinderguitar curriculum overview teachers edition

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